Elfreda Hedger - ENGLISH B, 2nd Edition For use with the International Baccalaureate diploma programme Edition: 2nd edition Izdavač: IBID Press Godina izdanja: 2005 Povez: mek Broj stranica: 578 Knjiga je odlično očuvana, gotovo besprekorno, samo na gornjem uglu korica postoje tragovi savijanja i na jednoj stranici na margini sitno zacepljenje; nema pisanja niti podvlačenja - stanje možete videti na fotografijama. s

SKZ - 1972 - 356 STRANA, MEK POVEZ. NA NEKOLIKO STRANA UVODA KNJIGE IMA PODVLAČENJA TEKSTA HEMIJSKOM OLOVKOM. U KNJIZI IMA OBELEŽAVANJA PASUSA OBIČNOM OLOVKOM.

Manuelni objektiv Pentacon Prakticar F4-5,6/35-80 U odličnom stanju, stakla čista, bez tragova ulja na listovima blende Fokus okrece normalno kao i okretač blende Navoj praktica B(PB mount) Prodaje se zajedno sa Filter ringom prednjim, kao i prednjim poklopcem Pogledajte slike

NOLIT - 1979 - 371 STRANA, MEK POVEZ.

KRITIKA POEZIJE - IZBOR IZ KRITIKA O DELU BRANKA MILJKOVIĆA priredio: Aleksandar Kostadinović (Sabrana dela, knj. VI) NKC, Niš, 2019 tvrde korice, prošiveno, lux papir, 403 str. Knjiga je u odličnom stanju, kao nova, deluje malo ili nimalo čitana. Zaštitni omot veoma dobar.

Knjiga je u perfektnom stanju

Sony VMC-MD1 USB AV kabl za aparate ... kako piše na net-u, odgovara za čitav niz aparata (pre kupovine dobro proverite na net-u tačnost informacije, jer ja ne mogu da tvrdim da odgovara za sve navedene pošto nemam uslova da isprobam !) : Sony DSC-H3 Sony DSC-H7 Sony DSC-H9 Sony DSC-H9/B Sony DSC-H10 Sony DSC-H50 Sony DSC-N1 Sony DSC-N2 Sony DSC-P100 Sony DSC-P120 Sony DSC-P150 Sony DSC-P200 Sony DSC-T2/G Sony DSC-T2/L Sony DSC-T2/P Sony DSC-T2/w Sony DSC-T2/B Sony DSC-T3 Sony DSC-T5 Sony DSC-T9 Sony DSC-T10 Sony DSC-T11 Sony DSC-T20 Sony DSC-T20/B Sony DSC-T20/P Sony DSC-T20W Sony DSC-T30 Sony DSC-T50 Sony DSC-T70 Sony DSC-T77 Sony DSC-T100 Sony DSC-T100/B Sony DSC-T100/R Sony DSC-T200 Sony DSC-T300 Sony DSC-T700 Sony DSC-W30 Sony DSC-W35 Sony DSC-W50 Sony DSC-W55 Sony DSC-W55/B Sony DSC-W55/L Sony DSC-W55/P Sony DSC-W55BDL Sony DSC-W70 Sony DSC-W80 Sony DSC-W80/B Sony DSC-W80/W Sony DSC-W80/P Sony DSC-W80HDPR Sony DSC-W90 Sony DSC-W90/B Sony DSC-W100 Sony DSC-W120 Sony DSC-W120/B Sony DSC-W120/L Sony DSC-W120/P Sony DSC-W130 Sony DSC-W130/B Sony DSC-W130/P Sony DSC-W150 Sony DSC-W150/N Sony DSC-W170 Sony DSC-W170/N Sony DSC-W200 Sony DSC-W300 Sony C-H7/B ... stanje kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

Sony DSC-W55 VMC-MD1 USB kabl za aparate ... kako piše na net-u, odgovara za čitav niz aparata (pre kupovine dobro proverite na net-u tačnost informacije, jer ja ne mogu da tvrdim da odgovara za sve navedene pošto nemam uslova da isprobam !) : Sony DSC-H3 Sony DSC-H7 Sony DSC-H9 Sony DSC-H9/B Sony DSC-H10 Sony DSC-H50 Sony DSC-N1 Sony DSC-N2 Sony DSC-P100 Sony DSC-P120 Sony DSC-P150 Sony DSC-P200 Sony DSC-T2/G Sony DSC-T2/L Sony DSC-T2/P Sony DSC-T2/w Sony DSC-T2/B Sony DSC-T3 Sony DSC-T5 Sony DSC-T9 Sony DSC-T10 Sony DSC-T11 Sony DSC-T20 Sony DSC-T20/B Sony DSC-T20/P Sony DSC-T20W Sony DSC-T30 Sony DSC-T50 Sony DSC-T70 Sony DSC-T77 Sony DSC-T100 Sony DSC-T100/B Sony DSC-T100/R Sony DSC-T200 Sony DSC-T300 Sony DSC-T700 Sony DSC-W30 Sony DSC-W35 Sony DSC-W50 Sony DSC-W55 Sony DSC-W55/B Sony DSC-W55/L Sony DSC-W55/P Sony DSC-W55BDL Sony DSC-W70 Sony DSC-W80 Sony DSC-W80/B Sony DSC-W80/W Sony DSC-W80/P Sony DSC-W80HDPR Sony DSC-W90 Sony DSC-W90/B Sony DSC-W100 Sony DSC-W120 Sony DSC-W120/B Sony DSC-W120/L Sony DSC-W120/P Sony DSC-W130 Sony DSC-W130/B Sony DSC-W130/P Sony DSC-W150 Sony DSC-W150/N Sony DSC-W170 Sony DSC-W170/N Sony DSC-W200 Sony DSC-W300 Sony C-H7/B ... stanje kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

