Дигитални репозиторијум Института за књижевност и уметност
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Rušdijeva imaginarna domovina kao priča za laku noć: jedno postkolonijalno čitanje romana Harun i more priča
No full textLikovni život Živojina Žike Pavlovića
No full textReditelj i pisac Živojin Žika Pavlović (1933–1998) ostavio je značajan i obiman trag u istoriji jugoslovenske i srpske kinematografije sa 15 snimljenih filmova. Pavlović je ostavio značajan trag i u istoriji književnosti objavivši 32 knjige pripovedne i esejističke proze. Pavlović je po obrazovanju bio slikar koji, međutim, svoja likovna dela nije izlagao i od kojih je neka objavio kao ilustracije u okviru nekih od svojih književnih dela. U ovom radu se prvi put istražuju neobjavljena i do 29. novembra 2018. godine neizlagana likovna dela Živojina Žike Pavlovića iz privatne zbirke. Ova dela se zatim, zajedno sa Pavlovićevim objavljenim likovnim radovima, kontekstualizuju u odnosu na njegova likovna interesovanja. Najzad, u ovom radu se prave kratke uporedne analize Pavlovićevog likovnog opusa u odnosu na dela njegovih savremenika, likovnih umetnika Ljubomira Ljube Popovića (1934–2016), Miodraga Miće Popovića (1923–1996) i Vladimira Vlade Veličkovića (rođen 1935)
"St. George’s Day Lamb" Victim and Empathy
Get PDFIn Serbian and Croatian, the word žrtva “sacrifice, victim” has two basic meanings: 1. a ritually executed person or animal as offering to a deity, and 2. a person who was killed by accident, through no fault of their own (in a car accident, a fire, by lightning, etc.), or someone who has suffered as a result of someone else’s actions (a victim of violence, cheating, conspiracy, etc.). On the basic level, the two meanings overlap and cover the same archaic notion of victim, which 1. links community to transcendental spheres (communication with god/s, based on a connection between giving and receiving in return, which is unquestionable in traditional cultures), or 2. acts as a (fundamental) way in which gods appear in the human world (punishment as proof of gods’ existence). In both cases, folk narratives abolish empathy with the victims (even if death comes for ritual reasons or as an exemplum) and often conceptualize the victim in animalistic terms (e.g., jagnje đurđevsko “St. George’s Day lamb”– a lamb slaughtered on the main spring holiday, St. George’s Day; kurban). The concept of communicating with god through the victim is radically criticized in modern literature, also in terms of the lamb (Thomas Mann, The Tables of the Law [Das Gesetz], 1944; Joseph and his brothers [Joseph und seine Brüder], 1933–1943; Jose Saramago, The Gospel According to Jesus Christ [O Evangelho Segundo Jesus Cristo], 1991; Cain [Caim], 2009)
Slobodan Jovanović kao liberalno-konzervativni kritičar totalitarnih ideologija i praksi
No full textHeretical essays of Miroslav Krleža
Get PDFMiroslav Krleža (1893–1981) was a Croatian and Yugoslav writer whose voluminous work – encompassing almost all literary genres: poems, plays, short stories, novels, essays, travelogues, pamphlets, diaries, encyclopedic entries, etc. – represents the central authorial opus of South-Slavic literature of the 20th century. However, despite the almost elusive enormity of this opus, it could still be argued that the fundamental gesture of Krleža’s entire activity and creative efforts is – negation. It is symptomatic, therefore, that essays make the predominant part of Krleža’s entire work: due to its generic flexibility, openness, inherent heresy, but also wider communicativeness, this genre enabled him to express a comprehensive critique of the contemporary social reality, state of art, political circumstances, religious influences, etc. Essayism is, in fact, one of the typically Krležian procédés: the author didn’t hesitate to make long and richly elaborated essayistic passages an integral part of other genres he used, especially of drama and novels. The essays of Krleža are, on the one hand, an expression of the author’s resolute aspiration to expose individual and collective lies and delusions, and, on the other, an attempt to establish and codify – argumentatively as well as emphatically – an alternative canon of values and ideals. The breadth of Krleža’s creative, historical, and cognitive endeavour – a reflection of his restless critical erudition and gifted imagination – finds its most adequate form in essays, explaining how he managed to creatively and effectively cover such a wide range of topics, from literature, art, culture, and philosophy, to history and medicine, all the way to politics and contemporary reality. He thereby obsessively dealt with the nature and meaning of art and creativity in general, the relationship between freedom and tendency in art, as well as the historical and social conditioning of all human activities. His essays, as well as other literary works, are characterized by a recognizably ornate baroque style, implying intense stylization of sentence, “complex period” and hypotactic structure, rhythmic and poetic prose, frequent use of comparisons, vivid pictoriality and polyphony, associative connections, extensive enumeration and accumulation, and – especially in polemical works – perspectivity, antithetical stance, persiflage and ironizing of adversary’s attitudes, and the typical “dramatization of quotations”. He persistently founded and edited magazines “for all cultural problems”, as he called them – Plamen (The Flame), Književna republika (Literary Republic), Danas (Today) and Pečat (Seal) decrees – which were “a thorn in the eye of all Yugoslav reactionaries”, with basic aim to “remove all the darkness of lies and traditions”. However, the heretical position of Krleža within Yugoslav culture could be best illustrated regarding the events during the interwar period: as an avid supporter of communist ideas, he criticized harshly the religious dullness, intellectual philistinism, and artistic opportunism, only to find himself subsequently accused of ideological deviations by his political comrades, in a so-called conflict of the literary left. During this period, he wrote his most important, and most notorious, polemical essays – “The Croatian Literary Lie”, “My Reckoning with Them”, “The Foreword to the Podravina motives by Krsto Hegedušić” and “Dialectical Antibarbarus” – in which he irreverently defended the (relative) autonomy of art in relation to society demands as well as party directives
