Medijsko orientirana sistemska obravnava literature daje zadovoljiv odgovor na vprašanje, kako bi bilo mogoče v literarnem raziskovanju še rešiti razkorak med esencializmom in relativizmom in zajeti ...različne vidike literature. Da bi ujeli estetsko in družbeno-zgodovinsko dimenzijo literature, je treba najprej ustrezno definirati nosilce literarnih akcij in tekst. Ključen je še pojem medija, ki vključuje semiotične komunikacijske instrumente, tehnologije, socialne ustanove z vplivom ekonomskih, pravnih, političnih, ideoloških, kulturnih idr. redov. Na tej podlagi predlagamo konkretno vsebinsko analizo, ki naj pomaga opredeliti razmerje med tekstom in kontekstom.
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.
The author walks through the main media-technological and cultural levels in the development of communications-i.e., writing, print and audio-visual media.Janez Strehovec's (Institute of New Media ...and Electronic Literature, Ljubljana) contribution introduces us to the world of hypertext fiction, where texts open new and bold worlds with the simple click of a link, and which experiments with word and letter at the intersection of technological achievements and practices.With the help of an experiment and the examples of selected poems that fall into the "period of the book" or (still) Gutenberg galaxy, the authors try to authenticate one of the main media-historical theses, saying that when technological innovations transform the means of representation, distribution and reception, they also transform the means of perception, cognition, remembering and comprehension.Authors are biased towards the question of which is "better" - classical reading from paper or reading on screen, even though the results of the pilot research show that there are no statistically relevant differences between the two.
Zamisel za sodelovanje hrvaških in slovenskih literarnih zgodovinarjev se je porodila oktobra 2019 na Humboldtovem simpoziju na zagrebški Univerzi ob priložnosti 250. obletnice rojstva Alexandra von ...Humboldta (1769-1859) v organizaciji kluba hrvaških humboldtovcev, med katerimi sta tudi kroatist, prof. dr. Davor Dukić, in hrvaški slovenist in južnoslovanskí komparativist prof. dr. Zvonko Kovač. Zaobiti nismo želeli niti razsežnosti procesov literarnega branja, ki so definirani v različnih smereh (kognitivno, psihološko, historično, sociološko, medkulturno, medijskotehnološko itd.), in njihove vloge pri interpretaciji literarnih besedil. (Z ozirom na nabor razprav slovenskih literarnih zgodovinarjev, ki bodo izšle v okviru Umjetnosti riječi, pa naj na tem mestu samo namignemo, da so v slovenskem prostoru običajnejši empirični oz. kontekstualni pristopi k literaturi, kar pomeni, da razlike med slovensko in hrvaško literarno vedo niso zanemarljive.) V to nas vsaj prepričuje nabor razprav v tej številki, ki so jih prispevali trije avtorji in štiri avtorice. Prispevek vsebuje natančno izdelan protokol za analizo znotrajtekstualnega vrednotenja, ki poteka na treh ravneh (raven direktnega, indirektnega vrednotenja in vrednotenja, ki je v domeni implicitnega avtorja po W. Boothu), in ob številnih primerih prepričuje, da aksiološkega vidika pri interpretaciji literarnega teksta nikakor ni mogoče zanemariti.
