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Белешка. Драгутин Домјанић

Author(s): J. Horvath / Language(s): Croatian Issue: 06/1933

Масе свијета које су испратиле Драгутина Домјанића до његова прераног гроба, најбоље су показале колико су широк круг штоватеља имали Домјанић и његова поезија. То је готово поразан доказ нашем нелирском времену упркос. У погребној поворци били су заступљени сви друштве- ни слојеви, интелектуалци и сељаци, старо и младо; над одром су изрекли посмртне бесједе представници и Хрвата и Срба, и Словенаца и Бугара.

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Matoš i Beograd

Author(s): Zdravko Zima / Language(s): Croatian Issue: 04+06/2015

Premda je ljudski vijek sam po sebi putovanje, u slučaju A. G. Matoša razlozi putovanja nadilaze zakone rođenjem i smrću definirane sudbine. S obzirom na obiteljske i zavičajne korijene te ishodišnu vezu s Tovarnikom i Zagrebom, u manje od 41 godine, koliko ih je proveo na ovom svijetu, Matoš je u Hrvatskoj živio manje nego što je želio, ali više nego što mu je to bilo dopušteno; kao vojni bjegunac nekoliko je puta potajno dolazio u domovinu, pretvarajući svoju sudbinu, a onda i svoje pisanje u neprekidnu subverziju. U feljtonskim zapisima i kozerijama između putovanja i poezije stavljao je znak jednakosti, tvrdeći da bi život najradije proveo na putu, obilazeći svijet kao peripatetik i »idući za gospođom Avantirom kao cirkusi i ciganska kola« (Obzor, 31. ožujka 1912). Sudeći iz te perspektive, on je velik putnik i putopisac/ljetopisac; doduše više je putovao iz razloga nužnosti nego iz razloga slobode, iako nogom nikada nije kročio u Dubrovnik, Split i Istru.

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A. G. Matoš, Marcel Proust i Jovan Skerlić, ili Zagreb, Pariz, Beograd, Venecija

Author(s): Milana Vuković Runjić / Language(s): Croatian Issue: 04+06/2015

Nije mi bilo dovoljno posvetiti jednu knjigu A. G. Matošu, pa sam mu posvetila dvije. U prvoj, u kojoj ga s Proustom vodim u Veneciju, on je glavni junak, u drugoj, gdje se u imaginarnom hotelu sastaju glavni i sporedni krivci Velikog rata, tek je šutljivi promatrač s drugog svijeta.

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Usmeno-književni elementi u romanu Prosjaci i sinovi Ivana Raosa

Author(s): Dragana Krešić / Language(s): Croatian Issue: 13/2016

Usmena književnost najstariji je oblik književno-umjetničkog djelovanja, a pripada dijelu kulture svakoga naroda. Ono po čemu se prepoznaje kulturna tradicija bilo kojeg naroda, pa tako i hrvatskog, u svom samosvjesnom govornom ostvarenju, jest velika uporaba poslovičnog ili paremiološkog blaga. Stipe Botica u knjizi Biblija i hrvatska kulturna tradicija naglašava da paremiološki izričaj, bez obzira u kojem se pojavnom obliku javlja, pokriva sve ono što je prethodno kao govorna kategorija bilo u iskustvu. Pod pojmom “paremiološki oblici” prvenstveno se misli na ono što jest poslovica, izreka, krilatica, gdje je iskustvo uvijek bitna kategorija.

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Hrvatski pogledi u Bosnu (1842. – 1858. – 1879.)

Author(s): Marijan Šabić / Language(s): Croatian Issue: 3/2019

In this paper the author describes the similarities in and differences among three Croatian travelogues written in the 19th century, from the time of the beginning of the Tanzimat reforms in the Ottoman Empire until 1879 when Austro-Hungary had already occupied Bosnia. Discussing issues regarding the genesis, form and substance in Pogled u Bosnu (Views on Bosnia) written by Matija Mažuranić (1842), in Putovanje po Bosni (Journeys through Bosnia) by Ivan Kukuljević Sakcinski (1858) and in Putopisne crtice iz Bosne (Travel sketches from Bosnia) by Gjuro Pilar (1879), the author has striven to present the specific findings presented by the various authors to the Croatian public and emphasized, by using examples from these texts, the diversity of Croatian perspectives on Bosnia and its population. The author draws the conclusion that Mažuranić’s travel book has the most similarity with the common understanding of fictional narrative, that Kukuljević illustrates significant changes in the Croatian perception of Bosnian Muslims and that, from the documentary point of view, Pilar’s travel book can be considered the most reliable.