KUPUJTE BEZBEDNO I KUPUJTE PROVERENO! POGLEDAJTE MOJE OCENE! SALJEM POSTEKSPRESOM i BEX-om SIROM SRBIJE! MOGUCE LICNO PREUZIMANJE I TESTIRANJE U INDJIJI I NOVOM SADU! Sony BC-CS3 punjac baterija ORIGINAL. Model: BC-CS3 (BCCS3) Sony BC-CS3 Battery Charger Input voltage: AC 100V~240V 50/60Hz 5-8.5V 3.2W Output: 4.2V 0.5A (4,2V 0,5A) Charges the NP-BD1, NP-FD1, NP-FR1, NP-FT1 and NP-FE1 batteries Potpuno ispravan i testiran. Radna garancija 30 dana. Podrzani modeli fotoaparata: NP-BD1 NP-FD1 NP-FR1 NP-FT1 NP-FE1 baterije (Sony DSC-L1, DSCL1 Sony DSC-L1/B, DSCL1B Sony DSC-L1/LJ, DSCL1LJ Sony DSC-L1/R, DSCL1R Sony DSC-M1, DSCM1 Sony DSC-M2, DSCM2 Sony DSC-F88, DSCF88 Sony DSC-G1, DSCG1 Sony DSC-L1, DSCL1 Sony DSC-L1/B, DSCL1B Sony DSC-L1/LJ, DSCL1LJ Sony DSC-L1/R, DSCL1R Sony DSC-M1, DSCM1 Sony DSC-M2, DSCM2 Sony DSC-P100, DSCP100 Sony DSC-P100/LJ, DSCP100LJ Sony DSC-P100/R, DSC-P100R, DSCP100R Sony DSC-P150, DSCP150 Sony DSC-P200, DSCP200 Sony DSC-P200/R, DSCP200R Sony DSC-T1, DSCT1 Sony DSC-T1KIT, DSCT1KIT Sony DSC-T10, DSCT10 Sony DSC-T10/B, DSCT10B Sony DSC-T10/P, DSCT10P Sony DSC-T10/W, DSCT10W Sony DSC-T11, DSCT11 Sony DSC-T3, DSCT3 Sony DSC-T30, DSCT30 Sony DSC-T33, DSCT33 Sony DSC-T33/N, DSCT33N Sony DSC-T5, DSCT5 Sony DSC-T5/B, DSCT5B Sony DSC-T5/N, DSCT5N Sony DSC-T5/R, DSCT5R Sony DSC-T50, DSCT50 Sony DSC-T7, DSCT7 Sony DSC-T7/B, DSCT7B Sony DSC-T7/S, DSCT7S Sony DSC-T9, DSCT9 Sony Sony DSC-L1, DSCL1 Sony DSC-L1/B, DSCL1B Sony DSC-L1/LJ, DSCL1LJ Sony DSC-L1/R, DSCL1R Sony DSC-M1, DSCM1 Sony DSC-M2, DSCM2 Sony DSC-F88, DSCF88 Sony DSC-G1, DSCG1 Sony DSC-L1, DSCL1 Sony DSC-L1/B, DSCL1B Sony DSC-L1/LJ, DSCL1LJ Sony DSC-L1/R, DSCL1R Sony DSC-M1, DSCM1 Sony DSC-M2, DSCM2 Sony DSC-P100, DSCP100 Sony DSC-P100/LJ, DSCP100LJ Sony DSC-P100/R, DSC-P100R, DSCP100R Sony DSC-P150, DSCP150 Sony DSC-P200, DSCP200 Sony DSC-P200/R, DSCP200R Sony DSC-T1, DSCT1 Sony DSC-T1KIT, DSCT1KIT Sony DSC-T10, DSCT10 Sony DSC-T10/B, DSCT10B Sony DSC-T10/P, DSCT10P Sony DSC-T10/W, DSCT10W Sony DSC-T11, DSCT11 Sony DSC-T3, DSCT3 Sony DSC-T30, DSCT30 Sony DSC-T33, DSCT33 Sony DSC-T33/N, DSCT33N Sony DSC-T5, DSCT5 Sony DSC-T5/B, DSCT5B Sony DSC-T5/N, DSCT5N Sony DSC-T5/R, DSCT5R Sony DSC-T50, DSCT50 Sony DSC-T7, DSCT7 Sony DSC-T7/B, DSCT7B Sony DSC-T7/S, DSCT7S Sony DSC-T9, DSCT9 Sony DSC-V3, DSCV3 Tags: Punjač za foto baterije, stujni adapter za fotoaparat

Tvrd povez,format A4.Autor Barbara M.H.Strang.Izdanje Methuen & Co Ltd.453 strana

Original Sony baterija NP-FD1, polovna, malo korišćena i povereno ispravna, kako piše na net-u odgovara za veliki broj aparata : Sony Cyber-shot DSC-T2, Cybershot DSCT2, Sony Cyber-shot DSC-T2/B, Cybershot DSCT2B, sony Cyber-shot DSC-T2/P, Cybershot DSCT2P, Sony Cyber-shot DSC-T2/W, Cybershot DSCT2W, Sony Cyber-shot DSC-T70, Cybershot DSCT70, Sony Cyber-shot DSC-T70/B, Cybershot DS ... a pre kupovine sami proverite na net-u jer ja nisam imao prilike da je isprobam na svim navedenim modelima, stanje kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG na Senjaku ! Slanje : Post Express-om o trošku kupca !

➡️ http://www.kupindo.com/Clan/Chuma/SpisakPredmeta Bilora, Bella 66 II stari nemački foto aparat iz 60setih godina. Objektiv 1:18 Achromat blenda 8 ekspozicije 100, 50 i B Format 6x6 Aparat normalno okida, futrola je na nekoliko mesta napukla i nema kaiš na sebi. Trenutno stanje vidite na slikama.

