From Split to Pyramids – Text, Imagination, Representation

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

SAINT PATRICK’S PURGATORY IN LOUGH DERG

U radu pod naslovom “Čistilište sv. Patrika u Lough Dergu” raspravlja se o legendarnim korijenima Čistilišta sv. Patrika, poznate hodočasničke destinacije u Irskoj pokrajini Donegalu. Koncept hodočašća bio je vrlo prisutan u srednjovjekovnoj, osobito ranosrednjovjekovnoj Irskoj, u razdoblju misionara, isposnika i osnivača samostana. Često se ideal hodočasništva povezivao upravo s Ircima. Irski koncept ujedinjuje, kao što je vidljivo iz života sv. Patrika, askezu i apostolsku misiju. Hodočasnička svetišta često su povezana s prirodnim pojavama pa je tako Čistilište sv. Patrika osnovano na temelju povezanosti sa spiljom. Prema legendi, na svom je putovanju sv. Patrik došao do Station Islanda u Lough Dergu i ondje, uz Božju pomoć, osnovao Čistilište na zemlji. Riječ je bila o jami/spilji koja je nosila to ime. U čitavom je kršćanskom svijetu to vjerojatno bila najneobičnija hodočasnička destinacija. U srednjem vijeku (od 12. stoljeća) Čistilište je privlačilo putnike, ozloglašene grešnike iz svih krajeva Europe, dok ga danas uglavnom posjećuju Irci i slabo je poznato izvan Irske. O tome kako je točno Lough Derg postao hodočasničkim mjestom, ne znamo mnogo. Sve do konca 12. stoljeća, kada doživljava nagli procvat, njegova nam je povijest gotovo potpuno nepoznata. Ono što je poznato, jest legenda koja govori o njegovu osnutku. No, zaključuje se na koncu, u dokumentima se ne spominje ništa što bi ukazivalo na stvaranje Spilje čija bi funkcija bila uvjeriti nevjernike da se obrate na kršćanstvo. Odnosno, ne postoje dokazi da je sv. Patrik ikada došao do Lough Derga na svojim putovanjima. Stvaranje Spilje opisali su poslije njegovi biografi. To se, dakle, kao i neki drugi detalji iz života sv. Patrika mora, još uvijek, smatrati legendom.In the article entitled Saint Patrick’s Purgatory in Lough Derg the author discusses the legendary origines of this famous pilgrimage site located in co. Donegal, Ireland. In the Middle Ages, especially in the early Middle Ages, pilgrimage was very appriciated and present concept in Ireland; that was the era of hermits, early monastry founders and askets. Often, the concept of ideal pilgrimage was connected to the Irish people. The Irish concept of pilgrimage unifies the apostolic mission and ascetism. Furthermore, the connection between pilgrimage sites and natural features has been discussed in this article. Therefore, St. Patrick’s Purgatory was founded in relation with a cave. According to a legend St. Patrick visited Lough Derg along his travellings and spent some time there. During that time he also founded, with God’s help, a cave which represented a purgatory on earth. All that happened to allow him to convince pagan Irish disbelievers. This was probably the most peculiar pilgrimage destination on the face of the earth. In the Middle Ages, lots of sinners were visiting the place and entering the cave in order to purify their sins. Today, hardly anyone outside Ireland has heard of it. It is not known how this place actually became poplar. Until the 12th century its history is almost unknown. We only know the legend about the creation of the purgatorial cave, described by later biographers of St. Patrick. Unfortunatelly, there is no evidence on this event in the documents. Therefore, St. Patrick’s visit to Lough Derg has to be considered as a legend

