Empfehlungen basierend auf "Bolla"

The novel Ruta Tannenbaum is by prolific, award-winning Croatian author Miljenko Jergović. First published in 2006, the story illuminates life and society in Yugoslavia between the world wars. The title character was inspired by real-life figure Lea Deutsch, the now-forgotten Shirley Temple of Yugoslavia, who was murdered in the Holocaust.Using their shared Jewish heritage as a starting point, Jergovic constructs a fictional family history populated by historical figures with the precocious Ruta at the center. Stephen Dickey’s translation masterfully captures Jergovic´’s colloquial yet deeply observed style, which animates the tangled and troubled history of persecution and war in Croatia.

Andreas Ban Is A Writer And A Psychologist, An Intellectual Proper, Full Of Empathy, But His World Has Been Falling Apart For Years. When He Retires With A Miserable Pension And Finds Out That He Is Ill, He Gains A New Perspective On The Debris Of His Life And The Lives Of His Friends. In Defying Illness And Old Age, Andreas Ban Is Cynical And Powerful, And In His Investigations Into His Own Past, He Learns Stories Told By The Disempowered, Hunted Down And Helpless, Stories That Uncompromisingly Lay Bare A Gamut Of Taboos. In Belladonna, Dasa Drndic Pushes To The Limit The Issues About Illness And The (im)possibility Of Living (and Dying) In Contemporary, Utterly Dehumanised World Where Old Age And Illness Are The Scarlet Letters Of Shame Thrown In The Face Of The Advertised Eternal Youth And Beauty. Belladonna Brings Together Fiction And Reality, And Andreas Ban Stands For A True Hero Of Our Times; He Is A Castaway Intellectual Of A Society Which Subdues Every Critical Thought Under The Disguise Of Political Correctness. Daša Drndić ; Translated From The Croatian By Celia Hawkesworth. First Published In The Croatian Language As Belladonna By Frakture, Zagreb, In 2015--title Page Verso. Translated From The Croatian.

A remarkable and bracing collection of “classic anti-war writing” (Richard Flanagan) from Croatian writer Miljenko Jergović, whose piercing prose recalls Kurt Vonnegut and Aleksander HemonMiljenko Jergović’s remarkable début collection of stories, Sarajevo Marlboro, earned him wide acclaim throughout Europe. In “melancholy, dreamlike” prose, the stories in Sarajevo Marlboro “recall Alan Lightman's Einstein's Dreams and Italo Calvino's Invisible Cities, but Jergovic’s book is the strongest of the three” (Maud Newton). Croatian by birth, Jergović spent his childhood in Sarajevo and chose to remain there throughout most of the war. These stories are distinctly of the material world, and they are shaped by Jergović’s deeply personal vision, subterranean humor, and a razor-sharp understanding of the fate of the city’s young Muslims, Croats, and Serbs – the minute details of their interior lives in the foreground, the killing zone in the background.

The immigration of Muslims to Europe and the integration of later generations presents many challenges to European societies. Unwanted builds on five years of ethnographic research with a group of fifty-five second-generation Muslim immigrant drug dealers in Frankfurt, Germany to examine the relationship between immigration, social exclusion, and the informal economy. Having spent countless hours with these young men, hanging out in the streets, in cafes or bars and at the local community center, Sandra Bucerius explores the intimate aspects of one of the most discriminated and excluded populations in Germany. Bucerius looks at how the young men negotiate their participation in the drug market while still trying to adhere to their cultural and religious obligations and how they struggle to find a place within German society. The young men considered their involvement in the drug trade a response to their exclusion at the same time that it provides a means of forging an identity and a place within German society. The insights into the lives, hopes, and dreams of these young men, who serve as an example for many Muslim and otherwise marginalized immigrant youth groups in Western countries, provides the context necessary to understand their actions while never obscuring the many contradictory facets of their lives.

From one of Bosnia's most prominent poets and writers: spare and haunting stories and poems that were written under the horrific circumstances of the recent war in Bosnia-Hercegovina. Semezdin Mehmedinovic remained a citizen of Sarajevo throughout the Serbian nationalists' siege and was active throughout the war in the city's resistance movement, as one of the editor's of the magazine Phantom of Liberty. Sarajevo Blues was originally published at the end of 1992 and was the first book in the Biblioteka "egzil-abc" series, published in Ljubljana, which provided a forum for Bosnian writers and translators under siege or living in exile. Semezdin Mehmedinovic says that "writing is, finally, quite a personal thing that doesn't make much sense unless you are practicing for the last word." For those Bosnians emerging from the siege or still in exile, these "last words" remain intimate possessions, one of the last bastions left against the commodification of tragedy.

