The paper discusses the concept of interdisciplinarity from the perspective of humanities and social sciences. As both an idea and practice, interdisciplinarity is understood within the context of the complex dynamics of creating and reshaping institutional arrangements that regulate the processes of knowledge production, distribution, and instrumentalization in Western society, with universities, research centers, and departments at its core, organized according to separate academic disciplines. The paper questions the understanding of disciplines as closed, homogeneous, and static structures of knowledge organization. Instead, it reflects on the complex, multiple, and topological relationships of mutual interpenetration and constitution of disciplines, emphasizing their inherent hybridity, especially within the context of the synoptic identity of humanities disciplines. Furthermore, the paper highlights the moral assumptions underlying interdisciplinary research initiatives. The productivity of the conceptual framework concerning the centralistic, pluralistic, and integralistic models of interdisciplinarity is highlighted in analyzing the possibilities and outcomes of interdisciplinary approaches in social and humanities studies.

In the Bosnian-Herzegovinian literary field, Alija Nametak established himself as a storyteller and novelist, but not as a poet and playwright. In this paper, for the first time, the poetic and stylistic-formational features of Nametak's poetry published from 1925 to 1932 in the magazines Jugoslovenska njiva, Književnik and Novi Behar are fully presented. His youthful poetry, stratified into an intimate and social thematic-motive register, flirts with contemporary modernist and avant-garde poetic tendencies, which we find in the poetry of Muse Ćazim Ćatić and Hamza Huma. The second part of the paper deals with his dramatic work: from historical drama (Narodna vlada), to comedy (Omer za naćvama and Abdullah-paša u kasabi), all the way to the holy-historical legend (Jusuf and Zulejha). Except for the last play, which remained in the manuscript legacy, in all the others there is a critical attitude towards certain social deviations. While in the drama Narodna vlada Nametak develops a patriotic discourse as a form of anti-colonial resistance, in the comedies Omer za naćvama and Abdullah Paša u kasabi, in the spirit of folk and palanquin carnival culture, he undermines primitivism and stereotyped roles in society. In the drama Jusuf and Zulejha staged the Qur’anic-Biblical historical story about Yusuf a.s. (Joseph.) As a folklorist, Nametak introduced various elements from folk life and customs into the drama, not only to create a context for shaping the character of his characters but also to use their potential for popular, carnival, and subversive distortion of established social and cultural norms and patterns. The poetry and drama of Alija Nametka, in a literary-historical sense, are significant because they reveal this writer to us as the protagonist of a multiple literary identity – it is a kind of identity of resistance which, apart from the already established religious and ethnic one, is realized in the social and feminist dimension as well.

The paper presents three literary images of the coexistence of Jews and Muslims in Ottoman Bosnia. The pictures chronologically represent a hodogram of coexistence from the 16th to the beginning of the 20th century. The first picture is Sušić's short story Šta učini Don Daniel Rodriga, in which the author first shows the early relationship between Bosnian Muslims and Jews in trade between the Ottoman Empire and the Venetian Republic, and then the social controversies that accompanied that process. The second picture is based on Bašeski's Ljetopis and presents a picture of coexistence in the daily life of Sarajevo in the 18th century, where it does not only include the beautiful and positive, but also the negative representations. However, this picture shows the dynamic connections between Muslims and Jews at the national level, but also the differences and tensions conditioned by the social, religious, and political context. The third picture represents the positive relationship between Muslims and Jews in the example of literary representations of Sarajevo’s Purim. Here we analyze the different interpretations of this event, as well as how much they, regardless of evident contradictions, together influenced the shaping of the discourse about this holiday of Sarajevo’s Jews.

