Papers by Zorica Mladenovic
Savremeni tokovi u izučavanju jezika, književnosti i kulture I 2024, 2024
Miloš Crnjanski wrote ,,Vidovdanske pesme" with youthful enthusiasm, with
avant-garde rhetoric an... more Miloš Crnjanski wrote ,,Vidovdanske pesme" with youthful enthusiasm, with
avant-garde rhetoric and under the immediate impression of the Great War. Druga knjiga Seoba, was written in London, where Crnjanski lived as an exile, not knowing if he would ever be able to return to his homeland, which had undergone radical changes in the social system. Pavle Isaković, the main character of the Druga knjiga Seoba, were made of that thread of thought, formed through the awareness of the meaninglessness
of life and the impotence to change anything. His character, both through individual songs in Lirika Itaque and through the entire cycle, of the ,,Vidovdan´s Poems" can be seen completely because he is recognized as the guardian of the inherited myth of fallen Kosovo and historically collapse of the Serbian empire in the Kosovo field. In the specific relationship to myth and tradition, we recognize the connection of the Druga knjiga Seoba with the ,,Vidovdan´s Poems".
Slavistična prepletanja 2, May 26, 2022
The article deals with the place, role and image of selected works of Slovenian literature in the... more The article deals with the place, role and image of selected works of Slovenian literature in the intercultural space. It places Slovenian literature in the area of Central Europe, which has always been multicultural and multilingual, and in which many authors have written who were cosmopolitan. The article shows how the identities of Slovene literary works are reinterpreted with an intercultural approach, as they express a dialogue with many other cultures, as well as with languages. The article proves that discussions about complete monoculturalism and monolingualism are meaningless and harmful. S. Borovnik: Slovenska književnost v medkulturnem kontekstu 5, 1 Slovenska književnost in Srednja Evropa Pričujoče besedilo se ukvarja z mestom, vlogo in s podobo izbranih del slovenske književnosti v medkulturnem prostoru. Pri tem je treba najprej odgovoriti na vprašanje, kateri je tisti prostor, v katerem je že od nekdaj nastajala in se gibala slovenska književna ustvarjalnost. V različnih zgodovinskih obdobjih se je namreč formalno in glede na raznotere državne tvorbe različno imenoval, a duhovno ga lahko opredelimo kot prostor Srednje Evrope. Raziskovalci, ki so se s tem pojmom ponovno ukvarjali zlasti v osemdesetih letih prejšnjega stoletja, ko je le-ta zaradi osamosvajanja posameznih držav in njihovega osvobajanja iz spon socializma ter z njim povezanega »Vzhoda« ponovno oživel, so poudarjali prav povezljivost Srednje Evrope za različne kulture, jezike in literature na tem področju. Pisali so, da Srednja Evropa nima naravnih meja ter da so njene meje kulturno-politične. Po njihovem mnenju se je Evropa po drugi svetovni vojni in s postavitvijo berlinskega zidu razcepila na Vzhodno oz. JV in Zahodno, Srednje pa nenadoma ni bilo več. Večina nekdanjega srednjeevropskega prostora, vključno z nekdanjo Jugoslavijo, kamor je sodila tudi Slovenija, pa je bila potisnjena na območje t. i. Vzhodne Evrope. Toda duhovna dimenzija Srednje Evrope je še vedno obstajala in se je iz novih političnih razlogov ni dalo preprosto ukiniti (Hribar 1991: 27-29). Prostor poznejše Srednje Evrope, ki jo je politično združevala avstro-ogrska monarhija, je bil izrazito večkulturen in večjezičen. V njem so ustvarjali številni znani pisatelji in znanstveniki, kot npr. Hermann Broch, Franz Kafka, Robert Musil in Sigmund Freud, k njim pa lahko dodamo tudi slovenske, kot npr. Ivana Cankarja, Zofko Kveder, Vido Jeraj, Lili Novy idr., ki so