Papers by Adrijana Marčetić
Transcultural studies, Apr 10, 2015
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Serbian studies, 2009
Even though the first readers of Milorad Pavić’s Dictionary of the Khazars put most emphasis on t... more Even though the first readers of Milorad Pavić’s Dictionary of the Khazars put most emphasis on the peculiarity and freshness of its narrative device, a “lexicon-novel” does not constitute an absolute novelty in relation to his earlier works. On the contrary, the assessments even in the first reviews, which stressed that the Dictionary of the Khazars stands as the final, most representative expression of the poetics that had been consistently formed by Pavić in his previous books, poetic and narrative ones alike are much more accurate. Leaving aside the fantastic narrative device, this continuity is most evident in the style and themes, as well as in the general sensibility and predominant novelistic inspiration of his oeuvre. Just as in Palimpsests, Moon Stone, or The Iron Curtain—to name only some of Pavić’s early works of fiction—in the Dictionary of the Khazars, the writer, in his own words, drew inspiration from Serbian Baroque literature: some of the orators and poets of the seventeenth and eighteenth centuries such as Gavril Stefanović-Venclović, Arsenije III Čarnojević, and Zaharije Orfelin. Besides the Baroque, in his entire oeuvre, Pavić likewise drew inspiration from the history and culture of Byzantium and medieval Serbia. For instance, in one of the two distinctive plot lines in A Little Night Novel, Pavić relates the origins of Mount Athos and the establishment of the Hilandar Monastery. Employing a device which subsequently became the trademark of Serbian postmodern prose, Pavić, in this allegorical story about two kinds of monks, coenobitic and idiorhythmic, transforms his historical material, freely combining it with legendary and mythological sources. This collage effect, composed of documents and traditional oral narratives, is further expanded with
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Lipar, 2021
U Traganju za izgubljenim vremenom Prust razlikuje dve vrste sećanja, hotimično i nehotično sećan... more U Traganju za izgubljenim vremenom Prust razlikuje dve vrste sećanja, hotimično i nehotično sećanje. Hotimično sećanje se oslanja na razum i inteligenciju, i može se prizvati svesnim naporom volje (otuda i „voljno” sećanje); nasuprot tome, nehotično sećanje je potpuno nezavisno od naše volje. Ono nas obuzima iznenada, nezavisno od svesnog napora volje, slučajno, u trenutku kada neka spoljašnja senzacija, ukus, miris ili zvuk, evocira u našoj svesti neki sličan prošli trenutak. O ovom fenomenu, dobro poznatom čitaocima Traganja, u prustologiji se mnogo pisalo, i to iz različitih perspektiva. Ovde, međutim, želim da ukažem na jednu veoma važnu funkciju nehotičnog sećanja, koja – po mom saznanju – dosad nije bila dovoljno istaknuta. Naime, uloga nehotičnog sećanja u Prustovom romanu ne sastoji se samo u tome da povrati prošlost za koju smo verovali da je izgubljena, već i da uspostavi emocionalni kontinuitet između našeg sadašnjeg „ja” i onog bića koje smo nekad bili, a koji je prekinut neumoljivim proticanjem vremena. Pripovedač Traganja veruje da nam nehotično sećanje omogućava da zaustavimo vreme, pa čak i da pobedimo prolaznost i smrt. Uspostavljanjem emocionalnog kontinuiteta sa našim prošlim ja, mi u stvari biće koje smo nekad bili spasavamo od zaborava i smrti, i odnosimo pobedu nad Vremenom.
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An English translation of a paper "Jugoslovenska književnost posle II svetskog rata: teorijski modeli Svetozara Petrovića", 2018
The issue of Yugoslav literature(s), or, more precisely, the history of Yugoslav literature(s), i... more The issue of Yugoslav literature(s), or, more precisely, the history of Yugoslav literature(s), is so extensive and complex that it would require a special study. Here I shall therefore only outline the main approaches to Yugoslav literary studies in Yugoslavia after the World War II, pointing out at the same time some of the implications that this issue may have for
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Transcultural Studies, 2015
Just after the end of the Great War Miloš Crnjanski wrote a poem dedicated to Gavrilo Princip, th... more Just after the end of the Great War Miloš Crnjanski wrote a poem dedicated to Gavrilo Princip, the assassin of Archduke Franz Ferdinand of Austria, in Sarajevo, on 28 June 1914. The title of the poem is “A Tribute to Princip” (“Spomen Principu”), and it was first published in Crnjanski’s early book of poetry Lyrics of Ithaca (Lirika Itake, 1919). Forty years later Crnjanski wrote a commentary on the poem, a sort of its prose paraphrase, and entitled it “On the Poem about Princip” (“Uz pesmu o Principu”); it was published in his Commentaries on Lyrics of Ithaca (Komentari uz Liriku Itake, 1959). Although by no means as significant as his famous poem “Sumatra”, and equally famous “Explanation of Sumatra”, that is considered a kind of Crnjanski’s personal poetic manifesto, as well as a poetic manifesto of Serbian modernism in general, “A Tribute to Princip” and its explanation represent an equally important testimony to Crnjanski’s poetic sensibility and his literary inspiration. The s...
