Book Chapters by Andrea Lešić-Thomas
Popularni žanrovi i alternativni svjetovi: Atwood, Le Guin, Byatt , 2022
Romance, novel, roman i "romansa": Clara Reeve i problem književnoteoretske terminologije, prijev... more Romance, novel, roman i "romansa": Clara Reeve i problem književnoteoretske terminologije, prijevoda i različitih književnih tradicija Otvorene bezbrojnim utjecajima-među kojima je paralelan neasimilirani utjecaj čitavog reda stranih jezika-riječi bivaju izbačene iz stabilnih ležišta tradicije, prihvaćaju nova značenja i navikavaju se na nove kontekste. Sporazumijevanje postaje teže. Na smjenu čovjeku jedne knjigečovjeku s kojim razgovarati nije bilo osobito prijatno ali s kojim je razgovarati bilo razmjerno lakodolazi čovjek nijedne knjige, čovjek-zbrka, čovjek kojemu su jezične navike izgradila sredstva masovne komunikacije dok je on istovremeno gradio navike njima, čovjekdaklenaviknut da reagira samo na riječi u masi, na orgije sinonima. Nesporazum postaje pravilo, uspješno sporazumijevanje u dvije riječi izuzetak.
Avangarda i komentari: međunarodni naučni zbornik radova u čast prof. Gojka Tešića, ur. Perišić, Igor i Vladan Bajčeta (Beograd: Institut za književnost i umetnost, 2021), str. 573-586, 2021
Ovaj rad polazi od teze da je prozni prvijenac Ive Andrića „Put Alije Đerzeleza“ narativ o tijelu... more Ovaj rad polazi od teze da je prozni prvijenac Ive Andrića „Put Alije Đerzeleza“ narativ o tijelu, o znanju koje stičemo preko tijela, o znanju kojem tijelo teži i znanju koje nam samo tijelo može dati. Taj prozni triptih je priča o tome kako vidimo jedni druge dok se krećemo u svijetu, koliko smo u stanju prenijeti jedni drugima spoznaje do kojih dolazimo u tom kretanju, te o razlikama i nejednakostima slobode koju različita tijela posjeduju u svijetu koji dijele. Teoretska putanja kroz prijašnja čitanja počeće sa primjenom teorije modusa Nortropa Fraja (Northrop Frye), kroz koju je Zdenko Lešić tumačio „Put Alije Đerzeleza“ u svojoj knjizi Pripovjedači (1988: 153–172), i nastaviće se teorijom karnevalskog smijeha i grotesknog tijela kojom je Alija Pirić, eksplicitno se oslanjajući na Lešićevu interpretaciju putovanja Đerzeleza kroz visokomimetski, niskomimetski i ironijski književni modus, pokazao na koji se način Andrićeve pripovijetke mogu smatrati nastavkom rableovske tradicije detroniziranja epskih junaka. Moj doprinos raspravi biće primjena jednog drugog bahtinovskog teoretskog modela, onog iz ranog Bahtinovog spisa „Autor i junak u estetskoj aktivnosti“, koji, čini mi se, jasnije ocrtava humanizirajuće aspekte (naspram karnevalsko-grotesknih) Andrićeve reimaginacije jednog epskog junaka, te feministički prelomljene kognitivne ekokritike Nensi Isterlin (Nancy Easterlin) kojom se otvara mogućnost čitanja slike tijela, i Đerzelezovog, i onih ženskih likova, kao spoznajućih organizama čija žudnja za kretanjem kao kognitivnim mehanizmom, i mogućnost njenog ostvarenja u istorijsko-društvenom okruženju u kom se nalaze, određuje granice njihove ljudske ostvarenosti. Kroz sve ove teoretske pristupe provlačiće se koncept tačke gledišta (odnosno, fokalizacije, shvaćene kao „opažajna ili konceptualna pozicija iz koje se predstavljaju pripovedne situacije i događaji“; Prins 2011: 54), te pitanje ko koga i na koji način gleda i kako vidi; koncept tačke gledišta (koji je povezan sa pitanjem pripovjednog glasa; Lešić 2012), kako ćemo vidjeti, izuzetno je operativan u svim ovim teoretskim pristupima Andrićevom proznom triptihu.
