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TSL Issue: 10.1/2020 by Cvijeta Pavlović
Translations of Slavic Literatures, 2020
| August Šenoa (1838-1881) is a central figure of the Croatian literature of the second half of t... more | August Šenoa (1838-1881) is a central figure of the Croatian literature of the second half of the 19th century. He consistently implemented the ideas from his theoretical treatises in his literary opus and formulated his poetics of translation in accordance with his literary ideas. in that system Romance and Slavic literatures were thus given a special place, and on the stylistic-historical level, Šenoa advocated for the transitional period from Romanticism into Realism. The examples of Šenoa's translations of world literature into the Croatian language and the most recent translation of Šenoa into English reveal that in the adaptations the periphery and the centre, in the changeable relations of the economy of literature, draw near each other.
Papers by Cvijeta Pavlović
Croatica et Slavica Iadertina, Feb 21, 2014
Journal of Croatian studies, 2018
Croatica et Slavica Iadertina, Mar 30, 2017
The study points out a necessity for standardization of the concepts of criticism and the criteri... more The study points out a necessity for standardization of the concepts of criticism and the criterions of scheduling the history of literature by models of achievements and failures in the research of the 18th century Croatian literature and theatre during the 40 years of collections of papers Dani Hvarskoga kazališta (The Hvar Theatre Days). After comparing the conclusions of René Wellek, that he reached 50 years ago, with the papers published in the collections Dani Hvarskoga kazališta, the author establishes the state of Croatian literary criticism and reveal the elements for resolving the criticism term problem for the poetics in the 18th century
August Šenoa należy do przejściowego okresu w literaturze chorwackiej przypadającego na czas pomi... more August Šenoa należy do przejściowego okresu w literaturze chorwackiej przypadającego na czas pomiędzy romantyzmem a realizmem. Artykuł przedstawia analizę relacji między licznymi przekładami autorstwa Šenoi a jego utworami oryginalnymi yrażającymi skłonność do estetyki realizmu, w przeciwieństwie do dominującego postrzegania poetyki Šenoi jako romantycznej. W tekście uwzględniono kulturę źródłową i docelową, kulturowe powiązania, kontakty i wymiany, a także możliwe zwroty w postrzeganiu kulturowych peryferii, jak i wpływ gospodarki na politykę kulturalną
In his 2003 anthology Poems about Hvar from Marulić to Šoljan (Pjesni Hvara od Marulića do Šoljan... more In his 2003 anthology Poems about Hvar from Marulić to Šoljan (Pjesni Hvara od Marulića do Šoljana), Nikša Petrić collected some one hundred poems and prose fragments describing in different ways the space of the Island of Hvar from the beginning of the Croatian literature to the 20th century. The selected 19th-century literature dedicated to Hvar is represented by A. Kaznačić, J. Carić, P. Kuničić, and A. Tresić Pavičić. However, there are two additional important 19th-century authors whose writing includes the motif of the Island of Hvar: Dimitrija Demeter in the historical tragedy Teuta (1844; 1864) and August Šenoa in the epic poem Vinko Hreljanović (1874). It could be concluded that Šenoa learnt how to adapt the desire for spatiality to performative or narrative space from Demeter’s Teuta, which, in turn, represents a bad example of spatiality. The fact that the both authors describe the space they are not familiar with in general terms and the space they have experienced in mo...