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Kritika o kritici, 2020
Ovaj rad objavljen je kao poglavlje u mojoj knjizi Kritika o kritici (2020). U njemu prikazujem i... more Ovaj rad objavljen je kao poglavlje u mojoj knjizi Kritika o kritici (2020). U njemu prikazujem ideju komparativne jugoslovenske književnosti koju je krajem osamdesetih godina prošlog veka, pred sam raspad SFRJ, formulisao Franjo Grčević, profesor srpske književnosti na na Odsjeku za jugoslavenske jezike i književnosti Filozofskog fakulteta u Zagrebu.. Grčević je u cilju promocije svoje ideje pokrenuo projekat i organizovao naučne konferencije, na kojima su o ovom predmetu raspravljala gotovo svi najznačajniji predstavnici tadašnje jugoslovenske nauke o književnosti, kao i nekolicina uglednih stranih slavista. Na njegovu inicijativu, i u organizaciji Zavoda za znanost o književnosti, zagrebačkog Filozofskog fakulteta i časopisa “Gesta” iz Varaždina, u periodu od 1982. do 1989, u Zagrebu, Somboru i Varaždinu, održana su četiri skupa na kojima se raspravljalo o mogućnostima zasnivanja nove, kako je Grčević smatrao, slavističke discipline – komparativnog/komparatističkog proučavanja jugoslovenskih, odnosno – kako je to na drugom od ovih skupova precizirano – južnoslovenskih književnosti (ili komparatistike jugoslovenskih književnosti). Materijali sa ovih skupova objavljeni su u Zagrebu i Varaždinu, u posebnim zbornicima, ili kao tematski brojevi časopisa “Gesta”; prvi zbornik izašao je 1983, a poslednji u septembru 1991. godine, četiri meseca pošto je Hrvatska proglasila nezavisnost i otcepila se od Jugoslavije. Ovi zbornici detaljnije su predstavljeni u ovom radu.
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Lipar, 2021
U Traganju za izgubljenim vremenom Prust razlikuje dve vrste sećanja, hotimično i nehotično sećan... more U Traganju za izgubljenim vremenom Prust razlikuje dve vrste sećanja, hotimično i nehotično sećanje. Hotimično sećanje se oslanja na razum i inteligenciju, i može se prizvati svesnim naporom volje (otuda i „voljno” sećanje); nasuprot tome, nehotično sećanje je potpuno nezavisno od naše volje. Ono nas obuzima iznenada, nezavisno od svesnog napora volje, slučajno, u trenutku kada neka spoljašnja senzacija, ukus, miris ili zvuk, evocira u našoj svesti neki sličan prošli trenutak. O ovom fenomenu, dobro poznatom čitaocima Traganja, u prustologiji se mnogo pisalo, i to iz različitih perspektiva. Ovde, međutim, želim da ukažem na jednu veoma važnu funkciju nehotičnog sećanja, koja – po mom saznanju – dosad nije bila dovoljno istaknuta. Naime, uloga nehotičnog sećanja u Prustovom romanu ne sastoji se samo u tome da povrati prošlost za koju smo verovali da je izgubljena, već i da uspostavi emocionalni kontinuitet između našeg sadašnjeg „ja” i onog bića koje smo nekad bili, a koji je prekinu...
