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Nakon predratnog perioda, u kojem je preovlađivala nušićevski orijentisana drama, zasnovana na klasično tipiziranim likovima i zapletu, u književnosti za decu pojavljuje se naročito zanimanje za jedan klasičan, poznat i utvrđen žanrovski obrazac, za bajku, koja je već kao pripovedna vrsta doživela više transformacija. Pisci ove razvojne etape usmeravali su svoj dramski rad ka mogućnostima transformacije bajke u novu, drugačiju, a deci naročito blisku formu.
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Dela Bore Stankovića predstavljaju odličan predložak za koreografsku kreaciju – jer se na najtananiji način, bave onim telesnim, putenim, nagonskim u čoveku. Ples je dobar medijum da transponuje tu sapetost, očaj i urušavanje ljudskih sudbina, taj usud koji prati Stankovićeve junake, zarobljene u maloj, konzervativnoj sredini. Takođe veliki je koreografski izazov, a brojna su sredstva, da se prikaže psihološki rascep likova i njihova najdublja intima, u čemu je ovaj pisac bio izvanredno vešt i ubedljiv. Koreograf Lidija Pilipenko dobro je prepoznala veliki potencijal koji Stankovićeva literatura nosi u sebi, pa se odlučila da na sceni Narodnog pozorišta postavi balet Nečista krv, u kome je pokušala da, prikazom samog pisca, ali i njegovih likova, uhvaćenih u zajedničkom kovitlacu, dobije zanimljivu i složenu scensku celinu.
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This paper presents and discusses the main features of Tihomir Ostojić's approach to literary history. From the synthetic review of a period of Serbian literature, over books and papers on Serbian classics such as Dositej Obradović, Zaharije Orfelin, Branko Radičević, and Jovan Sterija Popović, to his scholarly pinnacle embodied in the work entitled Istorija srpske književnosti (The History of the Serbian Literature). It is impossible to comprehend his creative oeuvre without taking into account his wide range of interest in the cultural and literary matters of his age. The list of his occupations comprises Enlightenment activities nationwide, the position of a grammar-school teacher, efforts aimed at reforming cultural institutions and literary journals, performing the duties of the secretary of the Matica Srpska cultural institution and editor of its oldest gazette respectively, to be crowned with the post of dean of the Faculty of Philosophy of Skopje (Macedonia). With regard to presenting Serbian literature in terms of literary history, Ostojić focuses on the understanding of its revival. Viewing the act of revival as a long-term process, Ostojić relates its beginning to the community of Catholic Serbs in Dubrovnik, and its end to the workings of Vuk Stefanović Karadžić in the first half of the 19th century, emphasising the significance of the closing stages of this process. For that reason, he pointed out the need for researching Serbian literature and culture from the Great Serb Migration of 1690 to the publishing of first books by Dositej Obradović in 1783. Although the latter's oeuvre (as well as his overall spiritual radiance) was crucial in terms of establishing new Serbian literature, Ostojić, unlike other literary historians, places Obradović in the middle period of Serbian literature in general. A representative of the golden age of Serbian literary history, with some of the most prolific historians as his contemporaries, Tihomir Ostojić builds his concept of literary history upon the platform of Serbian national philology, whose founder is Vuk Stefanović Karadžić. From the perspective of Serbian studies, he deals with Serbian literary and cultural history, taking into account the wholeness of the spiritual enterprise of Serbian people. At the time of revival of authentic Serbian studies, the oeuvre of Tihomir Ostojić emerges in its full capacity of a scholarly founded timeless classic. Without an insight into the work of this literary historian, it is impossible to clearly view Serbian literature in its integrity.
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Milorad Rajčević/Raïtchevitch (Mala Drenova, 1890 – Lübbecke, 1964), the first Serb “world traveler”, travelled for twenty years, taking four big journeys – to the Far East, from Europe and Siberia to Palestine and back to Belgrade. His second journey (1913 – 1914) took him to the Americas, travelling from Alaska to Cape Horn. On his third journey (1923 – 1924) he travelled extensively throughout Africa. During his fourth big voyage (1933-1934), he found himself in India again, and then Australia, New Zealand, he made a stopover in Fiji and Hawaii, and also America. His travel articles were published in Mali Žurnal (The Little Journal) and Balkan (The Balkans) newspapers, and his travelogues were published in Serbian, French, and Spanish. He made a bet that he would visit Europe, Asia, Africa, and the Americas over a two-year journey on which he set out on March 15, 1910, and that he would cover 120,000 km. This, at the time, was indeed a rare feat on a global scale, and not just in Serbia. He was only twenty years old when he decided to embark on a trip around the world. (Before, as a young man, Rajčević went on a journey for four years, becoming fascinated by travel, and learning several languages.)He always travelled alone and proudly wore the national tricolor on his left arm, making every effort to “walk with his head high, as a newspaper correspondent and a gentleman”. He was proud that he could “carry for the first time the national tricolor through foreign countries”. His dignified demeanor left the impression that his was a “nation of high culture and nobility”. He spoke several languages fluently – German, English, French, Russian, Spanish, Greek, Italian and half a dozen other languages. Rajčević published several books, his first book Biografia e impresiones de los viajes del mundo a través del famoso Milorad de Raitchevitch Explorador Mundial Publicista Serbio was published in Spanish in 1918 and his last book Biographien und Autogrammem Staatsänner und anderer Persönlichkeiten des 20. Jahrhunderts was published in 1960 in German. He was decorated for his virtues by His Holiness the Patriarch of Jerusalem with the Cross of the Holy Sepulcher, which gave him the right to the title “Chevalier de St. Grave”.Rajčević, like other authors of travelogues, pointed to the cultural differences he encountered. But, although he was a benevolent intermediary between the two cultures, he was also prone to accepting certain stereotypes. For Rajčević, the journey itself was more important than writing. Travel gave purpose to his life, the opportunity to see new countries, but at the same time to represent his own. For him, travel writing was both a way to immortalise his own existence and to contribute to readers’ knowledge of other cultures. He tried to be the best mediator possible, mediating between his country and culture and other, mostly little-known, countries and cultures of the world.
