Homosexuality and gender identity issues, although lately often thematized, are still marginalized in Croatian society. Nonetheless, these topics occur as key concepts within which dramatic conflicts and characters are evolving. The two plays which will be analyzed were awarded with Marin Držić award for the best drama text and were staged in two Croatian theaters – ZKM and Kerempuh. The interpersonal relationships within one family and people close to the family members are on display in Tomislav Zajec’s play Ono što nedostaje. The main focus is on the sixteen-year-old David, who, appart from finding a way to communicate with his parents, has to struggle with his sexuality and the desire to be accepted and loved. In terms of speech and physical act his inner struggle is the greatest dramatic conflict and resolution at the same time, so his homosexuality is not in the focus of the play. The second play Ja od jutra nisam stao by Una Vizek addresses the issue of gender identity in today’s society. The author of the play attributes female characteristics to men by taking into account social prejudices and expectations. Each character is indicated with a number and their replica exchange is the usual form of a female chatter. The aim of this research is to show which strategies are used by authors to show the marginalization of the mentioned social groups, how characters are starting a conversation or losing the right to speak but also how they are entering into a dramatic conflict.
同性恋和性别认同问题虽然最近经常成为主题，但在克罗地亚社会仍然处于边缘地位。尽管如此，这些主题都是戏剧冲突和人物发展的关键概念。将被分析的两部戏剧被授予马林Držić最佳戏剧文本奖，并在克罗地亚的两个剧院- ZKM和Kerempuh上演。托米斯拉夫·扎耶克的戏剧《小野što nedostaje》展现了一个家庭内部的人际关系和家庭成员身边的人。故事的主要焦点是16岁的大卫，除了找到与父母沟通的方法外，他还必须与自己的性取向和被接受和被爱的愿望作斗争。在言语和肢体动作上，他内心的挣扎同时是最大的戏剧冲突和解决，所以他的同性恋并不是戏剧的重点。Una Vizek的第二部戏剧《Ja od jutra nisam stao》探讨了当今社会的性别认同问题。这部剧的作者考虑到社会偏见和期望，将女性特征赋予了男性。每个字符都用一个数字表示，他们的复制交换是女性聊天的通常形式。这项研究的目的是显示作者使用了哪些策略来显示所提到的社会群体的边缘化，角色是如何开始对话或失去说话的权利，以及他们是如何进入戏剧冲突的。
{"title":"Homoseksualnost i rodni identitet u suvremenoj hrvatskoj drami","authors":"Gabrijela Bionda","doi":"10.31261/pn.4028.10","DOIUrl":"https://doi.org/10.31261/pn.4028.10","url":null,"abstract":"Homosexuality and gender identity issues, although lately often thematized, are still marginalized in Croatian society. Nonetheless, these topics occur as key concepts within which dramatic conflicts and characters are evolving. The two plays which will be analyzed were awarded with Marin Držić award for the best drama text and were staged in two Croatian theaters – ZKM and Kerempuh. The interpersonal relationships within one family and people close to the family members are on display in Tomislav Zajec’s play Ono što nedostaje. The main focus is on the sixteen-year-old David, who, appart from finding a way to communicate with his parents, has to struggle with his sexuality and the desire to be accepted and loved. In terms of speech and physical act his inner struggle is the greatest dramatic conflict and resolution at the same time, so his homosexuality is not in the focus of the play. The second play Ja od jutra nisam stao by Una Vizek addresses the issue of gender identity in today’s society. The author of the play attributes female characteristics to men by taking into account social prejudices and expectations. Each character is indicated with a number and their replica exchange is the usual form of a female chatter. The aim of this research is to show which strategies are used by authors to show the marginalization of the mentioned social groups, how characters are starting a conversation or losing the right to speak but also how they are entering into a dramatic conflict.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116548773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This text deals with the interpretation of the comic character Crni Popaj (Black Popeye) written and drawn by Štef Bartolić. We find the controversial personality of this fictional abuser as somewhat of a metaphor for the extreme conception of freedom, which, despite its disgusting nature, speaks more to our moral rules than laws and ethical principles. Phenomena such as drugs, sexual abuse and violence within our metaphorical thinking are understood as a distorted mirror that, directed toward our daily lives, reveals the true nature of man who has not yet emerged from the animal universe.
