Ovo su naslovi tih pet studija: "Polazište i predmet književne istorije" (str. 5-12), "Razvoj knj... more Ovo su naslovi tih pet studija: "Polazište i predmet književne istorije" (str. 5-12), "Razvoj književne strukture" (str. 13-30), "Geneza književnih dela i njihov odnos prema istorijskoj stvarnosti" (str. 31-54), "Istorija odjeka književnih dela" (str. 55-75) i "Književnoistorijske celine" (str. 76-100). historiography, namely its two synthetic genres, which Perkins designates as "narrative literary history" and "postmodern encyclopedia". Nevertheless, the American theorist demonstrates a certain closeness to structuralist approaches or a kind of conservatism by critical preference for narrative literary histories and immanent approaches (explanations of literary changes) over postmodern encyclopedias and contextualist approaches to literary text. The methodology of literary history of F. Vodička is still relevant today. If the future of literary historiography is a systematically coherent encyclopedia, reflecting both the literary past and the literary-historical (disciplinary) present, then Vodička's immanent approach may be an important part of it, just as modern poststructuralist/thematic interests should be included in that system.
U radu se analizira pojam prosvjetiteljstva u najistaknutijim historiografskim sintezama hrvatske... more U radu se analizira pojam prosvjetiteljstva u najistaknutijim historiografskim sintezama hrvatske književnosti (Vodnik 1913, Ježic 1944, Matic 1945, Kombol 1945, Georgijevic 1969, Bogisic 1974, Franges 1987, Novak 1999, Jelcic 2004, Sicel 2004), i to s obzirom na njegov sadržaj i funkciju (prosvjeta, sekularizacija, svjetovna i religiozna tematika), odnos prema subordiniranim pojmovima (jozefinizam, racionalizam, iluminizam) i periodizacijskoj nomenklaturi iste razine, ali drugog povijesnog znacenja (barok, katolicka obnova, klasicizam, predromantizam). Analiza je upotpunjena i uvidima u druge važnije studije o hrvatskoj književnosti 18. stoljeca te kracim zakljucnim komparativnim digresijama o književnohistoriografskoj obradi srpske književnosti istog razdoblja.
Im Begriff „ das Ungarnbild in der kroatischen fruhneuzeitlichen Literatur“ kann man zwei wesentl... more Im Begriff „ das Ungarnbild in der kroatischen fruhneuzeitlichen Literatur“ kann man zwei wesentlich verschiedene imagologische Aspekte, bzw. Objekte unterscheiden: 1) das Bild der Ungarn, d.h. das Bild des ungarischen Volkes ; 2) das Bild von Ungarn, d.h. das Bild des ungarischen Staates, in diesem Fall das Bild des Ungarisch-Kroatischen Konigreichs. Fur den ersten imagologischen Aspekt findet man relativ wenig Material, in dem das Stereotyp uber die „ Wolfsnatur“ der Ungarn (Tapferkeit, Kampflust, Grausamkeit) bestatigt wird. In der Zeit der grosen osmanischen Eroberungen im 15. und 16. Jahrhundert, als das Ungarische Konigreich in der humanistischen Literatur als „ Vormauer des Christentums“ dargestellt wurde, wurden in derselben Literatur auch die Ungarn mit dem Attribut das „ frommste“ und „ ruhmreiche kriegerische“ Volk versehen. Der zweite Aspekt, fur den eine durchaus positive Einstellung zum ungarischen Konigreich charakteristisch ist, ist in der kroatischen Literatur viel ...
Potkraj prošle godine Umjetnost riječi dobila je novo uredništvo, koje se, dakako, neko vrijeme m... more Potkraj prošle godine Umjetnost riječi dobila je novo uredništvo, koje se, dakako, neko vrijeme moralo »uhodavati«, pa odatle i isprike za pomalo zakašnjeli izlazak prvoga ovogodišnjeg dvobroja. Osim toga uredništvo se odlučilo i za niz promjena u uređivanju časopisa, djelomice vidljivih već u ovom broju. Novo uredništvo nastojat će razvijati interdisciplinarnost Umjetnosti riječi s ishodištem u znanosti o književnosti te međunarodno proširiti dosadašnju nacionalnu i regionalnu prepoznatljivost i otvorenost časopisa. Časopis je dobio novi podnaslov: znanosti o književnosti pridodani su izvedbena umjetnost i film. I premda su se teatrološki i filmološki prilozi sporadično i dosad objavljivali, to je vjerojatno najveća »programska« promjena. Ima li se na umu povezanost tih triju humanističkih disciplina na studijima i u istraživanjima, ne samo na Odsjeku za komparativnu književnost nego i na nizu drugih neofiloloških studija Filozofskoga fakulteta Sveučilišta u Zagrebu, kao i na drugim srodnim institucijama širom svijeta, tematsko se širenje časopisa doima logičnim i očekivanim. Spomenute su discipline već u ovom broju zastupljene jednim dužim prilogom. Osim izvornih znanstvenih i preglednih radova Umjetnost riječi objavljivat će i prikaze relevantnih stranih i domaćih književnoznanstvenih, teatroloških i filmoloških publikacija. Tu je praksu već najavio posljednji broj prethodnoga uredništva, no od sada bi to trebala biti redovita i, nadamo se, sadržajna rubrika. U njoj će se, osim sažete stručne informacije, naći mjesta i za otvorenu kritičku raspravu. Od sljedeće godine u svakom drugom broju časopisa objavljivat će se isključivo prilozi na engleskom ili francuskom jeziku. U ostalim brojevima, koji će se vjerojatno kolokvijalno nazivati »hrvatskima«, objavljivat će se i prilozi na bosanskom, crnogorskom i srpskom standardnom jeziku, pa tako već u ovom broju objavljujemo jedan rad na srpskom jeziku. Novim dizajnom ovitka nastojali smo vizualno dočarati profil časopisa, ne udaljavajući se previše od njegova tradicionalnog izgleda. Format, unutrašnje grafičko uređenje i kompozicija priloga ostali su isti, osim što se brought to you by CORE View metadata, citation and similar papers at core.ac.uk
Institut za etnologiju i folkloristiku, Dec 15, 1999
Uz Spliþanina Julija Bajamontija i Sinjanina Ivana Lovriþa, DubrovĀanin Žuro Feriþ ulazi u krug h... more Uz Spliþanina Julija Bajamontija i Sinjanina Ivana Lovriþa, DubrovĀanin Žuro Feriþ ulazi u krug hrvatskih književnika koji su znaĀaj-no pridonijeli opþem europskom predroman-tiĀarskom interesu za južnoslavensko usme-no pjesništvo i narodni život u posljednjoj Āetvrtini 18. i na poĀetku 19. st. (morlakizam). Nakon zbirke latinskih basni popraþe
Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katar... more Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katarine Zrinski (o. 1625 ‡1673) te da se u njoj nalaze pjesme koje je ona napisala. Pjesmarica je nedavno napokon objavljena (Pjesmarica Ane Katarine Zrinske, prir. J. BratuliÊ, Zagreb: Matica hrvatska, 2014), Ëime je omoguÊeno njezino svestrano istraaeivanje koje je i prije objavljivanja zapoËeo Ivan Zvonar (2006). Naπa se analiza nastavlja na njegova istraaeivanja. U radu se donosi kratak opis sadraeaja i kompozicije Pjesmarice, zatim se utvruje kojim bi pjesmama autorica mogla biti Ana Katarina Zrinski, i to na temelju sadraeajne analize, tj. pronalaaeenja motiva koji korespondiraju sa sudbinom pretpostavljene autorice, te se naposljetku istiËu metriËke, stilske i motivske sliËnosti pretpostavljenih Katarininih pjesama s pjesniËkim opusima njezina supruga Petra Zrinskog i brata Frana Krste Frankopana. Dolazi se do zakljuËka da se Katarini moaee pripisati 31 brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Repozitorij Filozofskog fakulteta u Zagrebu' at University of...