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Serbian Studies: Journal of the North American Society for Serbian Studies, 2009
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Наслеђе, 2012
У раду се анализирају два приказа Прустовог Трагања за из-
губљеним временом, чији су аутори Е. Р... more У раду се анализирају два приказа Прустовог Трагања за из-
губљеним временом, чији су аутори Е. Р. Курцијус и Слободан
Јовановић. Оба су објављена у фебруару 1922. године, дакле пре
него што је Прустов роман био у целини штампан. И Слободан
Јовановић и Курцијус указују на неке од најзначајнијих особина
Прустовог стила, на иновативност и оригиналност његове роман-
сијерске уметности и оцењују га као једног од најзначајнијих са-
времених писаца.
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Jugoslovenska književnost: prošlost sadašnjost i budućnost jednog spornog pojma / Yugoslav Literature: The Past, Present and Future of a Contested Notion, 2019
Yugoslav literature(s) after World War II: Theoretical models of Svetozar Petrović
The paper foc... more Yugoslav literature(s) after World War II: Theoretical models of Svetozar Petrović
The paper focuses on the political and ideological processes by which the idea of Yugoslav literature(s) was developed in socialist Yugoslavia, in the period from 1945–1990, and on the reasons that this idea ultimately failed to meet the expectations of its advocates. I discuss a chapter from the book Priroda kritike (1972) by Svetozar Petrović in which he argues that the idea of Yugoslav literature(s) has always been ideological: in the moment in which he is writing his book there are in fact two concurrent ideas of Yugoslav literature, one that is based on the leftist, progresive beliefs, and one that is rooted in bourgoise liberalism. In his opinion the fisrt one is progressive and democratic, the second one is conservative and reactionary. Pleading for the democratic approch to Yugoslav literature(s) by which none of its particular national literatures (eg. Serbian, Croat, Slovenian) should gain predominance, Petrović proposes a new model of Yugoslav literature(s) which, for the purposes of my paper, I call a “philological” model of Yugoslav literature(s). In addition, I identify the fourth concept of Yugoslav literature, Yugoslav literature as a canon, which Petrović did not take into the account; according to this model Yugoslav literature represents a canon, i.e. a corpus of the best or the most representative literary works coming from different Yugoslav literatures, Serbian, Croatian, Slovene, Macedonian, etc. I also disscuss papers presented at the conference on history of Yugoslav literature that was held in Sarajevo in 1965, as well as the proceedings from four conferences that were organized in Croatia by the Institute for Literary Scholarship and Department of the Yugoslav Languages and Literatures at the University of Zagreb in the last decade of the common Yugoslav state (1980–1990), at which experts from all Yugoslav republics discussed the possibilities of establishing a new discipline – comparative Yugoslav literature.
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Od narativa do narativnosti, (ur.) S. Milosavljević Milić i dr., 2018
In this paper I discuss differences between the classical, formalist or structuralist narratology... more In this paper I discuss differences between the classical, formalist or structuralist narratology and the contemporary or postclassical narratology. Comparing those two approaches to narrative texts I point out to some of the characteristic features of postclassical narratological theories. Distinguishing between three main types of contemporary narratological models, I pay special attention to the "natural narratology", one of the most influential approaches in contemporary theory of narrative that was formulated by Monika Fludernik. In a brief discussion of its key concepts, “narrativity”, “experientiality”, and “fictionality”, I identify some shortcomings of her theory.
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Priča, 2018
Naratološka analiza Andrićeve Priče o vezirovom slonu. Uvodim termin "kolektivni govor" kojim ozn... more Naratološka analiza Andrićeve Priče o vezirovom slonu. Uvodim termin "kolektivni govor" kojim označavam jednu posebnu pripovednu tehniku kojom se Andrić često služi u pričama i romanima.
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Jezik je moćna i efikasna alatka, njegove su strele zaista ubojite, što smo mogli videti i iz ovo... more Jezik je moćna i efikasna alatka, njegove su strele zaista ubojite, što smo mogli videti i iz ovog primera. Verbalna igra sadržana u ciglo dve reči naizgled jednostavne ulične parole, sugeriše nam veliki broj složenih značenja čija se parafraza ne bi iscrpla ni u mnogo dužem tekstu nego što je ovaj.
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Andrić’s narrative manner in his historical novels is usually described as „objective“, „distance... more Andrić’s narrative manner in his historical novels is usually described as „objective“, „distanced“ and „impartial“, similar to that of the chronicler or true historian. However, the question of Andrić’s approach to history in his fictional works has not been approached sufficiently from the narratological perspective. My main goal in this paper will be to look into Andrić’s method of using historical material in building up his story from the narratological perspective and to point out some devices he employs to fictionalize history, that is to say to create story from history.
