Depicting Borders: Representations of Bosnia in the
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【特集 1．共通論題論文】 ロシア・東欧研究 第42号 2013年 17 境界を描く ―ボスニア出身作家たちの作品に見るボスニア像― 三 谷 惠 子 （東京大学人文社会系研究科教授） Depicting Borders: Representations of Bosnia in the Literary Works of Three Native Bosnian Writers Mitani, Keiko Professor, Graduate School of Humanities and Sociology, The University of Tokyo Abstract As a cultural space, Bosnia was formed on the borders of Western and Eastern Chris- tianity, Islam, and Judaism. Religious diversity in the heartland of the Balkans did not cause serious conflict, but rather fostered coexistence, until the end of the Ottoman regime. However, the nationalism that emerged in surrounding areas during the nine- teenth century penetrated Bosnia, where the question of national belongings became increasingly pressing in the twentieth century. The collapse of Yugoslavia under the slogan of the “brotherhood and unity” was followed by war; multiethnic Bosnia disinte- grated into three ethnic components, those of the Bosniaks, Croats, and Serbs, and two political entities, the Federation of Bosnia and Herzegovina, and the Republika Srpska. This paper deals with the representation of Bosnia in the literary works of native Bosnian writers; it focuses on the polysemic feature of “the border” and reveals that the diverse portrayal of Bosnia in these works reflects each writer’s experience and the more general social situation. In his short story, “Letter from the Year 1920,” Ivo Andrić presents Bosnia as “a land of hatred” and profiles its religious diversity as generating intercultural conflicts. The depiction of Bosnia as demarked by multiple cultural borders is characteristic of Andric’s compositions; this short story reveals a striking picture of such a Bosnia, one that echoes the writer’s experience in the two disastrous wars of the first half of the twen- tieth century. Hasan, a character in Meša Selimović’s novel The Dervish and Death, which was published in 1966, describes the Bosnian as an in-between, unfinished creature, deprived of any particular cultural identity. In this depiction, Hasan discloses the inter- nal state of Selimović, an atheistic communist who values traditional Muslim culture. Keywords: Bosnian literature, Andrić, Selimović, Karahasan, Borders
Depicting Borders: Representations of Bosnia in the
Depicting Borders: Representations of Bosnia in the Literary Works
of Three Native
Bosnian Writers
Mitani, Keiko Professor, Graduate School of Humanities and
Sociology, The University of Tokyo
Abstract
As a cultural space, Bosnia was formed on the borders of Western
and Eastern Chris- tianity, Islam, and Judaism. Religious diversity
in the heartland of the Balkans did not cause serious conflict, but
rather fostered coexistence, until the end of the Ottoman regime.
However, the nationalism that emerged in surrounding areas during
the nine- teenth century penetrated Bosnia, where the question of
national belongings became increasingly pressing in the twentieth
century. The collapse of Yugoslavia under the slogan of the
“brotherhood and unity” was followed by war; multiethnic Bosnia
disinte- grated into three ethnic components, those of the
Bosniaks, Croats, and Serbs, and two political entities, the
Federation of Bosnia and Herzegovina, and the Republika
Srpska.
This paper deals with the representation of Bosnia in the literary
works of native Bosnian writers; it focuses on the polysemic
feature of “the border” and reveals that the diverse portrayal of
Bosnia in these works reflects each writer’s experience and the
more general social situation.
In his short story, “Letter from the Year 1920,” Ivo Andri presents
Bosnia as “a land of hatred” and profiles its religious diversity
as generating intercultural conflicts. The depiction of Bosnia as
demarked by multiple cultural borders is characteristic of Andric’s
compositions; this short story reveals a striking picture of such a
Bosnia, one that echoes the writer’s experience in the two
disastrous wars of the first half of the twen- tieth century.
Hasan, a character in Meša Selimovi’s novel The Dervish and Death,
which was published in 1966, describes the Bosnian as an
in-between, unfinished creature, deprived of any particular
cultural identity. In this depiction, Hasan discloses the inter-
nal state of Selimovi, an atheistic communist who values
traditional Muslim culture.
Keywords: Bosnian literature, Andri, Selimovi, Karahasan,
Borders
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At the same time, the Bosnian depicted by Hasan reflects the
condition of the Muslims of Yugoslavia until the end of 1960s, when
they remained a vague ethnic group without any official
nationality.
Andris character Maks Levenfeld, who depicts Bosnia as a land of
hatred, reap- pears in Devad Karahasan’s “Letter from the Year
1993,” first published in 1996. In contrast to Andris Maks,
Karahasan’s character describes Bosnia as a multicultural space in
which people “jealously” maintain their cultural diversity. Bosnia
here is concep- tualized as a domain of intercultural
communication, and the borders once featured by Andri as dividing
lines are profiled as interstitial spheres that create a society
with inter- nal cultural diversity. By reversing the picture
represented in the letter of Andris Maks, Karahasan tries to
recover his Bosnia, whose society is balanced by cultural
diversity.
The different presentations of Bosnia in three writers correspond
to diverse concep- tualizations of “the border”—Andris as dividing
lines; Selimovis as in-between places where people without clear
identification dwell; and Karahasans as interstitial spaces that
can generate intercultural relationships. Each also reflects a
different phase in the history of Bosnia, from the time immediately
after World War II, through the Yugoslav regime, to the collapse of
the multinational state.
1989Šahrijarov prsten1994Sara i Serafina
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‘’
’
……
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‘’‘’
4 4 4 4
‘’
39 sedada A.…… …… Hangi, 1906, 21
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