ISSN 0352-9738

MATICA SRPSKA JOURNAL OF STAGE ARTS

AND MUSIC

50

Editorial board

Zoran T. Jovanovi, PhD, Editor-in-Chief (Museum of Theatrical Arts of Serbia, Belgrade)

Mirjana veselinovi Hofman, PhD (University of Arts in Belgrade, Faculty of Music Arts)

Katalin Kai, PhD (University of Novi Sad, Faculty of Philosophy)

Ivana PerKovi, PhD (University of Arts in Belgrade, Faculty of Music Arts)

Ira PRODANOv, PhD (University of Novi Sad, Academy of Arts)

Duan RNJAK, PhD (University of Novi Sad, Academy of Arts)

Katarina Tomaevi, PhD, Deputy Editor-in-Chief (Institute of Musicology of the Serbian Academy of Sciences and Arts, Belgrade)

Marija BERGAMO, PhD (Croatia) (University of Ljubljana, Slovenia, Faculty of Philosophy)

Jadwiga SOBCZAK, PhD (Poland) (University of Lodz, Department of Slavic Languages)

NOvI SAD 2014

ISSN 0352-9738

50

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2014

MATICA SRPSKA DEPARTMENT OF STAGE ARTS AND MUSIC

5 CONTENTS

, , STUDIES, ARTICLES, TREATISES

( ) . . . . . . . . . . . . 9Dr mirJana ZaKi and dr Jelena JovanoviEthnomusicological Sources about the Instrument Kaval in Serbia and Macedonia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

. . . . . . . . . . . . . . 25Dr miHal BaBiaKStatus of Theater in the Postmodern Society . . . . . . . . . . . . . . . . 31

mp . . . . . . . . . . . 33Mr neBoJa anTeeviEpistemology of Scenography in the Theaters Today . . . . . . . . . . . 58

: Play Strindberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61Dr mirJana veselinovi HofmanTowards a Bottomless Pit: The Dramaturgy of silence in the string Quartet Play Strindberg by ivana stefanovi . . . . . . . . . . . . . . . . . . . . 71

. . . . . . . . . . . . . . 73raDo miTroviBasic Considerations of the Issues of Temporality in the Chamber Opera Petersburg and the Literary Piece by Andrei Bely . . . . . . . . . . . . . 79

. . . . . . . . . . 81Mr milena s. ZoriSlavenisms as a Form of Characterization of Cheaters in Sterijas Com-edies Laa i paralaa and Pokondirena tikva . . . . . . . . . . . . . . . 91

6 . . . ( ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Dr vesna o. marKoviTo Miss L. D. (Lenka Dunerski) in the memorial Book the Honorable sacrifice of lazar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

. (ii) . . . . . . . . . . . . . . . . . . . . 103Dr sofiJa m. KoniarFemale Theater Artists on Their Profession through the Pen of Milo Crn-janski Intertextual Considerations (II) . . . . . . . . . . . . . . . . . . 118

. . 119Dr aleKsanDar vasiSlavophilia and Serbian Musicography Between the Two World Wars . . 131

. . a . . . . . . . . . . . . . . . . . . . 133Dr Dragana v. JovanoviConductors Interpretation of the Liturgy of St. John the Chrysostom for Three Female Voices by Petar Konjovi . . . . . . . . . . . . . . . . . . 151

m . . . . . . 153Dr goran gavriMechanistic Understanding of the Puppet Theater . . . . . . . . . . . . . 164

. . . . . 165Dr ivana ignJaTov PoPoviPeople in Someone Elses Pocket ranko mladenovis lost Play . . . . 172

, : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173MILICA ZAJCEvvladimir logunov, artist of lyrical Dancing Dreams: a Critics view . . 190

7

100 On the OccasiOn Of a Jubilee

stevan stOJanOvi MOkranJac a centennial of his Death

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191Dr Ore s. kOstiPublic and Private with stankovi and Mokranjac. literary reflections . 199

: . . . . . . . . . . . . . . . 201Dr bOgDan akOvithe sacred choral genre and the Modernization of serbian Music. the transformation of Mokranjacs heritage in the work of his disciples. . . . 213

, , MeMOirs, Materials, cOntributiOns

. 215Dr vesna PenOOn the trace of unnoted church Melodies from the time of turkocraty . 222

: Memories of Ruica Soki (A Sketch for a Portrait) . . . . . . . . . . . . 223

revieWs

: 19992012. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

. . . . . . . . . . . . . . . . . . . . . . . . . . 235

. . . . . . . . . . . . . . . . . . . . . . . 243

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

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-. () ( 1979), , , , , . , , , , XX (ovanovi 2012).26

26 , , , , , , . , (Jovanovi 2012: 196197).

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. : , 1979., (.). . , , 2510081 [..]. , 2001, ., . .

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. 49 (2013): 922.

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, . . 11 (1964): 773780.

, aleksandar. o muzikim instrumentima makedonskih slovena Zapisi, likovne predstave i narodne pesme. Zvuk 89 (1968): 519529.

23

, . . : - , 1986.

, . . ii. , 1987.

