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Ovaj završni rad bavi se analizom i usporedbom dvaju dječjih romana, Čudnovate zgode šegrta Hlapića Ivane Brlić-Mažuranić i Pinocchijeve avanture Carla Collodija. Kroz devet poglavlja, rad istražuje ulogu glavnih likova u oba djela, ali i njihov značaj u društveno-povijesnom i književnom kontekstu Hrvatske i Italije. I jedan i drugi roman sadrže elemente pustolovnoga žanra i govore o siromašnim dječacima koji se suočavaju s brojnim izazovima. Dakle, cilj je analiziranih romana u završnom radu ukazati djeci na zanimljivoga junaka u dječjem romanu, a to je lik dječaka pustolova. Naime, u oba romana se pojavljuju likovi koji utjelovljavaju dobro odnosno zlo, čime se kod djece potiče svijest o moralnosti. Zanimljivo je da su ženski likovi prikazani kao blagi i dobri, dok su muški likovi različitih karaktera. Komparativna analiza između navedenih djela iz hrvatske i talijanske književnosti ukazuje na to da su oba romana avanturističkoga karaktera i namijenjena su djeci, no različito su strukturirana i nose različite poruke. Šegrt Hlapić naglašava važnost rada i marljivosti, dok Pinocchio upozorava na posljedice lakovjernosti i neiskrenosti. Kao rezultat komparativne analize može se zaključiti da oba djela imaju značajnu ulogu u dječjoj književnosti, kako u hrvatskoj, tako i u talijanskoj. Oba romana doprinose razvoju dječje mašte i potiču čitatelje na promišljanje o moralnim vrijednostima kao i na razvijanje pozitivnih osobina poput stjecanja znanja, hrabrosti, marljivosti i odanosti., This thesis examines the analysis and comparison of two children's novels, „The Wonderful Adventures of Hlapić the Apprentice“ by Ivana Brlić-Mažuranić and „Pinocchio's Adventures“ by Carlo Collodi. Through nine chapters, the thesis explores the role of the main characters in both works and their significance in the socio-historical context of Croatia and Italy. Both novels contain elements of the adventure genre and depict impoverished boys facing numerous challenges. Therefore, the aim of the analyzed novels in this thesis is to highlight an interesting hero in children's literature, the character of the adventurous boy. In both novels, characters embodying good and evil appear, fostering children's awareness of morality. Interestingly, female characters are portrayed as gentle and good, while male characters have different personalities. The comparative analysis between these works of Croatian and Italian literature reveals several similarities and differences. Although both novels are of an adventurous nature and intended for children, they have different structures and convey different messages. "The Apprentice Hlapić" emphasizes the importance of work and diligence, while "Pinocchio" warns about the consequences of gullibility and dishonesty. As a result of the comparative analysis, it can be concluded that both works have a significant role in children's literature, both in Croatian and Italian contexts. Both novels have contributed to the development of children's imagination and encouraged readers to reflect on moral values, as well as to cultivate positive qualities such as acquiring knowledge, courage, diligence, and loyalty.

Knjiga donosi iscrpno, pomno i sveobuhvatno čitanje kako problema, ideje i koncepta dekadencije, tako i hrvatske književnosti koja je s time povezana

Analizirajući razvoj književnosti i umjetnosti u Zagrebu za vrijeme Prvoga svjetskog rata, autor objašnjava kontinuitete i diskontinuitete između ratnoga vremena i “lijepe epohe” (franc. la belle epoque) koja je neposredno prethodila ratu, a svjedočila je značajnim književnim i umjetničkim ostvarenjima u Hrvatskoj. U središtu analize je artikulacija ideje jugoslavenstva među intelektualcima i umjetnicima ratnoga Zagreba, ali i nastavak sukoba “starih” i “mladih” u književnosti, što do sada još nije bilo jasno uočeno i iscrpno obrađivano u historiografiji. Knjiga pokazuje kako je među pripadnicima elitne kulture tijekom rata došlo do “trijumfa” ideje jedinstvene jugoslavenske kulture još i prije stvaranja Kraljevstva Srba, Hrvata i Slovenaca.

Ovaj se diplomski rad temelji na romanu Tatin sin (2020) hrvatskog autora Dine Pešuta. Glavna tema koju diplomski rad obrađuje jest proces rješavanja i gradnje nepostojećeg odnosa između oca i sina kojeg otežava gomila prešućenih trauma koje do samog kraja romana ostaju neriješene zbog nedostatka komunikacije. Rad sastavljaju četiri tematsko povezane cjeline koje govore o odnosu protagonista i njegovog oca, o razlozima zašto je njihov odnos disfunkcionalan te o odabranoj obitelji u kojoj pojedinac može naći utočište. Pored konflikata s kojima se protagonist suočava u samom sebi, govori se i o poteškoćama koje muče ne samo protagonista, već cijelu generaciju milenijalaca kojoj i sam pripada: govori o borbi na tržištu rada, suočavanju s krizom nekretnina, klasnim razlikama te financijskoj nestabilnosti. Cilj diplomskog rada je prikazati, analizirati te interpretirati unutarnje i vanjske konflikte protagonista te zaključke analize, a i samu interpretaciju potkrijepiti činjenicama, događajima i citatima iz romana. Diplomsko delo temelji na romanu Tatin sin (2020) hrvaškega avtorja Dina Pešuta. Glavna tema, ki jo diplomsko delo obravnava, je proces reševanja in oblikovanja skorajda neobstoječega odnosa med očetom in sinom, ki ga otežujejo še številne družinske travme, ki zaradi pomanjkanja dialoga ostanejo nerazrešene do samega konca romana. Diplomsko delo je sestavljeno iz štirih tematsko povezanih sklopov, ki govorijo o odnosu protagonista in njegovega očeta, o razlogih, zaradi katerih odnos ni produktiven, ter o ideji izbrane družine, h kateri se posameznik lahko zateče. Govori se tako o protagonistovih osebnih konfliktih kot tudi o življenjskih tegobah, ki mučijo ne samo protagonista, ampak celotno generacijo milenijcev: o boju na trgu dela, spopadanju z nepremičninsko krizo, družbenih razlikah ter finančni nestabilnosti. Cilj diplomskega dela je prikaz, analizira ter razlaga notranjih in zunanjih konfliktov protagonista, ugotovitve ter samo interpretacijo pa utemeljiti z dejstvi, dogajanjem in citati iz romana.

Rad „Motivi nematerijalne kulturne baštine u 'Prosjacima & sinovima' i trilogiji Ivana Raosa u kontekstu suvremenoga kulturalnog pamćenja” podijeljen je u deset poglavlja, a započinje Uvodom u kojem se objašnjava pojam nematerijalne kulturne baštine, zapažaju interferencije usmene i pisane književnosti još od pojave prvih hrvatskih pisanih spomenika, donose biografski podatci o književniku Ivanu Raosu i njegovu raznolikom opisu, a posebice trilogiji „Vječno žalosni smijeh” i romanu „Prosjaci & sinovi” koji su predmet doktorskoga rada. Uvod također sadrži podatke o upotrijebljenoj građi i metodološkim postupcima, kao i ciljeve istraživanja i hipoteze. Drugo poglavlje nosi naziv Predaje. U radu je korištena Dragićeva klasifikacija predaja na povijesne predaje, etiološke predaje, eshatološke predaje, mitske predaje, demonološke predaje i pričanja iz života. Ivan Raos u svoj je roman „Prosjaci & sinovi” i trilogiju „Vječno žalosni smijeh” inkorporirao brojne predaje. Treće poglavlje proučava legendu. Jedna od najčešćih hrvatskih legendi obrađuje temu propasti Gavanovih dvora, izvorno starozavjetne priče o Sodomi i Gomori. Legenda o Gavanu i Lazaru sadržaj je don Pavlove propovijedi svake prve tople proljetne nedjelje kad su se prosjaci od zanata pripremali za odlazak u prosjačenje. Četvrto poglavlje bavi se hrvatskim usmenim epskim pjesmama kojima je narod sve znanje i iskustvo, oblikovano najčešće u desetercu, zadržavao unutar zajednice, poučavajući tako njezine pripadnike vlastitoj povijesti. Najveći broj hrvatskih usmenih epskih pjesama opjevava nevolje koje su dolazile od Turaka. U mnogim je krajevima pjevanje epskih pjesama bilo popraćeno sviranjem na guslama, tradicijskom instrumentu načinjenom od jednog komada drva. Sljedeće poglavlje donosi primjere usmenih lirskih pjesama inkorporiranih u Raosovu trilogiju i „Prosjake & sinove”, s posebnim naglaskom na povijesne pjesme, poskočice u kolu, naricaljke, uspavanke, šaljive pjesme, gangu i ojkavicu. Šesto poglavlje naslovljeno Poslovice govori o mikrostrukturama kojima se u obliku sažete tvrdnje izriče istinitost životnih pojava. Temeljna civilizacijska djela poput Epa o Gilgamešu Veda, Talmuda i Biblije obiluju poslovicama, ali i Raosova djela, predmet ovoga rada. 564 U usmeno-retoričke oblike ubrajamo zdravice, blagoslove, brojalice i brzalice, kletve i basme. Primjere svake od navedenih vrsta nalazimo kod Raosa, a najbrojnije su kletve. Osmo poglavlje bavi se bogatom crkveno-pučkom baštinom hrvatskoga naroda. Blagdani i njihove proslave predstavljali su narodu odmak od radne svakodnevice, a mladima pružali priliku za međusobno upoznavanje. Sveci koji se u izabranim romanima spominju, a koji su potom dublje istraženi su sveti Martin, sveta Katarina Aleksandrijska, sveti Blaž, sveti Roko i sveti Ivan Krstitelj, a dani i blagdani uz čiju se proslavu vežu bogati običaji Badnjak i Božić, korizma, Veliki tjedan s naglaskom na Velikom trodnevlju, Uskrs, Tijelovo i Velika Gospa. Deveto poglavlje posvećeno je položaju žena Imotske krajine, a deseto poglavlje nekadašnjim običajima: običaju kruženja bukare, značaju ognjišta, pečenju rakije i ispijanju bikle, običajima prakticiranima na samrti i nakon smrti kada je trebalo sve pripremiti za pokop. Posebna je pozornost usmjerena i na svadbene običaje, ali i na nekadašnji običaj gonjanja i liganja koji Raos često spominje u navedenim djelima. Rad je prožet brojnim memoratima kazivača od kojih su mnogi prvi put zapisani, stoga predstavljaju neprocjenjivu vrijednost za hrvatsku usmenu baštinu, The paper ”Motives of Intangible Cultural Heritage in Prosjaci & sinovi and Trilogy of Ivan Raos in the Context of Contemporary Cultural Memory” is divided into ten chapters and begins with an introduction which explains the concept of intangible cultural heritage and notes the interference of oral and written literature since the appearance of the first Croatian written monuments. It also provides biographical information about the writer Ivan Raos and his diverse description, especially the trilogy “Vječno žalosni smijeh” and the novel “Prosjaci & sinovi” which are the subject of this doctoral thesis. The introduction also contains information on the material used and methodological procedures, as well as targeted research and hypotheses. The second chapter is called Tales. The paper uses Dragić's classification of tales into historical, etiological, eschatological, mythical, demonological tales and life stories. Ivan Raos incorporated numerous tales into his novel "Prosjaci & sinovi" and the trilogy "Vječno žalosni smijeh". The third chapter studies the legend. One of the most common Croatian legends deals with the theme of the downfall of Gavan's palaces, originally an Old Testament story of Sodom and Gomorrah. The legend of Gavan and Lazarus is the content of Don Pavle’s sermon every first warm spring Sunday as the beggars of the craft prepared to go begging. The fourth chapter deals with Croatian oral epic poems, usually formed in decasyllable, that served people to keep all their knowledge and experience within the community, thus teaching its members their own history. Most of the Croatian oral epic songs sing of the troubles that came from the Turkish Ottoman Empire. In many parts, the singing of epic songs was accompanied by playing gusle, a traditional instrument made from a single piece of wood. The next chapter provides examples of oral lyric poems that Raos incorporated into trilogy and “Prosjaci & sinovi” with special emphasis on historical songs, songs sung during the wheel dance, lamentations, lullabies, humorous songs, ganga and ojkavica. The sixth chapter, entitled Proverbs, deals with microstructures which, in the form of a concise statement, express the truth of life phenomena. Basic civilizational works such as the Epic of Gilgamesh, the Vedas, the Talmud and the Bible abound in proverbs, as well as the work of Raos.

Dragutin Tadijanović je, u svom dugogodišnjem životu i stvaralaštvu napisao enorman broj pjesama. Iako su mu brojni kritičari pripisivali gotovo mitsku povezanost s Rastušjem, a samim time nepravedno ga svrstali u ruralne pjesnike, hipoteza je naše doktorske disertacije kako je on prvenstveno i zamjetno urbani pjesnik. Pišući detaljne podatke ispod velike većine svojih pjesama, često zapisuje i grad u kojemu su nastale, stoga grad postaje važnim urbanim motivom – bilo da se nalazi izvan teksta pjesama, kroz doslovno spominjanje vlastite imenice ili imenice koja upućuje na grad u tijelu pjesama. Kako bismo potvrdili svoju hipotezu, pošli do od općih znanstvenih spoznaja o prostoru, iz pozicije društvenih i humanističkih znanosti, prikazujući razvoj grada i ostvarivanje njegova identiteta kroz povijest, ali s velikim naglaskom na grad u hrvatskoj književnosti. Ukazavši da su Tadijanovićevi prethodnici (ne u smislu preuzimanja utjecaja nego ranije afirmacije motiva grada u pjesmama) upravo modernisti, interpretirali smo i analizirali njihove reprezentativne pjesme kako bismo u konačnici mogli vidjeti postoje li kakvi utjecaji na Tadijanovića. Iako je i nakon modernista, a za vrijeme Tadijanovićeva življenja postojalo onih koji su se (u poeziji ili prozi) bavili gradom (poput Krleže i sl.), Tadijanovićevo djelo, temeljeno na Sabranim pjesmama i Zelenom voću kao istraživačkom korpusu, pokazuje da je urbani motiv definitivno dominantan u njegovoj sveukupnoj poeziji te ga s pravom treba nazvati urbanim pjesnikom. Bilo da govori o hrvatskim ili europskim gradovima, ponaša se on poput urbanog antropologa, pokazujući razumijevanje mentaliteta stanovnika pojedinoga gradova i prepoznajući i one najsitnije urboglife, naizgled nevažne. Dragutin Tadijanović wrote an enormous number of poems during his long life and work. Even though many critics have been attributing him an almost mythical connection with Rastušje and have thus unfairly classified him as a rural poet, the hypothesis of our doctoral dissertation is that he is primarily and noticeably an urban poet. Not only did he use to write detailed information below most of his poems, but he also used to note down the city in which those poems were written. Thereby the city becomes an important urban motif – whether it is outside the text itself, through a literal mention of a proper noun or a common noun referring to the city in the body of the poem. In order to confirm our hypothesis, we started from general scientific knowledge about space, through the position of social sciences and humanities, showing the development of the city and the realization of its identity through history, but with great emphasis on the city in Croatian literature. Taking into consideration that Tadijanović's forerunners were modernists (not in the terms of taking over the influence, but rather in the sense of earlier affirmations of the city's motifs in the poems), their representative poems were interpreted and analysed so that it can be seen if there were any influences on Tadijanović. Although, even after the modernists, and during Tadijanović's lifetime, there were those who (in poetry or prose) dealt with the city (such as Krleža, etc.), Tadijanović's work, based on Collected Poems and Green Fruit as a research corpus, shows that the urban motif is definitely dominant in his overall poetry and that he should fairly be called an urban poet. Whether he talks about Croatian or European cities, he acts like an urban anthropologist, showing an understanding of the mentality of the inhabitants of individual cities and recognizing even the tiniest urbogliphs, seemingly unimportant.