SAINT PATRICK’S PURGATORY IN LOUGH DERG

U radu pod naslovom “Čistilište sv. Patrika u Lough Dergu” raspravlja se o legendarnim korijenima Čistilišta sv. Patrika, poznate hodočasničke destinacije u Irskoj pokrajini Donegalu. Koncept hodočašća bio je vrlo prisutan u srednjovjekovnoj, osobito ranosrednjovjekovnoj Irskoj, u razdoblju misionara, isposnika i osnivača samostana. Često se ideal hodočasništva povezivao upravo s Ircima. Irski koncept ujedinjuje, kao što je vidljivo iz života sv. Patrika, askezu i apostolsku misiju. Hodočasnička svetišta često su povezana s prirodnim pojavama pa je tako Čistilište sv. Patrika osnovano na temelju povezanosti sa spiljom. Prema legendi, na svom je putovanju sv. Patrik došao do Station Islanda u Lough Dergu i ondje, uz Božju pomoć, osnovao Čistilište na zemlji. Riječ je bila o jami/spilji koja je nosila to ime. U čitavom je kršćanskom svijetu to vjerojatno bila najneobičnija hodočasnička destinacija. U srednjem vijeku (od 12. stoljeća) Čistilište je privlačilo putnike, ozloglašene grešnike iz svih krajeva Europe, dok ga danas uglavnom posjećuju Irci i slabo je poznato izvan Irske. O tome kako je točno Lough Derg postao hodočasničkim mjestom, ne znamo mnogo. Sve do konca 12. stoljeća, kada doživljava nagli procvat, njegova nam je povijest gotovo potpuno nepoznata. Ono što je poznato, jest legenda koja govori o njegovu osnutku. No, zaključuje se na koncu, u dokumentima se ne spominje ništa što bi ukazivalo na stvaranje Spilje čija bi funkcija bila uvjeriti nevjernike da se obrate na kršćanstvo. Odnosno, ne postoje dokazi da je sv. Patrik ikada došao do Lough Derga na svojim putovanjima. Stvaranje Spilje opisali su poslije njegovi biografi. To se, dakle, kao i neki drugi detalji iz života sv. Patrika mora, još uvijek, smatrati legendom.In the article entitled Saint Patrick’s Purgatory in Lough Derg the author discusses the legendary origines of this famous pilgrimage site located in co. Donegal, Ireland. In the Middle Ages, especially in the early Middle Ages, pilgrimage was very appriciated and present concept in Ireland; that was the era of hermits, early monastry founders and askets. Often, the concept of ideal pilgrimage was connected to the Irish people. The Irish concept of pilgrimage unifies the apostolic mission and ascetism. Furthermore, the connection between pilgrimage sites and natural features has been discussed in this article. Therefore, St. Patrick’s Purgatory was founded in relation with a cave. According to a legend St. Patrick visited Lough Derg along his travellings and spent some time there. During that time he also founded, with God’s help, a cave which represented a purgatory on earth. All that happened to allow him to convince pagan Irish disbelievers. This was probably the most peculiar pilgrimage destination on the face of the earth. In the Middle Ages, lots of sinners were visiting the place and entering the cave in order to purify their sins. Today, hardly anyone outside Ireland has heard of it. It is not known how this place actually became poplar. Until the 12th century its history is almost unknown. We only know the legend about the creation of the purgatorial cave, described by later biographers of St. Patrick. Unfortunatelly, there is no evidence on this event in the documents. Therefore, St. Patrick’s visit to Lough Derg has to be considered as a legend

The concept of time and space in medieval visions in Tundal\u27s Vision

U tekstovima vizija prikazuje se drugi svijet unutar kojeg se vrijeme spacijalizira, odnosno, prostorno oblikuje. Prošlost, sadašnjost i budućnost raspoređuju se i dovode u bliski odnos. U srednjovjekovnoj prozi prostor i vrijeme se, ili određuju vrlo precizno, ili su potpuno neodređeni i nevažni. U Tundalovoj viziji nalaze se oba načela. Premda se Tundalova vizija smatra jednim od najdovršenijih djela tog žanra, organizacija prostora onostranog nije vidno napredovala u odnosu na tipičnu zbrku koja je primjetna u ranijim sličnim tekstovima. Ne postoji ideja o cjelovitosti prostora zagrobnog svijeta. Jedino što se čvrsto može odrediti jesu vrijeme i prostor pripovijedanja.There is a noticeable spatialisation of time present in the visionary texts dealing with the concept of the otherworld. Past, present and future are allocated and closely related. In medieval prose, space and time can be either strictly determined or completely ignored and unimportant. Only the happening itself is important, since it contains the eternal and the otherworldly. We can find both aspects in Tundal’s Vision. Despite the fact that Tundal’s Vision is thought to be one of the most developed and elaborated visions, it is noticeable how the organisation of the otherworld regions has not progressed in the way found in earlier visions. The idea of the otherworld’s integrity does not exist. Only the time and the space of the narrative can be firmly established in the text

