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20.66 €

Srbská frazeologie v českém a bulharském překladu: Kontrastivní analýza

Author(s): Pavel Krejčí / Language(s): Czech

This book analyzes in contrastive way Czech and Bulgarian translations of phrasemes of two Serbian prose works: The Bridge on the Drina by Ivo Andrić (1945) and Dictionary of the Khazars by Milorad Pavić (1984). It tracks and describes the formal, semantic and stylistic variations of Czech and Bulgarian translation solutions while trying to answer the question, to what extent the greater typological linguistic proximity is playing bigger role at the accuracy of the translation of phraseology (Czech is thus closer to Serbian than Bulgarian) and to what extent the genetic and cultural-historical propinquity is more important (Bulgarian to Serbian is thus closer than Czech).

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4.50 €

Kovačeva priča o izopštavanjima (Životopis Malvine Trfifković)

Author(s): Vesna Vukićević Janković / Language(s): Bosnian Publication Year: 0

Since it was first published, Malvina has attracted attention of a wide professional and non-professional readership, primarily as a narrative about Serbian-Croatian hatred and as the first lesbian novel in the South Slavic world. It was not only the choice of narrative forms but also that of the topic that marks Kovač’s text as open to those forms of social life placed on the margins of society and exposed to repression. Kovač builds up ironic outlines of the codes of socio-cultural milieus and of all the forms of social power, providing a parodic image of social morality based on subversive mechanisms and partial truths. The social, political, ideological, religious, ethic, and aesthetic models of the world through which one perceives reality are established in the absence of emancipated action and choice. Prohibitions and limitations, stereotypes, and taboos, and, on the opposite side, transgression (breaking of boundaries) of all the proscriptions, are the object of redescription in this work.

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4.50 €

Mirko Kovač - Grad u zrcalu

Author(s): Sofija Kalezić-Đuričković / Language(s): Bosnian Publication Year: 0

Mirko Kovač, one of the most famous domestic authors, is an artist who is equally successful in the descriptions of the Montenegrin, Croatian and Serbian cultural milieu, which gives his prose extra-regional and universal attribute. Based on all reliable and proven peculiarities of narrative manners painted by the modern creative process, with a variety of innovative structuring techniques and often naturalistic depicted fragments, his first novels Gubiliste (1962), My Sister Elida (1965) and The Biography of Malina Trifkovic (1971), as well as a collection novels Wounds of Luka Meštrović (1971) announce a new and unusual name on the literary scene of the former Yugoslav territories. In the work Mirko Kovač - A City in a Mirror, author Sofija Kalezić illuminates psychomental and physical portraits of literary characters of heroes who pervade the pages of this novel, from narrator’s mother to his first love and other heroes.

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4.50 €

Pripovjedni postupci u tvorbi sjećanja (Mirko Kovač, Grad u zrcalu)

Author(s): Sanja Franković / Language(s): Croatian Publication Year: 0

The paper analyses the narrative forming of personal and family memories in the family chronicle The City in the Mirror by Mirko Kovač. The mechanism of writing out memories through the mediation of the characters and spaces (houses, cities) is subverted at the same time, whereby different narrative strategies can be discerned: 1. In his autoreferential notes, the narrator emphasises a lack of equivalence between life and memory and his own subjective will to speak about selected events and in the order established by he himself; 2. His memory is also objectively disrupted by interrupting family and kinship ties and by wars and floods, which change the space and people’s way of life; 3. Family memory which precedes the narrator’s life is mediated by the remembered stories of the focalisers, older family members; 4. The narrator connects the space of childhood and growing up with the destinies of peculiar people who lived in it, so his writing memories means the creation of personal geography too. The titular metaphor of the city in the mirror refers to the city as the main character, identified with people who live in it or reflect about it, and the heterotopic character of memories, fixed in the written text like in the mirror, but deprived of the real geographic space. Thereby memory gains the status of one of the possible interpretations of life.