Croatica : časopis za hrvatski jezik, književnost i kulturu, 2017
Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katar... more Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katarine Zrinski (o. 1625 ‡1673) te da se u njoj nalaze pjesme koje je ona napisala. Pjesmarica je nedavno napokon objavljena (Pjesmarica Ane Katarine Zrinske, prir. J. BratuliÊ, Zagreb: Matica hrvatska, 2014), Ëime je omoguÊeno njezino svestrano istraaeivanje koje je i prije objavljivanja zapoËeo Ivan . Naπa se analiza nastavlja na njegova istraaeivanja. U radu se donosi kratak opis sadraeaja i kompozicije Pjesmarice, zatim se utvruje kojim bi pjesmama autorica mogla biti Ana Katarina Zrinski, i to na temelju sadraeajne analize, tj. pronalaaeenja motiva koji korespondiraju sa sudbinom pretpostavljene autorice, te se naposljetku istiËu metriËke, stilske i motivske sliËnosti pretpostavljenih Katarininih pjesama s pjesniËkim opusima njezina supruga Petra Zrinskog i brata Frana Krste Frankopana. Dolazi se do zakljuËka da se Katarini moaee pripisati 31 Filozofski fakultet SveuËiliπta u Zagrebu
Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bi... more Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bis zur Mitte des 19. Jahrhunderts auf alle Bewohner des Osmanischen Reiches, aber vor allem auf die Osmanen im engeren Sinne und auf die muslimische Bevölkerung Bosniens. Das Türkenbild ist der präsenteste Teil des Feindbildspektrums in der kroatischen vormodernen Kultur, zugleich aber auch eine sehr komplexe und dynamische Konstruktion verschiedener, manchmal auch widersprüchlicher Vorstellungen. In diesem Text wird versucht, diese Komplexität und Dynamik, die Europäizität und die regionale Spezifik des kroatischen Türkenbildes darzustellen. Im ersten Teil wird das Türkenbild der frühneuzeitlichen kroatischen literarischen Kultur besprochen. Es handelt sich dabei um die Zusammenfassung wichtiger Einsichten aus meinem Buch Sultanova djeca: Predodžbe Turaka u hrvatskoj književnosti ranog novovjekovlja (Zadar 2004). Im zweiten Teil werden die Vorstellungen von den Türken in der Zeit der Illyrischen Bewegung (1835–1843) problematisiert, und zwar in Form einer Fallstudie der illyrischen Publizistik und einer kurzen Darstellung des Türkenbildes in den wichtigsten Werken der kroatischen Literatur aus der Periode des Illyrismus. Da die Untersuchung des Materials aus dem 19. Jh. noch immer nicht abgeschlossen ist, hat der zweite Teil dieses Textes eher einen hypothetischen als zusammenfassenden Charakter.
... Die Abhandlung Zoran Kravars problematisiert gerade diese kulturhistorische Erschei-nung, die... more ... Die Abhandlung Zoran Kravars problematisiert gerade diese kulturhistorische Erschei-nung, die aus den spezifisch kroatischen historischen Umständen ... Dabei kommen sie nicht nur aus Nordkroatien (Slawonien), wie zB Ivan Vitez (14051472), Janus Pannonius (14341472 ...
Commencing from the cultural dichotomy between rural hinterland (Morlach) and urban coastal (Roma... more Commencing from the cultural dichotomy between rural hinterland (Morlach) and urban coastal (Romano-Slavic) Dalmatia, the author studies the similarities and diversities in the accounts of the then-contemporary Venetian-Turkish wars in the works of Dalmatian writers of the 17th and 18th centuries. The analysed corpus of texts is made up of: chronicles of the Makarska Franciscans (P. Šilobadović, N. Gojak, P. Antulović); F. Divnić's historical account of the Candian War in Dalmatia; and works by J. Kavanjin, F. Grabovac and A. Kačić Miošić. The analysis focuses on: the mechanisms used in explanation and contextualisation of the wars in Dalmatia; evaluations of border area war strategy (pillaging and enslavement); the conception of the enemy and inter-Christian divisions (confessional, social, and the like). Finally, the accounts of war in the texts in question (narrative sources) are compared with published archive sources.
The topic of this paper concerns the representations of the Zrinski-Frankopan (Zriny Frangipani) ... more The topic of this paper concerns the representations of the Zrinski-Frankopan (Zriny Frangipani) Conspiracy in five Croatian dramas, written and/or performed between 1900 and 2010, in the four different political constellations: in the late Habsburg Monarchy, in the early monarchist Yugoslavia, i. e. in the Kingdom of Serbs, Croats and Slovenes, in the Socialist Yugoslavia and finally in the modern independent Croatian state. The Zrinski-Frankopan Conspiracy is a sacrificial narrative par excellence in the Croatian culture as literary sources often directly refer the Conspiracy's actors as martyrs. Therefore this constitutes an interesting subject for this thematic section. The basic methodological problem in this analysis is how to interpret a single literary text as a concretization of a historical myth which in itself represents a non-existent, intuitive, fluid construct. A critical reconstruction of a historical myth and/or a meta-narrative is an unrewarding, if not futile task, so it is therefore more fruitful to focus on its potential ruptures which undermine its semantic coherence. These ruptures can represent traumatic or at least uneasy loci in the historical meta-narratives, which makes them prone to interpretation. The selected text analyzed here can be contextualized in three different frameworks of the national narration: firstly, in the historical myth about the Conspiracy, i. e. in a single narrative about one canonized historical event or about a cluster of events, which is the case with the Conspiracy; secondly, in the anti-Habsburg sub-narrative, as one of the narrative strands in the national historical meta-narrative (besides, for example, the anti-Turkish sub-narrative); and thirdly, in a more general national historical meta-narrative. The analysis proposed here largely focuses on the first, "lowest" level, and the main methodological task is to discuss a relationship between the historical and literary discourse. The problem lies in the triple character of the historiography about the Conspiracyit has served as the underlying source for three different intellectual endeavors: for the creation of the historical myth in the
Polazeci od kulturoloske dihotomije ruralna kopnena (morlacka) / gradska priobalna (romansko-slav... more Polazeci od kulturoloske dihotomije ruralna kopnena (morlacka) / gradska priobalna (romansko-slavenska) Dalmacija autor istražuje slicnosti i razlike u prikazu suvremenih mletacko-turskih ratova u djelima dalmatinskih pisaca 17. i 18. st. Analizirani korpus cine: ljetopisi makarskih franjevaca (P. Silobadovic, N. Gojak, P. Antulovic), djela F. Divnica, J. Kavanjina, F. Grabovca i A. Kacica Miosica, te objavljeni arhivski izvori. Analiza je usredotocena na: mehanizme objasnjenja i kontekstualizacije ratova u Dalmaciji, ocjene pogranicne ratne strategije (pljacke i zarobljavanje ljudi) i ratnih obicaja (megdani, odsijecanje glava neprijatelja), predodžbu neprijatelja i unutarkrscanske podjele (konfesionalne, drustvene i sl.). F. Divnic je napisao opsežnu i historiografski ambicioznu kroniku važnijih događaja Kandijskoga rata u Dalmaciji, u kontekstu mletacke politike i ukupnih ratnih zbivanja. Divnic, pripadnik komunalnog dalmatinskog svijeta, ne poklanja previse pozornosti pogranicnom ratovanju i njegovim glavnim protagonistima, Morlacima. U njegovu djelu izostaju postupci negativnog vrednovanja Drugih: Turaka, Morlaka i pravoslavaca. Isto vrijedi i za ljetopis P. Silobadovica namijenjen samostanskom "internom citanju". On, međutim, heroizira pogranicno robljenje (otimanje stoke, zarobljavanje ljudi), a vizuru sužuje samo na lokalne događaje. Silobadovicevi nastavljaci, N. Gojak i