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Prozodijsko sredstvo ritam Nazoru iz „riječi trepti“ i u pjesnikovoj lirici određen je univerzalno slogovima, riječima – stopama, stihovima, strofama, oblikom pjesme. Riječ mu „bijaše Zvek i Ritam, od kojih se sve rodilo.“ Na korpusu od 100 pjesama ilustrirat će se njegovi izbori na segmentnoj i nadsegmentnoj razini u funkciji ritmiciteta, a ne nemetričkoga postupanja. Važniji su mu bili zvuk riječi, rima, ritam stihova nego sadržaj. Upravo stoga, združeni pjesnikovim suzvučjem kreativno se oblikuju ritmičke strukture hrvatskoga jezika.

Suitu za osmeroglasni mješoviti zbor, sopran i tenor Faun Rudolf Matz skladao je 1921, a djelo je prvi put izvedeno 15. ožujka 1923. s velikim uspjehom. Nastala na stihove iz Šumskih idila Vladimira Nazora, skladba u pet stavaka oživljava ugođaje iz prirode, stvarajući himnu mladenaštvu i erotici. Središnji je lik djela Faun (Pan), omiljena tema moderne. Majstorski postupak sa zborskim zvukom odlikuje ovo djelo, koje slijedi europsku romantičku tradiciju uz vještu uporabu harmonijskih i kolorističkih elemenata impresionizma. Drugo predstavljeno Matzovo djelo, koje je ostalo gotovo nepoznato, slijedi posve drugačiju stvaralačku poetiku. To je ciklus od tri popijevke Spoznaje na slobodne stihove Envera Čolakovića, skladan 1974. na tragu glazbenog ekspresionizma. Složenom interakcijom vokalne i glasovirske dionice skladatelj je oblikovao tri sugestivna prizora. Oba predstavljena djela odmak su od neonacionalnog stila, koji obično povezujemo sa stvaralaštvom Rudolfa Matza., The suite Faun for a mixed choir of eight voices by Rudolf Matz (1901-1988) is one of the highlights of the Croatian choral output. It was composed probably in 1921 and was first performed by Glazbeno društvo intelektualaca [The Music Society of Intellectuals] on 15 July 1923 at the Croatian Music Institute under the direction of the composer himself. The text originates from the collection Šumska idila [Forest Idyll] by Vladimir Nazor, created in 1913 during his sojourn in Kastav. The themes and motifs are typically fin de siècle experiences of nature, and the verses are characterized by supreme artistry, musicality and are rich in metaphors. The five movements of the Matz's suite are arranged according to the principles of dramaturgy of the whole, the axis of which is formed by two central movements (The Noon and Queen of Flowers), while the introductory first two (Forest Sleeps and Morning) and the final Resurrection Song frame the whole. Following the dialogue principle in Nazor’s text, in the movement The Noon, there are two vocal soloists foreseen in the score. Individual movements are articulated according to the formal principle of the text. The composer uses repetitions of individual larger or smaller units, alternating the tempo and polyphonic and homophonic setting, occasionally doubling the parts, thus resulting in a rich sonority based on late-romantic harmony, which he also uses for occasional tone painting. Fine motive links ensure the integrity of the suite. This composition represents an exception in Matz's work, which largely followed the so-called national style, because it was composed in the romantic choral tradition.

Portretirao je suvremenike, članove obitelji, prijatelje, umjetnike, političare, pripadnike domaćih i međunarodnih elita, pa i prethodnike. Uvid u imena ljudi koji su mu pozirali ili koje je prikazao služeći se fotografijama i dostavljenim opisima i dokumentacijom, tijekom više od pet desetljeća, svjedoči o bogatoj mreži kontakata koju je kipar rasprostro po domovini, Europi i Sjedinjenim Američkim Državama. Promišljanjem pojedinačnih djela – skulptura, ali i crteža i slika – definiraju se stilske i osobne mijene koje su odredile umjetnički i životni put Ivana Meštrovića. Ovaj izbor od šesnaest portreta suvremenica i suvremenika s kojima je Meštrović uspostavio blizak odnos ili drugi vid uvažavanja i utjecaja, katkada jednosmjernoga, gdjekad uzajamnoga, prilika je za prebiranje po dominantnim formalnim odrednicama koje je kipar ostvario tijekom prva četiri desetljeća prošloga stoljeća.

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.

U radu se istražuje i analizira zastupljenost elemenata usmene književnosti u pripovijetkama Vladimira Nazora. U prvom dijelu rada se definira usmena književnost, povijest usmene književnosti i vrste usmene književnosti. U drugom dijelu slijedi životopis i književni rad pisca Vladimira Nazora. U glavnom dijelu rada analizira se i istražuje zastupljenost elemenata usmene književnosti u Nazorovim pripovijetkama. Dolazi se do zaključka da su elementi kletvi i psovki najprisutniji usmenoknjiževni oblici u pripovijetkama. Javljaju se brojne legende i mitovi. Prikazani su uskršnji i božićni običaji koji u svoje izvedbe uključuju brojne usmenoknjiževne oblike. This study is to examine presence of the oral literature in the short stories written by Vladimir Nazor. The first part of the study specifies the oral literature, history and types of oral literature. Next part is biography and overview of the literary activity of Vladimir Nazor. The main part of this study examines the representation of the elements of oral literature in the short stories. The conclusion is that curses and swearing are the most common forms of oral literature. There is appearance of the legends and myths. Easter and Christmas traditions are presented which include numerous oral literary forms i their performances.

Predstava Voda, prema motivima istoimenog teksta Vladimira Nazora je lutkarska diplomska predstava Marka Capora, nastala pod mentorstvom doc. art. Tamare Kučinović na Akademiji za umjetnost i kulturu u Osijeku. Pismeni rad I ja sam lutka vodi analizu rada na predstavi od uvodnog dijela koji sadrži kontekst vremena i okolnosti nastajanja predstave, preko odabira lutkarsko-kazališnih rješenja, do rastvaranja i analize svih postupka i događaja na sceni. Svrha ovog rada je analiza procesa rada na predstavi, radnog materijala i približavanje Veda kroz sam scenski materijal. Na kraju ovog rada nalazimo literaturu i izvore koji su korišteni u radu na osobnoj glumačkoj i lutkarskoj partituri, te konačno zahvalu na ovom znanju. The performace Voda (Water), based on the story of the same name by Vladimir Nazor, is a puppetry performance which is the graduation performance of Marko Capor. It was created under the menthorship of assistant professor Tamara Kučinović at the Academy of Arts and Culture in Osijek. The written work I ja sam lutka (I am also a puppet) leads the analysis of the work on the performace from an introduction that contains the contextualization of time and circumstances of the performace's development, over the philosophical analysis of every scene and event, and its theatrical solutions. The purpose of this work is the overall analysis of the working process, original text and its staging through Vedic knowledge, in order to bring the knowledge itself closer to the audience. At the end of the work we find the literature and the sources that have been used in the work on the personal acting and puppeteering score, and finally it gives thanks to this pure knowledge.

