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THE REPUBLIC OF SRPSKA
Book 12
academician Radovan Vukovi
EDITOR IN CHIEF
Academician Rajko Kuzmanovi
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,
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15
AT THE SCIENTIFIC CONFERENCE
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„
”, ,
, 8. 9. 2011. , -
-
.
120- ,
2012. .
The papers in the Proceedings were presented at the Scientific
Conference
„Andric between East and West”, held in Banja Luka, on 8 and 9
December 2011
in the organization of the Republic of Srpska Academy of Sciences
and Arts. The
conference was organized on the occasion of the fiftieth
anniversary of the award
of the Nobel Prize for literature and also dedicated to the
hundredth anniversary of
publishing Andric’s first poem in Bosnian Fairy and 120
th
anniversary of Andric’s
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-
.
, , ,
.
, ,
.
.
!
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Ladies and gentlemen,
In organizing the Scientific Conference „Andric between the East
and
the West”, the Republic of Srpska Academy of Sciences and Arts
wishes to
make its contribution to celebrating of the 50 th
anniversary of the Nobel
prize award, and at the same time, of the 100 th
anniversary of publishing
Andric’s first poem in „Bosanska vila” (Bosnian Fairy). In the next
year,
2012, we will celebrate 120th anniversary of Ivo Andric’s
birth, when the proceedings will be published of your papers
presented by you in this con-
ference today and tomorrow.
Many years have passed since Andric wrote his works, but the
more
the years go by, the clearer it becomes, not only here but in the
rest of the
world too, that his work, that you will present today and tomorrow
in this
conference, is a living reality, which always represents a new
challenge for
discovering unrevealed secrets of the sense of human
existence.
No matter how much Andric’s work is read, it is never read
enough
and always when we come back to it, gives us new knowledge both
about the world of which we are a part and about ourselves.
The magnitude of the work left by this writer is also measured by
the
time during which it has continued to live. It has been reaffirmed
again and
again that Andric’s work not only continues to live, but remains a
work of
art of timeless value.
The name of today’s conference – „Andric between the East and
the
West” metaphorically indicates the very essence of Andric’s work.
At the
same time, it reveals the central point of his narration and his
deliberationabout the past and the present of this – why not say it
– unfortunate part of
Europe, which has seen the clash between the East and the West,
which con-
tinues to the present days, and which, by all tokens, will persist
for many
years to come.
While the great names of writers from South-Slav areas managed
to
bring Europe closer to us, Andric brought us closer to
Europe. He revealed
the secrets of life of people from Bosnia, their pains and
suffering, portray-
ing deep mutual mistrust between peoples, and even the latent
hatred be-
tween the masters and the enslaved, between the religions, customs
and cal- endars. Andric unveiled the truth that peoples in this
region had lived in fear
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18
of each other for centuries. He described how these three separate
fears
merged into one creating the sense of general insecurity. This can
be seen
even today.
Andric is not only our writer, he is an artist of the whole world.
It is
just that his work happened to take place in our area.
However, there are those in BiH, who, before the evil that struck
us at the end of the last centu-
ry, wrote that he had caused more harm to one people in Bosnia than
all the
wars that had ravaged this country. The fact that such horrible and
untrue
words can appear is another testimony of what Andric wrote:
„Everything is
possible in Bosnia” and „When the Drina is crossed, on the
way from Ser-
bia, begins Bosnia and ends all logic.”
Ladies and gentlemen,
Let me say at the end that in the past ten years a number of
scientific conferences have been organized by the Academy on our
great, Serbian men
– Kocic, Copic, Tesla, Milankovic, Pupin and others. A few
days ago we
held a round table dedicated to our language and alphabet. Today’s
confer-
ence is closely connected with it. They both confirm how necessary
it is for
our Academy to approach these issues of our culture in a most
serious way.
Let me add to it the most critical need to address our history. A
new histori-
ography is being created in Bosnia and Herzegovina, which, unless
we op-
pose it with the force of arguments and the truth, its
creators will begin to
believe in. We must prove that we do not resurrect myths,
that some try to malevolently impute to us, but that we offer the
truth and that we fight for it
with the force of arguments.