{"title":"Crni Popaj Štefa Bartolića kao ostvarenje moralne periferije","authors":"Pavel Pilch","doi":"10.31261/pn.4028.21","DOIUrl":"https://doi.org/10.31261/pn.4028.21","url":null,"abstract":"This text deals with the interpretation of the comic character Crni Popaj (Black Popeye) written and drawn by Štef Bartolić. We find the controversial personality of this fictional abuser as somewhat of a metaphor for the extreme conception of freedom, which, despite its disgusting nature, speaks more to our moral rules than laws and ethical principles. Phenomena such as drugs, sexual abuse and violence within our metaphorical thinking are understood as a distorted mirror that, directed toward our daily lives, reveals the true nature of man who has not yet emerged from the animal universe.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114750415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kajkavian literature of the pre-Illyrian movement was often seen as a less valuable segment of national literature and for that reason was already placed in a peripheral literary phenomenon. That literature often was underestimated because of religious character, utilitarianism and didactics. In the 20th century, when the dialectical literature emerged, Kajkavian literature was recognised as equal in Croatian literature. The main purpose of the paper is the analysis of peripheral literary characters who were appearing in the Enlightenment period in Kajkavian literature at the end of the 18th and beginning of the 19th century. In that period secular topics were included in the Kajkavian literature and reached its culmination, especially in the drama. The paper will explore which literature types are represented by these literary characters and which civic values they represent. The analysis will cover several titles from the secular Kajkavian prose and drama from the late 18th and beginning of the 19th centuries, a work entitled Adolf iliti kakvi su ljudi by Jakob Lovrenčić and Kajkavian drama adaptations performed on the stage of the school theatre at Kaptol Roman-Catholic Preparatory. The Illyrian movement forcefully and deliberately stopped Kajkavian literary production. Immediately after the Illyrian movement Kajkavian language was used to characterize a type of literary character whose purpose was mocking and creating a comic effect. The work will explore at which moment the literary characters of Kajkavian peripheries become inspirational to Croatian writers as representatives of a certain milieu and worldview. Particularly interesting will be the analysis of literary characters from the collection of stories Croatian God Mars by Miroslav Krleža and the paper will answer the question on the universal values of the literary characters of Kajkavian periphery and their purpose in the national literature.
{"title":"Zagorac kao lik periferije u kontekstu kajkavske dopreporodne svjetovne književnosti i hrvatskoga književnog kanona 20. stoljeća","authors":"Kristina Jug","doi":"10.31261/pn.4028.17","DOIUrl":"https://doi.org/10.31261/pn.4028.17","url":null,"abstract":"Kajkavian literature of the pre-Illyrian movement was often seen as a less valuable segment of national literature and for that reason was already placed in a peripheral literary phenomenon. That literature often was underestimated because of religious character, utilitarianism and didactics. In the 20th century, when the dialectical literature emerged, Kajkavian literature was recognised as equal in Croatian literature. The main purpose of the paper is the analysis of peripheral literary characters who were appearing in the Enlightenment period in Kajkavian literature at the end of the 18th and beginning of the 19th century. In that period secular topics were included in the Kajkavian literature and reached its culmination, especially in the drama. The paper will explore which literature types are represented by these literary characters and which civic values they represent. The analysis will cover several titles from the secular Kajkavian prose and drama from the late 18th and beginning of the 19th centuries, a work entitled Adolf iliti kakvi su ljudi by Jakob Lovrenčić and Kajkavian drama adaptations performed on the stage of the school theatre at Kaptol Roman-Catholic Preparatory. The Illyrian movement forcefully and deliberately stopped Kajkavian literary production. Immediately after the Illyrian movement Kajkavian language was used to characterize a type of literary character whose purpose was mocking and creating a comic effect. The work will explore at which moment the literary characters of Kajkavian peripheries become inspirational to Croatian writers as representatives of a certain milieu and worldview. Particularly interesting will be the analysis of literary characters from the collection of stories Croatian God Mars by Miroslav Krleža and the paper will answer the question on the universal values of the literary characters of Kajkavian periphery and their purpose in the national literature.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124444345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyzes the novel Three Journeys (Izvanbrodski dnevnik) by Slobodan Novak, in terms of its narrative structure and literary devices that are being used to disfigure the speech produced by centres of power in both everyday and official communication. As opposed to political allegory, to which the novel has been linked so far, it is argued that a complex narrative structure and stylistically carefully crafted storytelling point to self-referentiality of the novel. The story of Magistar is framed by Magistar’s writing of manipulative techniques used by other characters against him. Writing is a successful resistance practice to manipulation of perception because it exposes the unspoken assumptions of the latter, as well as it reveals mechanisms of emotional abuse. The novel is read as a place of freedom from a one-sided interpretation referencing the political state in former Yugoslavia, demonstrating by its structure that freedom in literature is in fact entitlement of literature to be free of any type of instrumentalization.