U radu se analizira predodžba o kraljici Jeleni Slavnoj (10. stoljeće) sadržana u trima hrvatskim povijesnim romanima: Prvi kralj (1903.) Velimira Deželića st., Kraljica Jelena. Roman iz doba hrvatskih narodnih vladara (1935.) Lovre Katića te Kraljičin vitez. Roman iz doba kraljice Jelene (1976.) Ivana Raosa. Jelena je prikazana kao pobožna, mudra i pravedna vladarica zadivljujućega javnog djelovanja i manje uspješnoga privatnog života. Potonje se ponajprije odnosi na njezin brak s kraljem Mihaelom Krešimirom II. U analiziranim su romanima glagoljaši bitan dio Jelenina okružja i izgradnje fabule. Ukupna romansirana povijest o Jeleni pripisuje joj presudniju i sudbonosniju ulogu za opstanak i blagostanje hrvatskoga kraljevstva nego što to daju naslutiti sačuvani povijesni izvori., Croatian queen consort Helen the Glorious (Croatian Jelena Slavna) is one of the most popular rulers from the era of native Croatian medieval rulers (9th – 11th c.). The Latin inscription on her sarcophagus (976), found in 1898 on Gospin Otok in Solin, surpasses in importance all the other Croatian medieval rulers’ inscriptions. Among other things, it states that Helen was the wife of King Michael (Mihael Krešimir II.) and the mother of King Stephen (Stjepan Držislav). Her popularity is mostly grounded on the notion of her being also the mother of (the Croatian) kingdom as well as the mother of the poor and protectress of the widows. In addition to Helen’s epitaph, the other relevant historical mention of Helen can be found in Historia Salonitana (13th c.) by Thomas the Archdeacon. Thomas writes that Helen built the churches of St Stephen and St Mary on Gospin Otok in Solin with many kings and queens being burried in the atrium of the former. These relevant but scarce data were the foundation of the historical novels about Helen the Glorious. She is featured as a character in three of them: The first king (Croatian Prvi kralj, 1903) by Velimir Deželić Sr., Queen Helen. Novel from the native Croatian rulers era (Croatian Kraljica Jelena. Roman iz doba hrvatskih narodnih vladara, 1935) by Lovre Katić and The queen’s knight. Novel from the queen Helen era (Croatian Kraljičin vitez. Roman iz doba kraljice Jelene, 1976) by Ivan Raos. All of them portray Helen as a pious, wise and righteous woman with initiative and will to act. She is greatly respected by men of power in her surroundings. Moreover, Katić and Raos present her not merely as a queen consort but as an actual ruler of the Croatian kingdom due to the illness of her husband. Contrary to the historical mentions of King Krešimir II. that describe him as a «great» and «magnificent» ruler, Katić and Raos fictionalize him as a weak person unable to bear the burden of a kingdom in crisis. Therefore, Helen steps forward as the one who brings peace, stability and prosperity to her people. The price she is paying is having an unfulfilled private life, mostly in her marriage which is described as tolerable but neither happy nor satisfying. Not only is that due to Krešimir’s weakness but also due to the fictional fact that she loved someone else first. Deželić and Raos are the ones pursuing the narrative of Helen never getting over her first love. Concerning historical context of the analyzed novels it is worth mentioning that all of them establish the presence of the Croatian Glagolites (representatives of the non-Latin, i. e. Church Slavonic liturgy in the West) in Helen’s entourage. They are described as her devotees while she is presented as their protectress. So far there is no direct evidence of Helen associating with the Glagolites. Their presence in the novels is grounded in the fact that they were inevitable participants of the ecclesiastical, cultural and social life in medieval Croatia. The fact that Deželić, Katić and Raos include them in their respective novels suggests that they may have presumed that hardly any important story about the Middle Ages in Croatia should (and could) be told without Glagolites having a part in it. In conclusion, all the analyzed novels propose an idea of Helen as a virtuous woman who made Croatian history with her abilities, diligence and willingness to prioritize duty towards the others, especially the less privileged others. She is described as the ruler under which a perilous inner crisis of the Croatian kingdom was resolved. Such a portrayal goes beyond the so far known historical sources. Her story (particularly in Katić’s and Raos’ novels) serves as an inspiration and guidance for the current and next Croatian generations.

Dramskome i kazališnom tekstu u radu pristupit će se iz stilističke i multimodalno-stilističke vizure. Takvi pristupi podrazumijevaju interdisciplinarnost pa će biti potrebno poslužiti se pragmastilističkim, semiotičkim i naratološkim alatima. Stilistici se često spočitavala usmjerenost na dramski tekst kao nepromjenjivu kategoriju i zanemarivanje izvedbe. Stoga će preplitanje multimodalne analize i stilistike otvoriti vrata prema novim razinama stvaranja značenja u dramskome diskursu. U središte zanimanja postavit će se dijalektički odnos dramskoga i kazališnog teksta. Na dramski se tekst neće gledati kao na književni predložak koji određuje izvedbu. (Multimodalna) stilistička analiza drame treba obuhvatiti interpretaciju na razini iskaza pa će se stilogenim smatrati odstupanja od Griceovih maksima ili strategija uljudnosti. Naglašavajući komunikacijski aspekt drame, moguće je i dramski i kazališni tekst promotriti u kontekstu multimodalnosti. Za razliku od semiotičkih pristupa, koji su pojavu različitih sustava znakova u kazalištu gledali sumarno ili su pokušavali odrediti najmanju značenjsku jedinicu kazališnoga teksta, multimodalnost će pružiti shvaćanje modusa kao kategorije čiji je status odrediv tek upotrebom u određenom kontekstu. Posebna će pozornost biti posvećena preključivačima i deiksama kao kategorijama onkraj jezika koje su zajedničke i dramskome i kazališnom tekstu. Preključivači će omogućiti pojavu višerazinske komunikacije u dramskome tekstu bez potrebe da se uključuju već poznati elementi epiziranja ili posredujućega komunikacijskog sustava. Analiza će također obuhvatiti pojavu različitih modusa kojima je moguće ostvariti nejasnost gledišta. Ta se pojava sustavno opisala u kontekstu filmske umjetnosti i naratologije, ali je u kontekstu dramskoga diskursa tek naznačena mogućnost oslikavanjem unutrašnjega svijeta lika ili upotrebom različitih scenografskih postupaka. Korpus čine četiri dramska teksta Prizori s jabukom Ivane Sajko, Drama o Mirjani i ovima oko nje Ivora Martinića, Ono što nedostaje Tomislava Zajeca i Radnice u gladovanju Gorana Ferčeca te audio-vizualni zapisi istoimenih izvedbi. Odabrane će se drame kontekstualizirati u suvremenu hrvatsku dramsku proizvodnju. Multimodalna će analiza navedenih drama uz pomoć većinom pragmastilističke i kognitivnostilističke aparature usmjeriti interpretacije na istraživanje tema ili odrednica poput traume i apatije, svođenja komunikacije na fatičku i konativnu funkciju te uključivanje novih medija u jezičnu ili tematsku razinu. Stilističko će čitanje tako i u dramskome i u kazališnom tekstu biti suočeno s pojavom različitih modusa. This thesis focuses on the dialectic relationship between the dramatic and theatrical text observed from the stylistic and a multimodal stylistic viewpoints. When compared to philological and non-philological research into drama, stylistics is a relatively new discipline. However, it bears to be noted that drama has been nearly excluded from its scope during its scientific and methodological development. That is why this thesis has a two-fold aim: to describe and develop possible stylistic and methodological tools for interpreting the dramatic discourse, and use the practical portion to prove that, when it comes to studying drama as a discipline, stylistics should be positioned as a discipline which gives equal consideration to dramatic and theatrical text. The hypotheses pursued herein are that the relationship between the dramatic and theatrical text is dialectic, i.e. that there is a fluid permeation among possible communication levels and modes or sign systems considered inherent to one or the other. Consequently, such a dialectic relationship would affect the macro-stylistic and micro-stylistic characteristics of the dramatic text. It is presumed that, in the context of Croatian drama, the influence of dialectics in those two texts can be observed at the level of structural characteristics of the text, such as deletion of margins between dialogues, monologues and stage directions or exclusion of typographical marks, at the pragmatic-stylistic level in the transitions of roles or functions at the ends of the communication levels, and on the level of semiotics in the unexpected use of codes. It is obvious that drama in textual form experienced a kind of crisis in late 19th century, leading to doubts regarding the compatibility of drama and theatre, the advent of epic tendencies in drama (Pfister 1998) and, more recently, a strong influence of film (Lehmann 2004). Having this development perspective in mind, the insistence herein on a dialectic relationship between the dramatic and theatrical text may seem anachronistic, but the goal is to show that it can be contemporary if the understanding of all players involved in the creation of meaning is deepened. In principle, the thesis will be divided into a so-called theoretical or methodological portion and contextualisation in contemporary dramatic production, and an interpretation portion. The outer parts of the thesis, its very end, will contain photographs of analysed performances and appendices containing verbalised recordings of all modes appearing in these performances with the aim of facilitating the navigation of audiovisual recordings which are not publicly available, and presenting the permeation of these modes. The first chapter will focus on further discussing the theatrical and logocentric approach to drama so as to completely reject theories regarding the dominance of the dramatic text over the theatrical performance or the rule that the text needs to precede the performance, as well as to establish the idea of the dramatic as anything that follows the dramatic logic, but also that which includes singing and considering the spectator. The second part will describe the reader approach postulated in the title. It is clear that there will be no contention regarding the title phrase “dramatic text”, while the phrase “theatrical text” may seem controversial, particularly from today’s perspective, given that renowned theatrologists (Pavis 2004) consider “reading” reserved solely for the dramatic text. The thesis will show how the introduction of a semiotic perspective, followed by an idea of a theatrical text as a semiotic text, can be considered justified should any attempts at segmentation of the theatrical code to its smallest units of meaning be rejected and focus placed on Hjelsmlev’s legacy of connotative semiotics, Peirce’s triadic model of the sign, Eco’s idea of ostension (1977). The goal is to refer to the communication aspects of the theatrical text, but also to the new possibilities which would result from the inclusion of Peirce’s triadic model of the sign and the dimension of semantics into the reading of a dramatic text. The second chapter of the first part will focus on a parallel overview of the Anglo-Saxon traditions regarding stylistic research into drama and the beginnings of a multi-modal approach to analysis and Croatian scientific work in this area. It needs to be noted that the interest of both of these communities in drama has been increasing since the development of stylistics as a discipline – starting from a structuralist basis, influence of pragmatics and conversation analysis, all the way to discourse stylistics. Once conversation as an aspect of discourse became the focal point of dramatic interpretation (Burton 1980), the anglophonic approach was marked by focusing on linguistic characteristics of the text and Short’s idea of style as deviant (1989), and in the end the permeation between stylistics and discourse analysis also included the aspect of the reader, while attention was directed to the relationship between the author and the reader (Hall, Simpson 2000). The situation was almost identical in Croatian study of drama from a stylistic perspective. The thesis will therefore address the interpretation of a nuanced use of synonyms (Pranjić 1983) on the one hand, while advancement towards the pragmatic-stylistics of drama will be possible once stylemes are considered for their value (Katnić-Bakaršić 1999). The post-structuralist idea of interdiscursivity (Kovačević, Badurina 2001, Ryznar 2017) is significant for the development of stylistics as a discipline. However, it will be shown that the theatrical and dramatical text cannot be moulded into the horizontal and vertical stratification of the language field. With the aim of highlighting the communication aspects of drama, as well as to pull back from a linguistics-centred viewpoint, the thesis will turn to multimodal analysis, i.e. multimodal stylistics, including the socio-semiotic (Halliday, Kress, van Leeuwen, Nørgaard) and cognitive direction (Lakoff, Johnson, Gibbs, Gibbons). Finally, the levels of creation of meaning in the dramatic and theatrical text will be illustrated in table form and used as a basis for the interpretation portion of the thesis. Given that two directions of multimodal analysis have been established – the pragmatic and the semiotic – the somewhat lengthy third chapter will follow the parallel development of the pragmatic, semiotic, i.e. pragmatic-stylistic dramatic analyses. Based on Jakobson’s functions of language and Mukařovský’s levels of communication, pragmatics will be focused on the communication among characters in the dramatic text or on the intricacies of communication in theatre. This will in turn affect the decades-long discussions regarding the relationship between the main text and the paratext, as well as the formation of two communication levels in the dramatic text. Grice’s implicatures, Leech’s politeness principle and Brown’s and Levinson’s politeness strategies place the reader into the centre of the pragmatic-stylistic dramatic analysis, which is why the reader is considered to be the one who connects the social context with the fictional one (Culpeper, Short, Verdonk 1998) or there are attempts to specify the relationship between the author and the reader of a dramatic text (Feng, Shen 2001). The path of the development of the semiotic study is followed in the analyses of dramatic text, seen in semiotics as a marking practice. Clear influence of Peirce’s triadic model of the sign will be observed in works by Elam (1980), Fischer-Lichte (2015) and Ubersfeld (1982), while Eco’s (1976) semiotic theory of communication will be of interest since he redefined the role of the receiver of the message and the entire communication channel, where the emphasis is no longer on conveying the information from point A to point B. Moreover, the perspective of semiotics led to a turn towards the spectator, which enabled further studies into performing arts. The pragmatic-stylistic perspective is focused on the reader of the dramatic text, while the semiotic one, accompanied by verbal and non-verbal encoding, focuses on the spectator in the theatre. However, it is evident that both of them address a category outside of language, shifters, found in Ducrot’s theory of polyphony (1987), as well as in Brecht’s V-effect or distancing effect (1949). This further motivates us to ponder the possibility of introducing multi-level communication into the dramatic text, without explicitly introducing the instances of reader or spectator to complicate the situation, enabling us to finally define dialogue as the dramatic aspect of the text. Therefore, the fourth chapter will further explain shifters or deixes as a category common to both the dramatic and theatrical text, where once again it is important to note the inevitable differences between a reader in the context of a dramatic text and a spectator in the context of a theatrical text. The spectator’s role in theatre is to interpret various codes and decode them. This role is believed to be further complicated in the dramatic text due to the possible occurrence of three different communication systems, which would affect deixis in a quantitative manner. An increase in the number of shifters and a greater possibility to shift lead to the fifth chapter, focused on a more in-depth study of the narratological idea of the narrator and point of view in drama. The quest for a hidden narrator in paratextual elements, stage presentation and different subcodes of the dramatic and theatrical text had to have led to an approximation of the dramatic text to narrative forms, while more recent times saw the study of the point of view in drama (Richardson, McIntyre, Short) become influenced by film theories which did not refrain from explaining the point of view. Under the influence of Chatman (1990) and Bordwell (1985), as well as Uspenskij’s (1970) changes of point of view on a temporal-spatial, psychological, ideological and phraseological level, the thesis will present linguistic indicators of the point of view in dramatic texts as described by McIntyre (2004, 2006), Gibbons (2012), Galbraith (1995), Stockwell (2002) and Nørgaard (2019), emphasising the importance of double deixis and the possibility of shifting into different deictic fields for the interpretation portion of the thesis. The interpretation portion of the thesis will contextualise selected dramatic work in contemporary dramatic production. This will begin with the definition of this term so as to enable its distinction from other terms with close meaning, such as Croatian young drama or newer and new Croatian drama. Given that 1990 is considered as the start of contemporary dramatic production, the stylistic characteristics of contemporary drama will be presented by decades. Having in mind that dramatic production of the nineties has already found its place in various compendiums, anthologies and historical overviews, key characteristics and figures often included within the phrase “future of Croatian drama” will be specified. The interpretation portion will dedicate more space to insights of theoreticians and theatrologists who have studied post-dramatic and post-humanistic elements. Conclusions made by Lucija Ljubić (2006) regarding space in contemporary drama, Nataša Govedić (2005) regarding the origins of the contemporary tragedy, and Čale Feldman (2011) regarding the death of the actor, director and dramatist will prove to be particularly useful, especially in light of Lehmann’s conclusions regarding post-dramatic space which becomes a scenic-spatial experience. This thesis posits that stylistic interpretation must include both the dramatic and the theatrical text, which is why the first step in forming its body was focusing on contemporary dramatic production texts which have been performed. Unfortunately, theatres in Zagreb do not have, or do not archive, recordings of première performances before 2012 or 2010. This, however, could not be and was not the only criteria when selecting works. Once the existence of recordings of the selected texts was confirmed and after such recordings were obtained, they were examined before interpretation. At that point, a differentia specifica was extrapolated between the selected texts and the dialectic relationship with the performance, which will direct the (multimodal) stylistic approach to the interpretation. The four selected texts (Scenes with an Apple by Ivana Sajko, A Play About Mirjana and Those Around Her by Ivor Martinić, That Which is Missing by Tomislav Zajec and Female Workers on Hunger Strike by Goran Ferčec) are all considered to prominently use the mediating communication level displayed in various manners. The basis is the hypothesis that the purpose of its introduction in dramatic texts is not to lead to epic tendencies in the Phisterian sense, but it is rather the result of change in the elements that make up communication levels in the dramatic text. The reader does not hold his usual position; however, he is still present on the external communication level of the dramatic text, but he is not leaning back in a chair, perusing hardback copies of dramatic texts. Within the context of a visual change in the contemporary reality of society, the reader’s status has changed and he took on the properties of a spectator, i.e. the audience, on the external communication level of the theatrical text, whose purpose is to identify all modes communicating with him, primarily in the audiovisual manner. Given that, in this case, the message of the dramatic text is perceived in a visual or audio way, dramatists write texts characterised by the following: 1) Visuality – realised through the intermedial permeation and use of figures such as ecphrasis, which is used to emphasise the descriptive dimension of text 2) Lack of clarity regarding the point of view which can only be determined by viewing – realised in the metaleptic simultaneousness of the actor/character, the compression of time and space 3) Fluidity of the spatial setting – realised through the use of the abstract nowhere, through the semantics of space achieved through contact 4) Apathy of viewing – realised through the monologic apostrophizing of the theatron, through the depiction of the inner world of the character, the cathartic experience of viewing a tragedy, where the reader is perceived as a subject, but also an object since he is powerless 5) Auditive aspect – realised either in an auditive vacuum which encourages performative reading or in the indications of ritual parts of classical drama, such as the chorus, singing and dancing. The performances of the selected texts (Scenes with an Apple at the Dubrovnik Summer Festival, A Play About Mirjana and Those Around Her in the Croatian National Theatre and the &TD theatre, That Which is Missing and Female Workers on Hunger Strike at the Zagreb Youth Theatre) will be analysed in accordance with the previously mentioned interpretation conclusions, but not so as to seek the meaning behind the dramatic text because it is not seen as a script. The analysis includes two performances of A Play About Mirjana and Those Around Her because the dramatist took the role of director to present his own text in the &TD theatre in 2021, which was viewed as a good opportunity to highlight that this thesis does not address categories such as the transposition of the text to the stage, wherein it would assess the success, or lack thereof, of the performance. The entire performance will be viewed as the product of the collaboration of everyone included in the process. Therefore, this thesis aims to show which modes of production of meaning can be inspired by the dramatic text: 1) Corporeality – the actor’s body which passes through various states during the performance, from mode to medium, tactility with a purpose of achieving semantics of space 2) Spatiality – the possibilities presented by the theatre stage or auditorium space, a tendency towards smaller, more intimate, spaces so as to be closer to the spectators 3) Vocality – singing, reciting, use of pre-linguistic and post-linguistic signs. The aforementioned modes confirm the tendency of theatre towards performativity (FischerLichte 2009) and an emphasis on the fluidity of the process, accompanied by defining the main difference between theatre and other contemporary media.

