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Copyright of Obnovljeni zivot is the property of University of Zagreb, Society of Jesus and Faculty of Philosophy & Religious Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of Hungarian Studies / Hungarologiai Kozlemenyek is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Neo-Victorian literature recontextualises popular Victorian tropes and re-examines fictional and historical Victoriana's place within today's larger culture. Contemporary neo-Victorian narratives often repurpose Gothic motifs, whose unsettling nature illustrates our own ambivalent attitudes towards the Victorians and the cultural heritage they left behind. This paper analyses Diane Setterfield's debut novel The Thirteenth Tale (2006), positing it as a neo-Victorian Gothic text and paying special attention to the motifs of doubles and motherlessness, so as to examine the ideas of identity, origin and belonging that permeate this novel on the thematic and narrative level. Particular emphasis is also placed on intertextual relationships The Thirteenth Tale fosters with codifying Victorian Gothic texts, especially Emily Brontë's Wuthering Heights and Charlotte Brontë's Jane Eyre. The rich intertextuality of The Thirteenth Tale demonstrates that the novel is ultimately a story about stories and storytelling, a quintessential neo-Victorian text which re-evaluates the Victorian era's cultural, historical and literary legacy. [ABSTRACT FROM AUTHOR]

Kvalitetne slikovnice podjednako su zanimljive i velikim i malim recipijentima, ukriženoj ili dvostrukoj publici djece i odraslih. U najnovije se vrijeme format slikovnice kao knjige tematizira i u raspravama o dječjoj književnosti kao mjestu međugeneracijskoga susreta, mjestu koje različite generacije poziva na sudjelovanje u poticajnoj i kreativnoj igri. Tvorci slikovnica čitateljima nude ukrižene sadržaje primjenom različitih verbalnih i vizualnih strategija. U ovome se radu analiziraju međugeneracijske šale i intertekstualnost oslonjena na rekonstrukciju povijesnih i kulturnih činjenica te se te dvije strategije pojašnjavaju na primjerima iz slikovnice Emily Gravett The Rabbit Problem (2009).

Copyright of Contributions to Oriental Philology / Prilozi za Orijentalnu Filologiju is the property of Orijentalni institut and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Slavica Wratislaviensia is the property of Wroclaw University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magistra Iadertina is the property of University of Zadar, Department of Teacher & Preschool Teacher Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Književnokritička recepcija Ujevićeva Oproštaja bila je bogata, a pokazuje da je pjesma, zbog tematskih i formalnih obilježja, bila naročito poticajna za proučavanje tragova i utjecaja koje su različiti književni kodovi ostavili u njezinu ustroju. Polazeći od radova Josipa Vončine, Pavla Pavličića i Dubravke Oraić Tolić, u radu se nastoje pokazati dominantne intertekstualne veze na koje pjesma upućuje kako bi se naglasilo da je usprkos jasnim tekstualnim signalima na razini jezika, grafije i retorike, koji upućuju na povezanost pjesme s hrvatskom ranonovovjekovnom književnosti, tematski sloj pjesme izrazito moderan. Stoga se Oproštaj iščitava na podlozi nekih središnjih poetskih tekstova francuskoga simbolizma, kao što su Baudelaireovo Putovanje i Rimbaudov Pijani brod, kako bi se pokazalo da pjesma uspostavlja podjednako aktivan odnos i prema književnoj dijakroniji i književnoj sinkroniji.