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Intertekst slavenske mitologije i elementi magijskoga realizma u romanu Dubravke Ugrešić Baba Jaga je snijela jaje

Author(s): Kornelija Kuvač-Levačić / Language(s): Croatian Issue: 3/2019

The paper investigates how elements of magical realism are enacted through a Slavic mythical intertext in Dubravka Ugrešić’s novel Baba Jaga je snijela jaje (Baba Jaga Laid an Egg) (2008). It is a unique text in Croatian novelistic prose of the 2000s due to its inventive inclusion of mythlogical, ethnographical, ur-Slavonic and pre-Christian layers in a hybrid genre novelistic form, constructed through the author’s well known “patchwork” poetics. The characteristics of magical realism are here recognised as a narrative mode, which can be entirely incorporated into the genre hybrid, intertextual and interdiscursive multi-layered nature of the novel. These are: the irreducible elements of magic (the characters’ inexplicable powers and features, their influence on special and temporal relations as well as on the relationships of other characters, without any sense of bewilderment or disbelief); a detailed description of the world of phenomena (a mimetically represented reality of the life of elderly woman as well as the urban spaces of (South) Eastern Europe); the concordance of contradicting understandings of occurrences; the unification of different domains in the perception of reality (a lack of surety in the information received by the bodily senses) as well as a breach in the commonly received ideas on space, time and identity. In the entire novel an inherent sense of the marvellous is present underneath its mimetic framework, through which the transitional reality of post-communist countries (as a contrast between impoverished and decaying urban quarters with the decadent luxury in the highly stylised spaces of hotels and spas). The figurative nature of the characters of the elderly woman, founded on a mythic intertextuality, in this work it is interpreted as a figure of the voice of a suspended subject between two discursive systems: the transitional; the dominant and colonising, in which an elderly woman is a degraded object on the margins of society and a culturally submerged, mythic system in which an elderly woman is frighteningly powerful. According to S. Slemon and L. Hutcheon, the aim of magical realism is the creation of a liberating poetic for the suspended subject in the various contexts of marginalisation. However, it must be noted that due to the aforementioned mythological intertext on the witch Baba Yaga, upon which magical realism as a mode of narrative relies here, Baba Yaga Laid an Egg represents an innovative text within the corpus of Croatian novelistic prose on the theme of transition, so that due to the presence of its characteristic imaginarium we can place within this narrative model (despite some differences) which are represented in it.

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The Emergence and Establishment of Yugoslav Dada:

Author(s): Kristina Pranjić / Language(s): English Issue: 64/2021

The article focuses on the transnational aspect of Yugoslav Dadaism, which was already an integral part of its founding stage in Prague in 1920, when the main Yugoslav Dadaist, Dragan Aleksić, was a student there. Through an analysis of the already known (but rare) primary and secondary sources and a presentation of some newly found primary sources, the article presents the cooperation between Yugoslav and Czech artists and clarifies the circumstances of establishing this Yugoslav avant-garde movement. Furthermore, because Aleksić’s work was closely connected to Ljubomir Micić’s Zenitism and the activity of Branko Ve Poljanski in Prague, we compare their journals (Zenit, Dada-Jok, Dada Tank, Dada Jazz) and emphasize the points of conflict and competitiveness among them, which was a constructive part for the further development of Yugoslav Dadaism. Thus, the article contributes to both the local and international positioning of the Yugoslav Dada in the context of the Central European avant-garde.

