Papers by Grgo Mišković
DOAJ (DOAJ: Directory of Open Access Journals), 2016
Crkva u svijetu : Crkva u svijetu, Apr 7, 2016
Sažetak Članak prikazuje dosad nedovoljno istražen odnos između dvaju dramskih tekstova: Čuda dje... more Sažetak Članak prikazuje dosad nedovoljno istražen odnos između dvaju dramskih tekstova: Čuda djevice Ivane Drage Gervaisa i Glorije Ranka Marinkovića, pri čemu se nameće zaključak kako se radi o dvama sadržajno i ideološki veoma bliskim tekstovima. Obje drame, nastale otprilike u isto vrijeme, od autora koji su obavljali vrlo visoke i odgovorne kazališne dužnosti, tematiziraju Katoličku Crkvu na iznimno negativan način u vrijeme kad je politička, komunistička, vlast to zahtijevala radi vlastitih interesa. Čudo djevice Ivane temelji se na stvarnom slučaju Johance Jeroušek s početka XX. stoljeća, koji je već onomad u Supilovu Riječkom novom listu bio iskorišten za "antiklerikalnu propagandu", što je ponovljeno 1952. u Riječkom listu. Marinkovićeva Glorija donosi istu ideološku pouku, pri čemu se radnja Glorije može itekako povezati s Gervaisovom komedijom (glavna junakinja u sukobu s Crkvom), pa su autori vjerojatno crpili iz istog izvora. Nije pritom neznačajno da se i u Gloriji spominje slučaj "svete Johance". U razdoblju nakon proglašenja zatočenog nadbiskupa Stepinca kardinalom 1952. i posljedičnog prekida diplomatskih odnosa Jugoslavije s Vatikanom, kad se staleškim udruženjima svećenika željelo razbiti crkveno jedinstvo i odvojiti Crkvu u Hrvata od Rima, oba teksta propagiraju politički podoban zaključak. Gervaisova drama nije nikad izvedena-kao da je od dvije podobne i kao naručene drame odabrana ona uspješnija, kojoj je lošija maknuta s puta da ne bi smetala! Oba se teksta, posebice Gervaisov, tako u svojem povijesnom kontekstu i izrazitoj ideologičnosti mogu usporediti i s rimskim mimovima i farsama koji su ismijavali kršćane u vrijeme njihova progona.
Zadarski filološki dani V. Zbornik radova s Međunarodnoga znanstvenog skupa Zadarski filološki dani 5 održanog u Zadru 27. i 28. rujna 2013 (ur. Rafaela Božić, Slavomir Sambunjak), Sveučilište u Zadru, Zadar, 2015., 2015
Rad analizira Krležina Areteja i kritiku suvremene zapadnoeuropske (grčko-filozofske i judeokršća... more Rad analizira Krležina Areteja i kritiku suvremene zapadnoeuropske (grčko-filozofske i judeokršćanske) uljudbe u njemu izrečenu te otkriva skrivena značenja teksta, posebice glede političke situacije u vrijeme nastajanja drame. Otkriva koja je simbolika imena u ovom dramskom tekstu i zašto je Krleža povijesno stvarnog pobunjenog rimskog vojskovođu i samoproglašenog cara (djelomičnog) Galskog carstva Marka Kasijanija Latinija Postuma povezao s rimskom provincijom Ilirikom – s kojom on povijesno nije imao nikakve posebne veze. Odgovara na pitanje s kakvim je namjerama Krleža usporedio Rimsko carstvo u III. st. i onodobnu političku situaciju sa sebi suvremenom političkom situacijom, kakve veze sa svim tim imaju (južni) Slaveni koji prebivaju na Mediteranu (na području negdašnje rimske provincije Ilirika) i tko se krije iza maske Postuma Ilirika. Pitanje koje sumira sve gore izrečeno jest: zašto bismo Areteja mogli nazvati dramom s ključem? A mogli bismo ga tako nazvati jer je Krleža skrivećke, a na to navode mnogi znakovi u tekstu, u liku Postuma Ilirika prokazao Josipa Broza Tita kao totalitarističkog vladara koji, da bi se održao na vlasti, ne bira sredstva i koji zahtijeva da mu se klanjaju kao bogu. Krležina drama nije dosad bila u potpunosti shvaćena možda i zbog toga što je u vrijeme njena objavljivanja pročitati je javno na ovakav način bilo – više nego smiono. Ovaj je rad samo uvodni jer je ovu tematiku potrebno detaljnije razraditi.