U radu se prikazuje 2. svezak zbornika radova Periferno u hrvatskom jeziku, kulturi i društvu (Katowice: Wydawnictwo Uniwersytetu Śląskiego, 2021)

Tekst se bavi kriminalističkim romanom Antuna Šoljana pod naslovom "Osumnjičeni". Riječ je o jednom od slabije poznatih Šoljanovih djela koje je u dosadašnjim radovima posvećenima ovom značajnom hrvatskom piscu gotovo potpuno zanemareno.

U emisiji se govori o zakonu o hrvatskom jeziku, o hrvatskom jeziku, o srbijanskoj velikosrpskoj politici i njezinu odnosu prema hrvatskom jeziku i književnosti.

Disertacija na primjeru hrvatske književne i filmske produkcije u postjugoslavenskom razdoblju propituje neka od općih mjesta suvremene teorijske misli. Iskustvo neposredne zbilje u proteklih trideset godina pokazalo nam je slabu validnost i primjenjivost brojnih općeprihvaćenih postmodernističkih teorijskih koncepata. U trenutku kada se već odavno govorilo o nestanku velikih „metapriča“ (Lyotard), „kraju povijesti“ (Fukuyama), „ratovima koji se nisu dogodili“ (Baudrillard), jugoslavenska se kultura suočila s destrukcijom i instrumentalizacijom čije posljedice i danas osjećamo. Upravo je kultura filter kroz koji sagledavamo i tumačimo stvarnost, a ovaj rad kao svoj cilj uzima prikaz njezinih promjena u razdoblju od stjecanja nominalne samostalnosti Republike Hrvatske pa sve do danas. Disertacija nudi tumačenje kako smo u navedenom razdoblju posredstvom romana i filma tvorili priče o sebi. Rad se ne bavi samo pitanjem kako su se priče sastavljale, već nastoji odgovoriti i na pitanje kako su one djelovale te čemu su služile. U fokusu rada je razmatranje ideologije i spektakla kao središnjih točaka provedena istraživanja. Disertacija pokazuje da smo u proteklih trideset godina svjedočili procesu metamorfoze uprizorenja kulture od dominantno ideološki obojenih diskurzivnih praksi u javnome prostoru (tijekom 1990-ih) do onog uprizorenja koje egzistira unutar medijatiziranog spektakla te kojemu je upravo produkcija spektakla primarna svrha (od početka 2000-ih). Također, istraživanje je pokazalo da je domaća kulturna scena od nekadašnjih etatističkih kriterija u kulturnoj proizvodnji ustoličila nove kriterije, ekonomske, čime se potvrdila istinitost tvrdnje prema kojoj se ideologija demokracije otkriva kao „diktatorska sloboda tržišta“ (Debord). Interesni korpus rada obuhvaća djela nastala tijekom 1990-ih koja su obrađivala ratna zbivanja, djela koja su stvarali pisci okupljeni oko FAK-a na početku dvijetisućitih te ona koja nastaju u razdoblju nakon njegova gašenja. U istom vremenskom odsječku interes je usmjeren i na filmsku proizvodnju, pretežito igranu, ali rad se također dotiče i nekoliko dokumentarističkih ostvarenja. Analitički fokus posvećuje se i paraliterarnim fenomenima kao što su književne skupine, nagrade te legitimacijske strategije za pozicioniranje pojedinih aktera unutar kulturnog polja. Rad počiva na komparativnom proučavanju odnosa hrvatske književnosti i filma te nudi sliku narativne artikulacije identitetskih pitanja u hrvatskom društvu. U disertaciji se poseže za metodologijom povijesnog dokumentiranja građe te za suvremenim metodama interpretacije (konstrukcionistički i dekonstrukcionistički pristup). The dissertation on the example of Croatian literary and film production in the post-Yugoslav period questions some of the general points of contemporary theoretical thought. The experience of immediate reality over the past thirty years has shown us the weak validity and applicability of several generally accepted postmodernist theoretical concepts. At a time when there has long been talked of the disappearance of the great „metanarratives“ (Lyotard), „the end of history“ (Fukuyama) and „wars that did not take place“ (Baudrillard), Yugoslav culture faced destruction and instrumentalization whose consequences we still feel today. Specifically, culture is the filter through which we perceive and interpret reality, and this thesis aims to present its changes in the period from the acquisition of nominal independence of the Republic of Croatia until today. The dissertation offers an interpretation of how we created stories about ourselves in the mentioned period through novels and films. It not only deals with the question of how the stories were composed but also seeks to answer the question of how they operated and what they served. The focus of the thesis is on the consideration of ideology and spectacle as central points of the conducted research. It shows that in the past thirty years we have witnessed a process of metamorphosis of staging culture from predominantly ideologically marked discursive practices in public space (during the 1990s) to staging that exists within a mediated spectacle and for which spectacle production is the primary purpose (since the early 2000s). Furthermore, the research shows that the domestic cultural scene has established new economic criteria from the former statist criteria in cultural production, which truthfully confirms the claim that the ideology of democracy is revealed as „the dictatorial freedom of the market“ (Debord). The interest corpus of this thesis includes works created during the 1990s that dealt with the war theme, works created by writers gathered around the FAK in the early 2000s, and those created in the period after its disappearance. In the same period, interest is focused on film production also, mostly fiction, but it nevertheless addresses several documentary achievements. The analytical focus includes para-literary phenomena as well, such as literary groups, awards and legitimation strategies for positioning certain participants in the cultural field. The thesis is based on a comparative study of the relationship between Croatian literature and film and offers depicting of a narrative articulation of identity issues in Croatian society. It reaches out to the methodology of historical documentation of material and modern methods of interpretation (constructionist and deconstructionist approach). In the introductory part of the thesis, the theoretical and contextual framework of the research is established and the goals and hypotheses of further analysis are defined, as well as numerous sub-analyzes that will be offered in the following text. The mapped context refers to domestic literary and film production from the independence of the Republic of Croatia until today, and the goal is directed towards the narrative articulation of themes (war, nationalism, transition) in the post-Yugoslav society and especially those elements in the observed cultural complex that contributed to the identity representation in a new political and economic context. An overview of previous research related to the topic (for example B. Buden, D. Duda, N. Gilić, M. Kolanović, H. Turković, etc.) is offered, and the theoretical framework of thinking is indicated as well (T. Eagleton, J. Lyotard, D. Kellner, etc.). It is pointed out that in the early phase of the observed period Croatian society was marked by a state of war, the implementation of democracy and the acceptance of the capitalist system. Attention is also drawn to the formative factors which influenced not only the cultural production of that period but also reflected the shaping of the cultural sphere in the further course of Croatian contemporary cultural history. In this context, the analysis is focused on the process of metamorphosis of cultural performance in public space which was developed from the nucleus of distinct ideological character, characteristic of the period during the 1990s, and led to increasing spectacularization of the cultural field, noticeable since the early 2000s. This metamorphosis is also connected with the establishment of a new economic reality shaped by the newly adopted principles of market economy, which will expose Croatian cultural production to „dictatorial freedom of the market“ (Debord) and will reflect on the establishment of the new value criteria in perceiving cultural products. The central part of the dissertation opens with a chapter entitled Narrative of the Social Text. It discusses the mechanisms of constituting political ideologies and problematizes the question of the role of culture in the process of designing the idea of tradition and nation of a particular community. The reflections of B. Anderson, J. Assmann, S. Malešević, E. Said and R. Williams, which are applied in the analysis of the presentation of Croatian identity from the acquisition of independence to the present day, are of great importance for the presented conclusions. The next chapter of the dissertation brings into focus this period, which was largely characterised by the transition process. In this most comprehensive part of the discussion, transition issues are considered from different perspectives. From the causal point of view, the political transition is observed, then the economic transition, and finally the cultural transition to which most space is dedicated. In the context of the analysis of cultural transition, the process of restructuring cultural values in society is monitored based on previously analyzed political and economic processes. Emphasis is placed on the consequences of political and economic changes on the cultural scene. This is elaborated in subchapters whose titles summarize thematic and problem focus of cultural processes: Redefining Cultural Identities, Introducing New Technologies into Cultural Creation, Openness of Cultural Communication and Mediation of Cultural Values, Placement of Cultural Products and Values on the Market and Cultural Industrialization. In the chapter Cultural Field as a Field of Struggle, the presented theoretical observations are summarized and are applied to the comparative reading of various examples from Croatian literature and cinematography. This section presents conclusions on the repositioning of individual writers and groups (M. Krleža, M. Budak, Croatian Writers’ Association, Croatian Writers Society) in the context of transitional culture, and the formative role of literary and film festivals (FAK, Pula Film Festival, Motovun Film Festival) within the domestic cultural field is discussed. The chapter Spectacle of Public Space is divided into three subchapters: Spectacle of Politics, Spectacle of Culture and Spectacle of Criticism. The very notion of spectacle is used as interpreted by Guy Debord – as a form of annulment of historical knowledge. In the Croatian cultural field numerous confirmations are found for Debord's observations on the representations as sets of selected images and the notions generated from them, that finally emerge as substitutes for real social life. Referring to the disintegration of the SFRY, it is concluded that in the early 1990s Croatia entered the „post-communist process of transformation“ and, like many other post-communist countries, was struck by the phenomena of culturalization and depoliticization. At that historical moment, culture became a key element for creating new identities and at the same time a means of political positioning of its participants, as well as the Republic of Croatia itself in relation to its history and Europe, to which, after the transition process, Croatia strives to unite by joining the European Union. Furthermore, the unsatisfactory effects of the described political instrumentalization of culture are analytically demonstrated, and the example of a part of the literary scene (FAK) points to the side effects of such an approach, ie. attempts to defend – increasingly represented since the early 2000s – from such processes and repercussions of the all mentioned onto the status of literary criticism itself. The latter topic is addressed by relying on authors such as A. Compagnon, U. Eco, S. Petrović, M. Solar and others. The chapter War by Book, War by Film discusses the treatment of literary texts in school textbooks (N. Veličković) and the possibilities of coding and decoding (S. Hall) of new texts within the discourse of school textbooks (P. Lucić). These insights are also applied in the review of film examples, drawing attention to the possibilities and limitations of propagating certain values through national cinemas (Croatian, Serbian, Bosnian). The offered comparative insights are based on a rich selection of films (Vrijeme za... / Time for..., Oja Kodar, 1993; Cijena života / Price of Life, Bogdan Žižić, 1994; Četverored / Four Lines, Jakov Sedlar, 1999; Ničija zemlja / No Man's Land, Danis Tanović, 2001; Svjedoci / Witnesses, Vinko Brešan, 2003; Grbavica / Grbavica: The Land of My Dreams, Jasmila Žbanić, 2006; Zvizdan / The High Sun, Dalibor Matanić, 2015; General, Antun Vrdoljak, 2019; Quo vadis, Aida?, Jasmila Žbanić, 2020...). This chapter discusses the rhetorical possibilities of documentary film in addition to a feature film. The conclusion of the dissertation is to underline the key, previously elaborated findings presented in the paper.

Članak se bavi zagonetnom zagrebačkom fazom iz biografije Irine Aleksander-Kunjine, njezinom ulogom u hrvatskoj književnosti razdoblja međuraća i odnosima s protagonistima tadašnjega hrvatskoga književnoga života. Donijet će se pregled njezinih književnih suradnji u hrvatskim književnim časopisima. Osim pokušaja određenja njezine uloge u međuratnom književnom životu, cilj je članka osvijetliti njezino pisanje na hrvatskome i donijeti osvrt na recepciju njezina položaja i djela u hrvatskoj književnoj sredini. Iako jest imala odjeka u književnoj javnosti, više je pozornosti dobivala njezina građanska osoba nego književni rad. Cilj je članka iznijeti stajalište o njezinu mjestu u hrvatskoj književnoj povijesti prve polovice XX. stoljeća i možebitnu važnost za povijest hrvatsko-slavenskih književnih veza. Ključne riječi: Irina Aleksander-Kunjina; hrvatska književnost; ruska književnost; međuratni modernizam; hrvatsko-slavenske književne veze; zaboravljena književnopovijesna baština. A Forgotten Literary History Riddle: the Croatian Literary Episode of Irina Aleksander-Kunjina This paper presents the most important information about the mysterious Zagreb phase of Irina Aleksander-Kunjina’s biography, her role in Croatian interwar literature, and her relations with vital figures of the Croatian literary scene of that time. An overview of her literary contributions in Croatian literary journals will also be presented. Apart from the evaluation of her role in the interwar literary scene, the aim of this paper is to shed light on her writing in Croatian and the reception of her activity and works in Croatian literary milieu. Although she did receive attention among the literary public, this was more due to her public persona than her literary work. Furthermore, this paper aims to offer an summary of her position in Croatian literary history in the first half of the 20th century and her importance in the history of Croatian-Slavic literary relations.

Povodom Mjeseca hrvatske knjige i uoči Međunarodnog dana borbe protiv nasilja nad ženama, 15. studenoga 2022. godine, održana je znanstvenoistraživačka projektna emocionološka radionica ''Tijelo boli: emocionološko čitanje traume silovanja u renesansnoj i postmodernoj hrvatskoj književnosti (na primjeru Judite M. Marulića i Bila sam žohar J. Alfirević)" u Gimnaziji Vladimira Nazora u Zadru. S učenicima dvaju 3. razreda primijenjena je metoda usmjerenog emocionološkog čitanja tematike traume silovanja u renesansnoj i suvremenoj hrvatskoj književnosti. Radionicu je osmislila i vodila Jelena Alfirević- Franić, uz suradnju studentica II. godine Učiteljskog studija Sveučilišta u Zadru (Tea Kovačević, Tea Rešetar, Ana Rakušić i Ema Čogelja). Učenici su istraživali ekspresiju i vlastitu recepciju emocija književnih likova uslijed tekstualne reprezentacije silovanja, u dvama tekstovima nacionalne književnosti u vremenskom razmaku od 500 godina: ''Juditi'' (1521.) Marka Marulića i ''Bila sam žohar'' (2021.) Jelene Alfirević. Na modelu ljudskog tijela crvenom su bojom označavali mjesta najekspresivnije izraženih emocija, a potom ih imenovali. Na kraju su, kroz kritičke osvrte, etički promišljali svrhu čitanja književnih tekstova o silovanju te položaj žene u 21. stoljeću. Neki od uspostavljenih ciljeva ovog istraživačkog literarnog projekta jesu sljedeći: a) istražiti emocije i reprezentaciju ljudskoga tijela i tjelesnosti na primjeru problematike silovanja u hrvatskoj renesansnoj i postmodernoj književnosti b) otkriti načine, metode i postupke proučavane reprezentacije silovanja c) usmjereno čitanje, postupkom identifikacije stvaranje empatije za žrtve silovanja kao važnog aspekta adolescentske čitateljske recepcije i važnost aspekta ličnosti (etičkog i estetskog razvoja) d) motiviranje učenika na čitanje i, posredno, na razvoj čitalačkih sposobnosti e) popularizacija i poticanje čitateljskog interesa za tekstove nacionalne književnosti (renesansne i suvremene) f) kohezija studenata i učenika (suradnja Sveučilišta i Škole) s ciljem doprinosa odgojno- obrazovnoj komponenti učenika i društvenoj dobrobiti šire lokalne zajednice g) čitanjem tekstova, provedbom osmišljenog upitnika, analizom i raspravom učenici će se identificirati s književnim protagonistima, steći vještine prepoznavanja i imenovanja emocija, važnih za njihov život, što će rezultirati kritičkim promišljanjem osjetljive problematike silovanja. Suradnja u okviru navedenog projekta uspostavljena je s učenicima i profesoricama Hrvatskoga jezika u Gimnaziji Vladimira Nazora, Veronikom Jurković i Darijom Gospodnetić, povodom Mjeseca hrvatske knjige 2022. i u sklopu sveučilišnog znanstvenog projekta ''Tijelo, identitet i emocije u hrvatskoj i slavenskim književnostima 20. i 21. stoljeća'' Odjela za kroatistiku (nositeljica red. prof. dr. sc. Kornelija Kuvač-Levačić), na kojemu je J. Alfirević- Franić sudionica. Intermedijalno učenje ostvareno je prikazivanjem studentskog filma Judita na kraju dvosatne radionice.

