35 research outputs found
POPULAR DIDACTIC HAND-WRITTEN BOOK APPEARED LATE IN THE 18-th CENTURY
No full textFrom the point of view of researching the development process of the Croatian artistic literature, the appearance of the didactic hand-
written book in the late 18-th century with examples that sometimes in terms of motifs reach to farther and more deeply than Middle Ages, could be considered as anachronism. In the sphere of didactic popular literature, however, the aspiration for instruction is out of any anachronism.
Everything that may serve the supreme aim, that is instruction,
is equally welcome and functional. This is confirmed also by the example of the hand-written book appeared in 1970 to compass over seven hundred pages.
»The Book of Radic Gudelj Family« contains the family chronicle for the purpose of maintaining awareness of the family continuity in addition to a didactic and entertaining story and exemple.
The amusing aspect of the instructive writing is shown in the instances
where certain trait or virtue is overstated, about which wrote E. R. Curtius. Meant for entertainment are questions and answers which were popular in Middle Ages; one can feel in these the life reality from which they arose.
The friar Simun Radic Gudelj is also the author of a hand-written home medical advice, which indicates that his instructive and practical literary worry was directed towards a healthy body and spirit
THREE POLEMICAL SERMONS AGAINST THE CARNIVAL
No full textSrž polemičkih propovijedi vodio se oko pitanja da li je čovjeku, stvorenom na sliku i priliku Božju, dopušteno maškaranje. Navode se i obaraju argumenti obrazovanih pobornika pokladnog veselja, ali polemizira se i s mišljenjem prosječnih slušatelja crkvenih propovijedi. Pokladno slavlje vezuje se najuže s izgonom čovjeka iz raja, s vragom koji se ''preobukao'' u zmiju i zaveo Evu. Žene su optužene zbog uvođenja poklada, dok se žensko preoblačenje proglašava vrhuncem "norosti". Ispripovijedani poučni primjeri, egzempli, pelde, nalaze se u funkciji zastrašivanja slušatelja i čitatelja.The copious instructive writings by Croatian Kajkavian author
Hilarion Gašparoti (1714-1768), Cvet sveteh (Flower of the Devout) in four volumes, with over three thousand eight hundred pages, were intended for religious and moral instruction of the most widespread reading public. At the end of the first volume there are three fiery polemical sermons against the carnival, with popular, instructive moral tales that the writer borrowed freely from various sources. The moral is aimed at the drastic punishment awaiting those who take part in carnival madness. The thrust of the polemical tales focuses on the question of whether man, made in God's image and countenance, is permitted to use masks. He states and refutes the arguments of enlightened carnival supporters, yet also grapples with the attitudes of the average churchgoers. The carnival festivities are closely related to man's expulsion from paradise, with the devil who "took the guise" of a snake and seduced Eve. Women are accused of being the main culprits for the introduction of carnival festivities, while men are attributed a passive role, coerced by women to join the fun. The peak of carnival madness is proclaimed the fact that women don costumes. Gašparoti describes the carnival days with biting words as the most degenerate level of man's existence: he insists on hypertrophied physiological functions that serve as a literary and instructive contradiction to the spiritual elevation that man should be
aiming at. The most weighty condemnation is of dance and dancing
as a source of debauchery and direct connection to Satan. The most
terrible of all deaths will afflict the dancer. The writer threatens those in costume with the likelihood that their mask will merge with their features; they will never be able to remove it, rip it off or cut it off again! The instructive examples, morals, serve the function of warning and frightening the listeners and readers so that they will not submit to the carnival revelry
Sermons Against the Carnival in Popular Literary Text of Croatian Calendars
No full textPučka književnost. Poučna književnost. Stihovi. Proza. Poklade. Eksces. Moral. Nemoral. Idealizacija prošlih običaja. Položaj žene. Osuđivanje mode, plesa, žene, roditelja. Pokladni pučki književni oblici: šaljive novine, testamenti, osmrtnice, oglasi, izrugivanja.The attitude towards the carnivals in 19th century Croatian calendars ranged from condemnation of carneval gaiety and immoderation to descriptions that appear in the second half of the 19th century and at the tum of the 20th century where carneval customs are described in a tendency to preserve the aspects of folk life of a specific region and greater national community. In the period of the Illyrian Revival carnivals were an occasion for manifestation and awakening of a national identity.
