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SMAIL e~~lClThe Cultural Achievements of Bosnian Muslims Yet religious life has not been uniform. Diversity has been encouraged by the increasing number of foreign-supported religious schools. This development has caused concern in the community that the religious and cultural identity of Bosnian Muslims is under threat from adherents of these schools in Islam which lean to greater strictness. At the same time personal inteapretations of individual religious laws had raised concern about the possible existence of an internal "Kulturkamp~ . The Islamic community is - despite the animosity of some strictures within the Churches - open to dialogue. Bosnian Muslims are aware of the significance of their role in charting the future course of political and social, as well as religious, developments in Europe. "History, but also the future, have assigned to Bosnia a special role in the dialogue between the Orient and the Occident. The Islam of Bosnia can become a model for Islam in Europe", the Islamic expert Khalid Duran has ~ritten.~' 'Matthias Murko, "Auf den Spuren der Volksepik durch Jugoslavien", Slavische Rundschau (1931), vol. 3, no. 3. =Friedrich S. Krauss, Slavische Vol/@orschungen (Leipzig: 1908), p. 341; Smail BaliE, "Die muslimische Volkspoesie in Bosnien", Oesterreichische Osthefte (Wien: July 1965), pp. 386-7; Antun Sirn~ik, "Hasanaga Kuna", Novi Behar (Sarajevo: 1939), vol. 13, p. 141. 'Hamdija KreSevljakoviC, Kapetanije u Bosni i hercegovini/District Captaincies in Bosnia and Hercegovina (Sarajevo: 1954). p. 61. 4Hamid Dizdar, Sevdalinke, Izbor iz bosansko-hercegovafke narodne 1irikeISevdalinkas: Selected Bosnian and Hercegovinian Lyric Folk Poems (Sarajevo: 1944), p. 17. 5Biographical data on this folk-singer may be found in Friedrich S. Krauss's article "VidirlijiC [sic!] Ahmo's Brautfahrt. Ein moslimisches Guslarenlied" in Festschrlpfir AdolfBastian zu seinem Geburtstage 26. Juni 1896 (Bedin: 18%). "amid Dizdar, op, cit., pp. 17-18. '.Albert Bates Lord, Homer, Parry, and Huso in Transactions of the American Philological Association (1936), vol. 67, pp. lO7ff.. also A. B. Lord, Homer, Parry and Huso in American Journal of Archeology, LII (1948), pp. 31-44. 'Krauss, op. cit., p. 7. 'Cited in Kosta Hormann, Narodnepjesme Muhamedovaca u Bosni i Hercegovini/Folk Songs of the Muslims of Bosnia and Hercegovina (Sarajevo: 1889), vol. 1, 2. The song itself is no. 32 in vol. 1 of this collection. "'Krauss, op. cit., p. 221. "Georg Stadtmiiller, "Bosanski islarn - most Evrope islamskom svijetu"1Bosnian Islam - Europe's Bridge to the Muslim World, Glasnik Vrhovnog Starjesinftva Islamke Vjerske ZajednicelMessenger of the Supreme Headquarters of the Islamic Religious Community (hereafter cited as GVSIKZ) (Sarajevo: July 1943). no. 7, p. 178. "Alois Schomaus, "Studije o krajinskoj epiciWlStudies on the Military Frontier Epic, Rad, 297 (Zagreb: Yugoslav Academy, 1953); Vito Morpurgo, "I fratelli Ibm e Pab MoriE nell'intuizione popolare della balata bosniaca", from Annali del Corso di lingue e literature straniere presso ilUniversitd di Bari (Bari: 1962), p. 44. "Croatian text: Haj aferim, beie LjuboviCu!lVuk od vuka, hajduk od hajduka,lA vazda je soko od sokola./Vazda su se sokolovi IegliINa odiaku bega LujuboviCa. I4In Bosnia. on the river Una. I5A town on the frontiers of Lika and Bosnia. Today Titova Korenica.