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This paper analyses empirical incentives in Milosav Tešić’s poetry. Although Tešić is a poet of culture and oral tradition remembrance, he never conceals the presence of personal experience in his verses. In addition, he is of a view that poets should not abandon their own stance since, by doing that, they deny their own creativity. Special emphasis is paid to two motifs, the motif of mill and the motif of herbs, which can be traced back as early as the poet’s childhood, and which can be found in his anthological works, such as, among other things, the cycle entitled ‘Pasum vodeničkog buka’ (The Aftersound of Mill Waterfall) and the poem 'Šljiva srpska' (The Serbian Plum). However, empirical incentives in great poetry are transformed and important poetic factors, and the motifs of mill and herbs have become one of the trademarks of his poetry.
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In diesem Epos von Njegoš fällt eine fast völlige Abwesenheit von Turzismen auf, im Unterschied zu anderen seiner Epen, wo ziemlich viele Turzismen vorkommen. In »Luča mikrokozma« wimmelt es aber von Gräzismen und Slawjanismen. Daraus zieht der Autor die Schlulssfolgerung, dass diese Erscheinung durch das Genre bedingt ist: die Tonaliäat und die Ideen in diesem Epos beruhen auf Gräzismen und Slawismen, sie verlangen keine Orientalismen.
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En partant de l’hypothese qu’une analyse quntitative complete des particularites grammaticales, lexiques et autres d’un'texte determine egalamenit la physionomie de l’exipreision et les traits caracteristiques du langage d’auteur, nous avons procede ä analyse des conjonctions dans les propositions adverbiales du recueil Contes populaires serbes de Vuk Karadžić. Les resultats finals de cette analyse demontrent l’hypothese de l’uoteur, particulierement la donnee de la haute frequence des conjonctions de temps qui est en correlations avec la structure des contes.
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Буков практични допринос српској култури тако je велики, тако неоспоран и тако сјајан, да засењује све што му je претходило, као појединачни подухват, и што му у историји српске културе, за петама долази. Али тај Вуков практични допринос, у очима његових потомака, чак и оних који га уздижу и славе, засенио je и све што je Бук као стваралац учинио, и самог Бука као човека. Због тога се у савременим мишљењима о Буку, и у општој оцени, бар оној владајућој, запажа извесна неуравнотеженост, извесна унутрашња контрадикција, извесна несагласност између става према његову делу, око којега нема више колебања и око којега се сви слажу без колебања да je непоновљиво, и става према Вуковој личности, око ко je има много колебаньа, и много мистификација.
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In this research the following is considered: two key modes of forming semiospheric inner disorganised substructure in a non-elastic (totalitarian) semiospheric core of culture; the attitude of a totalitarian culture towards some forms of own inner Otherness, that is towards inner alterity. The research subject is the example of Andrić’s The Damned Yard, which is, in a methodological sense, analysed as a typical case study because it is a representative example of a sharp, intolerant autocratic, semiospheric core of a culture rejected by one’s own inner Otherness. By semiotic-cultural analysis the key thematic-motivational complex of The Damned Yard is revealed whose central place is regime-disputing isegoria in a totalitarian society, concretely in the timar-spahic system of the Ottoman Empire. Considering that a reliable indicator of democracy and, therefore, an invariant feature of democratic systems is isegoria, it is here observed as a litmus for marking the democracy of a focused culture. Apart from disputing the right to isegoria, the analysis points out that Decalogue is the following key standard by which a non-elastic semiospheric core of culture, concretely, the totalitarian Ottoman regime – identifies the distance of its self-description and deviation articulates as its own inner Otherness. In striving to eliminate this from its structure the Ottoman regime liquidates these forms of inner Otherness by penalties in the form of spreading fear, force or killings. The subject of this research is dominantly considered from the position of the semiospheric theory of Yuri Mikhailovich Lotman with vocation of some image aspects, which are compatible with the mentioned theory.
