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In memoriam

SERBIAN ACADEMY OF SCIENCES AND ARTS


INSTITUTE FOR BALKAN STUDIES
SPECIAL EDITIONS 110

THE POWER
OF LITERATURE
In memoriam

ANA RADIN

Editor
Mirjana Deteli

BELGRADE 2009



110

In memoriam

2009



, 35
http://www.balkaninstitut.com
E mail: balkinst@bi.sanu.ac.rs


(Karl Spitzweg), (1839)

ISBN 978-86-7179-067-3
CIP



(. 148011)

194619992009 . . . . . . . . . . . . . . . . . . . . . . . .

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Trivijalna i umetnka knjievnost razlike i slinosti, Umjetnost rijei XXIX/1,


Zagreb 1985, 712.
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, 21/3, 1986, 6067.

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Biderman 2004 H. Biderman: Renik simbola, Beograd.
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20002 . : ,
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1995 . : , .
2002 . : :
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1988 . :
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1966 . . : , : .
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- 1971 . -:
, .
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282.
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1927 . : , .
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Sneana Samardija
FOLKLORE STRUCTURE IN THE STORY
THE WIND BY LAZA LAZAREVI
Summary

This paper points to direct connections among this story, its oral variants, and
folklore prose genres (especially legends and believes), as well as short forms (pro
verb, saying, oath, curse). It is almost certain that Lazarevi was not using fixed and
published folk tales, but authentic stories, which were narrated in his childhood, or
possibly an everyday event. For present purposes, the collections of folk literature
cited here all include variants integrated in the speech and narrations of characters.
This paper analyzes functions of folk elements in new narrative context, and especi
ally their share in the making of the figure of narrator and of characteristics of the
heroes. The stress is especially on the differences between folklore forms and La
zarevis stylization (types of distance, functions and elements of legends, relations
God man, the idea of fairyland, dreams etc). The story, published only two years
before the authors death, shows power of tradition, connections between Lazarevi
and Serbian folklore, different artistic possibilities of destruction, and superstructure
of simple forms.

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2000 : , .
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2960.
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1999 . : ,
1, , 3639.

Dragana Vukievi
IN THE NARRATIVE RHYTHM OF JAKOV IGNJATOVI
S um m a r y
A dynamic rhythm of narration in the social novels of Jakov Ignjatovi got the
full attention of literary criticism, but the authors skills in managing it were judged
variously. For Jovan Skerli, namely, the telegraphic style of the author was an
example of a mad racing, breathlessness and shortstopping. Yet, in the opinion

50

of Milan Kaanin, the characters and the scenes come in succession with velocity
which, through the great richness of images, depicts the great pulse of life itself. In a
polemic style, this paper analyzes the semantic aspects of different narrative rhythms
(descriptive pauses, scenic rhythms, ellipses) and makes the connection between the
fabulatively strong or weak places and fast or slow narrative rhythms. An additio
nal attention is rendered to the introducing and dining scenes which are, in spite of the
ir schematic nature, recognized as developed sign systems, unavoidable in decoding
the values of a society at its deathbed.

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RS Rjenik simbola: mitovi, sni, obiaji, geste, oblici, likovi, boje, brojevi, priredili
Jean Chevalier Alain Gheerbrant, Zagreb 1983: Nakladni zavod Matice hrvat
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. , . . ,
. , 2001: Zepter Book World.
. . . . :
, [], 1970: .

Gmn 2003 Nil Gmn: rlin, preveo Drako Roganovi, Bgrd: Lgun.
1953 . :
, LXVI,

.
1991 : , ,
: .
1981

: , [],
: .
Novakovi 2006 Mirjana Novakovi: to je izgubljeno, Zemlja, april, Beograd,
9095.
ri-li 1990 Dubrvk ri-li: ri cittnsti, Zagreb: Grfiki zvd
Hrvtsk.
Ptrvi 2003 Ur Ptrvi: vn i zps u Zmlji Vuk, Bgrd: izdnj
utr.
Ptrvi 2004 Ur Ptrvi: Prie s one strane, Beograd: Paramecijum.
Ptrvi 2005 Ur Ptrvi: vn i zps u Zmlji Vuk, Bgrd: Laguna.
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, .
, ,
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, , .

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65

Ptrvi 2006 Ur Ptrvi: Zagonetne prie, knj. 2, Beograd: Laguna.


Ptrvi 2007 Ur Ptrvi: Zagonetne prie, knj. 3, Beograd: Laguna.
Ptrvi 2007 Ur Ptrvi: Peti leptir, Beograd: Laguna.
Popovi 2007 Tanja Popovi: Renik knjievnih termina, [Zabavna knjievnost],
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tlost.
1996 : , :
.
Todorov 1987 Cvetan Todorov: Uvod u fantastinu knjievnost, prevela Aleksandra
Mani-Mili, Beograd: Rad.
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predgovor Vlada Uroevi, Beograd: Nolit.
e 2002 eo e: , ,
: .
e 2003 eo e: ,
, : .
e 2003 eo e: , ,
: .
e 2005 eo e: / ,
, : .

Ljiljana Peikan Ljutanovi


THE FANTASTIC WORLD IN THE WORK OF URO PETROVI
BETWEEN THE HORROR AND THE HUMOUR
S u m m a r y
This paper is about the work of Uro Petrovi, a contemporary Serbian author.
It analyzes the ways it fits the fantastic literature understood as a complex generic system, its attitude towards conventions of entertaining genres horror, SF, ghost stories
and elements of humor and satire. By them, the fantastic is sporadically annihilated,
only to become an allegoric projection of the authors reality.
In the best works of this author the domain of fantasy becomes a space of fre
edom, and the transgression from the sphere of reality to the sphere of the irreal - its
main feature. The Petrovis narrative creates a complex citational dialogue not only
with the actual books, but also - and even more so with the generic conventions of
epic fantasy, SF, horrors, detective fiction, and then of the film, comics, and popular
computer games too. The communication Petrovi makes with his readers shows so
me elements of riddle making and a specific humoristic destruction of the riddle itself
which, form time to time, is transformed into a vivid, satiric image of our times and
characters.

66



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25 1853, . 12. 1927, . 39.
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78

Mirjana Deteli
THE IMAGE OF CITY IN THE NARRATIVE CONTEXT
OF A FAIRY TALE
S u m m a r y
The so-called double encoding (realistic and fantastic, rational and archetypal)
is very often in the oral literary genres, probably because of their sporadic need to re
establish their connection with the archetypal layers of traditional culture. This kind
of binary encoding is usually applied in succession, which means that both kinds of
encoding should never occur within one and the same text at the same time. The image
of city in fairy-tale is an exception, which is probably motivated by the needs of fairy
tale itself as an oral literary genre.

1985 . . : , IIII, :
.
1853 . : ,
, .
1870 . : ,
, , . . .
1988 . : ,

, : .
1989 :
,
, XLIV/9, 159168.
1992 : ,
, . DCXVI, . 46, :

& AIZ Dosije.


1996

: . ,
:
.
1986 : , .
1927 : , . 1,
XLI, .
Deteli, Ili 2006 Mirjana Deteli Marija Ili: Beli grad. Poreklo epske formule i
slovenskog toponima, Beograd: Balkanoloki institut SANU, Posebna izdanja 93.
Hamori 1971 Andras Hamori: An Allegory from the Arabian Nights: The City of
Brass, Bulletin of the School of Oriental and African Studies 34/1, University of
London, 919.

. ,

79

Tuczay 2005 Christa A. Tuczay: Motifs in The Arabian Nights and in Ancient and
Medieval European Literature: A Comparison, Folklore 2005/116, 272291.
Weber 1989 Edgar

Weber: La ville de cuivre, une ville dal-Andalus, Sharq Al-Anda


lus: Estudios mudejares y moriscos 6, 4381.
Weber 1981 Eugen Weber: Fairies and Hard Facts: The Reality od Folktales, Jour
nal of the History of Ideas 42/1, 93113.
Ziolkowski 1992 Jan M. Ziolkowski: A Fairy Tale from before Fairy Tales: Egbert
of Lieges De puella a lupellis eruata and the Medieval Background of Little
Red Riding Hood, Speculum 67/3, 549575.

80

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1971 : , , , :
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2007 : , : .
2001 : , : Book, .
Pike 1981 Burton Pike: The Image of the City in Modern Literature, Princeton, New
Jersey: Princeton University Press.
1985 : , :
.
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Seltzer 1992 Mark Seltzer, Bodies and Machine, New York and London: Rout
ledge.
1978 : , : .
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Slobodan Vladui
DEMONIC FEATURES OF A CITY IN THE UNFIINISHED NOVEL
IN VERSE OF BRANKO RADICEVIC
Summary
This text analyzes traces of the Devil in the city depicted in Bezimena
(Nameless), an unfinished novel in verse, written by Branko Radievi. The writer
sees the city as a space with big differences between phenomenon (appearance) and its
essence. This produces a background for the city onto which the figure of the Devil is
projected. One can identify his presence in the ironic urban language, the mob and the
urban fashion. It is important to notice that the traces of the Devil in Bezimena are
appearing as a result of the writers subtle polemical relation toward the ideas of the
Enlightenment. Therefore, the Devil doesnt emerge as an opponent of the Enlighten
ment. On the contrary, he emerges as the result of it.

92

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Character as literary figure, that is, an artistic product or artifice constructed by an
author for some purpose; character as non-actual but well-specified individual presu
med to exist in some hypothetical, fictional domain in other words, character as an
individual within a possible world; and character as text-based construct or mental
image in the readers mind (Marglin 2007: 66).
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ale role analysis shows how the ballad genre deals with basic kinds of human
interaction in its portrayal of personal and social relationships and its particular con
centration on the man-woman relationship, and analysis of the characters occupying
the tale roles illustrates how certain cultural concerns are transmitted within the genre
and the subgenres. These cultural concerns involve attitudes and values pertaining to
personal and social relationships. (Buchan 1982: 168169).
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, : Clio, 323366.
1994: 3738.
Gidens 2001: 69.
26
(Is There a Female Initiative in
Ballads? Womens Freedom of Choice Between Narrative and Traditional Roles)
38. (38th International Ballad
Conference), 28.0702.08.2008. , . ,
Kommission fr Volksdichtung SIEF School of Welsh, Cardiff University.
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, 44, , 171244.
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American Folklore 95/376, 159172.
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Kegan Paul.
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1347.
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gorica: Cid.