Copyright of HUM: Journal of the Faculty of Arts at the University of Mostar is the property of University of Mostar, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Libri & Liberi is the property of Croatian Association of Researchers in Children's Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of Hungarian Studies / Hungarologiai Kozlemenyek is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Neophilologica is the property of Acta Neophilologica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Neophilologica is the property of Acta Neophilologica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of Hungarian Studies / Hungarologiai Kozlemenyek is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Libri & Liberi is the property of Croatian Association of Researchers in Children's Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Rad se bavi ispitivanjem intertekstualnih i poetičkih veza Tekerijevog (Thackeray) romana Vašar taštine (Vanity Fair) i romana Lomača taština (Bonfire of the Vanities) Toma Vulfa (Tom Wolfe). Polazeći od problema intertekstualnih teorija, analiza se odvija prema sistematizaciji Žerara Ženeta (Genette). Rasvetljavaju se mogući odnosi između dva romana koji se ispituju na samim tekstovima, a potom pronalaze i u Vulfovoj eksplicitnoj poetici. Prate se intertekstualne veze naslova, serijalizovane forme oba romana i razmatra njihov uticaj na strukturu dela. Potom se razmatraju različiti aspekti mikrostruktura oba romana (elementi zapleta, pripovedne tehnike) i eksplicira smisao Vulfovih adaptacija Tekerijevog modela. Konačno, opažene odlike stavljaju se u kontekst Vulfove eksplicitne poetike i stanovišta obnove realističkog romana, gde se roman Lomača taština ostvaruje kao jedan od utemeljujućih tekstova neorealizma.

У чланку се анализира 55 приповедања о НОБ-у из 42. књиге збирке Гласови, која је настала као резултат систематичног сакупљања књижевног фолклора на словеначком етничком подручју под уредништвом проф. др Марије Станоник. Разматрање се ослања на теорију интертекстуалности коју у словеначкој науци о књижевности развија Марко Јуван, ослањајући се на научна сазнања Јулије Кристеве и Михаила Бахтина. Посебна пажња посвећује се интерпретацији компонената системског историјског предлошка и односа вредновања који се успоставља између предлошка и средине у којој настаје текст. У наративима који тематизују НОБ на историјски предложак упућују експлицитни показатељи. Историјски предложак се репродукује у средишњим мотивима (партизанство, мобилизација у немачку војску, живот цивилног становништва током Другог светског рата, усташе, прогнаници), а елементе предлошка могу преносити и споредни мотиви. Приповедачи често у приповедање уносе властита искуства, коментаришу и додатно објашњавају догађаје, резимирају, некада изражавају сумњу или чак признају властито незнање, тј. непознавање догађаја. У приповедањима је углавном остварена асимилацијска цитирана перспектива и потврђивање историјског предлошка. Слагање са предлошком приповедачи наглашавају помињајући приповедача претходног текста, именовањем непосредних учесника у догађају, описивањем ближњег места догађаја или једноставним коментаром у финалној позицији.

Copyright of HUM: Journal of the Faculty of Arts at the University of Mostar is the property of University of Mostar, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drama K svitanju (1927.) jedan je od prvih objavljenih tekstova dugo zanemarivane hrvatske spisateljice Side Košutić (1902. - 1965.). Uglavnom se klasificirala kao simbolička drama ili dijaloški poetski tekst, no sustavne analize zapravo nikada nisu bile provedene budući da se kritika uglavnom bavila njezinim romanima i lirskim pjesmama, kao dominantnima u njezinu opusu. U drami je nagoviještena tema sukoba oca i kćeri (s elementima upisivanja traumatičnog tjelesnog iskustva protagonistkinje), koji će književnica kroz čitavo svoje daljnje stvaranje u različitim žanrovima reinterpretirati i povezivati s mistikom trpljenja i žrtve u novozavjetnom ključu, što će činiti jezgru ontološkoga konstrukta u njezinim tekstovima. Zbog izrazite simbolizacije i alegorizacije dramskog diskursa te uključivanja fantastičnoga modusa, tekst je ondašnjoj publici ostao ponešto hermetičan, no pomnije čitanje otkriva poveznice s europskim klasicima (Tagore, Sofoklo, Shakespeare). Ipak, središnji dio ovoga istraživanja bit će usmjeren na dominantne elemente (tematsko-motivske, u simboličkom imaginariju i u strukturi teksta) koji ukazuju na biblijsku Pjesmu nad pjesmama kao mogući prototekst. Ispitat će se povezanost glavnih temata u drami s tematima unutar prototeksta te će ih se protumačiti u skladu s ontološkim konstruktom mistične borbe svjetla i tame, dobra i zla u pojedinačnim ljudskim sudbinama i svijetu, koji je Sida Košutić ovim ranim književnim tekstom tek započela graditi. Cilj je istraživanja dokazati elemente koji ukazuju na dramu Side Košutić kao citatni, imanentno dijaloški tekst u odnosu prema prototekstu, čime se omogućuje njegova integracija u opće razvojne tendencije hrvatske dramske književnosti prvih desetljeća 20. stoljeća i pokazuje da i dramski dio opusa Side Košutić, premda malen, može naći svoje relevantno mjesto u nacionalnom kanonu.

