Poznańskie Studia Slawistyczne
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Oblicza graniczności w sytuacji wojennej. Jeszcze raz o "Świadkach" Vinka Brešana
No full textThe authoress offers an overview of various dimensions of borderlines in relation to the war situation, based on the analysis of Witnesses by Vinko Brešan (2003), a film that went down in the history of Croatian cinematography as the first to address the issue of Croatian war crimes. Starting in her reflection from the figure of Barić, i.e. one of the killers of a Serbian civilian, but also a soldier-suicide, she introduces Jaspers’ concept of guilt as a fundamental limit situation, which in this case is the result of the crimes committed. In further reflection, she reads the self-destructive act of the protagonist through the categories of a political manifesto (Banu Bargu), to state that the protagonist personifies the director himself, i.e. the one whose activity has political significance in the spirit of Jacques Rancière’s thought, because it consists in shifting the boundaries of visibility in the Croatian world.Autorka oferuje przegląd różnych wymiarów graniczności w odniesieniu do sytuacji wojennej, opierając się na analizie filmu „Świadkowie” Vinko Brešana (2003), który zapisał się w historii chorwackiej kinematografii jako pierwszy podejmujący kwestię chorwackich zbrodni wojennych. Wychodząc w swojej refleksji od postaci Baricia, czyli jednego z zabójców serbskiego cywila, ale i żołnierza-samobójcy, wprowadza koncepcję winy Jaspersa jako fundamentalnej sytuacji granicznej, będącej w tym przypadku rezultatem popełnionych zbrodni. W dalszej refleksji odczytuje autodestrukcyjny akt bohatera przez pryzmat kategorii manifestu politycznego (Banu Bargu), stwierdzając, że protagonista uosabia samego reżysera, czyli tego, którego działalność ma znaczenie polityczne w duchu myśli Jacques’a Rancière’a, ponieważ polega na przesuwaniu granic widzialności w chorwackim świecie
U ili izvan institucije: granice institucionalne i izvaninstitucionalne kazališne scene u hrvatskom kazalištu
No full textThe paper presents the boundaries between the contemporary Croatian institutional and non-institutional scene, focusing on terminology, history, performance spaces and aesthetic demarcations. It provides the analysis of the concepts of institutional, non-institutional, alternative, experimental and independent theatre as well as the time limits of the two areas and the problems in their determination. The history of institutional theatre is often linked to the idea of national theatre since the middle of the 19th century, while the independent theatre has been traced since the beginning of the 20th century. The article explores the influence of performance spaces on the aesthetic development of individual scenes. It concludes with an insight into the aesthetic boundaries of both scenes, which are becoming more and more blurred in the new social, political, cultural and financial circumstances.Rad predstavlja granice između suvremene hrvatske institucionalne i izvaninstitucionalne kazališne scene fokusirajući se na terminologiju, povijest, izvedbene prostore i estetska razgraničenja. Priskrbljuje analizu koncepata institucionalnoga, izvaninstitucionalnoga, alternativnoga, eksperimentalnoga i nezavisnog kazališta kao i vremenskih granica dvaju područja te problema u njihovu određivanju. Povijest institucionalnoga kazališta često se vezuje uz ideju nacionalnoga kazališta od polovice 19. stoljeća, dok se nezavisno kazalište prati od početka 20. stoljeća. Članak istražuje utjecaj izvedbenih prostora na estetski razvoj pojedinačnih scena. Završava uvidom u estetska razgraničenja obaju scena koja postaju sve nejasnija u novim društvenim, političkim, kulturnim i financijskim okolnostima
Na razmeđu izvedbe i akcije: Igralke
