USMENO PREVOĐENJE I KULTURA: NOVE METAMORFOZE MITA O PROKNI I FILOMELI U TRADICIJSKIM BALADAMA JUŽNE EUROPE

The article interprets how the ballads of three diverse traditions – the Spanish, Italian and Croatian – re-write the mythic plot of Procne and Phi¬lomela under the conditions of today\u27s (postcolonial) re-reading of the mythic plot, at a time when the concept of tradition (the myth, the ballad) has considerably altered. Relying on the reader response method and insights into the theory of translation and the modern Humanistic discourse in the comparative study of oral poetry, the text leads into consideration, for the first time, of the Croatian oral ballad tradition as belonging to the international ballad type of Procne and Philomena, which has to date been detected and interpreted in the Romance ballad areal. In that process, particular attention is paid to the interpretation of the protagonists and the plots from the position of the interpreter of the tradition (comparatist, folklorist) herself, from whose aspect these ballad plots also represent a challenge for re-examination of the ethics of the interpreter\u27s position, the cause-and-effect logic of narration and the myths of origins built in to the very foundation of the historical-geographic method, while also stimulating rethinking of the comparatistic concept of influence. Transference between interpreter and texts (myths, ballads) leads to registration of the traces of other cultures and to their hybridisation, notwithstanding the actual direction of influences. Thanks to transference between the interpreter, the myth and the ballad, one also notices the shift in interpretation of the mythic stories in the traditional ballads. The narrative and symbolic potential of the "trauma of the neighbourhood" of which the Procne and Philomena myth speaks, a trauma that is also registered in the imaginary of Mediterranean folklore, is given an unexpected turn in the traditional ballads by lowering from the symbolic to the real level. That fact bears particular weight since the narrative contract between the narrator and the listener is that of testimony in the traditional oral ballads in question, in whose form one recognises the simple form of casus. Apart from that, this is a case of a gender-reticulated discourse that also presents various possibilities by which the "female voice" disputes heroic history, providing various opportunities in various traditions for the intersection of the gender aspect with ethnic and class characteristics. That authorises the inclusion of these traditional plots in the comparatist "plot of mediation" (Marshall) that tries to re-examine the tradition to date of the contextual folkloristic and philological criticism of these narrative poems that are considered to be "exemplary" cases for an approach that tries to place in the foreground the ever-sensitive issue of the stance towards the Other (the narrator, text, foreign cultures, literary history, and reality).Članak interpretira kako balade triju različitih tradicija, španjolske, talijanske i hrvatske, preispisuju mitski zaplet o Prokni i Filomeni, u uvjetima današnjeg (postkolonijalnog) ponovnog iščitavanja mitskog zapleta kad je koncept tradicije (mita, balada) uvelike promijenjen. Uz oslonac na metodu čitateljskog odgovora i uvide teorije prevođenja i modernoga humanističkog diskurza u komparativni studij usmenog pjesništva po prvi se puta uvodi u razmatranje hrvatska tradicija usmenih balada kao pripadajuća međunarodnom tipu balade o Prokni i Filomeni koji je dosad bio zapažen i interpretiran u romanskom baladnom arealu. Pri tome se posebna pozornost poklanja interpretaciji lika i zapleta iz pozicije samog interpretatora tradicije (komparatiste, folkloriste) iz čije vizure ovi baladni zapleti predstavljaju također i izazov za preispitivanje etike interpretatorove pozicije, uzročno-posljedične logike pripovijedanja i mitova o porijeklu ugrađenih u same temelje povijesno-geografske metode, a potiču i na preispitivanje komparatističkog pojma utjecaja. Transferencija između interpretatora i tekstova (mita, balada) dovodi do upisivanja tragova drugih kultura i do njihove hibridizacije bez obzira na stvarni smjer utjecaja. Zahvaljujući transferenciji između interpretatora, mita i balada zapaža se i interpretativni obrat u tumačenju mitske priče u tradicijskim baladama. Narativni i simbolički potencijal "traume susjedstva" o kojoj pripovijeda mit o Prokni i Filomeni, traume koja je upisana i u imaginarno mediteranskog folklora, dobiva neočekivan obrat u tradicijskim baladama spuštanjem simboličke razine zapleta u realnu. Ta činjenica ima posebnu težinu s obzirom da u razmatranim usmenim tradicijskim baladama, u čijem obliku prepoznajemo jednostavni oblik kazusa, pripovjedni ugovor između pripovjedača i slušatelja jest onaj svjedočenja, a osim toga, riječ je o rodovski premreženom diskurzu koji predstavlja i različite mogućnosti kojima "ženski glas" oponira herojskoj povijesti, a koji u različitim tradicijama predstavlja različite mogućnosti ukrštanja rodovskog aspekta s etničkim i klasnim obilježjima. To ovlašćuje uvrštavanje ovih tradicijskih zapleta u komparatistički "zaplet medijacije" (Marshall) koji pokušava preispisati dosadašnju tradiciju kontekstualno folklorističkog i filološkog pristupa pristupa ovim pripovjednim pjesmama koje se smatraju "egzemplarne" za problematiziranje etički i ideološki uvijek osjetljivog odnosa prema Drugom (kazivača, teksta, strane kulture, književne povijesti, zbilje)