This analysis establishes Gavella’s relationship towards different stylistic formations of litera... more This analysis establishes Gavella’s relationship towards different stylistic formations of literary history, and based on Gavella’s reflections on literature and theatre, it determines the place in his opus occupied by classicistic poetics. It determines how much of that place is occupied by European classicism in general, but it also reviews French classicism due to its contentious nature. The theory and practice of the relationship between literature and theater also come out with his literary work which confirms him as an author who accepts literature as speech and as performance. The relationships between theory and practice become clear in the chronological order of Gavella’s bio-bibliography and in his mission to ensure the presence of poetry on stage
Inspired by the social reality and culture of his manneristic time, Marin Držić often uses the ma... more Inspired by the social reality and culture of his manneristic time, Marin Držić often uses the mask as a highly motivated element of his dramatics. This analysis tries to show the mechanisms through which theatrical guises are used, and the three ways in which they appear: the mask and the costume as theatrical stage properties; an »imaginary« mask in the game of perspective within the play’s realm; the audience’s perception of the mask. Within the elements chosen to ascertain the nature of theatre, Držić has once more been established as an author of a multi-layered dramatic opus. He is closest to what we call the form of »controlled improvisation«, as defined by Ivan Slamnig, in which he tries to show the rich variety of possibili- ties in using the mask, as well as the meaning of unmasking – in his playing with the theatrical mask, Držić deliberately avoids repetition and uses the mask as an element of the complexity of manneristic theatrical illusion
Journey to Jerusalem, 1752, is the first (preserved) Croatian itinerary, written in the context o... more Journey to Jerusalem, 1752, is the first (preserved) Croatian itinerary, written in the context of many European itineraries of related topics and with awareness of the existing genre cannon. The author, Jakov Pletikosa (1704 – 1769), Franciscan priest and missionary, lived in the Holy Land from 1752 to 1756 and was the abbot of St. John’s Monastery »in Montana« close to Jerusalem. He presented himself, with his story about the journey and the first year he spent in israel, as erudite and »enlightened« pilgrim with an extreme interest in cultural-historic landmarks on one side, and in everyday life on the other side. Pletikosa’s descriptions are authentic, they can be measured and verified, the descriptions of a reliable story-teller who legitimates himself on several levels. His Journey, which is compositionally divided in two parts, fits into itinerary literature of the 18th century, which points out monuments’ heritage and historiographic aspect as »realistic« content within the ...
The first translations of Goethe’s dramas were meant only for the stage, and have to this day rem... more The first translations of Goethe’s dramas were meant only for the stage, and have to this day remained in manuscript. In 1887 Goethe’s Iphigeneia was put in Croatian garb for the nonce, commemoratively, thanks to Vežić’s love for the German writer and the urging of Franjo Marković, but it fitted in very well with the symbolism-saturated era of aestheticism that was to come, in which the vehicles of suggestive meanings were frequently female figures. During World War II, when in the Independent State of Croatia Goethe was published as the first in a series of world classics (hardly surprisingly considering the political situation), the final words of the drama in 1941 and 1942, in the translation of Mihovil Kombol, sounded still more suggestive, spoken during the Nazi regime, which must have been received with connotations speaking against the global bloodshed. In the setting of the poet’s message of the »eternal feminine«, which was woven into the closing chords of Goethe’s Faust, Z...
Translations of Slavic Literatures, 2020
| August Šenoa (1838-1881) is a central figure of the Croatian literature of the second half of t... more | August Šenoa (1838-1881) is a central figure of the Croatian literature of the second half of the 19th century. He consistently implemented the ideas from his theoretical treatises in his literary opus and formulated his poetics of translation in accordance with his literary ideas. in that system Romance and Slavic literatures were thus given a special place, and on the stylistic-historical level, Šenoa advocated for the transitional period from Romanticism into Realism. The examples of Šenoa's translations of world literature into the Croatian language and the most recent translation of Šenoa into English reveal that in the adaptations the periphery and the centre, in the changeable relations of the economy of literature, draw near each other.
Croatica et Slavica Iadertina, Feb 21, 2014
Journal of Croatian studies, 2018
Croatica et Slavica Iadertina, Mar 30, 2017
The study points out a necessity for standardization of the concepts of criticism and the criteri... more The study points out a necessity for standardization of the concepts of criticism and the criterions of scheduling the history of literature by models of achievements and failures in the research of the 18th century Croatian literature and theatre during the 40 years of collections of papers Dani Hvarskoga kazališta (The Hvar Theatre Days). After comparing the conclusions of René Wellek, that he reached 50 years ago, with the papers published in the collections Dani Hvarskoga kazališta, the author establishes the state of Croatian literary criticism and reveal the elements for resolving the criticism term problem for the poetics in the 18th century
August Šenoa należy do przejściowego okresu w literaturze chorwackiej przypadającego na czas pomi... more August Šenoa należy do przejściowego okresu w literaturze chorwackiej przypadającego na czas pomiędzy romantyzmem a realizmem. Artykuł przedstawia analizę relacji między licznymi przekładami autorstwa Šenoi a jego utworami oryginalnymi yrażającymi skłonność do estetyki realizmu, w przeciwieństwie do dominującego postrzegania poetyki Šenoi jako romantycznej. W tekście uwzględniono kulturę źródłową i docelową, kulturowe powiązania, kontakty i wymiany, a także możliwe zwroty w postrzeganiu kulturowych peryferii, jak i wpływ gospodarki na politykę kulturalną
In his 2003 anthology Poems about Hvar from Marulić to Šoljan (Pjesni Hvara od Marulića do Šoljan... more In his 2003 anthology Poems about Hvar from Marulić to Šoljan (Pjesni Hvara od Marulića do Šoljana), Nikša Petrić collected some one hundred poems and prose fragments describing in different ways the space of the Island of Hvar from the beginning of the Croatian literature to the 20th century. The selected 19th-century literature dedicated to Hvar is represented by A. Kaznačić, J. Carić, P. Kuničić, and A. Tresić Pavičić. However, there are two additional important 19th-century authors whose writing includes the motif of the Island of Hvar: Dimitrija Demeter in the historical tragedy Teuta (1844; 1864) and August Šenoa in the epic poem Vinko Hreljanović (1874). It could be concluded that Šenoa learnt how to adapt the desire for spatiality to performative or narrative space from Demeter’s Teuta, which, in turn, represents a bad example of spatiality. The fact that the both authors describe the space they are not familiar with in general terms and the space they have experienced in mo...