Doktorski rad Žanrovi usmene književnosti i crkveno - pučka tradicijska kultura u u širokobriješkom kraju sadrži zapise o nematerijalnoj kulturnoj baštini koja je prikupljana terenskim radom, kao i već postojećim usmenoknjiževnim zapisima na području Širokog Brijega. Rad je tematski podijeljen na deset poglavlja u kojima su zasebno obrađene različite vrste usmene književnosti i tradicijski običaji. Rad započinje uvodom u kojem se obrazlaže tema i struktura rada te način prikupljanja i uporaba već postojeće građe, metodološki postupci, ciljevi istraživanja i hipoteze rada. Drugo poglavlje donosi kratke podatke o porijeklu imena i smještaju grada čija se povijest može pratiti od četvrtog stoljeća i Porfirogenetovog djela De administrando imperio ili O upravljanju carstvom. Uz navedeno, pruža osvrt na povijest Širokog Brijega, s posebnim naglaskom na višestoljetnu tursku vladavinu, kao i na procvat grada koji se neizostavno veže uz dolazak franjevaca u Čerigaj i njihovo kasnije naseljavanje u Široki Brijeg. Treće poglavlje donosi pregled nazivlja korištenog za usmenu književnost. Kroz povijest se, kao tri najučestalija pojma, izdvajaju se folklor, narodna književnost i usmena književnost. Nadalje, govori se i o razvoju interesa i jačanju svijesti o važnosti zapisivanja svih usmenoknjiževnih oblika. Usmenoknjiževni oblici stvorili su podlogu onome što danas nazivamo pisana književnost. Posebna je pozornost posvećena predajama, usmenoknjiževnim oblicima čija je glavna značajka vjerovanje u istinitost njihova sadržaja. Kao usmenoknjiževni oblik, predaja živi stoljećima prenošenjem s koljena na koljeno, mijenjajući ponekada svoj oblik i izričaj. Teorijska podloga temelji se na pregledu književnih, povijesnih i etnoloških studija o žanrovima predaje s ciljem stvaranja opće slike o žanrovima predaja i njihovim osnovnim obilježjima. Sadržaj predaje se uglavnom veže uz lokalne događaje i stvarna mjesta, a protagonisti nerijetko imaju imena i prezimena. Danas se predaje uglavnom dijele prema motivima, temi ili funkcionalnosti, što je u prošlosti znalo prouzrokovati razilaženja teoretičara prilikom njihove klasifikacije, ali i same terminologije. Nakon klasifikacijskih i terminoloških odrednica predaja, predaje su podijeljene prema Dragićevoj klasifikaciji, i to na: povijesne, etiološke, eshatološke, mitološke, demonološke predaje te pričanja iz života. Nerijetka su i prepletanja između različitih žanrova predaja. Četvrto poglavlje sadrži kratki pregled usmeno - govorničkih oblika kojima se posvećivalo nedovoljno pozornosti unutar usmene književnosti. Djelomičan razlog tome je i klasifikacija samih govorničkih oblika koje se u prošlosti svrstavalo u druge književne oblike, ne imajući na umu njihove specifičnosti i samostalnost. Govornički oblici za potrebe rada su klasificirani na basme, zdravice, brojalice, brzalice te blagoslove i kletve. Neki od govorničkih oblika sastavni su dio prikupljenih tradicijskih običaja. Slijedi poglavlje o mikrostrukturnim oblicima, izrekama i poslovicama. O dubokoj ukorijenjenosti poslovica u sami početak književnosti svjedoče i Ptahotepove Pouke mudrosti (oko 2400. g. prije Krista), koje su najvećim dijelom sačinjene od poslovica. Poslovice bilježe i svete knjige mnogih naroda, poput Vede, Talmuda i Biblije. U uvodnom dijelu se govori o pokušajima utvrđivanja i definiranja poslovica, nakon kojeg slijedi popis sakupljača poslovica, kao i književnika koji su poslovice uklapali u svoja djela. Poslovice su kategorizirane po inicijalnim fonemima jer se takva klasifikacija se smatra najstarijom i najpraktičnijom. Prikupljene poslovice stilizirane su narodnom etimologijom te su zbog svoga širokog motivskog opsega sastavnim dijelom svakodnevnog života. Šesto poglavlje, donosi zapise gangi, tradicionalnog višeglasnog napjeva zapadne Hercegovine. Zapisima prethodi objašnjenje naziva i porijekla gange, oko kojih se vode mnogobrojne polemike. Promatrajući gangu kroz prizmu hrvatske tradicijske kulture, vidljiva je njezina sveprisutnost i duboka povezanost sa svim godišnjim, ali i životnim običajima. Iz širokog spektra gangi, zapisane su samo one koje su prošle sustav eliminacije, s obzirom da su u narodnom sjećanju ostajle samo one koje se smatraju najpogodnijima za izvođenje po višestrukim kriterijima. Za potrebe rada, gange su podjeljene po najčešćim temama koje obrađuju, i to na gange o djevojaštvu, ljubavi i ljubavnim vezama, tuzi, vjeri, domoljublju, zatim na šaljive gange i gange o gangi. Slijedi poglavlje o tradicijskim običajima koji su duboko ukorijenjeni u tradicijsku kulturu Hrvata te su kao takvi bitna odrednica identiteta ljudi. Opća klasifikacija običaja uključuje životne ili obiteljske, godišnje i kalendarske te radne ili gospodarske običaje, vrste običaja, gotovo u pravilu, međusobno se prožimaju te su neodvojivi od katoličke vjere. Godišnji događaji u kulturnoj tradiciji širokobriješkog kraja povezani su uz najvažnije katoličke blagdane poput Božića, Uskrsa, blagdana svetog Ivana Krstitelja, svetog Ilije, Spasova, Velike Gospe, svetoga Tome, a uključuju ritualne obrede i običaje koji u sebi nerijetko nose apotropejske i panspermijske elemente. Apotropejski i panspermijski elementi prožeti su pretkršćanskim mitskim svojstvima koje hrvatski narod baštini stoljećima, ali su kroz vrijeme kristijanizirani. Obje vrste obreda se najčešće izvode za vrijeme kršćanskih blagdana, s time da apotropeski obredi imaju sa svrhom tjeranja demonskih sila i sprečavanja zla, a panspermijski obredi donose plodonosnu budućnost. Uz katoličke blagdane vežu se i razna proricanja o godini koja dolazi, a poseban su vid ljubavne divinacije koje su prorokovale, najčešće djevojkama, o njihovom budućem suprugu i udaji. Osmo poglavlje govori o klasifikacijski najzastupljenijem i najznačajnijem životnom običaju, vjenčanju, kojem prethodi čitav niz faza koje su se morale ispoštovati. Svadbi je prethodio običaj odlaska na pučko slavlje, poznat pod nazivom dernek, koji daje idealnu podlogu za iskazivanje simpatija među mladićem i djevojkom, zvanim zamiračina. Nakon što bi mladić i djevojka jedno drugom iskazali simpatije, obavezan je bio odlazak na sijelo koje se smatralo idealnom podlogom za pobliže upoznavanje mladića i djevojke koje je moglo rezultirati brakom. Ukoliko bi mladić i djevojka iskazali ljubav i želju za zajedničkim životom, uslijedili bi ugovor i prošnja te prstenovanje kao preduvjet navještaja u crkvi nakon čega bi moglo uslijediti vjenčanje. Posebna se pozornost posvećuje svatovskim ulogama koje su zahtjevale poseban angažman i pravovremeno uključivanje u običajni proces unutar svadbenog slavlja. U rad su uključeni i neredoviti običaji sklapanja braka, kao položaj svadbenih običaja u suvremenom kontekstu. Rad završava zaključkom, popisom literature, mrežnih izvora i kazivača., The doctoral thesis Oral literature genres and religious - folk culture of Široki Brijeg holds records on the intangible cultural heritage collected through fieldwork, as well as pre-existed oral-literary records in the area of Široki Brijeg. The thesis is thematically divided into ten chapters in which different types of oral literature and traditional customs are separately treated. The work begins with an introduction that explains the topic and structure of the paper followed by the methodological procedures, research objectives and work hypotheses. The second chapter provides brief information on the origin of the name and location of the city whose history can be traced back to the fourth century and Porphyrogenitus' work De administrando imperio or On the management of the empire. In addition, it provides an overview of history of Široki Brijeg, with a special emphasis on the centuries-old Turkish rule, as well as the prosperity of the city, which is inevitably associated with the arrival of the Franciscans in a small village called Čerigaj and their future settlement in Široki Brijeg. The third chapter provides an overview of the terminology used for oral literature. Folklore, folk literature and oral literature stand out as the three most common terms throughout history. The rising awareness of the importance of recording oral literature becomes imperative. Oral literary forms created the basis for what is now referred to as written literature. Special attention is paid to oral traditions whose main feature is the belief in the truth of their content. As an oral literary form, oral traditions live on for centuries by transmission from generation to generation, changing their form and expression at times. The theoretical basis is based on a review of literary, historical and ethnological studies on the genres of tradition to create a general picture of the genres of tradition and their basic characteristics. The content of the stores is mostly related to local events and real places. The protagonists often have names and surnames. Today, oral traditions are mostly divided according to their motives, themes, or their functions, which led to many disagreements between theorists in their classification and terminology in the past period. After the classification and terminological determinants of the oral traditions, they are 379 divided according to Dragić's classification into historical, etiological, eschatological, mythological, demonological traditions and stories from life. Interweaving between different genres of stories isn’t exceptional. The fourth chapter comprises a brief overview of oral-rhetorical forms that have received insufficient attention within oral literature. A partial reason for this is the classification of the oral-rhetorical forms that were classified into other literary forms, without having in mind their specificity and independence. In this text forms are classified into are classified into exorcisms, toasts, chants, tongue-twisters, blessings and curses. Some of the oratorical forms are an integral part of the collected traditional customs. The following chapter deals with the microstructures: sayings and proverbs. Ptahhotep's lessons of wisdom, commonly called The Maxims of Ptahhotep (around 2400 BC), mostly composed of proverbs, is considered to be one of the first books in history. Proverbs also record the sacred books of many nations, such as the Vedas, the Talmud, and the Bible. The opening part discusses efforts to establish and define a proverb, followed by a list of proverbial collectors as well as writers who have incorporated proverbs into their works. Sayings are alphabetically categorized since such a classification is considered the oldest and most practical. The collected proverbs are stylized with folk etymology and due to the wide range of motifs are considered to be an integral part of everyday life. The sixth chapter brings records of the ganga, a traditional polyphonic melody of western Herzegovina. The records are preceded by the clarification of the name and origin of the ganga. Observing the ganga through the prism of Croatian traditional culture brings us to a conclusion that its ubiquity and deep connection with all annual and life customs is noticeable. From a wide range of gangas, only those that have passed the elimination system are recorded, since only those that are considered the most suitable for performance according to multiple criteria remain in the people's memory. For the purposes of the work, they are divided according to the most common topics they deal with, especially about t girlhood, love and love affairs, sadness, faith, patriotism, then funny poems and gangas about themselves. The following chapter brings a detailed overview of traditional customs that are deeply rooted in the traditional culture of Croats. The customs in Herzegovina are an essential element of people's identity. The general classification of customs includes life or family customs, annual and calendar, and work or economic customs. The types of customs are regularly intertwined and inseparable from the Catholic faith. Annual events in the cultural tradition of 380 the region of Široki Brijeg are associated with the biggest Catholic holidays such as Christmas, Easter, the feast of St. John the Baptist, St. Elijah, the Savior, the Assumption, St. Thomas, include rites and rituals that carry apotropaic and panspermic elements. Apotropaic and panspermic elements are imbued with pre-Christian mythical properties on which the Croatians inherited through history, but also Christianized over time. The objects of the rites are also performed during the Christian feasts. Their usage is to drive away demonic forces and spreading evil, as well as bringing a fruitful future. The Catholic holidays are associated with various prophecies about the coming year. A special kind is love divination that predicted, mostly to the women, about their future husband and marriage. The eighth chapter presents and interprets wedding customs as the most common and most significant life custom. The wedding ceremony is preceded by a series of stages that had to be obeyed. The wedding was preceded by the custom of going to a folk celebration, called dernek, which provided an ideal basis for expressing sympathy between a young man and a young woman, called zamiračina. After a young man and a young woman expressed their sympathy for each other, it was obligatory to go to sijelo. which was considered an ideal basis for getting to know the young man and the young woman more closely, which could have resulted in marriage. If a young man and a young woman expressed their love and desire to live together, a contract and a request would follow, as well as a ringing as a precondition for a proclamation in the church, which could be followed by a wedding. Special attention is paid to wedding roles that required special engagement and timely involvement in the usual process within the wedding celebration. Irregular marriage customs are also included in the paper, as a position of wedding customs in a contemporary context. The paper ends with a conclusion, a list of references, online sources as well as a list of the narrators.

Autor u članku daje pregled programa hrvatskoga književnog predromantizma i romantizma i s njima preklapajućega narodnog preporoda i ilirizma te pokazuje kako su se u programskim tekstovima, u okolnostima mađarsko-hrvatskih napetosti i neoapsolutizma, izmjenjivale tendencije nacionalnoga romantizma i romantičnoga nacionalizma, kako ih je u europskim okvirima definirao Joep Leerssen., In this article the author gives an overview of the programmes of Croatian literary pre-Romanticism and Romanticism and the National Revival and Illyrian Movement that overlap with them. He also shows how the tendencies of national Romanticism and Romantic nationalism, as defined by Joep Leerssen in European terms, interchanged in the programmatic texts in circumstances defined by Hungarian-Croatian tensions and neo-absolutism.

Ujevićevo pjesništvo pruža izrazito plodnu građu za intertekstualnu analizu jer su se, kako je već djelomično utvrđeno u dosadašnjim istraživanjima, tragovi različitih tipova interteksta obilato reflektirali u njemu, i to na mnogim razinama pjesama: od motivske i tematske, preko simboličke i metaforičke, do razine poetske forme i žanra. U radu stoga namjeravam poduzeti intertekstualno čitanje Ujevićeva pjesničkoga opusa te ustanoviti i elaborirati dijaloške veze koje njegovo djelo uspostavlja s drugim književnim djelima, opusima i tradicijama, kao i nekim općim književnim kategorijama kao što su poetska forma ili pjesnička vrsta. Metodologija za ovakav pristup Ujeviću selektivno je preuzeta iz bogate teorijske literature o intertekstualnosti, čije ću glavne dosege predstaviti u prvom dijelu rada, gdje ću također objasniti temeljne analitičke pojmove u vlastitu intertekstualnom pristupu Ujevićevu pjesništvu. Pritom ću dosadašnje pojedinačne doprinose intertekstualnom proučavanju Ujevićeva opusa, koji su se ponajviše odnosili na zbirke Lelek sebra i Kolajna, detaljnije razraditi te usustaviti. Avangardnoj dionici Ujevićeva pjesništva pristupit ću analizirajući pjesme na podlozi pjesničkih i programatskih tekstova talijanskoga futurizma kako bih pokazao da se u ovoj Ujevićevoj fazi može iščitati poseban tip intertekstualnosti. Ujevićevu pjesništvu od 1930. do 1955. pristupit ću iz perspektive pjesničkih vrsta, kako bih pokazao zajednička žanrovska obilježja nekih skupina pjesama. Pregled Ujevićeva pjesništva iz intertekstualne perspektive zaključno će pokazati kako je u odnosu na različite vrste interteksta tekao Ujevićev pjesnički razvoj te kako se s vremenom mijenjao referentni okvir u dijalogu s kojim je nastao jedan od najupečatljivijih opusa novije hrvatske poezije. Tin Ujević is the author of a fruitful, diverse opus of poetry and prose; even during his lifetime, his works of poetry ensured him a place among Croatia's twentieth-century greats. During his lifetime, he published five volumes of poetry: Lelek sebra (1920), Kolajna (1926), Auto na korzu (1932), Ojađeno zvono (1933) and Žedan kamen na studencu (1954); the volume of his unpublished poetry nearly equals the amount published. His long poetic career, stretching nearly half a century, was marked with frequent changes; from book to book, Ujević revealed a new poetic voice, a new conception of poetry, a new perception of lyricism; the same goes for the numerous poems he published throughout the decades in periodicals only. The fields of literary criticism and literary history thus view Ujević as a poet of discontinuity, of fractures, of sudden and final breaks with his own poetic practice, and as an eternal seeker of new possibilities in poetic expression. Significantly, changes in Ujević's approach to poetry were not only the result of his immanent development as an artist; these changes were greatly impacted by his discovery of new authors and literature, whose influence caused him to change his poetic language – to a greater degree than he was willing to admit. In this sense, particular phases of Ujević's poetic opus are dialogically related to various traditions and poetic styles, making his work exceptionally suitable for intertextual analysis. Aside from this, traces of various literary traditions are abundant in Ujević's work on many textual levels, from motifs, themes, symbolism, and metaphor, to various lyrical forms and genres. In this sense, his work is exceptionally fruitful terrain for the intertextual researcher. In my doctorate dissertation, I intend to undertake such an analysis of Ujević's opus in hopes of establishing and elaborating upon the intertextual connections established in his work; I also intend to offer a typology of these connections to serve as a basis for the periodisation of Ujević's poetry. The first section will provide a brief overview of the history of intertextual theory, as well as a summary of the work of its main theoreticians, such as Mihail Bahtin, Julia Kristeva, Roland Barthes, Michael Riffaterre, Gérard Genette, and Dubravka Oraić Tolić. I will also show how the concept of "intertextuality" is interpreted and used in this research, for which reason I differentiate the semantic scope of the concept into multiple levels, such as specific intertextuality, general intertextuality, and absolute intertextuality. After the introductory section, I will analyse Ujević's entire poetic opus. I will begin with his poems published in the anthology Hrvatska mlada lirika in order to show that, even in his early phase, Ujević built his texts on a foundation consisting of numerous segments of literary tradition, from recognisable literary topos to particular genres of poetry. My analysis of the collections Lelek sebra and Kolajna will begin from current Croatian studies and comparative literary research on elements of Dante, Petrarch, and Baudelaire in these collections in order to deepen and systematise the detected intertextual connections. Finally, I shall offer my own reading of Ujević's Kolajna in the context of chansonnier poetry in order to show how Ujević typically makes use of this distinguished poetic genre, as well as how he reinterprets some of the most common features of the love lyric sequence in order to build a modern poetic cycle. I shall display the metafictional elements of Ujević's poetry in the first part of the collection Auto na korzu, which still relies on the troubadours and Petrarch as intertext, but which also now show self-reflexive references to the process of creating poetry. I shall approach the second part of this same collection and Ujević’s radical poems written during the 1920s, most of which were only ever published in periodicals, as a whole, to show reflections of avant-garde trends in Ujević's poetry. Acceptance of certain poetic principles manifested in poetics of especially Futurism and Simultaneism brought the expressive capabilities of Ujević’s poetic language to the very limits of intelligibility. In the last phase of Ujević's work, I shall analyse his collections Ojađeno zvono and Žedan kamen na studencu, as well as poems published in periodicals from 1930-1955 in order to demonstrate that they display a different interpretation of intertextuality. The dominant intertextual reference in this part of Ujević's opus is the work of Émile Verhaeren, although viewed as a whole, no intertextuality in the sense of the previous collections can be identified. Generally, Ujević's late poetry is relatively conventional in terms of form and rhetoric, however his voluminous poetic production reveals certain types of poetic text to which I shall pay special attention. This overview of Ujević's poetry from an intertextual perspective will show conclusively the course of his poetic development as related to different kinds of intertext, as well as how the referential framework within which he created one of the most outstanding bodies of modern Croatian literary work changed over time.

