Przedmiotem analizy w tym artykule jest zbiór esejów Knjiga vrtova (Księga ogrodów) pióra jednego z najważniejszych współczesnych pisarzy Bośni i Hercegowiny, Dževada Karahasana. Tom jest autorską ...konfiguracją różnych tematycznie tekstów, które łączy motyw i metafora ogrodu. Księgę można potraktować jako literacką kolekcję ogrodów, która dla autora staje się ramą opowieści o przesyconej duchowością islamu kulturze Bośni, widzianej zarówno w specyfice lokalnej, jak i perspektywie uniwersalnej. Także pod względem kompozycji Księga Karahasana nawiązuje do architektury ogrodu, co łatwo można skojarzyć z etymologią terminu antologia, oznaczającą zbiór/bukiet kwiatów. U bośniackiego pisarza kompozycyjno-narratologiczna funkcja ogrodu zyskuje określony, orientalny układ odniesienia − przede wszystkim w postaci Księgi tysiąca i jednej nocy, gdzie ogród staje się węzłowym elementem niemal każdej, składającej się na to dzieło historii. Namysł nad literackim konceptem Karahasana, zmaterializowanym w Księdze ogrodów, ma być próbą odpowiedzi na pytania o to, w jaki sposób doświadczenie oraz tradycja islamskiej kultury piśmienniczej i wizualnej (arabeska) modeluje autorski
The text concerns scientific publishing series “Biblioteka XX vek”, initiated in 1971 by Ivan Colović, Serbian anthropologist and publicist. During 50 years it has become an important cultural ...institution, which, due to its commitment to the current political and ideological affairs, gained a special role during the breakup of socialist Yugoslavia and then in terms of system transformation. In the 1990s it was an independent platform for the exchange of ideas, an ideological alternative to the nationalist regime, space for its deconstruction and criticism. “Biblioteka XX vek” takes part in animating intellectual Yugosphere −it consolidates the society of authors from former Yugoslav countries around such topics as: the memory of communism, Europeanisation of the Balkans, course and consequences of the transformation. The series paved the way for modern humanistic thought and modern scientific discourse in Serbia as well as supported these processes also in the ex-Yugoslav countries.
The article describes transformation in the iconographic forms of power representations in Serbian culture as determinants of the evolution of the idea of the State and Serbian political culture. In ...visual terms, the key stages of their development correspond to the genealogical dynastic image of the religious character (loza) in the middle ages, and the “disenchanted” historical and representative portrait of a ruler that was subordinated to the national idea on the threshold of modernity. These forms not only participate in the establishment of political leadership and the creation of the field of power, but they also stimulate their change. The author examines these issues from the perspective of visual studies, which problematize the phenomenon of the performativity of the image. A particular variation of the performativity of the image is iconicity, understood as drafting and making present reality using esthetic and visual values. The aim of the analysis is to show how the local, namely Serbian, pattern of culture of power models the universal mechanisms of forming and legitimizing the authority of the State.
The article concerns the conceptualization of the subject in the works of the contemporary Croatian visual artist Mladen Stilinović. The object of analysis are most of all works (collages, texts) ...from the 1970s and early 1980s, when the artist formulated the basis for his creative philosophy and at the same time determined the directions of their research. His system of reference were the socialist state order and the traditionalist, academic system of artistic practice, which he criticized from the perspectives of Diogenes, philosophical Cynicism and constructive anarchism. Until this day, the attitude of resistance is the main creative principle for Stilinović’s art. He sets strong, conscious and autonomous creator’s “I” against symbolic violence of different systems (political, ideological, educational, etc.). This “I” is not so much the material and object of expression as a space of play based on concpetualism and self-irony.