KLJUČNE RIJEČI: Aretej, drama s ključem, Josip Broz Tito, Miroslav Krleža, politička alegorija, Postum Ilirik, totalitaristički sustavi (fašizam/nacizam/komunizam)
ARETEJ AS PLAY WITH A KEY
OR WHY DID KRLEŽA NAME ROMAN EMPEROR POSTUM AS
(SLAVIC AND MEDITARENIAN) ILLYRIAN
Summary
The paper analyses Krleža’s play Aretej and criticism of contemporary West European (based on Greek, Judaic and Christian philosophy) civilization, and discovers secret meanings of text, especially concerning political situation of the time in which was written. It also discovers the symbolism of names in play and why did Krleža the historical figure of rebel roman warlord and self-proclaimed emperor of (partial) Gaelic empire Marcus Cassianius Latinius Postumus connected with roman province of Illyricum – which is historically false. The paper discovers Krleža’s intentions in drawing parallels between 3rd century Roman Empire and political situation of his time, and the connections of (south) Slavs inhabiting the Mediterranean (territory of former roman province of Illyricum), and who is hiding behind the mask of emperor Postum Illyrian. The question that sums everything said above is: why can Aretej be defined as play with key? We could identify it as one because Krleža was, concealingly, as many signs in texts show, in character of Emperor Postumus Illyian, depict Josip Broz Tito as totalitarian ruler and unscrupulous politician, who demands godlike treatment from his subjects. Krleža’s play was not perceived like that in his own time, perhaps because interpreting it like this was too daring. This paper is a sort of introduction, because the said issues are prone to further research.
KEY WORDS: Aretej, play with a key, Josip Broz Tito, Miroslav Krleža, political allegory
Zadarski filološki dani IV. Zbornik radova s Međunarodnoga znanstvenog skupa Zadarski filološki dani 4 održanoga u Zadru 30. rujna i 1. listopada 2011 / Šejić, Rafaela ; Sambunjak, Slavomir (ur.). - Zadar : Sveučilište u Zadru , 2013. 619-643., 2013
U uvodnom dijelu izlaganja donosim kratke napomene glede shvaćanja pojmova metafora, alegorija, s... more U uvodnom dijelu izlaganja donosim kratke napomene glede shvaćanja pojmova metafora, alegorija, simbol i arhetip/ pralik, kako u znanosti o književnosti tako i u biblijskoj teologiji. Ovdje ću pokazati i na koji način same biblijske knjige shvaćaju i koriste arhetipove. Ove je pojmove potrebno razgraničiti jer unutar tipologije drama s religijskim (i biblijskim) elementima razlikujem i kategoriju troporeligijske drame, unutar koje smještam ove Krležine tekstove. Zatim ću, pomoću definiranih i razgraničenih pojmova, razložiti na koji način Krleža u nekim svojim dramama - a ovdje ću s tog stajališta analizirati drame Kraljevo, Hrvatska rapsodija, Michelangelo Buonarroti, Golgota i Adam i Eva - koristi biblijske i (kršćanske) religijske elemente kao arhetipove i trope: metaforu, alegoriju i simbol. Osvrnut ću se također kratko i na biblijske i religijske elemente u nekim drugim Krležinim dramama, u kojima su oni manje nazočni. Analizirajući spomenute drame pokazat ću koja je svrha i smisao Krležina korištenja religijskih i biblijskih elemenata u svakoj pojedinoj drami. Analiza će pokazati kako Krleža, usprkos tome što pripada ateističkom i čak protuvjerskom svjetonazoru, vrlo često koristi religijske i biblijske elemente kao sredstva za iskazivanje vlastitih misli, kao sredstva političke alegorije ili kao arhetipsko-mitsko „pojačanje“ radnje i ideja izraženih u dramama. Pri tom je čest slučaj da autor, koristeći religijski i biblijski materijal, istovremeno razara kršćanski mit.
