Papers on Linguistics and Philology
type: channel
publisher: Sveučilište u Zadru
language: en
publication name: Papers on Linguistics and Philology
issn: 1330-402X
items: Un motif de Lapad dans l'oeuvre de Vojnović
items: Un subjonctif discute chez tacite
items: Three periods of the development of the Serbo-Croatian dialectology
items: Francesca da Rimini nella traduzione di Mihovil Kombol
items: L'Opera della Commissione ortografica a Zara nel 1820.
items: La donnee spatiale de l’evenement: theorie et expression
items: Manuscrit du poeme »Amor na selu« de Vojislav Ilić
items: Etudes Dalmates I.
items: Some adaptations of Držić's comedies »Dundo Maroje« and »Skup«
items: La methode critique d'Albert Haler
items: La missione conoscitiva della letteratura italiana contemporanea
items: Die Weltbedeutung der russischen Literatur
items: »Veče na Školju« von A. Šantić
items: An 18th century Ragusan-English literary link
items: On Walter Scott's first historical novel
items: Elio Vittorini tra il marxismo e l'esistenzialismo
items: The futue II in the Serbo-Croatian verbal verbal system
items: Les deux langues (le russe littéraire après la revolution)
items: Weitere Deutsche einflüsse auf Zmaj
items: The term "romantic" in english literature
items: Les grands courtans poetiques du XIX-e siecle Francais
items: Giorgio Politeo e l’arte
items: Moravia tra Freude Marx
items: L’hiver chez homere
items: Gewisse Stilunterschiede in den Varianten der Volksmarchen
items: V. V. Ovečkin — The soviet sketch writer
items: A 15th century poem against women
items: Stanislaw Przybyszewski and Croatian »Moderna«
items: Das werk von S. S. Kranjcevic in raum und zeit
items: Plot, act and scene in Držić's >Dundo Maroje

Un motif de Lapad dans l'oeuvre de Vojnović
type: item
description: Dans son article l’auteur interprète le conte lapadien ; de Vojnović Les anciens péchés, et le sonnet A Mihaïl, affirmant que les pittoresques motifs lapadiens de la petite église, du cimetière et des cyprès dans le sonnet A Mihaïl ne sont pas dans l’oeuvre de Vojnović un motif littéraire ordinaire, mais une partie unique de son univers poétique, un complexe essentiel de sa personnalité et de son style poétique. Dans le cadre de ce complexe de style, il n’a pas seulement fixé artistement les couleurs, les sons et les proportions de ce paysage lapadien, mais, usant d’une technique réaliste, il a décrit une tranche de vie du Dubrovnik d’alors, donné un caractère aux personnages et construit la composition du conte lapadien Les anciens péchés. Réalisée dans une technique narrative, cette oeuvre de Vojnović est citée dans la science littéraire yougoslave comme un roman dépassant l’ampleur d’un simple conte. Au fond, cette oeuvre pourrait être aussi bien un drame, drame conté qu’ un régisseur pourrait sans trop de difficulté porter à la scène. Ce qui donne cette signification dramatique aux Anciens péchés, c’est l’atmosphère lourde de tension dramatique, la faute tragique de Ivo Dubović, l’un des personnages principaux, les dialogues dramatiques, l’unité d’action, de lieu et de temps, etc. Dans cette oeuvre de Vojnović, on a montré vraiment le drame personnel d’un honnête homme, marin de Lapad. L’ascension dramatique, la tension maxima et le dénouement de ce drame sont étroitement liés et enchaînés par le complexe de style de Vojnović, de la petite église, du cimetière et des cyprès de »Mihaïl«. Ce paysage lapadien du cimetière Mihaïl, Vojnović l’a beaucoup aimé, car dans ce cimetière il trouve aussi le caveau des siens, dans lequel lui même fut enterré en 1929. Ce n’est donc pas par hasard que Vojnović avait entrepris son oeuvre majeure la Trilogie de Dubrovnik dans l’intention de la dédier à son père Kosta Vojnović (qui fut enterré à Mihaïl en 1903), et qu’il termina s…
subject: Articles
  topic: section
creator: Nikola Ivanišin
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3326

Un subjonctif discute chez tacite
type: item
description: Le plus-que-parfait du subjonctif, inusite dans les propositions finales-conseoutives, Tac. Agr. 6. ( ... diligenitissima conquisitione fecit, ne cuius alterius sacnilegium res publica quam Neronis sensisset.), est 1’objet des commentateurs. Pour les uns, celui-ci est une expression correspondant a l'action achevee, donc: ne . . . sensisset = (en croate) »da ne osjeti«; les autres le justifient en transposant l'action de sensisset au passe et disent qu’a cette place dans la proposition independante repondrait le plus-que-parfait de l’indicatif: senserat, donc: ne . . . sensisset — (en croate) '»tako da nije osjetila«. L’auteur de cet article rejette ces deux opinions; la premiere, parce qu’elle se fonde sur l’idee perimee de Meillet de il’o'ppositon d’aspect infectum : perfectum ; et la deuxieme, parce qu’unilaterale, car elle insiste trop sur la »transposition au passe« de l'action du subjonctif en question. — Pour resoudre ce probleme l'auteur propose une forme adequate au subjonctif de sensisset dans la proposition independante, le futur II du type du futur anterieur: senserit = (en croate) »bit će osjetila«. Une telle forme concilie bien les deux opinions mentionnees, parce qu’elle agit sur la ligne du temps entre »le futur et le passe«, donc: ne . .. sensisset = (en croate) »da ne bude osjetila = da se (u budućnosti) ne pokaže, da je osjetila (u prošlosti)«. Cette interpretation s’accorde avec les conceptions courantes sur la valeur des formes du perfectum du verbe latin.
subject: Articles
  topic: section
creator: Branimir Glavičić
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3319

Three periods of the development of the Serbo-Croatian dialectology
type: item
description: The author first defines the place of dialectology among other new branches of the science of language from which it categorically differs by comprising almost all of them and having a new subject of investigation, i. e. a dialect, a speech in its. organic condition. Then the history of the Serbo-Croatian dialectology has been divided into three periods: I. From the middle of the 19th century, when it began to exist as an auxiliary branch of our language history, the historical grammar and the science of the literary language, which the Croats and the Serbs have created basing it on the folkloric koine oi the so called štokavian dialects. At that period our dialectology was descriptive and thematically considerably onesided. II. From the first years of the 20th century, when the Serbo-Croatian, dialectology (owing to the works of Rešetar, Belić and Ivšić) becomes indipendent as a linguistic branch, it broadens its interests in themes and territory and gradually accepts some more modern methods. Yet, the dialectology of this period is only an ordinary sum of dialectography and applied linguistics. III. From the first years of the 2nd half of our century it is characterised by the dialectology being completely independent (own aims, personnel, methods, theory) and on the other hand by important tasks, which it is to accomplish (the reconstruction of the premigration mosaic, the full description of the present condition and its projection on the atlas). The analysis of the drawbacks and the results achieved in each period has been also made. At the same time, some specific features of the Serbo-Croatian dialectology have been analysed, especially the harm that it: has suffered by the fact that the interest for dialects was in various ways subdued to the requirements of the literary (standard) language, which the Croats and the Serbs have formed very late and in highly specific circumstances. Finally, in connection with the transition from the second to the third period…
subject: Articles
  topic: section
creator: Dalibor Brozović
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3317