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4.50 €

Kategorije vremena u romanu Grad u zrcalu Mirka Kovača

Author(s): Ana Pejović / Language(s): Bosnian Publication Year: 0

The organization of story time in the novel: City in the mirror was established thanks to the value attitude and psychological attitude of the main romance hero that is author himself, who is secretly behind both the self and the narrative instance and through which he communicates. From these central subjects of the narrative structure of the novel and their interaction in the narrative text (the replacement of the narrative self and experienced self ) depends also others narrative elements among which stands out time and space as unavoidable elements of fabular, compositional and the size of the novel. The aim of this paper is to explain in more details temporal categories of the narrated and to interpret to readers the most accurate picture of “double temporality” of the atormentioned novel discourse, using Zenet’s theoretical modalities of time. Structural elements of interpretation of the title topic in it’s theoretical and critical context will be focused on the analysis of the following segments: time of story and time of storytelling; order of narrative anarchy; types of prolepsis and analepses; rhythm of storytelling and narrative pace.

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PRIPOVJEDAČ IVO ANDRIĆ PRVI DIO: KO TO TAMO GOVORI? (PITANJE “GLASA” U ANDRIĆEVOJ PROZI)

Author(s): Zdenko Lešić / Language(s): Croatian Publication Year: 0

Zanimljivo je da veliko Andrićevo književno djelo u prošlim decenijama gotovo nikad nije bilo predmet sistematičnih naratoloških analiza, iako se već tokom 1970-ih godina upravo naratologija u svijetu bila afirmirala kao najdosljedniji oblik tada predominantnog, strukturalističkog mišljenja. Možda je to bilo zato što se klasična naratologija, u težnji da uspostavi gramatiku narativnog teksta, odlučno ogradila od hermeneutike, koja se, u principu, oduvijek usredsređivala na tumačenje značenja teksta. A upravo je hermeneutički prilaz tekstu bio najuobičajeniji kritički pristup Andrićevom djelu. S rijetkim izuzecima, kritičari su, radije nego Andrićevo narativno umijeće, tumačili njegov “svijet”, i to koliko povijesnu osnovu tog svijeta toliko i njegove metafizičke implikacije. Bez sumnje, takvo kritičko opredjeljenje provocirao je sam Andrićev autorski princip: ne uplitati se u priču, već pustiti da ona sama ponese svoja značenja. A to je onda od kritičara zahtijevalo upravo hermeneutički pristup tekstu, a ne naratološku analizu njegovog tkanja.

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MISAO GORKA I UMNA A USTROJ OD OSVOJENE LJEPOTE: DANAŠNJI POGLED NA ROMAN MEŠE SELIMOVIĆA

Author(s): Hanifa Kapidžić-Osmanagić / Language(s): Bosnian Publication Year: 0

Moj doživljaj Derviša i smrti u trenutku kada se pojavio bio je šok i totalna književna fascinacija, koji, stišano, traju i danas. Takav doživljaj sigurno je smetao mom čitalačkom prijemu Tvrđave, koju sam prihvatila sa zadrškom. Nakon kasnijih povremenih susreta sa oba romana, Tvrđavu sam tek danas doživjela kao jednakovrijednu u Selimovićevom djelu: Derviš i smrt i Tvrđava dijelovi su iste kulminacije autorovog životnog i književnog iskustva, teški opis istog nesavršenog čovjekovog svijeta, samo što Tvrđava ocrtava mogućnost individualnog spasa. Značajna umjetnička djela, kao što to odavno znamo, svakako dovršava i zaokružuje njihov konzument, ali u to njegovo specifično sustvaralaštvo ulaze i mijenjaju ga i njegove etape, njegove mijene na fonu vlastitog življenja: jednako kao što, na najširem planu, svaka epoha oblikuje različita tumačenja velikih umjetničkih ostvarenja prošlosti. Mikroplan analogan je evoluciji projiciranja uvijek novih dostignuća, ili potonuća, u svakom slučaju pečatā i novih oblika svijesti o čovjeku i svijetu, o onome što je bilo, pa, u nekoj mjeri, i o onome što dolazi.