O presente trabalho examina as imagens do Brasil na literatura croata. Também são apresentadas algumas reflexões teoréticas e conceitos fundamentais da imagologia para esclarecer o quadro teórico e a metodologia do trabalho. Imagologia como disciplina da literatura comparada procura pesquisar como percebemos os outros, por isso, o quadro teórico serviu na análise das imagens do Brasil nas obras croatas. A análise concentra-se nas imagens que se referem ao homem e ao espaço. Ovaj rad bavi se proučavanjem predodžbi o Brazilu u hrvatskoj knjiženosti. Također su predstavljena određena teoretska razmišljanja i temeljni koncepti imagologije kako bismo pojasnili teorijski okvir i metodologiju rada. Imagologija kao grana komparativne književnosti nastoji istražiti kako vidimo druge, stoga je taj teorijski okvir poslužio u analizi predodžbi o Brazilu u hrvatskim književnim djelima. Analiza se fokusira na predodžbe koje se odnose na čovjeka i prostor.

Cilj rada Ekspresionistički teatar Josipa Kulundžića i pirandelizam prikazati je ekspresionistički dramski opus Josipa Kulundžića, predočiti njegov teorijski pogled na tadašnje dramsko stvaralaštvo i kazalište te objasniti njegov jedinstven odnos prema dramskom stvaralaštvu i teorijskim postavkama talijanskog književnika i dramatičara Luigija Pirandella. Josip Kulundžić se kao dramski pisac javlja u trenutcima kada je ekspresionistička poetika bila najizraženija i dominantna na književnoj i kazališnoj sceni u tadašnjoj Europi i u Hrvatskoj, a opčinjenost ekspresionizmom Kulundžića će kao dramskog pisca, u većoj ili manjoj mjeri, pratiti kroz njegov čitav dramski opus. U svojoj prvoj fazi ekspresionističkog dramskog stvaralaštva, Kulundžićevi dramski tekstovi reprezentirat će tipična, paradigmatska ekspresionistička obilježja i bit će pod snažnim utjecajem njemačkog dramskog ekspresionizma. U svojoj drugoj fazi ekspresionističkog dramskog stvaralaštva njegovi će dramski tekstovi sve više poprimati obilježja nacionalnog književno-kazališnog ekspresionizma čime će osigurati položaj jednog od najistaknutijih i najplodnijih ekspresionističkih dramskih pisaca hrvatskog ekspresionizma, dok će u posljednjoj dramskoj fazi, fazi zakašnjelog ekspresionizma, Kulundžićevi dramski tekstovi predstavljati svojevrstan spoj ekspresionističke poetike i ostalih dramskih poetika koje se u to vrijeme pojavljuju, poput psihološke, socijalne, egzistencijalne, ali i realističke dramske poetike. Tijekom rada na više mjesta, prilikom prikaza pojedinačnih dramskih tekstova te u zasebnim poglavljima na kraju rada, prikazat će se i objasniti jedinstven i osebujan, često proturječan, ali svakako originalan stav Josipa Kulunžića o dramskom stvaralaštvu i teorijskom svjetonazoru Luigija Pirandella i pirandelizmu. U svojim teorijskim i kritičkim ogledima Kulundžić je često napadao i osporavao dijelove poetičkog sklopa i teorijske misli Luigija Pirandella, dok je u svojim dramskim tekstovima na konkretnim primjerima ponegdje pokušavao osporiti načela pirandelizma, a ponegdje ih u potpunosti preuzimao. Poput veze s ekspresionizmom, Kulundžić je tijekom čitavog svog dramskog opusa imao posebnu vezu s pirandelizmom, koja se očitovala u njegovom jedinstvenom pirandelističkom antipirandelizmu. Josip Kulundžić, kako će u radu biti prikazano, bio je svesrdni kazališni čovjek, svojevrsni homo teatralis, dramski pisac, kazališni redatelj, dramaturg, teatrolog, akademski profesor, suradnik i urednik teatroloških časopisa, teoretičar i kritičar drame i teatra i jedna od ključnih figura hrvatskog dramskog ekspresionizma, ali i hrvatske književnosti i dramske umjetnosti prvih desetljeća dvadesetog stoljeća, čiji je umjetnički i stručni rad u području drame i kazališta iznimno važan i značajan za hrvatsku književnost, dramu i kazalište prve polovice dvadesetog stoljeća. The aim of the thesis Josip Kulundžić's Expressionist Theatre and Pirandellism is to present Josip Kulundžić's Expressionist plays and his theoretical view of contemporary drama and theatre as well as to explain his unique relationship to the artistic and theoretical views of the Italian writer and playwright Luigi Pirandello. Josip Kulundžić emerges as a playwright at a time when Expressionist poetics was most pronounced and dominant on the literary and theatrical scene in Europe and Croatia. His fascination with Expressionism will, to a greater or lesser extent, accompany Kulundžić as a playwright throughout his entire dramatic oeuvre. In the first phase of his Expressionist dramatic creation, Kulundžić's plays will represent typical, paradigmatic Expressionist features and will be strongly influenced by German dramatic Expressionism. In the second phase of his Expressionist dramatic creation, his plays will increasingly take on the characteristics of national literary and theatrical Expressionism, thus securing Kulundžić's position as one of the most prominent and prolific Expressionist playwrights of Croatian Expressionism, whereas in the last dramatic phase, the belated Expressionism, Kulundžić's plays will display a specific combination of Expressionist poetics and other dramatic poetics that appear at that time, such as psychological, social, existential, but also realistic dramatic poetics. Josip Kulunžić's unique and peculiar, often contradictory, but certainly original position on Luigi Pirandello's dramatic creativity and theoretical worldview and Pirandellism will be presented and explained in several parts of this thesis - in the presentation of individual plays and in separate chapters at the end of the thesis. In his theoretical and critical essays, Kulundžić often attacked and challenged parts of Luigi Pirandello's poetic structure and theoretical thought, whereas in his dramatic texts he sometimes tried to challenge the principles of Pirandellism on concrete examples, and then at other times embraced them completely. Similarly to his connection with Expressionism, Kulundžić also had a special connection with Pirandellism throughout his dramatic oeuvre, which was manifested in his unique Pirandellist Anti-pirandellism. Josip Kulundžić, as will be presented in the paper, was a wholehearted man of the theatre, a kind of homo teatralis, a playwright, a theatre director, a theatrologist, an academic professor, an associate and an editor of theater magazines, a theorist and a drama and theatre critic and one of the key figures of Croatian dramatic Expressionism, as well as of Croatian literature and dramatic art of the first decades of the twentieth century. His artistic and professional work in the field of drama and theatre is extremely important and significant for Croatian literature, drama and theatre of the first half of the twentieth century.

U radu se propituje Šimićev i Krležin odnos prema avangardnim kretanjima u prvoj polovici 20. stoljeća. Hrvatski književni identitet unutar europskog ekspresionizma, poglavito u odnosu prema njemačkom ekspresionizmu, ispisao je hrvatski dijalog unutar poetike razdoblja.

U Državnom arhivu u Dubrovniku u Osobnom arhivskom fondu Miha Messija sačuvan je rukopis anonimne latinske pjesme o dolasku francuske vojske u Dubrovnik 1806. i ukinuću Dubrovačke Republike 1808. godine. Ta je dosad nezapažena pjesma neposredno i intrigantno svjedočanstvo o sudbonosnim događajima koji su početkom 19. stoljeća zadesili stanovnike grada i okolice. U radu se pjesma interpretira i atribuira Matu Sorkočeviću (1763. – 1841.) te se donose novi podaci za njegovu biografiju.

Rad istražuje složen utjecaj irskoga književnika Oscara Wildea (1854. – 1900.) i njegova esteticizma na književnost hrvatske moderne, tj. na hrvatsku književnost kraja 19. i prvih desetljeća 20. stoljeća. Na tragu dosadašnjih istraživanja koja su pokazala da je Oscar Wilde bio jedan od najprevođenijih, najčitanijih i najizvođenijih književnika s engleskoga govornog područja u hrvatskoj književnosti u prvim desetljećima 20. stoljeća, pomnijoj su analizi izložena odabrana djela književnika Antuna Gustava Matoša, Ive Vojnovića, Vladimira Nazora, Frana Galovića i Miroslava Krleže kako bi se pokazalo u kojoj je mjeri interes za Oscara Wildea, za njegova estetička razmatranja i za njegov stil utjecao na oblikovanje pojedinih djela tih pisaca, kako bi se pojedine pojave u hrvatskoj književnosti početkom 20. stoljeća protumačile kao analogne Wildeovu poimanju pisanja i uloge pisca te kako bi se iz drukčijega motrišta vrednovala uloga esteticističkih kodova ne samo u opusima pojedinih hrvatskih književnika do Prvoga svjetskog rata nego i u hrvatskoj književnosti ranoga modernizma u cjelini. U prvome se dijelu rada pokazuje kakva je bila Wildeova uloga u Matoševim komentarima o položaju umjetnika u modernome društvu i u njegovoj poznatoj polemici s mladim Tinom Ujevićem te se istražuju tragovi Wildeova interteksta u Vojnovićevoj drami Gospođa sa suncokretom i u odabranim Nazorovim pričama iz zbirke Istarske priče. U središnjemu dijelu izlaže se analiza prvoga hrvatskog prijevoda Wildeove Salomé te se istražuje kako su zagrebačke izvedbe te drame i popularne predodžbe o tome liku utjecale na oblikovanje fatalnih ženskih likova u odabranim Galovićevim i Krležinim tekstovima. Na podlozi tih uvida izvodi se i reinterpretacija Krležine dramske Salome na podlozi Wildea. U završnome dijelu rada analizira se Krležin odnos prema poetici hrvatske moderne i prema esteticizmu te se iznosi reinterpretacija Krležinih drama Legenda i Gospoda Glembajevi, koje su premrežene s više Wildeovih književnih tekstova i eseja. The whole work is conceived as a literary-theoretical Croatian-comparative research which, using the aesthetics of Oscar Wilde, as one of the most present versions of aesthetic writing in Croatian literature and theatre, but also in the cultural space in the first decades of the 20th century in general. It can contribute to a deeper understanding of parts of the opus of individual writers such as Antun Gustav Matoš, Miroslav Krleža, Fran Galović, Ivo Vojnović and Vladimir Nazor and to a better understanding of the dynamics of their real debts and loans, traces of which they themselves often rewrote and concealed in various forms of their autobiographical and biographical comments. With the basis on Wildean aestheticism, which is seen as a highly self-referential and artificially stylized way of writing often spiced with sensual and perverse motifs, the paper approaches the corpus of Croatian literature of the early 20th century as a complex collage of texts which is contrary to hitherto dominant literaryhistorical practice. The texts in this collage often rewrite each other and oppose each other with different strategies of shaping and presenting reality, not because some are closer to it or represent it better than the rest, but precisely because everyone is equally distant from it, no matter how they imagine that distance. The reinterpretation of a part of the corpus of Croatian literature of the first decades of the 20th century, armed with analytical procedures honed by reading Wilde's texts, implies at least two important methodological differences in relation to traditional interpretations. Firstly, a hesitation before the statements of the authors themselves about their own work, because on Wilde's example we quickly notice that the author himself is just a continuous and incomplete conscious performance of his own authorship. Secondly, the resistance to reading which the literary text persistently tries to unambiguously and finally pair with elements from non-literary reality, while taming the dissolved symbol and abolishing the unreliability of the linguistic sign. This study has thus, by dealing with the aesthetics of Oscar Wilde and its significance for European literature of the late 19th and early 20th century, recognized a number of comparable phenomena both in the texts of individual Croatian writers of that period, but also in the textual lives of these authors, who regularly, following the example of Wilde, very skilfully shaped their own public figure and their own autobiography, which contains many more fictitious features than one has often wanted to see or admit. The research was therefore not designed merely as a search for perhaps unrecognized borrowed motifs or fable lines, but it opposed and juxtaposed the texts that had hitherto persistently challenged every kinship and every form of closeness or concord. The similarities, which were at times monstruous, were supported with interpretations that would, from a different point of view, illuminate the links, coincidences, and echoes that, especially from the perspective of national philology, were invisible or were simply considered marginal and less important. The study therefore simultaneously presents interpretations of selected texts by canonical Croatian writers Antun Gustav Matoš, Miroslav Krleža, Fran Galović, Ivo Vojnović and Vladimir Nazor from a Wildean perspective, but also reads some of Wilde's texts from an unusual perspective of Croatian writers from the early 20th century, while curiously crossing the boundaries between different national literatures. On a theoretical and methodological level, the research re-examines some common concepts used by the literary science and especially the comparative study of literature, such as the concept of literary influence. The first part of the first chapter is devoted to the study of attitudes of Matoš towards Wilde and Wilde's work. Since previous interpretations of texts by Matoš have disputed that Wilde had a stronger influence on Matoš, the chapter begins with the analysis of the polemically intoned letter that Tin Ujević sent to Ivo Hergešić in 1935 in response to Hergešić's review of the poetry collection Heavy-hearted bell (Ojađeno zvono, 1933) in which in Ujević's poetry he recognized traces of Matoš's influence and the influence of French symbolism. Ujević rejects Hergešić's claims and states that Matoš "snatched" his aesthetics from Oscar Wilde anyway. Ujević's claims about Matoš's poetics from that letter are the starting point for the interpretation of seven articles that Ujević dedicated to Matoš and published during his lifetime as well as eight fragments about Matoš, titled The Study about Antun Gustav Matoš (Studija o Antunu Gustavu Matošu) which were published after Ujević died. Based on the insights resulting from reading these fifteen networked records, and then starting from the gloss about Wilde in Matoš's notebooks, the analysis of a series of Matoš's texts in which Wilde's role is explored is presented. It turns out that to Matoš Wilde is interesting as a prime example of a writer whose life and work were marked by multiple contradictory positions imposed on artists at the end of the 19th and the beginning of the 20th century by market logic and a society eager for media scandals. Matoš, who is an extremely astute social and cultural critic, uses Wilde's example to comment on the problem of positioning in the literary field, which allows the artist not to succumb to the pressure of audiences and markets, but at the same time remain creatively autonomous and socially relevant. The interpretation of texts by Ujević and Matoš shows that Wilde underlies Matoš's problematization of authorship, which Matoš, partly modelled on Wilde, conceived as a complex self-stylization and continuous performance of his own authorial personality, which alone allows him to evade the pressures of civil society, utilitarianism and determinism. Equivalent to such a strategy of uninterrupted selftransformation in public life in Matoš's literary texts are the motifs of duality and decentralized identity in short prose and the figure of the mask in lyricism. The final thesis of the first chapter is that Matoš's problematization of authorship and identity is one of Matoš's key contributions to the modernization of Croatian literature at the beginning of the 20th century, on the basis of which both Ujević and Krleža shaped complex auto-reflexive and auto-poetic games with which they indefinitely announced and rewrote their own authorial instances in literary, but also in non-literary texts. In the second part of the chapter in Vojnović's play The Lady with the Sunflower (Gospođa sa suncokretom), Wilde's influence is explored on two levels. The first level being the one at which the author flirts with individual Wilde motifs, but also the level at which it is subject to popular, fashionable notions of literary decadence, which circulated many foreign and domestic newspaper reports, with which Vojnović also fills his play. Matoš's, Ujević's, Krleža's and Begović's critical reviews of the drama and Matoš's lyrical and dramatic parody of Vojnović's play are interpreted as multiple symptomatic expressions of literary and cultural criticism that condemns Vojnović's flattery to the demands of the audience and the market. A review of Vojnović's drama and its reception among contemporaries is interesting because it testifies to the reasons why the most influential Croatian writers of the first half of the 20th century maintained an ambivalent attitude towards Wilde and aestheticism, persistently diminishing the influence of aestheticism on shaping their own poetics. The aim of the final part of the first chapter is to try to explore the literary features and structures in Vladimir Nazor's Istrian tales (Istarske priče), which have not been examined in depth so far. This is done in comparison to Oscar Wildes's fairy tales which are an interesting example of his aestheticism marked with a special usage of language, nuanced style and auto-reference, and decorated with symbols typical for the turn of the century. The greatest attention is paid to the interpretation of Nazor’s story Halugica (Facol rakamani) based on the analysis of Wilde’s tale The Fisherman and His Soul and Nazor’s story Forest without a Nightingale (Šuma bez slavuja) which can be read as an aesthetic allegory about the power of art. The analysis of Nazor's stories inspired by Wilde tries to examine different codes and texts which they contain from a new perspective and proposes a new approach to the emergence of writing in dialect in Croatian literature of the early 20th century. The first part of the second chapter deals with the complex effects that the appearance of the translation of Wilde's play Salomé had on the literature of Croatian modernism. The influence that the exceptional popularity of Wilde's work in the German-speaking area had on the writer's reception in the Croatian culture of the early 20th century is investigated. It will be proven that the first Croatian translation of Salomé from 1905 by Julije Benešić and Nikola Andrić was based on the influential German translation by Hedwig Lachmann. The influence of Lachmann's interpretation of Salome's character on popular notions about this exemplary character of the femme fatale in newspaper reviews of Wilde and his drama and in reviews of Zagreb's performances of the play is analysed. On the example of selected literary texts by Fran Galović (two lyrical Salomes) and Miroslav Krleža (lyrical Salome and a fragment on Scheherazade and Heliogabalus from Bygone Days), the popular Wildean intertext is analysed, which influenced the modernization of Croatian literary style in the modern period, not only at the level of borrowing typical motifs, characters and atmosphere, but also in the autonomous and self-reflexive language game of Krleža's texts. The second part of the chapter is dedicated to the interpretation of Krleža’s Salome. This part tries to point out the possibility of a different interpretation of Krleža’s Salome removing it from the context of the Bygone Days, which has influenced most of the existing interpretations, and disconnecting the interpretation of the play from the author’s numerous contradictory comments about its meaning. Instead, in the author’s ever-changing formulation of the final meaning of the text, the interpretation recognizes the same procedures that are used by Salome for seducing and manipulating men surrounding her in the play. Salome is a supreme orator in the play, always conscious of her use of language, of the repercussions of her speech and of the textuality of the world she inhabits. This part suggests that a method for analysing the language of the play can be found in the discursive mechanisms of Oscar Wilde’s renowned play Salomé, as a prime example of the decadent use of language, although Wilde’s influence on Krleža’s play has mostly been disputed. It will be argued that the influence of Wilde’s aestheticism is not visible in the adoption of typical motifs, characters or plot, but in the autonomous and self-reflective language play in Krleža’s text. The third chapter is composed from three parts. The first part is designed as a short digression dedicated to the interpretation of selected parts of Krleža's memoirs Bygone Days (Davni dani), which can be read as various forms of transcripts of typical motifs and stylistic registers characteristic of the most prominent Croatian writers of the late 19th and early 20th century, such as Antun Gustav Matoš, Vladimir Vidrić and Ljubo Wiesner. On the basis of the existing analyses of the complex polyphony of Krleža’s memoirs by Suzana Marjanić and studies which explored Krleža’s attitudes towards Matoš and Croatian literature of the late 19th and early 20th century as a whole, the aim is to show that, albeit often contradictory, Krleža’s valorisation of the works of early Croatian and European modernists isn’t visible only in the explicit statements about certain representatives of the era, but also in his complex reinterpretations of the motifs and styles dominant in their writing. This short outing to Krleža's Bygone Days is a link to the insights into Matoš's relationship with Wilde and insights into Ujević and Krleža's debts to Matoš, and is intended as a preparation for a more comprehensive reinterpretation of Krleža's relationship to aesthetics in the second and the third part of the chapter. The second part of the chapter interprets a series of texts by Krleža and Wilde. Starting with another selected excerpt from Bygone Days, Krleža's diary commentaries on Wilde and on aestheticism are intertwined with many other author's texts in order to problematize the established literary-historical presentation in which Krleža's opus cuts into clearly separated phases in which early intoxication by aestheticism is replaced with avant-garde experiments which then retreat before the realistic-naturalistic poetics. In the second part of the chapter, the recent interpretation of Krleža's first play Legend (Legenda) by Morana Čala, in which Krleža's text is read with the basis of Nietzsche's Antichrist, is the starting point for researching the play based on several Wilde’s texts in which the Irish writer reinterprets Biblical motifs and shapes his character of Jesus Christ. The analysis places special emphasis on Wilde's Poems in Prose and the role of André Gide in their reception, looks at German and Croatian translations of some of Wilde's poems in prose and parables, and touches on the texts The Soul of Man Under Socialism and De profundis. The interpretive curvature thus described constantly returns to works by Krleža and Matoš, forming a comprehensive introduction to Krleža's interpretation of the Legend, which includes a comparison of Nietzsche and Wilde's insights based on Patrick Bridgwater's research. Krleža's first play was read and reinterpreted on the basis of several of Wilde's texts, with Salome standing out as a particularly important prototext, so the Legend is revealed by this intertextual society as a complex metafiction in which the character of the Shadow plays the role of a privileged reader of the fictional world which it inhabits, which is therefore comparable to readers such as Wilde, Nietzsche and Krleža were themselves. The third part of the chapter builds directly on the previous one and is dedicated to the interpretation of Krleža's play Messrs. Glembay (Gospoda Glembajevi) and the novelistic cycle with which it is inter-connected. Extensive preparatory work for the interpretation of the dramatic text is a comparative reading of Krleža's aesthetic considerations from the Bygone Days and his diary entries from 1942, from the perspective of which Krleža often returned to his earliest diary notes, revising them and commenting on them, and which also contain a very important poetic text Childhood 1902–03. The aim of interpreting such intertwined texts is to show in what ways Krleža obsessively thematizes the relationship between art and reality as a complex aesthetic problem because the central thesis of the analysis is that Krleža treats the representation and shaping of reality as a problem not solved by the realistic-naturalistic method. Therefore, the mutual analysis of Wilde's essay The Critic as Artist and several of Krleža's essays and reviews points to many interesting links in the aesthetic considerations of the two authors, thanks to which it is suggested that Krleža's texts should be read as works by Wildean critic as an artist. In the continuation of the chapter, the analysis of several essays in which Krleža analyses the works of writers who portrayed a developed bourgeoise society and the reinterpretation of the Osijek lecture (Osječko predavanje), strengthened by the presentation of Wilde's re-writings of Ibsen’s plays in his own pieces, based on all previous insights, is a starting point into the interpretation of the play Messrs. Glembay. Its aim is to show that the central theme of the famous play, which was regularly portrayed as an example of analytical realism, is precisely the problematization of truth, truthfulness, reliability, and fidelity of representation in dramatic form that actually breaks down the mould of the so-called realistic dramaturgy. Thus, on several levels, aestheticism is shown to be a permanent component of Krleža's modernism, which undermines the traditional, clear succession of stylistic-poetic models in the author's opus.

