The paper explores the occurrence, meaning, and function of the echo motif in Old Croatian Literature through five focal points. The first part presents the echo motif, which was often named ...differently by Croatian authors. It analyzes the story of Narcissus and Echo from Ovid’s Metamorphoses, juxtaposes it to the modes of the imaginary (echo, shadow, mirror) and the mirror structure, and defines the corpus of primary texts – eighteen works from the sixteenth, seventeenth, and eighteenth centuries. The second part explores the echo motif in the works of M. Vetranović Čavčić, N. Nalješković, S. Bobaljević Mišetić, F. Lukarević Burina, and M. Gazarović. The third part reveals the relationship between the seventeenth-cenutry Croatian authors and the echo motif, analyzing the works of I. Gundulić, Dž. Bunić Vučić, J. Palmotić, V. Skvadrović, P. Zrinski, P. Ritter Vitezović, F. Krsto Frankopan, and J. Habdelić. The fourth part examines the work of eighteenthcentury Croatian authors, A. Gleđević, J. Kavanjin, A. Kanižlić, M.P. Katančić, V. Došen, and the comedy Gospodarica od Elide The Mistress of d'Elide by an anonymous author. The paper argues that the echo motif occurs frequently in a more serious context, and less frequently in a comedic context, and that it is connected with romantic, reflexive, tragic, and quotidian topics. In addition, the echo motif offers an auditive expansion of space and, in terms of a mirror structure, functions as an imaginary double that contributes to a specific character’s awareness of self and the world around them.
Prodeštva patra Ivana Muliha, črnomeljskog Hrvata, isusovačkog redovnika i nakon ukinuća reda „slavne zagrebačke biškupije mašnika i zasad mišionara apoštolskog“, izdana su koncem 18. stoljeća u dva ...dijela. U navedenim propovijedima Ivan Mulih većinom izostavlja najtipičnije barokne figure poput raznovrsnih gomilanja, kako nekontrastnih, tako i kontrastnih (antitetičnih) i alegorije te se iz ove činjenice može zaključiti, da su barokni stilski postupci uistinu samo „oaze esteticizma“ u njegovu djelu odnosno da je barok u njemu doista samo „rubna pojava“. Isto tako, Mulihove pelde su atipični exempli, jer ne odgovaraju Quintilijanovoj odredbi: „res gestae aut ut gestae utilis ad persuadendum id quod intenderis commemoratio“, tj. sadrže vanjski izvor sadržaja (Biblija), utilitarnu funkciju (pouka, koncizno izražena u biblijskoj sentenciji) ali ne i literarnu formu (commemoratio, minimalna narativna forma ili Jollesov „jednostavni oblik“), te na taj način odudaraju od tipičnih baroknih exempla. Naime, upravo je književna kvaliteta barokne propovijedi odnosno njen barokni stil proizlazio velikim dijelom iz obilja i koloritne raskoši njenih exempla. Prodeštva patra Muliha, međutim, reduciraju ovo obilje i koloritnu raskoš na prepričavanje primjera iz Sv. pisma (češće) i zbirki primjera (rjeđe), koji s retoričkog stajališta odgovaraju onom applicatio (prispodoba), no s književnoumjetničkog aspekta nezanimljivi su. Zlatno doba kajkavske barokne propovjedne književnosti započeto u drugoj polovici 17. stoljeća djelima isusovca Jurja Habdelića („Zerczalo Marianzko“, 1662. i „Pervi otcza nassega Adama greh“, 1674.) svoju je kulminaciju doseglo u prvoj polovici 18. stoljeća „Hranom duhovnom“, opsežnim petosveščanim djelom kapucina Štefana Zagrepca (građanskim imenom Matija Marković) i Ivan se Mulih javlja tek kao blijedi odjek tih „zlatnih baroknih vremena“, prije svega zbog odsuća bogata baroknog ornatusa u njegovim propovijedima. Ono što ga na neki način eskulpira dvije su objektivne okolnosti: ukinuće isusovačkog reda (1773.), kao glavnog nositelja crkvenog baroka te neizvjestan osobni status tog bivšeg isusovca.
The prodeštva (sermons) by father Ivan Mulih were published at the end of the 18th century in two volumes. He was a Croat from Črnomelj, a Jesuit monk who continued to act as such even after the order was abolished in the Zagreb Diocese. Ivan Mulih for the most part avoids the most typical baroque forms, the various accumulation of non-contrast forms as well as contrast (antithetical) ones, the allegories. On basis of this fact it may be concluded how the baroque stylistic approaches were only „aestheticism oasis” in his work, i.e., only „marginal phenomenon“. Similarly, Mulih's descriptions are not typical examples because they do not conform with Quintiliani's stipulation: „res gestae aut ut gestae utilis ad persuadendum id quod intenderis commemoratio“, i.e., they contain the external content source (the Bible), the utilitarian function (teaching, concisely expressed in a biblical sentence), but not the literary form (commemoratio, minimal narrative form or Jolle's „simple form“), hence there is a stark contrast in respect to the typical baroque exempla. Namely, the literal quality of the baroque sermon, i.e. its baroque style was mostly the result of abundance and colourful profusion of its exempli. However, in father Mulih's prodeštva this abundance and colourful profusion is (more often) reduced to more retelling of examples from the Scriptures, and (less often) to a collection of examples that conform with the applicatio (parable) from the rhetorical point of view, but are not interesting if focusing on their literary and artistic aspect. The golden era of the Kajkavian baroque sermon literature was initiated in the second half of the 17th century with the works of the Jesuit Juraj Habdelić („Zerczalo Maianzko“, 1962, and „Pervi otcza nassega Adama greh“, 1674), reaching its culmination in the first half of the 18th century with „Hrana duhovna“, a comprehensive five-volume work by the Capuchin, Štefan Zagrebec (civil name Matija Marković). Ivan Mulih appears only as a faint echo of those „golden baroque times“, mostly due to the absence of the rich baroque ornatus in his sermons. There are two objective circumstances that exculpate him in a way: the abolishment of the Jesuit order (1773) as the main carrier of
Glasilo slovenskega ženstva je izhajalo mesečno kot priloga Edinosti. To je bil doprinos k izobraževanju žensk tistega časa. Vseboval je leposlovje, razmišljujoče eseje in intelektualne razprave
Glasilo slovenskega ženstva je izhajalo mesečno kot priloga Edinosti. To je bil doprinos k izobraževanju žensk tistega časa. Vseboval je leposlovje, razmišljujoče eseje in intelektualne razprave
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