P. Antulovic, iskazuju ostar stav prema lokalnoj hajduciji koja se sadržajno ne razlikuje od pogranicnog ratovanja. Njihova vizura nije lokalno skucena (zanimanje za susjedne i udaljenije europske prostore), a granica "dviju Dalmacija" nije posebno istaknuta. J. Kavanjin, jos jedan predstavnik priobalne urbane Dalmacije, u golemom, sadržajno raznolikom djelu, Povijesti vanđelskoj, razmjerno malo prostora posvecuje suvremenim mletacko-turskim ratovima u Dalmaciji. Njegov je odnos prema vlaskom/morlackom svijetu ambivalentan: s jedne strane kriticke opservacije nalik onima predstavnika mletacke vlasti u Dalmaciji, s druge protonacionalni osjecaj slavenskog zajednistva i osuda mletacke politike prema Slavenima na istocnoj obali Jadrana. Kavanjinovo politicko polaziste ipak je ideja svetoga rata protiv Osmanlija. Isto vrijedi i za franjevackog pisca Filipa Grabovca. U svjetovno-povijesnim dijelovima njegova Cvita razgovora tematiziraju se i suvremeni ratovi u Dalmaciji. Njegova je vizura u velikoj mjeri sužena na događaje u kopnenom prostoru, uz slavljenje pogranicnog ratovanja. Aksiologija Cvita razgovora proizlazi iz radikalno netolerantnog pogranicnog mentaliteta s naglasenim sotoniziranjem Drugih: muslimana, pravoslavaca, žena, pa i samih susjeda (Sinjana). Andrija Kacic Miosic u aksioloskom je pogledu Grabovceva suprotnost; njegov je protuturski stav ublažen ideologemima junastva i slavenskog zajednistva, iz cega slijedi slavljenje i muslimanskih junaka, te izrazito tolerantan stav prema pravoslavcima. Heroizacija pogranicnog ratovanja dobila je u Razgovoru ugodnom svoj klasican poetski oblik (motivi junackih megdana i odsijecanja turskih glava). Arhivski izvori (izvjestaji mletackih cinovnika u Dalmaciji) upucuju na duboku civilizacijsku granicu koja dijeli romanski i morlacki svijet. Stavovi mletackih vlasti prema Morlacima nisu jedinstveni i ovise o trenutacnim interesima. Prezir prema pogranicnom robljenju i zabrana megdana mijesaju se s poticanjem pljacke i paleža na "turskoj zemlji", pravnom regulacijom trgovine ratnim zarobljenicima i nagrađivanjem morlackih boraca za odsjecene turske glave. Nasuprot isticanju nediscipliniranosti, sumnjicavosti, kolebljivosti i lopovskog instinkta morlackih boraca stoje pohvale njihovoj hrabrosti i izdržljivosti u najtežim ratnim uvjetima.
During the Illyrian Movement there were several German-language journals in Croatia: alongside »L... more During the Illyrian Movement there were several German-language journals in Croatia: alongside »Luna« and »Croatia«, issued in Zagreb 1826–1858 and 1839–1842 respectively, another notable journal was »Der Pilger« from Karlovac. Due to its poor preservation, extensive research into this journal is still pending. This article relies on those issues which have been preserved by the National and University Library in Zagreb and have in the meantime also become available in digitalized form. The article provides both basic bibliographic information about the journal and an extensive summary of its content. In so doing, it draws special attention to imagological constructs of foreign and domestic geo-cultural spaces as well as the presence of Croatian literature in the journal.
Andrićeva avlija = Andrićs Hof. Hg. Branko Tošović. Graz: Institut für Slawistik der Karl-Franzens-Universität; Banja Luka: Narodna i univerzitetska biblioteka Republike Srpske; Beograd: Svet knjige / nmlibris. 2015. 231–240.
The Damned Yard: In search of aesthetic imperfections and semantic indeterminacies
The narrative ... more The Damned Yard: In search of aesthetic imperfections and semantic indeterminacies The narrative art of Ivo Andrić has always been highly regarded by the critics, especially concerning his novella The Damned Yard. This paper discusses specific aesthetic problems in the novel relating to the competence and knowledge of the extra- and intradiegetic narrators as well as to some solutions regarding the content and stylistics of the novel. The main problems are: discrepancies in the extradiegetic narrator’s knowledge (for instance, the extradiegetic narrator is well informed about the history of the jail but not about the destiny of Djamil), avoidance of a direct clash between the two semantically most potent figures—Karadjos and Djamil—in Chapter 7, and narration of the story of Sultan Cem in Chapter 5 in the style of positivist historiography and not in the “original style” of Djamil’s storytelling. The last part of the analysis considers semantic similarities between The Damned Yard and the author’s two earlier novels—Bosnian Chronicle and The Bridge on the Drina. The key semantic similarity lies in the way hybridity is connected with illness/madness. The city of Smyrna, its inhabitants Djamil and Haim, as well as the “Damned Yard” itself are representatives of a typical hybrid space in the fiction of Ivo Andrić. Based on the provided analysis, the paper concludes that there are far more formal and semantic similarities between The Damned Yard and the two earlier novels than it may appear at first glance.
Konzepte des Slawischen. Hrsg. Tomáš Glanc und Christian Voß. Leipzig: Biblion Media. 2016. 251–264.
The multilingualism of the literary production in the Croatian lands reached its peak in the 1830... more The multilingualism of the literary production in the Croatian lands reached its peak in the 1830s and 1840s. Paradoxically, that period is represented mostly as monolithic in the Croatian literary historiography and in cultural/identity politics, and is channelled through various means, such as, for example, high school curricula, the naming of public spaces, raising/demolition of monuments, etc. In other words, the linguistic, poetical and even ideological variety in the literary praxis of the 1830s and 1840s is reduced to the literature of the Illyrian movement. This phenomenon is called illyrocentrism. The author emphasizes the importance of other literary praxis in the Croatian lands in the observed period (kajkavian and German in North Croatia, Italian and Slavonic-Serbian in Dalmatia) and critically examines possible arguments for illyrocentric tendencies as well as their ideological implications.
Osmanen und Islam in Südosteuropa. Hrsg. Reinhard Lauer, Hans Georg Majer. Berlin: De Gruyter. 2014. 157–191.
Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bi... more Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bis zur Mitte des 19. Jahrhunderts auf alle Bewohner des Osmanischen Reiches, aber vor allem auf die Osmanen im engeren Sinne und auf die muslimische Bevölkerung Bosniens. Das Türkenbild ist der präsenteste Teil des Feindbildspektrums in der kroatischen vormodernen Kultur, zugleich aber auch eine sehr komplexe und dynamische Konstruktion verschiedener, manchmal auch widersprüchlicher Vorstellungen. In diesem Text wird versucht, diese Komplexität und Dynamik, die Europäizität und die regionale Spezifik des kroatischen Türkenbildes darzustellen. Im ersten Teil wird das Türkenbild der frühneuzeitlichen kroatischen literarischen Kultur besprochen. Es handelt sich dabei um die Zusammenfassung wichtiger Einsichten aus meinem Buch Sultanova djeca: Predodžbe Turaka u hrvatskoj književnosti ranog novovjekovlja (Zadar 2004). Im zweiten Teil werden die Vorstellungen von den Türken in der Zeit der Illyrischen Bewegung (1835–1843) problematisiert, und zwar in Form einer Fallstudie der illyrischen Publizistik und einer kurzen Darstellung des Türkenbildes in den wichtigsten Werken der kroatischen Literatur aus der Periode des Illyrismus. Da die Untersuchung des Materials aus dem 19. Jh. noch immer nicht abgeschlossen ist, hat der zweite Teil dieses Textes eher einen hypothetischen als zusammenfassenden Charakter.
