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Brozović, Domagoj
Narodna umjetnost, 07/2019, Volume: 56, Issue: 1Journal Article, Paper
Budući da je u svjetskoj književnosti od romantizma nadalje najveći dio fantastične dionice pripovjedne književnosti formiran oko ideje straha od nepoznatoga i neobjašnjivoga, ovaj je prilog usmjeren na manifestacije te emocije u odabranim primjerima hrvatske fantastične novele 19. stoljeća. U raspravi se problematizira i tematsko-žanrovska pripadnost kanonskih novela, i to upravo s obzirom na prisutnost motiva straha. U književnostima zapadnog kruga u 19. se stoljeću pojačano javljaju fantastični pripovjedni žanrovi kojima je motiv straha glavni narativni pokretač, a pojedini elementi fantastički intonirane književnosti s obilježjima književnoga horora prisutni su i u odabranome istraživačkom korpusu: od romantičarskih obilježja Jorgovanićeve fantastike preko premošćivanja realističke poetike i okretanja misticizmu u Gjalskijevoj novelistici do modernističke psihologizacije Matoša i Leskovara. Iako se u tradicionalnoj hrvatskoj književnoj historiografiji zadani korpus nije tumačio kroz prizmu motiva straha, njegova prisutnost otvara niz istraživačkih pitanja poput, primjerice, kako se strah manifestira u pripovjednom tekstu, kojoj pripovjednoj razini emocija straha zapravo pripada, kako motiv straha sudjeluje u proizvodnji fantastičnog i irealnog itd. Given that from Romanticism onward the fantastic in world narrative fiction centers around the idea of fear of the unknown and inexplicable, this paper explores the manifestations of this emotion in selected Croatian fantastic stories from the 19th century. Since the concept of genre is a variable category dependent on a number of literary and non-literary factors, this paper also discusses topic and genre qualification, especially considering the presence of motifs related to the emotion of fear. In the Western literature of the 19th century, the fantastic narrative genre with the motive of fear as the main narrative core is quite frequent. Some elements of fantastically intoned literature with features of literary horror are also present in the research corpus: from the romantic features of Jorgovanić’s fantasy, the bridging of realistic poetics and the turn to mysticism in Gjalski’s stories to the modernist psychologization of Matoš and Leskovar. Although traditional Croatian literary historiography does not interpret its basic corpus through the prism of the motif of fear, its presence leads to a number of research questions: how does fear manifest itself in the narrative text?, which narrative level does the emotion of fear belong to?, how does the motif of fear participate in the production of the fantastic and irreal? etc.
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