Francesca da Rimini nella traduzione di Mihovil Kombol
type: item
description: L’autore analizza la versione del Kom bol dell’ episodio dantesco di F rancesca da Rimini e ne da il giudizio. La traduzione di questo episodio fatta da Kombol e la dicianovesima presso i Croati e i Serbi. La precedettero le versioni di S. Ivičević, M. Pucić, P. Preradović, N. N., S. Buzolić, A. Tresić-Pavičić, I. Cabrić, V. Lozovina, I. Kršnjavi, F. T. Uccellini, V. Nazor, A. Sasso, A. Vio, M. Gjuranec, V. Živojinović, D. Stanojević, M. Vuletić e S. Predić. Il Kombol si e attenuto rigorosamente all’ originale (terzina dantesca, endecasillabo giambico). Ecco le caratteristiche principali della sua traduzione. Il Kombol e ottimamente riuscito a mantenere il ritmo dell’ originale. Delle sue sillabe toniche 69 su cento corrispondono a quelle dantesche. Soltanto due volte ha accentuato la nona sillaba. L’accento ritmico principale della decima sillaba e conservato al 100 per cento. Nell’ originale dantesco troviamo l’ accento prevalentemente sulla decim a e quarta sillaba, presso il Kombol sulla decim a e sesta. L’inizio del verso ha nell’ originale una intonazione prettamente giambica (il 99 per cento di tutti i versi), nella traduzione l’ 81 per cento. II Kombol e pure riuscito bene ad evocare gli elementi musicali danteschi. L’aliterazione dantesca del verso 103 ce l’ ha data con l’uso del quattro »lj«. L’assonanza del verso 114 (otto »o«, di cui tre portano l’accento ritmico) l’ ha ottenuta con sette »o« (di cui due con l’accento ritmico). II migliore risultato l’ha ottenuto nel verso 142, dove i cinque »o« esprimono la nota musicalita dantesca. Questo e il verso generalmente meglio riuscito presso tutti i nostri traduttori del detto episodio. Il successo del traduttore e evidente pure nelle rime. Dante iha settanta rime bisillabe, il Kombol ne ha sessantadue; le sue rime sono pure, esatte e funzionali. In tutto l’Inferno Dante ha usato 522 speci di rime, il Kombol 340. Il traduttore e riuscito pure a conservare fedelmente l’idea poeticha dell’originale. Le terzine …
subject: Articles
  topic: section
creator: Radovan Vidović
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3321

L'Opera della Commissione ortografica a Zara nel 1820.
type: item
description: Durante la seconda reggenza in Dalmazia, in base al Decreto governativo del 16 ottobre 1820, si riuini un gruppo di esperti linguistici nel Seminario arcivescovile di Zara per discutere sulla riforma dell’ortografia latina in uso nella lingua serbo-croata. La Commissione composta da M. Bobrowski, B. Mihaljević, N. D. Budrović e P. Miošić fu presieduta da F. M. Appendini. L’opera di semplificazione e di unificazione dell’ortografia a scopi letterari in Dalmazia si prefiggeva soprattutto un fine pratico: agevolare agli alunni lo studio della lingua »illirica«. Pero, la riforma dell' ortografia mirava a scopi piu vasti: i componenti la Commissione erano convinti che la grafia »illirica« avrebbe ottenuto grazie alla loro riforma »un sistema costante ed uniforme« in modo da porre fine alla nociva incertezza e multiformita nell' ortografia. L’ortografia riformata verrebbe adottata — secondo il parere dei componenti la Commissione — nelle traduzioni delle leggi, nella compilazione dei manuali scolastici elementari, nella traduzione dei bandi e in generale in tutti gli atti scritti con caratteri latini in lingua croata. Percio, in seguito non si dovrebbe permettere la pubblicazione o la ristampa di libri croati in Dalmazia la cui ortografia non fosse in armonia con la suddetta riforma. L’autore fornisce dati piu ampi sui membri della Commissione; quindi espone, in particolari, gli undici paragrafi del verbale nei quali si discute sull’uso dei vari grafemi. Ritiene che il Convegno della Commissione per l’ortografia a Zara nonche le sue conclusioni vanno valutate come un passo positivo verso la stabilizzazione della grafia latina in quella parte della Croazia in cui regnava prima una varieta di sistemi ortografici. Il principio adottato dalla Commissione di usare un segno unico per ogni suono fu giusto. Infatti, quasi tutte le soluzioni proposte vi si conformarono: c, č, h, s, š, ž andavano scritte con i segni: c, g, h, s, f, x, eccezione fatta per il digramma ch per il suono…
subject: Articles
  topic: section
creator: Zlatko Vince
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3318

La donnee spatiale de l’evenement: theorie et expression
type: item
description: Apres quelques mots introductifs sur l’etat actuel de la linguistique ei son role dans la vie contemporaine, l’auteur esquisse les divisions d’une description rationnelle des langues. Il fonde ces divisions sur la theorie de l’enonciation de: Charles Bally (dans L. G. L. F.2, passim) qu’il confronte avcc la definition de l’arc reflexe formulee par la theorie du comportement et par celle de l’evene- ment formulee par la physique. Grace a ces confrontations, il obtient, comme pendant exact du schema physico-physiologique, son schema hierarchique syntagmatique fonctionnel, structural, formel et semiologique qiui realise le maximum et l’optimum de Punite des fonctions, structures, valeurs et forma- lismes linguistiques. Ce schema lui permet de definir d’une maniere rationnelle (c’est-a-dire partant des sciences de la nature) les categories linguistiques; suivantes: enonce, modus, dictum, sujet modal, verbe modal, sujet dictal, verbe dictal, actualisateur, signe-espace virtuel, signe-temps virtuel, ainsi que de-. determiner les types syntagmatiques semiologiques avec leurs termes et les; fonctions et les form alism es syntagm atiques de ceux-ci. De ce schema, l’auteur extrait la categorie semiologique d’expression de la donnee spatiale. Il la trouve au troisieme niveau hierarchique fonctionnel, ou elle exerce la fonction categorielle (id est definie par la hierarchie fonctionnelle) de terrne d’identification des syntagmes dictaux et modaux (la fonction de- »sujet«). Cette fonction (syntagmatique specialisee) definit trois classes formelles rla cirfririn1 iGuis propres, u,eiCbiques vt, syiibuytnes n o m m a u x a aciuat,isation. Apres avoir passe en revue les noms propres et les deictiques dont il donne- une nouvelle interpretation et une nouvelle classification (deictiques globaux; deictiques specialises insistant sur la localisation, sur la quantification, sur la- comprehension), l’auteur pose la serie associative par laquelle ces trois classes, formelles sont definies …
subject: Articles
  topic: section
creator: Radivoj Mikuš
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2021-03-18
publication date: 2021-03-18
doi: 10.15291/radoviling.3297