KLJUČNE RIJEČI: arhetip, drama, Miroslav Krleža, religijski i biblijski elementi, trop (metafora, alegorija, simbol).
SUMMARY
In the first part of this article I explore understanding of terms metaphor, allegory, symbol and archetype, as in literary theory so in biblical theology. I also show in which way archetypes are understood and used in the Bible. These terms need to be distinguished because within the Typology of drama with religious (and biblical) elements I differ a category of troporeligious drama, in which I place Krleža's texts. After that, with such defined and distinguished terms, I present the way in which Krleža in some of his plays - here analyzed are Kraljevo (King's fair), Hrvatska rapsodija (Croatian Rhapsody), Michelangelo Buonarroti, Golgota (Calvary) and Adam i Eva (Adam and Eve) - uses (christian) religious and biblical elements as archetypes and tropes: metaphor, allegory and symbol. I also shortly mention biblical and religious elements in some other Krleža's plays in which these elements are present, but to a smaller extent. Analysis of the mentioned plays shows what is the purpose and meaning of Krleža's use of religious and biblical elements in each of these plays: Krleža, despite of his atheist, or even anti-religious world view, very often uses religious and biblical elements as means for expressing his thoughts, instrument of political allegory, or as archetypal-mythical „enhancement“ of the plot and ideas inherent in plays. The author often simultaneously destructs the very same christian religious and biblical myth whose material he uses.
KEY WORDS: archetype, drama, Miroslav Krleža, religious and biblical elements, trope (metaphor, allegory, symbol).
Crkva u svijetu, 2016
Sažetak
Članak prikazuje dosad nedovoljno istražen odnos između dvaju dramskih tekstova: Čuda dj... more Sažetak
Članak prikazuje dosad nedovoljno istražen odnos između dvaju dramskih tekstova: Čuda djevice Ivane Drage Gervaisa i Glorije Ranka Marinkovića, pri čemu se nameće zaključak kako se radi o dvama sadržajno i ideološki veoma bliskim tekstovima. Obje drame, nastale otprilike u isto vrijeme, od autora koji su obavljali vrlo visoke i odgovorne kazališne dužnosti, tematiziraju Katoličku Crkvu na izni-mno negativan način u vrijeme kad je politička, komunistička, vlast to zahtijevala radi vlastitih interesa. Čudo djevice Ivane temelji se na stvarnom slučaju Johance Jeroušek s početka XX. stoljeća, koji je već onomad u Supilovu Riječkom novom listu bio iskorišten za " antikleri-kalnu propagandu " , što je ponovljeno 1952. u Riječkom listu. Marinko-vićeva Glorija donosi istu ideološku pouku, pri čemu se radnja Glorije može itekako povezati s Gervaisovom komedijom (glavna junakinja u sukobu s Crkvom), pa su autori vjerojatno crpili iz istog izvora. Nije pritom neznačajno da se i u Gloriji spominje slučaj " svete Johance ". U razdoblju nakon proglašenja zatočenog nadbiskupa Stepinca kardi-nalom 1952. i posljedičnog prekida diplomatskih odnosa Jugoslavije s Vatikanom, kad se staleškim udruženjima svećenika željelo razbiti crkveno jedinstvo i odvojiti Crkvu u Hrvata od Rima, oba teksta propa-giraju politički podoban zaključak. Gervaisova drama nije nikad izve-dena – kao da je od dvije podobne i kao naručene drame odabrana ona uspješnija, kojoj je lošija maknuta s puta da ne bi smetala! Oba se teksta, posebice Gervaisov, tako u svojem povijesnom kontekstu i izrazitoj ideologičnosti mogu usporediti i s rimskim mimovima i farsa-ma koji su ismijavali kršćane u vrijeme njihova progona.
