Na tragu pojma "centripetalnih sila" Zdenka Lešića, te njegove nadogradnje u teorijskoj misli Envera Kazaza, ovaj rad je pokušaj daljnjeg izvođenja teza o mogućnosti prepoznavanja konkretnih točaka u ...povijesti bosanskohercegovačke književnosti kao trenutaka prevladavanja spomenutih sila. Metodologija se sastoji od analize znanstvenih i kritičkih tekstova na prvoj razini, te njihovog kontekstualiziranja unutar kulturnih, ali i društveno-političkih prilika. Takav pristup nam omogućava da ovu sinkretičku kulturu visokog stupnja heterogenosti sagledamo o dijakronijskoj perspektivi i učimo izmjene faza spajanja i razdvajanja. Pokazuje se kako su te točke također u velikoj mjeri determinirane političkim i društvenim kretanjima, kao i da su oko tih faza suglasni različiti znanstvenici i kritičari. Stoga je cilj rada najprije detektirati i izdvojiti faze književnog stvaranja koje bi mogle predstavljati čvrste točke spajanja, a zatim stečene uvide koristiti u proučavanju specifičnog suvremenog trenutka bosanskohercegovačke književnosti. U njemu, naime, nailazimo na mogućnosti uspostavljanja novih točaka čiju punu realizaciju priječi kontekst društveno-kulturnog razjedinjenja.
Following the term “centripetal forces” created by Zdenko Lešić, which was further theoretically developed by Enver Kazaz, this paper is an attempt at a further derivation of the thesis on the possibility of recognizing specific points in the history of Bosnian-Herzegovinian literature as moments of overcoming these forces. The employed methodology combines the analysis of scientific and critical texts and their contextualization within cultural, but also social-political, conditions. This is what enabled us to identify that in the diachronic perspective of this syncretic culture with a high level of heterogeneity stages of connecting and separating alternate. It was also noticed that these points are largely determined by political and social trends, and that there is a consensus among scientists and critics about these stages. Therefore, the goal is to first detect and separate the stages of literary production that could represent firm connection points, and then to use those insights to analyze specific contemporary Bosnian-Herzegovinian literary moments in which we find possibilities of establishing new connection points. However, their full realization is prevented by the context of social-cultural disunion.
Reading the novel Hrvatska Aleksandrida (Croatian Alexander Romance) as a chivalric narrative structured around a historical figure, this paper aims at reinterpretation of it in the key of popular ...culture and looks into the politics of the representation of the protagonists-bearers of specific ideological values, acting both affirmatively and subversively within the imposed value system. Beside that, the paper will focus on the novel’s strategy of undermining dominant codes, arguing that the chivalric romance provides an ideal frame for the observation of the clash of ideological centers and margins. The codification of the genre increases the transparency of the text, facilitating political readings capable of bringing about the new interpretative potential of the narrative in question. From that theoretical point, the Middle Age chivalric novel Croatian Alexander Romance reveals itself as a textual terrain for clashing specific social forces and their mainfestations, stressing the fact that they can be noticed only by using described methodological optics. The dominant chivalrous and Biblical codes represent exactly two dominant social classes (nobels and religious structures) as owners of social power in the historical period in which the text is inscribed. Therefore, this chivalric narrative, at the same time, respects their imperatives, but also offers disparate motives as fantasy, superstition, satire, social critics, individualistic morality and so on. That kind of contradiction inscribed in the (cultural) text himself confirms the very common thesis of cultural studies theorists about culture as a battlefield. On the text level, it is manifested as the series of incompatible motives that a reader could miss out if they read or overview just the surface level of the text. Because, on that level, the text sets an ideological (imposed) ‘consensus’ which is just specious. They still have its antipode, that they can not completely suppress, and that binary opposition articulates itself in certain segments of the text differently. Its rotations make this text interesting in further readings.
Čitanjem romana Hrvatska Aleksandrida kao viteškoga narativa strukturirana oko povijesne figure, ovaj rad usmjeren je na njegovu reinterpretaciju u ključu popularne kulture te politiku reprezentacije nositelja radnje, koji se mogu čitati kao nositelji određenih ideoloških vrijednosti istovremeno djelujući afirmativno i subverzivno prema dominantnome sustavu vrijednosti. Osim toga, rad se usmjerava na taktiku romana koja podriva dominantne kodove postavivši tezu da je upravo viteški roman idealan oblik za proučavanje sukoba između ideološkoga centra i margine. Kodificiranje žanra povećava transparentnost teksta omogućujući uočavanje novih interpretacijskih potencijala analizirana narativa iz perspektive političkoga čitanja. Tako se srednjovjekovni roman Hrvatska Aleksandrida otkriva kao tekstualni teren na kojemu se manifestiraju odnosi konkretnih društvenih snaga, vidljivi tek kada primijenimo opisanu metodološku optiku. Dominantni viteški i biblijski kod otisak su upravo viteškoga i crkvenoga društvenog sloja kao nositelja moći povijesnoga razdoblja u koji je upisan tekst. Stoga viteški narativ istovremeno udovoljava njihovim imperativima, ali i nudi disparatne motive poput fantastike, praznovjerja, satire, društvene kritike, individualističkoga morala itd. Takva proturječnost upisana u (kulturni) tekst potvrđuje učestalu tezu teoretičara kulturalnih studija o kulturi kao bojnome polju. Na razini teksta to se manifestira kao niz nepomirljivih motiva koji promiču površnomu čitatelju ako se zaustavi na čitanju ili pregledu površinske razine, na kojoj samo prividno uspostavlja ideološki (nametnuti) konsenzus. On ipak ima svoj antipod, koji ne može sasvim potisnuti i ta se binarna opozicija u pojedinim segmentima artikulira drukčije od predviđenoga, a upravo njezina rotacija čini navedeni tekst zanimljivim za druga (naknadna) čitanja.