{"title":"Politika istine u Izvanbrodskom dnevniku Slobodana Novaka","authors":"Andrea Milanko","doi":"10.31261/pn.4028.07","DOIUrl":"https://doi.org/10.31261/pn.4028.07","url":null,"abstract":"This paper analyzes the novel Three Journeys (Izvanbrodski dnevnik) by Slobodan Novak, in terms of its narrative structure and literary devices that are being used to disfigure the speech produced by centres of power in both everyday and official communication. As opposed to political allegory, to which the novel has been linked so far, it is argued that a complex narrative structure and stylistically carefully crafted storytelling point to self-referentiality of the novel. The story of Magistar is framed by Magistar’s writing of manipulative techniques used by other characters against him. Writing is a successful resistance practice to manipulation of perception because it exposes the unspoken assumptions of the latter, as well as it reveals mechanisms of emotional abuse. The novel is read as a place of freedom from a one-sided interpretation referencing the political state in former Yugoslavia, demonstrating by its structure that freedom in literature is in fact entitlement of literature to be free of any type of instrumentalization.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126301560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Due to its geographic position and historical circumstances, Croatia is a country of deep regional differences. In this paper I try to remind the reader, on the one hand, of the inevitability of the regional perspective in approaching certain periods and, on the other hand, to find the answer to why regionalism can appear as an unpleasant methodology (and a fact?). I will refer to the terms related to regional narrative: geopoetics, regiopoetics, locality, glocality, homeland, boundaries, and so on, as well as the interrelationship of regional discourse with a discourse of memory and identity. The new regionalism (seems to me ‒ insufficiently present in Croatian literary research) as a part of cultural geography and cultural-anthropological research in cultural texts, explores the record of spatial experience and representation of space (region), as well as traces of action in the opposite direction: how a text of literature/culture influences the local context.
{"title":"Hrvatski problem s regionalizmom","authors":"Krystyna Pieniążek-Marković","doi":"10.31261/pn.4028.04","DOIUrl":"https://doi.org/10.31261/pn.4028.04","url":null,"abstract":"Due to its geographic position and historical circumstances, Croatia is a country of deep regional differences. In this paper I try to remind the reader, on the one hand, of the inevitability of the regional perspective in approaching certain periods and, on the other hand, to find the answer to why regionalism can appear as an unpleasant methodology (and a fact?). I will refer to the terms related to regional narrative: geopoetics, regiopoetics, locality, glocality, homeland, boundaries, and so on, as well as the interrelationship of regional discourse with a discourse of memory and identity. The new regionalism (seems to me ‒ insufficiently present in Croatian literary research) as a part of cultural geography and cultural-anthropological research in cultural texts, explores the record of spatial experience and representation of space (region), as well as traces of action in the opposite direction: how a text of literature/culture influences the local context.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130409231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Publication of a book of literary reviews Romani krize (The Novels of Crisis) by Igor Mandić in Belgrade in 1996, as well as the book promotion in Serbia, have been the subject of sharp attacks on its author in the Croatian media. In this “case,” which Mandić himself called “the chase of the collegial choir of elite commentators” for an “insignificant book of literary reviews,” several peripheral levels that are attempted to impose as dominant or to compete for a more favorable discursive position can be distinguished. First of all, the complex of peripheral is in the very status of literary criticism, the marginal letter, inferior to the prestigious discourses of belletristic and literary theory. However, as Mandić underlined in the foreword to The Novels of Crisis, this “by status wholly devalued writing, no matter how small, could always be used as a ‘symptom’ to raise some sort of ward-heeler’s alarm.” Regardless of the ironic modus of this attitude, the “ward-heeler alarm” that followed completely departed