Veliki potres 1667. godine u modernoj se historiografiji smatra jednim od ključnih događaja u povijesti Dubrovačke Republike, koji je imao višestruke društvene, gospodarske i političke posljedice. ...Uvide u to kako se ta katastrofa razumijevala u doba izravnog suočavanja s njezinim razornim posljedicama nude, između ostalog, književni tekstovi autora, među kojima su neki i sami bili žrtve i/ili svjedoci tragedije. Pritom su četiri kraće prigodne pjesme lamentacijskog naboja (pjesnika N. Bunića, P. Kanavelića, B. Bettere, M. Bunića) nastale kao neposredna reakcija na katastrofu već iste 1667. godine, dok su epilij Feniče Nikolice Bunića i povijesni spjev Dubrovnik ponovljen Jakete Palmotića te dva latinska sastava (De laudibus serenissimae Reipublicae Venetae et cladibus patriae suae carmen S. Gradića i Proseucticon de terraemotu B. Rogačića) pisani u godinama kad je najveća kriza prošla. Pristupajući tim tekstovima iz perspektive teorije kulturne traume, rad se bavi reprezentacijom emocija povezanih s (post)traumatskim društvenim procesom obnavljanja zajednice. S tim u vezi ukazuje se da emocionalni scenariji što se uspostavljaju u djelima dubrovačkih autora prizivaju tipične prikaze prirodnih katastrofa u ranonovovjekovnoj Europi. Također, upućuje se i na specifičnu emocionalnu politiku traume te na s njom povezane emocionalne strategije putem kojih su promatrani tekstovi funkcionirali kao društveni medij procesuiranja kolektivne traume i tako u danim okolnostima pridonosili pragmatičnom usmjeravanju društvenog djelovanja.
Rad se bavi religioznim spjevom Dubrovčanina Junija Palmotića (1607-1667) Sveta Katarina od Sijene, dosad marginaliziranim u hrvatskoj književnoj historiografiji. U radu se pokazuje da se Sveta ...Katarina, klasificirana kao barokna religiozna poema, oslanja na tradiciju mistične književnosti, čime se razlikuje od reprezentativnih baroknih plačeva Ivana Gundulića, Ivana Bunića Vučića i Ignjata Đurđevića. Tematizirajući, poput mnogih književnih tekstova nastalih u doba katoličke obnove, iskustvo uzvišene, božanske ljubavi, spjev se analizira i iz emocionološke perspektive: kako u pogledu osobite reprezentacije takve ljubavi tako i u pogledu recepcije, odnosno očekivanih osjećaja koje je djelo trebalo potaknuti kod publike. Sukladno s tim, u radu se otvara i pitanje religijskog emocionalnog režima i emocionalnog stila karakterističnog za doba katoličke obnove, koji se njegovao i u dubrovačkim ženskim samostanima.
Written by the Ragusan poet and playwright Junije Palmotić (1607-1667), religious poem Sveta Katarina od Sijenehas hitherto been neglected by Croatian literary historiography. This article aims to ...show that, classified as a Baroque religious poem, Saint Catherineleans on the tradition of mystical literature, which distinguishes it from the representative tear poems of this period written by Ivan Gundulić, Ivan Bunić Vučić and Ignjat Đurđević. Similar to many literary texts composed during Catholic Renewal, the poem thematises the experience of the higher, divine love, here also examined from the emotional perspective in terms of both particular representation of this type of love and the reception, i.e., the emotions ʽexpectedʼ to be aroused in the audience. In addition, the article addresses the question of the religious emotional regime and emotional style characteristic of the period of Catholic Renewal, also pursued in the female convents of Dubrovnik.
A variant of a semigroup S with respect to an element a ? S is the semigroup
S a = (S, *a), where x *a y = xay for any x, y ? S. Here, a is the sandwich
element of Sa. In this article, we study ...variants of the partial Brauer
monoid PBn for n ? N. We give the classification of these variants in the case
when the rank of the sandwich element is nonzero.
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IZUM, KILJ, NUK, PILJ, PNG, SAZU, UL, UM, UPUK
The paper sheds light on the epistemological postulates of the contemporary spatial turn in humanities and social sciences (space as a social and cultural product, presumptions about the totality of ...time and space, connection of material and mental spaces, relational aspect of space). Based on the presumption that literary spaces contribute to the social production of space, the paper argues that such spaces are conceptualized as representational phenomena pursuant to the contemporary spatial paradigm. The paper also includes a diachronic survey of the main tendencies in the 20th- and 21st-century conceptualizations of literary space. While studies published prior to the spatial turn illustrate, to a certain degree, valuable but mostly isolated attempts at establishing the theory of literary space, with the appearance of new spatial tendencies from the 1990s, space is gradually becoming an unavoidable reference point for various research fields. Accordingly, the paper concludes that literary space is a complex research topic which defies unequivocal definitions.
In accordance with the paradigm of the spatial turn, i.e. the theoretical and methodological starting points of contemporary geocriticism, this paper analyses various representations of Dubrovnik in ...Ragusan literature and European cartography of the XVII century. As a social, i.e. cultural product, the Ragusan space in those texts and maps is examined as the exponent of different meanings – geographic, historical, political, social, religious and cultural. Considering the different techniques of representation (text and map) and the different origin context of certain literary and cartographic representations of space, i.e. the fact they are constructs belong into a certain time, space and author, Dubrovnik as a spatial referent is revealed to be a pluralist nexus of various spatial visions. The confrontation of different perspectives of its formation – the endogen one, limited to a narrow space and marked by an autochthonic vision of space, and displayed mostly by Ragusan authors, the exogenous,present in Dubrovnik’s representations by foreign cartographers, reflecting the „outsider”vision of space, and the a logenous perspective, „somewhere between those two”, enables a simultaneous insight into the dynamic production of identity/alterity space, connected both with the Ragusan and the European cultural environment of the XVII century.
A variant of a semigroup \(S\) with respect to an element \(a\in S\) is the semigroup \(S^{a}=(S,\star_{a})\), where \(x\star_{a}y=xay\) for any \(x,y\in S\). Here, \(a\) is the sandwich element of ...\(S^{a}\). In this article, we study variants of the partial Brauer monoid \(\mathcal{PB}_{n}\) for \(n\in\mathbb{N}\). We give the classification of these variants in the case when the rank of the sandwich element is nonzero.
Within the rich volume of works written by the Dubrovnik author Junije Palmotić (1607–1657), four tragicomedies (Pavlimir, Danica, Captislava, and Bisernica) are usually designated as ...pseudohistorical by literary historiography due to their numerous references to historical spaces, times, and events. Historical spaces are major constituents of the dramatic world of these works: the action is localized in concrete historical territories (Epidaurus/Dubrovnik; the Bosnian Kingdom; the Kingdom of Hungary); the protagonists, whose names evoke (pseudo)historical persons from
Slovin courts, are signifiers of particular political spaces; and a reading of individual enunciations, characters’ actions, dramatic confrontations and their resolutions indicates the valuation of historical spaces and their respective hierarchy. Images of Dubrovnik, Hungarian, and Bosnian spaces are thereby formed as positive and the Turkish is seen as negative, whereas the image of Serbian space is valued ambivalently. Revealing themselves as spaces enriched with cultural significance, historical spaces in these tragicomedies do not act merely as a neutral background, but as a major element in the construction of identity. Within Palmotić’s fictional worlds and through a network of autoimages and heteroimages, Dubrovnik patriotism, Christianity, and Slovin fellowship are constructed as cardinal ideas of community– a clear indication of the cultural and political discourse in seventeenth-century Dubrovnik.
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