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Figurativna uporaba riječi i ekspresivnost teksta

Author(s): Martina Jukić / Language(s): Croatian Issue: 25/2021

The paper analyzes contextually expressive lexis or figurative usage of words. It is about usage of figures of speech and tropes, whose recognition and analysis requires context in which they appear and at the same time effect the text expressiveness. Essays (published in the collection Sadašnjost za vječnost) and feuilletons (published in the collection En Passant) by Veselko Tenžera, were used for the purpose of this paper. Following figures of speech and tropes were analyzed in terms of their frequency: ellipsis, personification, comparison, hyperbole, metonymy, oxymoron, irony and sarcasm. The analysis shows that figurative usage of words contributes to expressiveness of the text, because in this way additional possibilities are used in language as a system for making new connections between words. The uniqueness of these texts is the author’s creativity, individuality and subjectivity in creating new unusual language forms whose meaning and function are conditioned mainly by the context in which they are put by Tenžera.

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Nejasna mjesta u Sibili Ane Katarine Zrinske

Author(s): István Lukács / Language(s): Croatian Issue: 2/2020

The Croatian Sibila was first published by Ljudevit Ivančan (1906) and then more recently by Zvonimir Bartolić (2007) in a facsimile with a full modern transcribed version of it, including a study and a gloss. There are several shortcomings in the critical editions of the Hungarian and Croatian fortune teller books, such as inaccurate transcriptions, misinterpretations, and omissions. In this study, the author makes an attempt to fill the aforementioned lacunae and resolve the contradictions in the texts published by Zvonimir Bartolić and Géza Orlovszky by carefully comparing certain passages in the Polish, Hungarian, and Croatian fortune teller books. In the present paper, based on the available full Croatian and Polish verses, the author proposes to replace the missing words and expressions in the given verse of the Hungarian version of Fortuna. He also interprets and corrects words that are not interpreted or misinterpreted in the Hungarian and Croatian critical editions, and finally tries to find an explanation for the differences between the Hungarian and Croatian texts using several interesting examples. In a separate chapter, the author deals with the somewhat inconsistent poetic text of the Croatian Sibila, and discusses in more detail the highly accurate, twice-rhyming, halved twelve separate text written Siromahom i.e. ‘For the Poor’. Although it is now believed in Croatian literary studies that Sibila is not the work of one but of several translators (it is a known fact that there were many copyists working at the court of the Zrinski family in Čakovec), no one has proved this. After an accurate comparison of the Hungarian and Croatian fortune teller books, it is quite apparent that the above statement is true, as the author’s analysis revealed that, for example, one translator knew the obsolete meaning of a given Hungarian word accurately (‘cattle’ in the sense of property), whilst the other did not, as it is missing from his translation. This is also supported by the uneven wording of the verses, which is particularly striking in the case of the poetic text of the extremely demanding dedication entitled Siromahom.

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Aforizmi – Ivan Bradvica

Author(s): Ivan Bradvica / Language(s): Croatian Issue: 109-110/2022

Aphorisms by Ivan Bradvica: „Osmislice“.

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Aforizmi – Danko Ivšinović

Author(s): Danko Ivšinović / Language(s): Croatian Issue: 109-110/2022

Aphorisms by Danko Ivšinović: „Aforizmi“; „Epigrami“.

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Aforizmi – Ivo Mijo Andrić

Author(s): Ivo Mijo Andrić / Language(s): Croatian Issue: 109-110/2022

Aphorisms by Ivo Mijo Andrić: „Aforizmi i slobodne misli“.

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Lovran u Krleži

Author(s): Goran Krapić / Language(s): Croatian Issue: 1/2022

Although it might seem as such at the first glance, Lovran was not an unimportant station for Krleža. That place was his important turning point before the journey to Galicia and new literary work. He spent time recovering in Lovran in 1916, during the World War I, thinking about life and death and, probably, about his creative work (he received cyanide for a battlefield and soon he burnt his manuscripts). He wrote about Lovran in discursive literary texts (Olden Days, Diary 1943, and Journey to Istria). This place is also mentioned in his well-known literary works (Three Guardsmen, The Return of Philip Latinowicz and Banners), not as main motive, but as one that is important to understand the characters. Lovran, just like the entire area of Kvarner, is worth exploring in the context of Krleža’s life and work. It seems like Lovran is offering a valuable insight about Krleža and some of his works.