Geschichtete Identitäten: (Post-)Imperiales Erzählen und Identitätsbildung im östlichen Europa, ed. by Thomas Grob, Anna Hodel and Jan Miluška , 2021
Cultures of Economy in South-Eastern Europe: Spotlights and Perspectives, ed. by. Jurij Murašov, Davor Beganović and Andrea Lešić (Bielefeld: transcript Verlag, 2020), pp. 169-191.
A citizen of this country and of the United Nations, occupation: manager at your disposal, have f... more A citizen of this country and of the United Nations, occupation: manager at your disposal, have found myself suddenly at the bottom of my career spiral. I am not Sisyphus, and I do not carry the obligations of the myth and the symbol that people have bestowed upon that poor man. I am an ordinary mortal who's crashed from the top of his biographical minaret onto the cobblestones. And remained alone, weakened, old and tired, personally removed from office, materially naked.
Jugoslovenska književnost: prošlost, sadašnjost i budućnost jednog spornog pojma / Yugoslav Literature: The Past, Present and Future of a Contested Notion, ed. by Adrijana Marčetić, Bojana Stojanović Pantović, Vladimir Zorić, Dunja Dušanić, Beograd: Čigoja štampa, 2019
The purposefully ugly title of my paper points to two frameworks within which I propose to discus... more The purposefully ugly title of my paper points to two frameworks within which I propose to discuss the construction of three literary systems whose existence has, for various reasons, been contested, and which cannot be called "national"in any straightforward sense of the word. Bosnian (or, to be more precise, Bosnian-Herzegovinian), Yugoslav, and Post-Yugoslav literatures seem to be, at this particular point in time, to a greater or lesser degree, cultural and political orphans; and yet, some literary texts and phenomena can scarcely be understood without at least hypothesising those contexts. The two theoretical frameworks which could enable the methodological stabilisation of those contexts for the purposes of understanding the complexities of literary texts and phenomena are Svetozar Petrović"s suggestion that "our literatures" can best be understood as structurally similar in their historical development to the literatures of other colonised nations (rather than to the major European national literatures, such as French or English), and Itamar Even-Zohar"s idea of literary polysystems. Both Petrović and Even-Zohar provide us with theoretical concepts to analyse literary systems which contain marked differences between the centre (or several centres) and the margins (or even several degrees of margin), and include multilingualism as part of their corpus, all of which can be applied to all three polysystems, even though I shall mainly focus on the comparison between the Bosnian-Herzegovinian and the Yugoslav one.
Remembering War and Peace in South-East Europe, 2020
The contributions to this volume that we decided to publish under the title Remembering War and P... more The contributions to this volume that we decided to publish under the title Remembering War and Peace in South-East Europe were presented at the workshop Distinction and Unification, Regional and Supraregional Memories, which was held from 24 to 28 May 2011 in Novi Sad. It was the second annual meeting of the international network Media and Memoria in South-Eastern Europe founded in 2010 in Ljubljana. The papers dealt with various phenomena associ¬ated with the construction of memory in different media of remembrance. The methodological aspects were memory with regard to the longue durée, breaks and gaps, se¬lection and suppression, traumatic events and the loss of memory, but also phenomena of nostalgia, haunting and false memory. Examples of memory culture, whether institutional or subversive, made it possible to study strategies of suppression, reactivation, and appropriation, but also rituals, habitus and the traces of memory which survive it, and more specifically various cultures of remembering the World Wars and the Shoa.
The network was intended to intensify the in¬ternational exchange of scholars and ad¬vanced students from different branches – history, political sciences, art history, media studies and literature, across borders between nation-states whose cultural politics were often antagonistic toward each other. The mem¬bers of the network shared a common in¬terest in the diverse transnational and na¬tional memory cultures of South-Eastern Europe, their interference as well as their rivalry. The network, which met annually at workshops and summer schools in Ljubljana (2010), Belgrade (2011), Split (2012) and Sarajevo (2013), published its proceedings in four anthologies: Balkan Memories: Media Constructions of National and Transnational History (2012), ‚Brüderlichkeit‘ und ‚Bruderzwist‘. Mediale Inszenierungen des Aufbaus und des Niedergangs politischer Gemeinschaften in Ost- und Südosteuropa (2014), Europe and the Balkans: Decades of 'Europeanization'? (2015) and Cultures of Economy in South-East Europe: Spotlights and Perspectives (2019).