Zbornik Periferno u hrvatskoj književnosti i kulturi jedan je od dvaju svezaka radova u kojima su okupljeni referati prethodno izloženi na međunarodnom kroatističkom skupu održanom od 7. do 9. svibnja 2019. godine u Katovicama. Skup su organizirali kroatisti Instituta za slavensku filologiju povodom 25. godišnjice osnivanja hrvatske filologije na Šleskom sveučilištu u Katovicama, te su na njemu sudjelovali predstavnici brojnih znanstvenih institucija iz Poljske, Hrvatske, Češke, Mađarske, Ukrajine, Irske, Crne Gore, Njemačke i Australije. Zbornik je podijeljen na tri poglavlja: 1. Periferija – teorija, poetika, politika, 2. Čitanje periferije te 3. Na periferiji kanona. Spektar tema koje su se našle u fokusu interesa pojedinih autora vrlo je širok: od tekstova zaokupljenih starijim razdobljima hrvatske književnosti (primjerice, o starijoj književnosti na kajkavskom dijalektu, kategoriji smijeha i psovke u hrvatskoj komediji druge polovice 17. stoljeća) preko tekstova o usmenoj narodnoj književnosti (o mjestu koje zauzima narodna književnost u povijestima hrvatske književnosti i o fenomenu graničarskog mentaliteta Dalmacije) do tekstova o novijoj književnosti, o proznom i pjesničkom stvaralaštvu, esejistici i publicistici (u ovom su kontekstu obuhvaćeni radovi posvećeni Anti Kovačiću, Adeli Milčinović, Ivani Brlić-Mažuranić, Vladimiru Nazoru, Mariji Jurić Zagorki, Slobodanu Novaku, Josipu Severu, Petru Gudelju, Anki Topić, Sidi Košutić, Stipanu Bešlinu, Igoru Mandiću, Tomislavu Zajcu i Uni Vizek). Nekoliko je radova posvećeno općim pitanjima, primjerice stanju humanistike u postmodernom svijetu, regionalizmu, statusu nacionalnih manjina, odnosu Hrvata prema Jugoslaviji i konceptu Mediterana. Perifernost je u zborniku također povezana i s popularnom kulturom (televizijskim serijama, grafitima, stripom), no u ovom je kontekstu osobitu pozornost privuklo pitanje kanona, tj. pitanje odnosa kanoniziranih i rubnih, marginaliziranih pojava koje se u tom smislu mogu čitati kao periferija kanona.

Periferno u hrvatskom jeziku, kulturi i društvu drugi je svezak zbornika koji je nastao kao rezultat susreta kroatista na međunarodnom znanstvenom skupu u Katowicama 2019. godine. Prvo, i najopširnije poglavlje zbornika, Hrvatski standardni jezik i dijalekti, čine članci u kojima se periferija i perifernost pojavljuju najčešće u značenju rubnog mjesta određenih fenomena u hrvatskom standardnom jeziku i u hrvatskim regionalnim varijetetima. U drugoj tematskoj cjelini, Hrvatski jezik u nastavi i prijevodu, nalaze se radovi u kojima se periferija i perifernost razmatraju iz perspektive glotodidaktike i traduktologije. Treći dio zbornika, Hrvatski jezik izvan granica Hrvatske, obuhvaća tekstove u kojima su periferija i perifernost najbliže svojem primarnom zemljopisnom značenju, mjestu udaljenom od centra, koji u ovom slučaju predstavlja Hrvatska. Dijakronijsku perspektivu istraživanja periferije i perifernosti obuhvaćaju članci u četvrtom poglavlju, Hrvatski jezik i pismo kroz povijest. Posljednje poglavlje, Kulturološke i sociološke teme, donosi istraživanja koja odstupaju od lingvističke problematike, no u njima analizirane periferija i perifernost također se upisuju u glavnu temu projekt. Tom Peryferie w języku chorwackim, kulturze i społeczeństwie jest drugim zbiorem artykułów, stanowiących rezultat spotkania kroatystów na międzynarodowej konferencji naukowej, która odbyła się w Katowicach w 2019 roku. Na pierwszy i najobszerniejszy rozdział tomu, noszący tytuł Chorwacki język standardowy i dialekty, składają się artykuły, w których peryferie i peryferyjność występują najczęściej w odniesieniu do marginalnego miejsca określonych zjawisk językowych w chorwackim języku standardowym i w wariantach regionalnych. W drugim rozdziale zatytułowanym Język chorwacki w nauczaniu i przekładzie znajdują się teksty, w których peryferie i peryferyjność są związane z glottodydaktyką języka chorwackiego i traduktologią. Trzeci rozdział tomu, Język chorwacki poza granicami kraju, obejmuje opracowania, w których peryferie i peryferyjność są najbliższe swojego pierwotnego, geograficznego znaczenia, tj. odnoszą się do miejsca oddalonego od centrum, które w tym konkretnym przypadku stanowi Chorwacja. Perspektywa diachroniczna w badaniach peryferii i peryferyjności widoczna jest w tekstach zebranych w czwartym rozdziale tomu zatytułowanym Chorwacki język i chorwackie pismo na przestrzeni wieków. Ostatni rozdział, Kulturoznawcze i socjologiczne konteksty peryferii, prezentuje wyniki badań, które odbiegają od problematyki czysto językoznawczej, ale analizowane w nich peryferie i peryferyjność wpisują się w główny temat projektu.

U doktorskom se radu bavim razmatranjem melankolije, ne više samo kao pojma koji u okviru medicine i psihologije označava mentalno oboljenje ili stanje uma, nego kao narativne strategije u prozi suvremenih hrvatskih autorica. Cilj je doktorskoga rada metodom psihoanalitičke književne kritike u odabranim proznim djelima istražiti na koji su način problemski kompleksi poput društvene pravde i pravednosti, degradacije rada i radništva, ideologije konzumerizma, političkih i društvenih preobrazbi te osobnih gubitaka vezani uz proces melankolije. U fokusu istraživanja prozna su djela: “Muzej bezuvjetne predaje” Dubravke Ugrešić, “Leica format: fuge“ Daše Drndić, “Rio bar” Ivane Sajko, “Kosa posvuda” Tee Tulić i “Bolest svijeta” Tatjane Gromače, koja se metodološki sagledavaju u okviru psihoanalitičke književne kritike, u korespondenciji s kulturalnim strujanjima te naratološkom analizom. Upravo su ta prozna djela ilustrativna za tezu koju dokazujem, a to je da melankolija kao narativna strategija otpora ima dvojaki karakter: emancipatorski (subverzivni) koji se opire postojećim društvenim praksama putem imenovanja izgubljenih objekata unutar pet koncepcija realiteta (nostalgična koncepcija: vrijeme, melankolija povijesti: sustav moralnih vrijednosti, traumatična koncepcija: bolest, adaptivno-asocijativna: egzistencija i transcendentalna koncepcija: Apsolut – bitak, ljubav, Bog) te refleksivni/kontemplativni koji u odabranim proznim djelima omogućuje uspostavljanje harmoničnijega odnosa subjekata s “novim” vremenom. Znanstveni doprinos doktorskoga rada očituje se u razmatranju melankolije kao narativne strategije otpora u odabranim proznim djelima, a ne isključivo u sagledavanju melankolije kao stanja bolesti subjekta ili (psiho)patologije društva. Odabrana prozna djela pripadaju korpusu književnosti koja zahtijeva ozbiljan interdisciplinarni pristup, među ostalim i zbog bogatstva rodne simbolike (tjelesnost i spolnost, užitak i tjeskoba, bolest i starenje) stoga će ona u okviru ovoga znanstvenog istraživanja dobiti zasluženu kritičku recepciju. This doctoral dissertation considers melancholy, no longer only as a term which in medicine and psychology denotes a mental illness or state of mind, but as a narrative strategy in the prose of contemporary Croatian authors. The aim of the doctoral thesis is to use the method of psychoanalytic literary criticism in selected prose to investigate how problem complexes such as social justice and fairness, degradation of work and labor and the ideology of consumerism are related to the process of melancholy. The research focuses on selected prose works: “Museum of Unconditional Surrender” by Dubravka Ugrešić, “Leica format: fugues” by Daša Drndić, “Rio bar” by Ivana Sajko, “Hair Everywhere” by Tee Tulić and “The Disease of the World” by Tatjana Gromača, which are methodologically considered in the framework of psychoanalytic literary criticism, and in correspondence with cultural currents. The selected prose belongs to a corpus of literature that requires, among other things, a serious interdisciplinary approach due to the richness of gender symbolism (physicality and sexuality, pleasure and anxiety, illness and aging). Therefore, it will receive a well-deserved critical reception in this scientific research. The scientific contribution of the doctoral thesis is manifested in the consideration of melancholy as a narrative strategy in selected prose, no longer exclusively as the disease of the subject or the (psycho)pathology of society. The first part of the doctoral thesis presents linguistic, medical, psychoanalytic and cultural interpretations of the term melancholy. Melancholy is a term to which significant attention was often and gladly paid because on the one hand, it denoted the trait of extraordinary people, and on the other hand, it showed weaknesses in character (laziness, anxiety, depression, etc.).However, from the perspective of medicine and psychoanalysis, the difference between melancholy as a mental illness and grief as one that contains the power of healing has been emphasized for too long, thus further stigmatizing melancholy. The key work for understanding the development of the concept of melancholy is “Saturn and Melancholy: Studies in the History of Philosophy of Nature, Religion and Art” (1964) by Klibansky, Panofsky and Saxl because it provides an overview of the developmental stages of melancholy and reveals strengths and weaknesses in theoretical thinking. The basic text for a psychoanalytic discussion of melancholy and mourning is Freud's essay "On Mourning and Melancholy" (1917) in which he writes that the difference between mourning and melancholy lies in the fact that, in case of melancholy, the object lives in the subject. The criticism that the subject directs towards himself is directed towards the object and therefore the subject behaves sadistically towards his/her external body. Numerous theorists (Karl Abraham, Judith Butler, Julija Kristeva, Željka Matijašević, Priscilla Roth, etc.) followed Freud's essay with their comments and in this chapter, apart from the relationship with the object and the processes of projection, introjection, incorporation and identification, ambivalence and its constructive and destructive characteristics of the melancholic subject within the transformation that takes place in the process of melancholy is also being thematized. A significant part of his doctoral dissertation was dedicated to Melanie Klein who is, in my opinion, the most important theorist of melancholy and for whom “good” objects were a replacement for the original lost “good” object. Due to a different understanding of time and space, nostalgia emerges as an "aid" to melancholy, helping it to articulate memories and which is interesting because it contains utopian parts driven by the desire to find a place better than where we are now. Svetlana Boim and Jan Starobinski mostly wrote about the dual archeology of nostalgia. Mourning and melancholy are continuously in a kind of interplay, mostly because the source of both processes is loss which destroys the foundations on which we built our sense of existence. Everything completely changes once we experience loss. Every era endures loss in a specific way, which is why history knows so many different concepts of melancholy. With the fall of the Berlin Wall in 1989, it became even clearer that melancholy was a treasure trove of memories and awareness of all the potentials of the past, and that its lost object had become a struggle for emancipation. Therefore, the theoretical part of the paper is rounded off with insights into the melancholic character of the revolution and reflection on historical experience as an object of melancholy (Pascal Bruckner, Tatjana Jukić, Žarko Paić, Katarina Peović Vuković, Enzo Traverso, etc.) and, finally, an overview of models and types of contemporary Croatian prose which opens space for the analysis of selected prose works. The second part of the doctoral dissertation deals with the analysis of selected prose works that point to the key parts of the transition processes in the countries of Southeast Europe: the collapse of the dominant ideology and the need to redefine social, educational and cultural policy. They belong to a corpus of literature that requires a serious interdisciplinary approach, among other things, because of the richness of gender symbolism (physicality and sexuality, pleasure and anxiety, illness and aging). Although these are stylistically different works, some of their problem sets are common. The narrative takes place in a time of transition and post-transition, and the focus lies on the issue of identity and oblivion, reminding us of the importance of the collective in building the vision of the future society. The subjects of melancholy (melancholic heroines) are very critical of the current social order, which is mostly a product of (post) war manipulation, but they are no milder in their criticism of the legacy of the former Yugoslavia. They prove their direct or indirect commitment to the fight for women's (labor) rights through intersections with the theoretical considerations of influential individuals and pay significant attention to issues of illness and aging. They very skillfully dissect work and labor in relation to the "time of the past" and conclude that work has been rudely devalued, and workers have been humiliated. They go into exile, which for them primarily means an escape from the state of war, but also a response to their existential crisis. The mentioned common thematic complexes confirm that, on the narrative level, melancholy in these selected prose works acts as a joint between social pathologies and current cultural currents. There are two levels of melancholy as a narrative strategy in the selected prose works; the narrator level and the story level, which develop in parallel and which, ultimately, reveal the character of melancholy. The narrative perspective of melancholy at the story level refers to four types of stories that shape our vision of the future, and that reflect the legacy of the past: the “nostalgic story” in which the present is the result of good or bad events in the past; the “tragic story” in which the melancholic heroines, dramatic situations and victims are a combination of external circumstances; the "adaptive-associative story" in which the melancholic heroine adapts to new circumstances and the "transcendental story" whose narrative dimension is influenced by the presence /absence of God in the life of the melancholic narrator. The selected prose works are illustrative for the thesis I am proving, namely that melancholy as a narrative strategy has a dual character: the emancipatory (subversive), which resists the existing social practices by naming five conceptions of reality (nostalgic conception: time, melancholy of history: system of moral values, traumatic conception: disease, adaptive-associative: existence, and transcendental conception: Absolute (being, love, God) and the reflexive /contemplative which enables the establishment of a more harmonious relationship of subjects with the new time. Melancholy helps to re-examine the importance and meaning of social constructs and points to the need for change due to the dissatisfaction with the current situation (subversiveness). However, the contemplative character of melancholy ultimately better corresponds to the modern needs of melancholic man whose main goal is to discover the truth which is a prerequisite for the acquisition of dignity and the attainment of freedom. The naming of lost objects within the five conceptions testifies to how our inner wealth is the result of an adopted “good” object at the earliest age, so melancholy is our hope for the return to true humanistic values in the posthumanist era, such as compassion, solidarity and inclusiveness.

