Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.1_2.07
Davor Nikolić
Book review: Ljiljana Marks i Evelina Rudan (ur.), Predaja: temelji žanra. Zagreb: Institut za etnologiju i folkloristiku. 2018. 478 str.
书评：Ljiljana Marks i Evelina Rudan (eds.), Surrender: the Foundations of a genre.478 pp.
{"title":"POVRATAK FOLKLORISTIČKIM TEMELJIMA","authors":"Davor Nikolić","doi":"10.22210/UR.2019.063.1_2.07","DOIUrl":"https://doi.org/10.22210/UR.2019.063.1_2.07","url":null,"abstract":"Book review: Ljiljana Marks i Evelina Rudan (ur.), Predaja: temelji žanra. Zagreb: Institut za etnologiju i folkloristiku. 2018. 478 str.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126918569","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}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.3_4.03
M. Starcević
GERARD MANLEY HOPKINS AND THE ECOLOGICAL BALANCE OF WILDNESS In the nineteenth century, the swing of anthropocentric forces wrought profoundly deleterious changes upon the face of the natural environment. Witnessing these metamorphic processes at work was Gerard Manley Hopkins, whose unique sensibility found the despoilment of nature by human hand no less than extremely dispiriting. Against a backdrop of the vanishing beauty, Hopkins fervidly engaged with the transforming world in his ecopoetical ruminations. He was not the first poet of ecological dissent, for during the Romantic period John Clare had poignantly expressed the anguish at what had then been the incipient stages of nature being disrobed of its inherent singularity. Being quite familiar with Clare’s ecopoetical meditations, the Jesuit poet was able to further elaborate upon Clare’s vision, while proving successful in presciently observing the discrepancies between wilderness as a cultural construct and a wildness whose emphasis upon the appreciation of the global through the local corresponds closely to the present-day awareness concerning the fragility of ecosystems. Most vividly and extensively, Hopkins explores the dyad of wildness and wilderness in poems like “Inversnaid,” “Duns Scotus’ Oxford,” and “Binsey Poplars,” wherein he truly establishes himself as one of the essential forerunners of modern ecological science.
{"title":"GERARD MANLEY HOPKINS AND THE ECOLOGICAL BALANCE OF WILDNESS","authors":"M. Starcević","doi":"10.22210/UR.2019.063.3_4.03","DOIUrl":"https://doi.org/10.22210/UR.2019.063.3_4.03","url":null,"abstract":"GERARD MANLEY HOPKINS AND THE ECOLOGICAL BALANCE OF WILDNESS\u0000\u0000In the nineteenth century, the swing of anthropocentric forces wrought profoundly deleterious changes upon the face of the natural environment. Witnessing these metamorphic processes at work was Gerard Manley Hopkins, whose unique sensibility found the despoilment of nature by human hand no less than extremely dispiriting. Against a backdrop of the vanishing beauty, Hopkins fervidly engaged with the transforming world in his ecopoetical ruminations. He was not the first poet of ecological dissent, for during the Romantic period John Clare had poignantly expressed the anguish at what had then been the incipient stages of nature being disrobed of its inherent singularity. Being quite familiar with Clare’s ecopoetical meditations, the Jesuit poet was able to further elaborate upon Clare’s vision, while proving successful in presciently observing the discrepancies between wilderness as a cultural construct and a wildness whose emphasis upon the appreciation of the global through the local corresponds closely to the present-day awareness concerning the fragility of ecosystems. Most vividly and extensively, Hopkins explores the dyad of wildness and wilderness in poems like “Inversnaid,” “Duns Scotus’ Oxford,” and “Binsey Poplars,” wherein he truly establishes himself as one of the essential forerunners of modern ecological science.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132513615","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}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.1_2.04
Dragan Gligora
SMILING INSANITY IN OUTBOARD LOG BOOK BY SLOBODAN NOVAK The paper argues that the starting point of Novak’s novel Outboard Log Book is a “twisted” world based on a paradox, which influences the main elements and strategies of narration. Due to this “twisted” feature of the novel, which is determined mostly politically and ideologically, the “disturbed perspective” prevails in the text. Since the basic strategy in the novel is the pun, i.e. world play, whose symbolism and meanings interconnect the plot, composition, narration, and the signifiers. The character of Magistar, transformed into a fool and an outcast in this upside-down world, can oppose the ideology and language as its main stronghold, only with “silence ideology” (known from previous Novak’s novels We Should Think Further, Southern Thoughts, and It Should Die Logically.), or he can try “to undermine it with the language itself”. When the world cannot be interpreted by language, almost all its functions are lost. What remains is the poetic function that becomes embedded in irony. The paradigmatic syntagm a shell that makes a noise embodies the individuality and further justifies literariness. However, it becomes obvious that even that “pledge” of art can be both disruptive and contradictory. The protagonist’s return to the island signals a circular structure of the key narrative strand, as well as his journey. Puns, playing with paradoxes, twists and replacements, as well as “the aspiration for logical dying” “are reconciled” at the end of the third part of the novel entitled Necropolis, which is visible in the “equalization of the opposing worlds”, and in finding a solution to the problem of temporality.