"If the Balkans hadn't existed, they would have been invented" was the verdict of Count Hermann Keyserling in his famous 1928 publication, Europe. Over ten years ago, Maria Todorova traced the relationship between the reality and the invention. Based on a rich selection of travelogues, diplomatic accounts, academic surveys, journalism, and belles-lettres in many languages, Imagining the Balkans explored the ontology of the Balkans from the sixteenth century to the present day, uncovering the ways in which an insidious intellectual tradition was constructed, became mythologized, and is still being transmitted as discourse. Maria Todorova, who was raised in the Balkans, is in a unique position to bring both scholarship and sympathy to her subject, and in a new afterword she reflects on recent developments in the study of the Balkans and political developments on the ground since the publication of Imagining the Balkans. The afterword explores the controversy over Todorova's coining of the term Balkanism. With this work, Todorova offers a timely, updated, accessible study of how an innocent geographic appellation was transformed into one of the most powerful and widespread pejorative designations in modern history.

Mitrovic's volume fills the gap in Balkan history by presenting an in-depth look at Serbia and its role in WWI. The Serbian experience was in fact of major significance in this war. In the interlocking development of the wartime continent, Serbia's plight is part of a European jigsaw. Also, the First World War was crucial as a stage in the construction of Serbian national mythology in the twentieth century.

In the wake of devastating conflict in Bosnia-Herzegovina, the polarizing effects of everyday ethnic divisions, combined with hardened allegiances to ethnic nationalism and the rigid arrangements imposed in international peace-building agreements, have produced what Azra Hromadžić calls an "empty nation." Hromadžić explores the void created by unresolved tensions between mandated reunification initiatives and the segregation institutionalized by power-sharing democracy, and how these conditions are experienced by youths who have come of age in postconflict Bosnia-Herzegovina.Building on long-term ethnographic research at the first integrated school of Bosnia-Herzegovina, Citizens of an Empty Nation offers a ground-level view of how the processes of reunification play out at the Mostar Gymnasium. Hromadžić details the local effects of the tensions and contradictions inherent in the processes of postwar state-making, shedding light on the larger projects of humanitarian intervention, social cohesion, cross-ethnic negotiations, and citizenship. In this careful ethnography, the Mostar Gymnasium becomes a powerful symbol for the state's simultaneous segregation and integration as the school's shared halls, bathrooms, and computer labs foster dynamic spaces for a rich cross-ethnic citizenship—or else remain empty.

Muslim Lives in Eastern Europe examines how gender identities were reconfigured in a Bulgarian Muslim community following the demise of Communism and an influx of international aid from the Islamic world. Kristen Ghodsee conducted extensive ethnographic research among a small population of Pomaks, Slavic Muslims living in the remote mountains of southern Bulgaria. After Communism fell in 1989, Muslim minorities in Bulgaria sought to rediscover their faith after decades of state-imposed atheism. But instead of returning to their traditionally heterodox roots, isolated groups of Pomaks embraced a distinctly foreign type of Islam, which swept into their communities on the back of Saudi-financed international aid to Balkan Muslims, and which these Pomaks believe to be a more correct interpretation of their religion. Ghodsee explores how gender relations among the Pomaks had to be renegotiated after the collapse of both Communism and the region's state-subsidized lead and zinc mines. She shows how mosques have replaced the mines as the primary site for jobless and underemployed men to express their masculinity, and how Muslim women have encouraged this as a way to combat alcoholism and domestic violence. Ghodsee demonstrates how women's embrace of this new form of Islam has led them to adopt more conservative family roles, and how the Pomaks' new religion remains deeply influenced by Bulgaria's Marxist-Leninist legacy, with its calls for morality, social justice, and human solidarity.

With no less than two Golden Palms from Cannes and scores of other top awards, Bosnian-born Emir Kusturica is one of the most decorated and celebrated film directors in the world. Films such as Time of the Gypsies (1989) and Underground (1995) have captivated audiences with their extraordinary imagination, exuberant energy and challenging and often contentious subjectmatter. But Kusturica is also one of the most controversial directors working in cinema today. While many critics have praised his free-flying fantasy, others have found his films excessively exoticised and overdrawn. Some have publicly criticised his politics. He has an extensive international fan following who worship his work and think of him as a film-making genius, but there are also people who think of him as an opportunist. Dina Iordanova's study in the BFI World Directors series is a balanced examination of Kusturica's personality, films, artistry, and ideology. It acknowledges the contradictions but tries to understand and make them comprehensible to others. The text presents an overview of Kusturica's career from early films with their debt to Russian cinema and the Czech New Wave (Do you Remember Dolly Bell? 1981; When Father was Away on Business, 1985) to the most recent Black Cat White Cat (1998) and the 'rockumentary' Super 8 Story (2001). It pays tribute to his attractive and impressive aesthetics and investigates the particularities of his ideology. The author details Kusturica's artistic and personal roots dating back to socialist Sarejevo in the former Yugoslavia, examining the sources of his unique artistry, and the complex ideological and political issues that arise from their production and reception histories. Dina Iordanova's account presents a uniquely rounded view of this fascinating director showing how Kusturica's intensely held (though changing) Balkan affiliations lie at the root of a practice which has proved to be one of the latest and glorious flowerings of the European auteurist tradition.