, . , . : , , 2003 ().

, . , , : , , 2004 ().

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1967 (. . ). , 1974: 8799., . , . .

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. , 44., . . ii/iii (1959): 174176., . .

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. : , 1997.

ATANASOv, v. and r. C. morris, r. Petrovi, T. alexandru. Kaval [kavali, kavall]. in vol. 13 of The New Grove dictionary of music, ed. stanley sadie, 42425. rev. ed. london: Macmillan, 2001.

ATANASOvSKI, sran. The sound of Kaval: reimagining the soundscape of serbia, paper presented at the conference The Ottoman Past in the Balkan Present: Music and Mediation. Athens, 30 September 2 October 2010.

BAINES, Anthony. Woodwind Instruments and Their History. london: faber and faber limited, 24 Russel Square, 1962.

BAINES, Anthony. Woodwind Instruments and Their History. new York: Dover Publications, Inc., 1991.

BAINES, Anthony. Lexikon der Musik-Instrumente. stuttgart: metzler, Kassel: Brenreiter, 1996.BRMSE, Peter. Flten, Schalmein und Sackpfeifen Sudslawiens. BrnnPraglepcigWien:

verlag Rudolf M. Rohrer, 1937.Devi, Dragoslav. Etnomuzikologija III deo. Beograd: univerzitet u Beogradu, 1977.Devi, Dragoslav (.). Narodna muzika tradicija. Srbija instrumentalni ansambli.

, rTB [..].AKOvAC, Dejan. narodna muzika pirotskog kraja, diplomski rad. Beograd: fakultet muzike

umetnosti, 1993.

24

GoJKovi, Andrijana. Narodni muziki instrumenti. Beograd: vuk Karadi, 1989.GoJKovi, Andrijana. Prouavanja narodnih muzikih instrumenata u Srbiji. Beograd, 1990.HADZI-MANOv, vasil. instruments folkloriques en macedoine kavalis. Journal of the

International Folk Music Council Xii (1960): 2122.Jovanovi, Jelena. identities expressed through practice of kaval playing and building in serbia

in 1990s. Musical practices in the Balkans: ethnomusicological perspectives, Academic conferences, vol. CXlii, Department of fine arts and music, Book 8: Belgrade: sasa, institute of musicology, 2012: 183202.

Kulii, piro. Traditions and Folklore in Yugoslavia. Belgrade: Jugoslavija, 1966.MARCUSE, Sybil. Musical Instruments A Comprehensive Dictionary. new York: W. W. norton

& Company. Inc., 1975.SaCHs, Curt. Reallexikon der Musikinstrumente. Hildesheim: georg olms verlagsbuchhandlung,

1962.TAMMER, Anthony. Kavals and Dzamares: End-blown Flutes of Greece and Macedonia, 2000.

TODEvSKI, Kiro. Kaval u makedoniji, diplomski rad. muzika akademija, odsek za istoriju

muzike i muziki folklor, D/7, Beograd, 1970.ZaKi, mirjana. The Traditional instruments of serbia in The scope of Permeating with the

eastern and Western Balkan musical Practices. Research of Dance and Music on the Balkans (International Symposium, Brko 0609. 2007), Brko, 2007: 3770.

ZaKi, mirjana. intercultural communication and multicultural context: the place of the kaval in serbian musical practice. Berovo: ICTM Study Group on Music And Dance in Southeastern Europe: 2012 Symposium ( ).

Mirjana Zaki and Jelena Jovanovi

eTHnomusiCologiCal sourCes aBouT THe INSTRUMENT KAVAL IN SERBIA AND MACEDONIA

Summary

The paper is the continuation of the previous study focused on the kaval, a half-transverse flute about 800mm long without a fipple and with eight holes for playing, which is an instrument in many ways specific for the Balkans and the south slavic rural instrumentarium, because of its build, function and performing possibilities. The previous article was dedicated to the sources in medieval paintings, to ethnographic and literary sources, where as this one refers to ethnomusicological sources about the kaval from the regions of Serbia and Macedonia. The authors made a certain methodological innovation with regards to the former usual approach to the instruments from the group of labial flutes. This was motivated by several factors: the popularity that the kaval achieved due to the media promotion in Serbia at the beginning of the 21st century; its fixed position in macedonian and albanian instrumental tradition; insufficiency of data about its applications and its bearers on the territory of serbia; and finally, the fact that different data about the kaval have not been synthesized until today. In this article, a special attention is dedicated to the cultural and identity policies that are also reflected through the practice of the use of the kaval and the creation of discourse about it in the Balkans.

Key words: kaval, ethnomusicological sources, serbia, macedonia.

25

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28

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- . , - ( 1979: 2122), , . , , , -. , , , ( 1979: 22). , , ( 1991: 47). , : . . , , . : . - . , , , ( 1979: 41). , , , - . :

29

( 1979: 41).

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. () : - , , , , ( ), ( 2013: 407). - ; , ( - ) . : , , , .

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31

, . : ? - , : , , , . , .