Analizirano djelo Crveni tank (1922.) procjenjuje se kao jedan od značajnih tekstova u hrvatskoj književnosti o Prvom svjetskom ratu i njegovim posljedicama. Mada je dijelom bilo neopaženo sve do danas, njegova pisca predstavlja vrsnim umjetnikom, humanistom i vizionarom. Vladimir Nazor kroz alegorije je uočio niz tendencija u suvremenom društvu, a predvidio je i budući rat kao posljedicu Prvog svjetskog rata. Alegorijska simbolika pripovijetke u članku elaborira se u širokom povijesnom kontekstu., Red Tank, a short story by Vladimir Nazor (1922) analysed in this paper is estimated as one of the more important contributions in Croatian literature on First World War and its consequences. Although it has been mostly neglected until contemporary times, it presents its author as a masterful artist, humanist, and a visionary. By using allegories, Vladimir Nazor noticed a number of tendencies in the society of his time, and he also predicted a future war as a consequence of the World War I. In this paper, allegorical symbolism in the short story will be elaborated in a broad historical context.

Domovina je s jedne strane prirodna činjenica, a s druge strane nije gotova datost nego politička zadaća. Mi sami sebe tek u slobodi podižemo i stvaramo svoju domovinu. Autorica odabire dva književna predloška koji tematiziraju domovinu i lutkarski su uprizoreni u Kazalištu lutaka Zadar: Pionir Grujo Vladimira Nazora (1952.) i Gradovanje Tahira Mujičića (1986.). Predstave imaju različitu poetiku i nastaju u različitom kontekstu i unutar samog Kazališta lutaka Zadar ali i političkih prilika u Hrvatskoj. Lutkarska igra Pionir Grujo bila je na repertoaru Kazališta lutaka Zadar već u njegovoj prvoj godini djelovanja. Nastaje u doba socrealizma i kako bi izbjegao klišeje tadašnje književnosti, Nazor priču o Pioniru Gruji postavlja između mitologije i stvarnosti. Aktualna tema, izgradnja domovine, konkretizirana je u gradnji pruge Šamac – Sarajevo. Lutkarska igra Gradovanje nastaje u doba kada je lutkarstvo u Zadru bilo već afirmirano i spremno na neobične priče i inscenacije. Gradovanje nastaje u doba prosvijećenog ili dekadentnog socijalizma kada se Tahir Mujičić morao poslužiti bajkom kako bi predstavio svoje viđenje domovine., On the one hand a homeland is a natural fact, but on the other hand it is not something finished and given but a political task. Only in freedom can we raise and create our homeland. The author is choosing two literary templates which thematize a homeland and were staged as puppet show in the Zadar Puppet Theatre: Pioneer Grujo from Vladimir Nazor (1952.) and Towning from Tahir Mujičić (1986.). Those puppet shows have different poetics and are born in different contexts of Zadar Puppet Theatre but also in different political circumstances of Croatia as a whole. Puppet show Pionir Grujo was on the repertoire of Zadar Puppet Theatre already in its first active year. It appeared in the age of socialist realism so, to avoid literary clichés of that time, Nazor placed the story between mythology and reality. Actual theme, the creation of homeland, is concretized in the construction of railway Šamac-Sarajevo. Puppet show Towning appeared when a puppetry in Zadar had already been established and ready for unusual stories and staging. It was in the age of enlightened or decadent socialism when Tahir Mujičić was compelled to get use of a fairytale to represent its vision of homeland.

Vladimir Nazor, personaggio di spicco della cultura croata di inclinazione mitteleuropea opera a cavallo tra l'Ottocento e il Novecento. Pur essendo autore di autorevoli pagine di prosa, la poesia lirica sembra rispondere maggiormente alle sue visioni oniriche, alle sue passioni e alla sensibilità con cui ricalca la delicata trama della quotidianità. Da intellettuale plurilingue e pluriculturale ha tradotto da e in croato, italiano, tedesco e francese. In questo saggio verrà presa in considerazione la sua tempra ed emotività italiana coronata dal desiderio di fare da ponte tra la cultura croata e quella italiana risultato nell’agguerrito lavoro di traduzione. La finalità della ricerca è l'analisi della traduzione dell'idillio di Giacomo Leopardi L'infinito in lingua croata fatta da Vladimir Nazor, (Beskonačnost, 1950a), con un’attenzione particolare verso la versione di Frano Čale (1993). Ulteriormente verranno elaborate le caratteristiche traduttive della poesia a sfondo sociale Mrtvačnica najbjednijih di Dobriša Cesarić nella traduzione di Nazor (Casa di morti miserissimi, 1977) e di Mario Kinel (L'obitorio dei miserabili, 1981).

The paper presents Croatian animal stories for children in the chronological way, throughout the history of Croatian children’s literature. Whenever possible, Croatian stories and authors are compared with the ones from other national literatures, for example with stories written by Hans Christian Andersen, Beatrix Potter, Rudyard Kipling and Jack London. In conclusion, the purpose of the paper is to present a part of Croatian children’s literature trough animal stories and to show in what way they contribute to the European children’s literature in general.

The aim of this paper is to explore the Yugoslav ideology of the fin de siècle Croatian Youth Movement, most importantly its political and literary articulations and their mutual entanglements. While ideologically continuing the Yugoslavism espoused by Franjo Rački and Josip Juraj Strossmayer, the Youth Movement, being a part of the broader modernist movement in Croatia and Europe in general, employed this conception in a manner which signaled a radical break from the earlier political praxis of the Croatian elites. As its ranks were made mostly of Croatian students studying abroad, mainly in Prague and Vienna, they drew heavy influences from social and political movements in the Austrian half of the Monarchy, such as the Czech Progressive Movement, Masaryk's political realism, socialism etc. This, alongside changed political circumstances in Croatia proper in which the reign of Count Khuen Héderváry symbolized national oppression using the divide et impera methods to eliminate the threat of Serbo-Croat unity, inevitably led to the modification of the Yugoslav ideology mainly in its political operationalization. Offering a comprehensive critique of traditional Croatian politics which relied on notions of historical state rights, prominent members of the Youth Movement emphasized natural rights and democratic mass politics. This was followed by a struggle on the literary field as well. The broader modernist movement fought for artistic freedom against institutionally established romanticism and realism. Although this movement was stylistically and ideologically diverse, one of the aims of this paper will be to identify how Yugoslav ideology as espoused by the Croatian Youth Movement was employed and propagated in fin de siècle modernist literary works, such as The Slavic Legends (Slavenske legende) by Vladimir Nazor. By exploring this entanglement of the political and the literary, we can attempt to characterize fin de siècle Yugoslavism according to its relationship with its ideological predeccesors, its present social and political context and its future political and cultural goals.