The workshop in Novi Sad in 2011, where the renowned Serbian writers Dragan Velikić and Sreten Ugričić, as well as the filmmaker Želimir Žilnik, presented their recent work, was attended by around 70 participants who presented their papers in three panels. The first panel, Commemorating the World Wars and the Shoa, dealt with memories of the wars in the Balkans, especially of the First and Second World Wars as well as of the Yugoslavia succession wars of the 1990s. The authors revealed how the media proposed analogies between different kinds of war, as if the same opponents were fatally involved in a perennial conflict lasting for centuries. The second panel, Brotherhood and Unity – Remembrance and Oblivion, investigated how it was possible for the nations in Tito's Yugoslavia to live peacefully together for more than forty years after the Second World War. Integrative and centripetal strategies were discussed in order to gain insights into the question of how the multi-ethnic state was perceived within a country and abroad. The third panel was dedicated to Memory Cultures of Regions and Minorities; it focused on small nations and on specific regions, such as the Serbian province of Vojvodina, where numerous minorities lived and still live.
Based on this ambitious program, an extensive volume of collected essays was planned to be published in collaboration with Miranda Jakiša (University of Vienna), but for various reasons it could not be realized. In the end it turned out that it was not possible to link the various disciplinary cultures into a publication; the symposium in Novi Sad, in the breadth of interests it enthusiastically brought together, proved to have been a unique and somehow utopian event linked to a certain moment in the history of research. While several authors have already published their contributions in other contexts, we want to document the remaining contributions in this small, belated volume. Thereby, we fulfill our commitment to the authors who faithfully entrusted us with their texts, but also to the DAAD, which funded this publication. The encounter in Novi Sad perhaps can also be understood as a rare moment of difficult Euro-optimism before a period of disillusion and skepticism. Therefore, we reprint the program of the symposium after this introduction. The collected papers in this volume might as well be an encouragement for readers also to study other publications that somehow originated in the symposium in Novi Sad.
The network was intended to intensify the in¬ternational exchange of scholars and ad¬vanced students from different branches – history, political sciences, art history, media studies and literature, across borders between nation-states whose cultural politics were often antagonistic toward each other. The mem¬bers of the network shared a common in¬terest in the diverse transnational and na¬tional memory cultures of South-Eastern Europe, their interference as well as their rivalry. The network, which met annually at workshops and summer schools in Ljubljana (2010), Belgrade (2011), Split (2012) and Sarajevo (2013), published its proceedings in four anthologies: Balkan Memories: Media Constructions of National and Transnational History (2012), ‚Brüderlichkeit‘ und ‚Bruderzwist‘. Mediale Inszenierungen des Aufbaus und des Niedergangs politischer Gemeinschaften in Ost- und Südosteuropa (2014), Europe and the Balkans: Decades of 'Europeanization'? (2015) and Cultures of Economy in South-East Europe: Spotlights and Perspectives (2019).
The workshop in Novi Sad in 2011, where the renowned Serbian writers Dragan Velikić and Sreten Ugričić, as well as the filmmaker Želimir Žilnik, presented their recent work, was attended by around 70 participants who presented their papers in three panels. The first panel, Commemorating the World Wars and the Shoa, dealt with memories of the wars in the Balkans, especially of the First and Second World Wars as well as of the Yugoslavia succession wars of the 1990s. The authors revealed how the media proposed analogies between different kinds of war, as if the same opponents were fatally involved in a perennial conflict lasting for centuries. The second panel, Brotherhood and Unity – Remembrance and Oblivion, investigated how it was possible for the nations in Tito's Yugoslavia to live peacefully together for more than forty years after the Second World War. Integrative and centripetal strategies were discussed in order to gain insights into the question of how the multi-ethnic state was perceived within a country and abroad. The third panel was dedicated to Memory Cultures of Regions and Minorities; it focused on small nations and on specific regions, such as the Serbian province of Vojvodina, where numerous minorities lived and still live.
Based on this ambitious program, an extensive volume of collected essays was planned to be published in collaboration with Miranda Jakiša (University of Vienna), but for various reasons it could not be realized. In the end it turned out that it was not possible to link the various disciplinary cultures into a publication; the symposium in Novi Sad, in the breadth of interests it enthusiastically brought together, proved to have been a unique and somehow utopian event linked to a certain moment in the history of research. While several authors have already published their contributions in other contexts, we want to document the remaining contributions in this small, belated volume. Thereby, we fulfill our commitment to the authors who faithfully entrusted us with their texts, but also to the DAAD, which funded this publication. The encounter in Novi Sad perhaps can also be understood as a rare moment of difficult Euro-optimism before a period of disillusion and skepticism. Therefore, we reprint the program of the symposium after this introduction. The collected papers in this volume might as well be an encouragement for readers also to study other publications that somehow originated in the symposium in Novi Sad.
in: "Shifting Borders: theory and Identity in French Literature", ed. by Emily Butterworth and Kathryn Robson (Oxford: Peter Lang, 2001)
Ljubavni romani i feministički eskapizam: da li je bijeg mogućnost slobode?
