Drama K svitanju (1927.) jedan je od prvih objavljenih tekstova dugo zanemarivane hrvatske spisateljice Side Košutić (1902. - 1965.). Uglavnom se klasificirala kao simbolička drama ili dijaloški ...poetski tekst, no sustavne analize zapravo nikada nisu bile provedene budući da se kritika uglavnom bavila njezinim romanima i lirskim pjesmama, kao dominantnima u njezinu opusu. U drami je nagoviještena tema sukoba oca i kćeri (s elementima upisivanja traumatičnog tjelesnog iskustva protagonistkinje), koji će književnica kroz čitavo svoje daljnje stvaranje u različitim žanrovima reinterpretirati i povezivati s mistikom trpljenja i žrtve u novozavjetnom ključu, što će činiti jezgru ontološkoga konstrukta u njezinim tekstovima. Zbog izrazite simbolizacije i alegorizacije dramskog diskursa te uključivanja fantastičnoga modusa, tekst je ondašnjoj publici ostao ponešto hermetičan, no pomnije čitanje otkriva poveznice s europskim klasicima (Tagore, Sofoklo, Shakespeare). Ipak, središnji dio ovoga istraživanja bit će usmjeren na dominantne elemente (tematsko-motivske, u simboličkom imaginariju i u strukturi teksta) koji ukazuju na biblijsku Pjesmu nad pjesmama kao mogući prototekst. Ispitat će se povezanost glavnih temata u drami s tematima unutar prototeksta te će ih se protumačiti u skladu s ontološkim konstruktom mistične borbe svjetla i tame, dobra i zla u pojedinačnim ljudskim sudbinama i svijetu, koji je Sida Košutić ovim ranim književnim tekstom tek započela graditi.
Cilj je istraživanja dokazati elemente koji ukazuju na dramu Side Košutić kao citatni, imanentno dijaloški tekst u odnosu prema prototekstu, čime se omogućuje njegova integracija u opće razvojne tendencije hrvatske dramske književnosti prvih desetljeća 20. stoljeća i pokazuje da i dramski dio opusa Side Košutić, premda malen, može naći svoje relevantno mjesto u nacionalnom kanonu.
Rad istražuje međudjelovanje dvaju ideologema (katoličkog i predfeminističkog) u tekstovima Side Košutić kroz aspekt konstruiranja ženskih likova u romanesknoj trilogiji S naših njiva (1944.), koju ...čine romani: Plodovi zemlje (1936.), Magle (1937.) i Bijele tišine (1940.). Predfeminizam i pokret hrvatske katoličke književnosti razvijaju se u otprilike istom vremenu (prva desetljeća 20. st.), a pri kontekstualizaciji predmeta istraživanja ne treba zanemariti ni istodobno supostojanje katoličkoga ženskog pokreta u Hrvatskoj. Stoga nije neobično što Sida Košutić osim kršćanskoga, katoličkog angažmana u tekstove ravnopravno upisuje i temate tzv. ženskog pisma. Istraživanje pokazuje da katolički angažman književnice nikako ne umanjuje niti relativizira angažman oko pitanja ravnopravnosti žene, a niti uskraćuje pristup problematizaciji položaja žene u hrvatskom društvu prvih desetljeća 20. stoljeća, pri čemu književnica ne upada u zamku dvostruke tendencioznosti koja bi narušila estetsku razinu teksta. Uključivanjem evanđeoskog prototeksta Sida Košutić resemantizira dva najustaljenija tipska ženska karaktera u hrvatskoj književnosti (tip fatalne i tip krhke žene, femme fatale i femme fragile) promovirajući ideju o identitetu žene koji je, prema kršćanskoj duhovnosti, utemeljen u njezinoj stvorenosti na sliku Božju i time istovrijedan muškarčevu. Otkrivamo time novu razinu recepcije tekstova Side Košutić koja očigledno mora uključivati dublje razumijevanje odnosa obaju ideologema (u njezinim tekstovima oni nisu antagonizirani), a time i šireg konteksta njezina stvaranja koje je ravnopravno gradilo hrvatsku književnost 20. stoljeća, a iz ideoloških razloga nikada nije bilo sustavno i različitim metodološkim i teoretskim pristupima do kraja istraženo.