Napomena: Pre kupovine pošaljite poruku, proverite da li je predmet dostupan za kupoprodaju. 10 pinski Audio Video kabl sa 3 činča za SONY Camcorder DCR i HDR serije kamkorder kamera. Dužina kabla je 1,5 metra Kabl je kompatibilan sa sledećim Sony DCR i HDR kamkorderima (može odgovarati i drugim modelima koji nisu navedeni). Napomena: Ovaj spisak podržanih modela je preuzet sa interneta. Pogledajte sliku konektora (10 iglica priključak) i na osnovu slike proverite da li konektor odgovara vašem uređaju. CSS-HD1 CSS-HD2 DCR-DVD105 DCR-DVD105E DCR-DVD106E DCR-DVD108 DCR-DVD108E DCR-DVD109E DCR-DVD110E DCR-DVD115E DCR-DVD205 DCR-DVD205E DCR-DVD304E DCR-DVD305 DCR-DVD305E DCR-DVD306E DCR-DVD308 DCR-DVD405 DCR-DVD405E DCR-DVD410E DCR-DVD505 DCR-DVD505E DCR-DVD506E DCR-DVD508 DCR-DVD605E DCR-DVD608E DCR-DVD610 DCR-DVD610E DCR-DVD650 DCR-DVD650E DCR-DVD705E DCR-DVD708E DCR-DVD710 DCR-DVD808E DCR-DVD810 DCR-DVD810E DCR-DVD850 DCR-DVD850E DCR-DVD905E DCR-DVD908E DCR-DVD910 DCR-HC19E DCR-HC21 DCR-HC21E DCR-HC22E DCR-HC24E DCR-HC26 DCR-HC26E DCR-HC27E DCR-HC28 DCR-HC28E DCR-HC35E DCR-HC36E DCR-HC37E DCR-HC38E DCR-HC39E DCR-HC42E DCR-HC43 DCR-HC44E DCR-HC45E DCR-HC47E DCR-HC48 DCR-HC48E DCR-HC51E DCR-HC52E DCR-HC53E DCR-HC54E DCR-HC62E DCR-HC90E DCR-HC96E DCR-PC53E DCR-PC55E DCR-PC1000E DCR-SR30E DCR-SR32E DCR-SR33E DCR-SR36E DCR-SR37E DCR-SR38E DCR-SR40 DCR-SR40E DCR-SR42 DCR-SR42A DCR-SR42E DCR-SR47 DCR-SR47E DCR-SR48E DCR-SR50E DCR-SR52E DCR-SR55E DCR-SR57E DCR-SR58E DCR-SR60 DCR-SR60E DCR-SR62 DCR-SR62E DCR-SR67E DCR-SR68 DCR-SR70E DCR-SR72E DCR-SR75E DCR-SR77E DCR-SR80 DCR-SR80E DCR-SR82 DCR-SR82C DCR-SR82E DCR-SR87E DCR-SR88E DCR-SR90E DCR-SR100 DCR-SR100E DCR-SR190E DCR-SR200 DCR-SR200C DCR-SR200E DCR-SR210E DCR-SR220E DCR-SR290E DCR-SR300 DCR-SR300C DCR-SR300E DCR-SX30E DCR-SX31E DCR-SX33E DCR-SX34E DCR-SX40E DCR-SX44 DCR-SX44E DCR-SX50E DCR-SX53E DCR-SX63E DCR-SX73E DCR-SX83E DEV-3 DEV-5 DEV-5K GV-HD700E HDR-CX6EK HDR-CX7EK HDR-CX11E HDR-CX100 HDR-CX100E HDR-CX105E HDR-CX106E HDR-CX110E HDR-CX115E HDR-CX116E HDR-CX130/B HDR-CX130E HDR-CX130/L HDR-CX130/S HDR-CX150 HDR-CX150E HDR-CX155E HDR-CX160/B HDR-CX160/LI HDR-CX190 HDR-CX190/B HDR-CX190E HDR-CX200/B HDR-CX200E HDR-CX210 HDR-CX210/L HDR-CX210/R HDR-CX210/S HDR-CX260E HDR-CX260VE HDR-CX260V/B HDR-CX260V/T HDR-CX260V/W HDR-CX305E HDR-CX350VE HDR-CX360 HDR-CX360V HDR-CX360VE HDR-CX500E HDR-CX505VE HDR-CX520E HDR-CX520VE HDR-CX550E HDR-CX550VE HDR-CX560E HDR-CX570E HDR-CX580E HDR-CX580V HDR-CX580VE HDR-CX700E HDR-CX700V HDR-CX700VE HDR-CX730E HDR-CX740E HDR-CX760V HDR-FX7E HDR-FX1000E HDR-HC1E HDR-HC3E HDR-HC5E HDR-HC7E HDR-HC9E HDR-PJ10E HDR-PJ30E HDR-PJ30VE HDR-PJ50E HDR-PJ50V HDR-PJ50VE HDR-PJ200 HDR-PJ200/B HDR-PJ200E HDR-PJ200/S HDR-PJ260E HDR-PJ260V HDR-PJ260VE HDR-PJ580 HDR-PJ580E HDR-PJ580VE HDR-PJ600E HDR-PJ710V HDR-PJ760V HDR-PJ760VE HDR-SR1 HDR-SR1E HDR-SR7E HDR-SR8E HDR-SR10E HDR-SR11E HDR-SR12 HDR-SR12E HDR-TD10 HDR-TD20V HDR-TG1 HDR-TG3E HDR-TG5E HDR-TG7VE HDR-UX1 HDR-UX5E HDR-UX7 HDR-UX7E HDR-UX10E HDR-UX19E HDR-UX20E HDR-XR100E HDR-XR106E HDR-XR150 HDR-XR150E HDR-XR155E HDR-XR160E HDR-XR200E HDR-XR260E HDR-XR260V HDR-XR260VE HDR-XR350 HDR-XR500E HDR-XR520E HDR-XR520VE HDR-XR550E HDR-XR550VE HVR-Z5E HVR-Z7E HXR-MC1P HXR-NX3D1E HXR-NX3D1P HXR-NX30E HXR-NX30P HXR-NX70P PMW-EX1R

Tvrd povez sa omotom - 710 strana EDITIONS SEGHERS PARIS 1956 Onot sa vidljivim znacima korišćenja - iscepan po ivicama Unutrašnjost dobro očuvana - bez pisanja i podvlačenja B Platon, Hegel, Aristote ili stotinu drugih francuskih ili stranih pisaca koji su pisali poetsko stvaralaštvo, okupljeno je ovde po prvi put u antologiji gde će kultivisani čovek pronaći najznačajnije tekstove do sada rasute u mnogim knjigama često van štampe .

Verra - Carl Zeiss Jena Proizveden od 1954 - 1968 godine. Specifican po tome sto se premotavanje vrsi preko objektiva. Ispravan Film Type: 135 (35mm) Lens: 50mm f/3.5 Novonar coated 3-elements in 2-groups Focus: 0.9 meters to Infinity Viewfinder: Scale Focus Optical Viewfinder Shutter: Vebur Leaf Speeds: B, 1 – 1/250 seconds Exposure Meter: None Battery: None Flash Mount: None Weight: 444 grams (w/ hood), 426 (w/o hood)

Original Sony AC-L200C (kompatibilan sa punjačem AC-L25A / B) punjač za digitalne kamere, 8.4V 1.7A, odgovara za čitav niz Sony kamkordera koji imaju džek kao na slikama : sa jedne strane je jedan `+` kontakt, a sa druge strane su dva `-` kontakta, provereno ispravan u stanju kao na slikama ... Lično preuzimanje : KOD MENE KUĆI u BG ! Slanje : Post Express-om o trošku kupca ! ***** Pogledajte i ostalu moju prodaju na Kupindu, možda nađete nešto interesantno : http://www.kupindo.com/Clan/nin2/SpisakPredmeta

Josip Vrana L`EVANGELIAIRE DE MIROSLAV: CONTRIBUTION A L`ETUDE DE SON ORIGINE Mouton & Co.,Netherlands, 1961 tvrde korice, prošiveno, ilustrovano (c/b), 211 str. U gornjem ćošku korica postoji manji trag nalepnice, na nekoliko mesta postoji pečat biblioteke, a na predlistovima napisana signatura. Na 89. str. i na prethodnoj (poleđina jedne ilustracije) postoji braon mrlja. U drugom delu knjige ima malo obeležavanja običnom olovkom po marginama. U veoma dobrom ili odličnom opštem stanju. Na francuskom jeziku.