I would like to wish a lot of success to the participants of this
confer-
ence, in which I have no doubt.
Thank you!
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( ) -
.
-
. ,
, - ,
.
. -
20. .
Summar
Andri was skeptical about a possibility of conveying Eastern
spiritual values on the European land, but he appreciated the
achievements that the East had contributed to the world legacy. He
praised the architectural creations of the
Islamic East and was inspired with the technique of story-telling
of One Thousand and One Nights. That technique seemed to him the
most appropriate to portray the
life of Bosnia, where the Eastern and Western cultures clashed
creating an ambiance that was partly similar to the one in
bordering Eastern countries. Andri
referred to that bizarre world on the border of the East and the
West as the third world, and the destiny of the man in that area as
the Balkans fate. The most appropriate manner to narrate about such
a world was the one of an oral narrator or
that of One Thousand and One Nights. In that sort of spontaneous
narration Andri found his own narrative formula that was able to
convey his view of a versatile world on the border of the East and
the West.
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37
.
x Ponto
: -
-
, , .
„ ” , 19. , , „-
”, . : „ ”, ,
, , , , , , -
, , , .
„ ” – â -
, ,
– -
19. 20. .
, , ,
,1 , , , , , .
„ ” -
, -
.
1 Richard P. Blackmur, „Introduction to Henry James”, The Art
of the Novel
– Critical Prefaces, Charles Scribner’s Sons, New York
– London, 1950, p. XIX.
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.
Many human conflicts and misunderstandings have been depicted
in
Andri’s novels both tragically and sometimes comically, as
spiritual and lifeabysses dividing the people who belong to
different cultures. That subject-matter is
in the focus of narration of Bosnian Chronicle and is
reflected both in the mutual relations of the French and the
Austrian consuls, and in their relation toward the
Turkish viziers and their collaborators, as well as in different
reactions of the Muslim, orthodox, catholic and Jewish population
toward everything that happens around them during the tumultuous
years of the Napoleonic era and the First
9 , , , . 98. 10 , , , ,
, 2011, . 19. 11 , , , . 230.
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Serbian Uprising. In that picturesque panorama of conflicts of
political interests
along the borders of the East and the West, the main characters of
different provenances, including the lost Levantines, who are
nowhere „at home”, are frequently caught in the traps of their
immediate cultural and social milieus, in
which their deep personal dramas take place. However, some
characters from outside that circle, who do not live only for
themselves but for the others too, such as some orthodox priests,
Mrs. Davil, Salomon Atijas, fr. Luka, the healer, and the others,
prove that it is possible to transcend the borders dividing the
people
culturally, and that multiculturalism can be, even today, as it has
always been, a spiritual challenge, rather than just a misfortune
of human destiny.
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55
5 , , 1976, . 36. 6 , „ ”, ,
, – - , – – , 2008, .
260.
7 „Übrigens aber ist der Mensch ein dunkles Wesen, er weiss
nicht, woher er kommt, noch wohin er geht, er weiss wenig von der
Welt und am wenigsten von sich selber” (, . 29).
8 : - , „ ”, : , , , 1962, . 243– 265.
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. :
, ; .14
9 , , , 1984, . 98. 10
, . 99. 11 , . 58. 12 „La vérité en
toute chose étant extrêmement délicate et fugitive, ce n'est pas à
la
dialectique qu'il est donné de l'atteindre” (Ernest Renan,
Averroès et l'averroïsme. Essai
historique, Calmann-Lévy, Paris, 1922, . 323; , . 69). : , „ ( )”,
: , 29/2, 2000, . 259– 269. : .
13 „Es ist ein Tand und wird so durchgetandelt” (Gete,
„Iskonske orfike rei”; , . 30).
