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SPOL je društveno uvjetovana medicinska i zakonska klasifikacija bioloških karakteristika koja dijeli osobe na samo dvije kategorije (“žensku” i “mušku”) i to prvenstveno na temelju vanjskih spolnih organa, unatoč postojanju spolnog razlikovanja koje prevazilazi kategorije “ženskog” i “muškog”.
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CEMENT, Saša Ćirić: Treba li spaliti kontrabas?; anti CEMENT, Zorana Simić: Preko blata do zvezda; MIKSER, Nađa Bobičić: Kontinuiteti i diskontinuiteti na književnoj sceni; ŠTRAFTA, Aleksandra Sekulić: Za one sa starijim ulaznicama; ARMATURA, Vladimir Bjeličić: Šta se, zaboga, dogodilo sa strukom?; ZID, Marijana Markoska: Studija drevnog papira
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MIKSER, Matija Jovanović: 1% za kulturu – čija kampanja?; ŠTRAFTA Aleksandra Sekulić: Koga propuštamo?; ARMATURA, Jelena Veljić: Nekima (skoro) sve, nekima (skoro) ništa; ZID, Ivana Smiljanić: „Uređivanje (u domaćinstvu i umetnosti)
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MIXER, Arben Idrizi: Popa; antiCEMENT Saša Ćirić: Jezik ljubavi i jezik usamljenosti; CEMENT, Đorđe Krajišnik: Šega, šala, cigla; PREDRAG LUCIĆ, lirika utoke / 19. 11. 2014: Malvina
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Arian Leka: UVODNA REČ; Ylljet Aliçka: Naporni pokušaji ulaska bezpozivnice na mondenski prijem; Lindita Arapi: Tirana bez prijatelja, S malog prozora moje kuće; Ardian-Christian Kyçyku: L.O.L; Sabina Veizaj: Polubol, Majke; Marikljena Ničo: Izvan krajolika, Ona mi govori o letenju
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UVODNA REČ, Piše: Petar Dančev i Dalibor Plečić; Zornica Garkova: Nikad ti ne kažu; Petar Denčev: Ana i usamljenost; Ivan Dimitrov: Snaga reči; Svetoslav Todorov: Putopis / Slomljeno ime /Svako to jutro; Petar Denčev: Biću mladež iznad tvoje gornje usne
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MIXER, Mark Losoncz: Istočno-evropske teze; antiCEMENT, Đorđe Krajišnik: Dnevnik jednog asanatora; ARMATURA, Irena Ristić: Ekonomije prijateljstva; VREME SMRTI I RAZONODE, Geni Lim: Zimsko utočište
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MIXER, Mirnes Sokolović: Tradicija - predeo slikan rekonstrukcijom; CEMENT, Saša Ćirić: Šta će biti s kućom?; ŠTRAFTA, Adriana Sabo: Obrazovane i bogougodne; VREME SMRTI I RAZONODE, Miloš Živanović: *, Predrag Lucić: Miris Kouachija na Balkanu, Aleksandar Novaković: Zbogom prošlosti - budi bolja s drugim
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MIXER, Saša Ćirić: Misija političke subverzije; antiCEMENT, Haris Imamović: Egzilstencijalizam i književnost; ARMATURA, Đerđ Serbhorvat: Izbori, hungarikumi i bećari; VREME SMRTI I RAZONODE, Nika Dušanov: Partija; BLOK BR. V, Wostok/Grabowski: Peti prizor
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The report presents a number of cases in the history of Bulgarian literature in which it becomes possible for the literary text itself, in its material objective form, to acquire the elements of an image. Case studies of the creative practice of the greatest Bulgarian writers are given in chronological order – from Peyo Yavorov and Pencho Slaveykov to Trifon Kunev and Geo Milev. As a form of convergence between word and visual image, are gestures from the Bulgarian literary culture, situations from the more marginal phenomena of the provincial avant-garde, and examples from the so-called visual poetry
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This text focuses on Ivan Vazov’s involvement in creating the illustrations for the novel “Under the Yoke”. The writer actively participated in producing the illustrations for the first independent edition of “Under the Yoke” in Bulgarian and in developing the visual images of literary characters and scenes from the novel. Vazov worked together with the book’s artists, who included several of the foremost Bulgarian painters at the time: Anton Mitov, the Czech Ivan Mrkvička, the Austrian Josef Oberbauer, and the Pole Antoni Piotrowski. Decades later, when the novel was adapted for the cinema, the filmmakers aimed to replicate the appearance of some of the characters and scenes illustrated in the book
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In the early years of cinema, caricatures played an important role in its popularization in Bulgarian lands – a topic that has not been explored enough. The first humorous publications (“Balgaran”, Baraban”, “Smyah”) advertised first cinemas, but also published cartoons, poems, feuilletons, etc., inspired by the world of cinema. The language of film influenced the expression of artists and cartoonists, and films adapted for screen humorous drawings and cartoon series
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This Paper starts with the premise that while methodology has long been established generally as a science, there is an ambivalent relationship with this fact, both within the academic and scientific communities. . At the Faculty of Philosophy of the University of Sarajevo, at almost all departments, for decades there have been courses designed to provide future professors with methodological knowledge and skills., This applies to the methodology of teaching literature and language as well. Due to the fact that it most directly of all courses directs students towards their usual profession, the teaching methodology is based on scientific facts, but also on professional achievements and requirements of teaching practice. Future teachers and professors, as well as those already in the field, need the literature which will facilitate their concrete work in class. In Bosnia and Herzegovina, in the 1980s and 1970s, numerous manuals and editions were published for teachers, such as the famous Nastavne biblioteke (Teaching Libraires), which offered methodical interpretations of literary texts, and/or presented examples for literature and language teaching. Today such scientific works are rare, and when they do appear, they are often classified into the category of „professional work “. It seems to us that there are numerous reasons for such a situation, and we will offer some answers in order to elevate the status of methodology, with a specific focus on the methodology of literature teaching.