. , ?

111

Gofman 2000 Erving Gofman: Kako se predstavljamo u svakodnevnom ivotu, Pre


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Sonja Petrovi
IS THERE A FEMALE INITIATIVE IN BALLADS?
WOMENS FREEDOM OF CHOICE BETWEEN NARRATIVE
AND TRADITIONAL ROLES
S um m ar y
The paper examines how female characters express the freedom to choose a
husband in proposal models, and how is that expression conditioned by narrative or
tale roles, and genre conventions of Serbian and South Slavic folk ballads on the one
side, and traditional social roles on the other. Ballad heroines are predominantly stock
characters whose tale roles and attributes are determined by conventions of genre,
but they can be individuated in the process of characterization and while adjusting to
typical sets of functions in particular models. Tale roles are associated with traditional

112

roles, and social and cultural stereotypes and life scripts they reflect. Narrators views
on female traditional roles affect the way he shapes narrative models, and influences
his decision which tale roles will be assigned to character and what narrative perspec
tive will he assume. Several plot combinations of proposal model were analyzed in
respect to different typological criteria (stable and variable motifs and functions, type
of ending, active or passive behaviour of heroine in relation to suitor and members of
family, narrative perspective and assessment). Female initiative to choose desired sui
tor is granted in cases when girl employs traditionally and socially acceptable means
to declare her preference. However, meeting the requirements of family and obeying
customary norms do not ensure girls happiness. The interpretation of characters cho
ice and destiny, and analysis of the level of congruity of narrative and traditional role
can reveal the construction of the picture of the world and ways of challenging the
stability of traditional order in ballads.

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Oakes 2000 David A. Oakes: Science and Destabilisation in the Modern Ameri
can Gothic: Lovecraft, Matheson and King, Westport Connecticut London:
Greenwood Press.
2002 : .
, : Zepter Book World.
1982 : , : .
2005 : , : .
- 1989 -: ,
: .
1998 : , : . (
: , , , , ,
, , , ,
, , , , , .)
Radcliffe 2008 Ann, Radcliffe: The Italian, Oxford University Press, USA.
Radcliffe 2004 Ann Radcliffe: The Mysteries of Udolpho, Dover Publications.
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Vol. 1, 2, 3, Night Shade Books.
1987 : ,
, 11, : .
1985 : . , : .
Stoker 1988 Bram Stoker: Dracula, The Golden Heritage Series, Galley Press,
England.
Stoker 1966 Bram Stoker: Draculas Guest, London: Arrow Books.
1987 : ,
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2003 . . . : , , :
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132

1997 : , :
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The Complete Tales and Poems of Edgar Allan Poe, New York: Penguin Books,
1982.
The Dracula Book of Great Vampire Stories, edited by Leslie Shepard, New Yersey:
The Citadel Press, 1977. ( . .
, / The Room in the Tower, ,
/ Transfer , / Vampire)
The Encyclopedia of Fantasy, edited by John Clute and John Grant, London: Orbit,
1997.
The Vampire Omnibus, edited by Peter Haining, London: Bounty Books, 2003. (Hawt
horne, Julian, The Grave of Ethelind Fionguala, Cholmondeley, Mary, Let Loose,
Stenbock, Count Eric, A True Story of a Vampire, Monette, Paul, Nosferatu, Dum
as, Alexandre, Bocage, Paul, The Pale Lady)
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thek, Mary Shelley: Frankenstein), London: Penguin Books, 1968.
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the Subversion of Domestic Ideology, Baltimore, Maryland: University of Illinois
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Romanticism and Postmodernism, edited by Edward Larrissy, Oxford: Oxford
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Freud, Sigmund: The Uncanny, http://www.rohan.sdsu.edu/~amtower/uncanny.html
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pire in Myth and Literature, Ohio: Bowling Green State University Press.
Frye 1957 Northrop Frye: Anatomy of Criticism, Princeton, New Yersey: Princeton
University Press.
2005 . . . : , : .
1966 : , : .
2004 : , : .

Marija arovi
TYPES OF CHRONOTOP IN THE PROSE WORKS ON VAMPIRES
Summary
The subject of this paper is chronotop in the prose works on vampires as an
analytic dimension which enables a deeper insight in another, structural and semantic
characteristics of this prose. It starts with the notion of so called demonic chronotop,
which is the same as the Freudian term das Unheimliche. This supports the analysis of
the basic topoi of gothic novel and vampire story in the western literature on one side,

. ,

133

and stories of the Serbian realism and modernism on the other. The article aims at the
simultaneous changes in the making of the vampire in the time-space plane of the
literary works about the subject: alongside with the changes of chronotop, the place
and significance of the very persona of the vampire changed too.

134

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While not a true literary character until the advent of Continental and British romanticism,
the vampire is as old as human superstition itself. Virtually every culture in the world has at its
roots some folktales or legends relating to vampirism, and while the stories may differ in terms
of content, they concur on a basic definition of the vampire: a reanimated corpse or malevolent
spirit whose sole purpose is to destroy the living by absorbing the life force, whether it be in
the form of blood or of psychic energy, or perhaps both (Dictionary of Literary Themes and
Motifs, p. 1373). ,

: He is known everywhere that men have been. In old Greece, in old Rome; he
flourish in Germany all over, in France, in India, even in the Chernesese; and in China, so far
from us in all ways, there even he is, and the peoples fear him at this day. He have follow the
wake of the berserker Icelander, the devil-begotten Hun, the Slav, the Saxon, the Magyar
(Stoker, Dracula, 1978: 266)

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137

,
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(Dudley Wright, Vampires and Vampirism).
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Frost 1989.
2008: 110. ; , ,
XI ,
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,
Upir Ofeigr (, http://copy-www.novsu.ac.ru/chelo/9/sheberg/she
berg.htm).

: 20. , :
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2008.



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2003 . . : ,
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9-10.
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) , 144

223.
Dictionary of Literary Themes and Motifs 1988 Dictionary of Literary Themes
and Motifs: L-Z. Volume: 2. Ed. Jean-Charles Seigneuret, New York: Greenwood
Press.
2001 C : .
.. ,
. 8 ().
, 2006 . . , . . :
, . , ...
. ( 80-
. . ), 1. ().
Douguine 1992 Alexandre Douguine: Le complot ideologique du Cosmisme Rus
se, Poliotica hermetica 6, 8093.
1975 , I,
, : .
2008 : , , ,
, : .
1995 . . : -
( A..), 3.
1996 : , :
.
2003 . . : . .
, . 14/2.
Tartarin 1994 Robert Tartarin: Transfusion sanguine et immortalit chez Alexandr
Bogdanov, Droit et societ 28, 572.
Frost 1989 Brian J. Frost: The monster with a thousand faces: guises of the vampire
in myth and literature, Popular Press.

. , o

145

Huestis 2007 D. W. Huestis: Alexander Bogdanov: The Forgotten Pioneer of Blood


Transfusion, Transfusion Medicine Reviews 21/4, 337.
2008 : , :
.
:
http://copy-www.novsu.ac.ru/chelo/9/sheberg/sheberg.htm.

Bojan Jovi
A CLASS VAMPIRE ON MARS AN ACTUALIZATION OF
GENOLOGIC POTENTIALS OF MOTIF-COMPLEX OF VAMPIR(ISM)
S u m m a r y
The author points at the problematic idea about the actual age and mythologi
cal provenance of vampire motif, together with the lack of reliable sources that could
confirm its first appearances in antiquity and middle ages. As well as it could be a
personalized concretization of ancient and various traditions conceited in certain histo
rical moment(s), the vampire is certainly not present there from the very beginning of
human superstitions.
The second part of the article focuses on one of the earliest and most interesting
non-specific interpretation of the motif and subject of vampire, rendered by Alexander
Alexandrovic Bogdanov (.. , 18731928), in his literary as well as
in his esseyistic and theoretic works. The issue is about the main characteristics of
Bogdanovs concept of vampire which as a negative element of an overwhelming
philosophy of life incorporates individuals, classes, ideals, and institutions.

146

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1974:
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William Abraham (Bram) Stoker (1847
1912),
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(Dimitrie Bolintineanu, 1819 / 1825/1872),
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... quoniam punitio non refertur
primo & per se in correctionem & bonum eius qui punitur, sed in bonum publi
cum ut alij terreantur, & a malis committendis avocentur.11

, : XIII (Konrad von Mar
burg); XIV j (Nicholas Eymerich),
,
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(Pedro de Arbus),
, (Toms de Torquemada),
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II 1507.
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. (udr rghezi,
18801967)
oa-12
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-epe)
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hedru), 1967. (imul)13
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, (Vlad, fiul Dracului).14
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: Antologie de povestiri variate 1967: 174180.
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La mystique divina, naturelle, et diabolique (Paris, 1855)
,
.
,
(Peter Camerzind, 1904).

. ,

. , ,
rasmus Francisci Der Hllische Proteus, oder Tausendknstige Versteller, ver
mittelst Erzehlung der vielfltigen Bild-Verwechslungen Erscheinender Gespenster,
Werffender und poltrender Geister, gespenstischer Vorzeichen der Todes-Flle, Wie
auch Andrer abentheurlicher Hndel, arglistiger Possen, und seltsamer Aufzge die
ses verdammten Schauspielers, und, Von theils Gelehrten, fr den menschlichen Leb
ens-Geist irrig-angesehenen Betriegers, (nebenst vorberichtlichem Grund-Beweis der
Gewissheit, da es wrcklich Gespenster gebe) 2. Aufl., Nrnberg: Endter 1695.
19

160


.