In the mid-19th century, observation of changes in carneval customs leads to an idealization of the earlier order and harmony. Changes cause concern for authors, for they perceive them as the consequence of a difficult political situation and a further cause for weakening of the sense of national identity.
The study analyses popular calendar texts, in verse and prose, in which carnivals are described and conedmned with great severity as a source of immorality. Readers are invited to activate virtues to counteract the carnival enemy. Condemnation of the carnival provides an opportunity to attack new customs and new fashions, and thus calendar texts preserve interesting data, for example on fashion, dance and the consequences of carneval merrymaking. The occasion for severe criticism were balls held for adults and children ["Bal and kinderbal"] , and the goal of the attack were women as the source of social weaknesses and vices.
In the conclusion it is stated that the popular author and publisher of the calendar, with the intent of communicating this lesson to those who are exposed to the harmful consequences of carneval excesses, used those very popular literary forms that are characteristic for carneval days, including: joking papers, wills, advertisements, death notices and unambiguous attractive titles; in other words he was trying to act not only with words against the carnival, but with carnivals against the carnival
Verse and style in masquerades
No full textOvaj rad analizira maskeratu hrvatskih renesansnih pjesnika, odnosno renesansni žanr pokladne lirike. Maskerata je mješoviti, monološki strukturirani žanr koji je preuzet iz talijanske književnosti. Maskerate se povezuju s karnevalskim danima kada su izvođene i predstavljane narodu na ulicama gradova. Prvu maskeratu u hrvatskoj književnosti napisao je Džore Držić, a nakon njega slijede Mikša Pelegrinović, Mavro Vetranović, Nikola Nalješković i Antun Sasin čije su maskerate, uz pomoć teorijske literature, analizirane u ovome radu. U analizi se mogu vidjeti formalna, stilska, tematska, sadržajna, metrička i druga obilježja maskerati hrvatskih pjesnika. Mikša Pelegrinović ističe se po podvrsti maskerate - cigareski. Kod Vetranovića se ne tematizira lik Jeđupke, ali su prisutni drugi likovi koji ne posjeduju toliko lascivnih osobina. Ipak, za najlascivnijega autora među hrvatskim pjesnicima maskerati glasi Nikola Nalješković. On se ističe i po metričkoj raznolikosti, a u tome ga slijedi Antun Sasin. Važno je spomenuti da neke maskerate u hrvatskoj književnosti imaju nepoznatoga autora, ali to je pitanje koje se ostavlja za druga istraživanja.This paper analyzes the masquerade of Croatian Renaissance poets, ie the Renaissance genre of carnival lyrics. Masquerade is a mixed, monologue-structured genre taken from Italian literature. Masquerades are associated with carnival days when they were performed and presented to the people on the streets of cities. The first masquerade in Croatian literature was written by Džore Držić, followed by Mikša Pelegrinović, Mavro Vetranović, Nikola Nalješković and Antun Sasin, whose masquerades, with the help of theoretical literature, were analyzed in this paper. In the analysis one can see the formal, stylistic, thematic, substantive, metrical and other features of the masquerades of Croatian poets. Mikša Pelegrinović stands out for his subgenre of masquerade. Vetranović does not thematize the character of Jeđupka, but there are other characters who do not have so many lascivious traits. Nevertheless, Nikola Nalješković is the most lascivious author among Croatian authors. He also stands out for his metrical diversity, followed by Antun Sasin. It is important to mention that some masquerades in Croatian literature have an unknown author, but this is a question that is left for other research
Kontribut për njohjen e xhamive të Beogradit