Manuscrit du poeme »Amor na selu« de Vojislav Ilić
type: item
description: L’auteur publie ici ce poème d’après le manuscrit qui en est sans doute la première rédaction, et qui diffère considérablement du texte imprimé. En même temps, il fait également connaître tous les vers et les expressions que le poète a raturés. Le manuscrit est écrit de la main de Vojislav Hic, ce qui lui donne un plus grand prix. Les corrections que le poète y a apportées sont notées dans les interlignes et dans les marges. Les ratures apportées aux vers et aux expressions de première inspiration, il les a quelquefois exécutées avec tellement de soin que certaines expressions ne se laissent lire qu’au prix de grandes difficultés. Il semble que l’artiste s’est efforcé d’effacer toute trace de sa laborieuse création. Exactement comme s’il avait voulu nous cacher la façon dont il a élaboré son oeuvre, et comme si lui-même cherchait à ne pas se souvenir de ses vers et expressions de première inspiration. Ce manuscrit nous permet de mieux pénétrer la forge des vers de notre grand artiste. Maintenant, nous sommes à même d’examiner de près la technique du créateur du poème Amor na selu. Nous apprendrons avec plus de détails comment se composent, comme taillés dans le marbre, ces vers, et, dans certains de ces vers, nous sentirons le procédé de création de Vojislav Ilić. Le manuscrit montre que le poète a beaucoup travaillé à son poème Amor na selu. XI a corrigé plusieurs fois un grand nombre de vers et les a transformés, il en a refait d'autres, il en a partiellement reconstruit, les a de nouveau effacés et en a ajouté de nouveaux dans les marges. Il a évité chaque tour de style déplacé, visé à la plus grande exactitude possible, recherché les expressions qui pénètrent le plus profondément notre sentiment, embelli d’un grand nombre de mots appropriés chaque image. Il s’est aussi efforcé de donner au vers la plus grande souplesse possible, a désiré exprimer de ses vers le plus de sons doux, et a constamment essayé de les faire tendre vers la perfection.
subject: Articles
  topic: section
creator: Jevto Milović
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3323

Etudes Dalmates I.
type: item
description: L’autcur etudie le terme ragusain (roman de Dubrovnik) cosel et l’emprunt serbo-croate kosao, -ala. Les raguseismes coctal/coctel, (*cosal)/cosel qui figurent dans les documents rediges en dialecte venitien au 14eme siecle a Dubrovnik, sont empruntes apres avoir change la phoneme ragusain a en a (parfois en e). S’appuyant sur la theorie de F. Schur (RLiR XX) l’auteur est parvenu aux conclusions suivantes: 1. Dans le ragusain l’a libre a abouti a a; 2. L’e final est tombe tandis que l’a protonique s’est reduit, voyelle indistinote. Dans la convergence raguseo-venitienne cette voyelle disparut du systeme ragusain. Les scribes notent a sa place un o quand ils ne restaurent pas dans la graphie, ce qui se passe le plus souvent, un a. Dans le ragusain du 14eme siecle un o continue le phoneme aboli; 3. Par consequent, tout o protonique dans les elements romans du serbo-croate n’atteste pas toujours une date ancienne de 1'emprunt: a savoir, kosal et les mots du meme type ne furent pas recus a l’epoque ou le systeme serbo-croate ne disposait pas de l’a bref (qu’il rendait par un o bref) mais beaucoup plus tard. Les Slaves, membres de la symbiose slavo-romane de Dubrovnik, auraient entendu, selon notre opinion, ou *cosal(e) (raguseisme en tre dans le lexique du venitien de Dubrovnik, dans sa premiere phase d’adaptation) ou [*co’sal], forme ragusaine qui accuse les premiers effets du melange interroman. En tout cas, le resultat ne pouvait pas etre different, au moins au 14eme siecle, car l’existence de 1’opiposition a : a en serbo-croate a cette epoque-la a conditionne, en definitive, le passage des voyelles romanes en a du serbo-croate commun; 4. C’est pour cela qu’une couche qui reflete le melange dalmato-venitien effectue doit etre intercalee dans la stratification actuelle des romanismes en serbo-croate. L’auteur a etudie aussi l’histoire des significations differentes de CASALIS > cosel, casale dans les documents de Dubrovnik et des autres villes croates de la cote. Le se…
subject: Articles
  topic: section
creator: Žarko Muljačić
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3320

Some adaptations of Držić's comedies »Dundo Maroje« and »Skup«
type: item
description: The author’s critical approach deals with the stage adaptations of Držić’s comedies by Marko Fotez, which achieved a considerable success in our and foreign productions. The author agrees that some adjustments of Držić’s comedies Dundo Maroje and Skup are necessary to a certain degree because of the removed time of action as w ell as the local setting. He tries to define the limits of rendering as to preserve the essence of the literary work in question. Analysing Fotez’s adaptations of Dundo Maroje and Skup in comparison with Držić’s original text, the author comes to the conclusion that the adaptor has in some cases of graver omissions exceeded the permitted limit. Although Fotez’s adaptations rediscovered Marin Držić for the modern stage, they are far from ideal. In spite of some successful parts, as a whole they are more in the style of the common Italian type of Renaissance comedy. In many instances, though unconsciously, the adapted comedies have been deprived of Držić’s original and essential rendering of Dubrovnik.
subject: Articles
  topic: section
creator: Franjo Švelec
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3324

La methode critique d'Albert Haler
type: item
description: L’auteur analyse la méthode et les résultats de la critique de Haler. Partisan de la méthode esthétique de Benetto Croce, Haler, en publiant ses articles et ses études dans les revues yougoslaves les plus connues entre les deux guerres, a principalement renouvelé les thèses de Croce sur l’art, qu’il a assimilées au point que ces thèses paraissent les siennes propres. Soutenant, comme Croce, que l’art est tout d’abord un acte créateur fondé sur l’émotion et la fantaisie, que les intuitions d’artiste et ses expressions sont similaires, que l’art véritable est uniquement lyrique, que le principal devoir des critiques est de faire la différence entre ce qui est poétique et ce qui ne l’est pas, Haler juge toute la critique littéraire antérieure, surtout universitaire, affirmant que cette critique avait généralement manqué son but du fait que ses auteurs n’avaient pas distingué ce qui était poétique de ce qui ne l’était pas, mais qu’ils y avaient mêlé diverses valeurs culturelles, historiques, sociales, pédagogiques et autres. Ses opinions négatives sur Gundulić, Preradović et Kranjčević, jusque là considérés dans la littérature comme de grands poètes, soulevèrent le plus grand intérêt dans l’opinion yougoslave d’alors. La réaction contre de tels jugements de Haler, particulièrement du côté croate, fut vive et acerbe, mais inefficacc, car elle provenait de positions nationales et non littéraires et esthétiques, d’autant plus que Haler proclama qu’il reconnaissait la valeur culturelle et historique des écrivains en question. Antun Barac s’opposa avec succès à Haler en partant des positions uniquement littéraires et esthétiques. Il démontra par la méthode historique et sociologique que Preradović s’était montré dans beaucoup de ses poèmes poète créateur, et, analysant l’expression de Kranjčević par la méthode analytique, il émit les mêmes assertions encore amplifiées sur ce poète. Bien que solidement argumentés, les jugements esthétiques de Haler contenaient de sérieux poin…
subject: Articles
  topic: section
creator: Nikola Ivanišin
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3322