Rad će opusu zanemarene hrvatske suvremene pjesnikinje Nade Grubišić pristupiti iz emocionološke perspektive interpretacijom metafora u kojima se emocionalno stanje patnje, najčešći koncept i temat u ...zbirci Djevojčica iz porječja (2000), reprezentira metaforikom tijela. Razmatrat će se kroz konceptualnu poetsku metaforu PATNJA JE OŠTRINA što prekoračuje temeljnu konvencionalnu metaforu PATNJA JE FIZIČKA BOL, a ona je dio konceptualnih metafora EMOCIJA JE SILA i ATRIBUTI SU ENTITETI. Doprinos istraživanja ostvaruje se u spoznajama vezanima uz jezik emocija i uz načine na koje se u jednom suvremenom pjesničkom iskazu metaforički dekonstruira opreka tijelo-duša. Time se produbljuju iskustvo i iskaz složene emocije odnosno emocionalnoga raspoloženja kakvo je patnja ili očajanje. Da bi se upoznalo predmetnu problematiku patnje i tjelesnosti iz šire humanističke perspektive, predstavljaju se
spoznaje filozofa i filozofkinja 20. i 21. stoljeća koji su ih konceptualizirali suprotno kartezijanskom dualizmu (Kierkegaard, Kristeva, Grosz). Pjesništvo se Nade Grubišić kontekstualizira u okviru suvremenoga egzistencijalističkoga pjesništva i tradicije hermetizma. Osim što će se radom proširiti poznavanje primarnih poetičkih obilježja opusa Nade Grubišić, cilj je ovoga istraživanja pokazati kako suvremeni pjesnički iskaz unaprjeđuje jezik emocija i produbljuje spoznaju emocionalnoga iskustva čitatelja.
This paper deals with the way in which the infertility of a married couple was conceptualized in the Croatian traditional culture, which generally related exclusively to the woman's inability to give ...birth. The first part deals with anthropological and ethnological research dealing with various aspects of (in)fertility in the family life of the South Slavs. Due to the immense importance of offspring in the life of the entire social community, the phenomenon of infertility is related to folk beliefs and related magic rituals, whose aim was to prevent infertility or make a couple infertile. The second part of the article presents a comparative analysis of three Croatian literary texts. The first two deal with the status of an infertile woman in the rural community of the 19th and the first half of the 20th century, and the third discusses her status in the contemporary Croatian society, where rural and urban influences interweave. The first text was written at the end of the 19th century (Ivan Majstrovic, Neplodnica (The infertile woman), 1891), the second one was written in the first half of the 20th century (Mila Miholjevic, Zalog (Pledge), 1940), and the third one at the beginning of the 21st century (Julijana Matanovic, Pozurite, ze-ne mo-je (Hurry up, my-wo-men), 2009). Neplodnica deals with the way in which the literary text transposes the ethnographically established fact that infertility causes additional, mythical meanings which the traditional community uses to stigmatize the individual accusing her of magical practices, ending tragically for the protagonists. Zalog uses the motif of infertility to represent the complex system of psychological relations between women in a patriarchal community, additionally isolated by its geographical position, where infertility becomes a cause of intrapersonal and interpersonal conflict. The third story, Pozurite, ze-ne mo-je, deals with the position of the modern woman within the technologized system of in vitro fertilization and problematizes the still existing social prejudice about women's mythical guilt over their lack of motherhood. This paper is a literary-anthropological, qualitative study, whose aim is to establish how the traditional view of infertility and its implications - which are evident even in contemporary social communities - are represented in the Croatian literature of the late 19th and early 21st century, and how the authors of the selected texts remove themselves from the conventional social stereotypes through a subversive stance towards them and the critical perspective adopted for the benefit of their reader community. //ABSTRACT IN CROATIAN: U prvom dijelu rada prikazuju se antropoloska i etnoloska istrazivanja o (ne)plodnosti obiteljskog zivota medu Juznim Slavenima. U drugom se komparativno analiziraju tri teksta hrvatske knjizevnosti koja tematiziraju polozaj neplodne zene: prva dva u ruralnoj zajednici 19. i prve polovice 20. stoljeca, a treci u suvremenom hrvatskom drustvu u kojemu se mijesaju ruralni i urbani utjecaji (Majstrovic 1891; Miholjevic 1940; Matanovic 2009). Cilj je otkriti kako se tradicijsko shvacanje neplodnosti i implikacije u suvremenim drustvenim zajednicama reprezentiraju u hrvatskoj knjizevnosti te koliko se autori odmicu od socijalnih stereotipa subverzivnim odnosom prema njima i kritickim angazmanom usmjerenim prema zajednici svojih citatelja.