PEASANT AND NOBLE, PEASANT AND URBAN: THE INTERWEAVING OF POPULAR AND ELITE CULTURE IN THE PLOT OF THE MEDITERRANEAN BALLAD, THE NOBLE SHEPHERDESS

Članak analizira zaplet mediteranske balade o zloj svekrvi i to poglavito na primjerima kastiljskih i dalmatinskih varijanata. Ističe se kako je riječ o baladi koja od samoga početka poseban naglasak stavlja na razvijanje dvostrukog tematskog aspekta ženskoga lika, koji se zbog toga oblikuje kao obiteljski član, ali i kao pripadnik određene društvene klase, iako postupak dvosmislene fokalizacije podaruje ambigvitet ženskomu liku pa ga književnoantropološko iščitavanje kulturnih kodova može shvatiti i unutar seljačkoga i unutar plemićkoga konteksta, odnosno u opozicijama seljačko/urbano. Dvostruki tematski aspekt lika raspletom se ne razrješuje jednosmisleno, pa status ženskoga lika najčešće ostaje skriven. Takav je status ženskoga lika i poticaj za reinterpretaciju filološkog tumačenja porijekla i etosa pjesme. Nejasno porijeklo pjesme ostavlja upitnim nije li balada preuzela neke od folklornih sižea o zloj svekrvi koji su uobičajeni u europskom folkloru ili je "familijarizirala" sadržaj koji je nekoć pripadao tzv. visokoj kulturi (viteškim romanima, epu o Kudrun). Hrvatske epske obiteljske pjesme iz tradicije o "plemenitoj pastirici", koje su znatno ruralizirane, upućuju kako rasprava o etosu i nije ključna za razumijevanje balade jer su se moderni zapleti oslobodili pravila "narativne igre" originalnoga zapleta potekloga u romanskoj sredini. Nejasne granice između žanrova u srednjovjekovnoj kulturi omogućuju prepletanje "ruralnog" ili folklornog i aristokratskog porijekla "pastirice", što se odrazilo na odabir naslova te balade u filološkoj kritici, pa ona postaje nositeljicom hibridnog identiteta "plemenite pastirice". Posebno se ističe paralelizam između "folklorističkoga zapleta" terenskoga istraživanja i zapleta same balade, pri čemu folkloristi i filolozi bivaju uvučenima u referencijalni svijet balade.The plot of the Mediterranean ballad in the Romance tradition, known under the title of The Noble Shepherdess, is analysed in this article, largely on the examples of Castillian and Dalmatian variants. It is emphasised that this ballad is one in which philological criticism has identified the existence of genetic affinity between Greek, Albanian, Croatian, Italian, French and Hispanic ballads. This fact is exceptionally important for analysis of the plot, since similar ballads can have a different plot dynamic and shaping of the personage components. This is a ballad that places the emphasis from the very beginning on development of a twofold thematic aspect of the female personage, thus formed as a family member, and also as a member of a particular social class. However, the process of ambiguous focalization also confers ambiguity on the female personage so that she can be comprehended as being within both the peasant and the aristocratic context or, in other words, in the oppositions of peasant/urban. The twofold thematic aspect of this female character is not solved in a definite way, so that her actual status most frequently remains concealed. The ballad intensifies the blurring of identity by stressing the synthetic aspect of the character through the process of anagnorisis and the disguising of the protagonists, as is found particularly in Hispanic romances. Such status of the female personage serves as an impetus for renewed philological interpretation of the origins and ethos of the ballad. The ballad\u27s unclear origin leaves open the question of whether it adopted some of the topics on the evil mother-in-law that are customary in European folklore, or whether it "familiarised" content that had once belonged to so-called high culture (chivalric novels, the epic of Kudrun). The presence of references from the aristocratic world in the form of objects of material culture resulted from the "fascination" of narrators with the aristocratic world. If the characters were members of the noble stratum with whom tale-tellers identified, familiarising the aristocratic life models and altering them within a rural context, with wealth, and the privileged position of women in the family, the universal metaphor of the noble origin of woman was the fortunate solution of the exogamy issue. The indefinite borders between genres in Mediaeval culture makes possible hybridisation of the "rural" or folklore and the aristocratic origins of the "shepherdess", as reflected in the selection of the ballad\u27s title in philological criticism, and hence her bearing of the hybrid identity of "the noble shepherdess". The parallelism between the "folkloristic plot" of the field researcher and the plot of the ballad itself is particularly emphasised, by way of which folklorists and philologists are drawn in to the referential world of the ballad

El romance pan-hispánico La bella en misa : la belleza femenina en la descriptio mulieris de la poesía tradicional y de los poemas petrarquistas croatas y españoles