La missione conoscitiva della letteratura italiana contemporanea
type: item
description: Nella breve nota introduttiva del suo articolo l’autore definisce il ruolo e la funzione della letteratura italiana attraverso i secoli sottolineando l’equivalente conoscitivo ed educativo manifestato sistematicamente dai tempi più remoti, da quando l’uomo cominciô ad aspirare al raggiungimento di una cultura spirituale superiore al giorno d’oggi. Viene messo poi in luce, dopo aver accennato alla situazione politico-sociale che condiziono certa narrativa alla vigilia della Seconda guerra mondiale (narrativa che si opponeva all’ accademismo, alla retorica, al conformismo e che apri la via ad una determinata corrente letteraria che oggi si suole definire col termine di neorealismo), l’aspetto rivoluzionario delle opere letterarie dell’immediato dopoguerra. A darle tale aspetto vi contribuirono imaggiori scrittori odierni quali Vittorini, Moravia, Pratolini. Furono loro — accanto a Bilenchi, Bernari e Silone, coadiuvati dagli estinti Pavese e Jovine, — a schierarsi dalla parte del mondo offeso per ridargli la dignita perduta e dimostrare che ogni uomo ha diritto alla libera manifestazione della propria personalità se è in grado di assumersi una certa responsabilité di fronte alla storia e alla societa. Partendo da qui, alcuni narratori hanno cercato di fissare i limiti, nonchè le esigenze della letteratura contemporanea, prodigandosi di rispecchiare nelle loro opere l’individuo e la societa e i loro reciproci rapporti, delineandovi il fattore tempo scrupolosamente e nettamente e dando a tutti gli elementi una nota irrepetibile. Sfondate le vigenti barrière morali, tradizionali, tecniche e linguistiche, alcune opere artistiche sono riuscite a scoprire gli attriti e i dissensi, palliati da secoli per prammatica politica, tra la societa e l’individuo. L’uomo fu piazzato nuovamente al centro del contenuto non corne latore di un problema psicologico, sociale o morale, caratteristico per l’epoca in cui viviamo, ma come parte integrale di un meccanismo sociale concreto. Cosi …
subject: Articles
  topic: section
creator: Glorija Rabac
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3335

Die Weltbedeutung der russischen Literatur
type: item
description: In Dalmazien kreuzten sich viele internationale Einflüsse und das Land bewahrt alte Spuren der auswärtigen slavischen Beziehungen. Der Festungsturm. Bablja kula oder Torre del Buovo d‘Antona aus dem XIII. Jahrhundert in der Stadt Zadar bleibt ein Beweis der Wanderungen jenes internationalen Romans über Königssohn Buovo, welcher anscheinend schon Ende des XVI. Jahrhunderts zum russischen Volksmärchen wurde. Erst die russische Literatur im Zeitalter der Aufklärung zog ausländische Ansichten der veralteten mittelalterlichen Weltanschauung vor. Die anwachsende Bedeutung, welche Russland in den Jahren Napoleonscher Kriege zukam, hat zuerst Europas Aufmerksamkeit auf die russische Literatur gelenkt. Es liegt an der Hand, dass auch der jetzige Welterfolg der Sowjetliteratur nach dem Siege über Hitler eine historische Parallele hiezu darstellt. Schon die ersten Gestalten des russischen psychologischen Romans (Onjegin, Pečorin) überschatteten dank ihrer Vielseitigkeit den engeren und persönlicheren Einfluss Byrons. Die Klassiker des russischen Romans lernten natürlich bei den westlichen Autoritäten. Aber sogar Stendhals Held Julien Sorel (im Romane Le Rouge et le Noir) sieht trotz seiner Begabtheit und brennendem . Klassenhass keinen Ausweg aus der Sackgasse damaliger Sozialverfassung, Dagegen weist schon Belinski auf, dass Pečorin »für neue Gefühle und Gedanken gereift ist. Die Wirklichkeit bildet den Kern und die Art von diesem Neuen«. Bereits Puškin, Gogolj und Lermontov bewiesen, dass das russische Schaffen der damals leitenden französischen Prosa nicht nachsteht (Georg Brandes). Bald danach haben Turgenjev, Tolstoi, später Čechov in England und Amerika jenen ersten Platz eingenommen, der bisher Flaubert, Maupassant und Dickens gehörte. Turgenjev, der fast immer im Auslande lebte, hat den Hauptverdienst für die internazionale Anerkennung der russischen Literatur. Er betonte schon auf dem Pariser Schriftstellerkongress im Jahre 1878: »Vor 100 Jahren waren wir eure Schüler…
subject: Articles
  topic: section
creator: Nikolaj Preobraženski
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3333

»Veče na Školju« von A. Šantić
type: item
description: Der Verfasser dieses Aufsatzes interpretiert das Gedicht von Aleksa Šantić Veče na Školju und beweist, dass die zweite Strophe von Heinrich Heines Gedicht Lorelei: Die Luft ist kühl und es dunkelt, Und ruhig fliesst der Rhein; Der Gipfel des Berges funkelt Im Abendsonnenschein — Santics Gedicht Veče na Školju beeinflusst hat, worauf er schon 1938 in der Zeitschrift Život i rad, Hefte 14 u. 15, S. 242, hingewiesen hat.
subject: Articles
  topic: section
creator: Jevto Milović
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3332

An 18th century Ragusan-English literary link
type: item
description: As early as in 1785, a booklet was published at Dubrovnik, which contained the English text of an English poem and its Italian translation entitled Idillio Inglese. However, the author and the original title of the poem were not indicated. The translator had given only his initials M. S. P. R. and dedicated the booklet to Džono Rastić (Resti). The author of this paper has found out the name of the English poet (John Byrom) and the source from which the translator had taken the original text (the Spectator, No 603). As the poem was published in the Spectator without any title, the translator invented a new one in accordance with the subject matter of the poem and added the attribute »Inglese« to denote its English origin. The fact that the text of the poem in the Spectator differs with the text of the same poem in subsequent editions has helped the author of this paper to establish the above mentioned source. Besides it, he furnishes the evidences showing that the initials M. S. P. R. stand for »Michele Sorgo Patrizio Raguseo«, i.e. Miho Sorkočević and that the immediate cause of his effort was one Delfina Gabbuti, an actress in an Italian theatrical troupe that acted at Dubrovnik in 1785. He also produces proofs showing the reason why Miho Sorkočević dedicated in the translation to Džono Rastić. The author has been able to do so because he could produce statements of Miho Sorkočević and his friends taken from their correspondence and contemporary Nuovo Giornale Enciclopedico published at Vicenza in 1785. To furnish further evidence, the author describes the cultural and literary background putting into relief the favourable tendencies that enabled Miho Sorkočević to choose the said poem and to publish it with its English text and Italian translation. He produces several names of some other Ragusan writers who were interested in English language and literature, the most important being Džono Rastić who corresponded with Miho Sorkočević in English and left evidence th…
subject: Articles
  topic: section
creator: Josip Vlahović
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3331