Dvadesetogodišnji student Ivan Merz otkrio je veličinu Vladimira Nazora kao pjesnika i književnika za vrijeme Prvog svjetskog rata 1916. na počeku svojeg vojništva. Bilo je to u Slovenskoj Bistrici, kamo je bio poslan na časnički tečaj, gdje je susreo Nazorova prijatelja i suradnika Josipa Ribarića, jezikoslovca. Ribarić ga je potaknuo i oduševio za Nazora i njegova književna djela, koja je Merz čitao u slobodno vrijeme. Svoje dojmove o Nazorovim djelima Merz najprije priopćuje u pismima svojemu profesoru Ljubomiru Marakoviću. Istodobno u svojem ratnom dnevniku donosi prikaze Nazorovih djela koja je čitao te daje o njima svoje ocjene, mišljenje i pohvale. U ovom članku donose se uz uvodni komentar najvažniji citati iz pisama i dnevničkih zapisa Ivana Merza u kojima govori o Nazoru. Da se dobije kompletnija slika o Merzu, kao i o Nazoru, Merzovim tekstovima pridodali smo i navode o Nazoru iz Marakovićevih pisama upućenih Ivanu Merzu. Merz je bio oduševljen otkrićem Nazorove poezije i smatrao je Nazora kao pjesnika „hrvatskim velikanom“. Posebno je dojmljiva Merzova izjava da su „Hrvati slijepi što ne vide kako velikog pjesnika imaju, kao što je Nazor“. Smatra da će tek nakon njegove smrti „vidjeti da je bio velikan“., The twenty–year–old student, Ivan Merz, discovered Vladimir Nazor’s greatness as a poet and writer during World War I in 1916 at the beginning of his engagement in military service. At the time he was in Slovenska Bistrica, where he was dispatched to receive officer training and where he met Nazor’s friend and associate, Josip Ribarić, a linguist. Ribarić encouraged him to read Nazor’s literary works — which he did in his free time — and Merz was amazed by them. He communicated his impressions of Nazor’s works firstly in his letters to his professor, Ljubomir Maraković. At the same time, he also wrote presentations in his war diary dealing with the works that he had read, giving his personal evaluations, opinions and conferring commendations. This article presents, along with an introductory commentary, the most significant quotes from the letters and diary of Ivan Merz concerning Nazor. For a more complete picture of Merz, and of Nazor as well, we added quotes about Nazor from Maraković’s letters to Merz. Merz was thrilled by the discovery of Nazor’s poetry and considered the poet Nazor a “Croatian prodigy“. Particularly impressive is Merz’s remark that “Croats are blind to the greatness of this man of letters, their very own Nazor”. He felt that only after his death would people “see that he was a great man.”

Vladimir Nazor ima važnu ulogu u hrvatskoj dječjoj književnosti. Njegova djela nalazimo na popisu lektire za djecu osnovnih škola, međutim u radu s predškolskom djecom ona nisu dovoljno zastupljena. Nazorovo iznimno bogato stvaralaštvo nudi brojne mogućnosti u radu s djecom predškolske dobi. Na primjeru Velog Jože cilj je bio prikazati jedan dio tih mogućnosti. Kako bismo u potpunosti shvatili njegovu ulogu i važnosti njegovih djela, bitno je da upoznamo samog Nazora. Jedan dio ovog rada posvećen je stoga Nazorovom životnom putu i cjelokupnom stvaralaštvu. U njemu otkrivamo autorov intimni svijet i njegovu iznimnu povezanost s djecom. Priče, posebno legende i bajke, stoljećima su prisutne u svim narodima svijeta. Zbog svojih čudesnih elemenata, djeci su podjednako zanimljive danas, kao i u vrijeme kada su nastale. One razvijaju djetetov duhovni život, potiču maštu i kreativnost. Odgojitelj treba iskoristiti taj dječji interes kako bi ga upoznao s piscima i pričama vlastitog kraja. Na taj način pomažemo djetetu da bolje upozna sebe i svijet oko sebe, a zavičajnu književnost čuvamo od zaborava. Vladimir Nazor plays an important role in Croatian children's literature. His works are on the list of required reading for elementary school children, but in working with preschool children they are not sufficiently represented. His extremely rich creativity, offers many opportunities to work with children of preschool age. In example of Veli Jože, the purpose was to display one of these options. In order to fully understand the role and importance of his works, it is important to know Nazor himself. One part of this work is dedicated to Nazor's biography and overall creativity. In it we find the author's intimate world and its exceptional connection with children. Story's, especially legends and fairy tales are for centuries present in all nations. Because of their miraculous elements children are equally interested today, as well as at the time they occur. They develop the child's spiritual life, stimulate imagination and creativity. Educator should use children's interest in order to meet with writers and stories of their own homeland. In this way we help the child to get to know themselves and the world around them, and native literature keep from oblivion.

U završnome radu prikazuje se analiza Istarskih priča Vladimira Nazora koje nastaju u Kopru na temelju istarske čakavštine. Nazor u hrvatsku književnost ulazi u vrijeme kada se u njoj počinju javljati sve jasniji znaci dezintegracije realizma, odnosno u samo vrijeme početka moderne. Interpretirane su priče na temelju osnovnih motiva, okosnica i simbola koji čine svaku od priča te je posljednje poglavlje ''Kontekst mita u Istarskim pričama'' gdje se posebno objašnjava sklonost Nazora slavenskoj mitologiji od koje preuzima motive o stvaranju svijeta i kalendarskoga mita. Svakako se pojavljuju i elementi mita o matrijarhatu što se svakako uklopilo u kontekst europskih modernističkih književnih kretanja. Nakon ispreplitanja mitskih motiva i kršćanskih svjetonazora, kršćansko shvaćanje svijeta vodi prema demitologizaciji. This thesis paper describes the analysis of Vladimir Nazor's Istrian stories that originate in Koper on the basis of Istrian Chakavian dialect. Nazor enters Croatian literature in the time when ever more visible signs of disintegration of the Realism appear there, that is in the time of Modernism. Stories are interpreted on the basis of fundamental motives, frameworks and symbols that make each of the stories and the last chapter is ''The context of the myth in Istrian stories'' where Nazor's affinitiy towards Slavic mythology where from he takes motives about the creation of the world and calendar myth is particularly explained. Undoubtedly there are also elements of myth about matriarchy which exceptionally fit the context of European Modernism literature movements. After interweaving of mythological and Christian worldview, Christian understanding of the world leads to demythologisation.