Andrićeva Hronika = Andrićs Chronik. Ur. Branko Tošović. Graz: Institut für Slawistik der Karl-Franzens-Universität; Banja Luka: Narodna i univerzitetska biblioteka Republike Srpske – Svet knjige; Beograd: Beogradska knjiga. 2014. 165-179.
The geo-cultural spatiality in Ivo Andrić’s novel BOSNIAN CHRONICLE (TRAVNIČKA HRONIKA, written i... more The geo-cultural spatiality in Ivo Andrić’s novel BOSNIAN CHRONICLE (TRAVNIČKA HRONIKA, written in 1942, published in 1945) could be divided into three spaces: the eastern, western and hybrid one.
The domain of the (genuine) Eastern world is the Ottoman Residence in Travnik (konak) with the Bosnian viziers and their entourage. This space is not characterized by specific cultural attributes. It is represented by the practices of preserving political power of three viziers, who are completely different in character and worldview.
The representatives of the Western world are the French and Austrian consulates. The imagotypical difference between the two western spaces is based on the general insights about their political role in that historic timeframe: on the one hand, the liberal-offensive France (admittedly, better embodied in the figure of Des Fossés than Daville) and, on the other, the conservative defensive Habsburg Monarchy (better represented by the figure of von Mitterer than von Paulich). The two consulates often, particularly in times of crisis, act as representatives of the same cultural values.
The hybrid space, which is the dominant space in the novel, includes the city of Travnik, as a synecdoche of the whole of Bosnia as well as the Levantine characters (D’Avenat, Rotta, Cologna), who are all native Catholics serving the Western consulates, but spend most of their life in the Orient. For the Western characters in the novel, Bosnia is simply an oriental space. They, as well as their Ottoman opponents (Bosnian viziers), see Bosnia as a barbaric and backward land. The often quoted and analyzed monologue of Levantine Mario Cologna expresses the utopian idea of harmonization of the divided world in a distant future. Based on this monologue, it will be argued that the hybrid space is positively evaluated in the novel. However, the narrator’s speech and speeches of other characters with some “intellectual credibility” reflect the opposite evaluation of hybridization in general, which is in accordance with the idea of ethnic/cultural essentialism anchored in the central consciousness of this novel, as well as the novel THE BRIDGE ON THE DRINA.
Andrićeva ćuprija = Andrićs Brücke. Ur. Branko Tošović. Graz: Institut für Slawistik der Karl-Franzens-Universität; Banja Luka: Narodna i univerzitetska biblioteka Republike Srpske; Beograd: Beogradska knjiga. 2013. 241-254.
This paper explores Ivo Andrić’s novel THE BRIDGE ON THE DRINA, presenting an analysis inspired b... more This paper explores Ivo Andrić’s novel THE BRIDGE ON THE DRINA, presenting an analysis inspired by the theory of fiction developed by the Croatian literary theorist Gajo Peleš. Two starting points have been borrowed from his theory: 1) in the analysis of a narrative literary text one can distinguish between the intersubjective level of its meaning and the subjective, ideologically and/or discursively charged level of its sense; 2) the most important components of the level of meaning in a chronicle novel such as THE BRIDGE ON THE DRINA are the “sociemic narrative figures” (units of meaning derived from the represented social life, geo-cultural spaces, ethnic/religious/national collectivities etc.). Intercultural actions, i.e. the clashes between the various sociemic narrative figures (in the Andrić’s novel: the Christian/Serb, the Muslim and the Jewish community in the small city of Višegrad), have their logic of content, which encompasses: the (dominant) narrative group focus (monocultural or multicultural), types of intercultural encounters (conflict, neutral coexistence, active cooperation, integration) and fields of intercultural conflict (intrapersonal, intragroup, intergroup). The analysis of these axiological strategies/procedures shows an objective, impartial position of the central consciousness of the novel (which is responsible for the level of meaning). As opposed to this, the narrator occasionally identifies with the Christian community, believes in ethnic essentialism and reveals himself as a moderate supporter of modernization, which makes his ideological positions compatible with the Serbian nationalistic program of Toma Galus, one of the novel’s characters.
Ovo su naslovi tih pet studija: "Polazište i predmet književne istorije" (str. 5-12), "Razvoj knj... more Ovo su naslovi tih pet studija: "Polazište i predmet književne istorije" (str. 5-12), "Razvoj književne strukture" (str. 13-30), "Geneza književnih dela i njihov odnos prema istorijskoj stvarnosti" (str. 31-54), "Istorija odjeka književnih dela" (str. 55-75) i "Književnoistorijske celine" (str. 76-100). historiography, namely its two synthetic genres, which Perkins designates as "narrative literary history" and "postmodern encyclopedia". Nevertheless, the American theorist demonstrates a certain closeness to structuralist approaches or a kind of conservatism by critical preference for narrative literary histories and immanent approaches (explanations of literary changes) over postmodern encyclopedias and contextualist approaches to literary text. The methodology of literary history of F. Vodička is still relevant today. If the future of literary historiography is a systematically coherent encyclopedia, reflecting both the literary past and the literary-historical (disciplinary) present, then Vodička's immanent approach may be an important part of it, just as modern poststructuralist/thematic interests should be included in that system.
U radu se analizira pojam prosvjetiteljstva u najistaknutijim historiografskim sintezama hrvatske... more U radu se analizira pojam prosvjetiteljstva u najistaknutijim historiografskim sintezama hrvatske književnosti (Vodnik 1913, Ježic 1944, Matic 1945, Kombol 1945, Georgijevic 1969, Bogisic 1974, Franges 1987, Novak 1999, Jelcic 2004, Sicel 2004), i to s obzirom na njegov sadržaj i funkciju (prosvjeta, sekularizacija, svjetovna i religiozna tematika), odnos prema subordiniranim pojmovima (jozefinizam, racionalizam, iluminizam) i periodizacijskoj nomenklaturi iste razine, ali drugog povijesnog znacenja (barok, katolicka obnova, klasicizam, predromantizam). Analiza je upotpunjena i uvidima u druge važnije studije o hrvatskoj književnosti 18. stoljeca te kracim zakljucnim komparativnim digresijama o književnohistoriografskoj obradi srpske književnosti istog razdoblja.
Im Begriff „ das Ungarnbild in der kroatischen fruhneuzeitlichen Literatur“ kann man zwei wesentl... more Im Begriff „ das Ungarnbild in der kroatischen fruhneuzeitlichen Literatur“ kann man zwei wesentlich verschiedene imagologische Aspekte, bzw. Objekte unterscheiden: 1) das Bild der Ungarn, d.h. das Bild des ungarischen Volkes ; 2) das Bild von Ungarn, d.h. das Bild des ungarischen Staates, in diesem Fall das Bild des Ungarisch-Kroatischen Konigreichs. Fur den ersten imagologischen Aspekt findet man relativ wenig Material, in dem das Stereotyp uber die „ Wolfsnatur“ der Ungarn (Tapferkeit, Kampflust, Grausamkeit) bestatigt wird. In der Zeit der grosen osmanischen Eroberungen im 15. und 16. Jahrhundert, als das Ungarische Konigreich in der humanistischen Literatur als „ Vormauer des Christentums“ dargestellt wurde, wurden in derselben Literatur auch die Ungarn mit dem Attribut das „ frommste“ und „ ruhmreiche kriegerische“ Volk versehen. Der zweite Aspekt, fur den eine durchaus positive Einstellung zum ungarischen Konigreich charakteristisch ist, ist in der kroatischen Literatur viel ...