Ključne riječi: Čudo djevice Ivane Drage Gervaisa, Glorija Ranka Marinkovića, hrvatska drama, ideologija, intertekstualnost, komuni-stički progoni Crkve, religija, XX. stoljeće.
Summary
The article presents the so-far unexplored relation between the two dramas: The Virgin Joanna’s Miracle by Drago Gervais and Glo- ria by Ranko Marinković, with conclusion that these are very similar in content and ideology. Both dramas, created at around the same time by the authors who held high and responsible theatre positions, deal with the Catholic Church in a very negative way at a time when political, communist authorities demanded it for their own interest. The Virgin Johanna’s Miracle is based on a real case of Johanca Jeroušek of the early twentieth century, which even then was used for “anticlerical propaganda” in Supilo’s papers Riječki Novi List, and repeated again in 1952 in Riječki List. Marinković’s Gloria brings the same ideological lesson, in which the plot of Gloria may well be connected with Gervais’ comedy (the heroine in conflict with the Church), so they probably drew from the same source. It is not insignificant that the case of “Saint Johanca” is also mentioned in Gloria. In the period after the imprisoned Stepinac was named Cardinal in 1952 and consequential severance of diplomatic relations between Yugoslavia and Vatican, when the aim was to break the church unity by the class associations of priests and to separate the Church of Croatia from Rome, both texts propagated politically acceptable conclusion. Gervais’ drama had never been performed – presumably, out of two acceptable and commissioned dramas, the more successful one was chosen, while the worse drama was moved away not to be in the way! Both texts, in their historical context and distinctive ideological line, could be compared with Roman mimes and farces that ridiculed Christians at the time of their persecution.
Key words:
The Virgin Joanna’s Miracle by Drago Gervais; Gloria by Ranko Marinković; Croatian drama; ideology; intertextuality; Communist persecutions of the Church; religion; XX century;
Književna smotra : časopis za svjetsku književnost, 2004
SUMMARY
The Play With The Myth
Thomas Mann's Joseph and His Brethen as Literary Reading of Th... more SUMMARY
The Play With The Myth
Thomas Mann's Joseph and His Brethen as Literary Reading of The Bible
Thomas Mann's tetralogy 'Joseph and His Brethen' represents an expanding of the biblical story of Joseph, Jacob's son, using also other sources that deal with the story of Joseph (like the persian poet Firdausi's epic poem, Koran or jewish rabinic literature). A comparative structuralistic analysis of psychemic, sociemic and ontemic sequence led to the conclusion that what we have here is a productive reception, a literary reading or a concretisation of the biblical narrative. The prevailing characteristic of the work is a humoristic irony / parody, where the irony refers to the content and the parody to the style of the novels. The author had put the biblical story into reality with help of the contemporary means of philology, psychology, mythology, philosophy, archeology, historigraphy, religiology, theology and biblical egzegesis. But all this scientific treatment of the wholly unscientific and legendary matters is nothing but pure irony and the play with the myth. This work is necesserily partial, because it doesn'n consider other sources about Joseph, it only deals with the relation between the biblical narrative and the Mann's novels.
SAŽETAK
Igra s mitom
Josip i njegova braća Thomasa Manna kao književnoumjetničko čitanje Biblije
Tetralogija Thomasa Manna Josip i njegova braća predstavlja proširenje biblijske pripovijesti o Josipu, Jakovljevom sinu, koristeći i druge izvore koji govore o Josipu (kao što su poema perzijskog pjesnika Firdusija, Kuran ili židovska rabinska literatura). Komparativna strukturalna analiza psihemskog, sociemskog i ontemskog niza pokazala je da se radi o produktivnoj recepciji, književnoumjetničkom čitanju ili konkretizaciji biblijske pripovijesti. Prevladavajuća odlika djela jest humoristička ironija / parodija, pri čemu se ironija odnosi na sadržqj, parodija na stil djela. Autor je biblijsku priču postavio u realnost, koristeći suvremena sredstva filologije, psihologije, mitologije, filozofije, arheologije, historiografije, religiologije, teologije i biblijske egzegeze. Ali sva ta znanstvena obrada potpuno neznanstvene i legendarne građe nije ništa drugo nego čista ironija i igra s mitom. Ovaj je rad nužno djelomičan jer ne uzima u obzir druge izvore o Josipu, bavi se samo odnosom biblijske pripovijesti i Mannovih romana.