Andrea Lešić-Thomas Odsjek za komparativnu književnost i bibliotekarstvo, Filozofski fakultet Uni... more Andrea Lešić-Thomas Odsjek za komparativnu književnost i bibliotekarstvo, Filozofski fakultet Univerziteta u Sarajevu KAFKA U JAPANU, SVEMIRSKI BRODOVI I KOGNITIVNA POETIKA: IMPLIKACIJE ZA INTERKUTURALNO RAZUMIJEVANJE APSTRAKT Ovaj rad istražuje sličnosti koje postoje između kognitivnih teškoća, suptilnosti i zadovoljstava koje se pojavljuju kako pri snalaženju čitalaca u kompleksnim fiktivnim svjetovima tako i pri orijentisanju pripadnika jedne kulture u drugosti strane kuture. Književni tekstovi koji služe kao ilustracija su naučno-fantastični romani Harukija Murakamija and Iaina M. Banksa. Ključne reči: kognitivna poetika, međukulturna komunikacija, fiktivni svjetovi. Objavljeno u: Peti međunarodni interdisciplinarni simpozijum "Susret kultura", Zbornik radova, knj.2, (Novi Sad: Univerzitet u Novom Sadu, Filozofski fakultet, 2010), str. 1217-1223. Kognitivna poetika, kao interdisciplinarna pod-disciplina kognitivne nauke, počiva na pretpostavci da je ljudska sposobnost razumijevanja literarne fikcije nastavak i specijalna primjena naših opštih kognitivnih sposobnosti (Stockwell 2002, Tsur 2008). Međutim, po nekim kognitivistima, ovo je zapravo blaža verzija mnogo spektakularnije tvrdnje, one po kojoj naša sposobnost stvaranja i razumijevanja fiktivne priče zapravo najdirektnije počiva na osnovnim principima ljudske spoznaje. Odnosno, ne samo da mi fiktivni svijet razumijevamo istom vrstom logike kao i empirijski svijet, nego i da naše razumijevanje empirijskog svijeta i aktivnost u njemu leže na kognitivnim postavkama koje smo navikli da smatramo prvenstveno književnim. Iako ne postoji neki poseban koncenzus oko toga koji tačno književni postupak leži u pozadini naših spoznajnih mogućnosti (mada su glavni kanditati koji se spominju -nije teško pogoditi -priča i metafora), teorija koja će meni poslužiti u ovom radu je ona Marka Turnera (1996) da cjelokupna ljudska spoznaja počiva na osnovnim literarnim principima priče i parabole (kao rezultata projekcije priče na priču). Ono što uz pomoć nekih osnovnih kognitivno-poetičkih ideja želim pokazati je da razumijevanje književnog teksta, odnosno kompleksni i nimalo lak proces čitaočevog razumijevanja fiktivnog svijeta, može poslužiti kao model susreta pripadnika jedne kulture sa nekom drugom, stranom kulturom. Baš kao što je proces
This paper will explore the possibilities of using the insights of cognitive poetics in the study... more This paper will explore the possibilities of using the insights of cognitive poetics in the study of literary memory texts, and, from there, in the study of the formation and regulation of cultural memory. Its theoretical underpinning will be the argument of some of the cognitive scientists (Hernadi, Turner, Fauconnier, and Zeki) that literature offers a unique insight into human cognitive processes, and I shall attempt to show that this notion can be successfully carried over into memory studies. Defining memory not as a reliable mental record of past events, but as a process of meaningcreation which is highly context-dependent, goal-oriented and, in many cases, and preferably, future-oriented, I shall argue that the problems of memory start when it falls prey to rigid patterns of cultural stereotype and cliché, which restrict its ability to produce new meanings and adapt to new contextual circumstances. In addition to this, the conceptual tropes we use for imagining and regulating memory processes within our culture could greatly influence the levels of flexibility and inclusiveness of meaning and identity generated by such memory processes. By analysing Nenad Veličković's novel Konačari, I shall aim to show how the successful (i. e., flexible and context-aware) coding of memory can be seen as following the logic of conceptual tropes, allowing for the possibility of greater semantic flexibility and openness by creating moments of distortion, disruption, displacement and give.