Vladimir Nazor je osebujni književni stvaratelj koji je bio tvorac mitova, bajki i pjesama. Nazorovo stvaralaštvo možemo podijeliti u tri faze. Prva faza je karakterizirana mitovima i legendama, za koje crpi inspiraciju iz povijesnih događaja. Svojim djelima nastoji osvijestiti nacionalni identitet. Drugu fazu označava dionizijski osjećaj prirode, veličanje ljepote i životne radosti, dok treću fazu svijet mistike s ontološkim preokupacijama. Nazor naglašava da je umjetnost estetički jača od stvarnosti. Pišući za djecu inspiraciju traži u svakodnevnim zbivanjima iz života djece. Njegove su bajke karakteristične po svojim likovima, odnosima među njima, čovjekovim osobnostima, radnjama koje teku asocijativno, kao u Halugici, te mjestu radnje. Nazor mjesto radnje svojih djela smješta na poznate hrvatske lokacije kao što su Jadransko more, obala, otoci, Učka i Velebit. Njegove se bajke oslanjaju na pripovijetku i slavensku mitologiju, u njima je svijet malen s likovima koji imaju ljudska i nadnaravna svojstva. U njima su biljke i životinje fantastične, a situacije u koje ih stavlja realne. Prijelaz iz realnosti u fantastiku je prirodan. Najpoznatije bajke su Minji, Halugica, Bijeli jelen, Veli Jože, Kralj Albus. Pišući o mitu Nazor se dotiče mnogih mitova od slavenskog, mita obećane zemlje, te mit o stvaranju svijeta. U nekim djelima prevladava kršćanstvo s grčkim, slavenskim, egipatskim i folklornim pretkršćanskim motivima. U pripovijetki Veli Jože Nazor nas uvodi u mit o obećanoj zemlji. Vladimir Nazor is a distinctive literary creator who created myths, fairy tales and songs. Nazor's creativity can be divided into three phases. The first phase is characterized by myths and legends, for which he draws inspiration from historical events. He strives to raise awareness of national identity with his literary works . The second phase is marked by the Dionysian sense of nature, praising the beauty and joy of life, while the third one by the world of mysticism with ontological concerns. Nazor emphasizes that art is aesthetically stronger than reality. While writing for children, he seeks inspiration in everyday events of children's lives. The characters, the relationships among them, the man's personality, the actions that flow associatively, as in Halugica and the setting are typical of his fairy tales. Nazor places the setting of his literary works in famous Croatian locations such as the Adriatic sea, the coast, the islands, Učka and Velebit. His fairy tales rely on narrative and Slavic mythology, in them the world is small, with characters that acquire human and supernatural properties. There are also fantastic plants and animals, but the situations he puts them in are real. The transition from reality to fiction is natural. The most famous fairy tales are Minji, Halugica, White Deer (Bijeli jelen), Veli Jože, King Albus (Kralj Albus). While writing about the myth, Nazor touches on many of the Slavic myths, the myth of the promised land and the myth of the creation of the world. In some works prevails Christianity with Greek, Slavic, Egyptian and pre-Christian folklore motifs. Nazor introduces us to the myth of the promised land In the tale Veli Jože.

Sve što je utvrđeno za "cjenjenije" književne vrste i "visok stil" Vladimira Nazora, provjerom je potvrđeno i u njegovim bajkama. Nazora kao jednoga od najznačajnijih hrvatskih književnika XX. stoljeća promatra se kroz prizmu stilskih razdoblja pa se njegova već utvrđena sklonost secesiji i neoromantizmu dodatno učvršćuje analizom te književne vrste. Spoznajama primijenjenima na žanrovski književni sustav i povijest hrvatske fantastične književnosti, Nazor se nameće kao književnik koji promišlja problem zbilje i koji pritom prepoznaje i cijeni granice svjetova, svojih, kao i svjetova drugih. Rad dokazuje potrebu uvođenja sustava u žanrovsko nazivlje te u skladu s time Nazora jednoznačno priznaje i imenuje kao autora umjetničkih bajki. Time se Nazorova fantastična književnost može mjeriti s predstavnicima toga žanra svjetske književnosti.

Ovaj članak bavi se "Putnikovom noćnom pjesmom" (II) J. W. Goethea. Nastala je u jednom danu (6. IX. 1780.), napisana kredom na zid neke kolibe u brdima iznad gradića Ilmenaua, ona je primjer Goetheova "automatskog pisanja", anticipatorskog u odnosu na smjer koji će se pojaviti tek u prvoj polovici XX. stoljeća. Pisac ove kratke studije vidi stoga u njoj tragove Goetheova spontanog zen-osjećaja svijeta, odraz njegove podsvjesne težnje za nirvanom, otkriva sličnosti između te pjesme i stihova japanskog pjesnika Ryôkana. Posebna pozornost posvećena je odnosu "Putnikove noćne pjesme" (II) i Goetheove pjesme "Putnik". Biografski pristup kombiniran je s fenomenološkim, s osvrtom na analizu Vladimira Nazora koji u "Putnikovoj noćnoj pjesmi" (II) vidi odraz Spinozine filozofije, ali i natruhe Goetheova panteizma. Ovaj kratki rad posvećen je gđi prof. dr. Nevenki Košutić-Brozović., The paper discusses "The Traveller's Night-Song" (II) by J. W. Goethe. Created in one day only (6th September 1780), and written on a wall of a mountain cabin above the small town of Ilmenau, it is an example of Goethe's "automatic writing", anticipatory of a new trend which was to appear much later, in the first half of the 20th century. The author of this short research, therefore, finds in this poem traces of Goethe's spontaneous zen-feeling of the world, a reflection of his unconsciuos longing for nirvana, and detects some similiarities between Goethe's poem and some verses written by the Japanese poet Ryokan. Special attention is given to the relationship between "The Traveller's Night-Song" (II) and Goethe's other poem titled "Traveller". The biographical and phenomenological approaches here are combined and due consideration is given to Vladimir Nazor's analysis, who, in this poem, finds a reflection of Spinoza's philosophy and some elements of Goethe's pantheism. This paper is a tribute to Professor Nevenka Košutić-Brozović.

Postokolonijalno čitanje Nazorove pripovijesti Veli Jože otkriva mjesta u tekstu u kojima se mogu iščitati elementi produkcije i reprodukcije, prezentacije i reprezentacije kolonijalnog diskurza i rekonstitucija kolonijalnog subjekta nasuprot dosadašnjim dominantnim interpretacijama teksta kao priče o narodnoj borbi, borbi protiv eksploatatora i o potrebi narodne sloge. Ta mjesta pozivaju na razradu i interpretaciju alatima postkolonijalne kritike pri čemu se pokazuje kako je Nazorova ambivalencija zapravo imanentan element postupku ispisivanja nacije. U tome smislu nakon provedene analize u radu se dolazi se do zaključka kako je Veli Jože s pravom kanoniziran tekst koji proizvodi i oslanja se na snažne nacionalne predodžbe kroz koji se može na različitim razinama progovarati o moderni, neoromantizmu, mitologiji ili usmenoj književnosti. Međutim, istodobno ukazuje i na ambivalentnost, dvojakost, hibridnost, dijalogičnost i polilogičnost u procesima ispisivanja nacije. Zato se čini uputnim upravo tim kvalitetama teksta pristupati i postavljati ih u prvi plan radije nego Velog Jožu, a potom i Nazora i njegov opus, podvoditi kroz ideološki redukcionizam ili različita upisivanja ili prisvajanja značenja.