ZUSAMMENFASSUNG
Thomas Manns Tetralogie „Joseph und seine Brüder“ stellt eine Erweiterung der biblischen Erzählung über Joseph, Jakobs Sohn, dar, benutzt aber auch andere Quellen, die Joseph-Erzählung bearbeiten (wie Poem des persischen Dichters Firdausi, den Kora'n oder jüdisch rabbinische Literatur). Die vergleichende strukturalistische Analyse der psychemischen, soziemischen und ontemischen Reihe zeigte, dass es sich um eine produktive Rezeption, ein kunstliterarisches Lesen oder eine Konkretisation der biblischen Erzählung handelt. Die überwiegende Werkauszeichnung ist eine humoristische Ironie/Parodie, wobei sich die Ironie auf den Stoff und die Parodie auf den Stil bezieht. Der Autor hat mit Hilfe der Gegenwartsmittel der Philologie, Psychologie, Mythologie, Philosophie, Archäologie, Geschichtsforschung, Religionswissenschaft, Theologie und Bibelexegeze die biblische Geschichte in die Realität gesetzt, aber all diese wissenschaftliche Bearbeitung eines völlig unwissenschaftlichen und legendären Stoffes ist nicht anderes als eine Ironie und ein Spiel mit dem Mythos. Diese Arbeit ist notwendigerweise partial, denn es nimmt die anderen Quellen nicht in Betracht, sie beschäftigt sich nur mit dem Verhältnis zwischen biblischer Geschichte und Manns Werk.
Doctoral dissertation by Grgo Mišković
Religijski i biblijski elementi u hrvatskoj drami XX. stoljeća. Doktorski rad, (Filozofski fakultet Sveučilišta u Zagrebu), Zagreb, 2012., 2012
SAŽETAK
Autor se u disertaciji bavi religijskim i biblijskim elementima u hrvatskoj drami XX. st... more SAŽETAK
Autor se u disertaciji bavi religijskim i biblijskim elementima u hrvatskoj drami XX. stoljeća. Nakon prikaza dosadašnjih rezultata istraživanja donosi neka terminološka pojašnjenja definirajući i razgraničujući sljedeće pojmove: biblijska, religijska i religiozna drama/književnost, mit, ideologija i religija, teodrama, metafora, alegorija, simbol i arhetip. Pritom razgraničuje religijsku dramu/književnost (koja religiju tematizira, ali ne mora biti pobožna) od one religiozne (koja odiše pobožnošću). Biblijsku književnost smatra podvrstom religijske književnosti. Na osnovi odabranog korpusa drama autor je osmislio tipologiju drama s religijskim (i biblijskim) elementima u kojoj razlikuje pet kategorija: religijsku dramu, biblijsku, ambijentalnoreligijsku, troporeligijsku i instrumentalnoreligijsku dramu. Potom, prema svojoj tipologiji i prema tipologiji primijenjenih postupaka intertekstualnosti u hrvatskoj drami druge polovice XX. stoljeća Helene Peričić, analizira više od 140 dramskih djela, pri čemu raščlanjuje kako nazočnost religijskih i biblijskih elemenata tako i religiozni stav kojim djelo odiše. Analizira i komparativne utjecaje iz stranih književnosti koji su vidljivi u djelima. U sociotekstualnim istraživanjima donosi kronološku analizu međuodnosa dramskog teksta i društvenih okolnosti (kazališno-dramskih, povijesnih i crkvenopovijesnih) kroz cijelo XX. stoljeće. Konačan zaključak je kako su religijski i biblijski elementi bili neprestance nazočni u hrvatskom dramskom pismu kroz cijelo XX. stoljeće, ali je religiozan stav imanentan tekstovima u nekim slučajevima doživljavao promjene u kojima su se reflektirale društvene promjene: raspon od pobožnog do protureligioznog odražavao je širenje ateizma i liberalizma, vrijeme komunističkog totalitarizma i slično.