Objavljeno u: Bisera Alikadić, Odmotavanje do kalema: izabrane pjesme (Sarajevo: Dobra knjiga, 20... more Objavljeno u: Bisera Alikadić, Odmotavanje do kalema: izabrane pjesme (Sarajevo: Dobra knjiga, 2015), str. 221-232. Andrea Lešić Poezija kao afrodizijak za život Moj pisaći sto već krase naočari Gledam ih kao blistav predmet Od stakla. Simetrija i dobro odabrani okviri. Gledam ih kao da ih nisu donijele Godine kroz čije su ruke proticale Zmije i škorpije. Gledam ih kao da ih je donio Anđeo ljubavi, Na jedno dobroćudno lice, Na jedno srce-staro saće U kome još uvijek ima slatkoće Nade, mogućnosti izbora. Blistaju stakla u paru. Spokojno ih stavljam na lice. Dobro me služe. Zapisujem: Predmet je povod, a ostalo je Naša zamisao. ("Mala noćna optika", 1986)
Articles in journals by Andrea Lešić-Thomas
Novi Izraz, 2020
Kraj svijeta, pandemije, distopije i utopije: romaneskna trilogija MaddAddam Margaret Atwood Fabu... more Kraj svijeta, pandemije, distopije i utopije: romaneskna trilogija MaddAddam Margaret Atwood Fabula zaraze vodi ka narativnoj iscrpljenosti. Za razliku od nuklearne apokalipse, koja ima definitivan početak (nulti čas, sudbonosno pritiskanje dugmeta) i definitivni kraj (svi su arsenali iskorišteni), teoretski gledano, zarazna se bolest može nastavljati beskonačno. 1 Ali svačiji su raditelji stalno jadikovali zbog takvih stvari. Sjećaš se kad se svuda moglo ići autom? Sjećaš se kad su svi ţivjeli u plebzemlju? Sjećaš se kad se moglo letjeti svuda u svijetu, bez straha? Sjećaš se lanaca brze hrane, sjećaš se tezgi za hotdog? Sjećaš se kad New York još nije bio Novi New York? Sjećaš se kad je imalo smisla da glasamo? Sve su to bile standardne teme za lutkarsku predstavu u školskoj kantini. O, kako je sve bilo divno nekad. Šmrc šmrc. 2 Roman Margaret Atwood The Year of the Flood (2009; Godina potopa) bio je povodom jedne od najzabavnijih (i, ispostavlja se u zadnjih nekoliko godina, najaktualnijih) rasprava o ulozi i prirodi naučne fantastike u zadnjih par decenija. Taj je Atwoodin roman drugi dio trilogije koja je započela romanom Oryx and Crake (Gazela i Kosac), izdatim 2003., i završila se (i pri tome dobila svoj krovni naslov, koji se poklapa sa naslovom trećeg romana) sa MaddAddam (2013); Ludi Adam je naslov romana u prijevodu na hrvatski jezik 3 moram reći da mi nije jasno zašto u prijevodu naslova nije reproducirana jezička igra iz izvornika, koja bi naslov prijevoda romana pretvorila u izuzetno zadovoljavajuće LuddiAddam, čak i ako bi se izgubio izvorni palindrom). Sva tri romana vaţna su u ovom trenutku globalne pandemije, klimatskih promjena i ekonomske katastrofe i zbog tematike koju obraĎuju, i zbog alternativnih svjetova koje zamišljaju, i zbog prirode ţanra kojem pripadaju i njegovog odnosa prema onoj percepciji stvarnosti oko čije validnosti postoji neka vrsta društvenog konsenzusa. Počet ću upravo od ovog zadnjeg, i od rasprave koja je za Margaret Atwood 1 Elana Gomel, 'The Plague of Utopias: Pestilence and the Apocalyptic Body', Twentieth Century Literature, 46 (2000), 405-433., str. 409.. Svi prijevodi citiranih tekstova su moji. 2 Margaret Atwood, Oryx and Crake (London: Hachette Digital, 2009), EPUB. Ch. 4, "Hammer". 3 Sva tri prijevoda čije naslove navodim je objavilo 'Lumen izdavaštvo' iz Zagreba; Gazela i Kosac je u prijevodu Marka Marasa izdat 2015., Godina potopa u prijevodu Mate Marasa 2016., i Ludi Adam u prijevodu Katarine PenĎer 2017. godine. Ja ću se, meĎutim, u ovom radu koristiti izvornicima ova tri romana, u njihovim e-izdanjima: Oryx and Crake, London: Hachette Digital, 2009; The Year of the Flood, London: Hachette Digital, 2010.; MaddAddam, London: Virago, 2013. godine; sve tri knjige su u EPUB formatu.