Ideja raja u Tundalovoj viziji

U uvodu se najprije govori o srednjovjekovnim vizijama kao žanru te o Tundalovoj viziji u europskoj i hrvatskoj književnosti, a potom slijedi rasprava o ideji raja (o različitim konceptima unutar teologije i narodne kulture), o neizrecivost raja i terminološkim poteškoćama. U dijelu teksta podnaslova Tijelo i raj riječ je o fenomenu spiritualizacije tijela u raju i radikalnog ‘otjelesnjavanja’ duše u paklu. Na koncu se promišlja o predodžbi raja u srednjem vijeku koja je bila prvenstveno oblikovana prema konceptima grada i vrta. Zaključuje se kako je, kao i u drugim srednjovjekovnim vizijama, raj oslikan kao mjesto slasti i užitka te izvor velike sreće. Ipak, on još uvijek nije prikazan kao ‘nebeski drugi život’ koji bi predstavljao zajedništvo/jedinstvo s Bogom, odnosno trajno stanje, nego sadrži odlike raja zemaljskoga

Literary Criticism of C. S. Lewis’ Philological Work on Medieval Period

C. S. Lewis javnosti je manje poznat po svom znanstvenom radu, a više po ciklusu Kronike iz Narnije. Za života je, između ostalog, napisao dva djela posvećena srednjem vijeku: Alegorija ljubavi i Odbačena slika. U ovom radu autorice će analizirati stav književnih kritičara spram spomenutih Lewisovih djela. Razvidno je da se Alegorija ljubavi istraživala i shvaćala kao znanstveno djelo o srednjemu vijeku o kojem je kritika uglavnom iskazivala negativne stavove te ono nije bilo poticajno istraživačima književnosti. S druge strane, Odbačena slika imala je uglavnom pozitivan prijem među ondašnjim kritičarima koji su u tom djelu pronašli brojne paralele s Lewisovim književnim tekstovima. U ovom radu pokazuje se da je književna kritika Lewisovim djelima o srednjovjekovlju pristupala ili kako bi ih kritizirala ili kako bi u njima tražila dodirne točke s njegovim književnim tekstovima.C. S. Lewis is best known for his book series The Chronicles of Narnia, and less so for his philological work. During his lifetime he wrote, among other things, two works dedicated to the Middle Ages: The Allegory of Love and The Discarded Image. In this paper, the authors analyse the approach of literary criticism to the mentioned Lewis’ works. The authors show, based on the analysis of literary criticism, that The Allegory of Love was researched and understood as a scientific work on the Middle Ages. It is shown that the critics mostly expressed negative attitudes about this work and that Lewis’ literary work was not interesting to the researchers. On the other hand, the other work we deal with in this paper, The Discarded Image, had a generally positive reception among critics at the time and scholars found numerous parallels with Lewis’s literary texts. This analysis shows that literary criticism approached Lewis’s works on the Middle Ages either to criticize them or to look for points that are in parallel with his literary texts

The character of the evil priest in the novel The secret of a bloody bridge

U radu pod naslovom Lik zlog svećenika u romanu Tajna krvavog mosta motiv zlog svećenika promatra se s aspekta gotičkog naslijeđa u prozi, prije svega romana. Polazeći od tumačenja termina gotsko/gotičko i kratkog pregleda razvoja gotičkog žanra, autorice analiziraju prežitak gotičkih motiva i način na koji su oni inkorporirani u roman Tajna krvavog mosta te se naposljetku usredotočuju na motiv zlog svećenika koji se često javlja u gotičkim romanima.In this paper, we analyse the character of the evil priest in relation to Gothic heritage in the novel. In the introductory part we try to define the notion of Gothic and we give a short outline on the development of the Gothic genre. The authors also analyse the survival of Gothic motifs and the way in which they were incorporated in the novel The Secret of a Bloody Bridge. In the end we focus on the motif of the evil priest since it is quite common in Gothic fiction