bili kozmopolitsko usmerjeni. Hribar meni, da je bila posebnost in kvaliteta avstro-ogrske države zlasti v tem, da je bila to transnacionalna država, ki se ni opirala le na lastno nacionalnost, ne le na nemštvo, čeprav vseh različnih nacionalnih glasov in njihovih teženj ni znala uglasiti (Hribar 1991: 37). O Srednji Evropi in slovenski literaturi pa je razmišljal tudi Lado Kralj v istoimenskem eseju, objavljenem v reviji Sodobnost (Kralj 2005: 353-362). V njem se spominja, da je srednjeevropska ideja ponovno zaživela in dosegla vrh v osemdesetih letih prejšnjega stoletja. Širše se je ta pojem pričenjal uporabljati po prvi svetovni vojni v zvezi z vojaškim zavezništvom med nemškim in avstro-ogrskim cesarstvom. Toda po prvi svetovni vojni, opozarja Kralj, je središče postal Dunaj s svojimi srednjeevropskimi sateliti, kot so Budimpešta, Praga, Krakov in Zagreb, Srednja 8 SLAVISTIČNA PREPLETANJA 2. zmagoslavno ugotavlja: »Zdaj bo ljudstvo vedelo, koga se mora varovati in pred kom čuvati svoje imetje, svoje žene in otroke, svoja polja, živino in pridelke, svoje duše navsezadnje: pred tujci, zlasti pred tujci« (Jančar 1978: 67). Druga satirična ost v romanu pa je podoba »cesarja Leopolda«, v kateri smo ob izidu tega romana prepoznavali kult osebnosti maršala Tita. V širšem kontekstu gre za podobo katerega koli avtokratskega voditelja, ki manipulira z ljudskimi množicami in si jih podreja. Zato Ot sklene pobegniti, na begu pa se pogreza v blaznost in obup. Toda Ota ujamejo in ga obsodijo na galejo. Njegovo prizadevanje za osebno svobodo je neuspešno. S tem romanom je Jančar konec sedemdesetih let prejšnjega stoletja simboliziral usodo posameznikov v Srednji Evropi, ki so bili v boju z mogočnim aparatom totalitarnega političnega sistema poraženi. Želje po korenitih političnih spremembah so bile v vseh socialističnih državah Srednje Evrope sicer že močno prisotne, a utopično se je zdelo pričakovati kakršnokoli demokracijo. Pisatelji so tako upovedovali občutke nesvobode, tesnobe in brezizhodnosti. Ironija in groteska pa sta bili v takih, z zgodovino zakritih zgodbah, njihovi priljubljeni sredstvi. Ob izidu Galjota je pisatelj spomnil na to, da literatura pri Slovencih nikoli ni imela vloge individualne in sproščene umetnosti, temveč tudi politično (Jančar 1997: 10-12). Za Jančarja je Srednja Evropa »kontinuiteta človekove tesnobe v literaturi«, kar je bilo pogojeno s silnimi prevrati v nemirnem 20. stoletju, kot so bili 1. svetovna vojna, padec monarhije, nacizem in fašizem, revolucija, upanje v socializem, nato pa vedno nova razočaranja. Pisatelj je postal, ne da bi to hotel, zavest svojega časa (Jančar 1997: 44-47). Poudarja družbeno-kritični pomen literature, čeprav je njena osnovna naloga predvsem ta, da seže k temeljnim vprašanjem človekove eksistence. Pri tem spomni na vroče (politične) polemike, ki so spremljale Oder 57 in Revijo 57, Perspektive, dramatiko Primoža Kozaka, Dominika Smoleta, Toneta Partljiča, Dušana Jovanovića idr., nadalje pa tudi predstave v Gledališču Glej, Mladinskem gledališču ali objave v Novi reviji (1997: 18). Njegovi literarni liki izražajo razklanost sodobnega človeka: »Danes smo nenehno bombardirani z informacijami in s pritiski odrešitvenih projektov. Ti niso nujno ideološki: cel svet na vseh področjih razrešuje etična vprašanja, ki naj bi človeka poboljšala, ga napravila tolerantnejšega. V resnici pa so, kakor vidimo, nestrpnosti najrazličnejših oblik vse hujše.