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Modernizam AGM-ova flanera i postmoderni medijasferni flanerizam Branka Čegeca

Author(s): Luka Franjić,Ivan Trojan / Language(s): Croatian Issue: 2/2022

This article explores the relationship between Matoš’s modern literary oeuvre and his modern media flâneurism with Branko Čegec’s postmodern intermedial literary flâneurism, by relying on the theoretical considerations of Dubravka Oraić Tolić, Krešimir Nemec, Igor Gajin and Goran Galić. The article provides an overview of the history of terms flaneur and flâneurism, with an emphasis on how they apply to Čegec’s and Matoš’s work. Since the subject in the poetry written by Čegec meanders along the signifier paths, it is necessary to determine its position in relation to the subject in Matoš’s texts. The analysis confirms that Čegec, like Matoš, is using the postmodernist apparatus, albeit with certain literary departures, to rely on intermedial sources and traces, and is thus giving a symbolic postmodern response to Matoš.

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Interpersonalna komunikacija, društvena kritika i pjesnički kod u poetskim tekstovima Branka Čegeca

Author(s): Beatriz Brkić,Paula Rem / Language(s): Croatian Issue: 2/2022

The aim of this article is to decode the aspects of interpretative categories of interpersonal communication, social criticism, and the poetic code in Branko Čegec’s poetry and prose texts within the poetry collections Uspon i pad Koševskog brda, Sarajevo za prolaznike, and Pun mjesec u Istanbulu, as well as to contribute to the analysis and description of the poetics of his poetry. Čegec’s poems are interpreted with the help of Zoran Kravar’s concept of textual structures of the poetic sign and Jakobson’s and Bühler’s linguistic function, which analyses the internal semantics of the text, while the interpretive analytical system is taken from Goran Rem’s Koreografija teksta and Josip Užarević’s Kompozicija lirske pjesme. The analysis of the phenomenon of interpersonal communication is based on Kathleen Kelley Reardon’s and Roland Burkart’s research. This article analyses the models of diachronic intertextuality within the interpretative category of interpersonal communication, based on ironizing the Petrarchan love code, the function of the subject’s sexuality as a figure of provocation, the process of identity formation through the female subject’s liberation, and time and space categories that create the subject’s inner world. The process of deconstruction and construction becomes a means for creating the subject’s identity or the poetic code of its artistic identity. Intermediality, as one of the main characteristics of Čegec’s poetics and the modern poetics in general, is recognized as a means of social criticism aimed at the limits of art, authority, power, and culture.

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TRADICIJA I MODERNITET U UJEVIĆEVU OPROŠTAJU

Author(s): Luka Šeput / Language(s): Croatian Issue: 28/2022

Critical reception of Tin Ujević’s poem Oproštaj (Farewell) was abundant and it shows that, due to its thematic and formal characteristics, the poem often incited readings that tried to explain the traces and influences of different literary codes in its structure. In reference to the analysis of the poem made by Josip Vončina, Pavao Pavličić and Dubravka Oraić Tolić, this paper offers an overview of the dominant intertextual relations that a close reading of the poem reveals. The aim is to show that in spite of the evident linguistic, graphic and rhetoric textual signals which clearly connect the poem with the Croatian renaissance literature, the theme of Oproštaj is profoundly modern. Thus, the poem is juxtaposed to poetic texts of French symbolism – namely Baudelaire’s Voyage and Rimbaud’s Bateau ivre, as to show that the poem establishes active relations both towards the literary past and the literary present.

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Ispit savjesti Tina Ujevića. Kritička metodologija esejističkoga subjekta

Author(s): Jela Sabljić Vujica / Language(s): Croatian Issue: 9/2023

Ispit savjesti (Examination of Conscience) occupies a unique place in Ujević’s works. It is the junction of his biography, the creative principle of his poetry. In it, the author is testing himself in a self-examination and self-analysis exercise with no determined order or plan, in a medium which has no fixed base. Ispit savjesti is the search for coherence, the search for expression and the settling of accounts. This is from where its branched structure flows, which theory would find hard to define with any precision, placing it in the context of hybrid literature, at a crossroads where confession, essay, autobiography, lyricism and mysticism intersect. This paper develops two lines of discussion from this junction, which, in the end, connect in Ujević’s essay. On the one hand, it will consider the difficulties in mediating between the subject and the world, and on the other hand, it will point out the contentious places in Ispit savjesti. By following the two lines further, the historical/crisis/critical status of the principles of modernist self-determination will become evident, but so will the inviolable way in which it is deflected in Ujević’s soul-searching prose. In this way, the modernist subject will be exposed three-fold in the soul-searching: as a document of the time, as a document of crisis and as a document of criticism.