No full textIn his work, the author published a drawing of the Ali Pasha Mosque for the first time in May. This drawing was made by Hungarian engineer Lupe Peter and solves the question of the appearance of the mentioned mosque. Afterwards, based on this drawing, the author describes the appearance the same mosque.The author also gives the result of his studies of a drawing from ancient Dorçol. This drawing was made by Eduard Braumann in 1846 and is an invaluable document for understanding the appearance of this part of Belgrade in the middle of the last century.After giving absolutely reliable information about the same Braumann, the author corrects older incorrect opinions that in this document the Sinxhirli Mosque is shown as the last mosque on the right and states that it is actually the mosque of Ali Pasha. He then notes the other mosques that are shown in this diagram, including the one in front of the wall drawn on the plan by Brusch, which shows the ruins in the front plan by brown drawings. He concludes that Brusch's plan is correct.He later depicts and publishes a photograph which gives the appearance of the Kizlar Aga Mosque, its surroundings and part of the Dorçol somewhat after 1862. Furthermore, the author states that the Mochee on the Liman was located approximately where the Brothers Krsmanoviq road branches off today and that the location of this mosque on the map of Dedinc is incorrect.He gives some more important details about this, as well as about this mosque of Defterdar, Bajrakli, Sinxhirli and Batal mosque.The author corrects some wildly incorrect statements regarding the question of the so-called Karaxha Mosque, as well as the ubiquity of Bajrambeg Mosque.Në kohët e fundit Muzeu i Qytetit të Beogradit i pasuroi koleksionet e veta me një skicë, e ciJa zgjidh çështjen e pamjes së xhamisë të Ali Pashës në Beograd. L. Nikiqi, me siguri njohësi më i mirë i xhamive të Beogradit, për xhaminë e Ali Pashës di vetëm aq se është e skicuar në planin e Brushit për Beogradin nga viti 1789 dhe në planin turk nga vitet e 60 të shekullit XIX,. se përmendet në arkivat e dokumenteve turke nga viti 1801, dhe se është rrënuar në vitin 1863 sipas vendimeve të Konferencës në Kanlixhë. Pamja e saj deri më sot nuk ka qenë e njohur. Skicën me tush të xhamisë së Ali Pashës, e cila tani për herë të parë po publikohet, e ka punuar inxhinieri hungarez Llupa Peter. Kjo shihet nga nënshkrimi në anën e djathtë në këndin e poshtëm (A teleysenek rajz Luppa Peter, mernok). Në lartësinë e majës së minaresë është shkruaj- me shkronja të shtypit: ALI-PASHA MESCET, - BELGRADON - (Xhamia e Ali Pashës-Beograd). Viti se kur është skicuar xhamia nuk është shënuar
Postmodernist View of the Text in the Example of te Epic Poem Osman and the Novel Koraljna vrata
No full textSredišnja tema ovog rada jest odnos postmodernističkog teksta romana Koraljna vrata prema tekstu baroknog epa Osman. Stoga se istražilo i definiralo na koji se način barokni stil, acutezza može usporediti sa stilom kojim je obilježen tekst Koraljnih vrata. Pri povezivanju ovih dvaju tekstova zanimljivima su se pokazale suprotnosti kojima će u romanu, između ostalog, biti ostvareno postmodernističko svojstvo fiktofaktalnost uz koju će se još istaknuti i fantastika kao osobit način intertekstualnosti. Razmatranja u radu dovode i do rasprave o tome na koji se način Koraljna vrata mogu tumačiti kao dio koji odražava znanstveno gledište samog autora, ali i na koji bi se način tekst samog romana mogao tumačiti kao svojevrsna nadopuna necjelovitog epa.The main theme of this thesis is the relationship between the postmodernist text, the novel Koraljna vrata and the baroque epic poem Osman. Therefore, what was researched and analyzed is the way in which the style of baroque can be compared to the style predominant in the novel Koraljna vrata. What proved to be interesting in connecting these two texts are the differences that will, inter alia, serve to estabilish the postmodernist trait of factual fiction together with fiction that will be emphasized as a special example of intertextuality. Exeminantions of the thesis also lead to the discussion how Koraljna vrata can be seen asliterary work that reflects the stand of its very author but also the ways in which the text of the novel can be seen as an extension of the incomplete epic poem
Figures and Mirrors in Demetrios Triklinios\u27s \u27Selenography\u27