On Walter Scott's first historical novel
type: item
description: The historical novel has been treated by most critics as a typical trait of the Romantic Movement in European literature. Nevertheless there are some contradictory opinions bearing on Walter Scott as the »founder« of the historical novel, and stating that Scott’s novels are in direct continuation of the English 18th century realistic novel. By way of a stylistic analysis of structure and plot, character-drawing, setting and atmosphere, tone and point of view, the author tries to define the main characteristics of a new type of fiction in its initial phase, and in relevance to the 18th century »novel« and »romance«. The conclusion is that contrasting elements of form and style in Waverley make it impossible to consider the historical novel at its beginnings either as a typically romantic escape from reality, or, on the other hand, as a straight continuation of the 18th century realistic tradition . Relevant to both, and having extended the scope of the novel by adding a new dimension — that of the past — the historical novel has been apt to develop in both directions.
subject: Articles
  topic: section
creator: Mira Janković
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3330

Elio Vittorini tra il marxismo e l'esistenzialismo
type: item
description: Elio Vittorini e senza dubbio uno dei pizu noti rappresentanti della letteratura italiana contemporanea; il problema universale che egli tratta nelle sue opere e il suo stile tutto particolare hanno contribuito alla divulgazione della sua fama al di la del confine nazionale e lo hanno posto tra i piu conosciuti e tradotti scrittori d'Europa e del mondo moderno. Oggi le opere letterarie di Vittorini di costituiscono un inestimabile tesoro per tutto il mondo progressivo che lotta anche oggi, come durante la Seconda guerra mondiale, per ridare all'uomo una giusta posizione sociale e una degna soddisfazione per quella barbara »disumanizzazione« che caratterizzo una delle piu radicali decadenze morali della storia moderna. Tuttavia, se d'uno lato l'atteggiamento del Vittorini e ben preciso dal punto di vista del sou antifacismo ed anticonformismo, l'ideale che egli vorrebbe opporre a quel mondo corrotto e tuttora molto incerto e controverso. Collocando Vittorini tra il marxismo e l'esistenzialismo l'autore dell'articolo ha voluto mettere in evidenza il vasto raggio d'azione che separa questi due poli diametralmente opposti e su cui vaga la fantasia dell'artista alla ricerca di una giusta soluzione del piu complesso problema della societa odierna. La dubbiosita del suo ideale politico-sociale, dovuta parzialmente a fattori soggettivi e parzialmente a cause oggettive, legate alla molteplicita di sfumature che il movimento socialista assunse nel nostro immediato passato, traspare in tutte le sue opere: nei suoi saggi politico-ideologici, pubblicati nelle riviste e nei giornali italiani degli ultimi anni (Il Politecnico, Il Tempo presente, La Stampa ecc.) e in parte riassunti nel suo recentemente edito Diario in pubblico; nelle sue opere letterarie che, malgrado la loro varieta d'ispirazione, ripetono in modo piu o meno palese questo grande problema, non soltanto del Vittorini ma della stragrande maggioranza del mondo occidentale. Ma qui sta proprio la forza artistica del Vi…
subject: Articles
  topic: section
creator: Mario Festini
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3329

The futue II in the Serbo-Croatian verbal verbal system
type: item
description: The verbal form of the Serbo-Croatian future II (the composition budem + l-participle) is usually placed among the futural formations which elsewhere — particularly in some other Indo-European languages — are termed »futurum exactum« or »anterior« future and indicate a perfect future action which from the standpoint of some future moment is viewed as past. But the Serbo-Croatian form only partly agrees with the homonymous formation in other languages, because — owing to the very nature of the Slavic verb and especially to the role of its aspects — it does not cover in its uses the same meanings as elsewhere. It has not, moreover, the same function in štokavian speeches as in the literary language, and even its use in the two types of the latter, the western and the eastern one, is not quite the same. The question has been already treated in Yugoslav science, but it has not hitherto been exhausted. In the older Serbo-Croatian literary language, from the 13th to the 19th centuries, the syntax of the composition budem + participle has a wide range of application, which by far surpasses the limits of what in other languages and also to-day in Serbo-Croatian grammar, is denoted as futurum exactum. Such a syntax, very well confirmed in Vuk’s language, has not been entirely taken over into the literary language of the 20th century, although it is still', living in popular speeches, in particular those of the central-štokavian type and further to the West, — in the ikavian and even in the čakavian areas. The form in question appears in some different uses, as follows: (1) An action denoted from the viewpoint of a future moment as past can occur: (a) also in future (both aspects); this is the future II, which in its perfective aspect is not confounded with the perfective present pro futuro; (b) in present (only the imperfective aspect); (c) in past (both aspects); the use is very wide-spread in popular speeches; (2) An action viewed from the standpoint of a habitual moment a…
subject: Articles
  topic: section
creator: Miroslav Kravar
rights: Copyright (c) 2021 Papers on Linguistics and Philology
date: 2026-06-20
publication date: 2026-06-20
doi: 10.15291/radoviling.3316

Les deux langues (le russe littéraire après la revolution)
type: item
description: C’est M. Lomonosov qui, en 1755, effectua la séparation définitive entre le slavon et le russe littéraire. La démocratisation ultérieure de la langue littéraire fut poursuivie au XIXе siècle par Karamzine et Pouchkine. Après la Révolution de 1918, ce développement a rencontré des obstacles inattendus. La majorité du peuple a vécu sous les tsars de l’héritage culturel du XVIIIе et mème du XVIIе siècle sans participer aux bienfaits de la civilisation moderne. Ce n’est que Maxime Gorki qui entreprend l’éducation des masses populaires. Cependant, sous l’influence de la mode littéraire de la fin du siècle, les tentatives de vulgarisation du russe littéraire firent apparaìtre la domination d’une prose rythmique contenant des pro vinci alismes incompréhensibles à la plupart des lecteurs. La lutte victorieuse de Gorki pour la pureté de la langue littéraire classique eut pour conséquence une persécution, sous Staiine, de la langue populaire vivante. Le style littéraire s’en est trouvé affadi. A l’heure actuelle, les puristes russes craignent que la langue vulgaire des casernes et méme des prisons ne se fasse de nouveau valoir par suite des changements sociaux recente, mais leurs efforts pour empecher la pénétration du vocabulaire populaire dans la langue littéraire ont été jusqu’ici inefficaces. L’investigation histoiique montrera uni jour s’ils ont eu raison ou non.
subject: Articles
  topic: section
creator: Nikolaj Preobraženski
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-20
publication date: 2018-04-20
doi: 10.15291/radoviling.2390

