Josip Osti: Pjesme i priče
Poem written by Josip Osti: *Na križu ljubavi Stories written by Josip Osti: *Duhovi kuće Heinricha Bölla: Knjigovođe *Posveta *Uživanje *Pred zrcalom: Ciao, mama! *Ispušna cijev
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Poem written by Josip Osti: *Na križu ljubavi Stories written by Josip Osti: *Duhovi kuće Heinricha Bölla: Knjigovođe *Posveta *Uživanje *Pred zrcalom: Ciao, mama! *Ispušna cijev
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Djela kao što su romani, drame, pripovijetke, eseji, pjesme i bilo koja druga vrsta tekstova oblikuju se, prerađuju i dorađuju po nekoliko puta sve dok ne dospiju u čitateljeve ruke kao konačan rezultat stvaralačkog procesa i borbe pisca sa samim sobom. Oni koji se bave pisanjem znaju kako to ne ide uvijek glatko i da su ideje, misli, osjećanja ponekad teško uhvatljivi riječima, ali kada se najzad sve to spoji u neki savršen sklop, prevoditeljima ne preostaje ništa drugo nego da zapisano jednako tako savršeno uklope u svoj prijevod. Međutim, malo tko zna da i prevoditelj u svom radu poput pisca korača istim trnovitim putem, a u svemu tome najčešće ostaje neprimjetan. Ako nam se štivo nije svidjelo, uglavnom ćemo za to okriviti pisca, nećemo možda ni pomisliti da je na naš cjelokupan dojam utjecao i prevoditelj. Stoga bi bilo interesantno usporediti prijevod s originalom, a onda vidjeti je li – i u kolikoj mjeri – oni odstupaju jedan od drugoga. Usporedit ćemo četiri prijevoda pjesme Meeresstille koju je napisao jedan od najznačajnijih autora njemačke književnosti – Johann Wolfgang von Goethe.
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The article represents an interview of Petar Semolič with Milena Rudež.
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The review of: Amir Brka, Nebeski nomad; Centar za kulturu i obrazovanje, Tešanj, 2019.
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The review of: Else Lasker Schüler, Mojim palim i raseljenim prijateljima. S njemačkog prevela Safeta Obhođaš, Lijepa riječ, Tuzla, 2020.
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The review of: Nenad Rizvanović, Longplej; Buybook, Sarajevo, 2020.
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The review of: Jasna Šamić, Noć je opet na pragu postelje ti; Planjax Komerc, Tešanj, 2019.
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The review of: Goran Vrhunc, Ranjeni golub iznad sarajevskih bara; ART HORIZONT, Sarajevo, 2020.
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Poem “Dom” and a short story “Razgovori o domu” written by Warsan Shire.
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Mahmoud Darwish – „Palestinski nacionalni pjesnik“, „Glas palestinskog naroda“, kulturna ikona za milione Arapa – umro je 9. avgusta 2008. godine, u 67. godini života nakon operacije srca. Kao što je rekao čovjek čije je čitanje pjesama punilo sportske stadione i čije su pjesme kroz muzičku formu postale himne širom arapskog svijeta, dobio je dostojnu državnu sahranu u Ramali, njegovom posljednjem prebivalištu, uz pohvale predsjednika Palestinske uprave Mahmuda Abbasa i tri dana nacionalne žalosti.
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The article shows how the political engagement of Polish futurism influenced its poetic representations of crowds. Futurists showed masses as a reservoir of energy strong enough not only to destroy the old regime but also to create a framework for the new order. They described the masses by employing elements of different discourses – conservative, communist and military. These heterogenic representations were bound together by the apotheosis of the revolution against the normative order of modernity (and capitalism).
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Review of: Ivan Sivrić „Orni za vrijeme“, DHK HB, Mostar, 2021.
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Review of: Darko Juka "Teštamentum", Matica hrvatska, Mostar, 2020.
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Review of: Mato Nedić „Glas vjere, duhovno-religiozne pjesme“, Književno-likovno društvo „Rešetari“, Tiskara Nova Gradiška, Rešetari – Nova Gradiška, 2021., 100 p.