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.
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.

Antologie de povestiri variate 1967 Antologie de povestiri variate, Bucureti: Editu


ra pentru literatur.
Beheim 1903 Beheim Michael: Von ainem wutrich der hiess Trakle Waida von der
Walachei, Michael Beheis Gedicht ber den Woiwoden Wlad II Drakul: mit histo
rischen und kritischen Erluterungen, editorul: Conduratu, Grigore C, Bukarest:
Leipziger Universittsverlag.
Cnturi romneti 1974 Cnturi romneti populari din evul mediu, Bucureti:
ditura Minerva.
Cnturi noui romneti 1973 Cnturi noui romneti din secolul al XIX-lea, Bucu
reti: Editura Minerva.
Dophin 1985 Dr. David Dophin: Werevolves and Vampires, Annual Meeting of
American Association for the Advancement of Science XXXIX, Washington, DC,
AAAS.
Eymerich 1578 Nicolas Eymerich: Directorivm Inqvisitorvm R. P. F. Nicolai Eymeri
ci, Ord. Prd. S. Theol. Mag. Inquisitoris hretic prauitatis in Regnis Regis Ara
gonum, Denvo Ex Collatione Plvrivm, exemplarium emendatum, et accessione
multarum literarum, Apostolicarum, officio Sanct Inquisitionis deseruientium,
locupletatum, Cvm Scholiis Sev Annotationibvs eruditissimis D. Francisci Pegn
Hispani, S. Theologi et Iuris Vtriusque Doctoris.
Accessit
rerum et verborum
multiplex et copiosissimus Index. Cum

Priulegio, et Superiorum approbatione, Li


ber III, Ithaka, NY, Cornell University Library Witschaft Collection, Division of
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Hughes 2000 William Hughes: Beyond Dracula, Palgrave.
Masters 1982 Anthony Masters: The National History of the Vampire, London: Pen
guin Books.
, 2006 , :
, : .
Melton 1991 J. Gordon Melton: The Vampire Book: Encyclopedia of the Undead,
Oxford: Oxford University Press.
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1996 : , :
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162

1995 : ,
27/97, , 407412.
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New York University Press.

Predrag Mutavdi
VLAD EPE DRACULA AND ROMANIANS
(A MOTIVE OF VAMPIRE IN LITERATURE)
S u mm a ry
Vampire myths go back thousands of years in time and occur in almost every
culture around the world. Their variety is almost endless: from red eyed monsters
with green or pink hair in China, to the Greek Lamia whose upper body parts are of
a woman and the lower of a winged serpent; from vampire foxes in Japan, to a head
with trailing entrails known as the Penanggalang in Malaysia. However, the vampires
we are familiar with today, although mutated by fiction and film, are largely based on
Eastern European vampire myths, originated in the Far East, which migrated from pla
ces like China, Tibet, and India with the trade caravans along the silk route to the Me
diterranean. Here they spread out along the Black Sea coast to Greece, the Balkans,
and the Carpathian mountains, including Hungary and Transylvania. The modern con
cept of the vampire still retains some threads (such as blood drinking, return from the
dead, preying on humans at night etc.) in common with the Eastern European myths.
However, many things we have by now become familiar with (the wearing of evening
clothes, capes with tall collars, turning into bats, and similar), are much more recent
inventions. On the other hand, many features of the old myths such as the placing
of millet or poppy seeds at the gravesite in order to keep the vampire occupied all
night counting seeds rather than preying on relatives have all but disappeared from
modern fiction and film.
In Romanian oral literature Vlad epe was depicted as a national hero who
was leading a successful national uprising of Romanians against the Turks as well as
other foreign invaders, especially the neighboring Hungarians. In modern times both
Romanian literature artists and historians themselves have been and still are ambiva
lent about Vlad. This duality of response is evident, for example, in the literature of
the second half of 19th century. On the one hand, a number of writers, swept up in the
fervor of a revolutionary movement that culminated in the formation of a Romanian
state in 1859, looked back to Vlad as a symbol of independence and nationhood (e.g.
Ion Budai-Deleanus epic poem Tiganiada, Dimitrie Bolintineanus poem Battles of
the Romanians, Mihai Eminescus historical ballad The Third Letter [1881] in which
he called upon The Impaler to come once again and save his country etc.).

. , 163
A different picture was also emerging at the same time. Thus, in 1874 Roma
nian poet Vasile Alecsandri wrote a narrative entitled Vlad epe and the Oak tree
which reprimands the harshness of Vlad, particularly with respect to the impalements
at Tirgoviste. However, the chief challenge to the Vlad as hero concept came from
renowned historian Ion Bogdan, whose treatise Vlad epe (1896) questioned the
traditional image of Vlad by presenting him as a bloodthirsty tyrant whose cruelty
could only be accounted for in terms of mental aberration, a sick man who killed and
tortured people out of sadistic pleasure. He even went so far as to depict Vlad as a
politically weak leader. Interest in Vlad epe among Romanian historians and fiction
writers continued throughout 20th century. Let us mention some of literary works,
such as the poem Voda-epe by Tudor Arghezi (1940), the short story Soimul by
Radu Teodoru (1967) and Georgina Viorica Rogoz novel Vlad, fiul Dracului (1970)
maintained the sympathetic image of the Wallachian voivode.
There is no doubt that interest in Vlad Dracula in the West is directly connec
ted with the popularity of Stokers novel (both the book itself and its offspring). Yet,
Vlad is much more than just the historical figure whose name was appropriated for the
worlds most famous literary vampire. He is a significant figure in Romanian history.
Though many Westerners are baffled that a man whose political and military career
was as steeped in blood as was that of Vlad Dracula, the fact remains that for many
Romanians he is an icon of heroism and national pride. It is this duality that is part of
his appeal.

II

Francisco Goya, Los Caprichos, no. 53: Que pico de Oro! 1799

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196

Biljana Sikimi
Vampire-killer from Novo Brdo: the policy
of transcription and interperfomativity
Summary
The analysis of the transcript of the conversation recorded in a Serbian Kosovo
enclave (2003) enabled the interpretation of participants accounts containing a demonological legend (narrative vs. memorate) together with its performative context.
From a pragmalinguistic point of view, several layers of inter- and extra-communicative systems of the narrative were detected. The roles of the persons accidentally present (audience), their influence on the performance and the references to the space as
an element of stage were also described.
In the first part of the analysis, the author uses the theoretical concepts developed by folklorists Lee Haring and Richard Bauman; after presenting the integral
transcript, the detailed re-construction of the traditional narrative on vampire from
Kosovo region is given, from the perspective of anthropological linguistics. The ethnographic context of the given accounts is compared with the existing classical
ethnographic data (vampire, vampire-killer, local ethnographic context).
The transcript of the polilogue recorded in 2003 in Novo Brdo, Kosovo,
revealed the ongoing process of fragmentation of collective mythology at a generation level: on the one hand, the vampire and the vampire-killer are part of the
personal mythological systems of the narrator and her grandson; on the other hand,
the narrators son and the researcher posses different knowledge. This knowledge
excludes the vampire from their positively existent, but individually shaped personal mythology.

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221

Svetlana irkovi
Strategies in oral narrative structuring:
posthumous life in religious context
Summary
Based on the transcribed interview from the Refugees Collective Centre in
Kaludjerica (outskirts of Belgrade), the paper investigates strategies for structuring of
the oral narrative. The female participant of older generation comes from the Metohija
region. The initial topic of conversation was her perception of life after death, but it
continued as retelling of a miraculous conversion into Orthodox Christianity. The
analysis applied combines discourse analysis and pragmalinguistics methods. Due to
the dominant monologue form of the narrative, differing from the usual dialogue-ori
ented fieldwork interviews, the paper stresses only the elements defining the structure
of the narrative and constructing its layers. The process of remembering reflected in
the indirect and direct speech is also analysed.
The author suggests that biographical and autobiographical stories retold in
refugee centres after critical period of time could undergo a specific clich procedure,
they might start to look like one another. In a Bachtinian sense, there are centripetal
forces that produce a specific melting pot thanks to the folklorization of massive life
stories and generalization of individual stories. Following this idea it is even possible
to establish one typology of refugee stories contents, or to define a new folklore genre
as a product of a new collective identity.

222

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: Cu Soimaele. Vorbea. S-aia ovako. Na mnoga sveta. Nu poa s... ea
cu ochii-nchisi vorbea: E-he-he-he-he-he, s v triasc cucunasi vostr, da bog da.
Las-l, bre, c n-a razumit, ze, n-a razumit, ze. M rog d voi, s v triasc
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nije razumeo, kae, nije razumeo, kae. molim vam se, ivela vam vaa deca. iveli
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. , :

243

Smiljana orevi
TRANSLATING FOLKLORE: ONE BAYASH LEGEND ABOUT
MILOS OBILI AND HIS STRENGHT
Summary
This paper is based on folklore material recorded during the field research in the
Bayash settlement of Plaane (East Serbia), carried out in 2005. After the introduction
remarks on Bayash ethnic identity problems, the author focuses on analyzing one of
the recorded texts a legend about Milo Obili and his (supernatural) strength.
Mentioned text was compared to variants (South Slav, Vlach, and Albanian)
from available written sources. Putted in described contextual frame, Bayash legend
shows some important differences (the hero gets strength by fairies magic breadth,
instead of expected sucking their milk). This minimal variation changes semantic
potential of the folklore text, and shows important distinctivnesses of the Bayash
demonological system.
It is pointed out the importance of comparative method in researching Bayash
folklore, especially the parallels between neighbouring traditions (in this case South
Slav, and Vlach).

244

Annemarie Sorescu-
,

:

1
:




.
, ,
,
.

, ,
,
, .
,
:
,
, , .
: , , ,

-
:
, , (20062008),2
( 2008).


