Lukan iz Budakova ‘Ognjišta’ zadovoljava veći dio kriterija koje pred vodećeg junaka postavljaju Mieke Bal, Lynette Porter i William Faulkner. Učenost mu svakako nedostaje, a djelovanje prema ...vlastitim uvjerenjima biva dvojbenim i upravo stoga poticajnim problemom. Lukan se žrtvuje ako je potrebno, inteligentan je i mijenja strategiju u hodu, razvija se i stalo mu je do obitelji. Glede Faulknerovih zahtjeva on jest sućutan i ustrajan, a ima i elemente požrtvovnosti. Bitno je međutim što je ovaj lik nazočan u cijelom tijeku fabule romana i što on zadaje smrtni udarac antagonistu. S njegova stajališta ‘Ognjište’ prelazi iz tragedije u obredni tekst i konačno u romansu. Roman u potpunosti slijedi ustroj koji je moguće izvesti na temelju Fryeovih obilježja ovoga žanra u ‘Anatomiji kritike’. Lukan kao glavni junak spašava svoje ognjište pomoću Anere, onda je u svoju zadrugu prepisao i Blažićeve unuke, na kraju romana ubija neprijatelja, a selo Sveti Rok ostaje nerazoreno. Ne nedostaje ni mlada koju kao junak romanse mora na kraju zadobiti: više je puta naviješteno da bi to mogla biti upravo Blažićeva udovica Manda. Konačno, Lukan u sebi sažima obilježja cijeloga niza Budakovih junaka pa biva seljak, svećenik i ratnik, a spaja i elemente muških i ženskih likova iz svoje sredine.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Članak tumači impresionističke elemente u pripovijetci „Mor“ Đure Sudete pozivajući se poglavito na postavke o impresionizmu Viktora Žmegača, teorije lirskoga Emila Staigera i percepcije zbilje ...Ernsta Macha. Autori proučavaju odnose ljudskoga tijela i prirode, probleme vremena i subjekta te iznose modernističke elemente nestabilnosti subjekta u obzoru glavnoga lika Mora, protagonistkinje Šu i njezina oca. Tekst također ukazuje na stilsku blizinu Sudetina Mora s drugim junacima iz modernističkoga razdoblja hrvatske književnosti, osobito Leskovarovih Marcela Bušinskoga i Đure Martića te Kozarčeva Đuke Begovića.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
As a manifestly hybrid genre, the novel can contain also elements of tragedy. In tragedies and tragic narratives, a suppliant regularly fulfils four characteristics: a) she is a female or a person in ...a subordinate social position; b) she is threatened by violence and often death; c) she cannot speak or communicate her problems; and d) she is neither a protagonist nor an antagonist. Anera from Mile Budak’s Ognjište (The Hearth) presents all of the mentioned characteristics, with only a partial deviation from the fourth one. She is given a great amount of space in the novel and in intelligence is very close to the hero Lukan. Anera also fulfils, to a good degree, the conditions placed before a hero by Lynette Porter (an expert in English, rhetoric and composition), lacking, however, elements of victory over evil, which is achieved by Lukan. From Anera’s position Budak’s novel could be described as a tragedy of revenge, only that her characteristics do not determine the novel’s genre-defining whole.
As a manifestly hybrid genre, the novel can contain also elements of tragedy. In tragedies and tragic narratives, a suppliant regularly fulfils four characteristics: a) she is a female or a person in ...a subordinate social position; b) she is threatened by violence and often death; c) she cannot speak or communicate her problems; and d) she is neither a protagonist nor an antagonist. Anera from Mile Budak’s Ognjište (The Hearth) presents all of the mentioned characteristics, with only a partial deviation from the fourth one. She is given a great amount of space in the novel and in intelligence is very close to the hero Lukan. Anera also fulfils, to a good degree, the conditions placed before a hero by Lynette Porter (an expert in English, rhetoric and composition), lacking, however, elements of victory over evil, which is achieved by Lukan. From Anera’s position Budak’s novel could be described as a tragedy of revenge, only that her characteristics do not determine the novel’s genre-defining whole.
