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An interview with Dr. Dragiša Živković by Ljubisav Andrić.
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Književni junak je - struktura, dinamički odnos elemenata i. istovremeno, knjižveni junak je - ponašanje. Ma koliko da je umetnička proza daleko otišla od svojih prvobitnih funkcija, ma kakve neobične forme usvojila - ipak, mi uvek, ovako ili onako, imamo posla s nečijim događajem, s priprovedanjem o događanju. Likovi se kreću u tom pripovedačkom vremenu; samim tim, oni se neprekidno nekako ponašaju.
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PRVI PUT PRVA PRAVA GLAVA (ali ne i poslednji) koja sadrži razglabanje, na nekoliko stranica, o svrhovitosti kuće i njene unutrašnjosti na sveukupno odgajanje i vaspitanje mladog, novorođenog junaka, uz predočavanje neželjenih posledica, bez preteranosti, bez normativnosti i bez tako, ponekad, ružne eksplikativnosti.
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Jasna Melvinger: NEČITKO VRIJE PIJESAK: Ivan Zamoda: UMETAK ZA UHO; Ibrahim Kajan: ĐAVO ZAVODNIK; Tomaž Šalamun: META; Stevan Vrebalo« NIKAD; Siniša Bojanić: IMITACIJA; Ferenc Vesteg: OČEKUJEM TVOJE PISMO ARTHUR RIMBAUD; Svetlana Gajinov: DVE PESME; Erika Džong: KRAJ SVETA; Zvonko Tarle: DVE PESME; Slavko Sedlar: TRI HAIKUA; Boris Vrga: NAUTILUS (2).
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Sve je, čini se, jednostavno: pisac je onaj koji daje, čitalac onaj koji se podaje i uzima. No, taj jednostavni obrazac ni izdaleka ne odgovara stvarnosti. Niti pisac samo daje, niti čitalac samo uzima, već su obojica pred osvajačkim pohodima s vrlo neizvjesnim ishodima.
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Interview with Eva Kushner by Novo Tomić.
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Bučno najavljeni početak, megalomanski preuveličana želja za pompeznošću donosi oseku raspoloženja, otrežnjenje posle pijane noći i uviđanje ogolelih kulisa (ogromno izbuljeno oko iza debelih naočara).
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Prose written by Zoran N. Jovanov: IZBOR IZ "BELEŽENJA" MODESTA F. KALINJINA.
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Svako razmišljanje o kritičkom vrednovanju djela afričke književnosti počinje od općih određenja ove književnosti i uočavanja načina na koji naša sredina dolazi u doticaj s njom.
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The author of this article points to Pelevin's two main creative strategies: his use of satire which is connected with the representation of history and his inclination toward mysticism and esotericism. This article reconstructs the historical background of this work and mentions the oligarch Khodorkovsky, which constitutes the plot of the novel. Certain aspects of V. Pelevin's language play are also analyzed, in particular, his tendency to change the meaning of the concept of a number in the novel: a number can be mystical; it can be seen as an image or a sign and also as a word and a part of the text. The collision of two myths - the myth about capitalist consumption and the communistic myth about restoring justice - is investigated. This article shows how dogmas and ideas that are not connected with a specific person are parodied.
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This article describes a parody of the Russian intelligentsia in the 1970s. It also discusses the motif of a crocodile in Russian culture, i.e. Pomadov and Oblomov, and a longing for freedom. It also aims to show the atrocities of everyday life.
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This article presents a comparative analysis of Vladimir Zazubrin's story titled The Splinter (1923) and its contemporary screen adaptation, i.e. Alexandr Rogozhkin's film The Chekist (1992), in the context of the Russian nation's tragedy during the formation of a new socio-political system. Just as Zazubrin text is a peculiar testimony to a certain epoch, Rogozhkin's film (if one also takes into account the date of its premiere) is a picture that warns contemporary people so as to prevent them from repeating their predecessors' mistakes.
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The article aims at exploring the issue of Nestbeschmutzung (fouling one’s own nest) in the context of the novel Drive Your Plow Over the Bones of the Dead written by Olga Tokarczuk. The national discussion which arose around Tokarczuk’s novel and later around its film adaptation Spoor directed by Agnieszka Holland can serve as a pretext for asking several important questions: should those who break an alliance with their own species in the name of protecting the interests of non-human nature be called Nestbeschmutzers? Why is the questioning of the God-given right to subdue the Earth and have dominion over all creation still met with fervent backlash? What forms of exclusion are introduced against those undermining the anthropocentric status quo? A reference to the current fight for Białowieża Forest will also be made in order to demonstrate the universality of the language and arguments in favor of depreciating ecological ideas.
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Reminiscences of the past and melancholic feelings have often been present in the literature of the diaspora, which illustrates the fact that the life of an immigrant has never been easy since s/he has to deal with many unfavourable circumstances. Immigrant identity cannot remain exactly the same after arrival in a new cultural milieu. Elements of the original identity may be lost or transformed into new forms. Old selves cannot be completely assimilated into the new cultural pattern. Apart from this, there are other obstacles, which are presented in a symbolic way in Goran Simić’s collection of short stories Yesterday’s People. This Canadian author of Serbian origin has compiled a dossier of Yugoslavian immigrants in Canada who left the country in the last decade of the twentieth century due to the horrors of the war in Bosnia. Since they emigrated in a tumultuous social climate when the foundations of the old cultural identity had been destabilized and called into question, they cannot deal in a productive way with a new phase of their life in the diaspora and find their purpose at the moment . Similarly, to his protagonists, Goran Simić was affected by the Bosnian conflict, but he has succeeded in reshaping himself in his new surroundings, reworking his memories in a creative way and integrating into Canadian literature as a writer. However, scarred and traumatized yesterday’s people in his stories cannot grapple successfully with the existential problems and their identity crises, and they are constantly wedged between the haunting past and the elusively better future. The aim of this paper is to discuss the possible problems at the “meeting point” between the discourses and practices which shaped immigrants’ identity in their native land and the processes which construct them as subjects in the present, by relying on Stuart Hall’s theoretical views in “Who needs an Identity”.
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