, 148011
.
2

2000. ,
. . irko
vi 2007, 2008, /- 2008, Ai/Stanojevi
2008.
1

246

, ,
, .3
,
,4
,
. ,
:
.

, , ,
, .5

, ,
, : ,
, .


- , :
,

(Sikimi 2005a: 262).
, ,
.6
,

,
, 1731.
2008. .
, , ,
, ,
.
4
, ,
(
. Sorescu Marinkovi 2006).
5


, , , ,
,
( 2006).
6
, ,
,
,
(Sikimi 2005b: 388).
3

A. sorescu-a, a

247

.
(
),

,
.

.
, ,
,
.
( , , ),
,
,
,
,
( 2001: 8082).
,
,

.
, , ,
( 2004: 614).
,
: , ,
. ( 2007: 132133). ,
/ ,
, , (idem).
,
/
/ ( 19942: 292298).
( ),
( ), , (),
( ), ( ), (
, 2008: 273).
( ), ,
(idem: 275). ,
, .
, ,
, , , (idem:
276277).

248

,
.
, .
, ,
(// 19982: 387).
64
( 2007: 515528),
, , , , ,
.

samodiva
(Eretescu 1976: 125),
(Srbtori i obiceiuri I
2001, Srbtori i obiceiuri III 2003),
(Brill 2006).
(Rosetti 1975: 118, Talo 2001: 132),
. ,
: 1.
. 2. . 3. . 4. , ,
, (DAR 2002).
, ,
samodiva, Sila Samodiva Salea Samodiva :
() ,
, ,

, (Pamfile 2006a: 725).
samodiva ,
.
,
, (ursitoare), . urmtoarea
( , [. curm] ),
. ,
.
(Zna btrn [ ], Strig moartea la fereastr [
], Petrecerea mortului [ ]),
. samodiva, Gia Samogia, Giva.
. ,
-, . samogia, samogiva,

A. sorescu-a, a

249

. , , ,
:
Ana ajungea,
-aa se ruga:
- Givo, Samodgivo,
Scrie-m cu-oi vii!
Cu-oi vii nu te-o scrie,
Coala am umplut-o
Cerneala am sfrit-o
i condeiu l-am frnt...
(Ghinoiu 2001: 83)


:
- , ,7
!
,


...

, ,
-,
, , Gia,8
:
...Prin cel cmp prjolit,
Vine un cerb mohort,
Din copite scprnd.
Da-n cornie ce-mi ducea?
Un legnel de mtase
Cu frnghii din srm-aleas,
n leagn cine-mi edea?
Gia, Gia Samogia.
Ea de lucru ce-mi lucra?
Dou registre-mi scria:
Pe unul scria pe vii
Pe mori la partea dreapt.
Iar Gheorghe se ruga
S-1 scrie la vii.
Gia din grai mi gria:
La vii nu te pot scrie...
(Ghinoiu 2004: 167)

... ,
,
.
?

,
?
, , .
?
:

.

.
:
...

(Samodiva, Somoiva,
Samogiva .),
.
8
, , . Gia Gia, Gia Samo
gia Gaja (. gaia), . Gaja
, , Falconiformes,
:
,
, .
, Gaj,
Samogia (
).
7

250


. ,
(Talo 2001: 132).
, ,

, . ,
, (idem: 132, Pamfile
2006b: 28).
,
1975, Slea Samodiva
(Rosetti 1975: 118). ,
, (, ,
):
Ia stai, vere, nu intra,
C-n pu este Scorpia,
Afar, Samodia,
De cinci ani m bat cu ea!
(Balade populare romneti I
1964: 337)

, , ,
,
,
!


Sila Smndil (Pamfile 2006b: 28).
,
Dmean i Sla,
, -, ,
:
Micul Dlea-Dmean,
Prunc de doisprezece ani
se lupt cu (...)
Sla-Slmandiului,
Slnica voinicului,
Care taie-n drumul mare,
Judecat nu mai are.
(...)
Iar el, Dlea-Dmean,
Mcar de doispece ani,
Sub fereastr se trgea,
Cam pe furi,
Cam mulcomi,
Mna la bru i punea,
Buzduganul i trgea,
O dat l rsucea,
Ochii Slei i fura
i n Sla iute da,
Aa tare o lovea,
nct Sla jos cdea.
El tot da i-o omora,

-,

(...)
-,
,
,
.
(...)
, -,
,
,
,
,
,
,
,

,
,
.
,

A. sorescu-a, a
Ochii negri i scotea,
La eaua sa i punea,
Chiar i noaptea strlucea,
Parc stele-ar lumina.
Aadar, Dlea-Dmean,
Copil mic, dar viclean,
A scpat viaa sa
i-a omort pe Sla.
(Balade populare romneti I
1964: 342347)

251

,
,
,
.
-,
,

.9

-,
, : Mnca-te-ar Somodiva! (
!) (Pamfile 2006b: 28).

10 ,
.

.


:

.11
,
.



.
(. petrectur),

, , (: S e ia Somoiva!

.
10
, -,
, samodiva,
, : Fermectorile i fctorile de ru merg la munca Iadului (
) (Boteanu/Oprenescu 2007).
11

,
, ( 2007).
9

252

!) (: urt ca Somoiva ),
. ,
,
Petrectura ( )
(2000).
, (
)
.
,12

. : ,
. ,
, .
.
. ,
, , , ,
.
( ) .
. ,
,
babica ().
, ( gituaa )
, .
Bogdaprost
, .
, : S fie prostt [ ].
.
,
1965. () 1970.
(),
,
:
1.
; 2. ; 3.
, , 4.
( 1995: 64).

, Petrekuta dn Voluja ,
, 1999. , .

.
12

A. sorescu-a, a

253

Somoiva/Somoiia .
:
Sus, l-al rou rsrit
Iast un cort viorint.
Dar n cort ie a-re?
a iie, Somoiie,
Numa e ia scriie.
Iac-l mortu mi-auna-re,
-n epia d s ruga-re:
Da-udz iie, Somoiie,
M-a ruga-cuma e ie,
S m scrii n para viie.
Da- iia-a-i spua-re:
Nu po, nu po s e scriu,
S e scri-io-n para viie,
C mastla mi-am sfrt
coniiu mi l-am frnt,
foiia mi-am do-nplut.
M s-e scri-io-n para moart,
C mastla am npliit,
coniiu mi-am noiit,
foiia am-eput.
( 2000: 115)

,
.
?
, ,
.
, ,
:
, , ,
,
.
:
, ,
,

,
.
,

,
.13

,
, ,
Somoiia/Somoiva (...),
- Somoiia/Somoiva moara (...)
- agr Somoiva-dund (...),
- Somoiva-rnduriaua (...),
rnduriaua (...) Snt Mariia marie (...)
, , ,
, , ,
.
, ,
, (...),
(...), (...) ( 2000: 36).
, Petrectura
( ) , Somoiva/Somoiia
.
, 2000,
,
.
, .
13

254

, , Somoiia
: :
, , , (idem: 115),
, Somoiia
(idem: 101). , Snt Mriia ( Marija)
, .
, ,
,
: (idem:
68), (idem: 63),
(idem: 60).
,
, :14
[Daia] ru kata,
dn gur aa dza:
io, io, Somaio,
e je agr urt?
Nu mis agr urt
numa mis alb frumuas,
k n-aeg numa kueg:
mo batr pr barbe albe,
babu pr epsu;
voie d- iere,
e plng parin dupa e,
evast pr dulba,
fee ma pr bruare,
baa pr klbeuare,
kolare pr uuore,
kopi mi pr faoare.
Ad [Daio] tuot naine,
k nu mer la more,
numa mer n visaie!

[] ,
:
, , ,
?

,
:

;
,
,
,
,
,
,
.
[], ,
,
!

, eagra Somoiie (
) , maica Somoiie (
). , Somoiia, Somoiva
Somiia ,
.
o bab batrn ( ) ( 2000: 143).

. , , ,
, curva Somoiva ( )
, Petrekuta dn Voluja ,
, 1999. , .
14

A. sorescu-a, a

255

,
pusta (), maica cur
v ( ). ,
, , ( 2000: 158),
(idem: 214). ,
Dzna mi batrn/ cu moara Somoiv (
) (idem: 172), un Zn mi batrn/ cu moara
Somoiv ( 15 ) (idem: 210),
.
, Somoiva/Somoiia
, . ,
, (idem: 50),
(idem: 49). ,
(idem: 148),
(idem: 151).
, , tri Arapi egri budza ( ,
, ) (idem: 234),
. , ,
: Moaro, moaro, agr moare/ Mult ie
eagr urt (, , ,/ )
(idem: 234).
, ,
, 16 ,
:
Frundz vjare e lmje
a rsarit la [Njielku-n] prvaljije.
Kare e-n prvaljije, la umbrije
a espljeit Smoiv.
Da e lukr Somoiva-n pravaljije?
Numa skrije -n konije...


[] .
,
.
?
, ...17

Zn zn mi batrn
zn. , ,
, .
Morou cu moroaica,/ Draku cu dracoaica,/ Izdatu cu Izdatoaica (
,/ ,/ ) ( 2002: 42).
16


( = )
.
,
, , ( 1995: 235).
17
1991, .
, .
15

256

, ,
, espljeit (
).
,
, 2002,
: , ,
, , ,
.
, ,
,
(
2002: 124).
(2002),
, Numrtura a mare (
) ,
, :

1.

A. sorescu-a, a
Stu al, stu aloae,
Stu zmiei, stu zmoae,
Stu Muma Paduri,
Stu Maza Nop,
Stu fcturi,
Stu trimesturi,
Stu iio cu ialoae,
Stu Miail cu Izbnil.
Drumu s-l lova,
i la el s pleca.
Cu catran v-am catrait,
Cu bt d ero v-am brucat,
Cu tame v-am tmat
D la Floria-l mieu v-am luvat.
( 2002: 7980)

257

, ,
, ,
,
,
,
,
,18
,
,
.
,
,

.