Rad analizira Nazorovu zbirku "U zavičaju" (1949.), posljednju knjigu koju je napisao za života. U zbirci su prepoznatljivi slojevi lirskoga i egzistencijalnoga diskursa te sljedeće pripovjedne strategije: mitologizacija prostora, lirizacija ljudskih sudbina i realističko pripovijedanje o gospodarskim okolnostima na Braču krajem 19. i u prvoj polovini 20. stoljeća.

Religiozna lirika i proza Vladimira Nazora prožete su prisustvom anđela koje je moguće klasificirati prema klasifikaciji Dionizija Aeropagita iz 6. stoljeća.

U radu su interpretirane bajke Vladimira Nazora: Albus Kralj, Halugica, Crveni lišaj, Dupin, Minji, Bijeli jelen, Šuma bez slavuja. Analiza se temelji na osnovnim značajkama bajke kao što su tipičan početak i kraj, likovi, dijalekt, odnos dobra i zla, uloga opisa prirode. Osim same interpretacije, u radu se problematizira i primjenjivost Nazorovih bajki u radu s djecom mlađe školske dobi.

Nazorova Živana napisana je u Zadru 1902. i prije ponovljenog izdanja 1946. prerađivana je nekoliko puta. Navodeći razloge zbog kojih je u dosadašnjim istraživanjima - za razliku od ostalih autorovih djela - ostala zanemarena, u radu se nakon provedene analize određuje genološka pripadnost Živane epu te upućuje na nove njezine aspekte i na razloge višekratnih autorovih dorada. Na kraju se zaključuje kako Živana pruža podlogu za jednu alternativnu Nazorovu pjesničËku biografiju kojom se otvaraju nova tumačenja ne samo ovoga epa, već i sveukupnoga autorovog književnog opusa., Nazor’s Živana was written in Zadar in 1902 and before a second edition in 1946, it was rewritten several times. Listing reasons why in the so far research it has - as opposed to the other works by the same author - received little attention, after a conducted analysis, the paper determines Živana’s genealogical affiliation to the epic, indicating its new aspects as well as reasons of the author’s recurring modifications. In the end it is concluded that Živana provides basis for Nazor’s alternative poetic biography, introducing new interpretations not only of this epic, but of Nazor’s whole literary opus.

Nazorova "Živana" napisana je u Zadru 1902. i prije ponovljenog izdanja 1946. prerađivana je nekoliko puta. Navodeći razloge zbog kojih je u dosadašnjim istraživanjima - za razliku od ostalih autorovih djela - ostala zanemarena, u radu se nakon provedene analize određuje genološka pripadnost "Živane" epu te upućuje na nove njezine aspekte i na razloge višekratnih autorovih dorada. Na kraju se zaključuje kako "Živana" pruža podlogu za jednu alternativnu Nazorovu pjesničku biografiju kojom se otvaraju nova tumačenja ne samo ovoga epa, već i sveukupnoga autorovog književnog opusa.

Rad nudi interpretaciju i revalorizaciju Nazorova spjeva "Ahasver", ukazujući na autorove temeljne svjetonazorske preokupacije, u ovome tekstu poglavito vezane uz tematiku sudbine čovječanstva i dijagnoze suvremene civilizacije.

U radu će biti riječ o bajkama i njihovim sastavnim dijelovima te će se istaknuti njihove sličnosti i razlike. U radu se analiziraju i uspoređuju bajke Vladimira Nazora Bijeli jelen, Halugica i Albus kralj te bajke Oscara Wildea Sebični Div, Slavuj i ruža te Sretni Princ. Na temelju relevantne književnopovijesne literature pokušat će se ustvrditi sličnosti među tim djelima na više razina, a naglasak će biti stavljen na motivsku razinu jer oba autora koriste motiv pokajanja i pretvorbe. Pri kompariranju bajki pozornost će se posvetiti određivanju vrste bajke, tj. određivanju radi li se o modernoj ili klasičnoj bajci. Pozornost će se posvetiti i opisima koji su detaljni i precizni, a sve će tvrdnje biti potkrijepljene primjerima iz analiziranih bajki. Isti će postupak biti primijenjen i za proučavanje razlika među analiziranim bajkama.

U kontroliranom prostoru javne riječi za NDH javljali su se autori i njihovi tekstovi u kojima su tematske i značenjske pukotine vodile do kritičkih opaski o odnosu ideologije, vlasti i kulture. Da u povijesnom, pa onda i u književnopovijesnom motrenju nema plošnih, crno-bijelih slika, preduvjerenja i dovršenih zaključaka, pokazuje i istraživanje književnokritičkog diskursa za četiri ratne godine. Nikada hrvatska književna kritika nije bila, a pouzdani su vodič tomu njezini istaknuti predstavnici od Vraza naovamo, jedino i isključivo osvrtanje na književno djelo, već i na društveni kontekst ili na barem neki njegov važni dio. Upućen i savjestan (možebitno i hrabar) kritičar-intelektualac nije zatvoren u kulu bjelokosnu, on ne poznaje poetsko savršenstvo izolacije, upravo zagledan u život oko sebe on pokušava svoja razmatranja i analize interesno-predmetne jezgre i životne (ideološke, političke) ljuske uklopiti i u konkretne poglede na literaturu. Književna kritika za NDH pokazuje u tom smislu svoje prepoznatljivo kritičko lice koje bitno odstupa od predvidljive i očekivane maske režimske podobnosti i puke glorifikacije vladajuće vlasti. Raspravljajući o književnim i umjetničkim pitanjima (ili se upravo skrivajući iza njih!), književni kritičari-intelektualci znali su uputiti i kritičke strelice samim čuvarima hrvatstva, kako si je već tepala ustaška vlast. Jedan od njih, po mnogočemu specifičan, bio je i Milivoj Magdić, bivši komunist ali i nezadovoljnik aktualnim režimom, u čijim će se odabranim esejima objavljenima u tjedniku Spremnost (1942-1945) pokušati odrediti granice kritičkog prostora slobode, tj. one tematsko-semantičke i smisaone pukotine koje su vidljivo zasijecale u prividno stabilan, čvrst i monolitan način razmišljanja o odnosu i položaju književnosti/kulture i vlasti.