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ŠEST CRKVENIH PJESAMA HRVATSKOGA PRIMORJA IZ BILJEŽNICE ANDRIJE RAČKOGA

Author(s): Ivona Smolčić / Language(s): Croatian Issue: 30/2023

Andrija Rački (Fužine, November 30, 1870 – Rijeka, October 14, 1957) is a Croatian theologian and historian. He worked at the Higher Theological School in Senj as a lecturer of canon law and Church history in the period from 1895 to 1902, after which he was appointed pastor in Trsat. During his life, he dealt with the past of monasteries all over the Croatian littoral and the history of the diocese of Senj. Based on archival materials, he wrote several studies from the past of Rijeka, Sušak and Trsat, covering the period from the Middle Ages to the nineteenth century. He published works in the magazines Primorske novine and Naša sloga, and he also collaborated in Katolički list. Along with published titles Church reforms of the French government in the diocese of Senj-Modruška 1809 – 1813 (1910), From the past of the high school in Sušak: on the occasion of the tricentenary (1928), History of the city of Sušak (1929), From the past days of the municipality of Liča and Fužina (1946), Contributions to the history of the city of Sušak (1947), Notes from the history of the Ladyship of Grobnik (1948). He is also the author of several historical and political articles. This paper will deal with the author’s previously unpublished recordings entitled Glagolska sveta misa i njike bojne pomorsko pojesme, probably written in Senj in 1892 and specifically with the second part of the recording, which contains six songs collected in the area of the towns of Senj and Novi Vinodolski.

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How the Croatian Elites Switched over from the Habsburg Empire to the South Slav Kingdom in a Drunken Night in November 1918

Author(s): Marijan Bobinac / Language(s): English Issue: 2/2023

In his slightly fictionalized autobiographical essay A Drunken November Night 1918 (written in 1942, first published in 1952), Miroslav Krleža attempts to reconstruct a scandal to whose creation he himself contributed to a large extent. In November 1918, in the interregnum from the collapse of the Habsburg monarchy to the foundation of the South Slav kingdom, the then young author felt compelled at a reception held in Zagreb in honor of the Serbian officers to protest loudly against the speech of the former high Habsburg officer Slavko Kvaternik. The scandal retrospectively reinforced Krleža's conviction of the misery of the contemporary Croatian elite, a circumstance whose reasons, in his opinion, lay not only in political opportunism and moral corruption, but also in unreflected utopianism and the underlying political naivety. His hope that after the dissolution of the compromised Habsburg rule the South Slav peoples could advance towards national and social emancipation was soon replaced by the sober insight that imperial Austro-Hungary was followed by a small-sized, Serb dominated post-imperial structure. By describing the period when the text was written, the Second World War and the Ustashe reign of terror in contemporary Croatia, and in doing so particularly referring to the conversion of many former Habsburg officers to the side of fascist movements, Krleža also emphatically reveals his own conception of history, according to which historical events appear to be an eternal recurrence in which human stupidity is coupled with an excessive use of power and violence.

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Girls’ Diaries as Historical Sources: Documents between History and Fiction

Author(s): Dubravka Zima / Language(s): English Issue: 2/2022

The paper interprets two different versions of the girl’s diary of the Croatian author Zora Ruklić, published in 1938 and 1983. In the repeated, supplemented version of the diary, the diarist articulates herself as a member of a radical youth group that in 1911 and 1912 not only participated in student demonstrations in Zagreb but also organized the (unsuccessful) assassination of commissar and ban Slavko Cuvaj in June 1912, the first political assassination in Croatia. As a fifteen-year-old girl, the author directly documented the political events in which she participated, and the two versions of her diary are interpreted in parallel with the help of theories about the genre of the diary of Irina Paperno, Rebecca Hogan, and Philippe Lejeune.

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