, -
, , ( ),
( 2004: 91).
-
,
( 2).
( ,
, ),
, ,
,19 (
); , , ,
, ,
;
, ,
, e e
.20

(
) 1997: 140.
19
2003, Siki
mi 2005c.
20
. . : Budi
2001, Bucua
1943, Nestorescu 1996, Panea/Blosu/Obrocea 1996.
18

258

2. ()

1.
, somoiva
.

(La ala s dze somoiv, ii, la moar
a. , , .), (Da somoiva iar
dracu. .),
(Am audzt c spue, ic, s e ia somoiva, ic.
, , , .).
,
.


, .
, 1990.
()
,

A. sorescu-a, a

259


:
,
.
, ,
. , .
,
. , urt ka Muma paduri [
], .
. , ,
. ,
. .
,
, .
, .
, ,
. .
(19.12.1990, )

, ,
,

, ispljeira ( ):
. .
,
. .
,
pi baba ispljeira ku nau Aranelu [
].
: Oe o Somoije mjare pi drum [ ],
.
. ispljeira [
].
.
(18.02.1991, )


, 3.
2008.
:
Cnd vie asu mor, cn uomu
l pzae, dzae, dzae, dzae,
cum dzem noi, s-apropiat,
cn vin dup el. Tri ins vin. C
nu-i lese la romnu nostru s
moar, ii, s las-aa vilaiet fru
mos [ ]. Mi-nt vie a
lui, in familia lui, care-a murit
e curnd.

,
, , , ,
, ,
.
.
, ,
[ ].
, ,
.

260


(Aha.) 21
Or c vrunu care-a fost mai drag
lui. D-l mort.
(Muiere.)
Vie vrunu in... dac-a murit tatsu, dac-a fost drag lu tat-su,
vrunu in ai lui, in famelia
lui, in casa lui, or c ala care-a
murit e curnd, la urm. Vie du
p el. El vie.
(Da.)
E, -acuma, cnd s rae, a ve
it alea, milostnile-ale e-s,
urstorili care-o ret ,
suina la om, a spus: Atta s
trie gata. Atuna Aranelu st
cu trei cue la pioare, da-n cot,
dup cap, st so-mo-i-va. Aranelu ii scoae sufletu. Acuma el
s uit: dac ai pacae mule, el
scoae cu cutu, e gne, cu
care cut? C-are cut mic, cut
mare -unu mijloiu.
(Mic.)
Mic, l ncjae, trae, cu durea
re, cu pacae moare, i ia sufletu.
Da dac are, a fost bun (...), el ia
cu cutu mare, hop gata-l due.
E, -aa. -aia colacu lu Aranel
la pome la noi are trei cru.
(Alea trei cute.)
Trei cue. E, acuma. el nu
moare uomu pn nu vae so
moiva. (...) -acuma, ic, i
e omu pn nu moare, pn nu
ias sufletu, ntoare ochii, pist
cap, aa ze. -atuna moare.
El ntoare cnd o vae pe so
moiva, c ea e moara,
, .
Ea e moara. urt. (...) mai
mule somoiva lucr, ea pe ur
m aapt pi lumea aia, s viacolo, pisar, aapt -aial scrie pi scam e piatr, e, a
cu coniiu, ii e e conii?
(Da, da, da.)

21

(.)
.
.
(.)
...
, ,
,
, ,
,
. . .
(.)
, , ,
,
,
, ,
:
. ,
, ,
---.
. :
,
, ,
? ,
.
(.)
, , , ,
, a
. ,
(...), ,
, . , .

.
( .)
. , .
. (...)
, ,
, ,
, ,
. .
,
, ,
. .
. (...)
,
, ,
,
, ,
,
?
(, , .)

, .

A. sorescu-a, a

261



,22
.

, ,
, ( )
. ,
:
-
-
-
-
.

.

(Naumovi 1998), ,

.

, - .
,
: (
) ( ).
. ,
( )
-
: ,
, ,
( , )
,
.
2.
, 30. 2006,
1925. ,

,
()
.
22

262

,
, . ,

. ,
:23 (ursoaicili)
, ,
, ,
, (. lua) ,
, ,
. ,
( : ),
.
,
, ,
:
Da ursoaicil-alea a fost vodat
somodivilii. A pus lumea...
care-a luat copii, care-a luat... So
modive, aa le zce. Care-a luat
copii. A mers noaptea, un-a fost
chioap, cu leagnu-n spinare.
muierile-atunci n vremea aia
a pus n tind albia spunu.
ap. C cnd vie aia cu copilu sl scalde-acolo. n apa aia. o mu
iere dn... Aia muma soacr-me-a
fost. -n Zastavnia. Aude noap
tea c latr ci. Cnd alatr ci
noaptea: M, c, s fie asta,
s fie asta? s fie ceva.
Cnd ias-afar, ele toate tri cu
ciumezli ca gncili pe la cur.
S pzte de c. A viit aia co
looo. Ea de loc s-a bgat n sob.
A veit cu copilu-l mic acolo
acolo-auz: ciofro-ciofro-ciofrociofro, l-a scldat pe copil. -a
zut pn l-a scldat pe copil.
cnd l-a scldat pe copil l-a luat

,
. ...
,
... , .
.
, ,
.
, ,
. .

. .
...
. .
.
: , , ,
?
. ,

. .
.
.
: --,
.
.

- ,
,
- ,
(/-
2008: 432).
23

A. sorescu-a, a
ea n spinare aiale dou -a tre
cut drumu -a trecut vrun... gard,
de leme-aa a fost. cum a tre
cut, da a fost un copil acolo, numa
la a fost bolnav... Cum a trecut
acolo, gardu-la, -a mai trecut
douzci-trizci de minute, ct
o fi fost, auz pe lumea aia s
s cnte, l-a luat pe copilu la.
Vedz, a fost d-ale bue, da a
fost d-ale rle-n vremea aia.
Aa a fost atunci. le-a vzut lu
mea. Da acuma care le mai vede?
Nu mai vede ima. S-a pitulat, ca
re tie, s-a pitulat toate, toate. Pa
aa e.
(Samodivili era de-alea rele?)
Alea d-alea rle. Da ursoaicili
care-a ursat copilu cnd s-a fcut
alea a fost d-alea bue.
(Ursoicili era tri.)
Da. somodivili iar tri snt.
(Tot tri.)
Tot tri.

263

,
[ ]
... ,
, .
,
, ...
, ,
-
, ,
,
. ,
,
. .
.
? .
, ,
, . .
( ?)
.

,
.
( .)
. .
( .)
.

, ( ,
24), (
, ),
. ,
: .
, .
,
,
:

, .
,
40 , ,
. ,
. ,
. ,
,
, : -a loat agrili
Somoivili ( ) ( 2000: 169),
.
24

264

( 1969: 351). ,
,
( : . al batrn, al mik; : .
muma Paduri; : . zmei, smeu):
,
. ,
, , , , , . (...) ,
, (...).
(idem: 352).
,
, ,
, ,
(), (: 14). ,
(1969),


.25
samca,
(Ghinoiu 2001: 163),
,
, (idem: 163, Pamfile 2006a:
642645). .
,
Zne ().
Vlve,26 ,

/ .

,
,
.
3.
2008.
, ,
,
, .
26
V
lv ,
, ( 1995: 238).

.
25

A. sorescu-a, a

265

, ( ), ( ),
( ), ( ) ( ).27
, , , .
, , ,
. , 1926.
,
:
(Da de samodive ai auzit?)
Daaa. i de samodive s-a vorbit.
Samodive, care...
,
, .

,
.

, ,

.

, ,
,
.
(Da p romnete tot samodive le
zce.)
Da, da, samodive. Samodive le
zcea.
(Nu le zcea zne?)
Nu zne, nu.

( ?)
.
. , ...
, ,
.
, ,
.
,
, , ,
.
,
,
, , ,
.
(
.)
, , .
.
( ?)
, .


(
, ).
, ,

. , samo
dive .

:
- : ( 2008: 274)
; , , .

Sorescu-
2008 Sorescu-Marinkovi 2009.
27

266

- : (idem: 275)
, .
- : , , , (idem: 274)
... , .
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vs. :
,

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(Kovalcsik 2007: 118).
,
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sfinte (), milostive () (Nicolescu-Plopor 1922: 35, 36),
znele bune ( ) (Maluckov 1979: 147), zlili bue (
) ( 2008: 133), soimae (Hedean 2005: 91), oimae (Sorescu 2008: 112).
,

: voi sfintelor, bunelor, frumoaselor, dulcelor, milostivelor,
coconielor ( , , , , ) (Kovalcsik 2007:
118).

A. sorescu-a, a

267

( 2008: 146)
,

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,
somoiva/ somoiia/ somodiva,
.
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, ,
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(
Hedean 2005: 20).
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. ,
, ,
Samodive ( )
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/
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.
,
.

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***
2007 :
, .
2000 : Petrectura ( )
, .
2002 :
, .
1995 :
, - 1, , 232240.
2002 :
, 209210, , 124143.
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: ,
LIV/34, , 261279.
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271

2003 : -
, , -
, 8596.
2008 : :
, (.
, .), : , 123149.
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, ( ,
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2001 ( .
, , .), Beograd: Zepter Book World.

Annemarie Sorescu-
Marinkovi
SAMODIVA WITH THE VLACHS:
INTERPRETING AND RE-INTERPRETING THE FOLKLORE TEXT
S u m m a r y
The present paper is based on several transcriptions of conversations with
Vlach interlocutors from North-Eastern Serbia and North-Western Bulgaria. The narra
tives obtained as a result of open-ended, qualitative interviews are of different lengths
and structures, their main character being samodiva, a demon of South-Slavic origin,
which exists in the reconstructed Romanian system of demonology, as well. By com
paring our own field material with the existing Romanian and Vlach folk material al
ready published, we have shown that samodiva, one of the most important isodoxes of
Vlach traditional culture, overlaps with the dialectal isoglosses which demarcate, on
the territory of Serbia, the Ungureni Vlachs from the rani ones. Another important
conclusion of the study is that the Vlach variants of the term samodiva in North-Eastern Serbia do not completely correspond to the South-Slavic term samodiva: the simi
larities are exclusively at the level of denomination, not content or function, which is
valid for both groups of Vlachs (Ungureni and rani) on the territory of Serbia.