Katalog ćirilskih rukopisa manastira Hilandara + Paleografski album Izdavači: SANU i Narodna biblioteka SR Srbije, Beograd Autor: Dimitrije Bogdanović Povez: tvrd Broj strana: 324 + 266 Ilustrovano. Format: 23 x 29 cm I knjiga pečatirana i sa iskrzanim ivicama korica (slike 2 i 3). II knjiga potpisana i malo zakošena. Obe knjige unutra potpuno čiste i veoma dobro očuvane. S A D R Ž A J: KNJIGA I PREDGOVOR (Dimitrije Bogdanović) I Istraživanja u hilandarskoj biblioteci II Istorijat zbirke ćirilskih rukopisa i stare srpske štampane knjige 1. Osnivanje hilandarske biblioteke 2. Popunjavanje zbirke rukopisa 3. Štampana knjiga u hilandarskoj biblioteci 4. Pojedine zbirke i obrazovanje jedinstvene biblioteke 5. Smeštaj knjiga 6. Otuđivanje knjiga 7. Čuvanje i obrada rukopisa III Katalog ćirilskih rukopisa i stare srpske štampane knjige KATALOG ĆIRILSKIH RUKOPISA MANASTIRA HILANDARA (Dimitrije Bogdanović) Spisak skraćenica Katalog STARE ŠTAMPANE KNJIGE MANASTIRA HILANDARA (Dejan Medaković) INDEKSI (Dimitrije Bogdanović) Indeks imena a. Indeks autora b. Indeks ličnih imena u zapisima Indeks geografskih naziva u zapisima Indeks sadržaja Indeks jezika i redakcija Hronološki indeks a. Rukopisi po vremenu nastanka b. Hronološki indeks zapisa Indeks signatura Save Hilandarca PALEOGRAFSKI ALBUM Rukopisi Kijevske Rusije i Novgoroda SRPSKI RUKOPISI Srpski rukopisi XIII veka Srpski rukopisi XIV veka Srpski rukopisi XV veka Srpski rukopisi XVI veka Srpski rukopisi XVII veka Makedonski rukopisi Bugarski rukopisi Vlaški rukopisi Moldavski rukopisi Ruski rukopisi Južnoslovenski rukopisi crkvenoslovenske redakcije XVIII i XIX veka (K-132)

Istaknuti srpski komparatista, prof. dr Jelena Novaković, u svojoj novoj knjizi Francusko simbolističko nasleđe u srpskoj poeziji stavila je u središte interesovanja simbolizam u francuskoj i srpskoj književnosti, polazeći od jednostavne činjenice da je ova vrlo važna pojava i u jednoj i u drugoj književnosti imala velike domete i značaj i da su neki od najvećih francuskih i srpskih pesnika i sami svoju poetiku određivali kao simbolističku, a da je, opet, niz srpskih pesnika (J. Dučić, S. Pandurović, M. Bojić, T. Manojlović, S. Vinver, B. Miljković, A. Vukadinović, B. Radović, I. V. Lalić, J. Hristić), u različitim oblicima (eseji, prevodi, pesme,intervjui), ukazivao na svoje veze sa francuskom književnošću. Uz sve to, simbolizam je u modernoj evropskoj književnosti izuzetno važna književna pojava i našao se u središtu interesovanja i nekih velikih proučavalaca pesničke umetnosti (E. Vilson, Hugo Fridrih, S. M. Baura), koji su u simbolizmu videli reprezentanta nekih od najvažnijih odlika modernog pesničkog stvaralaštva, ponajviše nastojanja da se pesnička umetnost udalji od svakog oblika mimetičnosti, da na nov način tretira zvukovno-melodijsku dimenziju pesničkog jezika i slično. Ukazujući na samom početku na to da je simbolizam kao književni pokret u francuskoj književnosti relativno kratko trajao (od sredine osamdesetih do sredine dvedesetih godina 19. veka), ali da je njegov uticaj bio i ostao dugotrajan i po poetičkim odjecima vrlo plodan, Jelena Novaković je pripremila podlogu za oblikovanje književnoistorijske slike simbolizma u francuskoj književnosti, jednako kao što je, ukazujući na najvažnije poetičke ideje francuskih simbolista, a ponajviše Stefana Malarmea, nastojala da ukaže na širinu prodora tih ideja u srpsku književnost i na nekoliko generacija srpskih pesnika. – Prof. dr Radivoje Mikić 21 cm, 350 str.

Srednjovekovna teološka književnost u Bugarskoj i Srbiji (865—1459) / Gerhard Podskalski Beograd 2010. Tvrd povez, ćirilica, 686 strana. Knjiga je odlično očuvana (kao nova). R18 Autor ove knjige je inače poznati nemački profesor crkvene istorije i istočno-hrišćanske teologije (vizantijske i slovenske) na Filosofsko-bogoslovskom fakultetu „Sveti Đorđe“ u Frankfurtu na Majni. Rođen je 1937. godine, trenutno je u penziji i živi u starčkom domu „Caritas-Altenzentrum St. Josef- Elisabeth“ u Kelnu. U ovoj knjizi Podskalski izlaže pregled srpske i bugarske književnosti u periodu od pet vekova. Zbog međusobne veze ova dva naroda i drugih bliskosti iz ugla iz kojeg je gledao Podskalski, javio se povod za ostvarenjem ove studije u kojoj je obuhvaćena njihova književnost. Sadržaj: Predgovor srpskom izdanju Predgovor A. Uvod 1. Bliže određenje tematike 2. Stanje nauke (pripremni radovi) B. Istorijski pregled 1. Ranohrišćanski tragovi u Bugarskoj i Srbiji (Dunavske provincije u II-VI veku) 2. Paganstvo (staroslovenska mitologija; religija Protobugara) 3. Hrišćanstvo među južnim Slovenia / Protobugarima pre 865 . 4. Pokrštavanje Bugarske pod Borisom Mihailom (865) — Konačna hristijanizacija Srbije (867—874) 5. Crkvena organizacija (između Vizantije i Rima) 6. Država i crkva 7. Monaštvo i manastiri 8. Sinodi i jeresi 9, Teorije prevođenja i prevodna književnost 10. Gradnja crkava — crkveno slikarstvo — crkvena muzika 11. Bugarska — Makedonija — Srbija: tri ravnopravna oblika jedne (pravoslavne) južnoslovenske kulture? Sadržaj: V. Glavni deo Teološka književnost srednjeg veka u Bugarskoj i Srbiji (865-1439) po njenim rodovima 1. Omilitika 2. Asketika 3. Egzegeza 4. Dogmatika, apologetika, polemika 5. Hagiografija 6. Liturgijsko pesništvo 7. Hronistika 8. Kanonsko pravo 9. Izveštaji o hodočašćima G. Pogovor Putokazi (pravoslavne) južnoslovenske teologije Popisi duhovnih i svetovnih autoriteta a) Bugarski arhiepiskopi / patrijarsi b) Bugarski kneževi i carevi (od Simeona) v) Srpski arhiepiskopi / patrijarsi g) Srpski vladari d) Carigradski patrijarsi (858-1465) đ) Rimske pape (858—1464) Registar imena Registar pojmova, geografskih naziva i svetopisamskih knjiga Registar autora sekundarne literature