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BENJAMIN, Walter. Dlo a jeho zdroj. [ .] Praha, 1979.GAJDO, Jlius. Postmodern podoby divadla. [ .]. Brno:

nakladatelstv vtrn mlny, 2001.HUBK, Stanislav. Postmodern kultura. [ .] olomouc: mlad umn K

Lidem, 1991.MaaK, andrej. Kopeme do mtvoly? in: Postavenie divadla v spolonosti. Zbornk refertov

z X. medzinrodnej teatrologickej konferencie v cykle DNES A TU. [, . ? : . X .] ed. andrej maak. Bansk Bystrica: fakulta dramatickch umen akadmie umen v Banskej Bystrici, 2013: 401408.

Mihal Babiak

sTaTus of THeaTer in THe PosTmoDern soCieTY

Summary

The paper observes the status of the theater, i.e. its being in the era of the postmodern. The postmodern has an identical content in the Slovak, Czech and Western contexts. The dilemma is whether the Slovak postmodern feeling of the world is identical to the Western European one. The phenomenon of postmodern culture is analyzed via the theoretical approach of the Czech theoretician stanislav Hubik. The theater has gradually lost its ritual basis and a magical and religious moment in the Euroatlantic culture. In the age of the modern as well as at the time of socialism (exemplified by the theaters in former Czechoslovakia and former Yugoslavia) the theater was a matter of elite social circles.

Key words: theater, postmodern, status of the theater, theater in slovakia, stanislav Hubik, Walter Benjamin.

33

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39

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1. () ;2. ;3. ;4. ;5. (Site-specific theatre).

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6 XiX . 1896. . . : . , , , , , , , , ; , , ; , , , . . , . , , , . - , , . , , ( 1896. , ), . : , . : .

40

, () . . - ( 2003: 98). . , , , . - , - ( 2009: 54); ; , . , . , (1584) . . Xvii Xviii , . . -, , ( ), , , , , ( 2009: 68). 2000. (roland Joff). XiX -

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. 2. (Thierry Bosquet), 1. (Tosca), (Jose maria Condemi), (nicola luisotti), 15. 2012.

(San Francisco War Memorial Opera House),

( ) - . -

43

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. 4. numen (), (symphony of sorrowful songs), . 3, . 36 ( ), (Henryk grecki), (ronald savkovic), (Tomaz Pandur), 2010.

(Deutsche staatsoper unter den linden)

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( , , ) . : , - . , , () . , , , - , , ( 2001: 11). ( , , , , ) , , , , , . , , , . , , , , , - . - , , - (, , , , , ) ( 2001: 31). , , . , . . -- ( , . 3 , -, .) . ,

50

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(Philadelphia Live Arts Festival)

51

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54

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. 7. (The Passion), (national theatre Wales and WildWorks), (michael sheen), (owen sheers), (Bill mitchell),

2011. (Port Talbot)

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. . 17 (2011): 4754.

, . . : , 2007.

, . . : , 2010., . -

. . 45, 2011: 267282., . -. :

, 2004., .

. : . 2, . 45 ( 1981): 3944.

, . . : . 2, . 45 ( 1981): 4546.

, . , . : , 2004., . ?. : , 2002., . . :

. 25, . 112 (2000): 105107.

58

, . , . : , 1981., . . : ,

. l, . 12 (2003): 98102., . . /.

: , 2001., . . : Horetzky, 2005., . . : , 2008.

PEARSON, Mike. Site-Specific Performance. london: Palgrave macmillan, 2010.TsCHumi, Bernard. Arhitektura i disjunkcija. Zagreb: agm, 2004.

Neboja Anteevi

ePisTemologY of sCenograPHY in THe THeaTers ToDaY

Summary

active research in the field of theatrical art in the last decade of the 20th century, especially in the first decade of the 21st century, changed the established concept of the theater, putting the stage space in the maelstrom of everyday life as the most scenic events. Accordingly, the scenic area gets an extended meaning, which leads the notion of set design as an integral part of the stage action and the actors performances because the visual presence of the stage area and an often complex design and meaningful solutions stand out as critical and artistic disciplines.

Numerous theatrical works in our country and abroad were accompanied by set designs of the most varied characters and form solutions. Because of the lack of written and published papers on set designs, separate examinations of scenography of theater productions and a small number of set design exhibitions, it is difficult to gain an artistic and critical insight into the development of current trends in set design. During the 20th century scenography lost its decorative and descriptive character and became a more complex multimedia artistic discipline that was actively involved in researching contemporary theatrical works, i.e. in the recognition of ambiguity of literary or other theater works in the contemporary context.

In the theater or outside the theater building, as the theater production is not only aimed at the black box of theater scene today, the scenic area is seen as an experimental testing ground which becomes a visual form of the detected substance, part of an ongoing process of thought and knowledge.

Epistemology of scenography in the theater today is aimed at the conceptual stage design solutions division of the arts, the character and descriptive study of their role in contemporary theater productions. Since set design today is not a form of decorating the space where the theater act is performed, its role in the realization of the theatrical achievement is equally important, artistic and meaningful. The examining contemporary artistic approach to set design is necessary to explore its artistic achievements and role in the theater today.