{"title":"NASMIJANO BEZUMLJE U IZVANBRODSKOM DNEVNIKU SLOBODANA NOVAKA","authors":"Dragan Gligora","doi":"10.22210/UR.2019.063.1_2.04","DOIUrl":"https://doi.org/10.22210/UR.2019.063.1_2.04","url":null,"abstract":"SMILING INSANITY IN OUTBOARD LOG BOOK BY SLOBODAN NOVAK\u0000\u0000The paper argues that the starting point of Novak’s novel Outboard Log Book is a\u0000“twisted” world based on a paradox, which influences the main elements and strategies of narration. Due to this “twisted” feature of the novel, which is determined\u0000mostly politically and ideologically, the “disturbed perspective” prevails in the text.\u0000Since the basic strategy in the novel is the pun, i.e. world play, whose symbolism\u0000and meanings interconnect the plot, composition, narration, and the signifiers. The\u0000character of Magistar, transformed into a fool and an outcast in this upside-down\u0000world, can oppose the ideology and language as its main stronghold, only with\u0000“silence ideology” (known from previous Novak’s novels We Should Think Further,\u0000Southern Thoughts, and It Should Die Logically.), or he can try “to undermine it with\u0000the language itself”. When the world cannot be interpreted by language, almost all\u0000its functions are lost. What remains is the poetic function that becomes embedded\u0000in irony. The paradigmatic syntagm a shell that makes a noise embodies the individuality and further justifies literariness. However, it becomes obvious that even\u0000that “pledge” of art can be both disruptive and contradictory. The protagonist’s\u0000return to the island signals a circular structure of the key narrative strand, as well\u0000as his journey. Puns, playing with paradoxes, twists and replacements, as well as\u0000“the aspiration for logical dying” “are reconciled” at the end of the third part of\u0000the novel entitled Necropolis, which is visible in the “equalization of the opposing\u0000worlds”, and in finding a solution to the problem of temporality.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126600299","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}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.3_4.05
Smiljana Narančić Kovač
THE STATUS OF ILLUSTRATIONS IN CROATIAN TRANSLATIONS OF CHILDREN’S CLASSICS The paper presents a study of the visual discourses of Croatian editions of children’s classics translated from English into Croatian. It focuses on trends in using the original illustrations from the source texts or providing new illustrations in individual publications of target texts and on finding and interpreting semantic shifts in images provided by Croatian artists, in comparison with the illustrations in the first editions of the source texts. Interlingual translators adopt various strategies to cope with cultural and stylistic aspects of the source texts, and semantic shifts are almost inevitable. They are even more often perceived in translations of children’s literature. Children’s books regularly include intersemiotic translations of the verbal text in the form of images, which carry important narrative and cultural meanings. These may become fragile in translation. The analysis of images in Croatian publications with new sets of illustrations has detected modifications of original narrative meanings, leading to semantic shifts. Further, the analysis of the publishing practices has revealed a tendency in the recent period towards introducing new sets of illustrations more often than prior to the 1990s. Finally, the paper considers the reasons for and implications of these findings.
