scholarly journals Tko je važan, a tko nije? O razlozima uvrštenja dvaju uglednih rapskih renesansnih kanonika u integralni abecedarij Hrvatskoga biografskoga leksikona

2021 ◽  
Vol 15 (28) ◽  
pp. 59-91
Author(s):  
Meri Kunčić
Keyword(s):  
Miroslav Krleza

U radu se, na temelju izvorne građe, nastoji proniknuti u životni put i djelatnost dvaju protagonista rapskoga društvenoga i kulturnoga života u drugoj polovici XV. st. U to je vrijeme, naime, u rapskoj komuni živjelo više kanonika koji su obnašali važne crkvene i javne dužnosti te uvelike kreirali svakodnevicu sredine u kojoj su živjeli. Među njima bili su i Toma Stančić, dugogodišnji rapski notar, prokurator katedralne crkve sv. Marije, te Toma Zangarel, dugogodišnji prior crkve sv. Katarine na Komrčaru. Svaki od njih dao je poticaj uređenju crkvenih i karitativnih ustanova na Rabu kojih su bili priori i prokuratori. Analiza ujedno otkriva da je kanonik i notar Toma Stančić znatno pridonio vjerskoj kulturi Raba svojim prijepisom Historia sancti Christophori Martyris te kao promicatelj, zajedno s rapskim patricijem Petrom de Zaro, novoga vjerskoga kulta Tijela Kristova. Njegov suvremenik Toma Zangarel, dugogodišnji prior crkve sv. Katarine na Komrčaru, bio je poduzetna osoba koja je poslovala s različitim slojevima rapskoga društva. Nekoliko njegovih oporuka (zapisanih u rasponu od 1452. do 1478) govori o njegovu obiteljskom krugu, bliskim mu suradnicima i skrbi o crkvenim i karitativnim ustanovama na Rabu. U drugom dijelu analize raspravlja se o kriterijima po kojim bi ta dva pojedinca mogla biti uvrštena u jednu od temeljnih edicija Leksikografskoga zavoda Miroslav Krleža, Hrvatski biografski leksikon.

scholarly journals Übersetzung pejorativer Personenbezeichnungen

2017 ◽  
Vol 82 (3) ◽  
Author(s):  
Anita Pavić Pintarić
Keyword(s):  
Short Stories ◽  
First World War ◽  
German Language ◽  
World War ◽  
The First World War ◽  
Miroslav Krleza ◽  
The Relationship ◽  
First World

This paper investigates the translation of pejoratives referring to persons. The corpus is comprised of literary dialogues in the collection of short stories about the First World War by Miroslav Krleža. The dialogues describe the relationship between officers and soldiers. Soldiers are not well prepared for the war and are the trigger of officers’ anger. Therefore, the dialogues are rich with emotionally loaded outbursts resulting in swearwords. Swearwords relate to the intellect and skills of soldiers, and can be divided into absolute and relative pejoratives. Absolute pejoratives refer to the words that carry the negative meaning as the basis, whereas relative pejoratives are those that gain the negative meaning in a certain context. They derive from names of occupations and zoonyms. The analysis comprises the emotional embedment of swearwords, their metaphoric character and the strategies of translation from the Croatian into the German language.

scholarly journals Utjecaj interpretacija pojma periferijske umjetnosti Ljube Karamana i Miroslava Krleže na dalmatinsku povijesti umjetnosti

2021 ◽  
pp. 498-510
Author(s):  
Ivana Prijatelj Pavičić
Keyword(s):  
Interwar Period ◽  
Art History ◽  
Central European ◽  
Cultural Paradigm ◽  
Miroslav Krleza ◽  
History Of ◽  
Artistic Styles ◽  
Definition Of ◽  
True Center ◽  
External Forces

Although the so-called „Vienna school“ practised an universalist approach to history of arts, their prominent acters like Alois Riegel and Max Dvořák influenced the nationalist ideas among the Central European art historians in the interwar period. An evident example of such an influence is Croatian art historian Ljubo Karaman (1886‒1971) ‒ a Vienna student who studied the art relations between center and periphery from early 1930s on. His thoughts on this topic were collected in his 1963 book Problemi periferijske umjetnosti. O djelovanju domaće sredine u umjetnosti hrvatskih krajeva (Problems of Peripheral Art. On Influence of Local Surrounding on the Art of the Croatian Areas). Colonial character of the Karaman’s definition of the center/periphery relation is clear in his notion that the dissemination and assimilation of the artistic styles is always one-way: from developed center to the province. His definition of „peripheral art“ appeared as a reaction to the works of famous „Vienna school“ scholars from early 20th century (particularly Polish-Austrian art historian Strzygowski). It is based on the idea of external, political and artistic influences in Dalmatia as external forces of artistic exchange. A prominent writer and encyclopaedist Miroslav Krleža turned upside-down the idea of the artistic transfer from the advanced West toward underdeveloped East/Balkans as a periphery at the edge of civilisation. In his discussion on the Second Congress of writers in Zagreb he promoted the idea of the periphery as a true center. During 1950s, Krleža strongly influenced the formation of a new cultural paradigm, and forging of the new scientific paradigm within art history in Croatia. In her paper, the author explores how texts of the Croatian art-history scholars regarding ancient Dalmatian art were influenced by Karaman’s and Krleža’s ideas and concepts on peripheral, provincial, and border-line art.

scholarly journals HUNNIA ÉS PANNÓNIA KÖZÖTT

2020 ◽  
Vol 21 (2) ◽  
pp. 30-39
Author(s):  
Csilla UTASI
Keyword(s):  
Miroslav Krleza