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PISAC KAO SEIZMOGRAF: STATUS BOSNE U ROMANIMA DERVIŠ I SMRT I TVRĐAVA

Author(s): Angela Richter / Language(s): Bosnian Publication Year: 0

Boraveći 2008. u Bosni, naišla sam u Odjeku sasvim slučajno na mali članak, ustvari izvod iz pisma Meše Selimovića uredniku Encyclopaedia moderna. Pismo je iz 1969. godine, a ponovo je objavljeno u rubrici “Bilo jednom u Odjeku”. Neka mi bude dozvoljen makar mali citat iz tog teksta, čiji naslov glasi “Niko nije dovoljan sam sebi”.

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ŠTA JE DERVIŠ ISPOVEDIO O SMRTI: DERVIŠ I SMRT MEŠE SELIMOVIĆA

Author(s): Zoran Milutinović / Language(s): Bosnian Publication Year: 0

Ahmed Nurudin gubi veru u boga i pravedni poredak na zemlji onda kad njegovi zemaljski poslovi krenu loše, kad njegov brat dospe u zatvor, a njegovi napori da makar sazna razlog tome ostanu bezuspešni. Vera u boga i pravdu mu se vrate kad se njegov društveni položaj popravi – a sasvim nezavisno od bratovljeve smrti, koju niko ne može da promeni – i kad sâm postane kadija, zastupnik božije pravde. Na samom kraju romana Nurudin opet gubi veru u boga i pravdu, i taj gubitak ponovo koincidira sa okolnošću da su njegovi poslovi krenuli loše, ovog puta fatalno loše. To jeste još jedan u nizu detalja koji nešto govore o Nurudinu, o čvrstini njegovih uverenja i o izvoru iz kojeg ih crpi, ali nije ovde pomenuto zbog analize njegove psihološke motivacije, nego zbog podsećanja na ono što čini okvir romana Derviš i smrt: Nurudinova ispovest počinje i završava se njegovim neverovanjem u boga, pa ni u metafizički i etički poredak koji bog obezbeđuje svojim postojanjem. Nurudinovo kadijsko vraćanje veri samo je privremeni prekid, kolebanje, kao kad kod pouzdanog vernika nastupi trenutak religiozne krize, ali posle kojeg se sve vrati na početak: Nurudin odlazi u smrt bez vere i u boga i u pravdu.

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OD STVARNIH DO IMAGINARNIH PROSTORA U ROMANU DERVIŠ I SMRT MEŠE SELIMOVIĆA

Author(s): Marina Katnić-Bakaršić / Language(s): Croatian Publication Year: 0

Za roman Derviš i smrt može se reći da u potpunosti predstavlja polifoniju prostora, u smislu koji toj sintagmi daje Lotman (1976: 302). Naime, u Selimovićevom romanu prostor postaje izuzetno bitan na više planova, postajući svojevrsnim junakom toga djela (Duraković 2010) – od realnog prostora koji je umjetnički modeliran, preko metaforičkih i imaginarnih prostora određenih perspektivom samoga pripovjedača, Ahmeda Nurudina, pa do tekstnog prostora, koji se pokazuje izuzetno stilogenim i relevantnim za interpretaciju romana.

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SOLIPSIZAM ISPRIČAN DOSTOJANSTVENO: REFLEKSIJE O ROMANU DERVIŠ I SMRT

Author(s): Keith Doubt / Language(s): Croatian Publication Year: 0

Malodušnost je riječ u srpskohrvatskom jeziku kojom Henry Cooper u svom predgovoru opisuje temu romana Meše Selimovića Derviš i smrt. Adekvatan prevod te riječi su malodušnost i moralni kukavičluk, ali njena transliteracija – mala ili smanjena duša – dosta pomažu našem shvatanju i značenja riječi i teme romana. Ahmed Nurudin, glavni protagonista, govori o patnji svoje uznemirene duše. Tok duševne boli koju osjeća i njene tragične posljedice u svijetu koji čini njegov život su osnovna priča romana. Čitalac je svjedok raspadanja ljudske duše brzinom koja ostavlja bez daha, sa tragičnim posljedicama. Značenje naratorovog imena je, očito ironično, “svjetlo vjere”.