The epistemological division of the scenography in the theater today in this paper is based on previous artistic and research tendencies: 1. Descriptive and decorative (classical) scenography; 2. interpretivesemiotic scenography; 3. visualformative scenography; 4. Conceptual and experimental scenography; 5. scenography of ambient theater (Site-specific theater).

Although all contemporary scenographies epistemologically have a common basis and purpose, as well as present-day needs to seek new forms of materialization of theater works, they

59

differ in artistic interpretation and formal techniques. In this respect, the analyzed scenography forms primarily have different artistic and visual characteristics, while the choice of scenography shape depends on the type of theater stage works, the concept of directing and the character of the theater. The art of the theater today shows its power to simultaneously display and realize the historical, conceptual and phenomenological aspects of one discipline or interrelationships of more disciplines in their historical and current appearance.

Key words: theater today, set/stage design, scenography, the metaphor of the scenic area, directing, experiment.

61

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o / original scientific paper

: PLAY STRINDBERG *

: Play Strindberg (1993) , . , , . .

: , , , Play Strindberg.

, , - . (cf. KARA- -Pei 1999: 13), , , , alter ega. / ; , ; - , . ,

uDC 78.071.1:929 stefanovi i.

* o , , , . Musical Romania and its Neighbouring Cultures, traditions, influences, identities, Eastern European Studies in Musicology, Peter lang.

62

, , .

- (august strindberg), . Play Strindberg, , , , .

, , . - , , , , (sTRINDBERG 1983: 50), (, ) - , (sTRINDBERG 1983: loc. cit.). , . , . , .

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63

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64

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1. Play Strindberg,

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65

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66

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68

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69

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: . , , e ( . 4046), - (. 80, Molto meno mosso, sostenuto). , , , quasi glissanda, (. 9092), - , , , , .

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70

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6. Play Strindberg, , . 41

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71

. , , , , , , ; . As, al niente.

. , , . , , , , , .

Play strindberg

KARA-Pei, ana. only silence is rich. a Conversation with ivana stefanovi. New Sound International Magazine for Music 14 (1999): 716.

STRINDBERG, august. The father. : CARLSON, Harry g. (transl./ed.). Strindberg: Five Plays. Berkeley los angeles london: university of California Press (1983): 1962.

Mirjana Veselinovi Hofman

ToWarDs a BoTTomless PiT: THe DramaTurgY of silenCe in THe sTring QuarTeT PLAY STRINDBERG BY ivana sTefanovi

Summary

This paper deals with some aspects of the materialization of silence in ivana stefanovis string quartet Play Strindberg (1993). Based on August Strindbergs drama The Father, it consists of an autonomous whole with its own narration which I explore as being rooted in silence. Thus, the quartet is analyzed and elucidated from the perspective of musically articu-lated silence whose concrete and particular incentive is pinpointed here in a scene at the end of the second act of Strindbergs drama. That scene is considered and proved to be the core of the musical dramaturgy of the quartet, given the nature of that silence as the silence of a latent conflict, anxiety, dark forebodings and expectations, which functions as a means of the musical portrayal of the characters and the irrevocable tragedy of events.

Key words: ivana stefanovi, musical silence, august strindberg, string quartet Play Strindberg.

73

* , ,

o / original scientific paper

: . - , . - , .

: , , , , -, .

, ,1 (andrei Bely), /, . , , . , , (), (fINK 1997: 290). . , .

* .

1 19. 6. 2012. .

UDC 821.161.1.09 Bely A. UDC 785(470.23)

74

, , status quo. - , , , , . - , 24 , , -, . , , , zeitgeist 1905. . , (James Joyce) , . , , , .

, . , . - , - . , , , , , , , . . , , , , . , . , -, . . , : , , , . de facto , , -, . , , , , , . (mALITI 1998: 87). , , .

75

, , , - . ( mALITI 1998: 87). , , . , . , , . , , , je , . , , - (Georg Stimmel).2 , , :

-, [] [] . , , , , , . (2002: 11).

-, . , , - , , , .

, , , - .

2 (marcel Proust) (virginia Woolf) (lOYD 1993).

76

, .3 , - . , . , , .

, , . , ( 1), ( 2). , . , , . . , , . - . , , , . , , . . ( 3), - . :

, . - , . . . (mAUS 2000: 77).

, , , . , - .

3 .

77

1. vi , 11111114

2. iX , 15311534

3. , 2430,

, , , reenactmenta, -, , 4. , , , , , . . , , , , , . , . , - , , , , , , . , , , , , .

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4 myriapoda.

78

- . , : , , lorem ipsum dolor sit amet, consectetur adepiscing elit revolution evolution , , (PoPovi 2013: 37). , . , , , , , . , , .

, , , , , , , . , . , .

, ( ), - , - (mALITI 1998: 92) , . , , [] . , , . (MALITI 1998: 92).

, , , . - , . , . , - , , , .

79

, . . : , 2006.

BANJANIN, milica. of Dreams, Phantoms, and Places: andrey Belys Petersburg. The International Fiction Review 10/2 (1983): 98103.