Novi Izraz, 2018
U svetu palanke, vaţnije je dobro se drţati ustaljenog običaja nego biti ličnost. Sve što je pret... more U svetu palanke, vaţnije je dobro se drţati ustaljenog običaja nego biti ličnost. Sve što je preteţno lično, individualno (ma u kom pravcu) nepoţeljno je pre svega zato što je obećanje "sveta", kao čiste negacije palanke, dakle obećanje stilske polivalencije, a ova polivalencija je, za palanački duh, čisto otelotvorenje kakofonije, muzika samog pakla. Radomir Konstantinović, Filosofija palanke, str. 7. Before drifting away entirely, he found himself reflectingnot for the first timeon the peculiarity of adults. They took laxatives, liquor, or sleeping pills to drive away their terrors so that sleep would come, and their terrors were so tame and domestic the job, the money, what the teacher will think if I can't get Jennie nicer clothes, does my wife still love me, who are my friends. They are pallid compared to the fears every child lies cheek and jowl with in his dark bed [...] There is no group therapy or psychiatry or community social services for the child who must cope with the thing under the bed or in the cellar every night, the thing which leers and capers and threatens just beyond the point where vision will reach. The same lonely battle must be fought night after night and the only cure is the eventual ossification of the imaginary faculties, and this is called adulthood. Stephen King, 'Salem's Lot, poglavlje X Problem knjiţevne vrijednosti je u dvadesetom vijeku bilo pitanje kojim se primarno bavila anglo-saksonska Nova kritika; svi drugi pristupi knjiţevnosti, naročito oni formalističko-strukturalistički, koji su najviše traga ostavili na našoj, regionalnoj, nauci o knjiţevnosti, zastupali su gledište da je pitanje vrijednosti knjiţevnog djela pitanje koje svaka epoha, knjiţevni pokret ili interpretativna zajednica rješava za sebe, često iz razloga ne u potpunosti knjiţevne prirode, 1 i da, kako je rekao Svetozar Petrović, problem "nije samo u tome što ne postoji objektivan kriterij kojim bismo vrednovali razlike u ukusu; problem je najviše u tome što ne moţemo zamisliti egzaktan postupak kojim bismo objektivno i pouzdano dokazali makar vrijednost onih sudova koji nam se čine toliko nesumnjivima da smo svaki ukus koji ih ne prihvaća pripravni otkloniti kao loš." 2 Petrović u svojoj knjizi Priroda kritike, čiji se prvi dio "Kritika i djelo" uglavnom bavi kritikom unutrašnjeg pristupa i 1 Northrop Frye je vrlo zabavno pisao o tome kako je moguće naizmjence hvaliti i kuditi Shakespearea, Shelleya i Miltona, i pri tome raznoliko zamišljati njihov meĎusobni odnos i uporedne vrijednosti, zahvaljujući primjeni različitih kriterija vrednovanja. (Frye, Northrop, Anatomy of Criticism, London: Penguin Books, 1957, str. 23-24.) 2 Petrović, Svetozar, Priroda kritike, Zagreb: Liber, 1972, str. 116-117. Northrop Frye je pitanje vrijednosti knjiţevnog djela uglavnom i zatvorio jednostavnim rješenjem: kritičar koji paţljivo čita, nakon nekog vremena će otkriti da je Milton sugestivniji i zahvalniji pisac za analizu od Blackmorea; što je toga više svjestan, manje će osjećati potrebu da to dokazuje. (Frye, Op. cit., str. 25.)
Novi Izraz
Balkan u očima knjiţevne teoretičarke Objavljeno u: Novi Izraz, 65/66, 2016, str. 84-92.
Sarajevske sveske
U bilješci iz Rovinja, septembra 1963.-e godine, a citiranoj u knjizi Beket prijatelj, Radomir Ko... more U bilješci iz Rovinja, septembra 1963.-e godine, a citiranoj u knjizi Beket prijatelj, Radomir Konstantinović zapisuje: