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Read Ebook {PDF EPUB} Bosnian Chronicle by Ivo Andrić Bosnian Chronicle by Ivo Andrić. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 657fe3635c0acb00 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Bosnian Chronicle by Ivo Andrić. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 657fe3649bbd1665 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Bosnian Chronicle by Ivo Andrić. TimeSearch for Books and Writers by Bamber Gascoigne. Writer of Serbo-Croatian novels and short stories who was awarded the Nobel Prize for Literature in 1961. Ivo Andrić's literary career spanned some 60 years. Before World War II, he was known primarily for short stories set in his native Bosnia. Andrić made his reputation as a novelist with the Balkan trilogy ( The Bridge on the Drina, Bosnian Chronicle , and The Woman from Sarajevo ), which appeared practically simultaneously in 1945. Its central symbol was the bridge. Andrić's work, dominated by a sense of Kierkegaardian pessimism and personal isolation, arise from the collision of cultures in the Balkans. Ivo Andrić was born in the village of Tr�vnik in Bosnia (then in the Austro-Hungarian Empire), into a middle-class family. Andrić was three years old when his father, an artisan, died of tuberculosis. The family moved then to Višegrad, another little town, where he was raised by his mother, a strict Roman Catholic, and his aunt. A Croat by birth, he became a Serbian by choice. He was educated at schools in Višegrad and Sarajevo in 1898-1912. While at secondary school, he read Don Quixote and became interested in the work of August Strindberg. At the age of nineteen, Andrić published his first poem, entitled 'U sumrak', in Bosanska vila (1911). This collection of verses and articles made him one of the most promising writers of his native Bosnia. In his youth Andrić joined the revolutionary nationalist student organization Mlada Bosna (Young Bosnias), which was involved between 1912 and 1914 in a dozen terrorist plots of sabotage. However, another passion of the Young Bosnians was literature. Andrić transferred from the university of Zagreb to the university of Vienna in 1913. After showing the first signs of tuberculosis he asked to be allowed to leave Vienna for Cracow. Possibly Andric was motivated by political reasons, too. When Gavrilo Princip, a member of the group, assassinated Archduke Francis Ferdinand of Austria and his wife in Sarajevo in 1914, Andrić was arrested as a conspirator and imprisoned and interned in various places until the Amnesty of 1917. His time Andrić devoted to reading the works of Fedor Dostoyevsky and S�ren Kierkegaard, whose Either/Or (1843) had a great influence on him. As a Yugoslav nationalist, Andrić greeted with enthusiasm the creation of the Kingdom of the Serbs, Croats, and Slovenes (since 1929 Yugoslavia) in 1918. Many of his poems appeared in the literary journal Knjižveni jug , in Zagreb. Other early literary efforts included translations of Walt Whitman and of Strindberg. His prose poems Andrić collected in Ex Ponto (1918) and Nemiri (1920). Beginning with the short story 'Put Alije Djerzeleza' (1920, The Journey of Alija Djerzelez), Andrić turned his attention to prose and in the late 1920s he had given up poetry for fiction, focusing on short stories, which was the most appropriate form of expression for him. Much of the material for his stories, which could be called chronicles, came from the cultural heritage and centuries long struggle among the Yugoslavian peoples, Orthodoxs, Caltholics, Jews, and Muslims; Catholic characters were portrayed more often than Orthodox. In an essay, 'Conversation with Goya' (1935), Don Francisco Goya y Lucientes appeared to Andrić in a caf� as an old man, who says: "The truth can be told in several ways, but Truth is ancient and indivisible." ( Conversation with Goya - Bridges - Signs by the Roadside by Ivo Andrić, translated by Celia Hawkesworth, 2014, p. 23) Andrić argued that the legend of Original Sin, for example, of the Flood, of the Son of Man, crucified to save the world, the legend of Prometheus and the Stolen Fire, are fundamental legends of humanity. After World War I Andrić completed his studies in the field of Slavic languages and literatures, receiving a doctorate in history in 1924 at the University of Graz in Austria. His thesis was on the cultural history of Bosnia under Turkish domination. Andrić descriptions of the blood tribute, devshirme (young Christian boys were collected, Ottomanized and trained as Janissaries), made a profound inpact on the popular consciousness. ('Adamant and Treacherous: Serbian Historians on Religious Conversions' by Bojan Aleksov, in Religion in Eastern Europe XXVI, February 2006, p. 33) From 1920 to 1940 Andrić was at the Yugoslavian diplomatic service. His posts included the Vatican, Geneva, Madrid, Bucharest, Trieste, Graz, Belgrade, Marseilles, Paris, Brussels, and Berlin, as ambassador to Germany. In the 1920s and 1930s Andrić published only a few collections of stories, each titled Pripovetke (Stories). His first collection was awarded a prize by the Serbian Royal Academy. In 1926 Andrić himself was elected to the Academy. After World War II appeared Nove pripovetke (1948) and Prokleta avlija (1954, The Devil's Yard), in which prison inmates break out from their circumstances by telling stories. Much of his fiction was built around prominent characters, such as the monks Fra Petar and Fra Marko, the peasant Vitomir Tasovac, the brave Muslim Alija, and the Višegradian jack-of-all-trades Corcan. The protagonist are depicted in the different periods of their life. The Devil's Yard was structured as a complex series of frame stories many of which were told by inmates of a notorious Turkish prison. Following the outbreak of WWW II, Yugoslavia allied herself to Germany. Andrić asked in a letter to the Minister of Foreign Affairs to be relieved of his duties. After the Nazi invasion of Yugoslavia in 1941, he spent the war years writing in the occupied Belgrade under German house arrest. "In the worst moments of my life I have found unusual and unexpected consolation in imagining another life," he wrote in his notebook in 1939, "the same as mine in dates, names and events, but true, bright, pure; painful of course as every life on earth must be, but without any dark or ugly in that pain; a life which begins with a blessing and is lost in the heights and extinguished in light." ( Ivo Andrić: Bridge Between East and West by Celia Hawkesworth, 2000, p. 25 ) In seclusion, Andrić produced his major works, Na Drini cuprija (The Bridge on the Drina), the story of the famous bridge at Višegrad in eastern Bosnia, Travnicka hronika (Bosnian Chronicle), set in the town of Tr�vnik during the period 1806-13, and Gospodjica (The Woman From Sarajevo), a moral tale about a well-to-do old maid and her pathological love of money. The Bridge on the Drina is Andrić's most famous work, which offer a novelistic overview of Bosnian history between 1516 and 1914. The beautiful 16th-century stone bridge and the river have symbolic significance. They connect or separate generations of townsfolk, Muslims, Christians, and Jews, who are engaged in a ceaseless struggle against forces of nature and human restrictiveness. Through the metaphor of the bridge, the embodiment of endurance, Andrić urged his readers to try to overcome their differences and live in harmony. Andrić structured the novel as a series of vignettes, each one presenting some aspect of life in the town from the time of the bridge's construction to its partial destruction at the outbreak of World War I. The author's personal history also is closely associated with the bridge connecting East and West. It is mirrored in the story of Mehmed Pasha Sokolli, who was taken from his Serbian mother by the Turks when he was a little boy and eventually became a vizer. Passing of time and fragility of human achievements label often Andric's work with a sad tone – only stories remain: "In a thousand different languages, in the most varied conditions of life, from century to century. the tale of human destiny unfolds, told endlessly and uninterruptedly by man to man," Andrić has written. ( Ivo Andric: Bridge Between East and West by Celia Hawkesworth, 2000, p. 7 ) Bosnian Chronicle was an exploration of clash of cultures, in which European consuls and a Turkish vizer confront.