Weitere Deutsche einflüsse auf Zmaj
type: item
description: Wie schon bekannt, hat Jovan Jovanović Zmaj neben viele seiner Gedichte zwei Sterne oder einen Stern gesetzt. Die Gedichte, neben welchen zwei Sterne stehen, sollen aus einer fremden Sprache ubersetzt und neben welchen sich ein Stern befindet, sollen nach fremder Idee geschaffen sein. Unter den Titeln viel'er Gedichte Zmajs stehen die Anmerkungen »nach dem Deutšchen«, »nach dem Ungarischen« oder »ubersetzt«. Solche Anmerkungen sind aber nicht immer zutref- fend, Es gibt namlich sehr viele Gedichte von Zmaj, neben welchen keine Anmerkungen sind, aus denen man ersehen könnte, dass diese Gedichte einem fremden Schriftsteller zuzuschreiben wären, obwohl sie doCh eihe Nachdichtung aus einer fremden Sprache sind. Zrnaj verfahrt ausserdem bei seinen Über- setzungen, Nachdichtungen und Umarbeitungen sehr frei. Auf Grund einer fremden Idee schafft er ein ganzes Gedicht, lässt ganze Strophen aus einem fremden Gedicht fort, entnimmt der serbo-kroatischen Volkspoesie ganze Verse, fügt sie in seine Umdichtungen ein, verflicht unsere Sprichwörter, Sprüche und volkstüm- liche Redewendungen in seine Umarbeitungen, nimmt sogar Ideen, Bilder und Verse aus Đura Jakšićs, Branko Radičevićs und seinen eigeneh Dichtungen und verleibt sie seinen Nachdichtungen ein.
subject: Articles
  topic: section
creator: Jevto Milović
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2319

The term "romantic" in english literature
type: item
description: Some misunderstandings in comparative approaches to literature have been due to semantic variations of etymologically identical terms in different languages. Among congruous literary terms romantic is nearest to being a literary term by origin. To illustrate its growing oomplexity the author points out some amplifica- tions and shifts of meaning. A special problem are the two divergent uses of romantic, either as referring to a definite literary period, or to an almost timeless stylistic category. When the term is taken over into another language its complex meaning is usually restricted to the notions dominant in the respective period and the specific literary situation of the borrowing language, while in the language borrowed from the term implies many eartlier meaniings. Comparative amalyses of »identical« terms from that point of view might contribute to a more precise definition of some rather vague, misleading, but unavoidable terms in literary use.
subject: Articles
  topic: section
creator: Mira Janković
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2318

Les grands courtans poetiques du XIX-e siecle Francais
type: item
description: Au début de son article, l’auteur souligne la grande mobilité du gout esthétlque et du style poétique qui caractérise tout le XIXe sićcle en France, notamment par rapport aux siècles antérieurs, où régnait une seule doctrine esthétique, celle du classicisme, codifiée par Boileau au XVIIe siècle. Cette mobilité, il la fait dépendre, dans une certaine mesure, de l’instabilité politique et sociale, manifestée à travers tout le XIXe siècle en France. Ćela lui permet de sltuer historiquement, d’une maniere assez exacte, les trois grands courants poétiques du siècle: Le Romanti- sme, le Parnasse et le Symbolisme, dans des eadres politiques et sociaux détermi- nés, sans pourtant l’autoniser à conclure à l’existence d’un accord permanent entre les deux idéologies, politique et littéraire, lesquelles, au contraire, s’opposaient et se combattaient le plus souvent. L’auteur ćtudie ensuite, à tour de rôle, chacune des trois grandes écoles poétiques du siècle. Il en lndique les origines, détermine le cllmat du dévelop- pement, démêle les influenees étrangćres et autochtones qul les ont marquees, definit l’ideologie et passe en revue les principaux représentants. Il souligne, en passant, la justesse de la thèsc d’Albert Thibaudet d’apres laquelle les principales écoles littéraires du XIXe siècle ne seraient que des produits de désagrégation d’une seule grande révolution littéraire de cette époque: le Romantisme, Il note que, entre autres choses, c’est cette école qui a posé la première le principe de coexistence de plusieurs gouts esthćtiques, de plusieurs doctrines littéraires, et qui caractérise la littérature de notre époque. En faisant le bilan des écoles poétiques du XIXe siècle, l'auteur souligne leur iniportance ćnorme pour le développement de la nouvelle expression poétique en France et dans le monde. Le dix-neuvićme siècle ayant transmis au nôtre un dea plus riches hćritages poétlques qu’un siècle ait jamais transmis a un autre, l’auteur se demande alors dans quelle mesu…
subject: Articles
  topic: section
creator: Stjepan Kastropil
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2315

Giorgio Politeo e l’arte
type: item
description: II presente saggio si propone di far luce su un pensatore croato della seconda metč dell’800, finora quasi completamente sconosciuto alla scienza e alla critica, oppure talvolta interpretato parzialmente e intenzionalmente. L’autore del saggio mette in evidenza i valori storici delle idee di Politeo e quindi rileva l’attualità di alcune sue opinioni sull’origine dell’arte e sulla sua funzione social'e, individuando punti di contatto tra Politeo ed alcuni tra i piu noti pensatori moderni — Plehanov, Lukacs, Lefebvre, Heidegger. Dopo una breve introduzione in cui fa leva prevalentemente sulla fede di Politeo nell’immortalita della creazione artistica, in contrapposizione alle tendenze speculative della filosofia classica tedesca, l’autore si occupa, nel primo capitolo dedicato all’origine dell’dspirazione artistica, delle emozioni considerate da Politeo come primarie attivita dell’uomo, storicamente sviluppate e trasformate, nelle quali si rivela la piu intima verita della societa umana nelle varie fasi del suo sviluppo. L’arte, che e anch’essa la manifestazione piu spontanea dell’essere umano ha la sua origine nelle emozioni. Il fatto che non sempre si è in grado di spiegare razionalmente un fatto emotivo, prova che »le forze dell’essere sono, nell’uomo, superiori alle forze conoscitive«. Nel secondo capitolo, dedicato agli elementi fondamentali dell’opera d’arte l’autore espone la teoria Pol'iteana sull’inscindibilita dei concetti di contenuto e forma nell’arte. Secondo Politeo la forma artistica e l’oggettivazione del sentimenta del Bello, che oltre ad avere un valore puramente edonistico desta nell’uomo emozioni etiche e suscita il desiderio di conoscere le leggi dell’esistente. Dopo aver elaborata la concezione di Politeo che l’opera d’arte non nasce dall’auto- coscienza del genio, che si e posto al di sopra dell’uomo; dopo averci esposto la teoria Politeana sull’arte come oggettivazione del mondo soggettivo, l’autore del saggio mette in evidenza la funzione stor…
subject: Articles
  topic: section
creator: Mario Festini
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2314