« (Jančar 1997: 25) S. Borovnik: Slovenska književnost v medkulturnem kontekstu 9, Njegova literatura izpisuje to kaotičnost sveta. Teme, o katerih piše, pa so lahko tako slovenske kot širše srednjeevropske. Jančar obenem poudarja, da je Galjot »drugačen zgodovinski roman« ter da je v popolnem nasprotju s tradicionalnim zgodovinskim romanom. Omenja podobno »preobleko zgodovine« pri Crnjanskem, Andriću, Tavčarju, Shakespearu. Jančar meni, da so se pisatelji v zgodovini opredeljevali sicer zelo različno, da pa pisatelj na nobeno totalitaristično alternativo ne more pristati, »ker totalitarizem literaturo kot iskalsko, vprašujočo, skeptično dimenzijo sveta izključuje« (Jančar 1997: 14). Zanimivo pa je, kako označi položaj sodobne slovenske književnosti v mednarodnem prostoru. Meni namreč, da je podcenjevana, ker gre za »literaturo malega naroda« (Jančar 1997: 14). Po njegovem slovenski avtorji kot Zupan, Kovačič ali Šeligo s prevodi svojih del v mednarodni prostor nikoli ne bodo ustrezno prodrli, čeprav gre za kakovostno literaturo. Glede položaja Slovencev in njihovega odnosa do sveta pa je kritičen: »Mi živimo klavstrofobično, ker se zapiramo pred drugimi, najprej pred svetom in potem pred drugimi, in čez čas je edini nasledek tega zapiranja-nasilje.« (Jančar 1997: 54) 10 SLAVISTIČNA PREPLETANJA 2. »Geografska Evropa (ki se razteza od Atlantika do Urala) je bila vedno razdeljena na dve polovici, ki sta se razvijali ločeno: ena povezana z antičnim Rimom in katoliško cerkvijo, druga zasidrana v Bizancu in ortodoksni cerkvi. Po letu 1945 se je meja med obema Evropama premaknila več sto kilometrov proti vzhodu in veliko narodov, ki so se vedno imeli za zahodne, je nenadoma odkrilo, da so zdaj na vzhodu.« (Kundera 1991: 117) Protislovnosti Evrope, ki jo imenuje Srednja, so se osredinile prav tam. Identiteta nekega ljudstva, poudarja Kundera, pa se kaže v tistem, kar je ustvaril duh in kar je znano kot »kultura«. Če tej istovetnosti preti izginitev, se kulturno življenje nekega naroda ustrezno intenzivira, »dokler kultura sama ne postane živa vrednota, okoli katere se ljudje zbirajo, žive« (Kundera 1991: 118). Kundera poudarja, da so dežele Srednje Evrope čutile, da njihova predrugačena usoda po letu 1945 ni le politična katastrofa, temveč da je predvsem napad na njihovo civilizacijo. Branile so svoje »zahodnjaštvo«. V zgodovini so bili ti narodi ukleščeni med Nemce na eni in Ruse na drugi strani, iz tega položaja pa je izhajal njihov boj za obstanek, ki je bil tudi boj za ohranitev lastnih maternih jezikov (Kundera 1991: 121). Kundera poudarja večkulturni in medkulturni prostor Srednje Evrope, pa tudi večjezičnost in večnacionalnost. Svoj esej pomenljivo zaključuje, da je majhen narod »narod, čigar obstoj je lahko vsak trenutek vprašljiv. Majhen narod lahko izgine in se tega zaveda. Njegova himna ne poje o veličini in večnosti« (Kundera 1991: 21). Vsa umetniška dela v dvajsetem stoletju, ki so nastala v tem delu Evrope, pa je mogoče razumeti kot dolge meditacije o mogočnem koncu evropskega človeka (vse od Hermanna Brocha, Roberta Musila, Jaroslava Haška in Franza Kafke; pri nas npr. Ivana Cankarja, Srečka Kosovela, pa tudi Prežihovega Voranca ali Cirila Kosmača). Tipična srednjeevropska usoda, piše Kundera, je razseljenost. Navaja primer Franza Werfla, ki je živel v Pragi in na Dunaju, v Franciji in umrl v Ameriki. Pisal je o svetu brez vrednot in zgodaj zaznal nevarnost hitlerizma, a s svojimi svarili ni bil uspešen. Podobno se je dogajalo nobelovcu Thomasu Mannu, ki je pred Hitlerjem zbežal iz predvojne Nemčije v Švico ter od tam v Ameriko, pa tudi Poljaku Gombrowiczu, ki je bil prisiljen ostati v Argentini, kamor je dopotoval kot turist, a so medtem Nemci napadli njegovo domovino Poljsko; nenazadnje pa tudi slovenskim pisateljem, npr. Primorcem, ki so pred fašističnim nasiljem že pred začetkom druge svetovne vojne bežali v notranjost slovenskega ozemlja, v Ljubljano in okolico, kot npr. Marica Nadlišek Bartol s sinom Vladimirjem, ali pesnika Srečko Kosovel in Igo Gruden, ali pa emigrirali v tujino, kot npr. Loius Adamič in...