Verka Škurla-Ilijić (1891 – 1971) was a Croatian writer from the period of Modernism. From the vantage point of biography and culture, her life was marked by two geographic locations – the Dalmatian ...islands (she was born in Dol on the island of Hvar and, until 1899, lived on the Pelješac peninsula) and Bosnia (from 1899 until the First World War she lived in Bosnia, and was educated in Mostar and Sarajevo which was also where her first short story Han was published and included in the volume of Bosnian writing Sa strana zamagljenih in 1928). Her female characters are constructed within the determinants of identity which is, in turn, determined by a certain cultural fabric. Elements of the theme of gender are closely connected to this as is evident in her work. Since the theme of motherhood is the element most strongly marked by the influence of the patterns of society and culture, the works of Verka Škurla-Ilijić, which present this image of motherhood within a patriarchal society (regardless of whether it is the Eastern Orthodox, Islamic or Catholic context), will be at the centre of this investigation. It is interesting to note that in her works the geographical location is never stated outright, but can be read out of certain inter-cultural determinants (context, language and style) which come to the fore in the narrative and uncover how Verka Škurla-Ilijić shapes her aesthetic world. At times the reader is given no clues which would enable him/her to determine with certainty whether the action is taking place in Bosnia, the Dalmatian hinterland or somewhere in the area along the border between Dalmatia and Bosnia where the influence of all three aforementioned cultural contexts can be felt. This investigation will show that the theme of gender does not only serve the purpose of characterization, but is also the foundation of her entire narrative which is mimetically related to Dalmatia and Bosnia in the first half of the 20th Century. What is produced here is an inter-cultural context within which the identity of her protagonists is created: investigating this will inform a new basis for reading the works of this Croatian female writer who has been unfairly consigned to oblivion.
The paper investigates how elements of magical realism are enacted through a Slavic mythical intertext in Dubravka Ugrešić’s novel Baba Jaga je snijela jaje (Baba Jaga Laid an Egg) (2008). It is a ...unique text in Croatian novelistic prose of the 2000s due to its inventive inclusion of mythlogical, ethnographical, ur-Slavonic and pre-Christian layers in a hybrid genre novelistic form, constructed through the author’s well known “patchwork” poetics. The characteristics of magical realism are here recognised as a narrative mode, which can be entirely incorporated into the genre hybrid, intertextual and interdiscursive multi-layered nature of the novel. These are: the irreducible elements of magic (the characters’ inexplicable powers and features, their influence on special and temporal relations as well as on the relationships of other characters, without any sense of bewilderment or disbelief); a detailed description of the world of phenomena (a mimetically represented reality of the life of elderly woman as well as the urban spaces of (South) Eastern Europe); the concordance of contradicting understandings of occurrences; the unification of different domains in the perception of reality (a lack of surety in the information received by the bodily senses) as well as a breach in the commonly received ideas on space, time and identity. In the entire novel an inherent sense of the marvellous is present underneath its mimetic framework, through which the transitional reality of post-communist countries (as a contrast between impoverished and decaying urban quarters with the decadent luxury in the highly stylised spaces of hotels and spas). The figurative nature of the characters of the elderly woman, founded on a mythic intertextuality, in this work it is interpreted as a figure of the voice of a suspended subject between two discursive systems: the transitional; the dominant and colonising, in which an elderly woman is a degraded object on the margins of society and a culturally submerged, mythic system in which an elderly woman is frighteningly powerful. According to S. Slemon and L. Hutcheon, the aim of magical realism is the creation of a liberating poetic for the suspended subject in the various contexts of marginalisation. However, it must be noted that due to the aforementioned mythological intertext on the witch Baba Yaga, upon which magical realism as a mode of narrative relies here, Baba Yaga Laid an Egg represents an innovative text within the corpus of Croatian novelistic prose on the theme of transition, so that due to the presence of its characteristic imaginarium we can place within this narrative model (despite some differences) which are represented in it.