Moravia tra Freude Marx
type: item
description: Considerando Freud e Marx come i due »scopritori e liberatori đel mondo moderno«, Moravia penetra nel campo del sesso con la piena consapevolezza di andare incontro ad un mondo da svelare e collegare a quello scoperto đa Mara, puntando lo sguarđo sulla natura biosociologica dell’uomo con lo scopo di »demisti- ficare« l’attività degli istinti e di fissarne il ruolo nella vita degli esseri umani. L’autore del saggio, dopo aver constatato che certi postulati della dottrina di Freud e di Mara trovano riscontro nei libri di Moravia, prende in esame le pagine in cui il narratore ha cercato di interpretare le idee dei due grandi scopritorl e di trasportarle nella materia narrativa e afferma che lo scrittore si appoggia alla soluzione marxista del problema biologico e sociale. Inđaganđo sulla verith piu elementare dell’esistenza dell’uomo, del »suo volto reale«, Moravia comprese non solo il senso integro del1 pensiero di Marx che invitava a penetrare nella vita intima, privata dei personaggi e a presentarli nei lpro »negligés« assieme al mondo circostante di soggetti subordinati ad esso, ma ha voluto confutare le vecchie teorie che prescrivevano allo scrittore di non intromettersi nei problemi intimi piu delicati, sessuali in primo luogo, per non alterare il' concetto del bello artistico. Penetrato nei campo della sessualrta, Moravia si e lasciato guidare da Freud e, scoperto uno degli imperativi piu intransigenti delVindividuo, cioč quello degli impulsi naturali che si impongono con le proprie esigenze, si appresta a dimostrare che l’uomo viene mosso dagli istinti e che il modo come essi si manifestano dipende dagli elementi sociali, materi ali, morali e storici, dal fattore »tempo e spazio« e dalle interferenze del »caso«. Pur essendo sitato messo in rilievo che nell’opera moraviana vi è stato fatto il tentativo di fustanare in un insieme e di applicare le principali tesi della dottrina marxista e freudiana, nei saggio si pone in evidenza ii fatto che Monavia, presa cosoi…
subject: Articles
  topic: section
creator: Glorija Rabac
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2313

L’hiver chez homere
type: item
description: L’attention de l’auteur est attirée par des passages d’Homdre où on trouve une atmosphère d’hiver, ou, en genéral, quelques phénomenes hivernaux. Après avoir cité de tels passages, dont on voit qu’il's sont deux fois plus nombreux dans riliade que dans l’Odyssee, l’auteur en fait une analyse. II range les exemples en trois groupes: 1) la notion de l’hiver prise a-u sens figuré; par ex. II. I 420, XIV 227; 2) les passages sur l’hiver méditerraneen: grandes pluies, mer orageuse, vent nord-est, etc.; par ex. II. II 293—294, III 4; 3) l’hiver typiquement Continental: neige, glace, gel, etc.; par ex. II. XII 278—286, Od. XIV 475—477. Etant donne, d’une part, que ces derniers phénomènes sont très rares dans les pays méditerranéens, et, d’autre part, que la description que le poète nous en fait est convaincante, l’auteur croit à l’origine même d’Homère, ou, au moins, a son long sejour dans les pays situes au Nord de la Mer Egée, ou un tel hiver est un phénomène normal. Tout d’abord, c’est la Thrace qu’on doit prendre en considération, pays dont le počte nous donne maints détails.
subject: Articles
  topic: section
creator: Branimir Glavičić
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2311

Gewisse Stilunterschiede in den Varianten der Volksmarchen
type: item
description: In unserem Lande werden die traditionellen Gattungen des Volksschaffens (das epische Gedicht, das Mfiichen usw.) von den neuen Generationen nicht mehr gepflegt und deswegen bestehen hier keine Wachstums- und Entwicklungsmö- glichkeiten. Trotzdem splelt der lebendige künstlerische Ausdruck im kulturellen Leben unseres Volkes čine bedeutende Rolle und in manchen entlegenen Gegenden unseres Landes besteht die mündliche Literatur auch heute in der Form und kräftigen Umrissen der älteren Zeit. Davon hat uns auch die vor kurzem erschienene Sammlung der istrischen Volksmarchen uberzeugen konnen, điie! uns deutlich zeigt, dass in Istrien noch immer erzahlt wird, dass der Erzählungsstoff in origineller Weise bearbeitet wirđ, und dass die kiinstlerischen Ergebnisse dieses Schaffens in manchen Fällen auf der Höhe sind. Obwohl viele Texte der Sammlung stoffreicher als künstleri- scher sind, gibt es da manchmal hervorragende kunstlerische Schopfungen, die beweisen, dass es auch heute schöpferische Talente gibt, die klassische Motive und Gestalten meisterhaft darstellen und die mit Tesan Podrugović, Starac Milija und anderen grossen Volkssangern verglichen werden konnen. Die istrischen Volksmarchen unterscheiden sich nicht wesentlich in ihren Grundziigen von den klassischen Marchen. Für ihre künsterlische Ausdrucksform sind aber eine besondere Frische und Eigenart bezeichnend. Die künstlerische Originalität der Varianten der istrischen Volksmärchen zeigt sich vor allem in der spezifischen Ausdrucksform, die der künstlerischen Struktur, dem Rhythmus, den Zeitverhältnissen und der Sprache der Gegend des Landes, in der das betref- fende Märchen entstanden ist, angepass ist. Das Schaffen begabter, heutiger Erzahler weicht in grossem Masse von der klassischen Behandlung der Motive und der Darstellung der Gestalten ab. Alles, was die Erzähler ihrem traditionellen Fond entnommen haben, ist aber von ihren grossen schopferischen Eigenschaften und Gefühlen durchdrungen worden.
subject: Articles
  topic: section
creator: Milan Škrbić
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2310

V. V. Ovečkin — The soviet sketch writer
type: item
description: The Soviet writer Valentin Vladimirovič Ovečkin is known as an author of plays, short stories and sketches. He is one among the innovators of the contem- porary Russian sketch. It is just in this genre that his literary significance is most prominent. Already before the Second World War Ovečkin wrote sketches which did not attract noteworthy interest either of readers or of literary critics. Anyhow, some of his pre-war sketches are worth mentioning, e. g.: Mistake (1935), Illness (1936), Offence (1936), A Letter from Home (1936), Disorđer (1936), Water Elf (1938), Kins- folk (1938). The author deals with old and new upheavals of the Russian village, but he dwells more on the new ones and surveys new problems that arise in kolkhozes. These sketches, more or less, passed unnoticed. The writer obtained literary popularity in his country only after the appearance of two longer stories: Praskovja Maksimovna (1939) and One of Many (1941) which form a compact whole. Ovečkin was a war correspondent during the Second World War and after the war he completely dedicated himself to literary work. In 1944 he published a successful story, A Greeting from the Front, which had the basic elements of a sketch. The author’s narration is both dynamic and attractive. It is the conver- sations of the Soviet people on the front and in the rear about their future lifeafter the end of the war. The work remains a valuable story, because it artistically describes a fatal period, the period which Europe and the remaining world will never forget. The writer obtained greater popularity in his homeland after the appearance of the book A Tiresome Spring (1956). He had been working on it for five years. The book is in fact a cycle of sketches in which the literary elements considerably prevail upon the bare current journalism. It prose submerges into the living Soviet reality. It presents, sometimes subtly and sometimes simply and clearly, all the current problems of kolkhoz life. On the other hand…
subject: Articles
  topic: section
creator: Ante Muljačić
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2309