No full textThis article is about the interplay between diagrammatic representation, the mediation of mirrors, and visual cognition. It centres on Demetrios Triklinios (fl. ca. 1308–25/30) and his treatise on lunar theory. The latter includes, first, a discussion of the lunar phases and of the Moon\u27s position in relation to the Sun, and second, a narrative and a pictorial description of the lunar surface. Demetrios Triklinios\u27s Selenography is little-known (though edited in 1967 by Wasserstein) and not available in translation into a modern scholarly language. Therefore, one of the main goals of the present article is to introduce its context and contents and to lay down the foundations for their detailed study at a later stage. When discussing the Selenography, I refer to a bricolage consisting of the two earliest versions of the work preserved in Bayerische Staatsbibliothek, graecus 482, ff. 92r–95v (third quarter of the fourteenth century) and Paris, Bibliothèque nationale de France, graecus 2381, ff. 78r–79v (last quarter of the fourteenth century). I survey the available evidence concerning the role of Demetrios Triklinios (the author), John Astrapas (?) (the grapheus or scribe-painter), and Neophytos Prodromenos and Anonymus (the scribes-editors) in the production of the two manuscript copies. Next, I discuss the diagrams included in the Selenography and their functioning in relation to Triklinios\u27s theory concerning the Moon as a mirror reflecting the geography of the Earth, on the one hand, and to the mirror experiment described by Triklinios, on the other. Finally, I demonstrate how, even though the Selenography is a work on lunar astronomy, it can also be read as a discussion focusing on the Mediterranean world and aiming at elevating its centrality and importance on a cosmic scale
The Genre Characteristics of Komedija od Juditi
No full textRukopisna čakavska drama Komedija od Juditi (NSK, R 5256) anonimnog autora, oštećena kraja i krnjeg početka, tematikom je biblijska drama usredotočena na najupečatljivije dramatske elemente u priči o betulijskoj udovici (Knjiga o Juditi) koja dekapitacijom asirskog vojskovođe Holoferna oslobađa rodni grad od opsade. U književnoj se povijesti jezičnim osobinama vezuje uz zadarske otoke druge polovice 17. stoljeća, a žanrovski ju se drži pučkim crkvenim prikazanjem. Za razliku od srodnih joj srednjovjekovnih crkvenih prikazanja drama je raspoređena u tri dela podijeljena na šene prema modelu renesansnog dramskog teksta. Pučki leksik i frazeologija pojedinih rečeničnih sekvenci u govoru likova, oslobođenih od naracije hipoteksta, idu u prilog žanrovskoj kvalifikaciji prikazanja. Glavnina teksta ipak pripada višem stilskom registru dijaloga, što upućuje na obrazovana autora drame, kao što i dramaturško ustrojstvo scenskog teksta, forma i metrički oblici u dijalozima, izglednijim čine suvremene joj žanrovske uzore iz 17. stoljeća.Handwritten Chakavian drama Komedija od Juditi (NSK, R 5256) by an anonymous author, damaged at the end and with a truncated beginning, by theme is a biblical drama focused on the most striking dramatic elements from the story of the Bethulian widow (Book of Judith) who frees her hometown from the siege by decapitating the Assyrian general Holofernes. In literary history, it is linked to the Zadar islands of the second half of the 17th century by its linguistic characteristics, and in terms of genre, it is held to be the popular church performances. Unlike its related medieval church performances, the drama is arranged in three parts divided into sections according to the model of the Renaissance dramatic text. The folk lexicon and phraseology of certain sentential sequences in the speech of the characters, freed from narrating the hypotext, support the genre qualification of this text. The bulk of the text, however, belongs to the higher stylistic register of dialogue, which points to an educated author. Furthermore, the dramaturgical structure of the text and the metrical forms of its dialogues make it simila r to the more contemporary, 17th century genre models
From "chólos" to "cholè" : an inquiry into the origins of the medical concept of "gall"