In its narratological sense, metalepsis is a paradoxical contamination between the world of the telling and the world of the told (Genette). Metalepsis has also been characterized as that which ...undermines the separation between narration and story. This paper analyzes the way in which metalepsis creates an auto-ironic effect in some of the comic tales of Bratoljub Klaic that are to be found in his work 'Pripovijetke' (2009). The main issue of this research is to show the stylistic and narrative characteristics of Klaic's literary output by taking some of the aspects of postmodernism into consideration; these include metalepsis, the undermining of the separation between fact and fiction, the literary and non-literary, metanarrative and auto-referentiality and an ironic approach toward canonical literature. Adapted from the source document
By using the concept of the Self as the human personality in its totality, as defined by Carl Gustav Jung and furthered by P. Ricoeur (the theory of narrative identity, the Self defined as an ...identity constructed by narrative configuration, the dialectics of the discovery of the other in one’s own Self and one’s own Self in the Other), this work will focus in the analysis of metaphors which express the Self of the auto-diegetic narrator as can be found in the autobiographical discourse of Vesna Parun. The corpus of this research is to be found in selected texts from her volume Noć za pakost. Moj život u 40 vreća (2001). From the first chapter of this volume which consists of the following works of autobiography and essays: Poljubac života (1993), Do zalaska sunca hodajući za kamilicom (1958), Pod muškim kišobranom (1986) the reader comes to realise that, for this author, the writing of autobiography is itself a problem of self-expression and that she had constantly deferred it, while, on the other hand, feeling a great compulsion from within to do so. This sense of paradox finds its reflection in some of the constitutive elements which can be found in her autobiographical discourse. In the relationship between literature and reality, which is something which the genre of autobiography questions in its own way, the author noticeably distances herself from the mere documentary transmission of factual information from her life. A reflection of this can be seen in the negation of a strict chronology of events and confessions, as she makes recourse to a technique which uses collage and appears fragmentary; furthermore, here prose here has a lyrical quality, negating "metaphor as a literary device" and transforming it into "literature as metaphor". The autobiographical prose of Vesna Parun is especially dense with metaphor, and it can be concluded that it expresses her Self. Attention is directed here to three metaphors in particular – the umbrella, which can be both "masculine" and "feminine", a map of the world, on the wall of every house in Vesna’s community, as well the sack, which is followed by the symbolic number 40, as many in which she could fill her life in. Besides the metaphors mentioned here, what will be proposed here is that in the autobiographical discourse of Vesna Parun literature itself is presented as metaphor of her Self, appearing to the reader as significantly (auto)meta-textual.
Služeći se konceptom sebstva kao cjelokupnosti ljudske osobnosti, kako je to definirao Carl Gustav Jung i produbio P. Ricoeur (teorija narativnog identiteta, sebstvo definirano kao identitet konstruiran narativnom konfiguracijom, dijalektika otkrivanja drugoga u vlastitom sebstvu i vlastitoga sebstva u drugome), u radu će se analizom metafora koje izriču sebstvo autodijegetskog pripovjedača istražiti model stvaranja autobiografskog diskursa Vesne Parun. Osnovu obrađenog korpusa činit će tekstovi iz zbirke Noć za pakost. Moj život u 40 vreća (2001.). Iz prvog poglavlja zbirke što ga čine ranije objavljeni autoričini autobiografsko-esejistički tekstovi: Poljubac života (1993.), Do zalaska sunca hodajući za kamilicom (1958.), Pod muškim kišobranom (1986.) čitatelj doznaje da je pisanje autobiografije za autoricu bilo problem samoizricanja pa je taj čin neprestano odgađala, dok je, s druge strane, osjećala snažan unutrašnji poriv da to ipak učini. Ta paradoksalnost autoričine motivacije ogleda se i u nekima od konstitutivnih elemenata koje pratimo u njezinu autobiografskom diskursu. U odnosu književnosti i zbilje, koju sam žanr autobiografije propituje na poseban način, autorica naglašeno stvara odmak od pukog dokumentarnog prenošenja zbiljskih činjenica iz svoga života. To se odražava u negiranju kronološkog niza ispripovijedanih događaja u korist kolažne i fragmentarne organizacije teksta, zatim u naglašenom lirizmu koji mjestimice negira odnos "metafora kao sredstvo književnosti" i pretvara ga u odnos »književnost kao metafora«. Autobiografski diskurs Vesne Parun gusto je prepleten metaforikom za mnoge od kojih se može zaključiti da izražavaju njezino sebstvo. Trima metaforama se u ovom radu daje posebna pozornost – kišobranu, koji može biti "muški" i "ženski", zemljovidu, koji na zidu ima svaka kuća u Vesninu zavičaju, te vreći, koju prati simboličan broj 40, u koliko ih je stao čitav njezin život. Osim spomenutih metafora, u radu će se ispitati teza da se u autobiografskom diskursu Vesne Parun sama književnost predstavlja kao ključna metafora njezina sebstva, čime se isti taj diskurs čitatelju otkriva kao izrazito (auto)metatekstualan.
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