37 research outputs found
The Poetry of Vinko Kos (from previously unknown manuscripts)
No full textOvim se radom predstavlja dio rezultata višegodišnjeg istraživanja književnog djela hrvatskog književnika Vinka Kosa (1914. - 1945.). U diplomskom radu autora članka (U potrazi za izgubljenim pjesnikom, 1996.) analiziraju se i predstavljaju Kosova tiskana djela (bez dijela opusa za djecu) te navode sva neobjavljena (rukopisna) djela, a u magistarskom radu (Rukopisna ostavština Vinka Kosa, 2001.) autor članka posvećuje se pomnom istraživanju navedene Kosove rukopisne ostavštine (deskripciji, analizi, interpretaciji, komparaciji itd.) te klasifikaciji unutar okvira moderne hrvatske književnosti, ali i općih tradicija i modela moderne književnosti. Ovdje će biti predstavljeni rezultati otkrića samo Kosovih pjesničkih zbirki i pjesama koje za života nije stigao objaviti, dakle, još nepoznati i neobjavljeni (rukopisni) pjesnički radovi/zbirke: Pjesme 1936, Cvatući bregovi, Razumljivi čas te Pojedinačne pjesme, nastali u razdoblju od 1936. do 1945. godine. Kosovo pjesništvo nastoji se iščitati kao praksa obilježena poetikama romantičarsko-sentimentalističkoga i modernističkoga (simbolističkoga i impresionističkoga) tipa izraza koje se naslanja na iskustvo katoličkoga (religijskoga i metafizičkoga) pjesništva i tradiciju modernih svjetskih klasika slične misaone strukture.As its title implies, this paper deals with listing and evaluating newly-discovered poetical manuscripts (poetry: Poems 1936, Hills in Blossom, Moment Easy to Understand, Individual Poems - which are just a part of a series of unpublished works) left behind by the Croatian writer Vinko Kos (1914 - 1945), whose tragic life and works, due to unfavorable social and political circumstances, have been neglected and kept secret until recently. Mostly a poet, a children's author and an educator, but also a short-story writer, a travel writer and a dramatist - Vinko Kos was a victim of the tragic war events. His life ended violently at the age of 31, most probably in one of the camps set up in the period of the Bleiburg tragedy in 1945. As a young and promising author, he established himself in Croatian literature in the period between 1938 and 1945. During that short period, he published four collections of poems (Waterfall, Sculptor, Bat, and Lada) and a travel book. He also wrote a few books of children's poems and stories. In order to get a clear picture of the author and his poetic work (published and unpublished), the paper includes some general contextual considerations of literary tendencies and practical literary models during the 1930s and the 1940s. The poetry written by Kos is characterized by the poetics of romantic-sentimental, modernist (symbolist and impressionist) expression, relying on experience derived from Catholic (religious and metaphysical) poetry and the tradition of modern classics of world literature of a similar cast of mind. Some of his manuscript poems are incomplete and/or weaker, and just one book (Hills in Blossom) and a few individual poems are articulate and finished. These poems, relevant in terms of their aesthetic values, certainly deserve to be added to the already published pieces by Kos, thus finally putting the name and the work of Vinko Kos on the map of Croatia literature in the first half of the 20th century
LOST IN TRANSITIONS (TWO SHORT STORIES AND TWO TRAVELOGUES)
No full textU radu se predstavlja dio rezultata višegodišnjeg istraživanja cjelokupne književne ostavštine (objavljene i neobjavljene) hrvatskog književnika Vinka Kosa (1914. - 1945.): opisuje se, analizira, interpretira, komparira te klasificira još nepoznata dva novelistička i dva putopisna teksta nastala u razdoblju od 1941. do 1945. godine. Na primjeru tih tekstova te postavljenih teorijskih i književnopovijesnih okvira propituje se prisutnost i/ili odsutnost estetskih (umjetničkih) kvaliteta te bliskost ili odmak od onovremenih prevladavajućih modela književne (umjetničke) prakse. Budući da je Vinko Kos jedan od prešućivanih i do danas još uvijek nedovoljno proučen i poznat autor (djelomično kao pjesnik i autor za djecu), ovim ga se radom hrvatskoj književnopovijesnoj znanosti predstavlja i kao prozaika.The paper presents part of the results of several years researching of entire literary heritage
(published and unpublished) of Croatian writer Vinko Kos (1914 -1945): describes, analyzes,
interprets, compares and classifies four still unknown texts (two short stories and two
travelogues) written in the period from 1941. to 1945. On the example of these texts and set