TITO DORČIĆ AS A FORERUNNER OF THE IRONIC MODE Slavić, Dean
Senjski zbornik - prilozi za geografiju, etnologiju, gospodarstvo, povijest i kulturu,
2020, Letnik:
47, Številka:
1
Journal Article
Odprti dostop
According to Northrop Frye, 20th-century literature is marked by characters whose intelligence and capabilities are lesser than those of the average human. Typical such figures are the protagonists ...of Kafka’s and Beckett’s works, who lack even the most basic information regarding their own position – due to which the reader has the sense of looking down on scenes of bondage, frustration or absurdity. Vjenceslav Novak’s Tito Dorčić, from the eponymous novel, is a forerunner of this type of character. He is trapped by his own predisposition and social environment and becomes unhappy in the "better life" imposed on him by his father. He is utterly unsuccessful in his career as well as in his family life. 20th-century interpreters found the cause of Tito’s state, or the source for such a character, in Darwinist theories supposedly praised by the novel’s author; a more recent critic emphasises the psychoanalytic motifs. Both theories unconsciously bear witness to the reduced power of the action of the protagonist. The novel’s final scene, in which Tito Dorčić’s left leg is stuck in a crevice whilst the upper part of his body immersed in the sea is a metaphor of his entire life. The scapegoat mechanism, as proposed by René Girard, also explains the events in Tito Dorčić’s life: the social crisis is seemingly only slightly present, yet Tito is depicted as a person holding a position in the judicial administration which, because of his low intelligence, immorality and lack of cultural refinement, he does not deserve. He commits mistakes in his prosecutor’s work and is punished because an innocent person has been hanged. Tito had previously been marked by the collapse of his marriage. Eventually, he loses his job, falls into madness, which might also be an act of selfpunishment, and at the end, he dies. The text, or the narrator, kills him, in the last step in the long procedure of attacking the protagonist.
The work discusses a correlative relationship between the notions of the personal and the private in the context of biblical psalmist’s piety. Elements of anthropology (heart, soul, face) will obtain ...considerable importance, particularly the ideas of face and soul (פנה and נפש). These will be corresponding to the Greek idea of προσοπων (prosopon), person. The authors will insist on the distinction between the ideas of personal and private, but they will also recognize the interdependence of these ideas, in recognition that the individual and the societal, are both contributions in the building of the subject as the self. In Paul’s Hymn to Love (1 Cor. 13) the complementary nature between the personal and the private is evident. There we find both passive and active subject’s role claiming this double aspect of the human subject - personal and private. Discussion in this work follows long-term debates over the nature of the subject, its personality, and its privacy.
U ovom se radu promišlja korelacija pojmova osobno i privatno u kontekstu osobne i privatne pobožnosti biblijskog psalmista. Elementi antropologije (srce, duša, lice) ovdje zauzimaju prvorazredno mjesto, posebno uvidom u biblijsko korištenje pojmova lice i duša (פנה i נפש) (panah i nefeš), što uvelike korenspodira grčkom pojmu προσοπων (prosopon) – osoba, persona (engl. person). Autori ustrajavaju na distinkciji pojmova osobno i privatno, ali prepoznaju uzajamnost i međuovisnost para: osobno - privatno. Primjereno ovom radu, autori se referiraju i na tekst svetog Pavla u njegovoj Himni ljubavi (1 Kor 13), gdje se zorno ističu aspekti osobnog i privatnog u dvojakoj ulozi, kako pasivnog tako i aktivnog aspekta pojedinca (subjekta). Rasprava rada slijedi mnogogodišnje diskusije i propitkivanja vezane uz distinkciju osobnosti i privatnosti, ali dodaje i svoj obol glede osobe i osobnosti, subjekta i subjektivnosti, ovdje u kontekstu biblijskog psalmista.
The work discusses a correlative relationship between the notions of the personal and the private in the context of biblical psalmist’s piety. Elements of anthropology (heart, soul, face) will obtain ...considerable importance, particularly the ideas of face and soul ( פנה and נפש ). These will be corresponding to the Greek idea of προσοπων (prosopon), person. The authors will insist on the distinction between the ideas of personal and private, but they will also recognize the interdependence of these ideas, in recognition that the individual and the societal, are both contributions in the building of the subject as the self. In Paul’s Hymn to Love (1 Cor. 13) the complementary nature between the personal and the private is evident. There we find both passive and active subject’s role claiming this double aspect of the human subject - personal and private. Discussion in this work follows longterm debates over the nature of the subject, its personality, and its privacy.
Članak prikazuje kako u nastavi hrvatskoga jezika motivirati učenike služeći se dramskim izrazom. Dramski izraz prikazan je u tekstu korisnim u nastavi hrvatskoga jezika jer omogućava učenicima da se ...opuste i progovore o određenom problemu uživljavajući se u ulogu lika. Učenici razvijaju svoje govorne sposobnosti i vještine, razvijaju motoričke sposobnosti, odnosno uviđaju važnost govora tijela. Opisano je dvanaest dramskih metoda, od kojih je pola primijenjeno kao motivacija za konkretne nastavne jedinice u osnovnoj školi, a pola za motivaciju u srednjoj školi.<
The work discusses a correlative relationship between the notions of the personal and the private in the context of biblical psalmist’s piety. Elements of anthropology (heart, soul, face) will obtain ...considerable importance, particularly the ideas of face and soul (פנה and נפש .(These will be corresponding to the Greek idea of προσοπων (prosopon), person. The authors will insist on the distinction between the ideas of personal and private, but they will also recognize the interdependence of these ideas, in recognition that the individual and the societal, are both contributions in the building of the subject as the self. In Paul’s Hymn to Love (1 Cor. 13) the complementary nature between the personal and the private is evident. There we find both passive and active subject’s role claiming this double aspect of the human subject - personal and private. Discussion in this work follows long-term debates over the nature of the subject, its personality, and its privacy.
PDF