14 „Zart Gedicht, wie Regenbogen, / Wird nur auf dunklen Grund
gezogen; / Darum behagt dem Dichtergenie / Das Element der
Melancholie” (, „ ”; , . 45)
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59
„ , ”, „ , , ”,15 „ ”16 , , , - , , , , , , - , -
, , „ ”17 . ,
, - , , - , ,18 x Pont
:
, . , , , . : , - : . . , , . .19
15
Le Petit Robert , 1970, p. 1065.16 ,
. , , , , 2009.
17 Julia Kristeva, Soleil noir. Dépression et mélancolie,
Gallimard, Paris, 1987, p. 15. 18 „ , ’’ , .
, , - , , , . , ” ( , . 536). : „ . - . , . , ” (, .
403).
19 , Ex Ponto, , , , 1986, . 33.
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60
Ex Pont „ ” „ ”, „ ” „El
Descichado”, , , , „” .20 „ ” „ , , ”,21 „ -
, ”, „ ” „ ”.22
. 1 . , -
. , , , , , - , XVI , , , . -
1779 –1781, ,
, . , , 6. 1827.23
„ ” („Fiera malinconia”)24 ,
20
: Jelena Novakovi, „Ivo Andri etGérard de Ner val”, ,
XXIV, 1 – 2, 1997, . 19–32. :
. 21 Ex Ponto, , , . 15. 22 , .
25. 23 „ , ,
, , , , . , , : ” (, , , , 1970, . 455).
24 . , . 73.
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61
, -
. 1 „”, : „ ”.25 ,26 ,
; , „ ” („débauches de mélancolie”),27 ,
, „” - , „ ”;28 , ,
, , „ ”.29 XIX -, , „ ”, „” :
Oh! laissez-moi, sans trève, écouter ma blessure, Aimer mon mal, et
ne vouloir que lui. Celle en qui je croyais, celle qui m'était
sûre...
Laissez-moi! tout a fui.30 , „Laissez moi... écouter ma
blessure” („
... ”), . 1, : „-”, , - , „ ”, , „ ”31, .
25 „Ma nulla fa chi troppe cose pensa” (, . 74).
26 „, / ?” (Shakespeare, Cymbeline, IV,
II; , . 70). 27 , . 17. 28 „Cette affreuse
maladie de l’âme qui s’appelle l’absence” (Balzac, Lettres
à
l’Etrangère; , . 15). 29 „Van Gogh je znao za ’die
tätige Melancholie’ (aktivnu melanholiju)” (,
. 73. . . . 72). 30 Charles-Augustin de Sainte-Beuve,
Poésies complètes. Édition revue et augmen-
tée. Joseph Delorme. Les Consolations. Pensées d'août ,
Charpentier, Paris, 1869, p. 465. 31 , , , 1976, .
57.
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62
„ ” -, „ , , ...”.32 - : , ,
.33
-, - , , , , -
. -- , „” , - - . : „ ”, . , - , , , - , - - ,
. , , -
, II ,34 .35 ,
-
32 . , : „ ,
, , , , -
, , - ” ( , „ - ”, , , , 2008, . 84).
33 . , „ ”, -
, , , 2011, . 317– 326. 34 „ 416”. 35
, : „, ,
, . - ; - . , - :
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63
, , , , . , - , - Ex Pont , : „ , , ,
”.36
. , - , - ,
. , - , . , , , , , : , - „ ”.37 „-” -
. ,38 , , - , : „ . ”.39
” (Charles Pertusier, La Bosnie con- sidérée dans ses
rapports avec l'empire ottoman, Gosselin, Paris, 1832, p.
310).
36 Ex Ponto, , , . 65. 37 Julia Kristeva,
„Les Abîmes de l'âme. Propos recueillis par Dominique A. Gri-
soni”, Littérature et mélancolie. Magazine Littéraire,
Juillet-août 1987, No 144, p. 16. 38 : , „
”, , XXXI, 107/108, 1999, . 13–32. :
. 39 „Le spleen naît aussi bien du ciel bleu que du
ciel sombre. Mieux peut-être”
(V. Hugo, Journal de ce que j'apprends chaque jour ,
Flammarion, 1965, p. 92). II . : Jelena Novakovi,
„Victor Hugo dans les cahiers de notes d’Ivo Andri”, , XXIX,
2002/2, . 47–56. , : .