A 15th century poem against women
type: item
description: The author deals with the text of a medieval poem which treats the theme of love in a special manner. It is a 15th century poem »against women« beginning with the Une »Sllši vsaki človik ovo« (»Let every man hear this«). The poem was already published by Strohal in 1916 as a part of the medieval prose composition Cvit vsake mudrosti, which in turn is the translation of the prose tvork Fiore di virtu, but the poem itself has not attracted any special attention of otfr investigators. The author treats the text from a literary hištorical and aesthelic point of view. He gives bibliographical and other information about it in the first place, and then he deals with the original mamiscript of the poem and adđs the transllte- rated version with notes on scribal errors and illegibilitles. The author pays special attention to place and time of its oi'igin. Although ihere are no expllcit data, the author is of opinion that the poem could have been written about the middle of the 15th century, but certainly not earlier than the beginning of Ihe century, probably in the »ikavian« area of the Zadar provlnce. It is impossible to establish that the poem is an original Croatian productlon, although according to some indications in the text it could be assumed so. At any rate, it is not easy to find its direct source in medieval poetry in Europe, but according to the treatment of the theme it evidently belongs to the general fundus of medieval poetry. It was written by a monk who was in favour of the intro- duction of celibacy. The author proves that the writer of the poem hađ some notions of medieval poetics. Then follows the discussion of tihe treatment of the theme ii later periods of Croatian literature as well as the echoes of the poem. The author thinks that the research into stylistic and spiritual relations in different literary periods in general would give rtew results.
subject: Articles
  topic: section
creator: Nikica Kolumbić
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2307

Stanislaw Przybyszewski and Croatian »Moderna«
type: item
description: The first part of the article deals with the problem of the reception accorded to the work of Stanislaw Przybyszewski in Croatian literature of the Modernistic period. The author exposes briefly the most important phases in Przybyszewski’s life and work, speaks about their echoes in Croatian literature of the period (translations, literary reviews, articles, essays, perfomances on Croatian stages, theatrical reviews, conlroversies about him belween the »Young« and the »Old«) and concludes that Przybyszewski, though far from being the best writer of Young Poland, was in Croatia at that time the most popular one. In the second part the author is concerned with the influence exerted by Przybyszewski on Croatian Modernists. This influence is most obvious in various ephemeral epigones of the older and younger Modernistic generation and in those writers who, in the Modernistic movement, were important as theoreticians and fighters, but whose literary work had soon fallen into obl'ivion; characteristic examples of V. Jelovšek and B. Drechsler-Vođnik are discussed in more detail. The only prominent Croatian writer influenced by Przybyszewski was J. Kosor, who was also the only Croatian Modernist who cultivated a long personal contact and Iriendship with him, but here this question is treated only so far as it is related to the period of Croatnan »Modema«, and, as a whole, it will be the subject of a separate study. The rather strong presence of S. Przybyszewski in the literature of Croatian »Moderna« can be explained by the fact that' his theoretical ideas, the fashionable character of his works and especially their style, which, in spite of being typically »modernistic«, was of high literary value, corresponded exactly to the taste of Croatian Modernists. Further, he was easily accessible to our reading public (his eaflier works vere even vritten in German and his Polish books were soon translated into German), he was clošely connected with the literary movement of Yqung G…
subject: Articles
  topic: section
creator: Nevenka Košutić-Brozović
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2305

Das werk von S. S. Kranjcevic in raum und zeit
type: item
description: Der Verfasser berucksichtigt zuerst die literarische Kritik über Kranjčević bis zum Jahre 1948 und stellt fest, dass diese Kritik keine Ergebnisse inbezug auf Kranjčević’ dichterisches Werk erzielt habe, und dass man aus ihr zu viel von den Verhaltnissen, in denen der Dichter gelebt hat, und zu wenig von seinen Gedichten erfahren habe. Man hat 1948 anlasslich von Kranjčević’ 40. Todestag infolge der Anwendung der marxistischen Weltanschauung und der soziologischen Methode in der Kritik erwartet, dass diese Kritik auch bedeutende Ergebnisse bringen werde. Die erwarteten Ergebnisse kamen aber nicht zustande, weil die damaligen Kriti- ker den Dichter nach ihrer eigenen Anschauung vom Jahre 1948 beurteilten. Das sieht man deutlich aus der Zeitschrift Republika aus dem Jahre 1948 (Nr. 11 u. 12). Durch die vulgare Anwendung der soziologischen Methode in den Aufsatzen iiber Kranjčević wurde Vladimir Nazor 1948 aufgebracht und hob in seiner Abhandlung »Čitajući Kranjčevića« (Rod JAZU 281) den Gedanken hervor, dass unser Dichter, doch das ware, was er sei, ohne Rucksicht auf die schweren Verhalt- nisse, in denen er gelebt habe, und dass die sogenannten »schweren Verhältnisse« des Raumes und der Zeit, in denen er gelebt habe, nicht die spezifische Kraft seiner Lyrik verursacht hatten, sondern »Fluch und Grosse« des dichterischen Genies, die er in sich getragen habe. Der Verfasser polemisiert über die Thesen von Nazor und ist bemüht zu zeigen, dass die ökonomisch-politisch-sozialen und personlichen Verhaltnisse doch die Eigenart der Lyrik von Kranjčević beeinflusst hätten und dass sie ihn an eine bestimmte Zeit und an einen bestimmten Raum, d. h. an die achtziger und neunziger Jahre des vorigen Jahrhunderts in Kroatien und Bosnien, in denen er gewirkt hat, gebunden hätten, ohne Rucksicht auf sein dichterisches Genie. Der Verfasser zeigt am Ende seiner Abhandlung, dass die Sprache jener Faktor ist, der Kranjčević auf die zeitlichen und raumlichen Relationen unserer Literatur in…
subject: Articles
  topic: section
creator: Nikola Ivanišin
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2304

Plot, act and scene in Držić's >Dundo Maroje
type: item
description: The author of this paper discusses structure of plot, act and scene in Držić’s comedy Dundo Maroje. In studying the plot the author comes to the conclusion that Držić has orga- nized the events on the stage, their sequence and the turning-points in a way to keep his audience, or the reader, in uninterrupted suspense. In the development of action he »launches« certain stimuli, certain forces, but whenever — for various reasons — such a force runs towards a dead end, a new force will appear based on a previous stimulus continuing the action not only in its own direction but releasing at the same time the temporarily paralyzed previous force to continue the action with it, and by its help. Around the main forces Držić has grouped the single elements of the plot so that each event, happening, or dialogue excites the curiosity of the audience; every element inevitably raises the question: »What comes next?« The plot seerns to grow by itself in front of the audience. And like the plot, planned and organized to suštain the tension, the single act in its structure both answers the question raised in the previous act and at the same time puts new questions which will find their solution in the following act. The single events are not only justified by and closely linked with the preceding action and the basic idea of the comedy as a whole, but are also introduced at the very moment to produce a maximum of scenic effect. Držić excels in the structure of scenes. In Dundo Maroje the scenes are mostly complex, containing more separate parts organized in a way to illuminate the action in different directions and dimensions (a conspicuous example: act II scene 2). Both in dialogue and monologue the topic of discussion or meditation quite naturally moves from theme to theme; there are no jarring transitions between the units of speech. The writer has a reliable sense of proportion, intro- ducing a new element at the right moment, and moreover: every word, every movement and every a…
subject: Articles
  topic: section
creator: Franjo Švelec
rights: Copyright (c) 2018 Radovi. Razdio lingvističko-filološki
date: 2018-04-16
publication date: 2018-04-16
doi: 10.15291/radoviling.2303