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The text examines pictures from Bulgarian Tolstoyan periodicals from the first half of the twentieth century, in which images and messages correspond, as well as contemporary images of animals, in which reality is removed, hidden, substituted by a false text suggested by the image. Conversely, in “The First Step” by Tolstoy and in several texts by Bulgarian Tolstoyans, the text denudes an unmasked image of the unsubstituted reality of the slaughterhouse
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“Dora Markus” is a poem by the Italian poet Eugenio Montale (1896 – 1981) from his second collection of verses “The Occasions” (“Le occasioni”, 1939). Composed in two parts, I and II, written in different years (1928 and 1939), the text is inspired by a private photo of pretty female legs, known within the context of the critique, dedicated to Montale, as ‘the legs of Dora Markus’. This research describes the way in which the photo acquires a poetic appearance of high density and analyses its incarnation – presence-absence – in the abovementioned poem, emblematic for Montale’s poetics
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The present work studies the perplexing attraction to the face of death in the Galin Nikiforov’s novel “The Photographer”. The main character in the story is a completely devoid of empathy loner, who is capable of sacrificing anyone to get the desired image. Ethics and aesthetics do not cooperate in the ultimate intentions of the talented villain. He is acting on behalf of death and kills to give unseen material to his camera
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The primary issue, addressed in this paper, deals with the importance of procedures in the interpretation and analysis of a literary text, from the first encounter with a literary text to the oldest age. Within the framework of the methodological instruments applicable in this field, we will try to explain the methodological principles within the scientific field: Methodology of literature within the framework of literary-aesthetic communication in the didactic horizon and “methodology of literature that investigates the function of literature in building the reading and literary personality of students, worldview, aesthetic and moral consciousness (educational functions of teaching literature.” (Rosandić 2005: 17) Speech, in the broadest linguistic sense, is a phonetic-acoustic manifestation of a person's ability to use language, i.e. communication among members of the language community through articulated verbal signals produced by the activity of the speech organs; while language is defined: as a “genetically determined and only human ability to communicate, through an articulated system of verbal signs, which is fully possessed by all normal people, regardless of race, living conditions, level of civilization, etc”. (Rosandić 2005: 509) In order to adequately present the features of a text or a work of art, we need to improve our speaking skills in order to achieve the appropriate effect of the presentation of a language formation. Language as a very complex area, defined as a community of means of expression that we have at our disposal when we form a statement, also implies the application of the technique of constant improvement at the level of reading and writing, which means that the speech is shaped into wholes, which are interconnected and place a complete statement.
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The article discusses the relationship between two categories in the texts of the Bulgarian poet Peyo Yavorov: representation and force. The representation is the ability of language to represent, i.e., to build images and to symbolize extratextual reality. It is expressed by the figurativity. The figure is a structure with two levels: one (literal) represents the other (figurative). The force in language, its performativity, lies in the energy of signification. It is non-representational. In Yavorov’s works, the representation and force are concretized by the self and the soul. The self is the pure force of the subject’s presence in the poet’s poems, while the soul reveals the perspective of the figurativity. Self and soul, power and representation are in a strange interplay. The self is the performative power of language to signify, but, in order to be recognized as presence, it needs the representation, the soul. At the end of the article, a new interpretation of the split of Yavorov’s works is presented
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The focus of this article is the landscape of Nikolay Raynov, strongly present in both his visual and literary work. Both have the same metaphysical character. The approach to its justification is Raynov’s theosophical interpretation of nature, as taken from two of his manuscripts. This paper examines how pictorial and verbal text (artistic or theoretical) can illustrate and interpret one another
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The text considers some intertextual and intermedial practices in which other (pictorial) pieces of art interfere in the history of a (literary) work – in absentia or in praesentia – and together participate in the “cycle” of the arts. It is also an attempt to illustrate the poetic theory of correspondences, as well as a reflection on the encounter with the other – the opposition between alter and ego – in the solitude of the creative act
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