U radu je analiziran prozni opus Frana Galovića koji obiluje prizorima smrti i ostalim motivima povezanima s njom. Prikazi smrti predstavljeni su kronološki prema godini nastanka djela, ali i ...grupirani i objašnjeni prema stilskim odrednicama. Galović neprekidno mijenja i modificira svoj stav o smrti, a osobito u kasnijim radovima zanima ga i problem onoga što dolazi poslije smrti. Sve to rezultira vrtlogom samoubojstava, danse macabre-a, fascinacije smrću i rušenjem svih barijera te, po nekim istraživačima, njegovim ponajboljim djelima, ali i povezanošću s biografskim elementima. Prikaz smrti i sa smrću povezanih fenomena u manje istraživanom području Galovićeve proze nametnuo nam se stoga kao potreban način tumačenja ovoga pisca.
This paper analyses the prose of Fran Galović, which abounds in death scenes and motifs related to it. The depictions of death are arranged chronologically according to the year of origin, but also grouped and explained according to stylistic determinants. Galović constantly changes and modifies his attitude about death, and especially in later works he is interested in the problem of what comes after death. His thoughts result in a whirlwind of suicides, dance macabre, fascination with death and breaking down all barriers. According to some theorists, those represent his best works, and a connection with biographical elements. The portrayal of death and death-related phenomena in the less researched area of Galović's prose has therefore imposed as a necessary way of interpreting this writer.
C. S. Lewis javnosti je manje poznat po svom znanstvenom radu, a više po ciklusu Kronike iz Narnije. Za života je, između ostalog, napisao dva djela posvećena srednjem vijeku: Alegorija ljubavi i ...Odbačena slika. U ovom radu autorice će analizirati stav književnih kritičara spram spomenutih Lewisovih djela. Razvidno je da se Alegorija ljubavi istraživala i shvaćala kao znanstveno djelo o srednjemu vijeku o kojem je kritika uglavnom iskazivala negativne stavove te ono nije bilo poticajno istraživačima književnosti. S druge strane, Odbačena slika imala je uglavnom pozitivan prijem među ondašnjim kritičarima koji su u tom djelu pronašli brojne paralele s Lewisovim književnim tekstovima. U ovom radu pokazuje se da je književna kritika Lewisovim djelima o srednjovjekovlju pristupala ili kako bi ih kritizirala ili kako bi u njima tražila dodirne točke s njegovim književnim tekstovima.
Rad ispituje intertekstualne relacije između Bertoluccijeva filma Konformist i Platonove alegorije o spilji. Istaknut je značaj interpretacije za Platonovu alegoriju: ona je središnja i u tematici, i ...u obliku, i u načinu na koji se izlaže. Interpretacija svijeta neodvojiva je od interpretacije sebe. Koristeći elemente Platonove alegorije o spilji, Bertoluccijev film postaje interpretacija Platona. Istovremeno, u filmu se stvarnost interpretira Platonovim pojmovima i slikama. Preispituju se i pojmovi konformizma, spoznaje i oslobođenja.
This paper examines the intertextual relations between Bertolucci’s film The Conformist and Plato’s allegory of the cave. The importance of interpretation for the Plato’s allegory is emphasized: it is central in the thematic, in its form, and in the way it is communicated. The interpretation of the world is inseparable from self-interpretation. By using elements from Plato’s allegory of the cave, Bertolucci’s film becomes the interpretation of Plato. At the same time, the reality of the film is interpreted in Plato’s terms and images. The concepts of conformism, knowledge and liberation are explored.
U radu se analizira slika
Nevesta Pivljanina Baje
kao primjer nacionalno angažiranog stvaralaštva Đure Jakšića i verbalno-vizualnog prožimanja. Slika i njezina funkcija tumače se u kontekstu aktualne ...političke realnosti ‒ nacionalne borbe za oslobođenje od Otomanske vlasti, ukazujući na utjecaje i ikonografske predloške suvremenog europskog historijskog slikarstva, prije svega slikarstva Eugènea Delacroixa.
The paper analyzes painting
The Bride of Pivljanin Bajo
as an example of the nationally engaged work of Đura Jakšić and verbal-visual permeation. The painting and its function are interpreted in the context of the political reality at the time - the national struggle for liberation from Ottoman rule, pointing to the influences and iconographic templates of contemporary European historical painting, primarily the painting of Eugène Delacroix.
SMILING INSANITY IN OUTBOARD LOG BOOK BY SLOBODAN NOVAK
The paper argues that the starting point of Novak’s novel Outboard Log Book is a
“twisted” world based on a paradox, which influences the main ...elements and strategies of narration. Due to this “twisted” feature of the novel, which is determined
mostly politically and ideologically, the “disturbed perspective” prevails in the text.
Since the basic strategy in the novel is the pun, i.e. world play, whose symbolism
and meanings interconnect the plot, composition, narration, and the signifiers. The
character of Magistar, transformed into a fool and an outcast in this upside-down
world, can oppose the ideology and language as its main stronghold, only with
“silence ideology” (known from previous Novak’s novels We Should Think Further,
Southern Thoughts, and It Should Die Logically.), or he can try “to undermine it with
the language itself”. When the world cannot be interpreted by language, almost all
its functions are lost. What remains is the poetic function that becomes embedded
in irony. The paradigmatic syntagm a shell that makes a noise embodies the individuality and further justifies literariness. However, it becomes obvious that even
that “pledge” of art can be both disruptive and contradictory. The protagonist’s
return to the island signals a circular structure of the key narrative strand, as well
as his journey. Puns, playing with paradoxes, twists and replacements, as well as
“the aspiration for logical dying” “are reconciled” at the end of the third part of
the novel entitled Necropolis, which is visible in the “equalization of the opposing
worlds”, and in finding a solution to the problem of temporality.