No full textThe paper titled Between Performance and Action: Igralke examines the Rijeka theatre Collective Igralke and their productions Bakice / Grannies (2020), Crna vuna / Black Wool (2022) and Cure / Girls (2023). It focuses on the complex relationships and (overstepped) boundaries between the art and social engagement, social inclusion and social discrimination in theatre with regard to both form and content, interplay of personal and social narratives concerning several involved minority groups such as elderly women or homeless people, inclination towards democratic procedures in creative processes and production itself, as well as strategies, approaches and outcomes related to applied (community related agendas, community participation, community performance) and documentary theatre (the usage of documentary materials, capturing the “real”, probing the nature of true and authentic).U radu „Na razmeđu izvedbe i akcije: Igralke” razmatra se djelovanje riječkoga kazališnog Kolektiva Igralke. Na primjeru predstava Bakice (2020), Crna vuna (2022) i Cure (2023) razlažu se kompleksan međuodnos i moguća prekoračenja granica između umjetnosti i društvenoga angažmana te socijalne inkluzije ili ekskluzije u prostoru kazališta, podjednako imajući u vidu formalne i sadržajne aspekte predstava te međuigru osobnih i društvenih narativa. Pritom se posebna pozornost posvećuje kazališnoj zastupljenosti socijalno stigmatiziranih društvenih skupina (žene starije životne dobi, beskućnici), oblicima dehijerarhizacije kreativnih procesa i same izvedbe kao i strategijama, pristupima i ishodima predstava povezanim s problematikom primijenjenoga (kazalište zajednice, sudjelovanje zajednice, izvedba za zajednicu) i dokumentarnoga kazališta (uporaba dokumentarne građe, propitivanje prirode istinitog, zbiljskog ili autentičnog)
Lado Kralj i Nikola Petković na suprotnim polovima humora i zazornog
No full textThe article provides an analysis of two novels, one Slovenian, Ne bom se več drsal na bajerju by Lado Kralj (2022), and one Croatian, Put u Gonars by Nikola Petković (2018), with a special focus on the theme of borders. Both novels deal with the period of the Italian occupation of Yugoslav lands. In the interpretation, the border is understood in three ways: first, in the spatial sense, then as a boundary in relation to the abject (in the sense of Julia Kristeva), and finally as the implicit author’s ideological and ethical principle. The article highlights the differences between the two novels in the use of disgust as a motif, the (lack of) responsibility towards history, and the depiction of the relations between warring sides and ideologies. In line with the literary studies of memory, the analysis aims to contribute to understanding the light in which World War II is remembered in Slovenia and Croatia today, concluding that the memory of the resistance movement in Slovenia has remained an important part of the public sphere even after the 1990s, while in Croatia it has been marginalized and imbued with unease.Članak donosi analizu dvaju romana, slovenskog Ne bom se več drsal na bajerju Lade Kralja (2022) i hrvatskog Put u Gonars Nikole Petkovića (2018) s posebnim osvrtom na temu granica. Oba se romana bave razdobljem talijanske okupacije jugoslavenskih zemalja. U interpretaciji se granice razumiju u prostornom smislu, zatim kao odnos prema zazornom i konačno kao ideološko i etičko načelo implicitnog autora. Ističu se razlike između dvaju romana s obzirom na korištenje motiva gađenja, na (ne)odgovornost prema povijesti i na prikaz odnosa među sukobljenim stranama i ideologijama. Tragom književnih studija pamćenja, analiza želi dati prilog razumijevanju aktualnog stanja pamćenja Drugog svjetskog rata u Sloveniji i Hrvatskoj. Zaključuje se da je pamćenje pokreta otpora u Sloveniji i nakon devedesetih ostalo važnim dijelom javnog prostora, dok je u Hrvatskoj marginalizirano i prožeto nelagodom
Granice muškog identiteta i prekoračenja patrijarhalnog poretka u pripovijesti Alkar Dinka Šimunovića i romanu Đuka Begović Ivana Kozarca
No full textThe paper is based on a comparative analysis of the novel Alkar by Dinko Šimunović and the novel Đuka Begović by Ivan Kozarac. The existing psychoanalytical analyses of Đuka Begović appear to be insufficient due to the assessment of Šima as an authoritarian father who forbids his son’s pleasure and ignoring the conflict regarding the same woman as reason for patricide. The offered Lacanian analysis of Alkar, on the other hand, fails to capture and explain all the competitive and duplicitous relationships that appear in the text. By expanding the theoreticalperspective by engaging René Girard’s mimetic model of desire, it is possible to capture all the mentioned elements. The unsuccessful initiation in Alkar results in the castration of the son, and in Đuka Begović, in