{"title":"THE STATUS OF ILLUSTRATIONS IN CROATIAN TRANSLATIONS OF CHILDREN’S CLASSICS","authors":"Smiljana Narančić Kovač","doi":"10.22210/UR.2019.063.3_4.05","DOIUrl":"https://doi.org/10.22210/UR.2019.063.3_4.05","url":null,"abstract":"THE STATUS OF ILLUSTRATIONS IN CROATIAN TRANSLATIONS OF CHILDREN’S CLASSICS\u0000\u0000The paper presents a study of the visual discourses of Croatian editions of children’s classics translated from English into Croatian. It focuses on trends in using the original illustrations from the source texts or providing new illustrations in individual publications of target texts and on finding and interpreting semantic shifts in images provided by Croatian artists, in comparison with the illustrations in the first editions of the source texts. Interlingual translators adopt various strategies to cope with cultural and stylistic aspects of the source texts, and semantic shifts are almost inevitable. They are even more often perceived in translations of children’s literature. Children’s books regularly include intersemiotic translations of the verbal text in the form of images, which carry important narrative and cultural meanings. These may become fragile in translation. The analysis of images in Croatian publications with new sets of illustrations has detected modifications of original narrative meanings, leading to semantic shifts. Further, the analysis of the publishing practices has revealed a tendency in the recent period towards introducing new sets of illustrations more often than prior to the 1990s. Finally, the paper considers the reasons for and implications of these findings.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128094829","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}
Pub Date : 2020-03-19DOI: 10.22210/ur.2019.063.1_2.05
Okrugli stol u organizaciji časopisa Umjetnost riječi, 12. ožujka 2019., Vijećnica Filozofskog fakulteta u Zagrebu. Roundtable organized by the journal, March 12th 2019. Faculty of Humanities and Social Sciiences, University of Zagreb.
Okrugli stol u organizaciji časopisa Umjetnost riječi, 12. ožujka 2019., Vijećnica Filozofskog fakulteta u Zagrebu.Roundtable organized by the journal, March 12 2019.萨格勒布大学人文与社会科学学院。
{"title":"INTERDISCIPLINARNOST U HUMANISTIČKIM ZNANOSTIMA","authors":"","doi":"10.22210/ur.2019.063.1_2.05","DOIUrl":"https://doi.org/10.22210/ur.2019.063.1_2.05","url":null,"abstract":"Okrugli stol u organizaciji časopisa Umjetnost riječi, 12. ožujka 2019., Vijećnica Filozofskog fakulteta u Zagrebu.\u0000\u0000Roundtable organized by the journal, March 12th 2019. Faculty of Humanities and Social Sciiences, University of Zagreb.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126326616","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}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.3_4.06
Margilena Meminaj, Roland Zisi
THE SYMBOLIC FUNCTION OF IMPERIAL SIGNS AND IMAGES IN THE LITERARY WORK OF ISMAIL KADARE The literary work of Ismail Kadare is overloaded with signs, images and what this essay terms “imperial figures.” Imperial figures in our usage of the signs of empires marked upon the past, often continue to resonate in the present. Kadare’s poetry, and even more his prose, overwhelms the reader with structures, symbols, details and imperial subjects. In their entirety, these signs of historical, ideological and cultural character originate from various Roman, Ottoman, fascist and communist sources, and deliberately intrigue reading from the socio-political aspect, which is oriented through allusive, confrontational and propositional mechanisms. Our study analyses the literary functions of imperial signs and images in some of the author’s novels. By assuming that the implication of imperial images and signs in Kadare’s books is a characteristic of his style, we also aim to explore, through the investigation of specific examples, the essence of literary intent and perceptual projection which stems from their frequent use. The paper shows that Kadare draws deeply from cultureembedded values, invoking the reader’s desire to make meaning or interpret signs and images in order to associate his fictionalized imperial signs with his depiction of Albania’s history.