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64
„ ” („Infinite mar de meu de- se jo”), -
. 1, „ ”,40 , - .41 - , carpe diem, , . ,
. 1. -
. „Vita vinum est” („ ”), o,42 , , ,43 : „
( ) . , ”,44 . : „ , . , , - ”.45
„”
, , , : „ , - ”.46
40 , , , , 1967, . 192– 194. 41 „, ”,
, „ ’de piedra, de metal, de cosa
dura’ ( , , ), ” (, , , . 170).
42 , , 34.7; , . 61. (. . 82).
43 , . , , , 1976, . 15. . , „ ”,
, , , 1981, . 690.
44 „Il vino è il piu certo, e (senza paragone) il più efficace
consolatore. Dunque il vi- gore; dunque la natura” (, .
82)
45 „Il piacere del vino è misto di corporale e di
spirituale. Non è corporale semplice- mente. Anzi consiste
principalmente nello spirito” ().
46 , , , . 85.
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65
, „ - ” „ ”.47 - , , , - , . „ - ; ”,48
455.
, . , , , : „Quiquid erit superanda omnis
fortuna ferendo est” („ , - ”).49 „ , , ” „
”,50 51 , , 3. 1923, : „ .
, , - ”.52 , , „ ” - , „
47
, . 85. 48 „Peu de malheurs sont sans
ressource: le désespoir est plus trompeur que l’espérance” (, .
83).
49 Verg. Aen. 5.710; , . 83. „Durate, et vosmet rebus
servate secundis” („ ”), , - (, . 81).
50 , , , 1976, . 29. 51 : „ !”,
(, . 16), .
52 „Halten Sie immer an der Gegenwart fest. Jeder Zustand, ja
jeder Augenblick ist von unendlichem Werth, denn er ist der
Repräsentant einer ganzen Ewigkeit” (, . 29).
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66
”.53 , ,
, „ , , ”.54 , , , , „
”.55
. „ ,
”,56 - ( Là-bas), , , - : „ ”,57
. 1, . .
, - , „ ” -
„ ”, 58
, , „” , - .
, , ( ) , -
53 „ ’daβ der eigentliche Dichter die
Herrlichkeit der Welt in sich aufzunehmen berufen ist und deshalb
immer eher zu loben als zu tadeln geneigt sein wird’” (, .
39).
54 „Bisogna proporre un fine alla propria vita per vivere
felice” (Giacomo Leo pardi, Zibaldone di
pensieri; , . 49).
55 , . 165. : „ , . . ” (. 148).
56 „Vraiment quand je songe, la littérature n'a qu'une raison
d'être, sauver celui qui la fait du dégoût de vivre” (, .
46).
57 „On n’écrit guère que si l’on a une revanche à prendre sur
la vie (Louis Gillet za Bossuet)”. . , . 41.
58 , . 209.
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67
, , . , , , - - Problemata, . - .
- , „ ”. , - XVI ,
. , XIX , - - , 1789. 1848, , , , - , - . , . 1,
, - 1933. . - , , . , - - , „ ”;
- , - : „ ”,59 , - , . 1, , , , , „ ” , ,
.60
59 „Tout État, si j’ose le dire, est un vaisseau qui a ses
ancres au ciel” (Rivarol, emi- grant u Hamburgu; , .
63)
60 , . 27– 28.
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68
, , , - „ ” --
, . 1: „ , , , , .”61
- , , , - , ,
, . . 1 - . „ ”, „ ”, ,62 „ () ”,63 „ ” . , , ,
- . „ , ”,
, 64
: „ , , , - , , ”.65 , , , . , , ,
61 „Merkwüdig bleibt es immer dem Geschichtsforscher, daβ,
mag auch ein Land noch so oft von Feinden erobert, unterjocht, ja
vernichtet sein, sich doch ein gewisser Kern der Nation immer in
seinem Charakter erhält, und, ehe man sich’s versieht, eine alt
bekannte Volkserscheinung wieder auftritt” (Goethe,
Noten u. Abhandlungen; , . 33).