patricide, which in both cases causes the sons’ self-expulsion from the social order. In Alkar, the solution is offered in the oral tradition, in the cyclic renewal of the myth, while in Đuka Begović the stabilization of the order is absent.Rad se temelji na poredbenoj analizi pripovijesti Alkar Dinka Šimunovića i kratkog romana Đuka Begović Ivana Kozarca. Postojeće psihoanalitičke analize Đuke Begovića se pokazuju nedostatinima jer automatski reproduciraju tezu o Šimi kao autoritarnom ocu koji zabranjuje sinu užitak te previđaju činjenicu da se njihov konflikt temelji na sukobu oko iste žene koji postaje uzrok patricidu. S druge strane, ponuđena lakanovska analiza Alkara ne uspijeva objasniti kompetitivne i dvojničke odnose koji se pojavljuju u tekstu. Proširenjem teorijske prespektive uključivanjem mimetičkog modela žudnje Renea Girarda omogućuje nam zahvaćanje navedenih elemenata. Neuspjela inicijacija u Alkaru rezultira kastracijom sina, a u Đuki Begoviću – patricidom, dok oboje uzrokuje sinovljev samoizgon iz društvenog poretka. U Alkaru izlaz se traži u usmenoj tradiciji, odnosno u cikličkoj obnovi mita, dok je u Đuki Begoviću odsutna bilo kakva naznaka stabilizacije poretka
Reports from behind the “Red Curtain.” Experiencing the Border in Soviet Russia: Antoni Słonimski, Moja podróż do Rosji (1932) and Ante Ciliga U zemlji velike laži (1938)
No full textThis article presents a comparative analysis of the personal experiences and impressions of 1930s Russia, as recounted by two figures: A. Słonimski, the Polish poet, editor, and founder of the influential literary group “Skamander,” and A. Ciliga, a Croatian writer and former communist. Ciliga, an unruly Istrian, arrives in the “paradise of socialist progress” as a privileged foreign communist intellectual and university lecturer, only to end up imprisoned in the infamous Gulag system. In contrast, Słonimski, a customer of the state-run tourism agency Intourist and a journalist, travels across the Soviet Union, observing the inner workings of the Stalinist state and the pervasive taboos that shaped its atmosphere. Both autobiographical accounts offer valuable insights into the broader European context of the time. The experience of crossing borders – whether between capitalist and socialist societies, Western and Eastern Europe, or Europe and Asia – shapes the landscape, cities, and mentalities of the inhabitants in profound ways
Mutne granice između hiponimije i meronimije
No full textLexical hierarchies are based on the relation between a superordinate lexeme that has a broader, more general meaning and its subordinate lexemes that have narrower, more specific meanings. In the lexical hierarchy, a relation of domination, which is vertical and established between members located at different levels of the hierarchy, is recognized, as well as a relation of differentiation, which is horizontal and established between members located at the same level of the hierarchy. Lexemes from lower levels represent a type or a part of what their superordinate lexemes denote, so two basic types of lexical hierarchies are distinguished: hyponymy is based on the relation between a genus and a species, while meronymy is based on the relation between a whole and a part. In this article, we will focus on lexical hierarchies for which it is difficult to determine whether they illustrate hyponymic or meronymic relations, revealing the hybrid relation that arises from their blending.Leksičke hijerarhije zasnivaju se na odnosu između nadređenog leksema koji ima šire, općenitije značenje i njemu podređenih leksema koji imaju uže, specifičnije značenje. U leksičkoj se hijerarhiji prepoznaje odnos dominacije ili nadređenosti, koji je vertikalan i uspostavlja se između članova smještenih na različitim razinama hijerarhije, te odnos diferencijacije ili ravnopravnosti, koji je horizontalan i uspostavlja se između članova smještenih na istoj razini hijerarhije. Leksemi s nižih razina hijerarhije predstavljaju ili vrstu ili dio onoga što označavaju njima nadređeni leksemi, na temelju čega se razlikuju dvije osnovne vrste leksičkih hijerarhija: prva se temelji na odnosu između vrste i roda i zove se hiponimija, a druga se temelji na odnosu dijela i cjeline i zove se meronimija. U ovom se radu bavimo leksičkim hijerarhijama za koje je teško utvrditi ilustriraju li hiponimijske ili meronimijske odnose otkrivajući pritom hibridni odnos koji proizlazi iz njihova prožimanja