{"title":"THE SYMBOLIC FUNCTION OF IMPERIAL SIGNS AND IMAGES IN THE LITERARY WORK OF ISMAIL KADARE","authors":"Margilena Meminaj, Roland Zisi","doi":"10.22210/UR.2019.063.3_4.06","DOIUrl":"https://doi.org/10.22210/UR.2019.063.3_4.06","url":null,"abstract":"THE SYMBOLIC FUNCTION OF IMPERIAL SIGNS AND IMAGES IN THE LITERARY WORK OF ISMAIL KADARE\u0000\u0000The literary work of Ismail Kadare is overloaded with signs, images and what this essay terms “imperial figures.” Imperial figures in our usage of the signs of empires marked upon the past, often continue to resonate in the present. Kadare’s poetry, and even more his prose, overwhelms the reader with structures, symbols, details and imperial subjects. In their entirety, these signs of historical, ideological and cultural character originate from various Roman, Ottoman, fascist and communist sources, and deliberately intrigue reading from the socio-political aspect, which is oriented through allusive, confrontational and propositional mechanisms. Our study analyses the literary functions of imperial signs and images in some of the author’s novels. By assuming that the implication of imperial images and signs in Kadare’s books is a characteristic of his style, we also aim to explore, through the investigation of specific examples, the essence of literary intent and perceptual projection which stems from their frequent use. The paper shows that Kadare draws deeply from cultureembedded values, invoking the reader’s desire to make meaning or interpret signs and images in order to associate his fictionalized imperial signs with his depiction of Albania’s history.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129729535","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}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.1_2.01
Matija Jelača
ON THE HORROR OF KNOWLEDGE: SPECULATIVE REALISM AND H. P. LOVECRAFT This paper provides an account of the relation between the philosophy of speculative realism and H. P. Lovecraft’s poetics of “cosmic horror”. Q. Meillassoux and R. Brassier are taken as representatives of speculative realism. These two philosophers share two fundamental presumptions: first, any philosophy that aspires to the name of “realism” has to provide an answer to the question as to how thought can think a world without thought; and second, insofar as it reveals that this is indeed possible – to think a world without thought – science constitutes the greatest challenge to correlationism. The first two parts of the text provide an account of these two aspects of Meillassoux’s and Brassier’s projects respectively. The third part reconstructs the basic tenets of Lovecraft’s poetics of “cosmic horror”, first through an engagement with his numerous (auto)poetic writings on this genre, and then by a reading of his famous short story “The Call of Cthulhu”. Finally, the conclusion brings these various threads together in order to show that an explication of the relation between these three authors facilitates a better understanding of the specifics of their individual projects.
{"title":"O UŽASU SPOZNAJE: SPEKULATIVNI REALIZAM I H. P. LOVECRAFT","authors":"Matija Jelača","doi":"10.22210/UR.2019.063.1_2.01","DOIUrl":"https://doi.org/10.22210/UR.2019.063.1_2.01","url":null,"abstract":"ON THE HORROR OF KNOWLEDGE: SPECULATIVE REALISM AND H.\u0000P. LOVECRAFT\u0000\u0000This paper provides an account of the relation between the philosophy of speculative\u0000realism and H. P. Lovecraft’s poetics of “cosmic horror”. Q. Meillassoux and R.