Croatian Studies Review dvojezični je časopis (na hrvatskom i engleskom jeziku) posvećen kroatističkim i kroatološkim temama uz teme iz hrvatske kulture, povijesti, multikulturalnosti i slično. U Postirama je na otoku Braču u svibnju 2010. godine održan Međunarodni znanstveni skup Nazor: Književnost, jezik, povijest. Brojni su hrvatski i inozemni filolozi tom prigodom predstavili rezultate svojih istraživanja vezanih za Nazorovo stvaralaštvo, život i djelo. Osim radova istaknutih proučavatelja Nazorova stvaralaštva, zapaženi su i radovi mladih istraživača.

U radu će se analizirati stariji gramatički oblici zabilježeni u Nazorovoj pripovijetci „Voda“ kao i uočljivije značajke njegova štokavskog izraza. Jezičnopolitičko naslijeđe XIX. stoljeća nameće pretpostavku kako će se najviše otklona od norme te posezanja za gramatički starijim rješenjima zbivati na planu fonologije i morfologije te da će u velikoj mjeri kolidirati s određenim rješenjima naslijeđenima iz čakavskog narječja. Cilj je ovakvoga rada u jezičnom se smislu dotaknuti analize Nazorova štokavskog stvaralaštva te osvjetljavanja onih mjesta koja od njegova jezika stvaraju dominantno obilježje njegova stvaralaštva.

U Nazorovu putopisu 'Od Splita do piramida' neviđeno biva moćnije od viđenog, a problematiziranje prošlosti, mitologija i literatura oblikuju pjesnikov horizont očekivanja te odnos prema doživljenom. Tekst je obilježen pjesnikovim nezadovoljstvom koje je posljedica uzaludnih nastojanja da se imaginarni prostor pročitanog upiše u stvarni prostor.

Sažetak Rad se bavi Vladimirom Nazorom kao dalmatinskim piscem na temelju njegovih pripovijetki iz Bračkoga ciklusa. Pripovijetke su to s tematikom otoka Brača. Ciklus se sastoji od 37 priča objavljenih u tri zbirke, a nastao je u razmaku od dvadeset pet godina. Brački ciklus sastoji se od dva dijela. Prvi dio ciklusa predstavlja autobiografsku lirsku prozu, te prozne lirske zapise i poetski realizam (Mihanović, 1999: 41). Drugi dio ciklusa nastao je tek nakon Drugog svjetskoga rata i zanimljivo je autorovo vraćanje temi djetinjstva koja tek naizgled nema veze sa socijalnom tematikom. Pripovijetke u Bračkom ciklusu predstavljaju memoarsku prozu. Nazorove priče iz djetinjstva na Braču daju vrlo vjernu i raznovrsnu sliku života na dalmatinskim otocima krajem 19. stoljeća pa se može se zaključiti de je Nazor zaista dalmatinski pisac. Nazor je dalmatinski pisac ne samo zbog sadržaja, već i zbog jezika. Doduše, samo u jednoj pripovijetki (“Voda“) ima mnogo lokalizama u dijalozima. Inače likovi se uglavnom služe standardnim jezikom. Lokalni oblici i riječi pojavljuju se samo sporadično, ali pridonose lokalnom koloritu. Nazorova štokavština, kako sam kaže, odiše čakavskom dušom. Nazorove pripovijetke iz Dalmacije, kao svjedočanstvo o mediteranskoj kulturi u ne tako davnoj prošlosti, trebale bi biti pristupačne i inozemnoj publici u prijevodima na strane jezike., The article investigates Vladimir Nazor as a Dalmatian writer, focusing on his narratives from the so-called Brač Cycle (Brački ciklus). The stories thematize the island of Brač. The cycle comprises 37 stories published in three volumes and was written over a 25-year span. The first volume, entitled Childhood Stories (Priče iz djetinstva), was published in 1924. Interestingly enough, Nazor much later returned to these topics – the last collection of stories, on childhood memories, was written when he was 73. The Brač Cycle falls into two parts: the first comprises autobiographical lyric prose, prose-like poetry and poetic realism (Mihanović, 1999: 41); the second part was written after WWII, where Nazor’s return to childhood themes is only seemingly not connected with the social ones. The Brač cycle is a memoir. Nazor gives a realistic and versatile account of life on Dalmatian islands at the end of the 19th century. Therefore, he is a true Dalmatian writer. His prose is both realistic and poetic; it is mainly preoccupied with the goodness in people and with the island scenery. It is a testimony of island life as it once was. Nazor is a Dalmatian writer not only because of his stories’ content, but also because of the language he uses to create the local atmosphere. However, this usage is limited: there are few idiomatic expressions in the abovementioned texts, including the dialogues. The greatest number of localisms are found in the story “Water” (“Voda”). The characters mostly use the standard Croatian language with sporadic occurrences of idiomatic expressions which then contribute to the local touch of the narratives. The Shtokavian dialect, in this way, brings forth the Chakavian soul. Nazor was of the opinion that Chakavian is more than a mere sum of its words; rather, it relates to the qualities of word content, to the nucleus alive, to the Chakavian soul. Still, he did not use it much in his writing. He was often scorned for this, as for the fact that he never entirely mastered the Shtokavian dialect, as he was well aware. Nazor’s Dalmatian stories, which are a testimony of the Mediterranean past which existed not so long ago, should be made accessible to a wider foreign public through translation.

Nazorovo se stvaralaštvo odlikuje žanrovskom, tematskom i stilskom raznolikošću. U ovome se radu pozornost pridaje stilskim osobitostima Nazorova pjesništva, točnije analiziraju se metričke posebnosti u jeziku njegovih pjesama. Pozornost se posvećuje pojedinim jezičnim elementima kojima Nazor stvara svoj pjesnički izraz. Iako se o njemu govori kao o jednom od najvećih hrvatskih čakavskih pjesnika, pisao je uglavnom na štokavštini. No, zavičajna je čakavica pratila cjelokupni njegov pjesnički rad. Ušavši u svijet književne štokavice, uza sva nastojanja, nikada do kraja nije ovladao štokavskom stilskom i naglasnom normom. Nesigurnost u ophođenju s naglaskom stajala je na putu njegovim naporima oko harmonične i blagoglasne versifikacije. Taj se problem pojavljuje posebice u ranijim njegovim zbirkama: Lirika (1910), Nove pjesme (1913), Intima (1915) i Niza od koralja (1922). Iz velikoga i raznolikoga pjesničkoga opusa za analizu je izabrano 20-ak pjesama koje pripadaju njegovoj ranijoj štokavskoj lirici.