Copyright of Tanulmanyok is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tanulmanyok is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

U radu se izlaže verzija modeliranja kompleksa teorijskih principa i mehanizma semantičke aktivnosti intertekstualnosti likovnog materijala na osnovu sadržajnih i značenjskih opsega znaka-simbola u romanesknoj prozi. Naglašava se, pre svega, okvir kombinacije ovih principa i njena identifikacija sa aspekta klasičnih i savremenih koncepcija književne komparatistike.

Lutkarstvo se sedamdesetih godina 20. stoljeća oslobodilo prevelikog utjecaja dramskog kazališta i približilo se postmodernom izrazu. Poljski lutkar Jan Wikowski dvadesetak godina ranije postavio je na scenu vlastiti tekst Ginjol u Parizu u kojem je poznate teme, likove i zaplete lutkarskog tipa ginjola promatrao u drugom kontekstu. Glumac lutkar se u ovoj predstavi prvi put nalazio ispred paravana i pričao o povijesti ginjola te ujedno izvodio lutkarske igre koristeći kazalište u kazalištu. Na tragu takva lutkarskog izraza sedamdesetih godina u Hrvatskoj nastaju lutkarski tekstovi koji sukcesivno nižu dramske situacije, imaju vremenski i prostorni diskontinuitet i u kojima iščezava radnja te nema zapleta ni dramskog lika u klasičnom smislu. Autorica odabire Bajku o kraljevim trešnjama koju je Luko Paljetak napisao po modelu nove bajkovitosti kada je radio u Kazalištu lutaka Zadar koje je bilo pod utjecajem poljskoga lutkarstva i po mnogim osobitostima približio se postmodernoj drami.

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kaj: Časopis Za Književnost, Umjetnost, Kulturu is the property of Kajkavsko Spravisce and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Libri & Liberi is the property of Croatian Association of Researchers in Children's Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyzes intertextual and intermediate connections between Lukic's novel and other literary and art works. Through the novel, we can find permeation of Dante's Inferno, Kafka's Process, direct citation and allusions of the Bible, Carroll's Alice in wonderland, Ravel's Bolero and Glamocko kolo. The research of this topic is considered fundamentally important for understanding and interpreting the novel, since Lukic has used intertextual and intermediate connections in this novel to create the number of new meanings, by the principle of illuminativity and insubordination to proto textual templates. The presence of fantasy is also the topic of discussion. The share of fantasy, together with the intertextuality, moves this novel from high modernism to postmodern discourse. [ABSTRACT FROM AUTHOR]

