Given its plural nature, Bosnian literature implies multiple layers and articulates internal processes that are significantly different from external ones, generating an intracultural profile that challenges a specific, different, and at the same time, unique approach to its study. Relying on the general methodology of the study of literature and on the history of the study of Bosnian literature, with a methodological foundation in the eclecticism of cultural studies and intercultural literature, the work tries to point out the possibilities of studying Bosnian literature through intracultural processes.

The Jewish cultural tradition, which within the framework of the Bosnian habitus went through stages - from assimilation, concretization, activation, and even fusion - represents a paradigm of intracultural processes in the complex Bosnian society. These processes take place through various interactions, which have not been bypassed by local literature, and are representative of one part of the literary oeuvre of Isak Samokovlija. Based on the theoretical starting points of intercultural interpretation and psychoanalysis, the work questions Samokovlija's short stories in which the characters act through the suppressed own versus the foreign. This is especially expressed in the stories “Od proljeća do proljeća” (From Spring to Spring) and “Plava Jevrejka” (The Blue Jewess).

Few female authors have managed to bring about a gynocritical habitus of recognition like that of Jasmina Musabegović. A woman as a scholar, writer, and interpreter – both in the context of literary criticism and the literary text itself – would be just some of the key determinants of this author's creative biography. The experience of meticulous scholarly effort, poetic-essayistic feminine writing, the skill of deconstructing patriarchal codes, and the profiling and reconstruction of female narrative identities are preoccupations that lead Musabegović towards anachronisms. In her literary-critical work, essayistic oeuvre, in novels – from the first Snopis to Žene. Glasovi – identities, both authorial and protagonistic, inscribe themselves through certain topoi (typically female cognitive intimate spaces) and atopoi (dreams, the body's aporia, arts, phantasmagoria), reaching textual, and through it, an existential anachronism. Under the hypothesis that women's anachronisms occur precisely through and between topoi and atopoi, the work examines how they manifest and what they reflect. The research leads to the conclusion that the motifs of recognition range from sensual feminine to geographical and historical, woven into their associations subject to previous experiences.

One of the key topoi in the work of F. M. Dostoevsky is the images of space, which with their impressiveness and intrigue depict the action like it is happening before our very eyes. This way, Dostoevsky brings hypotyposis of space through which, in addition to clear ideas of concrete spaces, we also get his characters vividly depicted. This paper will explore almost the entire opus of Dostoevsky with a synecdoche approach but pars pro toto to demonstrated that hypotyposis is, in fact, one of the key narrative devices of the Russian writer.

So far, recent literary criticism has paid attention exclusively to the poetry of Amir Brka. This work deals with prose creation, with constant emphasis on the compatibility of poetry and prose, and then prose and opinion journalism, for which the city of Tesanj is the motif backbone. The methodology of the work is based on mnemonics, under the hypothesis that Amir Brka, through a polyvalent opus, deconstructing the “dejected” space of the Bosnian town, reconstructed the timeless and all-spatial mnemotope of the city. In this way, Brka symbolically made a spatial turn in Bosnian literature, especially through the works Monograph of the City, Black Notebook and the book Jerej, which are, each in its own way, a fight against wrong ideologies and inputs that the text and book based on truth are the only credible mnemotopes.

The status that it has today, the uniqueness and specificity of its intercultural profile, Bosnian literature owes to the centuries-old deposition of various cultural strata. How deep into the past this integral composite reaches is most visible in literary works, whose re/interpretations certify the ruthless interaction with other cultures. In the methodological key of interculturality as an area of exchange of different cultural practices, the paper (through theoretical models of German comparativists’ hermeneutics of foreign) explores the mediation of “foreign” in Bosnian literature. Certain intercultural aspects of Bosnian literature have not been sufficiently researched, and it is the ways of communicating with foreign and the connection of foreign with the experience of alienation and/or intimacy that make the life of Bosnian culture serious and portray the timeline of literary texts as a trace of longing for a universal agreement of the worlds.

Water, whether in a concrete or abstract sense, has an irreplaceable role in every culture and literary tradition in Bosnia and Herzegovina – from the elementary essential-biological to the ambient and psychological in the representations of space and people. This paper will, through concrete examples, examine the role of water topos in works of Bosnian literature precisely through these segments. The theoretical part indicates what the water topos represents, and the interpretive part sees water as a motif and symbol in the structure of the literary text and emphasizes the inscription of factional geographical toponyms/hydronyms, as well as fictitious abstract (a) topos in the poetic identities of the text (and opus in its entirety). In all this, we try to prove the hypothesis that water is an identifying determinant of a certain space and time, and in the cognitive-identity sense an important marker of cultures, social communities and individuals.

Following those aspects of Zygmunt Bauman’s theory of postmodern ethics that point to differences between modern “history”, which brings only what has already happened, and postmodern literature, which “corrects” the past by confabulating what could have happened, the paper interprets the work of Bosnian writer Darko Cvijetic, whose (re) presentation of the reality of Bosnia and Herzegovina offers a literary truth about the experiences of crimes against the innocent and a possible new ethical idea of humanity.By starting from the hypothesis that the ethical side of a literary text calls for critical thinking stronger and more effective than facts and documents, we read Cvijetic’s works as testimonies of traumas thatcan be overpassed only if we are aware and willing to accept them. As a testimony to real events and their consequences, which are mostly kept silent, Cvijetic’s literary text deepens consciousness. The paper will examine the ethical dimension (individual and collective) of Cvijetic ‘s opus between factography, literary representation, protagonists, lyrical subjects, writers and recipients.

We are witnessing that lately we can seldom hear, or are fortunate to read the verses which evoke the feelings that can only be aroused by good poetry. Pointing to the power of poetry that evokes intense feelings, many authors – from ancient philosophers and poets to present-day psycho- logists and literary critics – have pointed out to its ethical side. Based on the theories of catharsis, the paper questions ethics and the overall poetics of the poems of the Bosnian poet Ramiz Huremagic. Elaboration aims at proving the main hypothesis of work by which the ethical side of poetry can act as an invitation to critical reasoning, sometimes stronger and more convincing than factographic documents. Witnessing the trauma of the past, such poetry reflects hope in possible detraumatisation at the present, provided that we are aware and willing to accept it.