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The paper describes stone bridges on Balkan rivers, explores and comments the poems about them. There is a legend that Turks crossed the Marmara Sea by rafts. The Ottomans, who crossed Gallipoli for conquest and first made a small state and then an Empire, arrived in the Balkans through bridges. Every bridge built on the great rivers, which were crossed, gave a stamp to that area and the city. From the capital to the farthest point of the Empire, imposing stone bridges on rivers were built as an artistic-aesthetic monument, but also to enable the needs for military transport. Several bridges built on major Balkan rivers as symbols of abundance and blessings, such as the Mostar Bridge, Soqullu’s Bridge on Drina, the Stone Bridge in Skopje, the Meric and Tunca Bridges in Edirne, have become the subject of classical poetry, shehr-engizs, chronograms in verse or prose works and travelogues. These bridges, through imagination and descriptions, became places where lovers went out for evening walks or met there, while in another context, through comparisons and metaphors, they would be compared to the stature of the lover, the sky, the Milky Way in space or the afterlife bride (sirat kopru). These bridges were so magnificent that they could accommodate the firmament in every eye and could look like a large belt that has the power to connect two hills.
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Ottoman poet biographies (tadhkirah), whose main purpose is to provide information about the life and works of poets in the period from the 16th to the 20th century, have a special place among the important sources of classical Turkish literature. The poets whose biographies are in question performed different duties and belonged to different strata of the Ottoman social structure. However, what they all have in common, regardless of their social status, is the fact that all they were poets. The authors themselves, collecting biographies of poets who came from different social strata, used different sources. These sources could have been the poet himself, a close friend of the poet, a biography of another poet, a history book, or the author himself. Verses of chronograms that poets have written for centuries on various occasions are also one of the written sources used by the authors of tadhkirahs. A significant part of the poets in their tadhkirahs also used an ebced system that assigns numerical value to Arabic letters. Many chronograms were written in this way, so the enthronement of the sultan, the conquest of cities, important natural events, and even the completion of the books they wrote, were numerically calculated. However, in addition to the biographies of poets that the authors dealt with as a central theme, they often wrote chronograms in their honor, which provided them the identity of a historians. The authors did not purposely write chronograms to be called historians, but aimed to write verse chronograms which, relying on ebced, would describe certain important events in the life of the poets. It is not uncommon in the tradition of Ottoman writing of chronograms to find chronograms dedicated to the poets being written about. This research will provide data on authors who wrote chronograms dedicated to individual poets in their tadhkirahs, and includes historical poems in them, and thus made a significant contribution to both history and literature.
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The article discusses the issues of contemporary narratology. The author assumes that narratology is inextricably linked to poetics and rhetoric. The object of narratology is cultural space, which is created by texts in a particular rhetorical modality. However, its reflections includes subjects such as communication strategies and discursive practices. Each narrative discourse involves combining referential and communication events. According to the author, such a view of contemporary narratology opens up a number of new interpretation possibilities.
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In this article we analyze the life stages in the poetry of Blaze Koneski, from the point of view of history and theory of mentality. Nine poems by Koneski are put to subspecialist analysis: "Life" and "Ars poetica" from the collection of poems "Old and new poems" (1979), then "Children", "Awakening", "Adults" and "Baby" by the book "Message" (1987), "Experiment" from the collection "Church" (1988), the poem "Life path" from the collection of poems "Seismograph" (1989) and the poem "New Year 1992" from the collection "Black aries" (1993). These are reflective poems with distinctly elegiac features and selected to show the poet's understanding of the phenomenon - life stages, i.e. age levels. In that sense, in the poems and through them will be treated the different periods of life (childhood, youth, adulthood and old age), chronologically, according to the history of the European mentality (antiquity, the Middle ages and the new century), as found in these poems, but also the thoughts and feelings of the emphasized lyrical subject according to this question. The purpose is to present a lesser known Koneski to the wider Macedonian readership, an adult, a little tired and melancholic, Koneski, who knows how to philosophize, poetically shape abstractions, to sound exhausted, to grieve and sick, to rejoice and value life...
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