Copyright of Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Polazeći od fenomenološke isprepletanosti procesa čitanja i pisanja, ovaj rad ispituje dejstvo teksta na autora kroz kapitalna ostvarenja Džejmsa Džojsa, ukazujući na višestruke potencijale njegove uloge recipijenta i redaktora vlastitih tekstova. Iako je uvijek važio za visokointencionalnog autora koji vrši gotovo sadističku kontrolu nad tekstom, Džojs se pokazao i kao visoko(samo)svjesni čitalac svojih tekstova, o čemu svjedoče tragovi njegovog kreativnog procesa, koji upućuju na nadogradnju starih postupaka novim, što je evidentno kroz stilski pastiš koji svjedoči o naknadnom promišljanju prethodnih spisateljskih izbora. Ističući intertekstualne i intratekstualne veze koje postoje među Džojsovim djelima i unutar njih, nastojaćemo da ukažemo na znakove čitanja prije i nakon pisanja, kroz koje se jasno vide pomjeranja u autorovom poetskom i autopoetskom razvoju, nastala kao posljedica recepcije vlastitog opusa. Džojsova autoreferencijalnost je prisutna kako na tematskom tako i na formalnostrukturnom nivou njegovih tekstova, što se jasno vidi u zadržavanju, odbacivanju i ponavljanjima brojnih pripovjednih postupaka. Ideja da tekst mijenja, proizvodi i rađa svog autora ovdje je, takođe, ilustrovana kroz sagledavanje njegove nezavisnosti i nesvodivosti na definitivna čitanja, što preokreće onu za Džojsa relevantnu relaciju paterniteta, jer se ispostavlja da je autor ne samo autoritativni otac svog djela već i njegov potomak, spreman da se drugačije oblikuje za svoje buduće tekstove. Na osnovu Bartovih teza izloženih u djelu Zadovoljstvo teksta (The Pleasure of the Text, 1975), cilj ovog rada jeste da pokaže da i Džojsov proces pisanja i kritičkog čitanja uvijek oscilira između poznatog i nepoznatog, čitljivog i nečitljivog, odredivog i neodredivog, jasnog i tajanstvenog vida interakcije sa tekstom, što i čini njegovu prozu neiscrpno intrigantnom i trajno aktuelnom.

In this study we focus on those theoretical concepts that explain the concept of influence in relation to intertextuality. In post-structuralist conceptions, the notion of influence is considered part of the positivist past. On the other hand, some contemporary comparative conceptions (A. Corbineau-Hoffmann) actualize the notion of influence in broader metacommunication processes. In relation to the concepts of intertextuality and influence there is also the concept of latent intertextuality, which, in Kazalarska’s opinion, is perhaps a form of influence since it is objectively “elusive” just like the concept of influence. We look at these theoretical concepts through an analysis of the forms of intertextuality in the works of V. Hronec. We find a possible explanation of latent intertextuality in the wider context of the works of V. Hronec by comparing it with parts of the text in which intertextuality is not hidden. We conclude that the notion of influence is actualized in contemporary theoretical thought as a legacy, in relation to which new theoretical considerations are formed and new concepts are defined that enable a deeper knowledge of a literary work. [ABSTRACT FROM AUTHOR]

This paper explores the question of truth, truthfulness and sincerity in the novel When I Was a Hajjah by Damir Ovcina, as well as the question of memory, trauma and writing, that is, transferring the experience into a novel. Ovčina brings the war image of Sarajevo through the lenses of a person on the threshold of adulthood with a keen desire to keep that image as close to the truth as possible. Such a task influences the form of the novel, its techniques and subject matter, which is why the work focuses on the questions of the formation of truth, memory and trauma through literary works. [ABSTRACT FROM AUTHOR]

Copyright of Church in the World / Crkva u Svijetu is the property of University of Split, Catholic Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Članak prikazuje dosad nedovoljno istražen odnos između dvaju dramskih tekstova: Čuda djevice Ivane Drage Gervaisa i Glorije Ranka Marinkovića, pri čemu se nameće zaključak kako se radi o dvama sadržajno i ideološki veoma bliskim tekstovima. Obje drame, nastale otprilike u isto vrijeme, od autora koji su obavljali vrlo visoke i odgovorne kazališne dužnosti, tematiziraju Katoličku Crkvu na izni- mno negativan način u vrijeme kad je politička, komunistička, vlast to zahtijevala radi vlastitih interesa. Čudo djevice Ivane temelji se na stvarnom slučaju Johance Jeroušek s početka XX. stoljeća, koji je već onomad u Supilovu Riječkom novom listu bio iskorišten za “antikleri- kalnu propagandu”, što je ponovljeno 1952. u Riječkom listu. Marinko- vićeva Glorija donosi istu ideološku pouku, pri čemu se radnja Glorije može itekako povezati s Gervaisovom komedijom (glavna junakinja u sukobu s Crkvom), pa su autori vjerojatno crpili iz istog izvora. Nije pritom neznačajno da se i u Gloriji spominje slučaj “svete Johance”. U razdoblju nakon proglašenja zatočenog nadbiskupa Stepinca kardi- nalom 1952. i posljedičnog prekida diplomatskih odnosa Jugoslavije s Vatikanom, kad se staleškim udruženjima svećenika željelo razbiti crkveno jedinstvo i odvojiti Crkvu u Hrvata od Rima, oba teksta propa- giraju politički podoban zaključak. Gervaisova drama nije nikad izve- dena – kao da je od dvije podobne i kao naručene drame odabrana ona uspješnija, kojoj je lošija maknuta s puta da ne bi smetala! Oba se teksta, posebice Gervaisov, tako u svojem povijesnom kontekstu i izrazitoj ideologičnosti mogu usporediti i s rimskim mimovima i farsama koji su ismijavali kršćane u vrijeme njihova progona.