JEZIK, KNJIŽEVNOST, ALTERNATIVE/LANGUAGE, LITERATURE, ALTERNATIVES - Književna istraživanja
The paper presents an analysis of ostracism which occurred in the Victorian period of England, po... more The paper presents an analysis of ostracism which occurred in the Victorian period of England, portrayed by John Fowles in the novel The French Lieutenant Woman. In the novel, the phenomenon of ostracism emerges from a discrepancy between the imposed moral principles and the individual pursuit of truth. The analysis of the ostracism will be presented as an alternative TO social and moral perception of the Victorian ethical principles. Balancing between modernism and postmodernism, John Fowles creates his own, alternative view of the Victorian society, on the one hand, and a different, alternative form of narration in the novel, on the other. In the literary space between modernism and postmodernism,
Ženski pokret (1920 - 1938): zbornik radova, 2022
Rad ima za cilj da prezentuje prvi nemački feministički časopis Neue Bahnen (Novi putevi) koji je... more Rad ima za cilj da prezentuje prvi nemački feministički časopis Neue Bahnen (Novi putevi) koji je izlazio u periodu od 1866. do 1920. godine. Nastao kao glasilo Opšteg nemačkog udruženja žena (Allgemeinen Deutschen Frauenverein) osnovanog u Lajpcigu 1865. godine, časopis je pratio i oblikovao društvena stremljenja i položaj žene u društvu. Kako je časopis povezan s aktivnostima ADF-a, u radu se ukazuje na ciljeve udruženja, imajući u vidu istorijski okvir i vreme u kome se javlja. Odbir tema u časopisu prati misiju ADF-a u borbi za ženska prava, informišu se i edukuju čitateljke. Neposrednim obraćanjem u uvodniku i posredno preko odabranih tekstova, njima se stavlja do znanja da ne mogu tražiti ravnopravnost dok ne steknu jasan pregled društvenih zbivanja. Specifičan odnos prema značajnim događajima iz savremenog života i prošlosti, istorijske reference u uvodniku i izbor knjiga koje se preporučuju; uz dosledan metodološki pristup gde je sadržaj prilagođen ciljnoj grupi, stvara socijalno-politički diskurs koja će obeležiti feministički pokret u Nemačkoj. Na taj način stvoren je koncept koji predstavlja feminističku politiku časopisa. U radu se sprovodi tematska analiza ovog koncepta. Ključne reči: Neue Bahnen, feministička politika, feministički časopis, feministički pokret u Nemačkoj.
Летопис Матице српске, 2021
Књижевни приказ збирке песама Кантате за глас и оловку Драгице Ужареве.
Interkulturalnost, 2021
This paper studies the relationship between the internal and external exile of Miloš Crnjanski. ... more This paper studies the relationship between the internal and external exile of Miloš Crnjanski. The research takes place through the analysis of the poetics of sumatraism in his novels. It can be seen, that the idea of sumatraism is not only the origination but also the end result of the idea of writer's perception of the existence. The paper analyzes the presence of sumatraism in the Crnjanski´s novels Migrations and Druga knjiga Seoba, as well as the relationship between the idea of migration and sumatraism.
Pulse, Mar 31, 2021
This film does not repeat the already seen scenes about growing up on the asphalt, nor does it in... more This film does not repeat the already seen scenes about growing up on the asphalt, nor does it interpret the story from the aspect of social criticism. Тhe director usually prefers to leave society aside and build an authentic film story
Sveske, 2020
Dositej Obradović has an important role in Serbian literature and cultural development. He is con... more Dositej Obradović has an important role in Serbian literature and cultural development. He is considered as respectful writer, philosopher, traveller, polyglot and the first Minister of Education of Serbia. His life and work has inspired many poets, philosophers and scholars. He, himself is the subject of many studies. The aim of this work is to show Dositej Obradović as a writer, narrator and main figure in his autobiographical work Život i priključenijа, remembering that his truth has been already accepted as unique truth for three centuries. The research is based on The Autobiographical Pact by Philip Lejeune as well as other subsequent works with the aim of finding truth in an (auto)biographical text.
