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a source of inspiration. For him, this was the realm where language was able to reveal not empirical truths but symbolic ones that might point to greater understanding of the human condition. In his teaching and writing he tried to develop there qualities in his students and the reading public, to raise their aesthetic awareness. In the twentieth century Popović's legacy has reasserted itself on occasions as a contrast to the
Yugoslav communists' utilitarian approaches towards culture and the purpose of art in society. Perhaps for these reasons he was left ignored and forgotten until 1981.
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246:(Antologija novije srpske lirike) in 1911, the first attempt to create a literary canon of the most significant poems down the ages. He chose examples that reveal a constant and highly developed poetic expression as the hallmark of Serbian literary achievement. He was the first to distance poetry from folk heritage, proposing an alternative view of sophisticated forms with a broad poetic range and insight into the kind of understanding art offers.
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Bogdan Popović was a man of great learning and analytical consistency. His approach was to examine the internal working of the text, what makes art a special category of human experience and a creative expression. He had a deep and sincere belief in the influence of literature on the soul and mind as
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His judgements of
Serbian contemporaries and his admiration for the French language and literature are important factors to note. And even more are his contributions to critical theory. Though moderated with advancing years, his demand was for new literature springing from Serbia, for a style growing
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Long disregarded, Bogdan Popović's criticism has of late attracted increasing attention. With formal education, tutored systematically about reading and writing by the best authors, Popović was better equipped than any other
Serbian literary critic, probably in quantity, quite certainly in quality.
354:, introducing modern Serbian literature to the world. He was a man of pronounced civil decency, without any exclusive attributes, committed to the hierarchy of civil society values, an absolute enthusiast for France, which was his model in values and culture.
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His emphasis upon form was French. He delighted in the well-constructed essay, adhering closely to a plan, and leaving no loose ends. His criticism still is important because he made use of principles in judging a work. He developed a
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in 1941. All important
Serbian writers published their work in its pages, while the magazine also included reviews, criticism and general articles on film, foreign literature, feminism and women's writing.
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from within rather than imposed from without ('the
Belgrade style'). Power he regarded as more important than form. Truly great poetry he believed must spring from a great national spirit.
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who died suddenly on the eve of World War I, was one of Popović best pupils at the
Grandes écoles, and later, one of his closest collaborators and colleagues. Following his
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in 1944, though the fall of Nazi
Germany came as a blessing, the rise of Yugoslav communism was a total shock. He died in his hometown of Belgrade on 7 November 1944.
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and the creator of the 'Belgrade literary style,' was born in
Belgrade on 20 December 1863. His work signalled the city's leadership of Serbian cultural aspirations.
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As a result of Popović's hard work at the university and the literary journal, he was admitted to the
Serbian Royal Academy of Arts (now known as the
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Quiet, dignified, reserved, Popović was a professor and a person of great repute. He collaborated with his brother Pavle Popović,
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conception of the oneness of the universe, and he may have tried to make art fit into this scheme.
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Popović was one of the founders of the
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and literary theorist, university professor, member of the
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Bogdan Popović was the great, unfulfilled young love of
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Members of the Serbian Academy of Sciences and Arts
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46:but its sources remain unclear because it lacks
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