Intertekstualno gibanje kipa. Marinkovićeva Glorija i europski uzori anamorfičkih dvojnika
The intertextual moving of a statue. Marinković's Glorija and european models of anamorphic doubles

Summary/Abstract: The axis of the dramatic world of Marinković's Glorija consists of the motif of woman-statue, whose intertextual migrations and metamorphosis this paper proposes to trace. Following Hocke's thesis of the motif of the double in the figure of specular anamorphosis, i. e. inverted image, puppet, robot or android, as of one of the constants in the works of mannerist, oxymoron-Iabyrinth artists of »Iost innocence«, among which Hocke ranges also Pirandello - poetically close to Marinković - the nearest motif precedent is found in Pirandello' s tragedy Diana e la Tuda, which builds a sort of anamorphosis of D'Annunzio's and Ibsen's decadentistic motif of the sculptor-work-model relationship. Drawing a comparison between these last three texts, the article contests the allegorical and autobiographical interpretations, commonly shared by Pirandello's critics, that present Diana e la Tuda as a minor work, already distant from the author's poetics of humourism, representing allegedly the conflict between the Form and the Life killing the Form. Different arguments are stated to demonstrate the inconsistency of that kind of reading, and, the author's consequent application of his humourism principle; the mechanism governing the tragic plot is explained by the disproportion of humouristical, i. e. cognitive and creative competences of the characters, manifested by their unequal capabilities of recognizing themselves in respective anamorphic doubles: while some of them are limited to the comic level of the perception of the (other as) contrary, the others attain the humouristical sense of the contrary, i. e. the reflection on the other as their own inverted specular reflection. Tbe value of the structural organization of Pirandello's tragedy has been missed by the critique, but not by the dramatist Marinković, who elaborates autonomously in Glorija the problem of anamorphic double raised by Pirandello, introducing in his complex dramatic double system Pirandello's elements, like the motifs of pygmalionic experiment, of living sculptoral material, of the cognitive-humouristical superiority of the female model, of her attempt to enter the statue, of the plastic representation of a divinity, of the vegetal metaphors of precognitive innocence, of true (artistic) and fake (pseudoartistic) miracle, of the Saint moving his statue by miracle and of the appearance of grotesque doubles, as well as the intertextual allusion to Goethe's Iphigenie auf Tauris and Shakespeare's Winter's Tale.

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