Islamic Studies 36:2, 3 (1997) 173 'The translation was made by John Bowring. See his book Servian Popular Poetry (London: 1827). I7Franz Miklosich, "Ueber Goethe's Klaggesang von der edlen Frauen des Asan Aga", Sitzungsberichte der Wiener Akademie der Wissenschajten (Wien: 1883); Camilla Lucema, Zur Hasanaginica (Zagreb: 1909); Gerhard Gesemann, "Die Asanaginica im Kreise ihrer Varianten", Archiv filr slavische Philologie vol. 7 (1923). InMatthias Murko, Das Original von Goethe's Klaggesang von der edlen Frauen des Assan Agas (Asanaginica) in der Literature und im Volksmunde durch 150 Jahre (Brunn-Prag-Leipzig- Wien: 1937). p. 4. '"Josef Matl, "Okzidentale und eurasische Auffassung der slavischen Geschichte", Saeculum (Munchen: 1953), vol. 4, p. 307. "Ibid. 2'See the commentary by Vladimir Corovit in Srpskiknjiievniglasnik (1931). vol. 7, p. 549. "Dragutin Subotit, Yugoslav Popular Ballads (Cambridge: 1932). pp. 222-25. '3Camilla Lucerna, Die siidslavische Ballade van Asan Agas Gattin und ihre Nachbildung durch Goethe (Berlin: 1905), pp. 2-3. 24Heroi~ Ballads of Serbia, trans. George Rapall Noyes and Leonard Bacon (Boston: Sherman, French and Company, 1913). pp. 271-5. 25Camilla Lucerna, "Balladen der Unbekannten", Neue Ordnung (Zagreb: June 4, 1944). p. 11. '"In the English translation under the title "The Death of Omer and Merima" in The Slavonic Review vol. 8 (1929). pp. 198-202. 27Stevenson B. Stanoyevich (ed .), An Anthology of Yugoslav Poetry - Serbian Lyrics (Boston: Richard G. Badger, The Gordham Press, 1920). The two poems "The Violet" and "Virgin and Widow" are translated by Sir John Bowring; they are found on <strong>page</strong>s 24 and 35 of his work Servian Popular Poetry (London: 1927). 2nKrauss, op. cit.. p. 12. '"Ceda Mitrinovit, NaSi muslimanilOur Muslims (Sarajevo: 1926), p. 101. 3"Jovan KrSiC, "Udeo muslimana u naSoj knjiievnosti", Gajret Kalendar za god. 1939 (Sarajevo; 1939), p. 197. 3'Ludvik Kuba, Pjesme bosansko-hercegovatke1Bosnian and Hercegovinian Poems (Praha: 1927). Cited by H. Dizdar, Sevdalinke, p. 28. "The melodies of the modem Mawlids, for example, are free of oriental influence. The Mewluds are poems written in honour of and sung in chorus on Muhammad's birthday. "Just how much the Bosnian-Muslim folk songs differ melodically from those of Turkey the author was able to discover during a stay in Turkey (1955-6). At first I was surprised to hear, again and again, in streets and shops, the singing of "pious songs" like the Bosnian. Later, in learning the meaning of the songs I discovered that they were not religious songs, but very worldly national "hit" songs. 34A similar formulation was given by a Bosnian folk-singer: "Ja ne pjevam, Sto pjevati zanamid,lVeC ja pjevam, da teret rastjeram". (I sing not because I can sing, but rather do I sing to banish my sorrow). "Vladimir DvornikoviC,KarakterologijaJugoslovena/ChacterologyofYugoslavs(Beograd: 1939). Cited by H. Dizdar, Sevdalinke, p. 32. 3LKara-Goz, "Dark-eyed", is the main figure of the Turkish shadow theater. See Helmuth Riner, Karagoz. Turkische Schattenspiele (Series 1, Hanover: 1924; Series 2, Istanbul: 1941; Series 3, Wiesbaden: 1953). '7Jovan CvijiC, La Peninsule Balkanique (Paris: 1918) p. 351. Cited by Balagija Abduselam, "Les Musulmans Yugoslaves", ~tude sociologique, vol. 9 (1940). p. 54. 3XCollected and translated by Friedrich S. Krauss (8 vols.; Leipzig: Ethno-logischer Verlag, 1914). vol. I. 'Ibid., p. 241. "Milesiaca", Milesian stories largely lascivious in content, were known through Aristoides (probably second century).
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