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Copyright of PISMO: Journal for Linguistics & Literary Studies / Zeitschrift für Sprach- und Literaturwissenschaft is the property of Bosnian Philological Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Eco places The Name of the Rose in a period of great ideological and political turmoils and it is these turmoils that motivate and permeate the plot of the crime novel. The work itself cannot be classified as an average or ordinary crime novel, the plot of which is incessantly a subject to history. It, in fact, inevitably includes history and the crime novel is, at the same time, a historical, an allegorical but also a science-fiction novel. The four narrative flows – the crime novel, the historical novel, the allegorical, and science-fiction novel – are not juxtaposed: the story is set in the period of a historical crisis embodied in the psychologies and behaviours of certain characters, whereas, on the historical plane, there is a portrayal of great ideological contrasts. The task that I wish to undertake in the present research is to precisely define the features of different types of novels present in The Name of the Rose. [ABSTRACT FROM AUTHOR]

Copyright of Pregled is the property of University of Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Gadda's That Awful Mess on the Via Merulana, there is an essential aspiration for order, for a geometrical symmetry that is to contain a natural reality, whether historical or social. However, the reality has shifted in the process of irreversible degeneration from this sublime model of orderliness and the world has exploded in the labyrinth of chaos where individual entities no longer reflect their ideal forms. They have been deformed as a result of an inner monstrous degeneration, and that is the baroque found in them, as defined by the author. It is as if the novel at one point explodes into an infinite series of digressions that keep multiplying in various directions and make one forget about the main plotline thus making the structure of the novel open, leaving an impression that it could continue like that indefinitely It seems they are reduced to the impure matter that simply evokes disgust. The most prominent features of this novel comprise a vision of the world of chaos and labyrinths dividing the form of the novel and the way the reality is demystified by means of language.. This stems from the author's stance on the Italian reality after World War One, reigned by newcomers, the ambition for gaining wealth, the power of the ruling, hypocrisy, lies, egocentric exhibitionism, and bad taste. It is evident that the author is striving to, by means of using the 17th century model of realism, create a solid traditional novel which would clearly depict traditional ambience, its characters and their state of mind. However, at one point the novel explodes into an infinite series of digressions which brings to stage a reality of chaos. [ABSTRACT FROM AUTHOR]

One, No One and One Hundred Thousand is a continuation of The Late Mattia Pascal in the way that it also revolves around the central theme of Pirandello's vision--crisis of individual identity. The protagonist of the novel, Vitangello Moscarda, accidentally discovers that others have a different vision of him than the one he has created for himself. This strikes him deeply and a true obsession in him is born that uproots his life and makes him commit all kinds of nonsense. He realises that there are numerous 'Moscardas', each one being different, that come to life depending on the vision of numerous people around him, especially his wife. In that way, a terror arises in him defying the prison of 'form' into which others are forcing him but he also discovers that he is a 'nobody' to his own self as well, which further creates a disturbing sensation of absolute solitude. By means of his own insanity he is trying to rebel against the rigid system of social conventions but is defeated. Although he strived to destroy all the imposed forms, he is now to accept and suffer through the one cast upon him by the society, i.e. that of an adulterer, although he is innocent. It is in this very defeat that he finds a way to heal from the agitation that irked him. The original state of mind that he is a 'nobody' tormented him and fed in him a sense of grave solitude. Now, he readily accepts an alienation from his own self and irrevocably rejects any form of personal identity, even his own name, and willingly accepts the changeable flow of life to carry him, alternately dying and being born a blank slate and without reminiscence. He no longer fixates to a single form but identifies himself with all that is outside in a complete alienation from the society and the prison of form that it imposes. [ABSTRACT FROM AUTHOR]

Copyright of Pregled is the property of University of Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog Fakulteta u Sarajevu is the property of Faculty of Philosophy in Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

D'Annunzio's first novel, The Pleasure, is the clearest testimony of the poetics of aestheticism, there is a figure of an aesthete and in the centre of the novel, Andrea Sperelli, who is the author's doppelganger, and through whom he represents his crisis and discontent.The character of the aesthete, who is distancing himself from the primitiveness of the former bourgeois society to a diluted and sublime world of pure art, and whose mask d'Annunzio wears both in life and in art, reflects the ideological response about the Italian social relations of the period after the unification.Although it represents a period of crisis and the awareness about the lack of philosophy of aestheticism, The Pleasure does not indicate d'Annunzio's definite disassociation with the figure of the aesthete.immanent nationalism. [ABSTRACT FROM AUTHOR]

Copyright of Pregled is the property of University of Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of PISMO: Journal for Linguistics & Literary Studies / Zeitschrift für Sprach- und Literaturwissenschaft is the property of Bosnian Philological Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of PISMO: Journal for Linguistics & Literary Studies / Zeitschrift für Sprach- und Literaturwissenschaft is the property of Bosnian Philological Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pregled is the property of University of Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pregled is the property of University of Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objektiv fotoaparata, koji sredinom 19. stoljeća prijeti da će nadmašiti umijeće slikarstva, na početku nailazi na oštre kritike, koje ovu mehaničku umjetnost odbacuju pa nerijetko i ismijavaju. No već s početkom dvadesetih godina 20. stoljeća fotografija počinje svoje korijene puštati u štampanim medijima da bi krajem četrdesetih godina postala bitan medij povijesnog dokumenatiranja. A trideset godina kasnije, ona biva instrumentom razotkrivanja stvarnosti, pornografskim slikama, slikama krvoprolića šokira gledateljevo oko i aranžiranjem sprječava da ono misli van okvira. Na primjeru filma Blow-Up u ovom tekstu raspravljam o ulozi fotografa u aktu fotografiranja, o subjektivnom/objektivnom čitanju fotografije te o medijski-povijesno uvjetovanom pomjeranju opažanja. [ABSTRACT FROM AUTHOR]