BEMONG, Nele and Pieter Borghart. Bakhtins Theory of the Literary Chronotope. Reflections, Applications, Perspectives. gent: academia Press, 2010.

CURRIE, Mark. About Time. Narrative, Fiction and the Philosophy of Time. edinburgh: edinburgh University Press LTD, 2007.

FINK, Hilary. andrei Bely and the music of Bergsonian Duration. The Slavic and East European Journal 41/2 (1997): 287302.

GEROULD, Daniel C. russian symbolist. Performing Art Journal 3/2 (1978): 2529.LOYD, Genevieve. Being in Time, Selves and Narrators in Philosophy and Literature. london:

Routledge, 1993.MALITI, eva. The World of novel Petersburg by andrei Bely. Human Affairs 8 (1998):

8596.MAUS, Derek. space, Time and Things made strange: andrei Bely, Pavel filonov, and Theory

of forms. Studies in Slavic Cultures 1 (2000): 77.POIDEvIN, Robin Le (ed.). The Philosophy of Time. new York: oxford university Press, 1993.PoPovi, Branka. Petrograd, Kamerna opera, Teorijska studija o doktorskom umetnikom delu.

Beograd: fakultet muzike umetnosti, 2013 (neobjavljen tekst).PoPovi, Branka. Petrograd, Kamerna opera. Beograd, 2013 ( ).RUSSELL, sandra Joy. The City as Dialectic: andrey Belys Creative Consciousness, its

nietzschean influence, and the urban Centre in Petersburg. TranscUlturAl 1/4 (2011): 3146.

STIMMEL, georg. The metropolis and mental life. : WATSON, Sophie (ed.). The Blackwell City Reader. oxford: Blackwell, 2002: 1119.

Rado Mitrovi

BasiC ConsiDeraTions of THe issues of TemPoraliTY in THe CHamBer OPERA PETERSBURG anD THe liTerarY PieCe BY anDrei BelY

Summary

The paper considers the relationship between the novel Petersburg by Andrei Bely and the chamber opera of the same name by Branka Popovi. The focus is on establishing the connections between the treatment of temporality in the novel and equivalent procedures in the music piece. Actually, the novel Petersburg is constructed on the basis of the idea on the non-linear motion of different temporal lines. Thus, there are multiple layers inside the structure of the piece achieved by different ways of conducting narration and different perspectives that are intertwined. Narration is based on the principles of the flow of consciousness, i.e. on a constant borderline between the conscious and the unconscious, which is often blurred. Petersburg remains the only object as well as the subject which exists beyond what the plot represents. Actually, such a seemingly confusing structure is the equivalent of the zeitgeist of the prerevolutionary russia. on the other hand, inside the composition of Branka Popovi, which is constructed on the basis of a linear narration, we can establish relations with the ways

80

of structural shaping of the novel. The piece is based on a general reduction which has multiple layers. The electronic medium presents a temporal continuum which unifies, like Petersburg in the novel, the piece. The narrator is given music whose vocal technique resembles arias to a greater extent and stands as a certain antipode for other characters who do not have differentiated features and who are represented by rhythmical repetitions, which is an expression of their closedness inside the unseen historical temporality. in that way, like Bely, Branka Popovi also counts of what the russian writer called the mental game.

Key words: Petersburg, andrei Bely, Branka Popovi, chamber opera, temporality, narration.

81

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*

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* , . , 13. 6. 2011. . , , . .

1 . 2007. 200 150 . (2007), . : , 1956; 1965; AnelKovi, THomas 2006. , 2003; 2004; 2006; 2012.

uDC 821.163.412.09 Popovi J. s.

82

( , , , ). 2 -: (HERRITY 1981) (1972) ( ) - XiX , , , - .3

. (2006). - ( , ), 80 XX 4, .

, Xviii XiX , , , 5. -

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4 (1990). , . , . , , , ( 2006: 26). , , , , , , , ( 1990; 2001: 180185).

5 . , , , - . , , - , . , , .

83

, , , ( , 6), , ( 1990: 7).

. , , 7, , .

. , (1830. , 1841. ) ( 1830, 1838) ( 1998: 55, 8081, 121). : , , , . ( - ) , , , . , . , , . : ? , , , , ( 2007: 86; 2007: 95; 2012: 202).

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84

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85

12 ( 1830: 20),13 , , , , , , (: 19), , .

, , , . , , , , . , 14 (: 10), (: 37), . , ,15 ( , ). , - , , , , , . , : -, , , , , ( 2003: 5355).

12 () , - (1768) 1741. 1764. . XiX , ( ), . . (1764) , , (1788) . (1817). , , . (: 1978; 1984).

13 : : - / . . : . , 1830. : / . . , . . . , 1838. - ( ) ( ) .

. . (1979).

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15 1841. , , ( 1998: 61).

86

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87

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, . Xviii XiX . XXii/2 (1979): 95129.

, . Xviii XiX . 2 (1982): 1320.

, . . XXXi/1 (1988): 137143.

, . . : , (.). 180618562006. CXvii. . . 17. : , 2007: 665674.