Slavistika , 2020
Jovan Hristić was a modern Serbian classicist who emphasized the significance of ancient sources ... more Jovan Hristić was a modern Serbian classicist who emphasized the significance of ancient sources in his poetry and writings, and thus established the connection towards the Mediterranean, ancient Greece and ancient Greek heroes. Using his poetry to bring to life thoughts of Greek philosophers, virtues of ancient heroes and verses of ancient poems, the author enables the readers to recognize character features of ancient heroes in themselves. As for the poetry, being the theme of this paper, the poet brings forth a new standpoint which implements the world of ancient heroes in the frame of intertextuality. The theoretical background is represented by Riffaterre's model of interpreting poetry, that we used to show the intertextual relations of the poem Mezzogiorno.
Povelja, 2020
Diese Arbeit wurde mit dem Ziel erschaffen, Aspekte der Übersetzung des genanntenRomans, aber a... more Diese Arbeit wurde mit dem Ziel erschaffen, Aspekte der Übersetzung des genanntenRomans, aber auch anderer literarischer Werke aufzuzeigen. Es werden spezifische Problemeaufgezeigt und mögliche Lösungen für die Übersetzung des Romans angegeben. Es wurdeauch auf die Bedeutung der Übersetzung hingewiesen, die heute wichtiger als je zuvor ist. Indiesem Fall ist unter anderem der Beitrag des Übersetzers am besten zu sehen.Die Aufgabe dieses Papiers ist es daher, die Schwierigkeiten des Übersetzens von demRoman Sitničarnica "Kod srećne ruke" zu finden, die als allgemeine Probleme der Übersetzungsaktivität bezeichnet werden können
Овај рад је настао са циљем да се покажу аспекти превођења наведеног романа као и било ког другог књижевног дела. Указано је на специфичне проблеме и решења које превод романа нуди. Указано је такође и на значај превођења, који је у овом тренутку можда значајнији него икада. Поред осталих фактора, на овом месту се најбоље може уочити и допринос преводиоца. Задатак овог рада је, с тога, проналажење потешкоћа на које наилази преводитељка романа Ситничарница „Код срећне руке” које се могу означити као општи проблеми преводилачке делатности, али и уочавање могућности да се дође до жељеног ефекта, тј. доживљаја дела идентичног оном који употребљена реч има у оригиналном делу.
Кораци 1 - 3 , 2019
Склони смо да интертекстуалност тумачимо као савремену појаву, јер је њено присуство неоспорно у ... more Склони смо да интертекстуалност тумачимо као савремену појаву, јер је њено присуство неоспорно у савременој литератури. Питање порекла овог поступка у уметности и књижевности постављено је пред крај прошлог века, када је и настао термин интертекстуалност. Тумачења се крећу од античких списа и тешкоћа у трагању за новом, оригиналном речју (што је очигледно одбацивање тј. бежање од интертекста), до тврдњи да је вредно само оно што се ослања на проверене изворе било да се они прихватају или оспоравају. Јован Христић, модерни класициста, подједнако је својом поетиком и стваралаштвом, речју и делом, указао на значај оживљавања старих извора усмеравајући пажњу ка Медитерану, Грчкој, античким јунацима… оживљавајући у својој поезији мисли грчких филозофа, особине античких јунака и стихове славних песника, даје читаоцу могућност да и сам постане један од њих.
Conference Presentations by Zorica Mladenovic
Context 2021 Zbornik radova sa medjunarodnog interdisciplinarnog skupa. Filozofski fakultet Novi Sad, 2023
This paper aims to analyze the descriptions of space and nature in the novels of Miloš Crnjanski,... more This paper aims to analyze the descriptions of space and nature in the novels of Miloš Crnjanski, to illustrate the relationship between the depiction of nature and the void that accompanies the inner lives of his protagonists. The objective of the study is to highlight the narrative devices that emphasize the dystopian dimension of space and to show their function in character development and story formation. In Crnjanski's novels, "stories within the story" hold a special place; despite their apparent deviation from the main plot, they remain consistent in shaping the meaning of the work, whether by degrading life values through secondary characters or by challenging their existence through the play of fate. The expected research results will thus reveal a new aspect of narrative unity in addressing the problem of meaning, or rather the meaninglessness, of life in Crnjanski's novels.