Potkraj prošle godine Umjetnost riječi dobila je novo uredništvo, koje se, dakako, neko vrijeme m... more Potkraj prošle godine Umjetnost riječi dobila je novo uredništvo, koje se, dakako, neko vrijeme moralo »uhodavati«, pa odatle i isprike za pomalo zakašnjeli izlazak prvoga ovogodišnjeg dvobroja. Osim toga uredništvo se odlučilo i za niz promjena u uređivanju časopisa, djelomice vidljivih već u ovom broju. Novo uredništvo nastojat će razvijati interdisciplinarnost Umjetnosti riječi s ishodištem u znanosti o književnosti te međunarodno proširiti dosadašnju nacionalnu i regionalnu prepoznatljivost i otvorenost časopisa. Časopis je dobio novi podnaslov: znanosti o književnosti pridodani su izvedbena umjetnost i film. I premda su se teatrološki i filmološki prilozi sporadično i dosad objavljivali, to je vjerojatno najveća »programska« promjena. Ima li se na umu povezanost tih triju humanističkih disciplina na studijima i u istraživanjima, ne samo na Odsjeku za komparativnu književnost nego i na nizu drugih neofiloloških studija Filozofskoga fakulteta Sveučilišta u Zagrebu, kao i na drugim srodnim institucijama širom svijeta, tematsko se širenje časopisa doima logičnim i očekivanim. Spomenute su discipline već u ovom broju zastupljene jednim dužim prilogom. Osim izvornih znanstvenih i preglednih radova Umjetnost riječi objavljivat će i prikaze relevantnih stranih i domaćih književnoznanstvenih, teatroloških i filmoloških publikacija. Tu je praksu već najavio posljednji broj prethodnoga uredništva, no od sada bi to trebala biti redovita i, nadamo se, sadržajna rubrika. U njoj će se, osim sažete stručne informacije, naći mjesta i za otvorenu kritičku raspravu. Od sljedeće godine u svakom drugom broju časopisa objavljivat će se isključivo prilozi na engleskom ili francuskom jeziku. U ostalim brojevima, koji će se vjerojatno kolokvijalno nazivati »hrvatskima«, objavljivat će se i prilozi na bosanskom, crnogorskom i srpskom standardnom jeziku, pa tako već u ovom broju objavljujemo jedan rad na srpskom jeziku. Novim dizajnom ovitka nastojali smo vizualno dočarati profil časopisa, ne udaljavajući se previše od njegova tradicionalnog izgleda. Format, unutrašnje grafičko uređenje i kompozicija priloga ostali su isti, osim što se brought to you by CORE View metadata, citation and similar papers at core.ac.uk
Institut za etnologiju i folkloristiku, Dec 15, 1999
Uz Spliþanina Julija Bajamontija i Sinjanina Ivana Lovriþa, DubrovĀanin Žuro Feriþ ulazi u krug h... more Uz Spliþanina Julija Bajamontija i Sinjanina Ivana Lovriþa, DubrovĀanin Žuro Feriþ ulazi u krug hrvatskih književnika koji su znaĀaj-no pridonijeli opþem europskom predroman-tiĀarskom interesu za južnoslavensko usme-no pjesništvo i narodni život u posljednjoj Āetvrtini 18. i na poĀetku 19. st. (morlakizam). Nakon zbirke latinskih basni popraþe
Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katar... more Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katarine Zrinski (o. 1625 ‡1673) te da se u njoj nalaze pjesme koje je ona napisala. Pjesmarica je nedavno napokon objavljena (Pjesmarica Ane Katarine Zrinske, prir. J. BratuliÊ, Zagreb: Matica hrvatska, 2014), Ëime je omoguÊeno njezino svestrano istraaeivanje koje je i prije objavljivanja zapoËeo Ivan Zvonar (2006). Naπa se analiza nastavlja na njegova istraaeivanja. U radu se donosi kratak opis sadraeaja i kompozicije Pjesmarice, zatim se utvruje kojim bi pjesmama autorica mogla biti Ana Katarina Zrinski, i to na temelju sadraeajne analize, tj. pronalaaeenja motiva koji korespondiraju sa sudbinom pretpostavljene autorice, te se naposljetku istiËu metriËke, stilske i motivske sliËnosti pretpostavljenih Katarininih pjesama s pjesniËkim opusima njezina supruga Petra Zrinskog i brata Frana Krste Frankopana. Dolazi se do zakljuËka da se Katarini moaee pripisati 31 brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Repozitorij Filozofskog fakulteta u Zagrebu' at University of...
Croatica : časopis za hrvatski jezik, književnost i kulturu, 2017
Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katar... more Sredinom 1980-ih otkrivena je pjesmarica za koju se pretpostavlja da je bila vlasniπtvo Ane Katarine Zrinski (o. 1625 ‡1673) te da se u njoj nalaze pjesme koje je ona napisala. Pjesmarica je nedavno napokon objavljena (Pjesmarica Ane Katarine Zrinske, prir. J. BratuliÊ, Zagreb: Matica hrvatska, 2014), Ëime je omoguÊeno njezino svestrano istraaeivanje koje je i prije objavljivanja zapoËeo Ivan . Naπa se analiza nastavlja na njegova istraaeivanja. U radu se donosi kratak opis sadraeaja i kompozicije Pjesmarice, zatim se utvruje kojim bi pjesmama autorica mogla biti Ana Katarina Zrinski, i to na temelju sadraeajne analize, tj. pronalaaeenja motiva koji korespondiraju sa sudbinom pretpostavljene autorice, te se naposljetku istiËu metriËke, stilske i motivske sliËnosti pretpostavljenih Katarininih pjesama s pjesniËkim opusima njezina supruga Petra Zrinskog i brata Frana Krste Frankopana. Dolazi se do zakljuËka da se Katarini moaee pripisati 31 Filozofski fakultet SveuËiliπta u Zagrebu
Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bi... more Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bis zur Mitte des 19. Jahrhunderts auf alle Bewohner des Osmanischen Reiches, aber vor allem auf die Osmanen im engeren Sinne und auf die muslimische Bevölkerung Bosniens. Das Türkenbild ist der präsenteste Teil des Feindbildspektrums in der kroatischen vormodernen Kultur, zugleich aber auch eine sehr komplexe und dynamische Konstruktion verschiedener, manchmal auch widersprüchlicher Vorstellungen. In diesem Text wird versucht, diese Komplexität und Dynamik, die Europäizität und die regionale Spezifik des kroatischen Türkenbildes darzustellen. Im ersten Teil wird das Türkenbild der frühneuzeitlichen kroatischen literarischen Kultur besprochen. Es handelt sich dabei um die Zusammenfassung wichtiger Einsichten aus meinem Buch Sultanova djeca: Predodžbe Turaka u hrvatskoj književnosti ranog novovjekovlja (Zadar 2004). Im zweiten Teil werden die Vorstellungen von den Türken in der Zeit der Illyrischen Bewegung (1835–1843) problematisiert, und zwar in Form einer Fallstudie der illyrischen Publizistik und einer kurzen Darstellung des Türkenbildes in den wichtigsten Werken der kroatischen Literatur aus der Periode des Illyrismus. Da die Untersuchung des Materials aus dem 19. Jh. noch immer nicht abgeschlossen ist, hat der zweite Teil dieses Textes eher einen hypothetischen als zusammenfassenden Charakter.