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Books by Adrijana Marčetić
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Papers by Adrijana Marčetić
губљеним временом, чији су аутори Е. Р. Курцијус и Слободан
Јовановић. Оба су објављена у фебруару 1922. године, дакле пре
него што је Прустов роман био у целини штампан. И Слободан
Јовановић и Курцијус указују на неке од најзначајнијих особина
Прустовог стила, на иновативност и оригиналност његове роман-
сијерске уметности и оцењују га као једног од најзначајнијих са-
времених писаца.
The paper focuses on the political and ideological processes by which the idea of Yugoslav literature(s) was developed in socialist Yugoslavia, in the period from 1945–1990, and on the reasons that this idea ultimately failed to meet the expectations of its advocates. I discuss a chapter from the book Priroda kritike (1972) by Svetozar Petrović in which he argues that the idea of Yugoslav literature(s) has always been ideological: in the moment in which he is writing his book there are in fact two concurrent ideas of Yugoslav literature, one that is based on the leftist, progresive beliefs, and one that is rooted in bourgoise liberalism. In his opinion the fisrt one is progressive and democratic, the second one is conservative and reactionary. Pleading for the democratic approch to Yugoslav literature(s) by which none of its particular national literatures (eg. Serbian, Croat, Slovenian) should gain predominance, Petrović proposes a new model of Yugoslav literature(s) which, for the purposes of my paper, I call a “philological” model of Yugoslav literature(s). In addition, I identify the fourth concept of Yugoslav literature, Yugoslav literature as a canon, which Petrović did not take into the account; according to this model Yugoslav literature represents a canon, i.e. a corpus of the best or the most representative literary works coming from different Yugoslav literatures, Serbian, Croatian, Slovene, Macedonian, etc. I also disscuss papers presented at the conference on history of Yugoslav literature that was held in Sarajevo in 1965, as well as the proceedings from four conferences that were organized in Croatia by the Institute for Literary Scholarship and Department of the Yugoslav Languages and Literatures at the University of Zagreb in the last decade of the common Yugoslav state (1980–1990), at which experts from all Yugoslav republics discussed the possibilities of establishing a new discipline – comparative Yugoslav literature.
Books by Adrijana Marčetić
губљеним временом, чији су аутори Е. Р. Курцијус и Слободан
Јовановић. Оба су објављена у фебруару 1922. године, дакле пре
него што је Прустов роман био у целини штампан. И Слободан
Јовановић и Курцијус указују на неке од најзначајнијих особина
Прустовог стила, на иновативност и оригиналност његове роман-
сијерске уметности и оцењују га као једног од најзначајнијих са-
времених писаца.
The paper focuses on the political and ideological processes by which the idea of Yugoslav literature(s) was developed in socialist Yugoslavia, in the period from 1945–1990, and on the reasons that this idea ultimately failed to meet the expectations of its advocates. I discuss a chapter from the book Priroda kritike (1972) by Svetozar Petrović in which he argues that the idea of Yugoslav literature(s) has always been ideological: in the moment in which he is writing his book there are in fact two concurrent ideas of Yugoslav literature, one that is based on the leftist, progresive beliefs, and one that is rooted in bourgoise liberalism. In his opinion the fisrt one is progressive and democratic, the second one is conservative and reactionary. Pleading for the democratic approch to Yugoslav literature(s) by which none of its particular national literatures (eg. Serbian, Croat, Slovenian) should gain predominance, Petrović proposes a new model of Yugoslav literature(s) which, for the purposes of my paper, I call a “philological” model of Yugoslav literature(s). In addition, I identify the fourth concept of Yugoslav literature, Yugoslav literature as a canon, which Petrović did not take into the account; according to this model Yugoslav literature represents a canon, i.e. a corpus of the best or the most representative literary works coming from different Yugoslav literatures, Serbian, Croatian, Slovene, Macedonian, etc. I also disscuss papers presented at the conference on history of Yugoslav literature that was held in Sarajevo in 1965, as well as the proceedings from four conferences that were organized in Croatia by the Institute for Literary Scholarship and Department of the Yugoslav Languages and Literatures at the University of Zagreb in the last decade of the common Yugoslav state (1980–1990), at which experts from all Yugoslav republics discussed the possibilities of establishing a new discipline – comparative Yugoslav literature.