Tuberkuloza je imala velik utjecaj na povijest čovječanstva pa tako i na umjetnost. Što bi umjetnički geniji iz svijeta književnosti, glazbe i slikarstva stvorili da nisu umrli vrlo mladi? U ...radu je prikazan utjecaj tuberkuloze na stvaranje umjetnika koji su bolovali od tuberkuloze. Tijekom romantizma pojavilo se mišljenje da tuberkuloza u oboljelih povećava kreativne sposobnosti. Među piscima koji su oboljeli od tuberkuloze bili su poznati njemački pisci: Wolfgang von Goethe, Friedrich Schiller i Georg Philipp Friedrich von Hardenberg. Tuberkulozan je bio i pisao o tubekulozi Lord Gordon Byron, a i Edgar Allan Poe je još kao dijete ostao bez roditelja oboljenih od tubekuloze, a i sam je umro od te bolesti. John Keats, engleski pjesnik, a i cijela njegova obitelj umrli su od tuberkuloze; od tuberkuloze je umro i ruski književnik Anton Pavlovič Čehov. Obitelj Brontë jedna je od najtragičnijih, ali isto tako i najtalentiranijih književnih obitelji. Svi su kao vrlo mladi umrli od tuberkuloze. Antun Branko Šimić, jedan od najvećih hrvatskih pjesnika, umro je od tuberkuloze u 27. godini života. Iako nije dugo živio, A. B. Šimić ostavio je iznimno bogati knjiženi opus. Mnogobrojna obitelj, otac i braća Ive Andrića književnika i dobitnika Nobelove nagrade za kniževnost umrli su od tuberkuloze, a i sam Ivo Andrić je dugo bolovao od te bolesti. U operama “La Traviata” Giuseppea Verdija i “La bohème” Giacoma Puccinija tematizirana je bolest toga vremena. tuberkuloza. Frederic Chopin, utjelovljenje je romantičarskog umjetnika, ne samo zbog pripadnosti stilskom razdoblju romantizma, već i zbog svog života ispunjenog događajima, osobnih i društvenih patnji. Umro je u 39. godini od tuberkuloze i uz velike je počasti pokopan na groblju Père Lachasie u Parizu, a njegovo je srce, potajno, prenijeto u Varšavu, gdje je uzidano u jedan stup crkve Svetoga Križa. Tuberkuloza je bila zastupljena i u likovnoj umjetnosti. Talijanski slikar Amadeo Modigliani, u početku svog umjetničkog rada želio je postati kipar, ali tjelesni napor prilikom klesanja, prašina i kašalj odvratili su ga od klesanja i vratili slikarstvu. Umro je od tuberkuloze u 36. godini života. Ferdinandu Hodleru, švicarskom slikaru, otac, majka, braća i sestre umrli su od tuberkuloze. Ovo teško iskustvo bolesti i smrti odrazilo se na njegovo slikarstvo. Edvard Munch, samouki norveški slikar bio je duboko pogođen smrću voljenih članova obitelji. Mračna raspoloženja tjeskobe i očaja ogledavaju se na njegovim platnima. Opisani su i mnogi hrvatski slikari oboljeli ili umrli od tuberkuloze: (Slava Raškaj umrla je u 29. godini života, Miroslav Kraljević u 28., Milan Steiner u 25., Tomislav Kolombar u 21. godina života). Usprkos njihovim kratkim životima, svaki je od njih ostvario izniman, cjelovit i znatan umjetnički opus.