The subject of analysis in this article is the collection of essays "Knjiga vrtova" (“The Book of Gardens”) by one of the most important contemporary writers of Bosnia and Herzegovina, Dževad ...Karahasan. This volume is the author’s compilation of texts on various topics that are linked together by the theme and the metaphor of a garden. "The Book" can be treated as a literary collection of gardens, which becomes a framework for a story about the culture of Bosnia steeped in Islamic spirituality; the culture that is seen both from the specifically local as well as universal perspective. Even in terms of composition, Karahasan’s "Book" refers to the architecture of a garden, which can be easily associated with the etymology of the term anthology meaning ‘a collection/bouquet of flowers’. In the work of the Bosnian writer, the compositional and narratological function of the garden is given a defined, oriental frame of reference − primarily in the form of "The Book of One Thousand and One Nights", where the garden becomes a key element of almost every story that makes up this work. The reflection on Karahasan’s literary concept that reveals itself in "The Book of Gardens" is an attempt to answer questions about how the experience and tradition of Islamic literary and visual culture (arabesque) influence author’s act of anthologizing, and how they affect contemporary perceptions of Bosnianness.
The article addresses the presence of the avant-garde in the discourse and the practice of social resistance in Serbia at the turn of the 20th and 21st centuries. The focal point of the text is the ...thesis that nowadays the avant-garde resonates not so much as an artistic formation, but as an ideological complex. The author investigates the manners of contemporary transposition of ideas and avant-garde imagination through the analysis of the activities of the Centre for Cultural Decontamination in Belgrade. Using the examples of two programmes: Modernism, Serbian National Identity in 20th Century and En Garde – Avant-Garde 20/21, the author shows how the local experience of the interwar avant-garde and the neo-avant-garde formed within the movement of ʼ68 protests, creates a specific ideological current, a model of self-organization and a pattern of activities bordering between art and socio-political reality. In the 1990s, in Serbia, it becomes the reference system for artivism (an approach consisting in influencing social and political reality through art), and today still remains an inspiration for independent intellectual and artistic environments and for critical institutions that create an alternative and polemic cultural space to the official policies of the Serbian authorities.
This article deals with art functioning as a practice of localness and an identity activity. Discussing two examples – the town of Kovačica in Serbia, inhabited by the Slovak minority, and the ...Nikiszowiec housing estate located in Silesia, Poland – the author shows how the so-called naïve art today participates in the creation of a sense of belonging to a given place, its memory, the image of its past and the articulation of ethnic and cultural specificity, both on a micro and macro scale (region, national culture, state). In both cases, localness is treated as a task and as a project. Artistic activities undertaken by the individuals from the local communities serve to shape and display the iconographic codes and visual representations, as well as to stimulate the institutionalisation of activities related to the experience and identity of the place. Such instrumentalisation also connotes the reframing of art – a change in its communicative, civilizational or ideological-political context – and leads to the transformation of its semantics, social existence and its status in the field of artistic practices.
The subject of the article is the characteristics of modern forms of memory institutionalization – the kind of commemorative practices and the related production and dissemination of knowledge in the ...public space. This topic seems especially important but also controversial in post-socialist countries, in which a major process of revision of the past is continues. This process becomes a part of the political pluralization of the public sphere and the expression of the emancipation of various previously marginalized groups. Using the example of the three museum:Museum of the Macedonian Struggle for Sovereignty and Independence, War Childhood Museum in Sarajevo and „Polin” Museum of the History of Polish Jews, the author discusses: – the articulation and afirmation of subjectivity by means of museum as an institution– the mechanism for shaping the authority of institutions so as to legimitize the interpretation of the past– the relationship between the particular, often fragmented registers of the memory and the dominant power discourses.
The text concerns the reception of contemporary Serbian drama in Poland, namely cultural aspects of its theatrical adaptation. Dušan Kovačević and Biljana Srbljanović text stagings, usually issued ...Serbian authors on the Polish scenes, reveal the persistence of certain strategies for the “Other” perception. They are based primarily on the orientalism and balkanization matrices, although the creators of the performances more often than on the imaging of serbness focusing on diagnosing a Polish historical, social and cultural experience by reference to texts that were formed in the conditions of crisis. A separate part of the article was devoted to the ventures of etnological-artistic Polish alternative theatres, that in their work are inspired by Balkan (also Serbian) phenomenon of ritual drama.
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