, . XX . : , 2006.

, . . : , 2004.

, . . : , (.). 180618562006. CXvii. . . 17. : , 2007: 9196.

, . . : : -. : , 1997: 519.

, (.). 180618562006. CXvii. . . 17. : , 2007.

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91

, . . : , 1992.

, . . : . : , 1981: 208215.

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Xlviii (2006): 95108.

AnelKovi, Sava i Paul-Louis Thomas (prir.). Jovan Sterija Popovi klasik koji nam se obraa: radovi sa meunarodnog naunog skupa odranog 24. i 25. marta 2006. godine na univerzitetu Pariz iv sorbona. vrac: Kov, 2006.

SuBoTi, ljiljana. Kojim je to jezikom pisao sterija? : anelKovi, Sava i Paul-Louis Tho-mas (prir.). Jovan Sterija Popovi klasik koji nam se obraa. radovi sa meunarodnog naunog skupa odranog 24. i 25. marta 2006. godine na univerzitetu Pariz iv Sorbona (str. 1740). vrac: Kv, 2006.

Milena S. Zori

slavenisms as a form of CHaraCTeriZaTion of CHeaTers in STERIJAS COMEDIES LAA I PARALAA AND POKONDIRENA TIKVA

Summary

This paper analyzed Slavenisms and their use in comedies Laa i paralaa and Pokondirena tikva by Jovan sterija Popovi, primarily in the domain of the characterization of cheaters and the construction of comical errors. The focus is on the pairs of cheaters: Baron goli and mita on the one hand and ruii and mrs. miri on the other. The aim of the paper is to establish if a solid parallel can be drawn between these two characters. The paper starts with the premise that in his early comedies Sterija used Slavenisms as a particular form of mostly negative characterization.

Key words: slavenisms, Jovan sterija Popovi, Laa i paralaa, Pokondirena tikva, characterization.

93

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. . ( )

: . . -, . . , : . . Santa Maria della Salute.

: , , , -, .

, : , , , , , . , , , , , , , , , , . - (); (). , ( , - , ). , , : () () : (poietes) , , ( 1999: 804).

uDC 821.163.4114.09 Kosti l.

94

; , . , , . , , , , , , - ( 2007: 149), : , , , , , , , , - XiX , , , , , , ( 2007: 150). , ; , , , .

, -. Santa aria della Salute, . , , , , , . , - , , ; , Santa Maria della Salute , , , . , ( , , , ), ( , , , ).

, : , , (Santa Maria della Salute, 12. , 7. ). , , ,

95

, . , , 1911, , , . . . , - (1969: 4). o , (2012: 39, 59).

, , , modus vivendi. , , , -, . , , , , , , , (- 1985: 261). Santa Maria della Salute, , , , . , -, , - ; , , , , , -, . , , , , Santa Maria della Salute , , . , , , ( 2011: 15).

; -, , : . . ( ) , , -, , . , , , ( 2011). ( , , ) , , . Santa Maria della Salute, , .

96

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, -, , . , , , , , , , , , , 1895. . . , 1892. , , : , , , , . -, . , , , , , , . , Santa Maria della Salute, ja :

, , ;

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, , , . , Santa Maria della Salute , - , ( , , , , , , , ), , , , .

97

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99

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, , , . , ; , . , ; - , , , , , , . , , , . , , , : ; (troxajos; horejos) , , ( 2005: 4860). ; , , , ; , , , , .

-, . , , , , -. , , , . , (lAMPE 1961: 744746), . , . , , , , ( 1985: 164). . . , , , , , - . , ,

101

, : . :

: ! !

, , , . : , , , . , , , . , . - , , ( 2012: 57).

, -: , , - , , , , , , . , , , . . , , , .

, . . : . : , 1982.

, . . 3. . : , 2007., . .

, . 7 (1969)., . . :

, 2012., . . . 487, . 3 ( 2011):

283297., . . :

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102

, . . : , 2005.

, . . : 1999.

LAMPE, g. W. H. A Patristic Greek Lexicon. oxford: 1961.

Vesna O. Markovi

TO MISS L. D. (LENKA DUNERSKI) IN THE MEMORIAL BOOK THe HonoraBle saCrifiCe of laZar

Summary

The poem To Miss L. D. in the Memorial Book is less known than the most famous poem of the serbian poet lazar Kosti Santa Maria della Salute. Only recently, in 2011, Slobodan rakiti added it to his Anthology of the Poetry of Serbian Romanticism and this is the first time this poem has been made part of the anthology of Serbian poetry as the authors of previous significant anthologies did not pay much attention to it. at a first glance it may seem wrong that the trochee rhythm of the poem To Miss L. D. in the Memorial Book does not correspond to the sad content the renouncement of the right to love the beloved woman. However, this poem relies on the unity of opposition to express the basic principle of the poets opus and view of the world. The unity of opposition in the said poem is reflected in the simplicity of the trochee octosyllable, second most frequent verse of the serbian folk poetry and through joyful sorrow as the basis of the Christian paradox which, we believe, was influenced by the atmosphere of the Kruedol monastery where the poem was written. Having in mind the great difference in age, the poet painfully yet honorably renounced the right to love the beloved woman giving her youth to more worthy suitors, blessing her future marital bliss and his peaceful old age.