Radomir Putnik DRAMSKI JUNAK DOSITEJ OBRADOVIĆ TEORIJA, TUMAČENJE I ISTORIJA KNJIŽEVNOSTI RTS/ Zadužbina `Dositej Obradović` 2022. 824 strane, tvrd povez, zaštitni omot. Dositej je bio onaj, dragocenim iskustvom i poznavanjem političkih prilika u Evropi, sudbinom odabrani mislilac koji je prihvatio zadatak da pomogne ustanicima u uspostavljanju administrativnog, dakle, rukovodećeg aparata buduće države Srbije. On je,doista, odredio put kojim se mora poći - to je staza koja se zasniva na obrazovanju i racionalnom promišljanju interesa srpskog naroda; međutim, Dositejeve zasluge su daleko veće i značajnije na drugom, danas bi se reklo, opštem kulturološkom području i one nadilaze ograničenja koja postavljaju godine, decenije i vekovi. Dositej je osnivao škole, bogosloviju, stvarao književni jezik, vaspitavao i naukovao kao učitelj brojne učenike u srpskim sredinama u rasejanju, kao i đake drugih nacija, pisao i propovedao, duboko verujući u snagu razuma, pismenosti i škole - ističe Radomir Putnik. b

Naslov: Djelo Meše Selimovića u književnoj kritici Izdavač: Oslobođenje Mesto: Sarajevo Godina: 1985. Vrsta: Zbornik. Obim: 483. str. SADRŽAJ: I Razija Lagumdžija - Predgovor II Midhat Begić - Istraživanje ljudskih osobina Radovan Vučković - Meša Selimović (Sjećanja i eseji) Miroslav Egerić - Duh i čin III Muharem Pervić - Derviš i pesnik Razija Lagumdžija - Poetska univerzalnost i misaona savremenost - temeljan biljeg Selimovićevog romana Derviš i smrt Svetozar Koljević - Apstraktna istorija u Dervišu i smrti Midhat Begić - Derviš i smrt Ivan V. Lalić - Roman o čoveku i smrti Saša Vereš - Zatvoreni krug Zvonimir Mrkonjić - Roman dileme Nazif Kusturica - Arabeska o `Dervišu` Predrag Palavestra - Kritičko značenje alegorijske forme Predrag Protić - Derviš i smrt Meše Selimovića IV Tomas J. Batler - Književni stil i poetska funkcija u romanu Derviš i smrt (prevod sa engleskog) L. Aninski - Meša Selimović i njegova knjiga o čoveku (prevod sa ruskog) N. B. Jakovljeva - Problem slobode i bunta u romanima Meše Selimovića (prevod sa ruskog) Laurand Kovacs - Suptilnost romana (prevod sa francuskog) V Risto Trifković - Tri novele i tri romana M. Selimovića Branko Milanović - U zamci sećanja Zoran Gluščević - Meša Selimović: Magla i mjesečina Milosav Marković - Tvrđava Janez Rotar - Misaoni i narativni slojevi u strukturi Selimovićeve Tvrđave (prevod sa slovenačkog) Kasim Prohić - Tvrđava (iz knjige: Činiti i biti) Radovan Vučković - Problem romana Ostrvo Dejan Đuričković - Opasnost Kruga VI Jovan Vuković - Meša Selimović o Vuku i našem jeziku Asim Peco - U funkciji djela (Turcizmi u romanu Derviš i smrt) VII Ljubomir Zuković - Selimovićev odnos prema usmenoj književnosti Radomir Ivanović - Mnogoglasan odjek vremena (Doprinos M.S. nauci o književnosti) Miodrag Petrović - Ivo Andrić i Meša Selimović VIII Radovan Popović - Životopis Meše Selimovića IX Mira Miljanović - Bibliografija Napomena: KNJIGA JE U ZAISTA JAKO DOBROM STANJU (KAO ŠTO SE I JASNO VIDI NA SLIKAMA). JEDINA MANA JOJ JE ŠTO IMA POSVETU NA PRVOJ (PRAZNOJ) STRANICI. SVE OSTALO JE U ODLIČNOM STANJU, BEZ TRAGOVA KORIŠĆENJA. Ukoliko imate neka pitanja, kontaktirajte u INBOX. SREĆNA KUPOVINA!