III

Francisco Goya, Los Capricios, no. 43:


El sueo de la razon produce monstruos, 1799

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2005: 862863; 2007: 7079).

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Ljubinko Radenkovi
VAMPIRE WEREWOLF
S u m m a r y
The belief that some of the dead, after the burial, can return to the living peo
ple in order to frighten them, damage their goods or even threaten their lives, is well
known all around the world. Believes like that are still quite alive in nowadays Ser
bia.
The vampire question is still in the focus of many a scholar of religion and
mythology, as well as of linguistics. It is almost a regular subject of literary, visual,
and film works. An important contribution to this topic in Serbia was given by Ana
Radin in her book about the vampire as a literary motive.
This paper tries to establish a relationship between the terms vampire and
werewolf and to specify the role of the devil in metamorphosis of a dead into a vam
pire. It also states that the sucking of human blood, as the main feature of a vampire,
is completely absent from the folklore, hence its origin has to be in literature.

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295

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).
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1986: passim),47 , ,
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( 1974: 106).
(
1986: 79),

.

1992: 42.
(
1852, ; . 1953: 58, 84).
, :
1998: 207217.
49
, , ...,
1998: 98.
47
48

296

1995 . : , :
.
1993

. , .
ea, . :
I, : .
1936 , ,
. . , : .
.
1961 , , I, .
. , : .
1992 . : , : .
1998 . :
, , /.
1953 . :
, : .
Eliade 1984 M. Eliade: rait d histoire des religions, Pris.
Elijade I 1991 M. Elijade: Istorija verovanja i religijskih ideja I, Beograd.
1994 , - , . .
. , : .
1925
, . , . :
.
1965 . . . . :
, .
1974 . . . . :
, .
1992 . : , , , : .
1988 . :
. : . .
1886 . . : ,
, .-.
1990 , :
.
1998 I . :
, XXX, .
1998 II . :
, , ,
, . . -,
, -.
2004 . : ,
: . .

. ,

297

2005 . :
( ), :
, .
2006 . :
,
e, . . . . : , Orpheus.
1852 , . . ,
.
1990 : .
, : , :
.
Krsti 1984 B. Krsti: Indeks motiva narodnih pesama balkanskih Slovena, Beo
grad: SANU.
Meletinski 1983 E. Meletinski: Poetika mita, prev. J. Janiijevi, Beograd: Nolit.
1986 . :
, : .
1861 ,
, .
1884 . . : , .
1989 III, . ,
: .
Prop 1990 V. Prop: Historijski korjeni bajke, prev. V. Flaker, Sarjevo: Svetlost.
, 1960. .
2003 . :
( ), ,
.
2001 , , . . .
. , : Zepter Book World.
1998 . , . . , . :
, , : ,
.
I 1975 I, . .
, 1841: IV, . . ,
.
II 1988 , . 2, . V, .
. , : .
II 1974 . .
II, . . . , : .
1994 . . : :
(), . . , , /, .
HNP II 1897 Hrvatske narodne pjesme, junake, knj. II, ur. S. Bosanac, Zagreb:
Matica Hrvatska.
1927 . : , , :
.

298

4, 1994 . : ,
. . , : .
5, 1994 . : , . .
, : .
1976 . : I, . . , : .

Zoja Karanovic
MYTHICAL REMINISCENCES IN THE SONGS ABOUT HEROES OF SER
BIAN EPICS AND VILA BRODARICA
(A HERO AND A DEMONIC CREATURE IN THE BATTLE
FOR THE LIFEGIVING WATER)

S u m m a r y
This paper is dealing with possible interpretation of epic songs (in Serbian, Croa
tian, Macedonian, and Bulgarian language) about Prince Marko and a demonic creature
vila who seals the waters. Within the circle of songs many variations, the author que
stions the possibility of their interpretation in the context of an archaic clash between
a mythic savior and primordial monster about life-giving water. In an epic milieu, this
conflict is understood as a battle between the most celebrated Serbian and South-Slav
epic heroes against a demonic force. After the very nature of the conflict is identified, the
further analysis goes to the process of multilayer and transformations of the hero, from
a mythic hero and his antagonist, to a hero whose historical prototype is identified, altho
ugh he keeps on fighting against a demonic creature, vila. In these songs vila appears in
two forms: as an enemy and as a supporter, as an upper and a lower vila, i.e. as a being
with both godly and demonic features, which is the focal point of the paper.

:

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),
, (Jones 2005: 96989699).

300

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1997: 82). ,
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locus
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(Prop 1990: 522).
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. 6.
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.
( 1953: 70),
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, ( : I 24, 130).
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( I: 114).
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,/ ( 1990: 70).
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: / ./
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/ (Pri 1939: IV 16).
,
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,/ ( 1961: 551).
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( 1996: 10).
2

302

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1989: 101) .
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1980: 261), , , .
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, ,/ ! (
I: 228).
.
, ( 1982: 68),
,
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),
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-. :
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( 1936: 190).
5, ,
4
5

, , ( VII: 12).
: , 104.

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303

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,
.

:
!/ !/ ,
! ( VII: 135).
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.
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. . ,
,
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/), ,
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,
( I: 310),
() .
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?/ ,/ ,/
/ ,/ ( 1994:
29, 485). ()
,
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,
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,
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, :
! ,/ !/ ! :/
! !/ ! ( 1885: 2).
,
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/ (
, ).

304

,
,
.
, : ,
!/ ,/
( 1994: 15, 483).
, .
,
. /,
,
. ,
, ,
,
(Nodilo 1981: 471).

( 1982: 82).
: , , ,/ , ,
,/ , , ,/ ,/
( 1888: 27).
.
. ()
, ( 1994: 108).
, ,
. ,
,
, , ( : I16, 101).
, , . ,
,
. .
,
.
( )
( 1958: 279).6
, .
: / ,
,/ / /
( I: 266). ,
: Kaj bi preletela/ dva bejla goluba/
kaj bi mi pronesla kaplo mrzle vode,/ ...kaj bi se napila,/ zdrava bi jaz bila! (trekelj
19001903: 2400).
.
6

. ,

305

.
, ,
, .
, .
, .
,
.7 , (
/ / ) //
.
, .
,
. :
, !/ ;/
,/ ./
( 1886: 48)8, :
/ , ,/
/ ( 1884: 196).
, ,
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, , ,
( I: 164).
.
,
( 1992: 94).
, ,
( ). ,
, , ,
.

, ,
: Tuilo se arko sunce sa vedra neba,/ tuilo se svetom Ivi na
dan Ivanja/ da ga vila dvorit nee hladnom vodom./ Al govori sveti Ivo/ stan
de sunce, do tri puta,/ dajt e tebe mlade dive,/ s hladnom e te vodom dvorit
(Kuha, V: 1901).
, , ,
(
, 1988: I 16, 101).
8
: , , , !/
,/ ,/
;/ ,/ ,/
( 1961: 9).
7

306

.
(Nodilo 1981: 360).9 ,
,
. , ,
, , , .
,
.

, .
(
2003: 75), ( , , , )
.
, , ,
.
.
,
: ,/
/ /
:/ ,/ ( VII:
331).10 .
, .
:
,/ ,/
/ , ( 1964:
100). 17. , ,
,

( 2001: 98).
: ( , )
, ,
. ,

.
, ,
( 1982: II 304).
10
:
/ / ,/
( 1990: 169). ,
, .
,
, , , .
9

. ,

307


, , .

, .
,
.
, ,
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,
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.
.
,

. :
, .
,
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( 1989: 53).
,
(
1989: 160).
:
/ !/ ,/
,/ !/
:/ ,/ ,/
( VII: 30),
: / ./
/ ;/
,/ .../ :/
/ (M II: 2, 1318, 2123).

.
,
, .

.
:
,/ ,/ ./
:/ ,/ (
1926: 86). ,
.

308

, , ,
. , ,
.
,
. ,
, ,
.11
,
(M II: 2). ,
. , (
) 12,
,
.
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,
( 2001: 95).

.
(M II: 53) -,
.
(372389).
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,
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, ,
, 13, . ,
,
( 1996: 307).

. (), ,
(), ( 1983: 254).
12
2002: 15847.
13
,
. .
11

. ,

309

,
( 2002: 38).
,
( 2002: 40).
, , ,
,
.
(10),
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, , .
,
,
,
( 1982: 136),
.
.

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.
, , ( I:
65, 513525). :
,
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-14
: ,/
,/ :/
,/ ( I: 232).

. ( )
( )
, , , .
.
.
( ),
, .
, ,
.

: ,/ , !/
14

2002: 141 .

310

;/ ,/ ,/ , ;/
,/ , / , ! (
I: I, 25).
, .
, .
, , ,
, ( 1998: 212).
,
.15
,
( I: IV, 26).
( II: 26),
:
,/ ,/ ./
:/ ,/
(Kuha 1880: 1058). ,
.

, .

, .
, ,
.16

, , .
( I: 13, 95).


.
: ,/
;/ / ( 1982: . 630).
. ,
,
. ,
.
16

:
,
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.
,
( 1957: 221).
15

. ,

311

, ,
, .

( , )
, ,
,
(Prop 1990: 90).
,
, ( II: 26),
,
.

. ,
,
:
/ / /
,/ ,/ ,/
( 1985: 22).
( , ),
.17
,
,
. ( ),
(, , ).
, ,
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( 1927: 40),
( 1964: 132133),
17
.