Po literarnozgodovinski in slogovni umestitvi Antona Vodnika nas zanima, kje in kakšno medbesedilnost lahko prepoznamo v njegovi poeziji medvojnih pesniških zbirk (Žalostne roke, 1922, Vigilije, 1923 in Talitá, kumi, neob. 1923) na primeru motiva Marije. Predstavimo pesmi, ki gradijo medbesedilne odnose z »viri«, kot so Biblija, Rilke, Verlaine, Maeterlinck, Trakl, Župančič in medumetnostne vezi z zgodnje- in visokorenesančno ter s prerafaelitsko umetnostjo, secesijskim dekorativizmom ali umetnostjo bratov Kralj. Podrobnejša interteks tualna in intermedialna analiza je zajela pesmi Oznanjenje, Ženitna v Kani in Immaculata.

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This article analyzes the monograph Intertextuality in Viťazoslav Hronec's literary work (Podoby intertextuality v tvorbe Viťazoslava Hronca) by Marina Šimáková Spevákova, in which she interpreted Hronec's literary work systematically from the perspective of intertextuality. The emphasis is on the theoretical and methodological problematics of intertextuality itself, i.e. her explicit and implicit nature and the theory of citation, which is effectively applied in Šimáková Speváková's work. Parallel to these theoretical problematics, the article discusses Šimáková Speváková's method for her thorough and nuanced analysis, which is based on Hronec's literary tendencies in the context of a change in European literature, especially through the transition period from modern to postmodern literature in the second half of the twentieth century. Through an analysis of Hronec's poetic, prose and autoreflexive work, Šimáková Speváková manages to prove to a large extent her initial thesis according to which intertextuality is the basic creative method, the semantic and ontological principle, and also the aesthetic norm in Hronec's literary work. [ABSTRACT FROM AUTHOR]

In the classical era, wise Euripides, despite the dominant belief that he was a fanatic misogynist, admires Phaedra's fiery emotions. In the tragedy "Hippolytus Crowned" (428 BC), he masterfully manages the dramatic heroine, whilst through her vulnerable psyche he displays a disastrous transformation from a naïve emotion to a self-destructive passion. In bloodstained Europe, which has been destroyed by unrestrained Nazi brutality, the progressive Marina Tsvetaeva climbs her own rock of Sisyphus: she grieves, but she refuses a compromise with passive futility; she isn't humiliated by the slow death that the moral system of totalitarianism has so cruelly imposed. Her driving force is based on the myth of Phaedra, while in the titular poem (1923) she succeeds in uniting her extramarital quests with the real achievement of intellectual creativity. Imitating the tragic end of the legendary Phaedra and the romantic Tsvetaeva, Sarah Kane, the controversial author of the theatrical work „Phaedra's Love” (1996), ends her short life by hanging. Besides, by adopting Brecht's authentic attitude, he irritates the impressed viewers in a constructive way; he doesn't manipulate them passively, but she attacks the false moral values, while he engages in multidimensional politics and sharp feminist criticism. [ABSTRACT FROM AUTHOR]