Tuberculosis has had an immeasurable impact on the history of mankind, including art. What would an artistic genius have brought into the world of books, music or painting had they not died very young? The influence of tuberculosis on artistic activity and artists suffering from it are presented. During the period of Romanticism, there was the myth that tuberculosis increased creative abilities among the afflicted. Writers suffering from tuberculosis included the renowned German writers Wolfgang von Goethe, Friedrich Schiller and Georg Philipp Friedrich von Hardenberg. Lord Gordon Byron wrote about tuberculosis, while Edgar Allan Poe lost his parents to tuberculosis as a child, and later himself died of it. The English poet John Keats perished from the disease, together with his entire family, as did Russian writer Anton Pavlovich Chekhov. The Brontë family is one of the most tragic but also the most talented literary families, with all its members dying of tuberculosis at a very young age. Antun Branko Simic, one of Croatia’s greatest poets, died of tuberculosis at the age of 27. Despite his short life, he left an extraordinary literary legacy. Ivo Andric, writer and Nobel Prize laureate for literature suffered from the disease for a long time, while his father and brothers died of it. The operas La Traviata by Giuseppe Verdi and La Bohème by Giacomo Puccini were met with a great problem at the time, tuberculosis. Frederic Chopin is the incarnation of a Romantic artist, not only because he belongs to the stylistic period of Romanticism, but also because of his life marked with personal and social suffering. He died at the age of 39 from tuberculosis and was interred with great honours at the Père Lachaise cemetery in Paris, while his heart was secretly transferred to Warsaw, where it was built into a column in the Church of the Holy Cross. Tuberculosis is widely represented in the fine arts. An example is Italian painter Amadeo Modigliani, who initially wanted to become a sculptor. However, the physical effort involved in stonemasonry, dust and cough eventually distracted him from sculpting and brought him back to painting. He died of tuberculosis at the age of 36. Ferdinand Hodler, a Swiss painter, lost his parents and all of his siblings to tuberculosis. This great experience of illness and death in his youth was reflected in his painting. Edvard Munch, a self-taught Norwegian painter, was deeply affected by the death of loved family members, reflected by the dark moods of anxiety and despair in his paintings. Many Croatian painters also suffered from the disease, and some died, such as Slava Raškaj, who died at the age of 29, then Miroslav Kraljevic, at the age of 28, Milan Steiner at the age of 25, or Tomislav Kolombar, at the age of 20. Despite their short life spans, each of these artists achieved an exceptional, complete and significant opus.
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
Mnogobrojni pučki kalendari koji su tiskani u Virovitici između dvaju svjetskih ratova bili su s obzirom na svoju brojnost i raznovrsnost izrazito popularni u virovitičkom kotaru. U radu se analizira ...49 pučkih kalendara. O tim serijskim publikacijama koje obiluju pučkim književnim oblicima dosad nije bilo govora u radovima iz područja hrvatske književne periodike iako je pučko štivo aktivno sudjelovalo u dugotrajnom procesu izgradnje čitateljske populacije do koje su modernizacijski procesi, a time i sustavno obrazovanje, uvijek stizali s određenim zakašnjenjem. Budući da su virovitički kalendari izlazili u nakladi domaćih izdavača, cilj je rada ustanoviti koje su mentalitetne, kulturološke, političke i svjetonazorske posebnosti u njima prisutne. Komercijalni uspjeh virovitičkih godišnjaka može se s jedne strane tumačiti kao posljedica karakteristične poslijeratne „gladi za čitanjem“, a s druge strane kao odraz tradicijske kulture prevladavajućeg seoskog stanovništva koje je praktične savjete za život i informacije o događanjima u svijetu jednim dijelom odmjeravao prema onome što je objavljivano upravo u pučkim kalendarima. U proučavanju virovitičkih međuratnih godišnjaka autor ovog rada posebnu je pozornost posvetio poetici kalendarskoga zabavnog i poučnoga pučkog štiva, strukturi pojedinačnih publikacija te odnosu urednika prema tradiciji izdavanja pučkih kalendara.
Provider: - Institution: - Data provided by Europeana Collections- Avtor(ica) uporablja psevdonim(e): Adela; Fidelia; Ivanka; Mrakova; Por. Ivanka; Sanjar; Uredništvo- All metadata published by ...Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- 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- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Avtor(ica) uporablja psevdonim(e): ab; Branko; Zamejski- All metadata published by Europeana are available free of restriction under ...the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Avtor(ica) uporablja psevdonim(e): F.G-; F.G.-I; Fr. G-I- All metadata published by Europeana are available free of restriction ...under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- 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- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Avtor(ica) uporablja psevdonim(e): Dr. J. T- All metadata published by Europeana are available free of restriction under the ...Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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