Autor:Slaviša Miljković izdanje autora Niš, 2015. tiraž 200 primeraka Udžbenički format, 510 strana. Odgonetanje starogrčkih reči ili starogrčke reči jesu srbizmi“ Naslov ovog dela nagoveštava rušenje zgrada mnogih društvenih nauka, u prvom redu, povjesti (istorije) i jezikoslovlja (lingvistike). Slaviša K. Miljković uverljivo objašnjava, da je starogrčki jezik stvaran korišćenjem srpskih reči, a da je razvejao plodnost i pri rađanju jezika širom sveta: „Srpski jezik Majka Jezik: srbska jezička šifra gospodari jezicima, kao što su: sanskrit, jevrejski, starogrčki, latinski, kineski, japanski... tj. etimologija reči iz svih ovih jezika se oslanja, najizvornije, na srbski jezik i njegovu jezičko-duhovnu šifru!“ Pisac se posvetio izučavanju starogrčkog, jer su mu prepoznatljive navedene odlike srpskog jezika, a na osnovu ove jezičke tvrdnje, grčkom narodu su darovane zasluge za gradnju temelja Civilizacije. S. Miljković osporava i jednu i drugu tvrdnju – starogrčki jezik nije uticao na stvaranje drugih jezika i preci Grka nisu graditelji društvenih zajednica i država u Antici. Kad objašnjava da grčki jezik nije mogao biti kolevka drugim jezicima, navodi da on nema glasove – koji su izrazito prepoznaju u ostalim svetskim jezicima: „Č“, „C“, „Lj“, „Nj“, „Ć“, „Đ“, „Ž“; „Dž“, „Š“, a iz grčkog jezika je izbačeno i slovo „V“. S obzirom da su ovih deset slova često u srpskim rečima, postavlja se pitanje kako je pisac mogao prepoznati srpske reči u starogrčkom, kad u grčkim rečima nema ovih slova, pa srpska reč s izbačenim slovom mora glasiti drukčije, te se ne može prepoznavati kao srpska? No, S. Miljković je i to objasnio. Uočio je pravila u grčkom jeziku, koja su primenjivana pri preuzimanju srpskih reči. Ako su te reči, recimo, imale slovo „Ž“, Grci su ga zamenjivali svojim slovnim znacima, uvek na isti način - u desetinama, ili stotinama slučajeva. Tako su: - slovo „Đ“ izgovarali kao dugo „E“, - slovo „Ž“ izgovarali kao „Thita“, - slova „ST“ izgovarali kao „Ksi“, - slovo „U“ izgovarali ga, ranije, kao „Iipsilon“, a sada kao „I“, - slovo „Dž“ izgovarali kao „Psi“, - slovo „Š“ izgovarali kao „Omega“. Miljković je objasnio i druge načine preuzimanja srpskih reči u starogrčki jezik, pri čemu i korišćenje pojmova - značenja. Tako su srpski pojam „prštati“ – što znači i „snažno izbijati“ (sunce izbija ujutro) iskoristili za pojam „rano“ i „rano ujutru“. Ta grčka reč za „rano jutro“ je stvarno srpska – glasi u grčkom jeziku „prštata“. Odlike grčkog jezika je uočio, navodi S. Miljković, i Miloš Milojević u 19. stoleću, te je uveravao, da je grčki jezik sličan romskom, da su Grci bili mešavina više naroda i da su došli na Helm (Balkan) iz Egipta – tek u 8. stoleću Nove ere. Italijanski istoričar, Đankarla Tomecoli Ticijana i bugarski lingvista – P. P. Serafimov su na Međunarodnom kongresu: „Doćirilovska slovenska pismenost i dohrišćanska slovenska kultura“, Sankt Peterburg (12-14. maj 2008), potvrdili – da su falsifikati o Srbima (Slovenima) dosegli vreme trećeg milenijuma pre Nove ere. Njihov referat nije uputio samo na srpsku (slovensku) antičku istoriju, nego i na grčku - navode da Minojska država na Kritu nije grčka – nego slovenska. Oni su, uz druge jezikoslovce (lingviste) u Evropi, pomoću slovenskih jezika, pročitali linearno „A“ i „B“ pismo, pa su zapise s Krita rastumačili. Zaključili su – da su Sloveni u paleolitu prisutni u svim delovima Evrope. Stari toponimi u Jugoistočnoj Evropi su se, do sada, smatrali neslovenskim, a istina je – da se mogu čitati samo pomoću slovenskih jezika. Smatraju, da su Sloveni: i Iliri, i Tračani, i Skiti... i da su se naselili na Kritu u trećem milenijumu pre Nove ere. Tamo su stvorili Minojsku državu i u njoj su bili većinsko stanovništvo. Pismenost je bila već uobičajena na Kritu i ona se vezuje za pismo iz Vinče i pismo iz Lepenskog Vira – oba su nađena u Srbiji. Ticijano odbija svaku mogućnost, da je na Kritu bila grčka kultura, jer istorijski izvori upućuju na činjenicu, da su se Grci doselili na Balkan tek u 7. ili 8. stoleću pre Nove ere i da su samo nasledili slovensku pismenost i slovensko državno ustrojstvo s Krita. Na osnovu ovog rada, jasno je, da je i čuveni Trojanski rat bio pre dolaska Grka na Balkan i da je to rat među srpskim (slovenskim) državama. I tako, Slaviša K. Miljković je predstavio 2000 starogrčkih reči, koje su, očigledno, iz srpskog jezika, te ih, s pravom, označava srbizmima u grčkom jeziku. Odbija svaku pomisao da su one mogle poteći u starogrčki iz nekog drugog jezika, jer je i latinski nastao na bazi srpskog u 6. stoleću pre Nove ere, a drugi zapadnoevropski jezici, rumunski i mađarski su stvoreni od 11. do 19. stoleća. Zato je zaključio: „Srbi jesu starosedeoci Balkana i Podunavlja. Srbi jesu nosioci bele rase, evropske pismenosti, duhovnosti i nauke. Jezik je od Boga, nema duhovnosti izvan jezika; jezik i um su se uporedo razvijali, al` – prvo beše Reč od Boga. Svako srbsko slovo ima utvrđeno značenje, koje jeste u neraskidivoj vezi s njegovom grafičkom, brojčanom, zvučnom, idejnom... vrednoštću. Svaka dvoslovna odrednica ima utvrđena značenja, proistekla iz pomenutih značenja/vrednosti srpskih slova... To isto su i troslovne odrednice“. Da zaključimo. Nije moguće osporiti ovu veliku studiju Slaviše S. Miljkovića, pisanu na 500 strana, te je obavezno da zaključimo: Civilizacija ima drukčije temelje od onih koji se objašnjavaju u knjigama društvenih nauka, te bi nadležni u UN i naučne ustanove svake zemlje trebalo da preduzmu mere – da se temelji Civilizacije predstave u pravom svetlu, istinito. OČUVANA

