Ivo Andric Hawkesworth, Celia
2000, 2001, 2000-12-01
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This is the first intoduction in English to the Nobel prize-winning novelist and writer Ivo Andric. The book covers the full range of his work, including verse, essays and reflective prose as well as ...fiction. Celia Hawkesworth also provides an account of Andric's life, and the cultural history of his native Bosnia.
This essay is an appreciation of Ivo Andrić's novel, The Bridge on the Drina, and Georg Simmel's essay, "Bridge and Door," which provide an infrastructure for meaning and hope in times of social ...despair.
This paper offers a survey of the reception of Ivo Andrić in Italy from 1991 to 2021. The most widely translated South Slavic author, Andrić is unique in having not only major but also minor works ...translated into Italian. In some cases, various translations of the same text have been carried out, and numerous translators have worked with a wide range of publishers, from small to large publishing houses. In addition to novels, short stories represent the part of Andrić's oeuvre that translators have cultivated more intensely over the last thirty years. Formal studies of the author's work have increased since the early 1990s, but only one monograph has been published (P. Lazarević Di Giacomo, Iromanzi-cronache di Ivo Andrić).
Članek proučuje vrednostni naboj glavnega lika v pripovedi Iva Andrića Potovanje Alije D strok signerzeleza (1920). Izhajamo iz pionirske študije Simone Winko (1991) o aksiološki analizi teksta ter ...uporabimo koncept implicitnega avtorja Waynea Bootha (1961) in nekatere naratološke pojme Wolfa Schmida (2005). Nato naredimo analizo znotrajtekstualnega vrednotenja pripovedi na ravneh direktnega (esencialnega) in indirektnega (situacijskega) vrednotenja ter vrednotenja v domeni implicitnega avtorja. Vpoglede, do katerih smo prišli z aksiološko interpretacijo, nazadnje primerjamo z nekaterimi zgodnejšimi interpretativnimi vpogledi o
The book The Woman from Sarajevo (Gospodjica) is one of the important novels written by Serbian writer Ivo Andric who once lived through the world war and worked in significant department of the ...country. This novel is not only the product of that period of time but also his only long psychological one which represents his interest in describing the mental states of the main characters. It is a purely psychological study of greed from the point of the pathology and obsession. It also shows his greatness in writing which helps him win the Nobel Prize in literature for his epic force of tracing themes and depicting human destinies drawn from the history of his country. This novel describes the real experience of a single woman named Raica Radakovic from a unique perspective, unfolding the ordinary people’s life and fate in historical tide. It depicts Raica’s life experience objectively, showing the author’s philosophical reflection on people’s life and fate, which makes this novel demonstrate its objective and profound artistic style.
Iz proznih Cankarevih i Andrićevih dela izdvojeni su primeri upotrebe imenice »senka« u ulozi etalona poreðenja u kao (kakor)-konstrukcijama. Težeći potpunom obuhvatu naðen je 71 takav primer u ...Cankarevom delu i 47 u Andrićevom. Primenjena su dva načina klasifikacije primera. Prema prvom načinu primeri su rasporeðeni u četiri klase imajući u vidu osobine senke na kojim poreðenje počiva. Prema dugom načinu klasifikacije izdvojeni su primeri u kojim su pisci uz imenicu »senka« postavljali pridev, zamenicu ili broj podešavajući tako etalon poreðenja. Izabrani načini klasifikacije odrazili su sličnost upotrebe etalona senka u poreðenjima u proznim delima dva pisca.
This project focuses on the autofictional family novels, crafted from the mid-1970s onwards through the early 2000s in French and Serbian by the women writers of Jewish Sephardi origin, born in the ...French-ruled Maghreb (Annie Cohen, Annie Fitoussi, Nine Moati, Gisèle Halimi) and ex-Yugoslavia (Frida Filipović and Gordana Kuić), respectively. It is situated at the many intersections of Slavic, Jewish, Gender, and Memory Studies. Through the lens of feminist and decolonizing interpretive strategies, I analyze and connect these texts as a translingual and largely unknown archive of Sephardi women’s contemporary writing. Applying the methodological took-kit of Comparative Literature, I unsettle and frustrate a narrowly conceptualized—monolingual and mono-ethnic—vision of literary production. This emerging archive carves out a space in which the uniqueness and difference—ethno-cultural and gender, alike—of Sephardi women’s lived experiences throughout the 20th century becomes foregrounded in the full complexity of their poetics against the politics of erasure, silencing, invisibilization, and oblivion. In this connective and comparative thesis, I re-discover the corpus as a transmediterranean feminist project, which destabilizes the notion of literary canon and articulates its anti-ethnocentric instantiations. Additionally, I tease out Sephardi identity as a tenuous and performative phenomenon, produced in and through the act of writing by the generation of Sephardi daughters, as they grapple with ambiguous and provocative maternal legacies. Language or, more precisely, languages themselves—Serbian and French, traversed, interspersed with, if not interrupted by Judeo-Spanish/Djudezmo, Spanish, and Judeo-Arabic—serve as the crucial poetic means of this identity performance. Finally, the corpus under my scrutiny performs what Marianne Hirsch deems postmemorial work, in that it harbors and preserves the memories of the foremothers in the narrative flow of these autofictional matrifocal family novels, which are, in turn, to be remembered by the reader.
The author's point of departure is the observation that both Andrić and Kiš use historical documents in the process of their writing, although they achieve that in different ways. This difference is ...examined in the context of a monumental challenge to which both authors had to respond, i.e., the dominance of information over the story. The poetological reaction to this challenge is different for each author, but a certain position is common to both of them: they both differentiate between the officially accepted history, which they equate with fiction, and non-accepted knowledge about the past. They believe that literature has the power to gather elements of this non-accepted knowledge about the past and confront the official history with them.
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