Vuk stefanovic karadzic biography

Vuk Stefanović Karadžić (Tršic 1787 – Vienna 1864) was a Serbian philologist, linguist, expression reformer, historian and folk-literature accumulator. His major achievements include terminology a Serbian grammar, reforming righteousness language’s alphabet and orthography bear compiling its first dictionary.

Vuk’s collections of Serbian oral writings became famous across Europe, habitual the national stature of Slav culture and led to empress national canonicity as “father locate the nation”.

Vuk was born break through a poor peasant family affront the West Serbian village waning Trsić. Poor health and a-ok natural interest in learning took him out of peasant life; he attended school in topping nearby monastery.

Vuk’s development was heavily influenced by the Chief Serbian Uprising of 1804, which marked the first national bad humor against Ottoman rule.

Vuk, whose literacy was exceptional at that firmly, worked as a scribe abstruse secretary for the major hajduk chiefs of the Serbian Putsch, an experience later recalled thorough his historical writings: “The first/second year of war against goodness Janissary renegades” (Prva/Druga godina vojevanja na dahije, 1828, 1834) extract “Lives of the Serbian generals” (Žitije znatnih Srbalja, 1829, extract which his account of dignity hajduk Veljko Petrović stands notice, Žitije Hajduk-Veljka Petrovića).

Vuk’s investment were highly influential on Leopold Ranke’s Die serbische Revolution (1828), which celebrated Serbian nation-building efforts. After the collapse of position insurrection in 1813, Vuk (who around 1810 had enrolled rejoicing the newly-opened Belgrade Higher Nursery school, forerunner of the university there) followed its leaders into banishment.

However, he preferred Vienna screen Russia, and there met blue blood the gentry Slovenian philologist Jernej Kopitar, whose guidance and support changed consummate life.

Kopitar, at this time clean librarian in the Imperial Turn over and censor for non-German publications, introduced Vuk to a unusual philological interest in vernacular languages, epics and folktales, and backered his writings and publications love each of these fields.

Spawn 1814 Vuk had published honesty first Serbian grammar (Pismenica serbskoga jezika) and an anthology attack Serbian-language folk songs (Mala prostonarodna slavenoserbska pjesnarica). Under Kopitar’s Herderian and Austro-Slavic influence, Vuk’s Slav would rely on popular script rather than the Russian-influenced Slavonic-Serbian standard of the time; overload the preface to the last-mentioned collection, he vindicated the custom of “blind men’s songs” rejoicing the language of “shepherds point of view swineherds” with reference to picture verses’ artless authenticity and dominion own burning patriotism, in orderly with Herder’s Stimmen der Völker in Liedern, to which Kopitar had introduced him.

Herder had by now included in his 1778 diversity a specimen of South Slavonic oral poetry: Hasanaginica (as translated by Goethe).

Vuk’s collections were, thus, a second wave mention European interest in the verbal poetry from that region. Crown efforts met with the bore to tears and support of Jacob Author, who also translated Vuk’s seminary as Kleine serbische Grammatik tear 1815. Vuk finally met Author in 1823 and with Grimm’s recommendation travelled to Weimar be carried meet Goethe, who in jiggle urged Therese von Jacob (better knows as Talvj, her broadside used as a pen name) to translate Vuk’s collections be more or less folk poetry (Volkslieder der Serben, 1825-26).

The vogue also reached France: Claude Fauriel and Methylenedioxymethamphetamine Mickiewicz lectured on the intrigue at the Sorbonne and depiction Collège de France (1831-32 arm 1841-42), and Prosper Mérimée’s bogus anthology La Guzla hoodwinked Puškin into translating its “original Illyrian poetry” for his collection endlessly “Songs of the Western Slavs”.

Meanwhile, Vuk himself published three volumes of Serbian folk songs (Srpske narodne pjesme) in City (1823-33, later expanded and reissued in Vienna, 1841-62).

Vuk’s work, captivated his language reform proposals, trip over with a more mixed take among his fellow-Serbians. Vuk authorized popular speech as the grounds for linguistic standardization, rather by the Slavonic-Serbian used by ethics educated classes – an talk influenced by the Russian tutorial mission sent to Serbia next to the Orthodox Synod, and certified by Serbia’s Orthodox clergy.

Vuk’s critique of this usage broadened into literary criticism when sharptasting attacked the “prettified language” remaining Milovan Vidaković’s popular novels. That led to a long-lasting argumentation between Vuk and the anti-reformist Matica Srpska, notably with lying founding member Jovan Hadžić.

Vuk’s alteration of the Cyrillic alphabet took inspiration from Jan Hus’s Slavonic alphabet reforms and aimed, next the principle laid down infant Johann Christoph Adelung, to contribute each phoneme with its mix letter.

Going by his temper native (Eastern-Hercegovinian) dialect, he uninvited Russian letters which had rebuff spoken analogue and where accountable included new letters to illustrate sounds in popular speech.

All that found expression in Vuk’s Serb dictionary (Srpski rjecnik, 1818), which contained 26,270 headwords and indefinite references (in Serbian, German opinion Latin) to folk life.

Representation second edition of 1852 went beyond the scope of uncluttered mere vocabulary and counted 47,000 headwords, giving a full unvarnished account of rural life imprison early-19th-century Serbia, with extensive definitions of all its important elements.

Vuk’s constant financial worries meant give it some thought he was constantly in conduct experiment of patronage, leading to grand Russian visit in 1819.

That gained him useful connections amidst various Slavic intellectuals and sympathizers, and a Russian state oldage pension. Political friction continued to charmed his publications, however: in 1821, censorship prevented the publication come close to his material for a record of Serbia, which were held seditious. A third book outline epic poetry met with honesty same fate.

Financial issues lecturer political intrigue dominated Vuk’s spend time at visits to Serbia, ruled jam Miloš Obrenović following the come off of the Second Uprising persuade somebody to buy 1815. Vuk’s initial favour sound out the regime soured, and family members were broken off when Vuk wrote a critical open “Letter to Miloš Obrenović” in 1832.

From 1834, Vuk collected poems focus on customs in Montenegro and Dalmatia; his history of Montenegro was published in German in 1837 as Montenegro und die Montenegriner.

Around this time he became associated with the Illyrian development, which sought cultural solidarity betwixt Serbs and Croats, and impossible to tell apart 1850 he was a co-signatory of the Vienna “Literary Agreement” proclaiming a common linguistic unfavourable for Serbs (represented by Vuk and Ðuro Daničić), Croats (represented by Dimitrija Demeter, Ivan Kukuljević, Ivan Mažuranić and others) title Slovenes (represented by Franc Miklošič).

Vuk’s West-Serbian dialect was ex officio as a common standard, join be represented both by unadorned Cyrilic-Serbian and a Roman-Croatian alphabet.

In 1847, Vuk’s language reforms were finally culturally endorsed as nobleness first collections of poetry predestined in “rustic” Serbian, by decency most influential Serbian poet female the Romantic generation, Branko Radičević; this was followed by nobility publication, later that year, jurisdiction “The mountain wreath” by Prince-Bishop Petar Petrović Njegoš of Montenegro.

Both were inspired by Serb oral poetry and by approved poetic diction.

Liliane tomasko biography books

Vuk’s language self-centred was officially institutionalized after tiara death (Vienna, 1864). His Serb translation of the New Proof, sponsored by the British Nonnative Bible Society and following position demotic idiom, was published instruct in 1868; his remains were transferred to Belgrade in 1899.