Mitologija i legenda uronjene u zbilju
Review of: Mitologija i legenda uronjene u zbilju (O romanu Polja Bijele Vile autorice Radice Leko)
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Review of: Mitologija i legenda uronjene u zbilju (O romanu Polja Bijele Vile autorice Radice Leko)
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Review of: Kad život počne pričati priče (O romanu Dragice Križanac: KATARZA)
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Review of: Velike poruke u kratkim pričama Radica Leko: VAKO, TAKO ILI NAKO, HKD Napredak, Posušje, 2020.
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Konavle is a holy land, and the people of Konavle are a biblical people, rooted in their land and deep tradition. Like the peoples of ancient times from the era of the patriarchs. I always had that feeling when I passed through that area, I would feel the energy and radiation from the depths, strong as geysers, fertile as the land of Konavle.
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The paper discusses the poetry of Sr. Bernardine Franjka Horvat within the framework of her entire literary activity, and during the period of her educational work. Although she died young, she created such a literary work that requires authoritative evaluation and revaluation and inclusion in the corpus of recent Croatian literature.
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Review of: Srećko Marijanović, Bezimeni, Matica hrvatska, DHK HB, Mostar – Stolac, 2022.
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At the beginning of the 20th century there would be great turnaround in the artistic creation of the European continent, as a result of the changes that were initiated by historical events. The passive attitude of society, in contrast to all the turbulent events in the real life of man of that time, will necessitate a very radical change in all aspects of art.All the features of the modern way of artistic adaptation are recognizable within the framework of European cultural events, that is, modern, which will dominate the principles of “contradictory” and the ideas of completely new “multiplicative tendencies”. Thematic determinants are directly related to man and endangering his existence, resulting in dissatisfaction and rebellion that culminates in the chaotic state of his subconscious. In the inability to influence the changes caused by the worldly “insane” insanity, it resounds with the cataclysm of mankind.The crash with tradition, to which it previously relied on art, initiates specific new forms in literary expression. This period in literature was marked by writers who want to create their own poetics, without falling short of a general poetics, therefore, there are no more universal norms and no rules that are strictly given. The individual experience of the world and the reality is revealed in the creations of new processes of artistic creativity, determined by the analytical procedure in the presentation of the human subconscious.
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Veliki dio opusa Ljiljane Filipović bavi se političkom izdajom kao društvenim fenomenom i s njime povezanim afektima građanske krivnje, srama, ljutnje, ogorčenosti. Tema ideologijske iznevjerenosti poprima različite formate, najčešće esejistički vezane za prozivku savjesti stvarnih ili imaginarnih osoba, od kojih autorica stvara svojevrsnu »obrnutu hagiografiju« ili kolekciju egzemplarnih primjera promašene odgovornosti, u kojoj ne propušta biti kritična ni prema vlastitoj tradiciji etičkog pozicioniranja.
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Ovaj tekst sam izgovorila opasnom lakoćom, pa je vjerojatno to razlog što mi se sada, dok pokušavam pisanjem rekonstruirati izgovoreno, otima iz ruku. Lakoću spominjem jer proizlazi iz dubinskog prepoznavanja književnog pisma Ljiljane Filipović kao meni bliskoga. Ali nije riječ (samo) o prijateljstvu nego o fenomenu za koji sam skovala naziv »prijateljska poetika« u smislu dinamizirane, događajne »amo-tamo« poetike kao užitka uzajamnog slušanja i govorenja u dijeljenom intelektualnom prostoru. Tradicionalan je to užitak: još Platon kaže da ni u čemu ne uživa tako snažno kao u govorenju i slušanju filozofije, u čemu vidi i određenu utilitarnost koja se ostvaruje onkraj one drugačije svrsishodnosti vezane uz njemu dosadne teme, poput razgovora o novcu.