Sažetak U ovom tekstu riječ je o uokvirivanju ideje hrvatstva kao pitanja presjecišta srednjoeuropskog, mediteranskog i orijentalnog prepletanja „kulturalnih paradigmi“. Proučavaju se tekstovi Ive Andrića, Miroslava Krleže i Vladimira Nazora, kao paradigmatični u ovom kontekstu razlike unutar korpusa. Doprinos Andrića i Krleže već je proučavan, a o Nazorovim se tekstovima pisalo manje. Oni narativnom ishodištu hrvatskog pripovjednog diskursa određuju prostor pozicioniranja u odnosu na druge koji su jasno vidljivi na površinskoj razini čitanja i nisu s nama isprepleteni u zavisnosti od (raznim pojavnim oblicima ucijepljenih) drugih kao kod Krleže i, pogotovo, Andrića. Taj je način alegorijske re/prezentacije stvarnosti i njezina funkcionalnog čitanja, odnosno aproprijacije u zajednici (u Boškarini i još više u Velom Joži), modalno drugačiji od Krležina ironičnog impostiranja u odnosu na Srednju Europu (koju istovremeno afirmira i često na razini grotesknog dekonstruira) i Andrićevih konstrukata (i hrvatske) orijentalne Bosne (u kojoj žive različiti drugi koje treba išičitavati u odnosu prema višeslojno podvojenim ideologijama - i stereotipnim ideološkim, kulturološkim i mitološkim obrascima koje nose pojedina vremena i prostori čitanja). Ideološke zasićenosti prisutne su na ovim prostorima najprije kao „stanje stvari“ prije čitanja (i pisanja) tekstova o kojima ovdje govorimo (dakle u ideologemski zasićenim horizontima očekivanja) i politici tekstualnosti kao izvanjskog okvira književnoj re/prezentaciji. One na razini imaginarne geografije prepletanja djeluju kao relevantni čimbenik diskurzivnog uključivanja čitan kao nešto određivano i zadavano u vrijeme njihova nastanka, ali isto tako sudjeluju i u procesu „prerade“ činjenica (naturalizacije tekstova, narativa, pri/povijesti), a onda i u impostaciji (aproprijaciji) raznih odnosnih diskurzivnih paradigmi na čitanje tih tekstova iz današnje, drugačijim konotatorima suvremene, i određenom poetikom/politikom zasićene, perspektive „novohorizonta očekivanja“. On je zasićen disperzijom u odnosima hegemonijske zasićenosi unutar interpretacijske zajednice. Ovdje se tvrdi da je ta zasićenost, uz političku, bitno zasićena i medijskom komponentom, odnosno opterećenoću („overload“) medijskom praksom koja povratno uvjetuje čitanje kanonskih tekstova. Ona tako projecira svoje impostiranje u „horizont očekivanja“ koji postaje prikraćen za historicističku komponentu. Na to se ovdje često referira u procesu interpretacije autorskih intencija iz današnje perspektive čitanja., The text is about framing the cultural paradigm of the idea of Croatness in literature and culture as an intertwining of Middle European, Mediterranean, and Oriental „cultural paradigms“. Texts by Ivo Andrić, Miroslav Krleža and Vladimir Nazor are studied because in the context of utterenig the „difference“ they are consideret to be important authors within the national corpus. In this light, the contribution of works of Andrić and Krleža has already been studied whereas the works of Nazor have not been studied to the same extent. However, in relation to the narrative source of Croatian storytelling discourse, they provide the possibility of defining the position towards Others who are clearly visible at the surface level of reading and not dependently interlaced with Us (by various inherent forms), as in the works of Krleža and Andrić. Nazor“s allegorical (re)presentation of reality and its functional reading, i.e. appropriation within the community (in Boškarina and even more in Veli Jože), is modally different from Krleža“s ironic imposition in relation to Middle Europe (simultaneously and ironically affirmed and grotesquely deconstructed) and from Andrić“s constructs of an Oriental (and Croatian) Bosnia where different Others live, meaning those who need no be read according to multilayered ideologies (and stereotypical ideological, culturological and mythological models impregnated into different times and reading spaces). Ideological saturation is principally seen as a „state of affairs“ present before the reading (and writing) of the literary texts discussed here (i.e. in horizons of expectations saturated with ideologemes) and as the politics (plural) of textuality as an external frame to literary (re)presentation. At the level of the imaginary geography of intertwining, they act as the relevant factors of discursive inclusion, to be read as something determined and given at the moment of their formation but also as active in the process of „reinventing“ the facts (the naturalization of texts, narratives and (hi)stories) and then in the imposition (appropriation) of different discursive reading paradigms of the texts from today“s perspective (one saturated with different politics/poetics, with different connotations and with new horizons of expectations). The horizon is seen as saturated with the dispersion of the hegemonical interpretative community. It is argued that the interpretative community is substantially influenced by not only political but also media factors. All this is referred to in the interpretation of literary texts and the authors“ intentions.

Rad nudi pregled strukture i književnog odjeka omladinskog časopisa "Mladi Hrvat" uz pokušaj iščitavanja poruke čitateljima kroz nekolicinu tekstualnih osobina (npr. politika i poetika objavljivanog stiha, najčešće teme i motivi priloga). Također se nastoji sagledati jesu li implicitna publika časopisa podnaslovljenog "za mladi svijet" nužno djeca i omladina, ili je moguće govoriti o dvostruko kodiranoj poruci, upućenoj istodobno i djeci i roditeljima.

Sažetak U radu će se analizirati stariji gramatički oblici zabilježeni u Nazorovoj pripovijetci „Voda“ kao i uočljivije značajke njegova štokavskog izraza. Jezičnopolitičko naslijeđe XIX. stoljeća nameće pretpostavku kako će se najviše otklona od norme te posezanja za gramatički starijim rješenjima zbivati na planu fonologije i morfologije te da će u velikoj mjeri kolidirati s određenim rješenjima naslijeđenima iz čakavskog narječja. Cilj je ovakvoga rada u jezičnom se smislu dotaknuti analize Nazorova štokavskog stvaralaštva te osvjetljavanja onih mjesta koja od njegova jezika stvaraju dominantno obilježje njegova stvaralaštva., The article analyses the older grammar forms in Nazor’s story “Water” (“Voda”) and the conspicuous features of his Shtokavian literary idiom. The 19th-century linguistic and political setting allows for the premise that most deviations from the standard norm will be found at the levels of phonology and morphology, and that these deviations will collide with the Chakavian norm Nazor had inherited. In place of these deviations, older grammar forms are used. The aim of the article is to linguistically analyse Nazor’s Shtokavian literary language, with special attention given to the deviatiaons that are the dominant features of his oeuvre.

