Suchergebnisse

Written in the second half of the 18th century in the Ottoman Turkish language the Chronicle of Mullā Muṣṭafā Basheskī discusses ideological references about hetero-images in regard to post-structuralist imagology. Considering the hypothesis that the image of the other is always culturally conditioned, the members of other religions are researched through the analysis (Bosnian Catholics, Orthodox and Jews), military and political enemies of the Ottoman Empire (Austrians, Russians, Montenegrins) and non-Bosnians (Turks and Arabs). To be more precise, the way in which the chronicler creates the image of the members of other religions always depends on the fact whether they are neighbors i.e. people who live nearby and share living space or the members of other religions living across the Empire's border. Basheskī's descriptions, characterizations, as well as his comments of the ''inner others'', are never primarily directed at the religious identity of the mentioned ones; those characterizations, however, either affirmative or negative, are always ad hominem oriented and related to real people. Nevertheless, as regards to the imagery point of view, those characterizations go beyond the notion of religion, being general and universal. Accordingly, such perception is related to chronicler's cosmopolitan interpretation of the original rules of Islam, as well as to his affinity towards Sufi mysticism. As a result, imagery point of view of Sarajevo in the Chronicle does not function on the profane-descriptive, but on the ethical grounds, thus connecting empirical, concrete and metaphysical. However, as regards to the ''external others'', the lack of information and affective relation towards the real danger, resulted in predominance of mythological conceptions and stereotypes even in Basheskī's Chronicle.

How to read Hasan or the resurrection of a contingent apparition of real readersA fragment from the novel Death and the Dervish, the famous monologue by Hasan about the Bosniak identity, to which this review is dedicated, is exceptionally appropriate for an interpretative manipulation. We have approached it from two different methodological starting points. The first reading (the inner approach) attempts to shed light on the aesthetic efficiency of Hasan's soliloquy in the context of the structure/totality of the novel. The second starting point (the outer approach) is reading the monologue as an auto-imagological, politically instrumentalized discourse. The text should also be understood as an implicit answer to the question of whether it is possible to plausibly combine these approaches despite the incompatibility of the analytical points, while considering the fact that the compatibility of the writer's and reader's worldview is not a necessary prerequisite for aesthetic communication. Jak czytać Hasana albo zmartwychwstanie przypadkowego widma rzeczywistych czytelnikówFragment powieści Derwisz i śmierć M. Selimovicia, słynny monolog Hasana na temat bośniackiej tożsamości, któremu poświęcono niniejszy artykuł, jest wyjątkowo podatny na manipulacje interpretacyjne. W tekście dokonano jego analizy, obierając dwa różne metodologiczne punkty wyjścia. Pierwszy typ lektury (podejście wewnętrzne) jest próbą rzucenia światła na estetyczną skuteczność soliloqium Hasana w kontekście struktury całości powieści. Drugi punkt wyjścia (podejście zewnętrzne) to odczytanie monologu jako autoimagologicznego, politycznie zinstrumentalizowanego dyskursu. Celem tekstu jest także (implicit) próba odpowiedzi na pytanie, czy – mimo niezgodności punktów analitycznych – możliwe jest wiarygodne połączenie tych dwóch podejść, biorąc pod uwagę fakt, że zgodność poglądów pisarza i czytelnika nie jest koniecznym warunkiem wstępnym komunikacji estetycznej.