from the subject of this Mandić’s collection, or a decade of Serbian and Croatian literary productions, from the 80’s to the 90’s. Finally, precisely this literary period, which Mandić defined as a decade after the death of J. B. Tito and M. Krleža until the break-up of the SFRY, as the last decade of literary and cultural life in a common state, after its disintegration remained on the historical periphery of newly established national canons. However, the most important peripheral level of the whole of this “case” is concerned with the approach to the body of texts that this book deals with, i.e. a comparative study of Serbian and Croatian literature. At the time it was published in 1996, from peripheral cultural positions the comparative approach to the Croatian and Serbian literature was perceived as a radical political provocation that comes from the common past, in the wake of its renewal. In this work special attention is given to Mandić’s choice of Serbian and Croatian literary titles, hence to the very content of the Novels of Crisis. However, since the cultural context of this book goes beyond the literary criticism of the decade to which it relates, its significance is looked into from the aspect of polemical discourses this book produced, even at the periphery of the Croatian nineties.
{"title":"Periferni polemički diskursi povodom Mandićeve knjige Romani krize – kritički paratekst ili „politikantska uzbuna“?","authors":"Miranda Levanat-Peričić","doi":"10.31261/pn.4028.05","DOIUrl":"https://doi.org/10.31261/pn.4028.05","url":null,"abstract":"Publication of a book of literary reviews Romani krize (The Novels of Crisis) by Igor Mandić in Belgrade in 1996, as well as the book promotion in Serbia, have been the subject of sharp attacks on its author in the Croatian media. In this “case,” which Mandić himself called “the chase of the collegial choir of elite commentators” for an “insignificant book of literary reviews,” several peripheral levels that are attempted to impose as dominant or to compete for a more favorable discursive position can be distinguished. First of all, the complex of peripheral is in the very status of literary criticism, the marginal letter, inferior to the prestigious discourses of belletristic and literary theory. However, as Mandić underlined in the foreword to The Novels of Crisis, this “by status wholly devalued writing, no matter how small, could always be used as a ‘symptom’ to raise some sort of ward-heeler’s alarm.” Regardless of the ironic modus of this attitude, the “ward-heeler alarm” that followed completely departed from the subject of this Mandić’s collection, or a decade of Serbian and Croatian literary productions, from the 80’s to the 90’s. Finally, precisely this literary period, which Mandić defined as a decade after the death of J. B. Tito and M. Krleža until the break-up of the SFRY, as the last decade of literary and cultural life in a common state, after its disintegration remained on the historical periphery of newly established national canons. However, the most important peripheral level of the whole of this “case” is concerned with the approach to the body of texts that this book deals with, i.e. a comparative study of Serbian and Croatian literature. At the time it was published in 1996, from peripheral cultural positions the comparative approach to the Croatian and Serbian literature was perceived as a radical political provocation that comes from the common past, in the wake of its renewal. In this work special attention is given to Mandić’s choice of Serbian and Croatian literary titles, hence to the very content of the Novels of Crisis. However, since the cultural context of this book goes beyond the literary criticism of the decade to which it relates, its significance is looked into from the aspect of polemical discourses this book produced, even at the periphery of the Croatian nineties.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125911108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Towards the end of 1974 and during 1975, in Zagreb-based cultural biweekly Oko (The Eye), Josip Sever publishes 15 supplements in the section under the headline “What did Josip Sever see“. Supplements are very diverse in themes as well as in genre and style. What connects them are a unique author’s optics and a surprising introduction of abundance of discourse exclusivities which are characteristic for lyrical speech in literary journalism context. This article singles out and describes key characteristics of the expressions from Sever’s texts and tries to interpret the sense of their edginess.