This paper proposes a new approach to the concept of psychopoetics, i.e., the psychological aspect of poetic manifestation based on the relationship between the psyche and the world. This approach ...identifies an allegorical relation between the cosmos and the soul, which goes back to Freud’s idea that the soul treats impressions from the outside as differences from a symbolic relation between the universe and the psyche. This method was developed by Jung in order to look for correspondences between the inside of the human being and the context. Symbolical psychopoetics is exemplified with Vera Pavlova’s 2018 anthology of poetry and prose Proverochnoe slovo (Control Word). The anthology consists of poetry and short prose writing, which in different ways imagine the relation between the soul and the world.
U članku se namjeravaju istražiti osnovne odlike oblikovanja alegorijske ženske personifikacije u Barakovićevu spjevu Vila Slovinka (1614). To prije svega podrazumijeva nosivi i naslovni ženski lik ...koji izrasta iz duge alegorijske tradicije personificiranja apstraktnih sadržaja u ženskome obličju koja kanonski oblik zadobiva u Boetijevoj Utjesi filozofije, Alanovu Plaču prirode ili pak Danteovu kanonskome epskome spjevu, redom alegorijskim ostvarenjima koja će uspostaviti model alegorijske ženske personifikacije koja muškoga protagonista usmjerava i vodi na putu prema spoznaji. Tako zamišljena analiza razvijala bi se nadalje u dosluhu sa suvremenim teorijskim promišljanjima rodne dimenzije personifikacije, osobito onima što ih je ostavio jedan od najznačajnijih suvremenih teoretičara personifikacije James T. Paxson (1998), koncipiravši personifikaciju kao figuru za koju je karakteristična radikalna suspenzija svih fiksno određenih onotoloških kategorija pa tako i kategorija žensko/muško.
The intent of this paper is to examine the basic features that characterise the manners in which the personified female characters are formed in Baraković ‘s poem Vila Slovinka (1614). This primarily implies a leading and titular female character emerging from a long allegorical tradition of personifying abstract content in a feminine form which gains its canonical form in Boethius’s The Consolation of Philosophy, Alain’s The Plaint of Nature or Dante’s canonical epic poem, all of them allegorical works which will establish the model of allegorical female personification which directs and guides the male protagonist along the path to cognition. Thus conceived analysis would be further developed in concordance with contemporary theoretical reflections on the gendered dimension of personification, particularly those bequeathed to us by one of the most significant contemporary theoreticians of personification, James T. Paxson’s (1998), by conceiving it as a figure characterised by radical suspension of all fixedly defined ontological categories.
Literature is the medium in which memory can be constructed, thematised and transmitted. The subject of analysis in this paper is memory of communism in Macedonian novel Time of Goats by Luan Starova ...(1993). In the novel emphasis is on a subjective and confessional perspective which is framed by the vow of allegorism. It contemplates the historical context of Tito' s disengagement with Stalin and the attempt to create a new working class as the main driver of social and economic development in afterwar Yugoslavia.
U članku se prvo donose dosadašnji uvidi u
Marulićev
Dijalog o Herkulu
, pri čemu
se znatnija pozornost posvećuje radu Bratislava Lučina " Marulićev
Hercules Moralisatus (o alegoriji u Dijalogu o ...Herkulu)" (1993). Zatim se
prikazuje patrističko-medievalna tradicija tumačenja alegorije i tropologije.
Konačno, iznosi se zaključak da Marulić
Dijalogom
moguće ne ocrtava samo kršćansko odbacivanje humanističkih tendencija
ekstendiranja alegorije na mitologiju, nego i odbacivanje tropološkog tumačenja
"pjesničkih bajki i izmišljotina".
The paper opens with an introduction to the
previous research on Marulić’s
Dialogus de Hercule a Christicolis superato
,
where more attention is given to Bratislav Lučin’s work
Marulićev Hercules
Moralisatus (o alegoriji u Dijalogu o Herkulu)
. Then we focus on the
patristic-medieval tradition of interpreting allegory and tropology. Finally, we
conclude that in the
Dialogus
Marulić rejects not only the humanistic
tendencies of extensions of allegory to mythology, but also the humanistic
tropological interpretation of mythology.
This paper explores the extratextual meaning of The Little Prince based on the evocations of biblical associations, namely the associations with Jesus Christ. Biblical motifs and the biblical context ...are evoked primarily by the title “prince”, since Jesus is called “The Prince of princes” in the Bible, and further congruence and symbolism continues in his physical appearance and in the overall story which is filled with biblical associations and biblical symbols as signals for interpreting the text. Attention is also given to the drawings of the Little Prince where many graphic symbols can be discovered, again connected to the person of Jesus Christ. The text of The Little Prince, therefore, surely cannot be read literally and unambiguously. The analysis is based on indirect meanings and seeks confirmation in the links between the direct, explicit text and the biblical, implicit context.
PDF
