Emocije u diskursu književnoga eseja: Olga Tokarczuk o romanu „Lutka“ Bolesłava Prusa

The article interprets Olga Tokarczuk’s essay Lalka i Perła about the novel Lalka by Bolesław Prus. An attempt will be made to explain what cognitive value this text has for the reader of Tokarczuk’s prose and for the reader who is interested in Prus’s novel, and to answer the question whether this essay can be considered as a contribution to literary-historical or other literary-scientific knowledge about Prus. The central thesis of the article is that Tokarczuk’s writing about Prus is an example of emotionalized discourse of fictionalized historiographical prose, a hybrid and marginal essayistic genre that appropriates the features of both fictional prose and modern literary scientific writing, compressing some of the traditional essay’s procedures, such as presenting personal viewpoints and intentionally impregnating the discourse with private emotional manifestations. The aim of the paper is the analysis of Tokarczuk’s writing and the assessment of the scope of her essay in the context of knowledge of Prus’s novel.U članku se tumači esej Lalka i perła (Lutka i perla) Olge Tokarczuk o romanu Lalka (Lutka) Bolesława Prusa. Pokušat će se objasniti kakvu taj tekst ima spoznajnu vrijednost za čitatelja proze Tokarczuk i za čitatelja kojega zanima Prusov roman te odgovoriti na pitanje može se li taj esej držati prinosom i književnopovijesnoj, ili nekoj drugoj književnoznanstvenoj, spoznaji o Prusu. Središnja je teza članka da je pisanje Tokarczuk o Prusu primjer emocionaliziranoga diskursa fikcionalizirane historiografske proze, hibridnoga i rubnoga esejističkoga žanra koji prisvaja značajke i fikcionalne proze i modernoga književnoznanstvenoga pisanja, komprimirajući i neke postupke tradicionalnoga eseja, kao što je iznošenje osobnih stajališta i intencionalno impregniranje diskursa privatnim emocionalnim očitovanjima. Cilj je rada analiza pisanja Tokarczuk i procjena dosega njezina eseja u kontekstu poznavanja Prusova romana

Utopian image of the world in the Ulderiko Donadini’s manifestos

U radu se opisuje književnopovijesno-formacijski kontekst nastanka manifesta i kritičkih tekstova Ulderika Donadinija u kojima je anticipirao utopijsku projekciju umjetnosti kao svjetonazorski preduvjet avangardne estetike nove umjetnosti. Njegov protoavangardistički teorijski diskurs čini ga glasnikom prijelaznoga razdoblja u domaćoj književnoj kritici u kojem su dominantnu esteticističku stilizaciju počela potiskivati europska avangardistička strujanja. Člancima u časopisu Kokot i zbirci Kamena s ramena pridonio je ostvarivanju kontinuiteta između impresionističkoga kritičko-teorijskoga diskursa moderne i avangardne poetike osporavanja.The article describes the literary historical context of genesis of Ulderiko Donadini’s manifestos and critical texts in which he anticipates the Utopian projection of art as point of view and prerequisite for avant-garde aesthetics of new art. His advanced theoretical discourse makes him an apostle of transitional period in domestic literary criticism, where European avant-garde currents began to expell dominant aesthetical stylization. Contributions in magazine Kokot and in the collection Kamena s ramena contribute to the continuity between impressionism of Croatian Modernism and avant-garde poetics of abnegation

Protumodernost modernoga – pjesnički protusvijet Julija Benešića

This article deals with the poetry of Julije Benešić (his collection Istrgnuti listovi – Torn Pages) in the context of Croatian modernist poetry based on three assumptions: the first, deductive one is that Benešić’s literary, literary-historical, theatrical and public personality is a potential metonymy of the entire Croatian culture of the first two decades of the 20th century; the second, literary-historical assumption is that the choice to use free verse can be read as a counter-modernist gesture against rationalism and structure of rhymed verse of Croatian modernist poetry; third, from the cultural-historical point of view, it is assumed that Benešić’s poetical profile is a reflection of his counter-modernist attitude that was shaped beyond the dominant poetical practices of modernism. The goal of this presentation is as much a cultural-historical as it is a literary-historical one, aimed at proving a thesis by which a small poetical contribution by Julije Benešić is synecdoche for the condition and the atmosphere of Croatian culture of the late modernism and the first interwar years. The notion of counter-modernism is historiographically restricted here and encompasses Benešić’s disputing statements in relation with the dominant paradigm in synchrony with the modernist period. The choice of free verse is understood as a statement of notion about the restraints of the poetics of rhymed verse of Croatian modernism. Since free verse was not part of the canon at the time, Benešić tried to use it to legitimize his own work and democratize the system of poetical competencies.This article deals with the poetry of Julije Benešić (his collection Istrgnuti listovi – Torn Pages) in the context of Croatian modernist poetry based on three assumptions: the first, deductive one is that Benešić’s literary, literary-historical, theatrical and public personality is a potential metonymy of the entire Croatian culture of the first two decades of the 20th century; the second, literary-historical assumption is that the choice to use free verse can be read as a counter-modernist gesture against rationalism and structure of rhymed verse of Croatian modernist poetry; third, from the cultural-historical point of view, it is assumed that Benešić’s poetical profile is a reflection of his counter-modernist attitude that was shaped beyond the dominant poetical practices of modernism. The goal of this presentation is as much a cultural-historical as it is a literary-historical one, aimed at proving a thesis by which a small poetical contribution by Julije Benešić is synecdoche for the condition and the atmosphere of Croatian culture of the late modernism and the first interwar years. The notion of counter-modernism is historiographically restricted here and encompasses Benešić’s disputing statements in relation with the dominant paradigm in synchrony with the modernist period. The choice of free verse is understood as a statement of notion about the restraints of the poetics of rhymed verse of Croatian modernism. Since free verse was not part of the canon at the time, Benešić tried to use it to legitimize his own work and democratize the system of poetical competencies

