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[103
0350-6428, 44 (2012) 146, . 103122
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2 1953 188196 29
3 1956 227232 16
4 1978 5771 14
5 1921
185195 30
6 195 2
7 1936 164172 12
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118]
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19 1920 1213
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20 1921 187 0
21 1947 501 3
22 1959 22831 , 12
23 1960 916 8
24 1951 16472 7
25 1976 3778 11
26 1952 1069 1427 1961 264 6
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[119
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(4, 32) 12 (3, 250) (9, 47) (16, 143; 146)
(5, 143) (7,231) 13 (1, 204) (5, 230) (7, 228)
(7, 228) (9, 196) 14 (3, 80) (3, 218)
(14, 362)(14, 362)
(10, 193) (16, 323) 15 (1, 14) (9, 57)(14, 461)
(14, 247; 273; 299) 16 (1, 313)(16, 196; 232)
(14, 299) (14, 336)17
(1, 225) (2, 215) (15, 221)
(14, 537) (14, 597) (14, 254)
2
(1, 385) (4, 35) 18 (1, 261) (3,133) (9, 192)
(5,55) (5,100) 19 (9, 192) (15, 98) (16, 219)(6, 241) (7, 241)
20 (1, 266) (4,35)
(14, 283; 283) (14, 254)
(9, 47; 189; 171) 21 (7, 271) (14, 271)
(14, 339)
3
(1, 214; 237; 287) 22 (3, 238) (9, 57) (14, 256)
(1, 290) (4, 35) 23 (1, 177) (16, 300) (6, 231)
(7, 259) (9,193) 24 (1, 237; 290) (6, 228, 231)(16, 143; 264) 25 (16, 36) (7, 258)
4
(5, 185) (7, 257) (10, 85) (15, 111)(16, 173) (14, 356)
26 (1, 14) (9, 57)
(14, 455) 27 (2, 434, 14, 86)
5 (1, 294) (5, 207) 28 (7, 238) (14, 487)(14, 141; 436; 436) 29
(14, S323, S323)
6-
(1, 376) (3, 79) 30 (14, 487; 550)
(3, 250) (4,35) 31 (4 ,35) (S14, 326)
(14, 455) 32- (1, 284) (14, 297)
7
(1, 204; 16, 276) 33 (9, 193) (14, S323)
(4, 35) 34 (15, 221) (S14, 369)(9, 192) (10, 194) 35 (1, 183; 184)
120]
8
(1, 196; 244; 312) 36 (1, 12; 15, 59)
(14, 279; 283) 37 (14, 583; 583)
(1, 261) 38 (1, 127, 249)
9 (3, 242) (4, 82)(14, 453) (15, 59)(16, 49)
39 (14, 583; 583)40 (5, 98) (3, 242)
41 (1, 294) (4, 35)
10 (1, 294) (7, 77)(7, 250; 258)42 (14, 254)
43 (14, 539)
11 -
(1, 76) (9, 47)(14, S323) (14, 495)
44 (16, 147)
45 (4, 35)
. . . .46 (1, 16) 90 (16, 143)
47 (14, 250) 91 (1, 204)
48 (1, 313) 92 (14, 123)
49 (14, 297) 93 (14, 22)
50 (1, 294) 94 (14, 254)
51 (9, 59) 95 (5, 56)
52 (1, 179) 96 (1, 196)
53 (15, 60) 97 (5, 100)
54 (15, 139) 98 (9 ,189)
55 (14, 356) 99 (1, 266)
56 (3, 250) 100 (1, 179)
57 (4, 82) 101 (14, 544)
58 (14, 317) 103 (12, 232)
59 (16, 276) 103 (1, 261)
60 (1, 312) 104 (15, 59)
61 (16, 192) 105 (1, 204)
62 (16, 193) 106 (3, 242)
63 (7, 230) 107 (5, 207)
64 (S16, 340) 108 (14, 87)
65 (2, 434) 109 (1, 225)
66 (15, 187) 110 (14, 436)
67 (14, 356) 111 (16, 243)
68 (3, 35) 112 (14, 455)
69 (4, 35) 113 (16, 88)
70 (14, 254) 114 (14, 299)
71 (7, 230) 115 (4, 80)
72 (4, 29) 116 (4,35)
73 (9, 191) 117 (1, 219)
74 (15, 226) 118 (16, 173)
75 (7, 77) 119 (1, 184)
76 (1, 171) 120 (16, 192)
77 (1, 204) 121 (1, 178)
[121
78 (4, 29) 122 (15, 110)
79 (1, 294) 123 (3, 250)
80 (1, 385) 124 (1, 312)
81 (15, 119) 125 (1, 18)
82 (16, 234) 126 (1, 284)
83 (16, 33) 127 (S16, 340)
84 (14, 87) 128 (7, 228)
85 (4 , 31) 129 (9, 192)
86 (1, 376) 130 (9, 14)
87 (2, 210) 131 (1, 312)
88 (7, 78) 132 (1, 177)
89 (1, 219) 133 (6, 230)
S , . (1981), , ,
Andri, I. (1978) Sabrana dela, Prosveta, Beograd.Andri, I. (1981) Sabrana djela, Svjetlost, Sarajevo., . (1960) , , ., . (1962) , : ,
, ., . (1978) ,
, .Huizinga, Johan (1956) Homo Ludens, vom Urpsrung der Kultur
im Spiel, Rowoht, Hamburg. Huizinga, Johan (1992), : Homo Ludens, ; : . . , , .
Caillois, R. (1958) Les jeux et les Hommes, le masque et le vertige, Paris, : , . (1959) Paris, : , . (1959) , , , 1979, , R. Tati.
Zdravko olak
Interpretation and Description of Dance: Andri and Huizinga
S u m m a r y
This paper reviews 28 descriptions of dance found in Ivo Andris work. In many of those, we recognize common elements of dance described: time and space limitations, repetition, enthusiasm for dance, tension characteristic for dance. Jo-han Huizinga, whose Homo ludens Andri had read and highly estimated, discussed those elements of dance. By adapting his narrative techniques, Andri introduced a simplification to dance descriptions; in this paper, we called it a bringing to two rule. Dances described by Andri often include only two dancers, or a dancer and an observer, or one dancer and a group of observers, or two groups of dancers, or a first-person narrator and others. In several solo dances described, one female char-acter is dancing and one male character is watching. Andri usually brings another
122]
character at the end of the dance description, one that was not mentioned previously. This new character, which we will call the external one, is outside the dance world, often even outside the dance arena. He has the role connected to the end of a dance. In the final part of the paper, we pointed to considerable variety of attributes Andri used with the noun dance.
ey words: Ivo Andri, Johan Huizinga, dance, bringing to two rule, exter-nal character