U ovome se radu istražuju okolnosti prijepora koji su uslijedili nakon objavljivanja dviju knjiga hrvatskoga književnoga povjesničara Stanka Lasića: Sukob na književnoj ljevici 1928-1952 (1970) i Krleža – kronologija života i rada (1982). U prvoj je knjizi Lasić analizirao povijesne okolnosti i aktere sukoba na književnoj ljevici, s osobitim naglaskom na djelovanje Miroslava Krleže nakon objavljivanja njegovog Dijalektičkog antibarbarusa, a u drugoj autor je priredio kritičku Krležinu biografiju i kronologiju njegovoga rada. Obje su knjige, nakon što su tiskane, izazvale brojne polemike u kulturnoj, odnosno političkoj javnosti onodobne socijalističke Jugoslavije. Autorica istražuje i analizira odabrani korpus novinskih članaka, polemika ali i govora koji su održani na političkim tribinama, organiziranim 1982. povodom tiskanja Lasićeve knjige Krleža – kronologija života i rada, a koja je bila napisana četiri godine prije. U ovim je prijeporima samo jedan pisac sustavno i to bez političkih kalkulacija, branio integritet Stanka Lasića. Bio je to Danilo Kiš. Uz Kiša koji je branio Lasića kao pisca knjige Sukob na književnoj ljevici 1928-1952, valja spomenuti jedinu pozitivnu recenziju knjige Krleža – kronologija života i rada iz pera Igora Mandića. Autorica posebnu pozornost posvećuje analizi kriptičnih termina i ideologema koji su korišteni u tadašnjim polemičkim tekstovima, a sve s obzirom na povijesni kontekst u kojem su ti tekstovi nastali, na njihovu jezičnu primjenu i ondašnji doživljaj u javnosti.

Diplomski se rad bavi avangardnim odrednicama Kamovljeve proze: romana Isušena kaljuža, lakrdija „Žena“, „Katastrofa“, „Odijelo“ i „Stjenica“ te novele „Sloboda“. Metodama pomnog čitanja i usporedne analize, rad ukazuje na važnost groteske, ironije i inovacije u tekstovima Janka Polića Kamova, autora koji je stvarao za trajanja moderne, ali i najavio avangardu u hrvatskoj književnosti. Prvi dio rada donosi pregled teorijskih uvida o avangardi te se oslanja na utjecajne studije Lica moderniteta (Matei Calinescu) i Teorija avangarde (Peter Bürger) kombinirajući ih s knjigama Aleksandra Flakera i Gordane Slabinac, tekstovima koji se oslanjaju na strana istraživanja, ali i na primjere iz hrvatske književnosti. Premda je avangarda sklona odricanju od tradicija, avangardni su tekstovi pisani na pozadini iste: zbog toga je u rad uključen kratki pregled moderne i avangarde (razdoblja ključnih prilikom čitanja Kamova) te pregled autorova cjelokupnog opusa. Analitički dio rada ocrtava Kamovljevo korištenje ironije i groteske te njegovu formalnu inovativnost: inovacije u motivima, pripovijedanju i tretmanu vremena. The topic of this thesis are the avant-garde elements in Kamov’s prose: the novel The Drained Swamp, farces „Woman“, „Catastrophe“, „Suit“ and „Bedbug“, and the short story „Freedom“. By relying on close reading and comparative analysis, the thesis analyzes the importance of grotesque, irony and innovation in texts of Janko Polić Kamov, an author who published during Modernism, but also announced the Avant-garde in Croatian literature. The first part of thesis provides an overview of theoretical insights about the Avant-garde, and relies on influential studies such as Five Faces of Modernity (Matei Calinescu) and Theory of the Avant-garde (Peter Bürger) combining them with books by Aleksandar Flaker and by Gordana Slabinac, texts that include the research of world literature as well as Croatian examples. Although the Avant-garde tends to renounce traditions, the texts written during that period are based on their background: hence, a brief overview of Modernism and Avant-garde is included in the thesis (key periods for reading Kamov). The thesis also details the author's entire opus. The analytical part of thesis describes Kamov's use of irony and grotesque as well as his textual innovations: novelties noticeable in motives, narration, and treatment of time.

U ovomu se diplomskomu radu analizira tvorba queer identiteta u hrvatskim romanima od 19. do 21. stoljeća. Točnije, analizira se sedam hrvatskih romana: Udovica Josipa Eugena Tomića, Suparnica Marije Terezije Marije Jurić Zagorke, Bijeg od budućnosti Darka Lukića, Lunapark Tomislava Zajeca, Pula Vladimira Stojsavljevića, Parabajka Ivane Kovačić, Poderana koljena Dine Pešuta. Cilj je ovoga rada analizirati tvorbu queer identiteta u navedenim hrvatskim romanima te rasvijetliti postojanje queer identiteta u hrvatskim romanima i prije utemeljenja tzv. hrvatske queer književnosti. U radu su analizirani elementi koji su važne sastavnice queer identiteta, primjerice, emotivna privrženost i erotska privlačnost prema osobama istoga u slučajevima lezbijskih i gay identiteta te istoga i suprotnoga spola u slučajevima biseksualnih identiteta. Teorijsko-metodološku osnovu rada čine teze Judith Butler o performativnosti roda te analize tvorbe queer identiteta (Admir Jugo, Howard Hughes, Jasmina Čaušević, Jadranka Ćuzulan, Tea Nikolić, Tamsin Spargo).

Putovanjem pojedinac stječe iskustvo i životnu naobrazbu. Iz pojedinca se stvara intelektualac koji upoznavanjem novog i drukčijeg može prepoznati vlastito. Povijest, kultura i nove obzore pronalaze se i u književnosti. Putopis je znanstveno-književna vrsta u kojem se opis puta, povijesti i kulture prenosi riječima putopisca. Suvremeni putopisci osim osvrta viđenog, donose načinom pisanja i svoja razmišljanja, vlastitu kulturu i enciklopedijsko znanje. Austrijanci i Nijemci jedni su od najvećih putnika, a njemačka je književnost jedna od najpolodonosnijih. Pisci i putopisci bitno su oruđe u podučavanju mladih o interkulturalnosti i jezičnih formi na nastavi njemačkog jezika. Johann Wolfgang von Goethe, Franz Pettler, Heinrich Noé, Johann Georg Kohl i drugi putopisci postavili su visoku ljestvicu koju Karl-Markus Gauß i Hape Kerkeling preoblikuju u modernu i suvremenu verziju putopisa. Hrvatska književnost svakako ne zaostaje, štoviše, u putopisnoj literaturi može se pohvaliti velikanima kao što su Miroslav Krleža, August Šenoa, Matija Mažuranić i drugi autori koji su ostavili traga u književnosti i pokazali put k novijem i boljem. Tim putom ide i hrvatski putopisac Davor Rostuhar. Ljudi putuju radi traganja za novim, uzbudljivijim da bi se vratili rafiniraniji, dok putopisci u svojoj samospoznaji na putu žele ostaviti čitateljima i budućim putnicima nepoznata mjesta, različite kulture i nove horizonte potpisane nacionalnim jezikom. Through travel, individuals gain experience and life education. From the individual is created an intellectual, who by getting to know something different and new, can recognize his own. History, culture and new horizons are also found in literature. A travelogue is a scientificliterary genre in which the description of a journey, history and culture is conveyed in the words of a travel writer. Contemporary travel writers, in addition to reviewing what they have seen, also bring their own thinking, their own culture and encyclopedic knowledge through the way they write. Austrians and Germans are one of the greatest travelers and German literature is the most fruitful one. Travelogues and travel writers are important tools in teaching young people about interculturality and language forms in German lessons. Johann Wolfgang von Goethe, Franz Pettler, Henrich Noé, Johann Georg Kohl and other travel writers have set a high scale that Karl Markus Gauß and Hape Kerkeling are transforming into a modern and contemporary version of the travelogue. Croatian literature certainly does not lag behind, moreover, travel literature can boast of the great names such as Miroslav Krleža, August Šenoa, Matija Mažuranić and other authors who left their mark on literature and showed the way to something newer and better. Croatian travel writer Davor Rostuhar is also following this path. People travel in search of something new, more exciting to return more refined, while travel writers, in their self-awareness along the way, want to leave readers and future travelers with unfamiliar places, different cultures and new horizons signed by the national language.

Ovaj završni rad tematizira postupke estetike ružnoga u novelama Antuna Gustava Matoša. Donosi se teoretski dio o samom pojmu estetike ružnoga nakon čega se predstavlja književni rad Antuna Gustava Matoša i kroz njegove novele prikazuje kako se takva estetika ostvarila. Više je načina kako je ružno uvedeno u Matoševe novele, a to su: groteska, opisi karaktera, pejsaža, patnje, gotički elementi, napuštenost i propadanje te grižnja savjesti. Ti elementi pronađeni su u sljedećim, proizvoljno odabranim Matoševim novelama: Pereci, friški pereci (Brankovo kolo, 1897; Iverje 1899), Miš (Iverje, 1899), Camao (Nada, 1900; Novo Iverje, 1900), Nekad bilo – sad se spominjalo (Novo Iverje, 1900), Balkon (Nada, 1902; Umorne priče, 1909), Cvijet sa raskršća (Hrvatska smotra, 1908; Umorne priče, 1909) i Ljubav i dubljina (Savremenik, 1911). Analiza estetike ružnoga kod Matoša provedena je kako bi se pretpostavilo zašto je Matoš upravo koristio taj stilski postupak te kako je on povezan s epohom i kretanjima u književnosti za vrijeme Matoševa života.