\u0000Brassier are taken as representatives of speculative realism. These two philosophers\u0000share two fundamental presumptions: first, any philosophy that aspires to the name \u0000of “realism” has to provide an answer to the question as to how thought can think a\u0000world without thought; and second, insofar as it reveals that this is indeed possible\u0000– to think a world without thought – science constitutes the greatest challenge\u0000to correlationism. The first two parts of the text provide an account of these two\u0000aspects of Meillassoux’s and Brassier’s projects respectively. The third part reconstructs the basic tenets of Lovecraft’s poetics of “cosmic horror”, first through an\u0000engagement with his numerous (auto)poetic writings on this genre, and then by a\u0000reading of his famous short story “The Call of Cthulhu”. Finally, the conclusion\u0000brings these various threads together in order to show that an explication of the\u0000relation between these three authors facilitates a better understanding of the specifics\u0000of their individual projects.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"308 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122983289","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}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.1_2.02
Urška Perenič
IVAN KUKULJEVIĆ SAKCINSKI IN THE CULTURE OF MIDNINETEENTH-CENTURY SLOVENE LITERARY TRANSLATION: JURAN AND SOFIA, OR THE TURKS AT SISAK AND THE FORMATION OF THE SLOVENE NATIONAL IDENTITY In 1850, Ivan Kukuljević Sakcinski’s Illyrian-Croatian plays Juran i Sofija ili Turci kod Siska (Juran and Sofija, or the Turks at Sisak, 1839) and Stjepko Šubić ili Bela IV. u Horvatskoj (Štepan Šubic, or Bela IV in Croatia, 1841) were published in Slovene translation in the book Dve igri za slovensko glediše (Two Plays for the Slovene Theatre). First, the paper considers the plays in a wider context of contemporary Slovene-language drama of the same period, and then in a somewhat narrower context of dramatic works in the Slovene language in (South) Slavic literature, wherein the discussion takes into account the position of these two plays in the developing system of genres of translated drama, since these two works occupy a distinctive place because they representing model heroic plays. Special emphasis is placed on the first play, which is not only Kukuljević’s most well-known work, but was, generally speaking, better received in the Slovene context. This can be explained in a number of ways: 1) due to to specific socio-political conditions (the translation into Slovene is from the period of Bach’s s absolutism marked by increased German pressure on the Slovene and Croatian territory); 2) due to obvious social relevance of the Turkish topic (in the Battle at Sisak the Slovenes and Croatians behave heroically, independently and cooperatively); and 3) due to the play’s specific features, in particular its dramatic personae, setting, and Slavic character (in the play, Toma Erdödy, Juran and Andrej Turjaški act in accordance with Slavic reciprocity, and the setting of the play is Slavic). These features, in turn, enabled identification with the characters and promoted national emancipation. The genre of the heroic play filled the gap in the Slovene literature, which Fran Levstik anticipated in his 1858 Slovene literary programme, which is also the first Slovene programme of this type. Keywords: translation, adaptation, Slovene-Croatian relations, Turk
19世纪中期斯洛文尼亚文学翻译文化中的Ivan kukuljeviĆ sakcinski1850年，伊万·库库尔耶维奇·萨金斯基的伊利里亚-克罗地亚戏剧《朱兰和索菲亚》(JURAN i Sofija，或称土耳其人在西萨克，1839年)和《斯特耶普科Šubić》(JURAN AND Sofija，或称土耳其人在西萨克)和《霍瓦茨科伊》(Štepan Šubic，或称克罗地亚的贝拉四世，1841年)被翻译成斯洛文尼亚语出版在《斯洛文尼亚剧院的两部戏剧》glediše中。首先，本文将这两部戏剧放在同时期的当代斯洛文尼亚语戏剧的大背景下考虑，然后在(南)斯拉夫文学中斯洛文尼亚语戏剧作品的小背景下考虑，其中讨论了这两部戏剧在翻译戏剧类型发展体系中的地位，因为这两部作品因为代表了模范英雄剧而占据了独特的地位。特别强调的是第一部戏，这不仅是库库尔耶维奇最著名的作品，而且一般来说，在斯洛文尼亚的背景下更受欢迎。这可以用多种方式来解释:1)由于特定的社会政治条件(翻译成斯洛文尼亚语是来自巴赫的专制主义时期，标志着德国对斯洛文尼亚和克罗地亚领土的压力增加);2)由于土耳其主题明显的社会相关性(在Sisak战役中，斯洛文尼亚人和克罗地亚人表现得很英勇，独立和合作);3)由于戏剧的具体特点，特别是其戏剧人物、背景和斯拉夫角色(在剧中，托马Erdödy、朱兰和安德烈Turjaški按照斯拉夫互惠原则行事，剧本的背景是斯拉夫的)。这些特点反过来又促成了对人物的认同，促进了民族解放。这种英雄戏剧类型填补了斯洛文尼亚文学的空白，这是弗兰·列夫斯蒂克在1858年的《斯洛文尼亚文学纲领》中所预见的，这也是斯洛文尼亚第一个这种类型的纲领。关键词:翻译，改编，斯克关系，土耳其语