... Die Abhandlung Zoran Kravars problematisiert gerade diese kulturhistorische Erschei-nung, die... more ... Die Abhandlung Zoran Kravars problematisiert gerade diese kulturhistorische Erschei-nung, die aus den spezifisch kroatischen historischen Umständen ... Dabei kommen sie nicht nur aus Nordkroatien (Slawonien), wie zB Ivan Vitez (14051472), Janus Pannonius (14341472 ...
Commencing from the cultural dichotomy between rural hinterland (Morlach) and urban coastal (Roma... more Commencing from the cultural dichotomy between rural hinterland (Morlach) and urban coastal (Romano-Slavic) Dalmatia, the author studies the similarities and diversities in the accounts of the then-contemporary Venetian-Turkish wars in the works of Dalmatian writers of the 17th and 18th centuries. The analysed corpus of texts is made up of: chronicles of the Makarska Franciscans (P. Šilobadović, N. Gojak, P. Antulović); F. Divnić's historical account of the Candian War in Dalmatia; and works by J. Kavanjin, F. Grabovac and A. Kačić Miošić. The analysis focuses on: the mechanisms used in explanation and contextualisation of the wars in Dalmatia; evaluations of border area war strategy (pillaging and enslavement); the conception of the enemy and inter-Christian divisions (confessional, social, and the like). Finally, the accounts of war in the texts in question (narrative sources) are compared with published archive sources.
The topic of this paper concerns the representations of the Zrinski-Frankopan (Zriny Frangipani) ... more The topic of this paper concerns the representations of the Zrinski-Frankopan (Zriny Frangipani) Conspiracy in five Croatian dramas, written and/or performed between 1900 and 2010, in the four different political constellations: in the late Habsburg Monarchy, in the early monarchist Yugoslavia, i. e. in the Kingdom of Serbs, Croats and Slovenes, in the Socialist Yugoslavia and finally in the modern independent Croatian state. The Zrinski-Frankopan Conspiracy is a sacrificial narrative par excellence in the Croatian culture as literary sources often directly refer the Conspiracy's actors as martyrs. Therefore this constitutes an interesting subject for this thematic section. The basic methodological problem in this analysis is how to interpret a single literary text as a concretization of a historical myth which in itself represents a non-existent, intuitive, fluid construct. A critical reconstruction of a historical myth and/or a meta-narrative is an unrewarding, if not futile task, so it is therefore more fruitful to focus on its potential ruptures which undermine its semantic coherence. These ruptures can represent traumatic or at least uneasy loci in the historical meta-narratives, which makes them prone to interpretation. The selected text analyzed here can be contextualized in three different frameworks of the national narration: firstly, in the historical myth about the Conspiracy, i. e. in a single narrative about one canonized historical event or about a cluster of events, which is the case with the Conspiracy; secondly, in the anti-Habsburg sub-narrative, as one of the narrative strands in the national historical meta-narrative (besides, for example, the anti-Turkish sub-narrative); and thirdly, in a more general national historical meta-narrative. The analysis proposed here largely focuses on the first, "lowest" level, and the main methodological task is to discuss a relationship between the historical and literary discourse. The problem lies in the triple character of the historiography about the Conspiracyit has served as the underlying source for three different intellectual endeavors: for the creation of the historical myth in the
Polazeci od kulturoloske dihotomije ruralna kopnena (morlacka) / gradska priobalna (romansko-slav... more Polazeci od kulturoloske dihotomije ruralna kopnena (morlacka) / gradska priobalna (romansko-slavenska) Dalmacija autor istražuje slicnosti i razlike u prikazu suvremenih mletacko-turskih ratova u djelima dalmatinskih pisaca 17. i 18. st. Analizirani korpus cine: ljetopisi makarskih franjevaca (P. Silobadovic, N. Gojak, P. Antulovic), djela F. Divnica, J. Kavanjina, F. Grabovca i A. Kacica Miosica, te objavljeni arhivski izvori. Analiza je usredotocena na: mehanizme objasnjenja i kontekstualizacije ratova u Dalmaciji, ocjene pogranicne ratne strategije (pljacke i zarobljavanje ljudi) i ratnih obicaja (megdani, odsijecanje glava neprijatelja), predodžbu neprijatelja i unutarkrscanske podjele (konfesionalne, drustvene i sl.). F. Divnic je napisao opsežnu i historiografski ambicioznu kroniku važnijih događaja Kandijskoga rata u Dalmaciji, u kontekstu mletacke politike i ukupnih ratnih zbivanja. Divnic, pripadnik komunalnog dalmatinskog svijeta, ne poklanja previse pozornosti pogranicnom ratovanju i njegovim glavnim protagonistima, Morlacima. U njegovu djelu izostaju postupci negativnog vrednovanja Drugih: Turaka, Morlaka i pravoslavaca. Isto vrijedi i za ljetopis P. Silobadovica namijenjen samostanskom "internom citanju". On, međutim, heroizira pogranicno robljenje (otimanje stoke, zarobljavanje ljudi), a vizuru sužuje samo na lokalne događaje. Silobadovicevi nastavljaci, N. Gojak i P. Antulovic, iskazuju ostar stav prema lokalnoj hajduciji koja se sadržajno ne razlikuje od pogranicnog ratovanja. Njihova vizura nije lokalno skucena (zanimanje za susjedne i udaljenije europske prostore), a granica "dviju Dalmacija" nije posebno istaknuta. J. Kavanjin, jos jedan predstavnik priobalne urbane Dalmacije, u golemom, sadržajno raznolikom djelu, Povijesti vanđelskoj, razmjerno malo prostora posvecuje suvremenim mletacko-turskim ratovima u Dalmaciji. Njegov je odnos prema vlaskom/morlackom svijetu ambivalentan: s jedne strane kriticke opservacije nalik onima predstavnika mletacke vlasti u Dalmaciji, s druge protonacionalni osjecaj slavenskog zajednistva i osuda mletacke politike prema Slavenima na istocnoj obali Jadrana. Kavanjinovo politicko polaziste ipak je ideja svetoga rata protiv Osmanlija. Isto vrijedi i za franjevackog pisca Filipa Grabovca. U svjetovno-povijesnim dijelovima njegova Cvita razgovora tematiziraju se i suvremeni ratovi u Dalmaciji. Njegova je vizura u velikoj mjeri sužena na događaje u kopnenom prostoru, uz slavljenje pogranicnog ratovanja. Aksiologija Cvita razgovora proizlazi iz radikalno netolerantnog pogranicnog mentaliteta s naglasenim sotoniziranjem Drugih: muslimana, pravoslavaca, žena, pa i samih susjeda (Sinjana). Andrija Kacic Miosic u aksioloskom je pogledu Grabovceva suprotnost; njegov je protuturski stav ublažen ideologemima junastva i slavenskog zajednistva, iz cega slijedi slavljenje i muslimanskih junaka, te izrazito tolerantan stav prema pravoslavcima. Heroizacija pogranicnog ratovanja dobila je u Razgovoru ugodnom svoj klasican poetski oblik (motivi junackih megdana i odsijecanja turskih glava). Arhivski izvori (izvjestaji mletackih cinovnika u Dalmaciji) upucuju na duboku civilizacijsku granicu koja dijeli romanski i morlacki svijet. Stavovi mletackih vlasti prema Morlacima nisu jedinstveni i ovise o trenutacnim interesima. Prezir prema pogranicnom robljenju i zabrana megdana mijesaju se s poticanjem pljacke i paleža na "turskoj zemlji", pravnom regulacijom trgovine ratnim zarobljenicima i nagrađivanjem morlackih boraca za odsjecene turske glave. Nasuprot isticanju nediscipliniranosti, sumnjicavosti, kolebljivosti i lopovskog instinkta morlackih boraca stoje pohvale njihovoj hrabrosti i izdržljivosti u najtežim ratnim uvjetima.