The relation between Old Church Slavonic and “lingua vernacular” in the Croatian Middle Ages

Sažetak Hrvatsko je srednjovjekovlje najsloženije razdoblje u našoj jezičnoj povijesti. Funkcionalna višejezičnost, prisutna u to vrijeme, dovodi do zaključka da između crkvenoslavenskoga i govornoga jezika nije postojao odnos bilingvizma nego diglosije, točnije triglosije u kojem postoje najviša varijanta, srednja varijanta te najniža varijanta. Autorice u radu navode argumente za tu tvrdnju, a to su postojanje čakavsko-crkvenoslavenskoga(-kajkavskoga) amalgama, postojanje hrvatskog crkvenoslavenskoga jezika te govornoga narodnog hrvatskoga jezika (lingua vernacula).Bilingualism between the Church Slavonic (CS) and other Croatian idioms and Latin is based on the fact that they are two different languages, and these two systems never interefered in manuscripts. There are no examples of Latin liturgical texts in which rubrics are written in Croatian, as we often find that rubrics of liturgical codices are written in lingua vernacula, and the text in CS. This shows that the scribes see CS and lingua vernacula as higher and lower idioms. Thus, the Latin language was always experienced as a foreign and as such was in use, separated from the variants of Croatian. It performed all functions: official legal texts, liturgy and literature. Furthermore, in the Croatian Middle Ages, the relationship between the Croatian Church Slavonic (CCS) and lingua vernacula was diglossia, more accurately, including the transitional type of language, triglossia in which there were high, medium and low variations. All variants of Croatian have their own names and are different. There was the CCS, with high literary features. However, that language never satisfied all the requirements that one standard language must meet. There were two lower ranks of language which also had their scopes: Chakavian- -Church Slavonic (-Kajkavian) amalgam and Chakavian. Their scopes are socially well-defined. In some areas they negligibly overlap, but they never had a function of a high variant CCS – liturgy. It was used at the highest, official level, in the liturgical, biblical and ritual texts; it had determined scope. It was stable and highly regarded both in culture and in terms of language, and equally valuable as Latin. It was the highest version for liturgical use, as well as the language of miscellanies, where it was used only in texts of biblical content. It didn’t have native speakers (no one normally uses a high variant in everyday communication) and was taught only by formal education, primarily because it was a written language, language of literature. For private or informal reading a transitional type of language was used, the hybrid structure, Chakavian-Church Slavonic (-Kajkavian) amalgam as a literary language, super regional version found in miscellanies, the medium variant; a kind of link between the CCS and lingua vernacula. Non-liturgical literary works, written by the late 14th Century in CCS were mainly created in Glagolitic monastery scriptoriums. Kajkavian elements were not involuntary. We find them in Petrisov zbornik. The tendency of that language is directed toward national, primarily Chakavian. Lingua vernacula, Chakavian or Chakavian-Kajkavian (Chakavian-Štokavian) language, the lowest variant, is used for everyday life, charters and testaments, especially in legal documents from 14th century; apart from Latin, the only representative of the administrative style; standardized to a certain degree (its norm is unwritten, but noticeable). We find it in epigraphy, graffiti, in the rubrics of codices, in notes on the margins of manuscripts, colophons, etc. It sometimes had elements of CS, but only as feature of higher style. Finally, it dominated both Latin and CCS; it eventually became very expressive, multi-functional and stylistically developed linguistic form, despite the opinion that the low variant was inappropriate for any valuable written expression. In bilingualism, borrowing terms has never occurred with Latin. However, in triglossia that was intentional. This confirms that the scribes have not experienced CS as a foreign system in relation to Chakavian and Chakavian-Church Slavonic (-Kajkavian) amalgam, as they have Latin. Confirmation for this is the name of Kožičić’s Missal: Missal hruacki, not Missal (Old or Church) Slavionic. Then, scholars in the Vrbnik Capitol School studied Latin and Croatian school, and not (Old) Slavonic. Besides, there was never Chakavian- -Latin amalgam as Chakavian-Church Slavonic (-Kajkavian)