A 2010-es évek második felének szerb irodalomtudományában a Miroslav Krleža életműve iránti érdeklődést a Gradac című folyóirat tematikus száma mellett a Krležát több évtizede kutató horvát tudós és lexikográfus, Vlaho Bogišić 2016-ban Újvidéken megvédett doktori értekezése jelzi. Bogišić disszertációjában kifejti, Krleža szerb írónak is tekinthető, hiszen műveivel, pozíciójával és kapcsolataival olyan befolyást gyakorolt a szerb irodalomra, melyet lehetetlen figyelmen kívül hagyni. Bori Imre 1976-os Krleža-monográfiájában pontosan meghatározza az életmű magyar vonatkozásait: a Krleža eszmei fordulatát elbeszélő Hodorlahomor, a nagy című novellát Ady Ős-Kaján-képzetével hozza összefüggésbe; az 1930-as Ady-esszét pedig azok közé az egykorú írások közé sorolja be, melyekben Krleža irodalomszemléletét fogalmazta meg. A dolgozat egyfelől Bori Imre monográfiájának gondolatmenetét mutatja be és értékeli, másfelől azt bizonyítja, hogy a horvát író művének magyar elemei nem tárgyalhatók kizárólag a Monarchia-irodalom keretében, a Zára aranya és ezüstje című esszében a mediterrán térség harmadik komponenséről megfogalmazott elképzelés ugyanis a múlt század hatvanas éveinek fiatal vajdasági irodalmában közvetlen visszhangra talált.

scholarly journals Izazovi u prostornom obilježavanju i prikazu enciklopedijskoga znanja

2021 ◽  
Vol 15 (28) ◽  
pp. 131-166
Author(s):  
Jasmina Tolj ◽  
Ivan Smolčić ◽  
Petra Bago
Keyword(s):  
Miroslav Krleza

Enciklopedije se, kao pouzdani izvori znanja koje izrađuju stručnjaci predmetnoga područja i leksikografi, među drugim karakteristikama, diče i svojom pouzdanošću, točnošću i preciznošću. Prostorni prikaz enciklopedijskoga znanja na određeni se način već odavno koristi na geografskim i tematskim kartama, no digitalno doba donijelo je znatno proširene mogućnosti. Ipak, u nedostatku osustavljenoga modela obilježavanja i prikaza (geotagiranja) enciklopedijskoga znanja, rijetka djela u punoj mjeri rabe takav pristup. Stvaranje takva modela donosi i neke izazove. Imena lokacija (gradova, ulica, trgova i sl.) kroz vrijeme se mogu mijenjati, što je izazov u složenom pretraživanju ili prikazu na karti. U takvim se slučajevima traže rješenja svođenja na zajedničku oznaku, što je princip regularizacije (normalizacije) teksta. Istraživanje je potaknuto nastojanjem za unapređenjem mrežnoga izdanja Hrvatske tehničke enciklopedije Leksikografskoga zavoda Miroslav Krleža na Portalu hrvatske tehničke baštine. Autori analiziraju dosadašnju enciklopedijsku praksu bilježenja mjesnih imena koja su se kroz vrijeme mijenjala te razmatraju koji oblici bilježenja najbolje odgovaraju specifičnim, praktičnim zahtjevima digitalne enciklopedike. Takav bi način bilježenja i prikaza povećao upotrebljivost enciklopedija, jer bi se uz nastavak prakse prikaza informacija koje su precizne, korisnicima omogućilo olakšano pretraživanje i pregledavanje te prikaz znanja na karti .

scholarly journals Hidden Ekphrasis in the Works of Miroslav Krleža

2017 ◽  
Vol 11 (1) ◽  
pp. 118-133
Author(s):  
Nataša Lah
Keyword(s):  
Social Context ◽  
Art History ◽  
The Other ◽  
Literary Texts ◽  
Other Hand ◽  
Mise En Scene ◽  
The Matrix ◽  
Miroslav Krleza ◽  
The Rich ◽  
The One

Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of “belletristic cryptograms”, and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist’s mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an “ethical intelligence” and “ethical conscience”. Only Krleža’s prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scène or situation. This is most commonly found in the author’s plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/status, they thus re-enter reality, as seen from the perspective of Krleža’s life and work, so as to yet again test art history’s credibility through the matrix of contemporaneity. This approach is most often found in Krleža’s essays, critiques and diary entries.

scholarly journals Makedonska drama između dva rata

2014 ◽  
Vol 1 (9) ◽  
pp. 315
Author(s):  
Miro Grubić
Keyword(s):  
Miroslav Krleza

Krajem 1936. Miroslav Krleža je dobio ponudu da se njegova drama U logoru,osim u Osijeku i Beogradu postavi i u Skoplju. Krleža je nazočio i premijeri svoje predstave, a u pismu s premijere datiranom 18. I. 1937. piše Beli: "Skoplje je nesrazmjerno zanimljiviji teatar od svih teatara po našim teatrima i ne bi trebalo sjediti i dangubiti po zagrebačkim sobama i kavanama nego ‘putovati po narodu’". Ova Krležina rečenica izaziva i provocira i u znatiželji tjera da se ovo razdoblje makedonske kazališne kulture i dramske književnosti općenito, kao glavnog uzroka sintagme "teatar od svih teatara" detaljnije istraži. Radi bolje preglednosti u radu su izdvojena tri imanentna, odnosno najizvođenija autora toga razdoblja: Vasil Iljoski, Anton Panov i Risto Krle. Nezaobilazna tema u sva tri autora je pečalbarstvo − produkt teškog života Makedonaca u podijeljenoj i okupiranoj Makedoniji. 

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