{"title":"IVAN KUKULJEVIĆ SAKCINSKI U SLOVENSKOJ PRIJEVODNOJ KNJIŽEVNOJ KULTURI SREDINOM 19. STOLJEĆA: JURAN I SOFIJA ILI TURCI KOD SISKA I OBLIKOVANJE SLOVENSKOGA NACIONALNOG IDENTITETA","authors":"Urška Perenič","doi":"10.22210/UR.2019.063.1_2.02","DOIUrl":"https://doi.org/10.22210/UR.2019.063.1_2.02","url":null,"abstract":"IVAN KUKULJEVIĆ SAKCINSKI IN THE CULTURE OF MIDNINETEENTH-CENTURY SLOVENE LITERARY TRANSLATION: JURAN AND SOFIA, OR THE TURKS AT SISAK AND THE FORMATION OF THE SLOVENE NATIONAL IDENTITY\u0000\u0000In 1850, Ivan Kukuljević Sakcinski’s Illyrian-Croatian plays Juran i Sofija ili Turci\u0000kod Siska (Juran and Sofija, or the Turks at Sisak, 1839) and Stjepko Šubić ili Bela IV. u\u0000Horvatskoj (Štepan Šubic, or Bela IV in Croatia, 1841) were published in Slovene translation in the book Dve igri za slovensko glediše (Two Plays for the Slovene Theatre). First,\u0000the paper considers the plays in a wider context of contemporary Slovene-language\u0000drama of the same period, and then in a somewhat narrower context of dramatic\u0000works in the Slovene language in (South) Slavic literature, wherein the discussion\u0000takes into account the position of these two plays in the developing system of genres\u0000of translated drama, since these two works occupy a distinctive place because they\u0000representing model heroic plays. Special emphasis is placed on the first play, which\u0000is not only Kukuljević’s most well-known work, but was, generally speaking, better\u0000received in the Slovene context. This can be explained in a number of ways: 1) due\u0000to to specific socio-political conditions (the translation into Slovene is from the\u0000period of Bach’s s absolutism marked by increased German pressure on the Slovene and Croatian territory); 2) due to obvious social relevance of the Turkish topic (in\u0000the Battle at Sisak the Slovenes and Croatians behave heroically, independently and\u0000cooperatively); and 3) due to the play’s specific features, in particular its dramatic\u0000personae, setting, and Slavic character (in the play, Toma Erdödy, Juran and Andrej Turjaški act in accordance with Slavic reciprocity, and the setting of the play\u0000is Slavic). These features, in turn, enabled identification with the characters and\u0000promoted national emancipation. The genre of the heroic play filled the gap in\u0000the Slovene literature, which Fran Levstik anticipated in his 1858 Slovene literary\u0000programme, which is also the first Slovene programme of this type.\u0000Keywords: translation, adaptation, Slovene-Croatian relations, Turk","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133413674","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}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.1_2.06
Milka Car
Book review: Diana Hitzke, Miriam Finkelstein (ur.), Slavische Literaturen der Gegenwart als Weltliteratur – Hybride Konstellationen. Innsbruck: Innsbruck University Press. 2018. 251 str.
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Pub Date : 2020-03-19DOI: 10.22210/ur.2019.063.3_4.01
{"title":"INTRODUCTION: WORDS AND IMAGES","authors":"","doi":"10.22210/ur.2019.063.3_4.01","DOIUrl":"https://doi.org/10.22210/ur.2019.063.3_4.01","url":null,"abstract":"","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129210055","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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