在1974年底和1975年期间，Josip Sever在萨格勒布的文化双周刊Oko (the Eye)上以“Josip Sever看到了什么”为标题的部分发表了15篇增刊。增刊在主题、体裁和风格上都非常多样化。将它们联系在一起的是作者独特的视角和文学新闻语境中抒情话语所特有的大量话语排他性的惊人引入。本文从塞弗的文本中挑出并描述了这些表达的关键特征，并试图解释它们的尖锐感。
{"title":"Lirska dikcija Severove publicistike","authors":"Krešimir Bagić","doi":"10.31261/pn.4028.13","DOIUrl":"https://doi.org/10.31261/pn.4028.13","url":null,"abstract":"Towards the end of 1974 and during 1975, in Zagreb-based cultural biweekly Oko (The Eye), Josip Sever publishes 15 supplements in the section under the headline “What did Josip Sever see“. Supplements are very diverse in themes as well as in genre and style. What connects them are a unique author’s optics and a surprising introduction of abundance of discourse exclusivities which are characteristic for lyrical speech in literary journalism context. This article singles out and describes key characteristics of the expressions from Sever’s texts and tries to interpret the sense of their edginess.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124692590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper we will analyze the personal choice of individuals, who chose peripheral life on the island which is their prison and their freedom at the same time. Though eager to do so, the protagonists of the novel, Mali and Draga, do not escape from the island. They are essentially prisoners of their own choice, from which they apparently try to escape, not escaping only from responsibilities and obligations that tie them to the island, that is, to nurturing a handicapped old women Madonna. In self-deprivation and oppression satisfying Madonna’s wishes, Mali voluntarily fulfills her desires, aware of the nonsense in which he dives, conscious of alienation, which he cannot resist. Although, at one point, Mali will pronounce all of his own disappointment, the reader will not accept it as the main hero’s awareness about the failure of life but she/he will rather “involve” in a postmodernist way in author’s thinking and his attitude towards the main character. The essence of the psychological lies not in the fact that the writer played with the possibility of rejecting the protagonist, but, on the contrary, enabled him to choose his path, which led him to the island, on which he remains. The bareness of life was reduced by the literary process to the final outcome of the earthly existence. Without coercion or request, just by rough realistic method, the writer points to the masculinity of the main character, who is firm, does not give up on his ideals, but at the same time remains a prisoner of his habits. With the abundance of biblical motifs and symbols, Slobodan Novak created the hero of the novel who grows out of the narrative events and who is not uniform, but in the given situations he changes, resisting, retreating or adjusting. In the atmosphere of the stagnant island an ironic and scathing prose was made, whose main protagonists accepted peripherality as a habit.
{"title":"Periferno kao izbor u romanu Mirisi, zlato i tamjan Slobodana Novaka","authors":"Andrija Nikolić","doi":"10.31261/pn.4028.19","DOIUrl":"https://doi.org/10.31261/pn.4028.19","url":null,"abstract":"In this paper we will analyze the personal choice of individuals, who chose peripheral life on the island which is their prison and their freedom at the same time. Though eager to do so, the protagonists of the novel, Mali and Draga, do not escape from the island. They are essentially prisoners of their own choice, from which they apparently try to escape, not escaping only from responsibilities and obligations that tie them to the island, that is, to nurturing a handicapped old women Madonna. In self-deprivation and oppression satisfying Madonna’s wishes, Mali voluntarily fulfills her desires, aware of the nonsense in which he dives, conscious of alienation, which he cannot resist. Although, at one point, Mali will pronounce all of his own disappointment, the reader will not accept it as the main hero’s awareness about the failure of life but she/he will rather “involve” in a postmodernist way in author’s thinking and his attitude towards the main character. The essence of the psychological lies not in the fact that the writer played with the possibility of rejecting the protagonist, but, on the contrary, enabled him to choose his path, which led him to the island, on which he remains. The bareness of life was reduced by the literary process to the final outcome of the earthly existence. Without coercion or request, just by rough realistic method, the writer points to the masculinity of the main character, who is firm, does not give up on his ideals, but at the same time remains a prisoner of his habits. With the abundance of biblical motifs and symbols, Slobodan Novak created the hero of the novel who grows out of the narrative events and who is not uniform, but in the given situations he changes, resisting, retreating or adjusting. In the atmosphere of the stagnant island an ironic and scathing prose was made, whose main protagonists accepted peripherality as a habit.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"133 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122499606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The emphasis of the paper is on the linguistic analysis of fragments from the novel Grička vještica written by Marija Jurić Zagorka. The paper objective is to answer how much linguistic craftsmanship defined this novel, and thus the literary work of Zagorka in general. It has been shown how language and literature in Zagorka’s writing intertwine. The language of the novel was analysed by extracting concrete fragments in which the lexics, stylistic figures and additional features of Zagorka’s style of writing were analysed. We researched how much attention was given to the language in building the plot. The arising question is how justified the position of Zagorka outside the literary canon is if her writing style does not differ significantly from the writers who are included in the canon.