No full textLa notion de « bile », exprimée par le substantif χολή, représente l’un des plus importants et des plus célèbres concepts de la médecine hippocratique, inséparable dans la pensée moderne de la fameuse théorie humorale. Au premier abord, les choses semblent donc claires. Cependant, lorsqu’on se plonge dans la lecture des écrits hippocratiques, la notion de cholè s’avère moins simple et évidente. Notre analyse des textes hippocratiques montre, en effet, que la cholè diffère d’un traité à l’autre et que chaque auteur hippocratique élabore sa propre notion de cholè. Nous nous sommes posé alors la question de l’origine de ce concept médical, ainsi que de l’origine de son cadre, qui est la théorie humorale. Notre quête des origines nous a amenée jusqu’aux idées homérique de chólos et aristophanique de cholè, qui se présentent toutes les deux comme fondamentalement différentes de l’idée médicale de cholè, unissant en elles-mêmes les notions de substance et d’état d’esprit. C’est justement cet écart entre les concepts non-médicaux et les concepts médicaux qui nous a intéressée au plus haut point, car il permet de voir comment les médecins hippocratiques élaborent leurs idées et leur discours. L’essentiel de notre travail consiste, donc, en un examen approfondi des procédés par lesquels les hippocratiques s’approprient des idées non-médicales : ce qu’ils retranchent, ce qu’ils rajoutent et ce qu’ils remanient. Nous espérons ainsi mettre en évidence les chemins par lesquels passe la pensée médicale ancienne, dans son processus d’émancipation de la culture traditionnelle, mais aussi des autres « sciences » de l’époque, telle que la philosophie.The notion of « gall », expressed by the noun χολή, is one of the most important as well as the most celebrated concepts of the hippocratic medicine, inseparable for the modern mind from the humoral theory. At first sight then, the idea of « gall » seems fairly obvious. However, reading hippocratic treatises in detail, one realizes that the notion of cholè turns out to be far more complex and intricate than expected. Our analysis of the most relevant hippocratic texts shows indeed that the concept of cholè varies according to the texts involved, as every author tends to develop his own concept of cholè. We tried to find out whether the complex nature of the medical concept known as cholè could be elucidated by a survey of its origins, and a survey of the origins of the humoral system as a whole. Our search for the origins of cholè has led us to the Homeric concept of chólos and to the Aristophanic concept of cholè. The prerequisites of both notions conspicuously differ from the medical concept of cholè, because they unite the substance with a state of mind. This discrepancy between medical and non-medical concepts was of utmost importance for us, since it helped to understand how hippocratic authors developed their ideas and their discourse. The main asset of our work consists, therefore, in an in-depth analysis of the ways in which hippocratic authors take over some non-medical ideas to frame concepts of their own : what are the components they cut out, add or modify. Our goal is to show how ancient medical thought proceeds, in its endeavour to emancipate itself from the tradition as well as from the other contemporary “sciences”, as philosophy
Medieval symbolism and allegory in Latin epic Davidias by Marko Marulić
No full textU ovom radu središnja tema je proučavanje utjecaja Marulićeva duhovnog nasljedstva i njegova vijeka na pisanje latinskog epa Davidijada. U ovom kontekstu, Marulićev vijek podrazumijevat će aspekte povijesnog razdoblja i narodnog života u kojem je Marulić stvarao i koji su, kao ključni faktori, utjecali, među ostalim, i na Davidijadu. Marko Marulić, otac hrvatske književnosti, jedan dio svog značaja nosi upravo u tome što je pisac čije stvaralaštvo predstavlja svojevrsno okončanje srednjega vijeka i početak novog, humanističkog razdoblja, a zatim i renesanse, u hrvatskoj književnosti. Takva previranja bitno različitih i velikih epoha u ljudskoj, time i književnoj povijesti, utjecala su uvelike na njegove stihove koji su time postali čuvari niti koja spaja jedno s drugim u hrvatskoj duhovnoj i književnoj tradiciji.