Key words: laza Kosti, trochee, symmetrical octosyllable, unity of opposition, joyful sorrow.

103

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(ii)*

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: , ; , , , , , , , , , , , , , , .

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1 1932. - : ,

UDC 821.163.41.09 Crnjanski M.

104

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, , , , , , , . -, , , .

. , , , , , , , . , , . . XX , . , , , , , , -

(I), .

105

, .

, 2. - , : -, , , , , , -, - . : , , , . , , , . , , . , . , . , . ( 2013: 100). , . , , , : , , , , .

-, . , . : (). , , . , , , , -

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, (). : , . , , , , (). : [] , , . , , , . , . , , (). : , , , , , . [...] , , . . , , . . . . , . , , , , . , , ( ). , , : , . . . , ( ). : , . , , ; , , , . , ? [...] , . , ().

, , , , , :

107

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108

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109

, , , , , . , , , . , . , , [...] [...] . . , , , , , , , (, 2013: 45). , , , , , . . , [...] : , , , , (, 2013: 45). , , , , . . , , , , , , (, 2013: 46). , , . , , . , , , , , , , : , , , , , , , , ().

110

: , . , , , : . , . , . , . , , . . ( ). , [...] . . , , , . , . . , , . , . , (, 2013: 4647).

: , , . () . , [...] - () , , , , , , (). , [...] , , , (). , , , , , [...] . [...] , , . . (, 2013: 46).

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111

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112

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4 XXXiii :

XXXIIIEin Im Norden auf kahler Hh. Ihn schlfert; mit weier Decke Umhllen ihn Eis und Schnee.

Er trumt von einer Palme, Die, fern im Morgenland, Einsam Fichtenbaum steht einsam und schweigend trauert Auf brennender Felsenwand. Smtliche Schriften. Bd. 1 / Heinrich Heine. mnchen: Deutscher Taschenbuch verla, 1997 (. 88).5 (1992). : ; : ,

; : roland Barthes par roland Barthes, crivains de toujouts / seuil, 1975.

113

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114

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9 (. Tristan und Isolde) (richard Wagner). . . . 1857. 1859. , 10. 1865. . .

116

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117

. , , , (: 94).

, , -, , , locus communis . , , , (). : , , . , , , , , , , . , . [...] , , , , . ( 1971: 9). , , , , , (18321841): . ; , , , ( 1837: 1). .

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(1992); : roland Barthes par roland Barthes, crivains de toujouts / seuil, 1975.

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118

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editions l age d homme, 1999. . ii, . 2.

Sofija M. Koniar

female THeaTer arTisTs on THeir Profession THrougH THe Pen of milo CrnJansKi inTerTeXTual ConsiDeraTions (ii)

Summary

The interviews of milo Crnjanski with famous theater artists, mrs. lepuPoli, a primadonna of the ljubljana opera, mrs. marica Popovi, a Belgrade actress, and mrs. anta Kovai, a ljubljana actress, were published in the daily Vreme, in January 1932. They have a wider culturological and artistictheoretical significance. They are primarily a contribution to understanding the social context of the time as well as the pulses and sensitivities of the public opinion of the time with regards to the complex issue of the social position of female artists during the world economic crisis in Kingdom Yugoslavia. This complex issue, with all of its important aspects that are included in the interviews, are still current today in the conditions of the contemporary world socio-economic recession typical of the countries in transition, the European community and for our country as well. The issues of that time have remained until today in a stalemate of permanent currentness and procuring more or less tolerable formulae for the synergetic synchronization of the private and the artistic. The interviews, however, also have a comparativistic importance as a source of citations. They have a dialogically indicative and intertextual correspondence with a wide combination of themes and motives and the discourse technique of later Crnjanski prose, especially the Novel about London, which is indicated in the paper and illustrated with appropriate examples.

Key words: milo Crnjanski journalist, writer, social position, professional status of female artists, feminism, equality of sexes, economic independence, love, sex, marriage, family, happiness, intertextuality, citation, proto-text, female character, Novel about London.

119

,

o / original scientific paper

*

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: , (19281929), - / (19281934, 19381941), (19321936), (19391941).

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uDC 78(497.11)"1928/1941" uDC 050:78(497.11)"1928/1941"

* - : , , . , , 177004, , .

120

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, - (miloJevi, ManoJlovi, vARC 1928: 7). (, 1924). , , , (1928: 149).

122

, ( 1928: 182).

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, , . , , , , . , , , , , , . , , . , ( 1928; 1928; 1928; 1928; 1928; 1928; 1928; glisKi 1928; 1928).

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2 , , (, 1. 1928, . XXiv, . 5, 374379).

123

, .

(Bedich smetana). - . (vladimr Helfert) . , - - . , , . , ( 1928). -, . , XiX . (nEJEDLY 1928).