O ženskom subjektu u bildungsromanu S one strane oblaka Božene Loborec

Promišljanje o ženskom subjektu u romanu o odrastanju S one strane oblaka (Zagreb: Mladost, 1979) Božene Loborec temeljimo ponajprije na iskazima ženskoga glasa u tekstu romana s pomoću kojih se, karakterološki i fenomenološki, oblikuje subverzivnost ženskosti karaktera i položaja glavne junakinje unutar obitelji i društvene zajednice. Drugo, čitanje uvjetujemo i iskazima sveznajuće pripovjedačice koji tumače psihološku pozadinu postupaka glavne junakinje. Cilj je našega pristupa osvijestiti na temelju iskaza u tekstu romana postupke i očitovanja kojima se empirijska autorica Božena Loborec upisala u povijest suvremenoga hrvatskog ženskog pisma i nastojati pročitati njezin autobiografski roman iz perspektive u njemu prevladavajućih ženskih glasova, i junakinje i pripovjedačice. U kontekstu cjeline poznavanja njezina opusa čini se važnim ponovo se posvetiti njezinu jedinom romanu, i osvijetliti njegove značajke i mimo, u tekstu romana očita, širega konteksta, zavičajnoga i ratnoga. Propitat će se je li taj roman dio tzv. ženske književnosti i književnosti »pisane u ženskom rodu« i koje su u njemu odlike tzv. ženskoga stila. Feminološki aspekt romana komentira se s obzirom na pojmove »manjka« i suviška kojima je domaća kritika, tradicionalno i neosviješteno, tumačila djela ženskih autora. Božena Loborec u kritici se mjestimice uklopila u stereotip o zavičajnim autoricama koje pišu iz dokolice, neprofesionalno, s pripisivanim im manjkom svijesti o poetičkim postupcima i mehanizmima tekstualnosti. Osobito je ograničavajuća okolnost što se njezin roman bez prevelika kolebanja u kritici smjestio u književnost za djecu te se i ta ustaljena predodžba o njezinoj »prozi o odrastanju« nastoji preispitati. Cilj je da se ponudi čitanje koje će se odmaknuti od uobičajenih referencija koje su se pripisivale njezinu proznom pisanju (rodni grad, ratno doba, uža obitelj, zaraćene strane, ideološka očitovanja), s fokusom na feminološkom potencijalu koji tekst nedvojbeno nudi, iako pronosi ambivalentne poruke, što svjedoči o fluidnosti ženskoga subjekta u romanu

Encyclopaedic Overview of Polish Literary History

U radu se donosi pregled povijesti poljske književnosti, sastavljen kronološkim književnopovijesnim načelom, te načinjen za potrebe enciklopedijskoga pregleda. Vrste podataka i njihova obradba prilagođeni su stoga žanru opće enciklopedije i njezinoj makropedijskoj strukturi. Svrha je takva sveobuhvatna pregleda istodobno sažet a sadržajan uvid u središnji tijek poljske nacionalne književnosti, s obzirom na njezina ključna književnopovijesna razdoblja, protagoniste i kanon književnih djela. Iako recepcijski usmjeren didaktično, enciklopedijski je osmišljen kao riznica temeljnoga polonističkoga književnopovijesnoga znanja.This paper brings an overview of Polish literary history, composed using a chronological literary-historic principle, and made for the purposes of an encyclopaedic overview. Types of information and their analysis are therefore adjusted to the genre of the general encyclopaedia and its macropaedic structure. The purpose of such a comprehensive overview is a brief, yet substantial insight into the main course of Polish national literature, given its key literary-historic periods, protagonists and canonical literary works. Although directed didactically in terms of reception, it is encyclopaedically thought of as being a treasure trove of basic Polish-studies literary-historic knowledge