Lepo očuvano kao na slikama Frank Raymond `F. R.` Leavis This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. Publisher ‏ : ‎ Penguin Books Ltd; New Impression edition (August 31, 1972) Language ‏ : ‎ English Paperback ‏ : ‎ 304 pages Frank Raymond `F. R.` Leavis CH (14 July 1895 – 14 April 1978) was an English literary critic of the early-to-mid-twentieth century. He taught for much of his career at Downing College, Cambridge, and later at the University of York. Leavis ranked among the most prominent English-language critics in the 1950s and 1960s.[1] J. B. Bamborough wrote of him in 1963: `it would be true to say that in the last thirty or more years hardly anyone seriously concerned with the study of English literature has not been influenced by him in some way.`[2] According to Clive James, `You became accustomed to seeing him walk briskly along Trinity Street, gown blown out horizontal in his slipstream. He looked as if walking briskly was something he had practised in a wind-tunnel.`[3] Early life and education[edit] Leavis was born in Cambridge in 1895 to Harry Leavis (1862–1921) and Kate Sarah Moore (1874–1929). His father was a cultured man who ran a shop in Cambridge that sold pianos and other musical instruments,[4] and his son was to retain a respect for him throughout his life. Leavis was educated at The Perse School in Cambridge (in English terms a Public School), whose headmaster was Dr W. H. D. Rouse. Rouse was a classicist and known for his `direct method`, a practice which required teachers to carry on classroom conversations with their pupils in Latin and classical Greek. Though he had some fluency in foreign languages, Leavis felt that his native language was the only one on which he was able to speak with authority. His extensive reading in the classical languages is not therefore strongly evident in his work.[5] Leavis had won a scholarship from the Perse School to Emmanuel College, Cambridge, to study history.[6] Britain declared war on Germany soon after he matriculated, when he was 19. Leavis left Cambridge after his first year as an undergraduate and joined the Friends` Ambulance Unit (FAU) at York in 1915. After the introduction of conscription in 1916, when his brother Ralph also joined the FAU,[7] he benefited from the blanket recognition of the members of the Friends` Ambulance Unit as conscientious objectors. Leavis is quoted as saying: `But after the Bloody Somme there could be no question for anyone who knew what modern war was like of joining the army.`[8] He worked in France behind the Western Front, carrying a copy of Milton`s poems with him. His wartime experiences had a lasting effect on him, making him prone to insomnia. He maintained that exposure to poison gas retained in the clothes of soldiers who had been gassed damaged his physical health,[9] but that his poor digestion was due to `...not gas at Ypres, but the things I didn`t say`.[9] Leavis was slow to recover from the war, and he was later to refer to it as `the great hiatus`. He said: `The war, to put it egotistically, was bad luck for us.`[10] On his return from the war in 1919, Leavis resumed his studies at Cambridge and completed Part I of the history tripos, achieving a lower second-class mark.[11] He then changed his field of study to English and became a pupil in the newly founded English School. Despite graduating with first-class honours in his final examinations, Leavis was not seen as a strong candidate for a research fellowship and instead embarked on a PhD, then an unusual career move for an aspiring academic.[citation needed] In 1924, Leavis presented a thesis on The Relationship of Journalism to Literature, which `studied the rise and earlier development of the press in England`.[12] This work contributed to his lifelong concern with the way in which the ethos of a periodical can both reflect and mould the cultural aspirations of a wider public.[13] Career[edit] In 1927 Leavis was appointed as a probationary lecturer for the university, and, when his first substantial publications began to appear a few years later, their style was much influenced by the demands of teaching. In 1929 Leavis married one of his students, Queenie Roth,[6] and this union resulted in a collaboration that yielded many critical works. 1932 was an annus mirabilis for them, when Leavis published New Bearings in English Poetry, his wife published Fiction and the Reading Public, and the quarterly periodical Scrutiny was founded.[14] A small publishing house, The Minority Press, was founded by Gordon Fraser, another of Leavis`s students, in 1930, and served for several years as an additional outlet for the work of Leavis and some of his students. In 1931 Leavis was appointed director of studies in English at Downing College, where he taught for the next 30 years. He soon founded Scrutiny, the critical quarterly that he edited until 1953, using it as a vehicle for the new Cambridge criticism, upholding rigorous intellectual standards and attacking the dilettante elitism he believed to characterise the Bloomsbury Group. Scrutiny provided a forum for (on occasion) identifying important contemporary work and (more commonly) reviewing the traditional canon by serious criteria. This criticism was informed by a teacher`s concern to present the essential to students, taking into consideration time constraints and a limited range of experience.[15] New Bearings in English Poetry was the first major volume of criticism Leavis was to publish,[6] and it provides insight into his own critical positions. He has been frequently (but often erroneously) associated with the American school of New Critics, a group which advocated close reading and detailed textual analysis of poetry over, or even instead of, an interest in the mind and personality of the poet, sources, the history of ideas and political and social implications. Although there are undoubtedly similarities between Leavis`s approach to criticism and that of the New Critics (most particularly in that both take the work of art itself as the primary focus of critical discussion), Leavis is ultimately distinguishable from them, since he never adopted (and was explicitly hostile to) a theory of the poem as a self-contained and self-sufficient aesthetic and formal artefact, isolated from the society, culture and tradition from which it emerged. New Bearings, devoted principally to Gerard Manley Hopkins, William Butler Yeats, T. S. Eliot, and Ezra Pound, was an attempt to identify the essential new achievements in modern poetry. It also discussed at length and praised the work of Ronald Bottrall, whose importance was not to be confirmed by readers and critics.[15] In 1933 Leavis published For Continuity, which was a selection of Scrutiny essays. This publication, along with Culture and the Environment (a joint effort with Denys Thompson), stressed the importance of an informed and discriminating, highly trained intellectual elite whose existence within university English departments would help preserve the cultural continuity of English life and literature. In Education and the University (1943), Leavis argued that `there is a prior cultural achievement of language; language is not a detachable instrument of thought and communication. It is the historical embodiment of its community`s assumptions and aspirations at levels which are so subliminal much of the time that language is their only index`.[16] Leavis is sometimes seen as having contributed to the mythos of Merrie England with his notion of the `organic community`, by which he seems to have meant a community with a deeply rooted and locally self-sufficient culture that he claimed to have existed in the villages of 17th and 18th century England and which was destroyed by the machine and mass culture introduced by the industrial revolution. Historians of the era have suggested that the idea was based on a misreading of history and that such communities had never existed.[17] No historians of Early Modern Britain have given credence to the notion of the organic community. In 1948, Leavis focused his attention on fiction and made his general statement about the English novel in The Great Tradition, where he traced this claimed tradition through Jane Austen, George Eliot, Henry James, and Joseph Conrad. Contentiously, Leavis, and his followers, excluded major authors such as Charles Dickens, Laurence Sterne and Thomas Hardy from his canon, characterising Dickens as a `mere entertainer`, but eventually, following the revaluation of Dickens by Edmund Wilson and George Orwell, Leavis changed his position, publishing Dickens the Novelist in 1970. The Leavisites` downgrading of Hardy may have damaged Leavis`s own authority. In 1950, in the introduction to Mill on Bentham and Coleridge, a publication he edited, Leavis set out the historical importance of utilitarian thought. Leavis found Bentham to epitomize the scientific drift of culture and social thinking, which was in his view the enemy of the holistic, humane understanding he championed.[16] The Common Pursuit, another collection of his essays from Scrutiny, was published in 1952. Outside his work on English poetry and the novel, this is Leavis`s best-known and most influential work. A decade later Leavis was to earn much notoriety when he delivered his Richmond lecture, Two Cultures? The Significance of C. P. Snow at Downing College.[18] Leavis vigorously attacked Snow`s suggestion, from a 1959 lecture and book by C. P. Snow (see The Two Cultures), that practitioners of the scientific and humanistic disciplines should have some significant understanding of each other, and that a lack of knowledge of 20th century physics was comparable to an ignorance of Shakespeare.