(frdric franois Chopin), . (ignacy Jan Paderewski), (stanisaw niewiadomski) (Zdzisaw Jachimecky), , , , , . (PADEREWSKI 1928; 1928; 1928). . , . , .

, : . - , .

1929. ( -, 18821944). . . , , ( ), -

124

. , - , , . ( ). , . : , ( 1929: 87).3 : -, .

, , .

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125

, . . ; , , . ( 1930; 1939; 1940; 1940; uri-KLAJN 1939).

(Josef suk) . . (Boleslav vomka) . , , . (, , , , ) ( 1929).

. (gustave samazeuilh) - , . (samaZeuilH 1939).4

- . , (Karol szymanowski), , , (antonn Dvok) ( -) , , (BAJANSKI 1933; glisKi 1933; vuKovi 1934; vuKDragovi 1934; GRICKAT 1934).

( ) (vAULIN 1933; lunaarsKi 1934). XX , - . , , , . , , .

, , . - , .

4 Temps. . , , ; . 2013.

126

, . , sadanjost i sva budunost (lunaarsKi 1934: 394).

, , . . , .

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, . , 1939, . ( 1939). ; . - . , , . , . - , . , .

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.

-. - (vtzslav novk), (robert schumann), (franz liszt) (Johannes Brahms) ( 1941). ( 1941). .

, , -. ( , [ ], [ludwig van Beethoven], [richard Wagner], , [amilcare Ponchielli], .). (eduard Hanslick) ( . 1940).

- (vladimr Helfert) ( 1940). . . , . - . . , . , , , -. , , . , , , .

, , - . , ( 1940). ( 1940). , - , ,

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( ) ( ) ( 1939; 1940; 1940; 1940). (Jan Kubelk) . ( ) ( 1941; 1941).

, , . , , -, .

-. - , .

[]. (Le musicien de la vie) , edition emile Paul freres. 1 ( 1939): 4.

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56 ( 1933): 97101; 7 ( 1933): 194201; 8 (- 1933): 239247.

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212.m. m. [ ]. . . 7 (

1928): 214215., . . . . .

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( 1941): 59., . . .

12 ( 1928): 343347.

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, . . . i. . ii. . 8 ( 1930): 148152; 9 ( 1930): 170174.

, . . 56 ( 1940): 7177.

, . ( 1941). . i. : , 2005.

. . 7 ( 1928): 181182., . . . . . [ . ].

7 ( 1928): 188191., . . .

78 ( 1940): 5456., . . . . [ ]. 7

( 1928): 209211.

BAJANSKI, milan. rimskiKorsakov (povodom dvadesetpetogodinjice smrti). Zvuk 1011 (avgustseptembar 1933): 356359.

uri-KLAJN, stana. iz prepiske modesta musorgskog. Povodom stogodinjice roenja. 34 ( 1939): 6369.

GlisKi, mateusz. Poljska moderna muzika. sa ekog, Jovan Bandur. 12 ( 1928): 354360.

GlisKi, mateusz. Karol szymanowski (Prilikom pedesetogodinjice roenja). Zvuk 12 (oktobar 1933): 385389.

GRICKAT, Zinaida. aleksandar P. Borodin. Povodom stogodinjice roenja. Zvuk 12 (oktobar 1934): 424427.

LunaarsKi, a. v. Boris Godunov od musorgskog. Prevod rue Bogli. Zvuk 1011 (avgustseptembar 1934): 388394.

MiloJevi, miloje, Kosta P. manojlovi, rikard varc. naa prva re. 1 ( 1928): 68.

NEJEDLY, Zdenjek. evropa i slovenska muzika. s osobitim pogledom na muziku kod eha. Preveo Dr m. m. [= miloje milojevi]). 7 ( 1928): 183188.

NEJEDLY, Zdenjek. Bedrih smetana. Preveo Dr. m. m. [= miloje milojevi]. 7 ( 1928): 191194.

PADEREWSKI. Chopin i poljska muzika. s francuskog svetislav Petrovi. 12 ( 1928): 341342.

SamaZeuilH, gustave. linosti dananjice. ignacy Paderewski. 78 ( 1939): 144146.

vAULIN, aleksandar. o ajkovskom. Zvuk 2 (decembar 1933): 4952.vuKovi, vojislav. Josef suk. Povodom esdesete godinjice roenja. Zvuk 3 (januar 1934):

8187.vuKDragovi, mihailo. smetana Dvorak. Povodom pedesetogodinjice odnosno

tridesetogodinjice smrti. Zvuk 7 (maj 1934): 245248.

131

Aleksandar Vasi

slavoPHilia anD serBian musiCograPHY BeTWeen THe TWo WorlD Wars

Summary

slavophilic ideology had a strong influence on the serbian culture of the 19th century. In the first half of the 19th century the dominant influence was french. However, slavophilia kept its influence and, until the beginning of World War ii, serbian culture was permeated by this idea. This paper researches the presence of Slavophilic content in Serbian musical journals in the period between the two world wars. The focus is on the following journals: Music (19281929), Herald of the Musical Society Stankovi (19281934, 19381941, in 1931 it w