THE PROBLEM OF THE AUTHOR IN ALEKASNDAR PETROV'S NOVEL MEMOROMAN, 2022
Aleksandar Petrov's novel, Memoroman, announces already in the title the complexity of the issue ... more Aleksandar Petrov's novel, Memoroman, announces already in the title the complexity of the issue of the narrative structure and directs the reader's attention to the narrator, who must be spoken of in the plural, even without relying on theoretical interpretations. All the narrators / authors of the Memorandum are telling the same story, while their roles are in different in narration. Only if they are separated and defined,
the work can be understood through the existing literary-theoretical thought. Therefore, this paper aims to
determine their roles in the narrative flow of the Memoroman, the common components that bind them to the narration and the places where their unique characteristics are observed, directed towards the form and action of this memoir/novel. As the subject of research is mostly focused on the role of the author, this paper theoretically relies on the system and the multiplicity of ,selves ́ given in theory books of Gary Morson. In
Aleksandar Petrov's Memorandum, we are able to observe and witness the play of two authors, one turned to the emotional, adventur oriented world, which cannot exist without fiction, and the other clearly turned to the factual sphere. Memoroman has a significant role in the development of Serbian literary thought, not (only) because it brings fiction into memoir prose, or because it makes a novelistic fable on historical and facts. It is far
more because it sets them as equal factors of a new memoir-novel form. The classification of authors and the relationship between the author and the hero are presented through the theoretical approach introduced
by Wayne Booth when talking about the implied author. Relationship between the empirical and implied author is given according to Seymour Chatman. In order to contextualize the analysed work in Serbian
theoretical thought, the paper relies on Dušan Ivanić's systematization of memoir prose.
Philoslavica, 2022
As both films are metatextually linked to the epic poem Banović Strahinja and problematise the s... more As both films are metatextually linked to the epic poem Banović Strahinja and problematise the social system with the juxtaposed questions of existence and love, the article will primarily focus on the interpretation of the epic hero and the contemporary con- textualisation of his heroism. The aim is to identify the film narrative in films in order to show the narrative means by which the presentation of the witness is managed through the individual artistic characteristics of the director.
Slavistična prepletanja 2, 2022
Zadatak ovog rada je, da se imajući u vidu pitanje autora u književnom i filmskom umetničkom delu... more Zadatak ovog rada je, da se imajući u vidu pitanje autora u književnom i filmskom umetničkom delu, pokaže njihova uloga u kreiranju smisla dela. Komparativnom analizom karakterističnih scena filma Seobe i odgovarajućeg tekstualnog odlomka u romanu, pokušaćemo da pokažemo način prenošenja smisaone kategorije iz jednog medija u drugi. Prateći namere pravog, empirijskog autora, nastojaćemo da otkrijemo poruku implicitnog autora i njegovo prisustvo u romanesknoj i filmskoj naraciji. Istraživanje će biti pre svega usmereno ka izmenama u filmskoj priči u odnosu na adaptirani roman. Teoretsku osnovu rada čine istraživanja o književnoj naraciji Simura Četmena i Vejna Buta, studija o filmskoj naraciji Jurija Lotmana i naučni radovi Linde Hačn o adaptaciji.
Славистика, 2021
The Balkan Trilogy, written by Richard Berengarten, presents a poetico-historical testimony on th... more The Balkan Trilogy, written by Richard Berengarten, presents a poetico-historical testimony on the mythological heritage, culture, and folk custom related to ex-Yugoslavia regions. By exploiting general principles of the myth and history, and trivial and poetical existence, Berengarten's poetic discourse embodies the myth and life of the Slavic people in the Balkans.
Given that the origin of the author, in geographical and cultural terms, is different from the culture he depicts, it is evident that the author carefully and in a very specific manner approaches the interpretation of the Slavic culture.
Despite the fact that the motif of the star Danica is present worldwide, in Berengarten’s poetry it reveals the author’s intimacy with the Slavic tradition, not only as the poet’s choice, but also as the aftermath of fascination and commitment. The ease of intertextual orientation towards contemporary culture in Berengarten’s poetics transcends poetic inspiration and appears as an element of description corresponding to a series of consistencies in the author's perception of the Slavic tradition. At hermeneutical level, in Berengarten’s text tradition emerges as an archetype. Nevertheless, viewed from the aspect of narration it is intertextually directed towards reality. A plethora of motifs (dodole, butterfly, cherry tree, bees, lilacs, lone oak…) convey their original meaning from the Slavic tradition and gradually bring about the Balkan collective myth emerging in Berengarten’s poetics as an integral part of his unconscious self.
This paper analyses Berengarten’s view on the motif of the star Danica and explores the author’s relationship with some Serbian poets, focusing on the significance of this motif in the Serbian tradition.
