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In memoriam (Toni Rajić)
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Darija Žilić nagrađivana je hrvatska književnica, književna kritičarka i prevoditeljica čiji dosadašnji opus broji dvanaest objavljenih knjiga. Tropizmi 3 (Litteris, Zagreb, 2017.) njezina je posljednja knjiga koja s dvjema prethodnicama i još četiri književnokritička i esejistička naslova predstavlja uobičajenu praksu ukoričavanja prethodno objavljivanih radova. Sadrži trideset i devet tekstova koji su u posljednih nekoliko godina pisani za različite književne časopise, zbornike i radijske emisije.
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Mate Ujević was one of the most prominent Croatian scientists. His works were much noted, and his views were incorporated into ensuing research. His especially noted work was his monograph Burgenland Croats from 1934. It was the very first synthetic type of book on the old north-western Croatian diaspora printed in Croatia. That is why in this paper, after reviewing all of his works on this diaspora, special attention is given to a comparison of the situation at the time of Ujević’s research and the situation during the last two decades. In this context some of Ujević’s misapprehensions and oversights, which were non-critically subsumed in later literature, are shown: an exaggeration of the influence of Kajkavian religious books of authors from Croatia (eg. the book of Juraj Mulih) on the language of north-western Croatian diaspora in the 18th century, the omission of Croatian villages around Körmend in south-western Hungary from geographical and linguistical maps, the thesis on the origin of Burgenland Croats Vlah’s, the misapprehension of the jekavski reflex of jat in Čakavian idioms in Burgenland and western Hungary, etc. Ujević’s observations and conclusions that are still valid are comparatively noted.
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In Slavic mythology, Lada is the goddess of spring, youth and fertility, and her son Ljeljo is God of love. Until 1950s Croats performed processions, ceremonies and songs in honour of these deities. However, these rituals and songs as well as other oral-literary forms remain in the folk memory. Many ritual lyric songs preserved archetypal forms. Some of them are close by their structure to oral-rhetorical forms. These songs belong to the genre of magical literature. The linguistic characteristics of these songs are: rhythmics, symbolism, the picturesque, metaphoricity, allegoricity and emotionality. Some customs and rituals are preserved in the records, but there are even more preserved in the national memory. Since 1949, the cult Lado ensemble nurtures the traditional culture at homeland and abroad. Generally it can be said that with Croatian independence there was a revival of Croatian traditional culture and interest in oral literature. Many cultural-artistic associations revive old customs. Many cultural-artistic associations revitalized the ancient Ladarice and Lelja processions.
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The paper gives a stylistic interpretation of a “local Cinderella.” This northern Čakavian oral fairytale was first documented in 1876. A stylistic analysis of the text of an oral fairytale requires a complex methodology: factors to be considered are: the nature of an oral fairytale genre, the local idiom, a contemporary reader’s diachronic distance to the text, the context of artistic creation, implicit understanding of what stylistic interpretation is, but also the need to recognize contemporary interpretative positions and interdisciplinarity implicated. In relation to the definition of the female subject adopted from feminist criticism, the author performs a stylistic analysis of the fairytale. In the process, the relationship between the limits of the genre and the methodology used is explored.
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Prose written by Petko Vojnić Purčar - PEĆINA I GUSJENICE (THE CAVE AND CATERPILLARS).
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Review of: Ljerka Šimunković, Marijana Alujević Jukić: Romanizmi u djelima Ive Tijardovića, Književni krug / Filozofski fakultet u Splitu – Odsjek za talijanski jezik i književnost, Split , 2011.
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In this paper we research the layers of the inscription of femininity in the popular, fantastic and political prose of Dubravka Ugrešić. The relationship of the essentialist and/or constructivist positions of observing the subject/text/body is decoded, reinterpreted and commented upon. Gender positioning and the shaping of a slippery identity is followed and interpreted by referring to Moya and Foucault. Emphasis is laid on the layers of utterances that refer to identity which have not been decoded in previous interpretations. A femininity inscribed in the novel Štefica Cvek u raljama života (Štefica Cvek in the Jaws of Life) is detected; the author flirts with the popular (trivial) paradigm of femininity by presenting the stereotypes of femininity formed by ‘the male perspective’ of the national corpus of narratives. Simultaneously, the author lets us ‘reiron the text’, which leads us to the intertextuality of the fantastic prose Život je bajka (Life is a Fairytale). Ministarstvo boli (Ministry of Pain) forms the ground for questioning identity in the texture of the exile/emigrant. The model of identity is no longer deconstructed by the text; the main perpetrator of deconstruction becomes what was afore-denied – reality. Dealing with positioning of identity in the other milieu gives Croatian ‘women’s prose’ a dimension it has not had until now. We can also see this in the novel Baba jaga je snijela jaje (Baba Yaga Has Laid an Egg), by which the author encircles the story of inscribing femininity within the popular and textual culture of the space she had left behind. While redefining some elements of textual intention in Ugrešić’s prose, we also redefine the place of this corpus in both Croatian literature and women’s writing in Croatia.
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These are pictures of stories on wooden blocks and a visual puzzle. Choosing the proper sides and arranging the wooden blocks in four rows and three columns, following the attached templates, one could put together six of Vladimir Kirin’s images from Tales of Long Ago by Ivana Brlić Mažuranić.
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