Status teorije u proučavanju književnosti i vizualnih umjetnosti
No full textThe article compares the state of theory in literary studies and the visual arts. While in the one the end of theory is proclaimed for several decades, in second it is systematically neglected as insufficiently scientific. A critique of the existing methods of art history, which are predominantly based on documentation and historiography in the study of artworks is needed. Discipline is demoted to an auxiliary historical science, which results in its vanishing. An example is given of the research of Didi-Huberman, who, by establishing the difference between the visible and the visual, extends the field of study of the visual arts with his theory, thereby prolonging its life and ensuring that the end of art history, which the discipline itself has been questioning for several decades, is avoided. The paper argues for openness and the overcoming of boundaries within two humanities disciplines that have begun to distance themselves from each other and neglect their mutual contributions.U radu se uspoređuje stanje teorije u istraživanju književnosti i vizualnih umjetnosti. Dok se u znanosti o književnosti već nekoliko desetljeća najavljuje „kraj teorije”, u proučavanju vizualnih umjetnosti teorija se uglavnom sustavno zanemaruje kao nedovoljno znanstvena disciplina. Stoga je potreban kritički osvrt na postojeće metode povijesti umjetnosti, koje se u istraživanju umjetničkih djela uglavnom temelje na dokumentaciji i historiografiji. Disciplina se tako svodi na pomoćnu povijesnu znanost, što rezultira njezinim nestajanjem. U raspravi se oslanjamo na istraživanje Didi-Hubermana koji, utvrđujući razliku između vidljivog i vizualnog, svojom teorijom proširuje polje proučavanja vizualnih umjetnosti, produžujući time život povijesti umjetnosti i osiguravajući da se njezin kraj, koji sama disciplina već nekoliko desetljeća dovodi u pitanje, izbjegne. Pritom se zalažemo za otvorenost i prevladavanje granica dviju humanističkih disciplina te razmatranje njihovih međusobnih doprinosa
Biography as an Interpretative Model of Cultural Transfers: The Case of Peter Paul Vergerio the Younger and the Habsburg borderlands
No full textThis article argues for the analytical value of the concept of cultural biography in understanding processes of cultural transfer. Biography is treated here as a social construct that reflects an individual’s functioning within the public sphere, shaped by stable dispositions and social roles. The notion of transfer, in turn, encompasses not only the spread of ideas but also of attitudes, dispositions, and practices, offering a more nuanced framework for describing the formation of cultural communities. The analysis focuses on the life of Pier Paolo Vergerio the Younger (c. 1498–1565), a theologian, publicist, and reformer from Koper in Istria. His biography illustrates the intersection of two cultural models – the humanist and the reformer – and highlights his activity within the cultural borderlands of the Habsburg territories. Vergerio’s connections with Slovenian and Croatian reformers occupy a significant place in the broader history of European culture. The article concludes by proposing cultural biography as a fruitful category for comparative cultural research
O relacjach ludzi i zwierząt. Moj Dren Danka Anđelinovicia
No full textThe article is an attempt to read the novel My Dren (1939) by Danko Anđelinović in the context of ideas spread since the end of the 19th century, and in the strictly scientific field since the 1970s by the creators of animal studies. The author first reviews theoretical works published in Croatia in this trend, and then shows Anđelinović’s autobiographical novel as anticipating animal narratives in Croatian literature.Artykuł jest próbą odczytania powieści Moj Dren (1939) autorstwa Danka Anđelinovicia w kontekście idei szerzonych od końca XIX w., a na polu stricte naukowym od lat 70. XX w. przez twórców studiów animalistycznych. Autorka w pierwszej kolejności dokonuje przeglądu prac teoretycznych powstałych na gruncie chorwackim w tym nurcie, a następnie, ukazuje autobiograficzną powieść Anđelinovicia jako antycypującą narracje zwierzęce w literaturze chorwackiej