62 „La guerre, ce grand suicide, / Ce meurtre impie à mille
bras…” (, . 49). 63 „In Revolutionszeiten bleibt [uns] nur
die Wahl zwischen Töten u. Sterben”
(. , , 4. ; , . 31). 64 „Il n'y a pas de
gloire achevée, sans celle des armes” (, . 84).
65 „Ce que nous honorons du nom de la paix n'est proprement
qu'une courte trêve,
par laquelle le plus faible renonce à ses prétentions, justes
ou injustes, jusqu'à ce qu'il trouve l'occasion de les faire valoir
à main armée” (, . 84).
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69
. , . , , - , . - , - II : „ , : . .” , ,
.
1: „Pax non est privatio belli, sed virtus quod de fortitudine
animi oritur”(„ ”), ,66 - . : „Violenta nemo imperia
continuit diu, moderata durant” („ - , ”).67
, - ,
- .68 , , „- ” - , , - . , , :
,
. , .69
66 , . 70. 67 Seneca,
Troades 258 – 259; , . 70. 68
(„ 406”) : „
; .” 69 „Und wenn man auch den Tyrannen ersticht, / Ist
immer noch viel zu verlieren. /
Sie gönnten Cäsarn das Reich nicht / Und wuβten’s nicht zu
regieren” (, -
IV; , . 30– 31)
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70
, , . 1, : „ ”.70
, - . , -
, . , „ - ” , . , -
, - . ( - , , ), - , .
70 „Car il faut un grand esprit pour calculer ce qu'on doit
aux circonstances sans ble- sser les principes” (, . 75).
.
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71
, , , , 1976.
, , , , 1976. , , , , 1984. , , Ex Ponto, , , ,
1986. , , , , 2008. -
, , , 1981. ,
, , , 1970. , , , -
, – - , – – , 2008.
Kristeva, Julia, Soleil noir. Dépression et mélancolie, Gallimard,
Pa- ris, 1987.
Kristeva, Julia, „Les Abîmes de l'âme. Propos recueillis par Domi-
nique A. Grisoni”, Littérature et mélancolie. Magazine
Littéraire, Juillet- août 1987, No 144.
, , , -
– , , 2001., , , - , – , 2010.
Pertusier, Charles, La Bosnie considérée dans ses rapports
avec l'em-
pire ottoman, Gosselin, Paris, 1832. Renan, Ernest,
Averroès et l'averroïsme. Essai historique, Calmann-
-Lévy, Paris, 1922. Sainte-Beuve, Charles-Augustin de,
Poésies complètes. Édition revue
et augmentée. Joseph Delorme. Les Consolations. Pensées
d'août , Charpen- tier, Paris, 1869.
Schneider, Marcel, „Le Bouquet slovène”, La Table ronde,
Novembre 1953.
, , , , , 2011.
, 18/2001. , , . ,
, , , 2009.
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Résumé
Ivo Andri a lu les oeuvres de plusieurs auteurs européens, avant
tout français, mais aussi allemands, intaliens, anglais,
portugais, latins (Montaigne, Rivarol, Diderot, Vauvenargues,
Nerval, Sainte-Beuve, Flaubert, Renan, Huys- mans, Goethe, Heine,
H. Man, Tasso, Leopardi, Shakespeare, Spinoza, Camoens, Virgile,
Pétrone, etc.). Il a noté dans ses cahiers les fragments de ces
oeuvres, en les suivant parfois de ses commentaires.
Ce travail examine, d’après les notes dans Le Cahier No 1,
comment les fragments cités s’actualisent dans le contexte de la
création littéraire d’Ivo Andri lui-même, qui établit, par
l’intermédiaires de ces notes, une sorte de dialogue avec les
autres écrivains dont les pensées se présentent comme les reflets
de ses propres idées. Cet examen montre aussi comment Ivo Andri
s’inscrit dans la tradition littéraire européenne.
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:
-