, .
( ) .
, ,
, .


.
, ,
.
, .
17

312


,
. ,
, ,
, . ,
,
.

.

1982 :
, : .
1991 : 100 , :
.
1992 : , :
.
2001 : , :
.
1953 :
, , LXVI, : .
2003 : , (. . ),
: .
1997 : , (. . ),
XXIII/8790, , 67128.
1998 : ,
: .
1957 : ,
: .
1986. (1852), :
.
, , 1998 , ,
: , :
.
1982. . . :
, (. . ), IX/31, , 95102.
2002 : , :
.
1989 . . :
, .
1982 : ,
, : , 123145.

. ,

313

1996 : .
: : .
1996() :
, : : .
(.) 1982 . . : , :
.
1958 : , :
.
1982 . . :
(. . ), IX/31, , 6871.
1994 : ,
: .
Bandi 1980 Duan Bandi: Tabu u tradicionalnoj kulturi Srba, Beograd: Bigz (XX
vek).
Jagi 1948. Vatroslav Jagi: Dunav Dunaj u slvenskom narodnom pjesnitvu,
Izabrani krai spisi, Zagreb: Matica hrvatska, 150176.
Jones 2005 L. Jones (ed.): Encyclopedia of Religion, Thomson Gale.
Meletinski 1983 E. M. Meletinski: Poetika mita, (prev. J. Janiijevi), Beograd:
Nolit.
Nodilo 1981 Natko Nodilo: Stara vjera Srba i Hrvata, Split: Logos.
Prop 1990 Vladimir Prop: Historijski korijeni bajke, (prev. V. Flaker), Sarajevo:
Svjetlost.
Zeevi 1973 Slobodan Zeevi: Elementi nae mitologije u narodnim obiajima uz
igru, Zenica: Muzej grada Zenice.

1931 . : , I, .
1885 : I,
.
1884 . . : (),
.
1886 . . :
, .
.
1990 : ,
: .
1900 :
VII, : , VII
1958 :
II, : , II
1973 :
I, : , ,
I

314

1977 : I,
: . I
1988 :
, : .
, , 1924.
1985 . : , :
.
1961 . . : , .
1888 . : I, .
1964 . : XV-XVIII , :
.
1989 . :
I. : .
1994 . . : ,
III, :
.
1927 : , :
.
1926 : , I, 2,
.
1936 : , I, 4,
.
Andri 1929 Nikola Andri: Hrvatske narodne pjesme VII, Zagreb: Matica hrvats
ka. VII
Bosanac (ur.). 1897 S. Bosanac: Hrvatske narodne pjesme I/2, Junake pjesme,
Zagreb: Matica hrvatska, M II
Boi, Bosanac (ur.). 1890 I. Boi, S. Bosanac: Hrvatske narodne pjesme I/1,
Junake pjesme, Zagreb: Matica hrvatska, I
Kuha 1880 F. Kuha: Juno-slovjenske narodne popievke III, Zagreb.
Kuha 1941 F. Kuha: Juno-slovjenske narodne popievke V, Zagreb.
Pri 1939 I. Pri: Bunjevake narodne pisme, Subotica.
trekelj 19001903 Karl trekelj: Slovenske narodne pesmi II, Ljubljana.

. ,

315

Ana Vukmanovi
WATER NYMPH AND NYMPH WATER
Summary
The nymph as a demonic creature and water as one of four basic elements of
nature create together an artistic world of oral song/tale. However, in the images of
cosmic organization of the world their relationship shows mythical layer of culture. In
the images of nature as a spiritual space and residence of demonic creatures it shows
its demonological layer. The nymph corresponds in higher mythology with god of
thunder as it can be seen in the dodole songs. She is represented in folklore as a water
creature because water gave her life and she lives near it. As a mistress of water she
can make it clean or unclean in a cult sense and healing or poisonous. That is the
reason why the nymph water is a taboo space. The nymph guards the water boundary,
which then represents a boundary between world of the living and world of the dead.
She collects payment for the entrance in the world of the dead. The meaning of water
as boundary is especially strong when the nymph (riding the dear) is the only creature
who can cross the water (the sea). The paper also deals with the relation between the
nymph and the girl/woman because they make the pair, which corresponds with an
opposition human/demonic world

316




:
(, , )
/.
()
() (/
),
.
. / , ,
()
(/).
(
,
. ),
.
:

, , , ,
, , .

/
,
)
() (
.



.

() .
().
(. 6/ 1629),
(. 14/ 112),

318

(. 9/ 19).
,
. ,
,
:
, , (
, . 3/ 19, 20).
. ,
. ,

, :
,
( , . 14/ 6; , . 6/ 22).

, .
: Dok je Sv. Ivan amio u tam
nici, zarui se Rudica. Otac joj obree da zaite od njega ta god hoe u dan
vjenanja, a da joj se kune carskom rijeju, da e joj dati, pa i pola kraljev
stva. Kad se stao primicati dan vjenanja, majka Poganica stade nagovarati
Rudicu da zaite u jutro pre venanja glavu Sv. Ivana na tanjuru (Cari 1897:
330331).
.
: , ,
( , . 14/ 11; , .
6/ 28). . ,
. ,

,
. ,
,
: Na otoku Hvaru i Brau
vrsto vjeruju da je zlokobna Rudica bila kerka nekog kranskog kralja, koji
je imao enu poganku i s toga se zvala Poganica (Cari 1897: 330). ,


. (. .).

.


,
. Bokovi Stulli
(1975: 148).


. , 319

,
. ,
,
.
, ( )
,
. ,
, .

,
: Mi smo uli od jedne bake u selu Svirima
na Hvaru, da je Poganica uvijek u blizini Rudice (
Cari
1897: 332).


. ,

( . )
, .

.
,
.


.

(
) () /.
,
,
. ()
(), ()
. ,
,
( 1974: 7475, 86, 106, 178179).
(
) : 1977: 5257.
-,
,
( 1974: 86).


() (/),
. .
: 1974: 75103.


320

(Zovko 1899: 139).


, ,
: Bog je prokleja Irudicu: svaki grom koji upali s neba,
puca u Irudicu (Ivanievi 1905: 267),
. (
)
: I

kad

god

grom

puca
,
ne

puca

mazol
(
za

ni

to
),
nego

vavijek

nju
(Ardali 1902: 262263).
, ,
,

.

. , ,
, (/ )
(. 1974: 45, 164173).
.
(
): Bogme sam ja uo, e vele, kad ono estoko grmi, da se sveti Ilija
u karoca voza, potiska se za Irudicom (
Ardali 1902: 262263).
()

.
, ,
.

(),

, ,
, .: 1974: 164165.

,
.
,
. , .
( 1982: 8586, 9596).

, ,
,
( 1965: 144).
,
(
1994: 8996). , ,
, ,
.


. , 321

: im stane propadati krupa, iznijeti pred kuu sadak (tronog)


i naopako ga okrenuti, jer Irudica letei pred gromovima zaplenta se meu
noice sadaka, te se smiri i tako se krupa preustavi, kad se na njoj gromo
vi iskale (Zovko 1899: 139).
a

,
,
, , .
,
( 1982: 6263; 81).

,
()

(Ivanievi 1905: 267268).


, :
Svaki put kad grmi zapale na jednom tanjiru blagoslovljena lia od masline,
javora, palme itd., ali vele da je najbolje zapaliti rute jer Rudica ne moe pod
nijeti njezinog mirisa (
Cari
1897: 331).
,
( 1982: 60, 6465).
,
(, , , .)
,
( 1982: 6162),
,
, ,
(Bokovi Stulli 1975: 106, br. 84).

.
(): Kada
grmi, ne smije se mljeti penicu u rnju, jer Rudica moe tada najlake da se
uvue u kuu, a gdje se ona nahodi, uvijek puca grom (Cari 1897: 331).
, ( ),
, . ,


,
( 1974: 7781).
()
() ,
( 1993: 79). ,
, () ,
( 1994: 96, 128130).
, . ,
( 396).


322


.
, , .
, .

, , .
, : i
u nas zadimij da se prekrstimo i ona
da se ispod nas sakrije (Ardali 1902: 262263).
,
,
( 1982:
67). ,
:
(

Cari
1897: 331332).
,

. ,
( )
,
(Iva
nievi 1905: 267).10

, ,
. , ,
, ,
, (Bokovi Stulli 1975: 105106, br. 84),
, .
: Kau neki da je oblak u kojem stoji sakrivena Pogani
ca crn i da svrava jednim kukom, koji da je tobo njezina glava; na stranama
da je takoer malo izboen, a to da su joj ruke, a isto tako i na donjem kraju,
to bi joj toboe bile noge (
Cari
1897: 331).

(
,
),11 . ,
,

( 1977: 6465).
11
, ,
.
().
10

. , 323

,
,
: Kada grmi, leti po zraku u oblaku zavijena, ne bi li kako odvrati
la grom, da ne udari u Rudicu, ali joj je sve badava. Nekoji pak vjeruju da
bi se Bog smilovao Rudici, kad bi ko mogao ubiti Poganicu, jer da bi je tada
na njezino mjesto sakrio u oblak (
Cari
1897: 331).
,
: Teko onome
kraju nad kojim se izlije crni oblak u kojem se nahodi Rudica: grad potue
sve do zadnjega klasa (Cari 1897: 712).
: (
), ()
, , .
. ,
. , ,
,
pred krupom ide (Ardali
1902: 262263). ()

(Zovko 1899: 139),
(Ivanievi 1905: 267), . strijele
siplje (
Ardali 1902: 274).


(
Cari
1897:
331332), (Zovko 1899: 139).
,
: Joh ti ga selu i mistu di ona pane, sve krupa potue!
(Ivanievi 1905: 267).
,
, (),
: (,
6), .
,
,
.
: Ko hoe da je ubije, valjalo bi da ujutro
na dan Sv. Ivana nabasa oima na oblak, na kojemu je Poganica, pa da poteg
.
(, )
-, . .
.