The study of Bosniak literature in the period of the Independent State of Croatia has been marginalized in previous literary-historical studies, and the reasons for this were ideological and political in nature, and not scientific. This work deals with the status of Bosniak literature in the literary-critical horizons of Vladimir Jurčić, the bellwether of the Ustasha national ideology in Bosnia and Sarajevo, in the period from 1941st to 1945th. As a professor, editor of daily and periodical publications, he wrote about Bosniak literature and its canonical writers in the light of the ideological and political worldviews. He propagated theses about socio-political function of literature that extends „people's spirit”, „racial-biological” and „national” features. Jurčić attributed to literature a mediating role in transmitting the deep identity of the Croatian people, and developing a thesis on the Croatian national identity of Bosnian Muslims (Bosniaks) he treated Bosniak writers as the most representative reflectors of Croatian national consciousness in Bosnia. In addition to individual studies on Bosniak writers, Jurčić stated that they were separate units of the unpublished book Muslims in Croatian Literature. Jurčić's literary critical habitus is a product of socio-political and intellectual circumstances in Croatia - in the narrower sense and in the SHS - in the broader sense, which were used as a starting point for the production of certain ideological, political and cultural values in the NDH. As a follower of the ideological platform of Radić's HSS (peasant movement) and its reflections on discursive practices, especially in the social - humanities sciences (Dvorniković, Radić, Tomašić, Lukas), he interpreted literature in accordance with these practices, reducing its meaning only to ruling ideologues. He valorized Bosniak literature as a component of Croatian literature, applying several criteria: collective, linguistic, territorial and religious, which he sought to include the widest possible range of identity features and thus support the thesis of Croatianness Bosnian Muslims (Bosniaks). In literary criticism, he promoted theses on racial, ethical and eugenic superiority, then on the national spirit, linguistic and stylistic specifics of Bosnian Muslims (Bosniaks) as an „organic“ part of the Croatian people. He emphasized the „poljodjelski“ character of Bosniak writers between the two world wars, while in older literature, especially in the oral literary tradition- and all that for need of ideological manipulation in the time of the Independent State of Croatia - war, he emphasized the highland (tribal) character that manifested itself in the epic-agonal consciousness. All these theses arose from the idea of unity and continuity of the „organic nation“, but did not find a stronghold in Bosnia because it was cultural and historical terms different from the native Croatian space, which was in principle a fundamental obstacle to its realization. Aware of the insurmountability of the cultural, literary and historical uniqueness of Bosnia, Jurčić constructed and established the literary-historical construct „literary Bosnia“ which was based on the theory of the history of regional / provincial literature. By „literary Bosnia“ he meant everything that was its „provincial features“: folk history, genealogy, specific speech (dialect - ikavica), lifestyle (Muslims), and the canonical line consisted of Bosniak writers from Safvet-bega Bašagić, Musa Ćazim Ćatić, Edhem Mulabdić, Ahmed Muradbegović, to Alija Nametk, Enver Čolaković, Murat Šuvalić etc.Since in this period the pretensions towards Bosnia and Bosnian Muslims (Bosniaks) were also part of the Serbian national ideology, Jurčić's „literary Bosnia“ can be understood as a counterbalance to the then established Kršić's literary-historical construct „narrative Bosnia“. Unlike Kršić's „narrative Bosnia“, whose canonical line was mostly made up of Bosnian Serb writers (Ćorović, Kočić, Andrić, Ćopić, etc.), Jurčić's „literary Bosnia“ was made up of Bosniak writers as „the purest element of the Croatian people“.

Correspondence as a source for the study of literary, cultural, and political circumstances and events in Bosnia has not received an appropriate place in the humanities and social sciences because the letters are treated exclusively in the field of privacy. However, letters are sometimes a first-class source for presenting an image of a particular period or event, especially if it is interesting to determine how a particular person or group understands events or processes in society and culture. Studying the letters would open a different perspective on some events since it is often about an "informal" form of communication. In the framework of Bosnian studies, the so-called "letters from the border/krajišnička pisma" (Muhamed Nezirović and Lejla Nakaš) have been the most comprehensively studied, with slightly fewer letters in oriental languages (Sabaheta Gačanin), while letters from the 20th century (Hamid Dizdar, Munir Šahinović, Alija Nametak, for example), unfortunately, did not receive proper valorization. In this paper, the correspondence of Alija Nametak between the two world wars will be presented. Considering the dispersed thematic content of the letters, they are grouped into several thematic units. Letters about Safvet-beg Bašagić, letters about political censorship of articles and literary and artistic works, and correspondence with Slavists throughout Europe especially stand out. The letters were linked to other texts (co-text) that were in the broadest sense related to the topics of the letters. We tried to present as much as possible the events to which the letters referred. We also pay attention to the need to renew the study of Bosnian archival and documentary material, especially in the study of the history of literature.

Although of little aesthetic significance, the song ˝Ostante se tutuna˝ sejh Hasan Kaimija has been the subject of various controversies in the Bosnian scientific community for a whole century. This paper aims to show how the poem, from its first publication until modern times, has been used as an “ally” to deny or support certain narratives. As the central theme of all the texts in the dispute throughout the 20th and the beginning of the 21st century, the “thesis of Bogumilism” was imposed, apropos whether Kaimija could have known about Bogumils in the 17th century. The text is mostly used as an “ally” in historiography, identity theory, economics, religion, and only to some extent in literary history. Also, the aim was to show how the poem figured in these discourses, and especially the “controversial verses”, but also what kind of interpretation and valorization poem had in different historical contexts.