ЕКО(ПО)ЕТИКА У КЊИЖЕВНОСТИ, ЈЕЗИКУ И УМЕТНОСТИ, 2021
У овом раду ће се на примеру филмова Тријумф воље (Triumph des Willens) Лени Рифенштал и Матрикс ... more У овом раду ће се на примеру филмова Тријумф воље (Triumph des Willens) Лени Рифенштал и Матрикс (The Matrix) браће/сестара Вачовски показати механизам деловања архетипске слике смрти кроз доживљај уметничког садржаја. Колективна психичка представа смрти приказује се кроз слику црне мачке, универзално распрострањени симбол несреће, који се у оба случаја везује за долазак месије. У наративној равни, симболи дати у основном значењу гранају се пратећи филмску причу. Слика мачке у првом тренутку, у оба филма изгледа као анахроничан симбол. Док се други симболи уклапају у причу, она одступа од радње филма, да би, како ће се показати, отворила нове перспективе за тумачење приче у којој се нашла. Јунгов приступ колективно несвесном и архетипски пар Аниме и Анимуса узет је за полазиште у изучавању архетипских слика у одабраним филмовима. Кључне речи: симбол, архетип, филм, црна мачка, Тријумф воље, Матрикс.
Uploads
Papers by Zorica Mladenovic
avant-garde rhetoric and under the immediate impression of the Great War. Druga knjiga Seoba, was written in London, where Crnjanski lived as an exile, not knowing if he would ever be able to return to his homeland, which had undergone radical changes in the social system. Pavle Isaković, the main character of the Druga knjiga Seoba, were made of that thread of thought, formed through the awareness of the meaninglessness
of life and the impotence to change anything. His character, both through individual songs in Lirika Itaque and through the entire cycle, of the ,,Vidovdan´s Poems" can be seen completely because he is recognized as the guardian of the inherited myth of fallen Kosovo and historically collapse of the Serbian empire in the Kosovo field. In the specific relationship to myth and tradition, we recognize the connection of the Druga knjiga Seoba with the ,,Vidovdan´s Poems".
Овај рад је настао са циљем да се покажу аспекти превођења наведеног романа као и било ког другог књижевног дела. Указано је на специфичне проблеме и решења које превод романа нуди. Указано је такође и на значај превођења, који је у овом тренутку можда значајнији него икада. Поред осталих фактора, на овом месту се најбоље може уочити и допринос преводиоца. Задатак овог рада је, с тога, проналажење потешкоћа на које наилази преводитељка романа Ситничарница „Код срећне руке” које се могу означити као општи проблеми преводилачке делатности, али и уочавање могућности да се дође до жељеног ефекта, тј. доживљаја дела идентичног оном који употребљена реч има у оригиналном делу.
Conference Presentations by Zorica Mladenovic
the work can be understood through the existing literary-theoretical thought. Therefore, this paper aims to
determine their roles in the narrative flow of the Memoroman, the common components that bind them to the narration and the places where their unique characteristics are observed, directed towards the form and action of this memoir/novel. As the subject of research is mostly focused on the role of the author, this paper theoretically relies on the system and the multiplicity of ,selves ́ given in theory books of Gary Morson. In
Aleksandar Petrov's Memorandum, we are able to observe and witness the play of two authors, one turned to the emotional, adventur oriented world, which cannot exist without fiction, and the other clearly turned to the factual sphere. Memoroman has a significant role in the development of Serbian literary thought, not (only) because it brings fiction into memoir prose, or because it makes a novelistic fable on historical and facts. It is far
more because it sets them as equal factors of a new memoir-novel form. The classification of authors and the relationship between the author and the hero are presented through the theoretical approach introduced
by Wayne Booth when talking about the implied author. Relationship between the empirical and implied author is given according to Seymour Chatman. In order to contextualize the analysed work in Serbian
theoretical thought, the paper relies on Dušan Ivanić's systematization of memoir prose.
Given that the origin of the author, in geographical and cultural terms, is different from the culture he depicts, it is evident that the author carefully and in a very specific manner approaches the interpretation of the Slavic culture.
