Књижевна историја (Literary History)
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Literary History (Književna istorija) was founded in 1968 as a journal of the publishing house “Obod” from Cetinje, and later of the publishing house “Vuk Karadžić” as well. Its founder and first Editor-in-Chief was Aleksandar Petrov, succeeded by Jovan Deretić. During its entire existence, the journal relied on the cooperation of the research projects’ associates at the Institute for Literature and Art. In 1991 Literary History became the official organ of the Institute, and its newly appointed Editor-in-Chief, Dušan Ivanić, continued with the distinct literary-theoretical and literary-historical orientation of the journal. With Miodrag Maticki taking the position of Editor-in-Chief in 2001, Literary History broadened its concept to include interdisciplinary and multidisciplinary scientific studies and articles as well.
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- Ка историји српске поезије XX века
- Central and Eastern European Online Library - CEE journals, documents, articles, periodicals, books available online for download, Zeitschrfitendatenbank, Online Zeitschriften, Online Zeitschriftendatenbank
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- Кад је Бекет на филму мигрирао на телевизију
- Central and Eastern European Online Library - CEE journals, documents, articles, periodicals, books available online for download, Zeitschrfitendatenbank, Online Zeitschriften, Online Zeitschriftendatenbank
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- Кад је Хјуз срео Попу
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- Како се калила постмодерна
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- Како су антички писци означавали писмо?
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- Како је Јаков победио Јашу
- Central and Eastern European Online Library - CEE journals, documents, articles, periodicals, books available online for download, Zeitschrfitendatenbank, Online Zeitschriften, Online Zeitschriftendatenbank
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- Канонизовање жанра?
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- Кантата Стојанка Мајка Кнежопољка Скендера и Вука Куленовића
- Summary/Abstract: In this paper we look at the cantata Stojanka majka Knežopoljka [Mother Stojanka from Knežopolje], composed by Vuk Kulenović in 1988, based on the famous war narrative poem written by his father Skender Kulenović. We posit that Vuk Kulenović took path of least resistance when composing Stojanka majka Knežopoljka, and instead of composing music that would amplify the expressiveness of his father’s verse, he enveloped them in music that may be complementary to the verse but not immanent to it.
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- Карлос Фуентес и културни синкретизам Латинске Америке
- Summary/Abstract: In the paper we investigate, on the one hand, the cultural continuity of Latin America from the point of view of the Mexican writer Carlos Fuentes and, on the other, the interweaving and fusion of pre-Hispanic and modern culture on the continent(s). We do this from the perspective of the writers and thinkers who have recognized transculturation as one of the key processes of the territory where different races live, gathered under the term mestizaje, and share a common language, Spanish.Encompassing the attitudes of the founders, defenders and interpreters of the emblematic Spanish-American syncretism (the Argentine theorist Walter Mignolo, Uruguayan literary critic Ángel Rama and essayist Enrique Rodó, excellent representatives of Mexican culture and literature José Vasconcelos, Alfonso Reyes and Octavio Paz, the Cuban writer and musicologist Alejo Carpentier, Portuguese scientist Boaventura de Sousa Santos, Russian philosopher and literary critic Mikhail Bakhtin, and others), we point to mutual cultural assimilations of the Spanish-speaking territories of South America, Mesoamerica and North America. The central part of the article is dedicated to Carlos Fuentes’s thinking on cultural identity, the paradigm of racial mixing, and the heritage of various origins as a gift of the Indo-Afro-Ibero-American individual and society. Finally, through this research we show that, according to Carlos Fuentes, the source of Mexican transculturality is related to the Baroque and its Atlantic exchange, which overcame the temporal and spatial abyss, under whose arch a new Spanish American cultural genealogy was created, and thanks to which the Latin American novel emerged as a genre of genres, liberated from colonial prohibition after three centuries, and was afterwards compelled to compensate for it.
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- Класик који то неће да буде
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- Клацкалица једног жанра
- Summary/Abstract: In the first section of the paper, the author problematizes the need to define the genre of science fiction, presenting the arguments of modern theorists who are convinced of the bankruptcy of previous definitions. These definitions are then presented through typical representatives of two approaches to defining science fiction: the “historical” and the “formalistic”. The “historical approach” does not offer a conclusive definition of the genre, but on the contrary, broadly expands its boundaries. Regarding the “formalist approach”, a dispute is noted between interpreters who place emphasis on the determinant of science, and those who prefer to emphasize fiction in an attempt to make a distinctive definition of the genre. The final section of the paper outlines the possibility of reconciling fiction with science by looking at science fiction as a herald of scientific discoveries: the science fiction practice can be integrated into science and its history if the “scientific” and “creative” prejudices that stand in the way are removed. The conclusion suggests that this reconciliation is not justified, and integration even less so, if it removes the antagonistic but productive tension of scientific facts and literary fiction. This tension between fiction and fable, between stories and documents, between fantasy and science, is crucial for defining science fiction. Undoubtedly hybrid in its self-understanding, as well as in its very name, the genre is still recognizable. Its delimitation, as well as its survival, it seems, rests on whether its intrinsic duality of fact and fiction is unsustainable or, as the author believes to be the case, it challenges the very binary exclusion of its elements.
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- Когнитивна наратологија
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