During the Illyrian Movement there were several German-language journals in Croatia: alongside »L... more During the Illyrian Movement there were several German-language journals in Croatia: alongside »Luna« and »Croatia«, issued in Zagreb 1826–1858 and 1839–1842 respectively, another notable journal was »Der Pilger« from Karlovac. Due to its poor preservation, extensive research into this journal is still pending. This article relies on those issues which have been preserved by the National and University Library in Zagreb and have in the meantime also become available in digitalized form. The article provides both basic bibliographic information about the journal and an extensive summary of its content. In so doing, it draws special attention to imagological constructs of foreign and domestic geo-cultural spaces as well as the presence of Croatian literature in the journal.
Andrićeva avlija = Andrićs Hof. Hg. Branko Tošović. Graz: Institut für Slawistik der Karl-Franzens-Universität; Banja Luka: Narodna i univerzitetska biblioteka Republike Srpske; Beograd: Svet knjige / nmlibris. 2015. 231–240.
The Damned Yard: In search of aesthetic imperfections and semantic indeterminacies
The narrative ... more The Damned Yard: In search of aesthetic imperfections and semantic indeterminacies The narrative art of Ivo Andrić has always been highly regarded by the critics, especially concerning his novella The Damned Yard. This paper discusses specific aesthetic problems in the novel relating to the competence and knowledge of the extra- and intradiegetic narrators as well as to some solutions regarding the content and stylistics of the novel. The main problems are: discrepancies in the extradiegetic narrator’s knowledge (for instance, the extradiegetic narrator is well informed about the history of the jail but not about the destiny of Djamil), avoidance of a direct clash between the two semantically most potent figures—Karadjos and Djamil—in Chapter 7, and narration of the story of Sultan Cem in Chapter 5 in the style of positivist historiography and not in the “original style” of Djamil’s storytelling. The last part of the analysis considers semantic similarities between The Damned Yard and the author’s two earlier novels—Bosnian Chronicle and The Bridge on the Drina. The key semantic similarity lies in the way hybridity is connected with illness/madness. The city of Smyrna, its inhabitants Djamil and Haim, as well as the “Damned Yard” itself are representatives of a typical hybrid space in the fiction of Ivo Andrić. Based on the provided analysis, the paper concludes that there are far more formal and semantic similarities between The Damned Yard and the two earlier novels than it may appear at first glance.
Konzepte des Slawischen. Hrsg. Tomáš Glanc und Christian Voß. Leipzig: Biblion Media. 2016. 251–264.
The multilingualism of the literary production in the Croatian lands reached its peak in the 1830... more The multilingualism of the literary production in the Croatian lands reached its peak in the 1830s and 1840s. Paradoxically, that period is represented mostly as monolithic in the Croatian literary historiography and in cultural/identity politics, and is channelled through various means, such as, for example, high school curricula, the naming of public spaces, raising/demolition of monuments, etc. In other words, the linguistic, poetical and even ideological variety in the literary praxis of the 1830s and 1840s is reduced to the literature of the Illyrian movement. This phenomenon is called illyrocentrism. The author emphasizes the importance of other literary praxis in the Croatian lands in the observed period (kajkavian and German in North Croatia, Italian and Slavonic-Serbian in Dalmatia) and critically examines possible arguments for illyrocentric tendencies as well as their ideological implications.
Osmanen und Islam in Südosteuropa. Hrsg. Reinhard Lauer, Hans Georg Majer. Berlin: De Gruyter. 2014. 157–191.
Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bi... more Die Bezeichnung „Türken“ bezieht sich in der kroatischen literarischen Kultur vom Ende des 15. bis zur Mitte des 19. Jahrhunderts auf alle Bewohner des Osmanischen Reiches, aber vor allem auf die Osmanen im engeren Sinne und auf die muslimische Bevölkerung Bosniens. Das Türkenbild ist der präsenteste Teil des Feindbildspektrums in der kroatischen vormodernen Kultur, zugleich aber auch eine sehr komplexe und dynamische Konstruktion verschiedener, manchmal auch widersprüchlicher Vorstellungen. In diesem Text wird versucht, diese Komplexität und Dynamik, die Europäizität und die regionale Spezifik des kroatischen Türkenbildes darzustellen. Im ersten Teil wird das Türkenbild der frühneuzeitlichen kroatischen literarischen Kultur besprochen. Es handelt sich dabei um die Zusammenfassung wichtiger Einsichten aus meinem Buch Sultanova djeca: Predodžbe Turaka u hrvatskoj književnosti ranog novovjekovlja (Zadar 2004). Im zweiten Teil werden die Vorstellungen von den Türken in der Zeit der Illyrischen Bewegung (1835–1843) problematisiert, und zwar in Form einer Fallstudie der illyrischen Publizistik und einer kurzen Darstellung des Türkenbildes in den wichtigsten Werken der kroatischen Literatur aus der Periode des Illyrismus. Da die Untersuchung des Materials aus dem 19. Jh. noch immer nicht abgeschlossen ist, hat der zweite Teil dieses Textes eher einen hypothetischen als zusammenfassenden Charakter.
Andrićeva Hronika = Andrićs Chronik. Ur. Branko Tošović. Graz: Institut für Slawistik der Karl-Franzens-Universität; Banja Luka: Narodna i univerzitetska biblioteka Republike Srpske – Svet knjige; Beograd: Beogradska knjiga. 2014. 165-179.
The geo-cultural spatiality in Ivo Andrić’s novel BOSNIAN CHRONICLE (TRAVNIČKA HRONIKA, written i... more The geo-cultural spatiality in Ivo Andrić’s novel BOSNIAN CHRONICLE (TRAVNIČKA HRONIKA, written in 1942, published in 1945) could be divided into three spaces: the eastern, western and hybrid one.
The domain of the (genuine) Eastern world is the Ottoman Residence in Travnik (konak) with the Bosnian viziers and their entourage. This space is not characterized by specific cultural attributes. It is represented by the practices of preserving political power of three viziers, who are completely different in character and worldview.
The representatives of the Western world are the French and Austrian consulates. The imagotypical difference between the two western spaces is based on the general insights about their political role in that historic timeframe: on the one hand, the liberal-offensive France (admittedly, better embodied in the figure of Des Fossés than Daville) and, on the other, the conservative defensive Habsburg Monarchy (better represented by the figure of von Mitterer than von Paulich). The two consulates often, particularly in times of crisis, act as representatives of the same cultural values.
The hybrid space, which is the dominant space in the novel, includes the city of Travnik, as a synecdoche of the whole of Bosnia as well as the Levantine characters (D’Avenat, Rotta, Cologna), who are all native Catholics serving the Western consulates, but spend most of their life in the Orient. For the Western characters in the novel, Bosnia is simply an oriental space. They, as well as their Ottoman opponents (Bosnian viziers), see Bosnia as a barbaric and backward land. The often quoted and analyzed monologue of Levantine Mario Cologna expresses the utopian idea of harmonization of the divided world in a distant future. Based on this monologue, it will be argued that the hybrid space is positively evaluated in the novel. However, the narrator’s speech and speeches of other characters with some “intellectual credibility” reflect the opposite evaluation of hybridization in general, which is in accordance with the idea of ethnic/cultural essentialism anchored in the central consciousness of this novel, as well as the novel THE BRIDGE ON THE DRINA.
