Borisav Stanković (1876-1927) made with his novels a decisive step in the later stage of Serbian realism in the supremacy of the novel over the short story. Out of three novels he was writing and ...finished only one (Impure Blood), and the novel the Boss Mladen may be interpreted and analysed as the finished one. In our paper a female literary character of Sofka and Mladen, the main character of the novel the Boss Mladen, were observed simultaneously. We concluded that Sofka had acted instinctively while Mladen rationally, but in the end the result had been similar: both characters had been defeated spiritually.
This paper on the early fiction written by Miodrag Bulatović (his so-called homeland fiction) aims to analyse and show that the writer's insistence on representation of evil among people, in almost ...all of its forms, is not a goal in its own right, as is the case in the fiction of Marquis de Sade, for example. It is not Bulatović's intention to tip the balance in favour of the principle of good against the principle of evil. Instead, paradoxically, the reader is lead to a cathartic experience and the triumph of good by way of Rimbaud's "disorganization of all the senses" experienced by his characters. Bulatović's fiction is universal because his worldview-recognition of evil in an enormous number of its manifestations-extends beyond the cultural, geographic, and language boundaries. Evil, demonic qualities in people, hatred, hell on earth, life as a long process of dying-all part of the chain of unhappy events in human existence-reach a remarkable degree of cogency on the pages of Bulatović's fiction, the highest degree that literature is capable of attaining when compared to life.
Through the fate of a novel's heroine Simka Katić, Serbian writer Dobrica Ćosić (1921-2014) showed the individual and collective fate of women in the Serbian society during the 19th century. The ...tragedy of this woman comes from her desire to give birth to the male heir for herself and for the family she was getting married into. In despair, she cheats her husband with a servant and by this gesture, which defies the strict rules of patriarchal morality, she gives birth to the son named Adam, who becomes the inheritor of the Katić family, but she destroys her own life.
Heidegger and deconstruction Lazic, Nebojsa
Zbornik radova Filozofskog fakulteta (1990),
2017, Letnik:
2017, Številka:
47-4
Journal Article
Recenzirano
Odprti dostop
Thanks to Jacques Derrida, Martin Heidegger's philosophical thought played a significant role in the emergence of postmodern thought about literature, that is, deconstruction. Although largely ...transformed by Derrida, Heidegger's original ideas can still be recognized in the critical texts of the Yale School. In the case of Slavoj Žižek, Derrida's appeal to write for writing's sake led to the uncontrolled (textual) activities of this author. Furthermore, we have determined that the works of Paul de Man have a deeper connection with Heidegger's basic ideas than the works of other representatives of this methodological orientation.
The German philosopher Martin Heidegger and the Serbian poet Vladislav Petković Dis differ in culture, language, vocation and, finally, in the views they had about the overall human reasoning and ...creativity. In this paper, the author tries to demonstrate that the creative personality of the Serbian poet in the author's opinion, a poet not recognized at his true Value fits in the profile of poetry defined by Heidegger when he writes about 'poor times'. The poetic language of Dis is not always unified, however, his poetry is the closest to the purpose of every art: the revelation of the meaning of creation and existence. Heidegger, in his philosophy, Vladislav Petković, in his poetry, both show that reflection and writing are in harmony and even have the same purpose the discovery of the essential truth.
U radu analiziramo profetski ton u romanu Zlatno runo Borislava Pekića, njegove uvide o budućnosti čoveka kao vrste. Istražujemo odnos ovog sedmotomnog romana prema najvažnijim civilizacijskim ...pitanjima kao što su ljudska sloboda ili odnos prema religiji. Razmatramo dalje kako vreme i prostor determinišu stavove Borislava Pekića prema idealu slobode, brojnim pokušajima njegove realizacije i stalnim osujećenjima u dugom hodu istorije civilizacije. Pokušavamo da proniknemo u način na koji su tradicija biblijskog proroštva ili profetski zanos pojedinih književnika koji mu prethode mogli uticati na piščeve apodiktičke sudove koje srećemo na stranicama Zlatnog runa.
Мисао Андреја Тарковског о положају човека у свету најјасније се може сагледати у филмовима чији је био аутор. Из његовог опуса изабрали смо филм Сталкер, у коме су, по нашем мишљењу, редитељеви ...теоријски ставови о филмској уметности, које је он износио у бројним есејима, доведени у потпуно сагласје с њиховом необично успелом естетском уметничком реализацијом. У Сталкеру Тарковског преламају се све оне идеје које је уметник носио у себи, као и креативни подстицаји из других грана уметности и духовности: музике, литературе, сликарства, архитектуре, религије, филозофије итд. Посебну смо пажњу посветили функцији интерсемиотичких цитата које је Тарковски уметао у структуру овог филма.
У раду смо истраживали поетику и композицију романа Зли дуси Ф. М. Достојевског. Пратили смо рецепцију књижевних остварења Достојевског у руској књижевној критици у 19. и 20. веку. Уочили смо да су ...савременици Достојевског били много критичнији према његовом раду, него што је то био случај са критичарима у 20. веку. Посебну пажњу посветили смо књизи М. Бахтина Проблеми поетике Достојевског, јер је она послужила као основа за тумачење Достојевског на Западу. Приметили смо да је Бахтин механички пренео термин полифоније из теорије музике и применио га на литерарно дело Ф. М. Достојевског.Бахтиново објашњење како је термин полифонија искористио као метафору, слично као што је поступио с термином хронотопа, чини нам се посебно проблематичним. Методологија науке о књижевности захтева да се опис књижевног дела мора дати на епистемолошки вишем степену, метајезиком а не језиком саме књижевности. Уколико се то ипак учини, добија се логичка таутологија која нам не пружа одговор на постављено питање него нас држи у кругу незнања.
This paper on the early fiction written by Miodrag Bulatović (his so-called homeland fiction) aims to analyse and show that the writer's insistence on representation of evil among people, in almost ...all of its forms, is not a goal in its own right, as is the case in the fiction of Marquis de Sade, for example. It is not Bulatović's intention to tip the balance in favour of the principle of good against the principle of evil. Instead, paradoxically, the reader is lead to a cathartic experience and the triumph of good by way of Rimbaud's "disorganization of all the senses" experienced by his characters. Bulatović's fiction is universal because his worldview-recognition of evil in an enormous number of its manifestations-extends beyond the cultural, geographic, and language boundaries. Evil, demonic qualities in people, hatred, hell on earth, life as a long process of dying-all part of the chain of unhappy events in human existence-reach a remarkable degree of cogency on the pages of Bulatović's fiction, the highest degree that literature is capable of attaining when compared to life.
Deleuze’s notable idea that a director should not be viewed only as a visual artist but also as a thinker is best confirmed in the films by the Soviet and Russian director Andrei Tarkovsky, ...especially in his most successful achievement, film Stalker which appeared in 1979. In Stalker, as well as some other films, Tarkovsky did not hesitate to use the ready-made works of art intersemiotically, in their original or changed form, and to insert them in the tissue of his films. The director, however, ensured that these intersemiotic quotations, such as the poems of Arseny Tarkovsky and Fyodor Tyutchev or the music of Bach and Beethoven, should not disturb the organic monolith of his films. There were attempts to proclaim Andrei Tarkovsky a dissident and political opponent of the Soviet regime, but until his early death in 1987, he saw himself as a creator deeply immersed in the tradition of Russian spirituality and art. Tarkovsky’s greatest contribution to the theory of film lies in the fact that he proved film to be not only mere moving pictures, a cinematograph, but time captured and presented as being, as a time filled with existence – Bergson’s duration.
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