本文的重点是对Marija juric Zagorka的小说gri ka vještica片段的语言学分析。本文的目的是回答语言技巧在多大程度上定义了这部小说，从而定义了扎戈尔卡的文学作品。在扎戈尔卡的作品中，语言和文学是如何交织在一起的。通过提取具体的片段来分析小说的语言，其中分析了扎戈尔卡写作风格的词汇、风格人物和其他特征。我们研究了在构建情节的过程中对语言的关注程度。出现的问题是，如果扎戈尔卡的写作风格与被列入经典的作家没有明显的不同，那么她在文学经典之外的地位是有道理的。
{"title":"Preispitivanje položaja Marije Jurić Zagorke u hrvatskoj književnosti","authors":"Jelena Đorđević","doi":"10.31261/pn.4028.26","DOIUrl":"https://doi.org/10.31261/pn.4028.26","url":null,"abstract":"The emphasis of the paper is on the linguistic analysis of fragments from the novel Grička vještica written by Marija Jurić Zagorka. The paper objective is to answer how much linguistic craftsmanship defined this novel, and thus the literary work of Zagorka in general. It has been shown how language and literature in Zagorka’s writing intertwine. The language of the novel was analysed by extracting concrete fragments in which the lexics, stylistic figures and additional features of Zagorka’s style of writing were analysed. We researched how much attention was given to the language in building the plot. The arising question is how justified the position of Zagorka outside the literary canon is if her writing style does not differ significantly from the writers who are included in the canon.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114333077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using the examples from Romanticism and Moderna period, this paper will examine the opposition centre-periphery regarding the role of the ideology of pan-Slavic reciprocity in the field of Polish-Croatian literary ties. Next, we will describe the process of attribution within literary and cultural history in which a series of so-called great authors have arisen, and to which their communities (Polish and Croatian) attribute central aesthetic and ideological roles. Further, starting from the assumption that the Polish and Croatian cultural communities used their literary canon to legitimise their own artistic and social inclinations, we shall attempt to determine the universalistic characteristics that allowed the Polish literary canon to become a desirable alternative and a source of homogenizing poetics that enabled the aesthetic synchrony of Croatian literature with a European paradigm in two literary periods – Romanticism and its younger relative, Moderna.
{"title":"Odnos središta i periferije u oblikovanju književnoga kanona: hrvatsko-poljski književnopovijesni primjeri","authors":"Tea Rogić Musa","doi":"10.31261/pn.4028.30","DOIUrl":"https://doi.org/10.31261/pn.4028.30","url":null,"abstract":"Using the examples from Romanticism and Moderna period, this paper will examine the opposition centre-periphery regarding the role of the ideology of pan-Slavic reciprocity in the field of Polish-Croatian literary ties. Next, we will describe the process of attribution within literary and cultural history in which a series of so-called great authors have arisen, and to which their communities (Polish and Croatian) attribute central aesthetic and ideological roles. Further, starting from the assumption that the Polish and Croatian cultural communities used their literary canon to legitimise their own artistic and social inclinations, we shall attempt to determine the universalistic characteristics that allowed the Polish literary canon to become a desirable alternative and a source of homogenizing poetics that enabled the aesthetic synchrony of Croatian literature with a European paradigm in two literary periods – Romanticism and its younger relative, Moderna.","PeriodicalId":218068,"journal":{"name":"Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133959162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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