Andrićeva ćuprija = Andrićs Brücke. Ur. Branko Tošović. Graz: Institut für Slawistik der Karl-Franzens-Universität; Banja Luka: Narodna i univerzitetska biblioteka Republike Srpske; Beograd: Beogradska knjiga. 2013. 241-254.
This paper explores Ivo Andrić’s novel THE BRIDGE ON THE DRINA, presenting an analysis inspired b... more This paper explores Ivo Andrić’s novel THE BRIDGE ON THE DRINA, presenting an analysis inspired by the theory of fiction developed by the Croatian literary theorist Gajo Peleš. Two starting points have been borrowed from his theory: 1) in the analysis of a narrative literary text one can distinguish between the intersubjective level of its meaning and the subjective, ideologically and/or discursively charged level of its sense; 2) the most important components of the level of meaning in a chronicle novel such as THE BRIDGE ON THE DRINA are the “sociemic narrative figures” (units of meaning derived from the represented social life, geo-cultural spaces, ethnic/religious/national collectivities etc.). Intercultural actions, i.e. the clashes between the various sociemic narrative figures (in the Andrić’s novel: the Christian/Serb, the Muslim and the Jewish community in the small city of Višegrad), have their logic of content, which encompasses: the (dominant) narrative group focus (monocultural or multicultural), types of intercultural encounters (conflict, neutral coexistence, active cooperation, integration) and fields of intercultural conflict (intrapersonal, intragroup, intergroup). The analysis of these axiological strategies/procedures shows an objective, impartial position of the central consciousness of the novel (which is responsible for the level of meaning). As opposed to this, the narrator occasionally identifies with the Christian community, believes in ethnic essentialism and reveals himself as a moderate supporter of modernization, which makes his ideological positions compatible with the Serbian nationalistic program of Toma Galus, one of the novel’s characters.
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Papers by Davor Dukic
The narrative art of Ivo Andrić has always been highly regarded by the critics, especially concerning his novella The Damned Yard. This paper discusses specific aesthetic problems in the novel relating to the competence and knowledge of the extra- and intradiegetic narrators as well as to some solutions regarding the content and stylistics of the novel. The main problems are: discrepancies in the extradiegetic narrator’s knowledge (for instance, the extradiegetic narrator is well informed about the history of the jail but not about the destiny of Djamil), avoidance of a direct clash between the two semantically most potent figures—Karadjos and Djamil—in Chapter 7, and narration of the story of Sultan Cem in Chapter 5 in the style of positivist historiography and not in the “original style” of Djamil’s storytelling.
The last part of the analysis considers semantic similarities between The Damned Yard and the author’s two earlier novels—Bosnian Chronicle and The Bridge on the Drina. The key semantic similarity lies in the way hybridity is connected with illness/madness. The city of Smyrna, its inhabitants Djamil and Haim, as well as the “Damned Yard” itself are representatives of a typical hybrid space in the fiction of Ivo Andrić.
Based on the provided analysis, the paper concludes that there are far more formal and semantic similarities between The Damned Yard and the two earlier novels than it may appear at first glance.
The domain of the (genuine) Eastern world is the Ottoman Residence in Travnik (konak) with the Bosnian viziers and their entourage. This space is not characterized by specific cultural attributes. It is represented by the practices of preserving political power of three viziers, who are completely different in character and worldview.
The representatives of the Western world are the French and Austrian consulates. The imagotypical difference between the two western spaces is based on the general insights about their political role in that historic timeframe: on the one hand, the liberal-offensive France (admittedly, better embodied in the figure of Des Fossés than Daville) and, on the other, the conservative defensive Habsburg Monarchy (better represented by the figure of von Mitterer than von Paulich). The two consulates often, particularly in times of crisis, act as representatives of the same cultural values.
The hybrid space, which is the dominant space in the novel, includes the city of Travnik, as a synecdoche of the whole of Bosnia as well as the Levantine characters (D’Avenat, Rotta, Cologna), who are all native Catholics serving the Western consulates, but spend most of their life in the Orient. For the Western characters in the novel, Bosnia is simply an oriental space. They, as well as their Ottoman opponents (Bosnian viziers), see Bosnia as a barbaric and backward land. The often quoted and analyzed monologue of Levantine Mario Cologna expresses the utopian idea of harmonization of the divided world in a distant future. Based on this monologue, it will be argued that the hybrid space is positively evaluated in the novel. However, the narrator’s speech and speeches of other characters with some “intellectual credibility” reflect the opposite evaluation of hybridization in general, which is in accordance with the idea of ethnic/cultural essentialism anchored in the central consciousness of this novel, as well as the novel THE BRIDGE ON THE DRINA.
The narrative art of Ivo Andrić has always been highly regarded by the critics, especially concerning his novella The Damned Yard. This paper discusses specific aesthetic problems in the novel relating to the competence and knowledge of the extra- and intradiegetic narrators as well as to some solutions regarding the content and stylistics of the novel. The main problems are: discrepancies in the extradiegetic narrator’s knowledge (for instance, the extradiegetic narrator is well informed about the history of the jail but not about the destiny of Djamil), avoidance of a direct clash between the two semantically most potent figures—Karadjos and Djamil—in Chapter 7, and narration of the story of Sultan Cem in Chapter 5 in the style of positivist historiography and not in the “original style” of Djamil’s storytelling.
The last part of the analysis considers semantic similarities between The Damned Yard and the author’s two earlier novels—Bosnian Chronicle and The Bridge on the Drina. The key semantic similarity lies in the way hybridity is connected with illness/madness. The city of Smyrna, its inhabitants Djamil and Haim, as well as the “Damned Yard” itself are representatives of a typical hybrid space in the fiction of Ivo Andrić.
Based on the provided analysis, the paper concludes that there are far more formal and semantic similarities between The Damned Yard and the two earlier novels than it may appear at first glance.
The domain of the (genuine) Eastern world is the Ottoman Residence in Travnik (konak) with the Bosnian viziers and their entourage. This space is not characterized by specific cultural attributes. It is represented by the practices of preserving political power of three viziers, who are completely different in character and worldview.
The representatives of the Western world are the French and Austrian consulates. The imagotypical difference between the two western spaces is based on the general insights about their political role in that historic timeframe: on the one hand, the liberal-offensive France (admittedly, better embodied in the figure of Des Fossés than Daville) and, on the other, the conservative defensive Habsburg Monarchy (better represented by the figure of von Mitterer than von Paulich). The two consulates often, particularly in times of crisis, act as representatives of the same cultural values.
The hybrid space, which is the dominant space in the novel, includes the city of Travnik, as a synecdoche of the whole of Bosnia as well as the Levantine characters (D’Avenat, Rotta, Cologna), who are all native Catholics serving the Western consulates, but spend most of their life in the Orient. For the Western characters in the novel, Bosnia is simply an oriental space. They, as well as their Ottoman opponents (Bosnian viziers), see Bosnia as a barbaric and backward land. The often quoted and analyzed monologue of Levantine Mario Cologna expresses the utopian idea of harmonization of the divided world in a distant future. Based on this monologue, it will be argued that the hybrid space is positively evaluated in the novel. However, the narrator’s speech and speeches of other characters with some “intellectual credibility” reflect the opposite evaluation of hybridization in general, which is in accordance with the idea of ethnic/cultural essentialism anchored in the central consciousness of this novel, as well as the novel THE BRIDGE ON THE DRINA.