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FUNKCIJA MIRISA U SELIMOVIĆEVOM ROMANU TVRĐAVA

Author(s): Robert Hodel / Language(s): Croatian Publication Year: 0

Ahmed Nurudin (Derviš i smrt) na početku svoga zapisa opisuje tekiju, koju je - dok mu nisu uhapsili brata - shvatao kao “bedem vjere” i “odbranu kasabe od znanih i neznanih zala“ (Selimović 1986: 12), sljedećim riječima: “Tekija je lijepa i prostrana, nadnesena nad rječicom što se probija kroz kamen [...] Kuću, nekadašnji harem predaka, poklonio je redu bogati Alijaga Džanić, da bude stjecište derviša i sklonište siromaha, jer “su oni slomljena srca”. Molitvama i tamjanom sprali smo grijeh s te kuće, i potpuno istjerali sjenke mladih žena. Ponekad se činilo da prolaze odajama i da se osjeća njihov miris.” (isto, 12; kurziv, ovdje i dalje R. H.)

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MARGINOM DO SREDIŠTA: STRATEGIJE PRIPOVJEDAČA U ROMANESKONOM OPUSU MEŠE SELIMOVIĆA

Author(s): Ivan Majić / Language(s): Croatian Publication Year: 0

Potaknut zanimljivom De Manovom tvrdnjom da su “metafore daleko upornije od činjenica (...) te da je ulaganje u metaforu u književnosti takvo da se može činiti svetogrđem da je dovodimo u pitanje” (De Man, 1979: 5-15), započinjem ovaj tekst upravo ukazujući na metaforičnost njegova naslova. “Marginom do središta” metafora je koja polje semantičke nadležnosti aktualizira kroz strategije pripovjedačā Selimovićevih romana. Iako naslov konotira procesualnost i dinamiku eventualnoga Selimovićeva razvoja gdje bi, po formuli post hoc ergo propter hoc, njegov opus figurirao zatvorenom kronologičkom cjelinom, tu dinamiku “misaonoga putovanja” marginom do središta uputnije je propitivati podjednako i unutar svakoga pojedinačnoga djela. Prožimanje pojedinačnog (djela) i općeg (opusa) ne rezultira zatvorenošću jednoznačnog smisla, već prije interpretativnom kružnom putanjom vraćanja na značenjsku otvorenost početka ili, obrne li se sintagma, na interpretativni početak otvorenosti.

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Vznik romantických národních eposů: srbsko-finské paralely

Author(s): Eliška Jiráňová / Language(s): Czech Publication Year: 0

The desire for freedom is typical of the period of Romanticism; even the nations that were in the thrall of other countries started to develop their own national literatures, which were flourishing. Romanticists and their interest in the Balkans and the Orient marked the principal period when a connection between Serbian and Finnish literatures was formed. The two seemed to be totally different at first; however, there are many shared elements and influences especially in the area of Romantic literature. Serbian Folk Songs written by Vuk Stefanović Karadžić was translated to German and German men of letters were captivated; they brought the songs to the attention of Swede Johann Ludwig Runeberg, the Finnish national revivalist. Recognition of the Serbian epic was a sentiment shared across the Finnish-Swedish intelligentsia. Elias Lönnrot took charge of the idea to prepare a similar Finnish epic consisting of folk songs. The collection of folk songs and the creation of national epics drew the attention of the European intelligentsia of the period to small European nations, and these areas became a source of interest. Both epic works were studied by Czech scholar and translator Josef Holeček.

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Postava Gavrila Principa v súčasnej srbskej dráme

Author(s): Ana Žikić / Language(s): Slovak Publication Year: 0

In the paper, I will deal with an interpretation of the character of G. Princip in contemporary Serbian drama based on two plays by authors B. Srbljanović and M. Marković. Both texts were written at the occasion of celebrating hundred years of the beginning of World War I and lean on historical reality and archive material, but they are not simple reconstruction of events. I will analyze the texts from culturological point of view, due to the fact that they present events long term present in collective memory of South Slavs, they bring to light circumstances of the assassination and show a role of an individual in confrontation with large collective history and explore meaning of the words „victim“ or „hero“ in spirit of postmodernism.