[19] Leavis`s ad hominem attacks on Snow`s intelligence and abilities were widely decried in the British press by public figures such as Lord Boothby and Lionel Trilling.[20] Leavis introduced the idea of the `third realm` as a name for the method of existence of literature; works which are not private like a dream or public in the sense of something that can be tripped over, but exist in human minds as a work of collaborative re-constitution.[21] The notion of the `third realm` has not received much attention subsequently. Character and reputation[edit] As Leavis continued his career he became increasingly dogmatic, belligerent and paranoid,[22] and Martin Seymour-Smith found him (and his disciples) to be `fanatic and rancid in manner`.[23] Leavis`s conduct led to a breach with T. S. Eliot, who wrote I so strongly disagreed with Dr Leavis during the last days of Scrutiny, and objected to his attacks and innuendoes about people I knew and respected. I think it is a pity he became so intemperate in his views and was extravagant in his admirations, as I had, in the earlier stages of the magazine, felt great sympathy for its editor.[22] Leavis`s uncompromising zeal in promoting his views of literature drew mockery from quarters of the literary world involved in imaginative writing. In a letter that Edith Sitwell wrote to Pamela Hansford Johnson in 1959 she described Leavis as `a tiresome, whining, pettyfogging little pipsqueak`.[24] Leavis (as `Simon Lacerous`) and Scrutiny (as `Thumbscrew`) were satirized by Frederick Crews in the chapter `Another Book to Cross off your List` of his lampoon of literary criticism theory The Pooh Perplex A Student Casebook. In her novel Possession, A. S. Byatt (who was herself taught by Leavis) wrote of one of her characters (Blackadder) `Leavis did to Blackadder what he did to serious students: he showed him the terrible, the magnificent importance and urgency of English literature and simultaneously deprived him of any confidence in his own capacity to contribute to or change it.`[25] Tom Sharpe, in his novel The Great Pursuit, depicts a ludicrous series of events ending in the hero teaching Leavisite criticism as a religion in the American Bible Belt.[1] In the mock epic heroic poem by Clive James, Peregrine Pykke, the eponymous hero studies literature under the prophet F R Looseleaf at Downing College, Cambridge.[26] In his autobiography The Fry Chronicles, Stephen Fry described Leavis as a `sanctimonious prick of only parochial significance` and said that Leavis had an `intense suspicious propensity to explode in wrath and anathematize anyone who dared disagree with him`. Fry notes: by the time I arrived in Cambridge his influence had waned, and he and his kind had been almost entirely eclipsed ... Stories of Frank Leavis and his harridan of a wife Queenie snubbing, ostracising, casting out and calumniating anyone who offended them went the round, and those English academics at the university who had been in their orbit were callously dismissed by the elite as dead Leavisites.[27] The literary critic John Gross accuses Leavis of `narrowness, spitefulness, dogmatism`, `distortion, omission and strident overstatement` and says that `the overall effect of his teaching has plainly been calculated ... to produce many of the characteristics of a religious or ideological sect.`[28] Criticism[edit] Overview[edit] Leavis`s proponents said that he introduced a `seriousness` into English studies, and some English and American university departments were shaped by his example and ideas. He appeared to possess a clear idea of literary criticism, and he was well known for his decisive and often provocative, and idiosyncratic, judgements. He insisted that valuation was the principal concern of criticism, that it must ensure that English literature should be a living reality operating as an informing spirit in society, and that criticism should involve the shaping of contemporary sensibility.[29] Leavis`s criticism can be grouped into four chronological stages. The first is that of his early publications and essays, including New Bearings in English Poetry (1932) and Revaluation (1936). Here he was concerned primarily with re-examining poetry from the 17th to 20th centuries, and this was accomplished under the strong influence of T. S. Eliot. Also during this early period Leavis sketched out his views about university education.[citation needed] He then turned his attention to fiction and the novel, producing The Great Tradition (1948) and D. H. Lawrence, Novelist (1955). Following this period Leavis pursued an increasingly complex treatment of literary, educational and social issues. Though the hub of his work remained literature, his perspective for commentary was noticeably broadening, and this was most visible in Nor Shall my Sword (1972).[citation needed] Two of his last publications embodied the critical sentiments of his final years; The Living Principle: `English` as a Discipline of Thought (1975), and Thought, Words and Creativity: Art and Thought in Lawrence (1976). Although these later works have been sometimes called `philosophy`, it has been argued that there is no abstract or theoretical context to justify such a description. In discussing the nature of language and value, Leavis implicitly treats the sceptical questioning that philosophical reflection starts from as an irrelevance from his standpoint as a literary critic – a position set out in his early exchange with René Wellek (reprinted in The Common Pursuit). On poetry[edit] Leavis is often viewed as having been a better critic of poetry than of the novel.[30] In New Bearings in English Poetry Leavis attacked the Victorian poetical ideal, suggesting that 19th-century poetry sought the consciously `poetical` and showed a separation of thought and feeling and a divorce from the real world. The influence of T. S. Eliot is easily identifiable in his criticism of Victorian poetry, and Leavis acknowledged this, saying in The Common Pursuit that, `It was Mr. Eliot who made us fully conscious of the weakness of that tradition` .[31] In his later publication Revaluation, the dependence on Eliot was still very much present, but Leavis demonstrated an individual critical sense operating in such a way as to place him among the distinguished modern critics.[citation needed] The early reception of T. S. Eliot and the reading of Hopkins were considerably enhanced by Leavis`s proclamation of their greatness.[citation needed] His criticism of Milton, on the other hand, had no great impact on Milton`s popular esteem. Many of his finest analyses of poems were reprinted in the late work, The Living Principle.[citation needed] On the novel[edit] As a critic of the English novel, Leavis`s main tenet stated that great novelists show an intense moral interest in life, and that this moral interest determines the nature of their form in fiction.[32] Authors within this `tradition` were all characterised by a serious or responsible attitude to the moral complexity of life and included Jane Austen, George Eliot, Henry James, Joseph Conrad, and D. H. Lawrence, but excluded Thomas Hardy and Charles Dickens. In The Great Tradition Leavis attempted to set out his conception of the proper relation between form/composition and moral interest/art and life. This proved to be a contentious issue in the critical world, as Leavis refused to separate art from life, or the aesthetic or formal from the moral. He insisted that the great novelist`s preoccupation with form was a matter of responsibility towards a rich moral interest, and that works of art with a limited formal concern would always be of lesser quality.[citation needed] Leavis, along with his wife, Q.D. Leavis, was later to revise his opinion of Dickens in their study, Dickens the Novelist (1970). He also praised the moral seriousness of American novelists such as Nathaniel Hawthorne, Herman Melville, and Mark Twain.[citation needed] On the BBC[edit] Leavis was one of the earliest detractors of the BBC. He accused the corporation`s coverage of English literature of lacking impartiality, and of vulgarising the literary taste of British society.[33] In 1931, Leavis took issue with a BBC series of book discussions presented by Harold Nicolson, claiming that Nicolson`s programmes lacked the `sensitiveness of intelligence` which Leavis believed good literary criticism required.[34] Throughout his career, Leavis constantly took issue with the BBC`s motives and actions, even once jokingly referring to his `anti-BBC complex`.[33] Later life and death[edit] In 1964 Leavis resigned his fellowship at Downing and took up visiting professorships at the University of Bristol, the University of Wales and the University of York. His final volumes of criticism were Nor Shall My Sword (1972), The Living Principle (1975) and Thought, Words and Creativity (1976).[6] Leavis died in 1978, at the age of 82,[35] having been made a Companion of Honour in the previous New Year Honours.[6] His wife, Queenie D. Leavis, died in 1981. He features as a main character, played by Ian Holm, in the 1991 BBC TV feature, The Last Romantics. The story focuses on his relationship with his mentor, Sir Arthur Quiller-Couch, and the students. džordž eliot henri džejms džozef konrad tags: velika tradicija modernizam moderni roman roman toka svesti tradicija i avangarda istorija romana xx veka engleske književnosti engleska književnost razgovori s henri dzejmsom