U radu se nastoji odgovoriti na pitanje koliko od srednjovjekovnog duhovnog nasljedstva Davidijada, a kroz nju i sama Marulićeva misao, u sebi sadržava, koliko je doticaja Marulić imao sa srednjovjekovnim literarnim nasljeđem i u kolikoj mjeri je ono utjecalo na njegovo pisanje. Kada govorimo o srednjovjekovnom duhovnom nasljedstvu u hrvatskoj kulturi, ono samo po sebi podrazumijeva dominaciju kršćanske dogme koja je kao dominantan faktor obilježila i Marulićevu pisanu riječ. Stoga, iako središnji interes u radu zadržava Davidijada, ovakva rasprava o tom epu mogla bi pridonijeti i pri rasvjetljavanju nekih drugih pitanja vezanih za njegova kasnija, hrvatska djela, kao i njegov opus u cjelini.
Srednjovjekovna simbolika i alegorija uvelike su obilježile ovaj ep pa će se analiza bazirati na njihovoj prizmi. U radu su korištena i citirana još dva Marulićeva djela: Dijalog Marka Marulića o Herkulu koga su nadvisili Kristovi štovatelji i Propovijed Marka Marulića o Kristovu posljednjem sudu; koja su poslužila pri promišljanju o Marulićevim svjetonazorima. Također, korišteni su u velikoj mjeri crkveno- pripovjedni tekstovi poznati iz razdoblja hrvatskog srednjovjekovlja koji odaju u sebi srednjovjekovni duh i mnijenje na kojem je čovjek onoga vremena rastao i koji su u mnogom slični brojnim aspektima Marulićeva pisanja i mišljenja.In this thesis the prime subject is the study of the impact that spirutal legacy and life of the author Marko Marulić had on his writing of the Latin epic Davidias. In this context, the term of life will imply and embrace aspects of historical periods and national life of the time in which Marulić lived and worked and wich are key influences, among other things, that were important for Davidias. Marko Marulić, known as a father of Croatian is the writer whose work represents a sort of ending of the Middle Ages era and the beginning of the new Humanist period that also embrances a start of Renaissance in Croatian literature. Such sort of turmoil betwen two prominent and fairly different epochs in human, thus literary history, influenced greatly on his verses leading them to interface each epoch in Croatian spiritual and literature tradition.
Following Marko Marulić in his work Davidias, this thesis is trying to find out to wich extent did medieval spiritual inheritance influence his writings. Medieval spiritual heritage in Croatian culture implies in itself the dominance of Christian dogma, and the same dogma as dominant factor marked the writings of Marko Marulić. Even though Davidias is the prime subject of this thesis, further reflection on the same epic could contribute in solving some other issues related to his later Croatian works as well as his literary opus.
Two other literary important works of Marko Marulić were also used to contribute this study in the aspect of studying his worldviews that are significant in this context. They are: Dialogus de Hercule a Christicolis superato and De ultimo Christi iudicio. Religious narratives known from the period of Croatian Middle Ages were used in a great deal because they reveal themselves in the medieval spirit and believes on wich human of that time grew and develope, and wich are, in many respects, smilar to numerous aspects of writings of Marulić