Despite the fact that the motif of the star Danica is present worldwide, in Berengarten’s poetry it reveals the author’s intimacy with the Slavic tradition, not only as the poet’s choice, but also as the aftermath of fascination and commitment. The ease of intertextual orientation towards contemporary culture in Berengarten’s poetics transcends poetic inspiration and appears as an element of description corresponding to a series of consistencies in the author's perception of the Slavic tradition. At hermeneutical level, in Berengarten’s text tradition emerges as an archetype. Nevertheless, viewed from the aspect of narration it is intertextually directed towards reality. A plethora of motifs (dodole, butterfly, cherry tree, bees, lilacs, lone oak…) convey their original meaning from the Slavic tradition and gradually bring about the Balkan collective myth emerging in Berengarten’s poetics as an integral part of his unconscious self.
This paper analyses Berengarten’s view on the motif of the star Danica and explores the author’s relationship with some Serbian poets, focusing on the significance of this motif in the Serbian tradition.
avant-garde rhetoric and under the immediate impression of the Great War. Druga knjiga Seoba, was written in London, where Crnjanski lived as an exile, not knowing if he would ever be able to return to his homeland, which had undergone radical changes in the social system. Pavle Isaković, the main character of the Druga knjiga Seoba, were made of that thread of thought, formed through the awareness of the meaninglessness
of life and the impotence to change anything. His character, both through individual songs in Lirika Itaque and through the entire cycle, of the ,,Vidovdan´s Poems" can be seen completely because he is recognized as the guardian of the inherited myth of fallen Kosovo and historically collapse of the Serbian empire in the Kosovo field. In the specific relationship to myth and tradition, we recognize the connection of the Druga knjiga Seoba with the ,,Vidovdan´s Poems".
Овај рад је настао са циљем да се покажу аспекти превођења наведеног романа као и било ког другог књижевног дела. Указано је на специфичне проблеме и решења које превод романа нуди. Указано је такође и на значај превођења, који је у овом тренутку можда значајнији него икада. Поред осталих фактора, на овом месту се најбоље може уочити и допринос преводиоца. Задатак овог рада је, с тога, проналажење потешкоћа на које наилази преводитељка романа Ситничарница „Код срећне руке” које се могу означити као општи проблеми преводилачке делатности, али и уочавање могућности да се дође до жељеног ефекта, тј. доживљаја дела идентичног оном који употребљена реч има у оригиналном делу.
the work can be understood through the existing literary-theoretical thought. Therefore, this paper aims to
determine their roles in the narrative flow of the Memoroman, the common components that bind them to the narration and the places where their unique characteristics are observed, directed towards the form and action of this memoir/novel. As the subject of research is mostly focused on the role of the author, this paper theoretically relies on the system and the multiplicity of ,selves ́ given in theory books of Gary Morson. In
Aleksandar Petrov's Memorandum, we are able to observe and witness the play of two authors, one turned to the emotional, adventur oriented world, which cannot exist without fiction, and the other clearly turned to the factual sphere. Memoroman has a significant role in the development of Serbian literary thought, not (only) because it brings fiction into memoir prose, or because it makes a novelistic fable on historical and facts. It is far
more because it sets them as equal factors of a new memoir-novel form. The classification of authors and the relationship between the author and the hero are presented through the theoretical approach introduced
by Wayne Booth when talking about the implied author. Relationship between the empirical and implied author is given according to Seymour Chatman. In order to contextualize the analysed work in Serbian
theoretical thought, the paper relies on Dušan Ivanić's systematization of memoir prose.
Given that the origin of the author, in geographical and cultural terms, is different from the culture he depicts, it is evident that the author carefully and in a very specific manner approaches the interpretation of the Slavic culture.
Despite the fact that the motif of the star Danica is present worldwide, in Berengarten’s poetry it reveals the author’s intimacy with the Slavic tradition, not only as the poet’s choice, but also as the aftermath of fascination and commitment. The ease of intertextual orientation towards contemporary culture in Berengarten’s poetics transcends poetic inspiration and appears as an element of description corresponding to a series of consistencies in the author's perception of the Slavic tradition. At hermeneutical level, in Berengarten’s text tradition emerges as an archetype. Nevertheless, viewed from the aspect of narration it is intertextually directed towards reality. A plethora of motifs (dodole, butterfly, cherry tree, bees, lilacs, lone oak…) convey their original meaning from the Slavic tradition and gradually bring about the Balkan collective myth emerging in Berengarten’s poetics as an integral part of his unconscious self.
This paper analyses Berengarten’s view on the motif of the star Danica and explores the author’s relationship with some Serbian poets, focusing on the significance of this motif in the Serbian tradition.