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Slovanský literární svět: kontexty a konfrontace II: Literární žánry ve slovanských literaturách

Author(s): / Language(s): Slovak,Russian,Czech,Polish,Slovenian,Ukrainian,Serbian

The presented conference proceeding Slavonic Literary World: Contexts and Confrontation II is a result of the second conference of young Slavists which took place in September 2016 under the auspices of the Institute of Slavonic Studies at Masaryk University. Proceeding consists of 29 papers of Ph.D. students who work at 18 departments, come from 7 European countries (the Czech Republic, Slovakia, Poland, Austria, Serbia, Italy, Russia). The papers are written in seven languages.

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Интернационални мотив сукоδа рођака услед непрепознавања. Јужнословенски епски контекст. Знакови и аналогије

Author(s): Olja Vasileva / Language(s): Serbian Publication Year: 0

The aim of this paper is to confront and stratify compositional scheme with а specific motif of clash between relatives due to unrecognition. Equally present in Vuk Karadzic’s, Sima Milutinovic’s, and some Bulgarian variants, same as in the Persian canto Shahnama, this motif reveals it’s complexity based on readers perspective, when the most significant analogies and differences appear in the named scheme: from genre dualism (ballad or epic), to the problem of mythical or naturalistic (historical) space or idea and Maximilian Braun’s typology of heroes.

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Apatridul

Author(s): Danilo Kiš / Language(s): Romanian Publication Year: 0

Trăsese la un hotel din Cartierul Latin, în preajma teatrului Odeon. Locul îi trezea amintiri sumbre și seara, după ce stingea lampa de pe noptieră, i se năzăreau năluci în jurul cărora mai fâlfâiau înfoiate cearșafurile de hotel, ca un giulgiu. Una dintre aceste fantome, de fapt un cuplu, îi era cunoscut, și domnul fără patrie făcu să reînvie imaginea poetului și a amantei lui, așa cum îi văzuse într-o fotografie din albumul de amintiri al poetului: ea, Leda, cu o pălărie uriașă, care-i arunca pe chip o umbră ce te făcea să crezi că își lăsase peste ochi un văl, deși umbra aceasta nu putea ascunde abia vizibila crispare a anilor și a senzualității, care i se adunase în jurul gurii; el, poetul, rănit de iubire și boală, cu ochii basedowian bulbucați, în care încă mai lucea un foc, ca în privirea vreunuia dintre țiganii-scripcari. Că trubadurul Ledei trăsese cândva la acest un hotel, o știa, poate, numai el. La sosire l-a întrebat pe portar dacă în acest hotel a stat cândva, pe la o mie nouă sute zece, poetul... și rostise numele. Tânărul, vădit fâsticit la auzul acestui nume străin, îi răspunse în limba sa maternă: „No comprendo, senor ! ” Domnul fără patrie se edifică, o dată în plus, cât sunt de insurmontabile granițele care despart lumile și cât e de adevărat faptul că limba este singura patrie a omului. Și, smulgând cheia, o apucă alergând pe trepte-n sus, spre camera sa de la etajul doi. De lifturi, în ultimul timp, se ferea.

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A doua carte a migrațiilor

Author(s): Miloš Crnjanski / Language(s): Romanian Publication Year: 0

Când se produc în lume cutremure, despre ele se vorbește și se povestește mult. Se consemnează, în actualitate, fiecare amănunt. Se notează numărul victimelor omenești și numele victimelor. Și se știe și câte case au fost, cu acest prilej, distruse. După câțiva ani, însă, numărul victimelor omenești se uită și este umflat, plăsmuit, și rămân în amintire doar locurile unde au fost cutremure.

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Variațiuni pe tema europei centrale

Author(s): Danilo Kiš / Language(s): Romanian Publication Year: 0

Without precise borders, without a Center or rather polycentric, "Central Europe" today looks more and more like the dragon in Anatole France's second book, Penguin Island, to which the symbolist movement was compared: none of those who claimed to have seen him could say what he looked like.

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