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This paper offers a research into the most significant poetic foundations of Đura Jakšić’s lyric poetry. It points out the fact that expressive romantic features and interconnectedness of the poet’s pieces of literature and life circumstances had played a determinative role in shaping Jakšić’s artistic world. In this respect, we single out the principle of individualism, which had been, in multiple ways, functionally modeled in his poetry. In addition, it had determined the theme-motif range of Jakšić’s poetry, as well as its other distinctive features, such as: elevated sensitivity, specific ambience, pronounced imagery, stylistic and linguistic idiosyncrasy.
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Melancholy and inner void faced by the heroes of Migrations and Second book of migrations interpret the tragic loss of freedom in the real world. Miloš Crnjanski treats the phenomenon of evil which converted and left behind a spiritual devastation. Utopian vision, embodied in the Nova Serbia and Rosija, unlike performances of classical utopias, perceive the idea of freedom as a call for a higher life and divine order.
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Review of: Vasa Pavković, "Rečnik poezije Milana Rakića", Matica srpska, Novi Sad, 1984.; by: Danko Šipka
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Tematske okupacije poslednjih pet proznih knjiga Igora Marojevića (Parter, Dvedeset četiri zida, Beograđanke, Prave Beograđanke, Tuđine) ili njegovog „beogradskog petoknjižja" jesu, pored urbanog Beograda s kraja XX i početka XX stoleća, procesi komplikovanih međuljudskih odnosa njegovih stanovnika, često dati kroz prizore nasilja i brutalne krimi-scene. Usred ovakvog urbanog haosa, junaci i junakinje različito se snalaze, ali retko se dešava da svojim akcijama uspevaju suštinski promeniti zatečeni poredak stvari. Digitalni realizam Igora Marojevića kao (auto)poetička odrednica ovog pisca koji je kulminirao u Beograđankama i Pravim Beograđankama, u Tuđinama ima svoje mesto, ali nizom simboličkih slika i uvođenjem apsurda Marojević u novom romanu u dobroj meri menja svoj kurs.
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Review of: Popović, Ranko (2017), Čitati i biti. Književne analize, Banja Luka: Društvo nastavnika srpskog jezika i književnosti Republike Srpske.
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Review of: Novak Bajcar, Silvija (2015), Mape vremena, Beograd: Službeni glasnik.
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Review of: Nenin, Milivoj (2016), Slovo tvrdo: o prepisci Ilariona Ruvarca, Ruma: Gradska biblioteka „Atanasije Stojković”, Sremski Karlovci: Kairos.
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This study examines the complexity of the problem of typological definition of The Time of Miracles by Borislav Pekić, which is reflected not only in artistic process of destabilisation of traditional genres (short story, novel, etc.), author`s suggestions in form of subtitle, two-sided metatextual chaining of smaller, independent narratives within the book as a system of a higher order (in relation to biblical-mythical patterns of prototext, and in relation to its own text), but also as a kind of an evolutional perspective of narrative genres in the second half of the twentieth century. By reconstructing the biblical cultural model, Pekić changes the perception of reading the New-testament stories, and enriches his own text with metaprose character. That way, The Time of Miracles becomes hybrid, multi-genre text which can be read and interpreted on more levels. Bearing in mind that the meaning of complete Pekić's work is based on Biblical contextualisation, Mikhail Bakhtin's theory was used in this work to question the dialogism of Time of Miracles with the Bible, as well as the possibility of its potentional understanding within the development line of menippean satire. Considering that the thematic focus of mennipea is the questioning of validity of some idea or axiology, the same intention can easily be recognised in the allegoric potentials of Time of Miracles, which have already enlightened the analogue connection with the 20th century totalitarian ideologies.
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Kočić je u svojemu »Jazavcu pred sudom« prvi ukazao na krivu upotrebu glag. ženiti i ženiti se, istodobno, pak, i pitanje priveo ka kraju na veoma jednostavan način. Stoga jezikoslovcu ne preostaje ništa drugo nego u osnovi osvježiti i raširiti piščeve misli. On je stvar izložio u dramskome djelu kako bi se narugao nositeljima izvitoperena govorenja, soju ljudi svoga vremena što nahrliše u Bosnu i Hercegovinu kako bi je tobože uljudili, prosvijetlili i unaprijedili. U drami su to dotepenci: pisarčić, naše gore list, polupismen žutokljunac, i tuđinac sudac, čovjek koji se nikada nije trudio da bi dobro naučio naš jezik. Ta rijetko je kolonijalni gospodar učio jezik svojih podređenih! U bosansko-hercegovačkoj seljačkoj sredini, koju upravo resi čist štokavski izraz, ova društvena krema ostvaruje svoj žargon i tako joj ga nameće.
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