This analysis establishes Gavella’s relationship towards different stylistic formations of litera... more This analysis establishes Gavella’s relationship towards different stylistic formations of literary history, and based on Gavella’s reflections on literature and theatre, it determines the place in his opus occupied by classicistic poetics. It determines how much of that place is occupied by European classicism in general, but it also reviews French classicism due to its contentious nature. The theory and practice of the relationship between literature and theater also come out with his literary work which confirms him as an author who accepts literature as speech and as performance. The relationships between theory and practice become clear in the chronological order of Gavella’s bio-bibliography and in his mission to ensure the presence of poetry on stage
Inspired by the social reality and culture of his manneristic time, Marin Držić often uses the ma... more Inspired by the social reality and culture of his manneristic time, Marin Držić often uses the mask as a highly motivated element of his dramatics. This analysis tries to show the mechanisms through which theatrical guises are used, and the three ways in which they appear: the mask and the costume as theatrical stage properties; an »imaginary« mask in the game of perspective within the play’s realm; the audience’s perception of the mask. Within the elements chosen to ascertain the nature of theatre, Držić has once more been established as an author of a multi-layered dramatic opus. He is closest to what we call the form of »controlled improvisation«, as defined by Ivan Slamnig, in which he tries to show the rich variety of possibili- ties in using the mask, as well as the meaning of unmasking – in his playing with the theatrical mask, Držić deliberately avoids repetition and uses the mask as an element of the complexity of manneristic theatrical illusion
Journey to Jerusalem, 1752, is the first (preserved) Croatian itinerary, written in the context o... more Journey to Jerusalem, 1752, is the first (preserved) Croatian itinerary, written in the context of many European itineraries of related topics and with awareness of the existing genre cannon. The author, Jakov Pletikosa (1704 – 1769), Franciscan priest and missionary, lived in the Holy Land from 1752 to 1756 and was the abbot of St. John’s Monastery »in Montana« close to Jerusalem. He presented himself, with his story about the journey and the first year he spent in israel, as erudite and »enlightened« pilgrim with an extreme interest in cultural-historic landmarks on one side, and in everyday life on the other side. Pletikosa’s descriptions are authentic, they can be measured and verified, the descriptions of a reliable story-teller who legitimates himself on several levels. His Journey, which is compositionally divided in two parts, fits into itinerary literature of the 18th century, which points out monuments’ heritage and historiographic aspect as »realistic« content within the ...
The first translations of Goethe’s dramas were meant only for the stage, and have to this day rem... more The first translations of Goethe’s dramas were meant only for the stage, and have to this day remained in manuscript. In 1887 Goethe’s Iphigeneia was put in Croatian garb for the nonce, commemoratively, thanks to Vežić’s love for the German writer and the urging of Franjo Marković, but it fitted in very well with the symbolism-saturated era of aestheticism that was to come, in which the vehicles of suggestive meanings were frequently female figures. During World War II, when in the Independent State of Croatia Goethe was published as the first in a series of world classics (hardly surprisingly considering the political situation), the final words of the drama in 1941 and 1942, in the translation of Mihovil Kombol, sounded still more suggestive, spoken during the Nazi regime, which must have been received with connotations speaking against the global bloodshed. In the setting of the poet’s message of the »eternal feminine«, which was woven into the closing chords of Goethe’s Faust, Z...
Hrvatska akademija znanosti i umjetnosti i Književni krug Split, 2006