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U završnome radu prikazuje se drugi dramski ciklus Marijana Matkovića pod naslovom I bogovi pate. Ciklus je nastao u doba hrvatske neomoderne pa se stoga prikazuje i analizira povezanost s političkom te društvenom situacijom ondašnjega vremena. Prikazana je usporedba djela koja su obuhvaćena ciklusom s helenskom mitologijom, odakle je utjecaj i preuzet. Posebno poglavlje posvećeno je intertekstualnosti i utjecaju s obzirom na navedeno. Shodno tomu istražuje se te prikazuje Matkovićeva interpretacija antičkoga mita. Želi se prikazati koliko nije bitan odabir mitološke tematike, već interpretacija iste. Prikazana su osnovna načela Aristotelove Poetike kako bi se zaključilo koliko ih Matković poštuje u neoklasičnome teatru. Zasebno su interpterirane drame Prometej, Heraklo te Ahilova baština s naglaskom na: obilježja dramskih tekstova, sadržaj/fabularne odnose, psihološku te sociološku komponentu, kao i motivsko-idejnu. This thesis shows the second dramatic cycle of I bogovi pate written by Marijan Matković. The cycle was created in the neomodernism era and it analyses the connection between the political and social situation of that era. A comparison of the works covered by the cycle with helenic mythology is presented, from which the influence is taken. Particularly dedicated to intertextuality and influence with regard to the above. Accordingly, it explores and shows Matković's interpretation of the antique myth. This work wants to show how important is the interpretation of the mythology instead of it's theme. The basic principles of Aristotle's Poetics are presented in order to conclude how much Matković respects them in the neoclassical theater. Prometej, Heraklo and Ahilova baština are the dramas that are interpreted separately with the emphasis on: the characteristics of dramatic texts, content / fabular relationships and the psychological, sociological and motivational component.

Odabir subverzivne američke drame ovdje je temelj pokušaju obrazloženja mitom uvjetovanoga američkoga sna te podpravaca tzv. subverzivne drame: stare i nove. Pojedinac je sučeljen s neuspjehom u uspješnoj sredini te zbog toga u sebi nosi osjećaj krivnje, nesposobnosti i neispunjenosti te posrće prema grijehu. Takav lik se susreće u staroj subverzivnoj drami, dok nova subverzivna drama prezentira čitatelju lika koji unatoč savršenim predispozicijama zbog svoje neprilagođenosti ne može komunicirati s ostatkom okoline. Ženski likovi u dramama zadovoljavaju sve kriterije koje nalažu podpravci subverzivne drame. Njihova uloga je da obitelj održavaju na okupu, ali nesposobne su da se prilagode svojem odabiru životnoga puta koji je bio pogrešan. Ženski lik je prikazan u dramama psihički i fizički na kompletan način. Očituje se njihova prošlost zbog koje posrću u sadašnjosti, pritom ne mogu utjecati na budućnost jer njihov životni odabir je bio promašen. Mary, Blanche i Martha su osuđene na grižnju savjesti zbog koje se odaju porocima koji vode u opsesiju, na kraju i u propast. Cilj je diplomskoga rada obrazložiti i opisati ulogu ženskih likova u malograđanskoj obitelji, objasniti njihove unutrašnje monologe i opsesije, njihovu moralnu stranu. Prezentirane su u radu zajedničke i neke različite karakteristike ženskih likova. Na kraju diplomskoga rada, obrađeni su ženski likovi iz suvremene hrvatske drame Tri zime autorice Tene Štivičić. The selection of subversive American drama explains themyth-conditioned American dream, and its sub-directions: the old and new subversive drama. An individual is faced with failure in a successful environment and for that reason he feels a sense of guilt, incompetence and unfulfillment, and stumbles toward sin. Such a characteris encountered in the old subversive drama, while the new subversive drama presents a character which in spite his perfect predispositions cannot communicate with the rest of his environment due to his maladaptation. The female characters in dramas satisfy all the criteria commanded by the subversive drama sub-directions. Their role is to keep the family together, but they are incapable of adjusting to their life choices which were wrong. The female character in dramas is shown in a psychologically and physically complete way. Their past, due to which they stumble in the present, not being able to influence the future because their life choices were amiss, is manifested. Mary, Blanche and Martha are condemned to feel remorse, which makes them turn to vices, which leads to obsession and in the end, ruin. The aim of this thesis is to explain and describe the role of female characters in a small town family, explain their in nermonologues and obsessions, their moral side. Common, as well as certain different characteristics of female characters are presented in the thesis. At the end of the thesis, the female characters from Tena Štivičić’s contemporary play Three Winters are elaborated.