![]() ![]() SRPSKA TRILOGIJA PDF SERIESThey felt less compelled to tell others about the necessity of war, instead often composing their work as a series of snapshots of time. Romantic and moralizing moments are rarely found among those writers who had served as soldiers. Stanislav Vinaver, the author of a manifesto on Serbian Expressionism who had interrupted his studies at the Sorbonne to serve in the Balkan Wars (1912-1913), also drew inspiration from his war diary for his book of poetry Ratni drugovi (War Comrades, 1939) and memorial book Školski bataljon (Student Battalion, 1941). In this time he began writing, his notebooks serving as the basis for his later works, similar to his contemporary, Momčilo Nastasijević (1894-1938), who also wrote his first novels during the war. ![]() Though underage at the start of the conflict, Petrović enlisted voluntarily after several members of his family had fallen victim to war, including his sister, the well-known painter Nadežda Petrović (1873-1915). In Rastko Petrović's (1898-1949) two-part novel Dan šesti (Day Six), too – written in the 1920s but published posthumously in the journal Delo between 19 – which describes the retreat of the Serbian army and refugees to Corfu after the occupation of Serbia (Petrović himself among them), it is barely possible to separate dream from reality. ![]() Subjective fiction and objective reality were almost one and the same. ![]() Stevan Jakovljević, professor at Belgrade University and reserve officer, created the most extensive prose text of that period, Srpska trilogija (Serbian Trilogy, 1937), in which he described the war from beginning to end from a soldier’s, an officer’s, and a Kingdom of Serbia civilian’s perspective. From this evidence, one can see the relation between artistic creation and wartime destruction, a constant interplay between suffering and pride, despair at the transience of life and hope. The Serbian literature of World War I is evidence of glory as well as woe. During the war, he instead wrote the novel 1915: Tragedija jednog naroda (1915: Tragedy of a Nation, 1921), dedicated to his son killed in action that year, then the theatre play Velika nedelja (Holy Week) and numerous texts for the Serbian war press in exile, all revolving around the experience of war. The most eminent comedy writer of the pre- and post-war era, Branislav Nušić, for example, did not produce any comedy between 1914 and the end of the 1920s. Some distanced themselves from their pre-war artistic expression, becoming passive observers or chroniclers of war. These writers were active participants in the war, believing in the possibility of change through personal and, especially, collective intervention. Serbian authors of different generations found themselves on the frontlines from the first day of war due to extensive mobilization and combat on Serbian soil, among them the contemporaries Stanislav Vinaver (1891-1955), Milutin Bojić (1892-1917), Stevan Jakovlјević (1890-1962), Stanislav Krakov (1895-1968), and the slightly older Vladislav Petković-Dis (1880-1917), Sima Pandurović (1883-1960), Dragiša Vasić (1885-1945), Vojislav Ilić Mlađi (1877-1944), and Branislav Nušić (1864-1939). Political and social questions monopolized the work of authors who had experienced the war firsthand, many of whom turned to avant-garde techniques of juxtaposition, opposing real, personal experiences with fantasies of an imaginary past. Consequently, Serbian literature produced between 19 can be seen as belonging to a single period. The Kingdom of Serbia had witnessed two Balkan wars in the two years leading up to the First World War, so death and dread were already present in the collective memory before the summer of 1914. Serbian literature produced during World War I has to be divided into two text corpora, each of which exhibits different motifs and different linguistic expressions: literature written by authors from the Kingdom of Serbia, and that by the Serbs of the Habsburg Monarchy. ![]()
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