historical and theoretical frameworks it`s being questioned the presence and/or absence of the
aesthetic (artistic) qualities and closeness or distance from the prevailing models of the
contemporary literary (artistic) practice. Since Vinko Kos is one of the over passed and to date
still insufficiently studied and known author (partly as a poet and author for children), in this
paper he is being presented to the Croatian literary history also as a prose writer
Six Plays by Vinko Kos
No full textU radu se predstavljaju rezultati istraživanja dijela neobjavljene književne ostavštine hrvatskog književnika Vinka Kosa (1914. - 1945.). Opisuje se, analizira, interpretira, komparira te klasificira šest još posve nepoznatih dramskih tekstova koje za života Kos nije stigao objaviti (Skid, Enomaj, Srdce i kralj, Vječnost samoće, Svemoćna zemlja, Ivek junak). Na primjerima tih tekstova, a slijedom postavljenih teorijskih i književnopovijesnih okvira propituje se njihova estetska i uopće umjetnička kvaliteta te bliskost ili odmak od onovremenih prevladavajućih modela književne prakse. Budući da je Vinko Kos jedan od »prešućivanih« i njegovo djelo je slijedom povijesnih (političkih i ideoloških) okolnosti, podjednako prešućivano i pretežitim dijelom do danas nepoznato, ovim ga se radom hrvatskoj književnopovijesnoj znanosti predstavlja i kao dramskog autora.The paper presents the results of discovery and research of six plays written of the Croatian writer Vinko Kos (1914 -1945); he did not manage to publish these plays during his life-time and therefore they are still unknown to the public. Based on examples from these writtings and subsequent to set historical and theoretical frameworks they are examined for their aesthetic and general artistic qualities and closeness or distance from the prevailing models of the contemporary literary (drama) practice. Since Vinko Kos is one of the suppressed writers, his work, by historical (political and ideological) conditions, mostly remained silenced, misplaced, forgotten and insufficiently studied. In this paper he is being presented to the science of the Croatian literary history also as a playwright
Expressionism of Ulderiko Donadini
No full textEkspresionizam predstavlja poseban umjetnički pravac koji je obilježio početak dvadesetog stoljeća. Za svoj temeljni cilj ima iznijeti emocije koje prožimaju samog autora te na taj način oblikuju njegovo viđenje svijeta. U segmentu ekspresionizma ovaj rad proučava autora Ulderika Donadinija. Donadinijeva djela prožeta su brojnim autobiografskim elementima gdje se likovi sukobljavaju s okolinom, postojećim društvenim normama. Njegovi likovi vrlo često upadaju u različita bezizlazna psihička stanja koja ih dovode do različitih razvrata. Njegovi motivski repertoari uključuju samoću, motiv duše i istrzanih misli. Korištenje tematskog nesklada te disocijacije lirskog subjekta putem ekspresionističke topike značajno je za njegov repertoar. Temeljni cilj ovog rada je usmjeren prema isticanju ekspresionističkih elemenata u Donadinijevim djelima.Expressionism is a special artistic direction that marked the beginning of the twentieth century. Its basic goal is to express the emotions that permeate the author himself and thus shape his views of the world. In the expressionism segment, this work studies the author Ulderico Donadini. Donadini's works are imbued with numerous autobiographical elements where the characters clash with the environment, the existing social norms. His characters very often fall into various hopeless mental states that lead them to various debaucheries. His motif repertoires include solitude, the motif of the soul and torn thoughts. The use of thematic inconsistency and dissociation of the lyrical subject through expressionist topics is important for his repertoire. The basic goal of this work is aimed at emphasizing the expressionist elements in Donadini 's works
Modeli suvremene hrvatske kratke proze
No full textU radu se kritički razmatraju neki od relevantnijih pokušaja
usustavljivanja (klasifikacije) modela (praksi, projekata, izričaja,
strategija) suvremene hrvatske kratke proze 90-ih godina prošloga
stoljeća (Bagić, Pogačnik, Oraić Tolić, Štiks, Rem, Nemec, Zlatar, …)
s naglaskom na žanrovskim, motivsko-tematskim, prostornovremenskim,
poetičkim i relacijskim razinama te potrebitim
terminološkim korekcijama i nadopunama. Cilj istraživanja je novi,
potpuniji i terminološki precizniji prijedlog književno-povijesnog
sintetskog prikaza modela i praksi kratkih proznih vrsta 90-ih g. XX.