Sažetak U Nazorovu putopisu Od Splita do piramida neviđeno biva moćnije od viđenog, a problematiziranje prošlosti, mitologija i literatura oblikuju pjesnikov horizont očekivanja te odnos prema doživljenom. Tekst je obilježen pjesnikovim nezadovoljstvom koje je posljedica uzaludnih nastojanja da se imaginarni prostor pročitanog upiše u stvarni prostor., In Nazor’s travelogue From Split to the Pyramids the unseen holds the power over the seen, and historical issues, mythology and literature shape the poet’s horizon of expectations and his attitude towards the experienced. The text is marked by the poet’s dissatisfaction which is a result of his futile attempts to inscribe the imagined space, formed by what he has read, into the actual space.

Sažetak Nazorovo se stvaralaštvo odlikuje žanrovskom, tematskom i stilskom raznolikošću. U ovome se radu pozornost pridaje stilskim osobitostima Nazorova pjesništva, točnije analiziraju se metričke posebnosti u jeziku njegovih pjesama. Pozornost se posvećuje pojedinim jezičnim elementima kojima Nazor stvara svoj pjesnički izraz. Iako se o njemu govori kao o jednom od najvećih hrvatskih čakavskih pjesnika, pisao je uglavnom na štokavštini. No, zavičajna je čakavica pratila cjelokupni njegov pjesnički rad. Ušavši u svijet književne štokavice, uza sva nastojanja, nikada do kraja nije ovladao štokavskom stilskom i naglasnom normom. Nesigurnost u ophođenju s naglaskom stajala je na putu njegovim naporima oko harmonične i blagoglasne versifikacije. Taj se problem pojavljuje posebice u ranijim njegovim zbirkama: Lirika (1910), Nove pjesme (1913), Intima (1915) i Niza od koralja (1922). Iz velikoga i raznolikoga pjesničkoga opusa za analizu je izabrano 20-ak pjesama koje pripadaju njegovoj ranijoj štokavskoj lirici., The work of Vladimir Nazor is characterized by diversity in genre, theme and style. In this article the authors focus on the characteristics of style in Nazor’s poetry, or, more precisely, they analyse the metric qualities in the language of his poetry. Special emphasis is given to specific linguistic elements comprising Nazor’s poetics. Even though Nazor is considered one of Croatia’s greatest Chakavian poets, he primarily wrote in Shtokavian. However, his entire poetic oeuvre was imbued with his native Chakavian dialect. In spite of his great endeavors, Nazor never truly managed to master the use of Shtokavian stylistic and accent norms. Insecurity in the usage of accents hindered his efforts in achieving harmonious versification. This problem is especially evident in the early poetry collections Lirika (1910), Nove pjesme (1913), Intima (1915) and Niza od koralja (1922). For the purpose of analysis in this paper, approximately twenty poems were selected from Nazor’s great and varied poetic oeuvre, poems that were composed in his early Shtokavian period and which feature the obvious influence of the Chakavian dialect. This paper analyzes metrics because this is where Nazor’s struggle with mastering Shtokavian is mainly reflected. The goal of this article is thus to provide a metrical analysis of Nazor’s language. This analysis also includes the usage of disyllabic pronunciation of diphthongs, the apocope of infinitive affixes, abbreviated past and present verbal adverbs, the singular masculine active participle form, plural forms, dialectal lexis, etc. The question of the disyllabic pronunciation of diphthongs is important when discussing Nazor’s poetry, his metrics and his orthoepic irregularities. Standard Croatian has never featured the disyllabic pronunciation of diphthongs. However, Nazor used it in an attempt to achieve certain types of metre in his verses. Nazor frequently used the apostrophe to mark the elision of a vowel, as well as abbreviations. These include: the omission of certain vowels at the beginning, middle or the end of words; the omission of the last vowel in infinitives; the contraction of the vowel group ao into the active participle; and abbreviated plurals. Nazor also used obscure and unusual forms of well-known words. The Shtokavian accent presented an exceptional problem to Nazor, who was not well versed in it. Many Shtokavian words were not a part of his native idiom; he lacked the feeling for shifting the accent to the proclitic. If he sometimes shifted the accent in his verses, he then marked it as well, having learned that it was the proper, formal form. However, his poetry contained a greater number of examples where this shifting should have occurred and yet it did not. Nazor was well aware of his continuous erring with metre. However, he did not have a role model or a textbook to turn to. His hendecasyllables contained a kind of accent deviation which could only be found in a Chakavian-speaking Dalmatian islander. It is precisely due to his awareness of accent deviation that he reworked his previously published poems in newer publications. However, it is difficult to truly define Nazor’s metrics because his verses can frequently be well pronounced in various ways. In his fifty-year-long period of literary creation, which was characterized by various literary forms, Nazor left us with one of the largest and most significant oeuvres in Croatian literature of the first half of the twentieth century. He was a writer who loved, appreciated and enriched his language. His poetic work is the best testimony of the depth of his devotion and involvement in language.

Proučavanje modela naracije nacije kod tri značajna južnoslavenska pisca

Autorice u radu analiziraju metriku i ortoepiju u nekoliko ranijih štokavskih pjesama Vladimira Nazora. Zavičajna je čakavica pratila cjelokupni Nazorov pjesnički rad, ne samo u desetak pjesama pisanih čakavštinom. Ušavši u svijet književne štokavice, uza sva nastojanja, nikada do kraja nije ovladao štokavskom stilskom i naglasnom normom. Nesigurnost u ophođenju s naglaskom vidljivo je stajala na putu njegovim naporima oko harmonične i blagoglasne versifikacije (Kravar, 1999: 112). Taj se problem javlja posebice u ranijim njegovim zbirkama Lirika, Nove pjesme, Niza od koralja, Intima.

Rad koji smješta Vladimira Nazora u kontekst protoznanstvene fantastike i fantasyja, s posebnim obzirom na njegove kratke romane Veli Jože i Arkun te pripovijetku Crveni tank.

U radu autorica književnika Vladimira Nazora utvrđuje kao školskoga pisca. Njegove priče ponajprije promatra u kontekstu hrvatske književnosti, osobito hrvatske dječje književnosti. Autorica se bavi Pričama s otoka, s planina i iz grada te više pozornosti pridaje Nazorovim pričama s otoka. U središtu je autoričina interpretacija Nazorove priče Anđeo u zvoniku kojom želi pokazati važnost te priče u svekolikomu Nazorovu životu i stvaralaštvu.

Il poeta croato Vladimir Nazor fu traduttore di importanti opere poetiche dall'italiano in croato e viceversa. Nel corso della sua attivita traduttiva espresse piu' volte la sua ammirazione per l'endecasillabo italiano, che introdusse anche nelle sue versioni. Paradossalmente pero', autotraucendo il suo poema "L'Orso Brundo" si servi' del dodecasillabo. Il contributo cerca di esplorare le ragioni di una tale scelta, cercandole nel tentativo di Nazor di individuare i "punti di apertura" esistenti nel sistema letterario italiano.

Estetska načela moderne u djelima Vladimira Nazora