Polazeći od hipoteze kako u kontekstu korpusa suvremenoga hrvatskoga povijesnog romana FeĊa Šehović (1930.) zauzima mjesto autora koji najdosljednije koristi testimonijalni diskurs u svrhu romaneskne izgradnje odnosa prema prošlosti, zbog ĉega se upravo testimonijalna pozicija nameće kao analitiĉko-interpretacijsko polazište, disertacijom se nastojalo problematizirati svjedoĉenje u povijesnim romanima ovoga knjiţevnika. Metodološki okvir predstavljaju studije o ţanrovskim obiljeţjima hrvatskoga povijesnog romana, naratološki instrumentarij, teorija intertekstualnosti i teorija kulturnoga pamćenja, u ĉiju sferu spadaju i postavke o (ne)mogućnosti svjedoĉenju traume te problematika konstruiranja kolektivnih identitetnih predodţbi (imagološka vizura) putem svjedoĉenja. Koncept svjedoĉenja Šehović je zahvatio raznovrsnim narativnim strategijama, osiguravši figuri svjedoka razliĉit status u narativu (svjedoci koji jesu/nisu likovi), kao i razliĉitu pripovjednu i fokalizacijsku poziciju. Svi protagonisti analiziranih Šehovićevih romana reprezentanti su tzv. povijesno slabih subjekata kojima pozicija svjedoka i akt svjedoĉenja predstavljaju mogućnost upisivanja u povijest. I primarni i sekundarni svjedoci pri tome nastupaju kao moralni svjedoci koji modelom pharmakosa / ţrtvenoga jarca upućuju na besmisao ideološke ţrtvenosti. Diskurzivno raznoliki testimonijalni dokumenti inkorporirani su u romanesknu strukturu prvenstveno pozivanjem na zapise u okviru osnovnoga teksta, ali i fusnotama, predgovornom bilješkom te sluĉajem romana koji u cijelosti predstavlja zbir(ku) dokumenata. Zapisi svjedoka u sluţbi su postavke o tekstualno proizvedenoj prošlosti, kontinuirano razotkrivaju svoju intertekstualnu narav te odmiĉu fokus s odnosa zbilja - tekst na odnos tekst - tekst. Testimonijalni diskurs u povijesnim romanima FeĊe Šehovića funkcionira kao modus podrivanja ideološke vizure povijesnoga, pri ĉemu su preokupacije konstativima ustupile mjesto performativnoj moći samog testimonijalnog ĉina, a povijesna faktografija zamijenjena je razinom individualnoga iskustva povijesnoga. Historical novels by contemporary Croatian writer FeĊa Šehović (1930.) are only sporadically, and thus not sufficiently systematically, captured in Croatian literary science. Primarily with his attitude towards history (history as cyclicality, returning of same instead of history as a teacher of life), but also with many "building elements" (Matanović), Šehović is placed in the group of those authors of Croatian historical novels (Nedjeljko Fabrio, Ivan Aralica, Stjepan Tomaš, Ivan Supek, Ivica Ivanac, Ludwig Bauer ...), marked by a shift from the traditional historical novel, or the Šenoesque type novel. For some literary scholars (Milanja, Matanović), such a paradigm shift is marked by the terminological determinant of the Croatian new historical novel. Guided by the hypothesis that within the genre of the Croatian historical novel, the act of testimony can be registered as a recognizable poetic designation of the work of FeĊa Šehović, which is why the testimonial position is imposed as an analytical and interpretative starting point, the dissertation was focused on the problematization of testimony in the historical novels of this writer. The analysis included a corpus of those Šehović novels that can be narrowly referred to as the historical novel genre: the ―Dubrovnik trilogy‖ written under the pseudonym Raul Mitrovich (Gorak okus duše, 1983.; OslobaĊanje Ċavola: Kronika, 1986.; Uvod u tvrĊavu: Biblija za nevjernike, 1989.), Ilijasbegović's five books: Cronica travuniana from 2002. (1. Ilijas-beg, kapetan trebinjski; 2. Inšallah; 3. Begovina; 4. Dubrovaĉki intermezzo; 5. Od Mostara do Haaga) and Prokleta ergela (2009.). The concept of testimony in mentioned historical novels of FeĊa Šehović is mostly discussed on the interplay of typology and position problem of both witnesses and documents, while the final chapters of the paper emphasize the constellation of testimony and memory / remembering (presentation of trauma by testimony, testimony in the service of identity representation). The methodological framework is represented by studies on the genre characteristics of the Croatian historical novel, narratological instrumentation, intertextuality theory and cultural memory theory, in whose sphere are included settings about (im)possibility of witnessing trauma and the problems of constructing collective identity representations (imagological vision) through testimony. Although based on a narrative model, testimony is irreducible only to the problem of storytelling (Felman, Derrida), it is inseparable from the categories of responsibility and obligation (Felman) and trust (Derrida). Namely, the witness's speech is always appellate, it is addressed to a certain addressee, who in turn becomes a further witness through a testimonial act, thereby realizing a potentially infinite testimonial chain. In the framework of the theory of speech acts (J. L. Austin), testimony escapes the idea of constatives, in terms of establishing the (in) truthfulness of a testimonial statement. After all, the focus of the testimony is absolutely singular (Derrida), and thus objectively unverifiable. Testimony functions as a performative act — an act by which it acts — whereby the testimony is built on the interaction of its expositive and commissural component. The more visible representation of the mechanism of testimony in modern times may be related to a different attitude of history (in terms of historiography), but also of historical novels toward historiographic material, and thus to the past in general. Although the contemporary Croatian historical novel, including those of Šehović, did not play with history as foreign authors of postmodernist historical novels did, in Croatian literature one cannot but register a different relation to the historical document as an unquestionable authority - this relationship is now based on reevaluation and doubt. Testimonial discourse in the historical novels of FeĊa Šehović primarily functions as a mode of undermining the ideological vision of the historical, whereby preoccupations with constituents gave way to the performative power of the testimonial act itself, and historical factography replaced by the level of individual experience of the historical. The protagonists of recent Croatian historical novels mostly represent historically nameless / insignificant individuals, those who are not actors but victims in the trappings of historical rotation. The only privileged place in talking about historical can be achieved by such individuals as witnesses. Such a position enables them to bring (and) their own (historical) story through their testimonial statement to their addressee, ie the community to which the appeal was addressed. Given the status of the witness figure in the narrative, it can be observed that most of the witnesses have the role of characters, both main / protagonists and side characters. With the dominance of witness-characters, witnesses who do not have the status of a romanesque character since they do not participate in the fabric flow, have found a place, albeit rarely, in the historical novels of FeĊa Šehović. The narrative position of testimony in the Gorak okus duše, OslobaĊanje Ċavola, Prokleta ergela, and most of the Ilijasbegovići five books, that is, most of Šehović's historical novels, is realized by the situation of summoning a Genettian extradiegetic-heterodiegetic narrator on testimony. Only a small number of Šehović's novels gave the witness the narrative status. Thus, witnesses appear as homodiegetic storytellers in the Uvod u tvrĊavu and in the part of Ilijasbegovići. The focalisation positioning of the witness (taking into account the focalization model of the theorist Mieke Bal) is achieved mainly through an external focalizer (external view), which in certain places, for the impression of authenticity and persuasiveness, incorporates into its focalisation point of view and certain focalisation inserts of the witness (Gorak okus duše, OslobaĊanje Ċavola, Prokleta ergela, part of Ilijasbegovići). The purely internal focalization, in terms of presenting visions only from the inside, coincides with the position of the witness as a homodiegetic narrator. In this sense, the symbiosis of the "gaze" and "voice" of the witness is visible in Uvod u tvrĊavu and part of Ilijasbegovići. Taking into account the mimetic modes of Northrop Frye's fictional literature, Šehovic's romanesque witness-protagonists (fra Vincenco and don Vicko in Gorkak okus duše; Andro and Mavro in OslobaĊanje Ċavola; Pepo and Luko in Uvod u tvrĊavu; fra Ilija and fra Andrija in Prokleta ergela; Ilijas-beg - Hasan-beg - Ilijas-beg - Ilijas - Enko in Ilijasbegovići can be described as tragic because it is a case of an individual separated from society. The figure of suffering is underlined by the continued use of the martyrological lexicon. Thus, the protagonists-witnesses are most often referred to as martyrs, and their life paths as torment and Golgoth, thus constructing primarily a Christological model of sacrifice, but also a model of sacrifice in general. However, it is worth pointing out that the sacrifice of these characters is not of high-mimetic mode because they do not suffer from a tragic hamartia, such as Greek heroes or Christian martyrs - their sacrifice is typical or accidental. N. Frye associates this kind of sacrifice with the archetypal figure in ancient pharmacos literature (sacrificial lamb / scapegoat), which in turn can be linked to the fate of Old Testament Job. In this sense, Šehović's subversive reading of Job's fate is noticeable, with the man - God analogy shifted towards the man - ideology analogy. Namely, the suffering of the innocent, instead of the consolidation of faith, leads to a loss of faith and hope, to doubt of all possible types of ideological mechanisms, which, regardless of their omen, always prove to be exclusive and fatal to the existence of the "small" participant in history. Following on from the foregoing, a whole series of Šehović's characters, both primary and secondary witnesses, participate in the construction of a moral witness figure, one that points to the negative aspects of history. During such testimony, sacrifice is set not as sublime but as a senseless act. The narratological construction of the protagonist-witness is mainly developed by the opposition (ideological) believer-unbeliever, thus shaping the figure of (un) beliefs as the umbrella component of the thematic-ideological layer of Šehović's historical novels. Regardless of the initial degree of ideological belief, with minor or major shifts within the characterization process, all protagonist-witnesses are led to the position of ideological unbeliever. The latter issue is directly linked (and) to the societal conflict between writer and authority. In the writer-power relationship, episodes of ideologically (un) justifiable prosecutions come to the fore in Šehović's historical novels, those that are a reaction not only to poetic action in the narrow sense, but also to any action in words that is not aligned with the coordinates of the ruling ideology. And the need to testify in these characters coincides with the need to speak authentically of the lived experience (Foucault's vision of parasian action), of imprinting the historical on personal lives, on one's own bodies. The duty to testify is specifically embedded in the characters of writers who, not only by their own experience (as primary witnesses), but also as the addressees of the testimony of others, are artistically and intellectually responsible for taking on the role of secondary / intellectual witness (Hartman). From this angle, the purpose of testimony also stems from the fusion of the performative nature of the act of testifying with the categories of ethics. The position of the witness in Šehović's historical novels is so emphasized that all the documents within the novel are a reflection of the speech of the witness, which makes it possible to characterize them as testimonial documents. The imperative of writing as the topos of Šehović's novels corresponds to the idea of necessarily textual availability of the past (Hutcheon), and is largely realized by the motive of found and / or preserved records. The discursive classification of (testimonial) documents in Šehović's historical novels reveals their diversity: chronicles, diary fragments, epistolary records, autobiography in the narrow sense, testimonial (camp) literature, essay notes, poetic texts, oral statements and pictorial writings. All kinds of documents, given that they start from the perception of a little man as a witness to events, are highly subjectivized. In addition, these are not documents whose authentication can be found in the archives of empirical reality, as was the case, for example, with Šenoa's preface to the documentary material. In this context, the documents in Šehović's novels are at the same time examples of the so-called weak documents but also paracitate texts. Like other representatives of the contemporary Croatian historical novel (Fabrio, Aralica, Tomaš, Bauer ...), Šehović most often (within all his novels) refers to documentary material within the basic text (sometimes by direct quotation of witnesses' records, sometimes by reported speech). In addition, the incorporation of documents is accomplished by the use of a footnote, a preface note, but also in the case where the entire novel is entirely a sum (collection) of documents (the effect of "self-talk" records). Šehović's novels, in their relationship to the document, completely move away from the general analogy of reality - text and focus on the relationship between texts, thus suggesting the assumption that the past reality is always textually produced. In this vein, all the testimonial documents in the analyzed Šehović's historical novels act primarily as texts - demonstrating their intertextuality as a general feature of each text, both at the insidetextual level (among documents within individual novels) and at the level of the relationship between the documents of the novels and texts of Croatian and world literary heritage. With a foothold in testimonial discourse, the talk of (historical) traumatic in Šehović's historical novels moves away from the sphere of writing about trauma (an attempt to objectively reconstruct past events) towards writing of trauma itself (LaCapra). Writing trauma is writing post-traumatic, affected by the process of work creation and working trough. In light of the mimetic / antimimetic model of reaction to traumatic (Ruth Leys), Šehović points to their non-exclusivity and co-existence with his novels. The concept of history in Šehović's novels, especially across the temporal dimension, corresponds to the inevitable mimetic face of the traumatic, one that involves only the possibility of infinite embodiment. History presented as cyclical, repetitive, bears the mark of a traumatic code: there is no way out of the past because the distinction between past, present and future is abolished, past becomes present and future. On the micro level, the act of testimony enables an attempt to narrate the traumatic and thus the therapeutic effect. In this way, the testimony turns to the attempt to thorough elaboration, finding its place within the framework of an antimimetic reaction to the traumatic one. Testimonial writings within novels published this century (Ilijasbegovići, Prokleta ergela), in particular the Franciscan chronicles and essayistic writings of the characters of the beys and Franciscans, are included in the sphere of cultural memory and memory by questioning the textual production of collective identity ideas. The interactive relationship between self-concept and hetero-conceptions, whose creation can register confessional opposition (Christianity - Islam), Balkanist discourse (Todorova) and the concept of viciousness (Kristeva), builds identity models of Bosniaks (Ilijasbegovići) and Bosnian (Prokleta ergela) based on sacrifice of victimological, not the sacrificial type. The motive of shared suffering, which seeks to present the community with a testimonial act, acts as a cohesive element (Renan) when forming a collective or we-identity (Assmann), despite ethnic and confessional diversity. Testimonial records, through their intertextual chaining, over time form the continuity of thoughts about Bosniak / Bosnian identity, as well as the image of Bosnia in the novels mentioned. Šehović's literary Bosnia grows on the features of interculturalism, which in the literary imaginary occupies a much different position from Andrić's multicultural Bosnia. Further literary scientific interest should be directed both to a more comprehensive coverage of FeĊa Šehović within the framework of Croatian literary science, to extending testimonial issues, to novels that in the narrow sense move away from the genre of the historical novel, as to the intercultural / comparative positioning (Croatian - Bosnian literature) of this contemporary writer.

Zamišljena kao prvo sustavnije istraživanje generičkih posebnosti najpoznatijega književnog ostvarenja Pavla Rittera Vitezovića, ova disertacija nastoji detektirati karakteristična obilježja čitavog niza pisanoknjiževnih, usmenoknjiževnih, pučkoknjiževnih, poluknjiževnih i izvanknjiževnih žanrova od kojih je „sastavljeno“ Odiljenje sigetsko (Linz, 1684.), a sve s nakanom da za njegov kompleksan i do sada kojekako definiran žanrovski identitet pokuša iznaći što precizniju oznaku. Oslanjajući se na zapažanja suvremene književne genologije ili teorije žanr(ov)a, poglavito na ona utjecajne teorije govornih žanrova Mihaila Bahtina, analiza navedene žanrove motri kao podjednako tekstualne i kontekstualne konstrukte, slijedom čega i njihovu pojavu unutar korica Odiljenja dosljedno teži protumačiti kako unutartekstualnim i književnopovijesnim, odnosno poetičkim, tako i intertekstualnim, recepcijskim, ideološkim, pa čak i društvenopovijesnim razlozima. Zahvaljujući takvu pristupu, disertacija omogućuje puni uvid u dosad zanemarivanu generičku slojevitost Odiljenja sigetskog te pritom podastire mnoštvo opipljivih dokaza njegove uvjetovanosti raznim izvantekstualnim činiteljima, zbog udovoljavanja kojima ga Pavao Ritter Vitezović i jest držao najsvrsishodnijim realizirati kao kompozicijski i formalno rascjepkan višežanrovski sastavak koji će različite čitatelje biti u stanju navesti na posve različita generička očekivanja. Kao najvažniji rezultat provedenoga istraživanja stoga se i ispostavlja ta u potpunosti „osvježena“, iz novih spoznaja izrasla generička percepcija ovoga možda i najosebujnijeg književnog teksta naše barokne i ne samo barokne književnosti, koji zbog svojega „mozaičnog“ žanrovskog identiteta učinkovito izmiče svim pokušajima jednoznačnoga generičkog svrstavanja. The basic intention of the doctoral dissertation entitled Genre Characteristics of Pavao Ritter Vitezović's „Odiljenje sigetsko“ is to offer the first systematic genological analysis of one of the most difficultly genre-identifiable literary works in the history of Croatian literature in general – Pavao Ritter Vitezović’s Odiljenje sigetsko (Linz, 1684.). After the introductory part of the text, which briefly presents the problem orientation of the dissertation and its objectives, the second chapter establishes a theoretical framework within which the research will be conducted. Given that it is an exploration of the genre aspect of the selected text, it is precisely the literary genology or genre theory that has been shortly recalled as the most appropriate theoretical starting point. Among the various genealogical approaches, the theory of speech genres of the Russian literary theorist Mihail Bahtin is then chosen, especially because its postulates in contemporary genology have an important place and can therefore prove as extremely useful in the analysis of genre-intricate works such as Odiljenje sigetsko. The genre and all other peculiarities of Vitezović’s Odiljenje sigetsko are discussed in the next chapter, which also recalls the concerns encountered by his readers during its genre classification. Moreover, this chapter also points to the various definitions by which Pavao Ritter himself identified his first literary work in the Croatian language in the paratextual parts of three of its editions, published for his lifetime. Various – partly explicit and partly implicit – genre categorizations then followed the Odiljenje from the eighteenth century to the present day, when in literary historical accounts and studies it is possible to encounter extremely different attempts of its generic identification, but subsequently confirmed with insufficiently persuasive evidences. The fourth chapter of the dissertation – which opens a detailed account of the complex genre system of Croatian baroque literature, within the framework of which Vitezović wrote his work – is fully devoted to exploring the specific genre characteristics of Odiljenje sigetsko. After the reconstruction of the baroque genre system, the following is an analysis of the genre characteristics of the very diverse origins by which Pavao Ritter has flowed Odiljenje from the first to the last of its verse, whereby the text does not only locate a number of peculiarities of baroque and pre-baroque literary genres ranging from fictitious epistle and lament to epitaph and allegory. Moreover, the analysis confirms that Odiljenje is filled with recognizable features and even complete examples of genres of folklore literature (bugaršćica, dirge, prayer, blessing, curse, proverb, riddle, etc.), as well as those of literary and even semiliterary and marginal literary such as instruction, war speech, oath, etc. Starting from the insights from the previous section, in chapter five we approach Odiljenje as a unique (compact) literary text composed of features and complete examples of an unusually large number of literary and not just literary genres. In order to try to find as precisely and as comprehensively as possible genre determinant to such literary work, in this chapter it is viewed on the basis of the various contexts in which it is found, starting from that of the author’s oeuvre, through intertextual and literary-historical context, to the context of the targeted and real audience. Here we also look for its possible genre patterns and eventual genre successors, and then we propose a completely new genre definition that best fits its hybrid, that is, “all-genre” identity. In the concluding, sixth chapter of the dissertation, we briefly recall the most important results of our research into the genre characteristics of the Odiljenje sigetsko and point to the need for further genological studies of this extremely intriguing Pavao Ritter Vitezović’s literary work, whose peculiarity is evident not only in the framework of the domestic baroque literature, but also in those of Croatian literature in general.

Ovaj književno komparatistički rad temelji se na analizi egzistencijalističkih sastavnica koje su zastupljene u romanu Proljeća Ivana Galeba (1957.) autora Vladana Desnice (1905. – 1967.). Predstavljena su glavna obilježja Desničina književnoga stvaralaštva. Također, iznijete su teorijske komponente egzistencijalizma kao filozofskog pravca i pravca u svjetskoj i hrvatskoj književnosti. Središnji dio rada obuhvaća podrobnu analizu egzistencijalističkih obilježja koja su potkrijepljena relevantnim citatima iz motrenoga romana. Egzistencijalistički elementi vidljivi su u temi djela koja se gradi na Galebovoj svijesti odnosno doživljajnosti. Njegova svijest opterećena je strahovima i promišljanjima. Također, egzistencijalizam se može analizirati i kroz oblikovanje lika Ivana Galeba. Desnica je Ivana Galeba konstruirao kao pojedinca s narušenim subjektivitetom i identitetom te mu to izaziva još veći niz egzistencijalnih nesigurnosti. Vladan Desnica svojim je romanom usredotočenim na psihologiju usamljenog i otuđenog pojedinca osigurao sebi jedno od najvažnijih mjesta u korpusu hrvatske egzistencijalističke književnosti. The paper deals with a comparative literature topic and it is established on the analysis of the components of existentialism which are present in Springs of Ivan Galeb (1957), a novel by Vladan Desnica (1905 – 1967). Major aspects of Desnica's literary views are presented in this work. Furthermore, the theoretical elements of the existentialism as philosophical and literary direction are outlined in both global and Croatian literature. The central body of this paper includes a detailed analysis of the characteristics of existentialism which are supported by the relevant quotes from the novel. The existentialist elements are visible in the theme of the novel which is built on Galeb's consciousness and impressions. His consciousness is burdened with fears and reflections. Also, existentialism can be analyzed through the shaping of the literary character Ivan Galeb. Desnica constructed Ivan Galeb as an individual with a destroyed subjectivity and identity and this causes him an even greater series of existential insecurities to the protagonist himself. With this novel being based on the psychology of a secluded and estranged individual, Vladan Desnica has an indelible importance in the corpus of Croatian existential literature.