En el estudio se interpreta la descriptio mulieris en la poesía tradicional croata y panhispánica en un estudio comparativo de la poesía petrarquista. Su denominador común es la fórmula poética de la belleza femenina. Una atención particular se dedica al estudio de la poesía tradicional mediterránea, los poemas del litoral de Dubrovnik y unas manifestaciones del romancero sefardí, el tipo del romance y de la balada de La bella en misa de ethos y estética medievales. El estudio tematológico abarca también el análisis de los poemas petrarquistas croatas y su poética y el discurso poético, con un particular interés por la poesía del poeta croata Hanibal Lucić. Se distingue el discurso poético que representa un rico lenguaje poético sobre la "Venus pequeña" y la "Venus grande". Se trata en el fondo de una misma imagen poética, estilísticamente matizada, esparcida por los corpora de la poesía tradicional y artística que se ha inspirado en un ser (Dasein) poético y filosófico particular y en un específico patio del descubrimiento del conocimiento de la sensibilidad femenina aristocrática y del primer instinto, singularmente dálmata a la vez que mediterráneo y universal también.This study tries to interpret the descriptio mulieris in the Croatian and PanHispanic traditional poetry in the comparative study with the Petrarquist poetry. Its common denominator is the poetic formula of the feminine beauty. A special attention is dedicated to the study of the Mediterranean traditional poetry, the poems from the Dubrovnik region and some manifestations of the Sephardic poetry, the ballad type of La bella en misa, of the Mediaeval ethos and aesthetics. The thematological study also includes the analysis of the Croatian Petrarquist poems and its poetics and poetical language, with the particular interest for the poetry of the Croatian poet Hanibal Lucić. The different poetical discourse of the "small Venus" and the "large Venus" is distinguished. It is considered in fact as the same poetical image stylistically nuanced distributed in the artistic and in the traditional poetry, inspired in the poetical and philosophical Dasein, with the specific voyage toward the revelation of the knowledge thanks to the aristocratic sensuality and the first instinct, singularly Dalmatian and at the same time Mediterranean and universal

Descriptions of Feminine Beauty in the Poetic Tradition of European Ballads and Petrarchist Poems

U ovome članku pokušali smo ukratko predstaviti lirske opise motiva ženske ljepote u tradicijskom španjolskom i u hrvatskom usmenom pjesništvu zaustavivši se posebno na petrarkističkim pjesmama (talijanskim, španjolskim) s motivom carpe diem. Iako usamljen u kontekstu hrvatskog tradicijskog pjesništva, fragment s motivom opisa ženske ljepote iz epske pjesme pjevačice Kate Murat iz Šipanske Luke na dubrovačkom Elafitskom otoku Šipanu zaslužuje posebnu pozornost jer motivom “našminkane” ljepote omogućuje komparatističko prepoznavanje formulaičnog opisa ženske ljepote u usmenome i pisanome pjesništvu u komparatističkome kontekstu (na tragu francuskog znanstvenika Paula Zumthora). Taj formulaični opis u širem književnom kontekstu omogućio nam je i prepoznavanje zajedničke antropološke niše iz koje je motiv carpe diem potekao.This article presents an account of lyrical descriptions of the motif of feminine beauty in Spanish and Croatian oral tradition, paying special attention to Petrarchist poems with the carpe diem motif. Feminine beauty, taken literally and symbolically as natural beauty that permeates our ecological niche, is treated here as having ecological power to explain the unexplainable (unsayable) in Nature and in Humankind. Thanks to its cultural and artistic manifestations, it stands in opposition to a purely scientific approach to Nature, taken as a Machine. The paper presents a comparison of symbols of beauty in oral and written Croatian and Spanish literature, paying special attention to the thematic level as well as the discursive and metadiscursive level. The thematic and discursive aspect of poetry is based on the theory of the “formulaic nature” of the literary phenomenon, proposed by Paul Zumthor. Some poems in both the oral and the written tradition adopt contemporary esthetic ideals, laying emphasis on the ideal of artificial (made-up) beauty. The presence of the motif of artificial beauty may be explained by the fact that oral and written literature underwent fruitful encounters and are inextricably intertwined. Examples from Croatian and Hispanic oral tradition are provided; specifically from the coastal region around Dubrovnik (Luka on the island of Šipan) and from the Castilian, Sephardic tradition of the ballad “La bella en misa”. The argumentation is accompanied by a general and more specific interpretation of Petrarchist poetry compared for the first time in the context of the two oral poetry traditions. Many examples from the Hispanic tradition as reflected in the ballad “La bella en misa” find its counterpart in a single example of poetic discourse of the famous epic song and ballad singer, Ms. Kate Murat from the Dubrovnik region. Similar dual structures in both the traditional and artistic natural description of feminine beauty are recognized, according to Paul Zumthor’s terminology. We highlight the formulaic nature of the description of feminine beauty in Petrarchist and in traditional poetry, which gave it a mythical status of representativeness, disregarding for the moment the individuality of each individual poet as well as the individual impact of the epic and ballad singer. It is obvious why the motif of feminine beauty has attracted the attention of “everyday life philosophers”, i.e. of traditional singers, who, in these cases, come from urban, bourgeois surroundings. The fragility of the world we live in, which is echoed in floral and mineral or climatic metaphors in traditional and in Petrarchist poetry, may have its origin in the interdependence of the Humankind and landscape and traditional poems, and warrants laying stress on the (multicultural) esthetic qualities of the analyzed poetic texts