stoljeća, a pri čemu će se rabiti sljedeće metode: deskripcija,
dedukcija, komparacija, analiza, sinteza, klasifikacija
Modern and contemporary Croatian erotic prose
No full textU ovome se radu raspravlja o hrvatskoj erotskoj prozi, njezinom razvitku, tradiciji, razlici između pornografske i erotske književnosti, filozofskim i psihološkim pogledima na seksualnost. Donosi se umjetnički pregled seksualnosti razložen od antike do suvremenosti. Opisuje se razvoj filma i pornografske filmografije. U konačnici, rad donosi analizu nekoliko modernih i suvremenih hrvatskih erotskih autora i jednog stranog autora.This thesis discusses the Croatian erotic prose, its development, tradition, classification, differences between pornographic and erotic literature, philosophical and psychological views of sexuality. An artistic review of sexuality elaborated from ancient times to contemporary ones is presented. The thesis describes the development of film and pornographic filmmaking. Finally, the paper presents an analysis of several modern and contemporary Croatian erotic authors and a foreign author
ŠARKO, DORA, ROBI K. AND TONI MAKARONI – INFANTILE PERCEPTIONS OF REALITY IN THE '90s
No full textRad se bavi propitivanjem infantilnih tipova fokalizacija u kratkim humorističnim prozama popularnih dalmatinskih pripovjedača devedesetih godina prošlog stoljeća (M. Smoje, Đ. Senjanovića, V. Ivančića, A. Tomića). Iz odabranih se tekstova nastoji iščitati njihov odnos naspram kategorija: zbilja / fikcija, literarno / neliterarno te uopće specifični načini učitavanja nedavne hrvatske ratne i postratne zbilje u narativnu strukturu teksta.The paper questions the infantile types of focalisation in short humouristic prose writing by popular Dalmatian narrators in the 1990s (M. Smoje, Đ. Senjanović, V. Ivančić, A. Tomić). Starting with the selected texts, it is possible to read out their relation towards categories, such as: reality/fiction, literal/non-literal and, in general, specific ways of stamping the recent Croatian war and post-war reality into the narrative text structure
Picaresque elements in the trilogy forever sadly laugh
No full textPikarski roman kao žanr u hrvatskoj književnosti nije dovoljno istražen te se u radu na temelju Raosove trilogije Vječno žalosni smijeh istražuju pikarski elementi kako bi se utvrdilo da je takav žanr poseban, a to je upravo zbog činjenice da je Raosova trilogija utemeljena na usmenoj književnosti. Obrađene su sve bitne karakteristike za pikarski roman te se upravo prema tim karakteristikama pronalaze pikarski elementi u sva tri romana. Napisan je kratki pregled povijesti pikarskog romana u svjetskoj i hrvatskoj književnosti. Uz pikarske elemente koji su analizirani u svakom romanu zasebno, pojavljuju se i neke značajke koje su posebne za svaki roman kao npr. pojava erotizma, humora, lirske note,usmene predaje itd. Raosova trilogija Vječno žalosni smijeh kao cjelina čine pikarski roman sa svim potrebnim karakteristikama. Kada se svaki roman analizira zasebno, ne može se reći u potpunosti kako su to pikarski romani, ali sadrže neke osobine pikarskog žanra.The Picaresque novel as a genre in Croatian literature is not sufficiently researched and in the work based on Raos's trilogy The eternal sorrowful laugh is exploring the picaresque elements to determine that such a genre is special, because it Raos's trilogy is based on oral literature. All the essential features for the picaresque novel have been elaborated and these features are exactly the result of finding the specials in all three novels. A brief overview of the history of the picaresque novel in the world and Croatian literature was written. Along with the picaresque elements analyzed in each novel separately, there are some features that are special for each novel, such as the appearance of eroticism, humor, lyrical notes, oral teachings, etc. Raos Trilogy The eternal sorrowful laughter as a whole makes a picaresque novel with all the necessary characteristics. When each novel is analyzed separately, it can not be said entirely that these are novel picaresque novels, but contain certain characteristics of the picaresque genre
"Gospoda Glembajevi" by Krleža "Mamino srce" by Kamov and
No full textZavršni rad na početku donosi kratki pregled pojma drame te bilješke o Janku Poliću Kamovu i Miroslavu Krleži kao autorima dviju drama koje su u središtu ovoga rada. Osim kratkih uvoda u same drame, Mamino srce te Gospoda Glembajevi, u radu se obrađuje tematika propasti obitelji koja predstavlja zajednički motiv obaju autora u spomenutim dramama. Teza koja je zastupljena u radu jest pretpostavka kako, unatoč raznim poveznicama između dvaju autora, nema naznaka o tome da je M. Krleža „kopirao“ J. P. Kamova. Na takav nas zaključak navodi poglavlje odnosno analiza stilova dvaju autora. Cijela je analiza dokaz kako se njihovo pisanje gotovo pa i u potpunosti razlikuje te, osim u samoj temi, ne možemo pronaći poveznicu između stilova spomenutih autora. Krležin je stil veoma osebujan, prepoznatljiv po iznimno dugim rečenica, prepun stranih riječi, dok je Kamov pisao vrlo ironično, pomalo poetski, potpuno avangardistički. Krleža je predstavnik modernog objektivizma, dok je Kamov svoje stvaralaštvo obilježio avangardom.The introduction of this paper provides a brief overview of the concept of a play, as well as some notes on the authors Janko Polić Kamov and Miroslav Krleža, whose two plays are the centerpiece of it. In addition to the short introduction to the plays themselves, Mamino Srce and Gospoda Glembajevi, the paper addresses the topic of a declining family, which represents the common motif in both of aforementioned authors' plays. The primary thesis of this paper is the assumption that, despite various similarities between the two authors, there are no indications that M. Krleža ''copied'' (plagiarised) J.P. Kamov's work. This conclusion is drawn from the analysis of the literary styles of the two authors. The entire analysis is the proof of how their penmanship is almost entirely different, and how, apart from the main topic itself, there are no connections to be found between the writing styles of the two authors. Krleža employs a very personalized style, distinguishable by quite lengthy sentences, filled with foreign expressions, while Kamov wrote very ironically, a bit poetically, and completely avant-garde. Kreža is the representative of new objectivity, where as Kamov's work is marked by avant-garde