( 1999: 332338).

324

ne u nju iz trambuna, ali mjesto olova mora metnuti krugljicu od blagoslovlje


na voska. Ovako pucaju i u vjetice (
Cari
1897: 331332).
,


( ,
.) .
( . ) ,
,
. : Bolje

da
je
jo


nije
pogodijo

, jer

vele

,
im
je

zgodi

srce

, onda

da

e
biti

stra

ni
sud
i
iskon

od

svijeta (Ardali 1902: 262263)


.
,

, ,
.12

,
,
(
Cari 1897: 331).

, ,
13 ni iveti ni umreti
(
Zovko 1899: 139).
. , ,
: Imade ena koje e ti se zakleti na to hoe, da je
vidjee i da njezino tijelo nalii zbog mnoine gromova na reeto (Cari 1897:
331), : prokleta Irudica ka` reeto izmriano izmeu tri plame
na (Ivanievi 1905: 267).
() , ,
,
.
( .
), .
uvijek skita tamo amo, od mjesta do mjesta, od praga do praga, pitajui za za
klonite, ali niko pametan nee da joj ga dade, jer gromovi uvijek u nju pucaju
(Cari 1897: 331).
enetin zla duva, koja se skita po ariji i oblacim`, kad su nevere, grmlja
vine (Ivanievi 1905: 267),
-
(Elijade 1991: 176178).
13
, ,
(Uspenski 2000: 459).
12

. , 325

ka i ostali neastivi (...) sakriva se svukud od groma (Ardali 1902:


262263). ,
brza odmah do drugih vrata, pa trai sklonita
jer su gromovi brzi (
Cari 1897: 331).

, ,
,
(Bokovi Stulli 1975: 105106, br. 84).

,
.14
( ) .

,
,
()
.
(Bokovi Stulli 1975: 148),

.
,15
, : Vrlo je dobro govoriti
ovu molitvicu proti Irudici u vrijeme grada (Zovko 1899: 139) : uje se i
ova pismica o Irudici (Ivanievi 1905: 223),
: Ali to proklinjanje Rudice valja neprestano
opetovati, jer kad ona to uje, tada se ne pribliava, mislei da su je naukali
(
Cari
1897: 331332).
:
, ,
(Bokovi Stulli 1975:
148) / (Radenkovi 1997: 151, 163).16
,
, .
, /
( 1997: 254, 261).
15

,

( 1982: 6768).
16
. ( ;
, ;
) :
, .
14

326

,
,
: ,
. ,
,

(
Cari
1897: 331332).
( )

. . ,
, ,
. ,

, .
: Bii, bii, Irudice!/
Mati ti je Poganica (
Cari 1897: 331; Zovko 1899: 139; Ivanievi 1905: 223;
Bokovi Stulli 1975: 107, br. 87). ,
: d Boga prokleta,/ od svetog Ivana sapeta.

: Veli se Od svetog Ivana sapeta jer je on, osim ka
zne to je od Boga stie, dade od avola sapeti, da tako sapeta luta po svijetu
(
Cari
1897: 331).
.
, ().
, .
, .
(Ivanievi 1905: 223).
.
,17
,
( )
.
(
1996: 7374).
17
( )
: , , : ,
. , ! ( 1986:
264). ,
, .
. . ,
( 1982: . 55, 56),
,/ ( 1982,
. 59); Kog mora sisa moli se s veera ovako: O, vitice, mora roma, ne lezi doma.

. , 327

. ,
, (.
1999: 106134),18

.

, ,
(
): ,
,
:
Kri ide po nebu,
Za njim diva Marija;
Sinka svoga molila:
Uin`, sinko, pravo.
Bog je dao Sv. Petru kljue,
Da otvori Vinji raj,
A u raju veselo,
A u paklu teselo.
Bii, bii, Rudica. (Cari 1897: 331)

: Sveti Ilija
gromovnik,/ Naim duam pomonik (Ivanievi: 1905: 223),

.
(
Cari
1897:
332)

: Velika grinica/ U
ariji stoji,/ A Boga se ne boji. ,
:
Sram te bilo, Poganice,
Grina majko Irudice:
Bog te nee ni u paklu ni u raju,
a uini Karstitelj Ivanu!
Od Boga prokleta, od svetog Ivana Krstitelja u lanac sapeta i svetog Trojstva omotala
lanac oko seb (...), neka mi te sveti Ivan ne pusti (Lovreti 1902: 175); Mora hroma,
budi doma, / puti su ti bati,/ zemlja ti je uzda./ Od svetog Ivana si sapeta, / od boga
prokleta (Bokovi Stulli 1959: 142143, br. 137).
18

. ( ),
,
().
: (),
, , .,
, .

328

,
. ,

.

( )
-

XIX XX
/. ,
( /
) (/),


.
( . )
. ,

,
(
).
,
,

(, , /
).

Ardali 1902 V. Ardali: Bukovica. Zbornik za narodni ivot i obiaje junih Slave
na, [ZNOJS] VII/2, 237294.
1986 . : , : .
Bokovi-Stulli 1959 . Bokovi-Stulli: Istarske narodne prie, Zagreb: Institut
za narodnu umjetnost, 142143.
Bokovi-Stulli 1975 . Bokovi-Stulli: Usmene pripovijetke i predaje s otoka Bra
a, Narodna umjetnost, 1112, Zagreb, 105107.
Elijade 1991 . Elijade: Istorija verovanja i religijskih ideja, knj. I, Beograd: Pro
sveta.
1999 . : . -
, , :
.
Zovko 1899 I. Zovko: Vjerovanja iz Herceg-Bosne, ZNOJS IV/1, 127150.

. , 329
Ivanievi 1905 F. Ivanievi: Poljica: narodni ivot i obiaji, ZNOJS X/2, 223,
267268.
1965 . . , . . :
, : .
1974 . . , . . :
, : .
1997 . . : .
, .
Lovreti 1902 J. Lovreti: Otok. Narodni ivot i obiaji, ZNOJS VII/1, 175.
1982 . . : -
, ,
.
1982 . : , : ,
: , : .
1996 . ,
: , .
Radenkovi 1997 Lj. Radenkovi: Apocryphal Prayers and Apotropaisms among
Southern Slavs, Balcanica XXVIII, 151163.
2000 . : (),
2000, , 332339.
1998 . , . . , . :
, , : ,
.
1982 . . . . : . 3.
. 4. ,
, : , 4983.
1977 . . : :
( ),
. , ,
2886.
1993 . . : (
), -
. , : , 3104.
Uspenski 2000 B. Uspenski: Zavetne skaske A. G. Afanasjeva, Erotsko u folkloru
Slovena, uredio Dejan Ajdai, Beograd: Stubovi kulture, 443463.
Cari 1897 A. I. Cari: Rudica, ker Poganice. Narodno vjerovanje na otocima
Hvaru i Brau; Narodno vjerovanje u Dalmaciji. Razna gatanja s otoka Hvara,
Glasnik Zemaljskog muzeja IX/2, Sarajevo, 330 332, 703717.
1994 . : ,
, . 3, .

330

Jasmina Joki
ON SYNCRETISM OF PAGAN AND CHRISTIAN RELIGIOUS IDEAS
IN THE PROCESS OF FOLKLORE MAKING OF DEMONIC IMAGES
OF POGANICA AND IRUDICA
S u m m a r y
This paper gives an analysis of various genres of oral tradition (beliefs, fables,
charms) in which main characters are demonic creatures Poganica and her daughter
Rudica/Irudica. The most ancient layer of this belief is made of motifs that are pro
bably remnants of the old myth about the Thunder God who punishes his chthonic
opponent or his wife/daughter (named in the analysis as Poganica and Irudica) by
blasting them with his main weapon thunder and lightening. In the popular religion
and tradition only some fragments of this battle are preserved (e.g. blasting of Irudica
with thunder and her attempt to hide and thus omit the punishment). The function of
her main opponent is transferred to the Christian God and saints (mostly to St. Elijah)
who inherit the attributes of the former pagan deity. This sujet is later upgraded by
elements of biblical legends about the beheading of St. John the Baptist, ordered by
king Herod, under the influence of his wife Herodiade (Poganica) and her daughter Sa
lome (Irudica/Rudica). Nevertheless, motifs of blasting are not present in the charms
against hail, where the primary layer of pagan beliefs is upgraded by corresponding
motifs and characters connected with Bible (New Testament presumably, but the apo
crypha about St. John the Baptist too). The syncretism of various religious ideas and
beliefs is obvious in all oral genres mentioned in the analysis, but its manifestation is
not always the same. This makes a reconstruction of primary functions and origin of
Irudica and Poganica only partly possible, and even so only within a broader, compa
rative analysis with analogous functions and attributes of similar female demons of
South-Slavonic area (witch, mora, lamia, ala).

, , ,
e-mail stalker@eunet.rs
, , ,
e-mail carnavuk@eunet.yu
, , . ,
e-mail zoja@yubc.net
, , ,
e-mail detelic@sbb.rs mirjana.detelic@bi.sanu.ac.rs
, ,
, ; e-mail smiljana78@yahoo.com
. , ,
e-mail dusanivanic@nadlanu.com
, , ,
; e-mail alias@bvcom.net
, ,
e-mail sm.jasmina@neobee.net
. , ,
e-mail zojanko@eunet.rs
. , ,
e-mail pelem967@yahoo.co.uk
. , ,
e-mail sonjapetrovic@sbb.co.yu
. , ,
e-mail jolj@ptt.rs
, , ,
; e-mail rljubink@eunet.rs
. , ,
e-mail markosoft@eunet.yu
, , ,
; e-mail biljana.sikimic@bi.sanu.ac.rs
Annemarie Sorescu-, ,
, ; e-mail annelia@yahoo.com
, , ,
; e-mail scirkovic@hotmail.com
, ,
, ; e-mail msharovic@yahoo.co.uk




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