Hautfarbenwolke Lujanović, Nebojša
Relations (Zagreb, Croatia),
2018
1-2
Journal Article
Odprti dostop
Er fand sich auf einer Straße wieder, breit und unübersichtlich und diese Erkenntnis traf ihn wie ein Donnerschlag, dort am Sitzplatz Nummer 32 des Čazmatrans-Busses, so sehr, dass er sich verkrampft ...an den Sitz klammerte, so, wie, wenn man mit dem Flugzeug in das stürzt, was man meripe1 nennt, über das man gar nichts weiß, so wie auch er nicht weiß, wohin und zu wem es geht. Er versuchte, sich mit nervösen Kopfzuckungen an irgendeinem bekannten Objekt in seiner Nähe festzuhalten.
The analysis of textual stratagems of irony in Ivo Andric’s prose reveals their steering towards the instance of the narrator, which is most visible in the novel The Damned Yard. The purpose of such ...ironic stratagems is to eliminate the narrator’s privileged status and the narrator’s exclusive right to interpret “the truth”. Behind the position of an objective historian, a chronicler or a witness, there lies a complex discourse of subverting and scrutinising the narrated material. This paper analyses the polyphony hiding behind the alleged omniscient narrator, and the ironic potential stemming therefrom. The interpretation of this gap renders the paradigms of the national identity unstable, especially when it is analysed through the lens of the implicit author.
The names play a main role in understanding of Miljenko Jergović’s literary works and it is argued through analysis of collection of stories called Inšallah Madona, inšallah. The names have their ...history, they describe and determine actors, and function as axioms with initial
stabile meaning. By decoding of related code, new complex components of semantic field of the name as symbol are revealed to us. In chosen text, the names operate as curse in form of general principle. Through curse as a main motive, it is implied performative dimension of the names which symbolize pain or misery, evoke tragedy and in the end fulfill inscribed curse.
Starting with basic postulates of semiotics, interesting possible interpretations of personal names in Miljenko Jergovic’s stories are revealed to us. Inside a mode of discourse presented as constant ...conflict and change in the representation of meaning, these names are to understood as stable carriers of meaning in which the important motif of the curse occurs. The curse appears as the only constant in Jergovic’s chaotic world of hybrid identities and insolvable conflict.
A theoretical paradigm which dominates in the temporary literal theory and defines it as heterogeneous and variable construction, can be applied on the two novels of Croatian writers: Kad magle stanu ...by Josip Mlakića, and Jebo sad hiljadu dinara by Boris Dežulović. In the novels which are analyzed in this paper, there can be found antagonism between identity and The Other as neighboring, but opposed, identity. That juxtaposition is situated in the context of the Croat-Bosniak war in Bosnia and Herzegovina in the 1990s and presented by cultural stereotypes which have a significant role in cultural confrontations.
This paper analyses the author whose literal work is reaction to issues of identity which are difficult to answer. Miljenko Jergović's opus is not a search for answers and explanations (there are no ...indications in the text that the author has ambition to give any kind of answer), but attempt to find own peace in the social – cultural climate which demands commitment, and is, paradoxically, established on three (or even more) identities grown together. Jergović brings to light false stability and strict limitation of identity, occasionally laughing at their illusion, separation and exclusiveness. He uses irony that breaks the boundaries between identities, plays with their so-called self-sufficiency through short and effective examples of personal names. In Jergović's poetic, that symbol of identity is a way of proving inability to separate identities. When the question of personal tragedy, which comes from confrontation of identities, becomes too painful to answer by irony, Jergović will reach for nostalgic and peaceful scene of Dalmatia, idealizes area without confrontations. That is how this author finds his way out from enchanted circle of questions without answers – in irony and Dalmatia. Because, laugh and salty air is the best way to heal wounds caused by cruel nonsense of hate and war.
This article is an attept to apply the theory of Ivo Andrić’s positioning ‘in between’ the cultures and languages to the situation in contemporary literature in between the cultures in a space of ...South Slavic literatures. By opening the questioning of the constructed constructs in his texts and positioning, Andric also opened the possibility of language games where others are put in a position to participate. With this intercultural anticipation he also opened the possibility for next generation of writers who were excluded from local corpus by being forced to leave Bosnia and Herzegovina during the war in early 1990’s. These writers were put in transnational position where it is very difficult to subscribe them to one particular national corpus and to one particular tradition. By belonging to more than one corpus and more than one tradition writers such are Miljenko Jergović, Igor Štiks, Aleksandar Hemon, Dževad Karahasan and Andrej Nikolaidis are put in a position that is, in a sense, very similar to the position of British Indian writers. This is why in a conclusion of this text a number of quotes from Sulmon Rushdie is taken into consideration to describe better this phenomenon of ‘dual belonging’ and idea of imaginary homelands that are here and there and which are fictionalized by textual tactics as well as conquering of language(s).
Analiza ironijskih taktika u prozi Ive Andrića sugerira jednu zajedničku instanciju prema kojoj su usmjerene, a to je instancija pripovjedača. One su najizraženije u romanu Prokleta avlija. Njihov je ...cilj ukidanje privilegiranog statusa pripovjedača i njegova prava na prvenstvo tumačenja “istine”. Iza pozicije objektivnog povjesničara, kroničara ili svjedoka krije se složen diskurs podrivanja i osporavanja izrečenoga. Ovim se radom pokušava naznačiti polifonija koja se krije ispod površinskog sloja pouzdanog pripovjedača i ironijski potencijal koji proizlazi iz tog raskoraka interpretirati u smjeru destabilizacije nacionalnih identitetskih paradigmi preko modela implicitnog autora.
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