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U ovom tekstu zanima me zapravo odnos vidljivosti i nevidljivosti u različitim oblicima pisanja Ljiljane Filipović. Ljiljana Filipović osoba (žena) je riječi. Riječi, tekst, za nju su život i misli preneseni u vidljivu formu. S druge strane, riječi tvore i govor, onu nevidljivu formu koju opslužuje radijski eter kojim se šire i kolaju vizualno neoblikovana značenja. Riječi istodobno vidljive i nevidljive, eterične, čime se samo podcrtava stalan topos pisma Ljiljane Filipović koja se iz knjige u knjigu, i proznu i nefikcionalnu, bavi nevidljivošću subjekta, njegovim nestajanjem, prazninom označitelja.
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Likovi pred sebe i pred svoje bližnje postavljaju krajnje nedosegljive ciljeve, etičke i intelektualne. To dakako rezultira radikalnim rješenjima. Autorica često poantira humorom, kao u slučaju redovitog djedova treskanja vratima. Ironija različitog intenziteta pretače se u fine nijanse cinizma i sarkazma.
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Reviews of: Josip Mlakić: Druga Noina arka, Fraktura, Zagreb, 2022.; Nick Cave: The Sick Bag Song -Pjesme zapisane na vrećicama za mučninu. Bodoni, Zagreb, 2022. (preveo s engleskoga Vojo Šindolić); Katarina Horvat: Kućna služinčad u Zagrebu: 1880. - 1914., Zagreb, Srednja Europa, 2021.; Antun Šoljan: Osumnjičeni, Vuković & Runjić, Zagreb, 2022. (izvorno izdanje 1960., odn. 1955/56.); Nataša Mataušić: Diana Budisavljević - Prešućena heroina Drugog svjetskog rata. Profil, Zagreb, 2020.; Nikola Štedul: U službi savjesti - Memoari. Naklada Pavičić, Zagreb, 2021.
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The aim of the paper is to investigate how the changes that have taken place in the children’s book market in Poland over the last thirty years have influenced the selection of children’s books by Croatian authors that have been translated and published in Poland as well as their reception. Thanks to the conducted analyses, it will be possible to estimate the size and character of Croatian children’s literature in Poland in the analysed period. My focus will be primarily on the mechanics of book selection — publishers’ motivation, their decisions and the consequences of their choices. I will analyse the mechanisms of selecting texts for translation by Polish publishers and their consequences on the basis of Pierre Bourdieu’s theory of literary field.
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This article shows the phenomenon of Croatian journalist and writer Marija Jurić Zagorka. Well-known in Croatia and recently very popular not only among her readers but also scholars (especially feminist-oriented), she remains almost completely absent in Poland today despite the fact that her first novel, The Slaves [Roblje], was translated at the very beginning of the 20th century and she herself was commemorated as the first female journalist from Central Europe in the 1930s.
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Since there are many differences between the standard Croatian language and the Croatian dialects (Čakavian, Kajkavian and Štokavian), Croatian literary works written in dialects usually include a glossary or otherwise try to bring their language closer to inodialect readers. This paper first reconstructs the models of translating modern Croatian dialect literature into the standard Croatian language and then analyses the advantages and disadvantages of each model.
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This manuscript deals with the prose narrative of the famous Russian writer Ivan Sergeyevich Turgenev and his influence on the prose narrative of the Croatian writer Josip Kozarac. The author discusses the importance of the comparative literary study between national literatures of the world and define their literary and historical discourse in the global literary mainstream. Josip Kozarac, a great Croatian writer and novelist, found inspiration for his literary corpus in the Turgenev’s novels and short stories.
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The outbreak of the civil war in Yugoslavia was the end of a certain stage in Dubravka Ugrešić’s writing. The shock experienced by the novelist and essayist in the first half of the 90s radically changed the nature of her literary work. One of the leading themes was that of Croatian and Serbian nationalism producing inequality, which was presented as a politically useful construct. The article focuses on three collections of essays by Dubravka Ugrešić: The culture of lies (1996), Nobody’s Home (2005) and Fox (2017). The article presents a detailed discussion of the author’s attitude to the wartime and post-war reality, which focused on dividing communities that had coexisted for decades in relative agreement. The pessimistic overtone of these ironic essays leaves no illusions as to the nature of nationalism as a dangerous tool in the hands of those who exercise power or wish to gain it by creating ethnic inequalities.
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