KLJUČNE RIJEČI: Biblija, hrvatska drama, ideologija, religija, XX. stoljeće.
SUMMARY
In the dissertation the author deals with the religious and biblical elements in the 20th century Croatian drama. After the display of the former research results, he brings forth some terminological explanations by defining and distinguishing the following terms: biblical, religion and religious drama/literature, myth, ideology and religion, theodrama, metaphor, allegory, symbol and archetype. The most important thing here is that he distinguishes religion drama/literature (which deals with religion, but doesn't have to be pious) from the religious, pious one. He considers the biblical drama/literature to be a subspecies of the religion one. Both religion and biblical drama can have a religious attitude which spans from devotion and piety over skepticism, religious indifference and agnosticism to a(nti)theism and struggle against religion. He also differentiates among myth, ideology and religion, terms whose meanings, in the author's opinion, are often not enough clearly specified as used in the Croatian literary theory. After that he clarifies insufficiently clear meaning (which is also the case in the Croatian literary theory) of theodrama and explains the usage of terms metaphor, allegory, symbol and archetype in this dissertation. On the basis of existing research he names some categories of contextuality/metatextuality, or relation of the texts towards other texts and the language of culture (religion-textuality, ideological-textuality, cultural-textuality, myth-textuality, etc.) as well as to natural language or reality (spacial-textuality, socio-textuality, historical-textuality, etc.).
On the basis of the chosen body of texts he created a typology of drama with religious (and biblical) elements in which he differentiates five categories: (1) religion drama, which deals with themes from the world of religion, with subtypes: biographic and hagiographic drama (which depicts the lives of saints and other religiously significant characters), miracle and epiphany drama (which depicts miracles and apparitions), and demonological drama (which depicts the dark side of the spiritual); (2) biblical drama with themes and motifs from the Bible; (3) religion-ambient drama, which happens in religious ambient or milieu, but doesn't necessarily deals with religion themes; (4) religion-trope drama in which religion and biblical elements are primarily used as archetypes and tropes: metaphors, allegories and symbols; and (5) religion-instrumental drama, in which the playwrights use the religion and biblical elements as means/instrument of expressing the ideological or political ideas. The author compares his typology to categories of mediaeval church drama (liturgical drama, mystery, miracle and morality play).
In the following literary-analytic and comparative studies, according to his typology and the typology of the applied intertextuality proceedings in Croatian drama of the second half of the 20th century by Helena Peričić, Mišković analyzes more than 140 plays. He places every play in separate category by exploring the presence of the religion and biblical elements in it, discovering what is the purpose of use of these elements as well as the religious attitude inherent to the play. He also analyzes comparative influences from foreign literatures which can be identified within every text. At the end of this chapter he presents a short comparative survey of the 20th century Croatian drama in European and world literature context.
In socio-textual studies he brings forth the chronological analysis of the interrelation between the plays and social circumstances throughout the whole 20th century. He shows in which way events like foundation and disappearance of different states, changes in social and political structures and systems, different theatrical organization, changes in literary theory and practice, events like church councils and other reforms of the Catholic Church, the spreading of atheism and liberalism, immersion of totalitarian regimes like Nazism, fascism and communism and all sorts of theatrical-dramatic, historical and church historical events changed the purpose of religion and biblical elements in dramatic texts. He explores which impact all these events had on religious attitude of different texts and on quantity of religious, pious plays written and produced.
The final conclusion is that religion and biblical elements were constantly present within the Croatian drama throughout the whole 20th century, but the purpose of use of these elements were different from case to case and it also depended on religious attitude expressed more or less openly in the text. The religious attitude intrinsic to the majority of texts in some cases changed and the quantity of religious plays fluctuated, and these changes reflected the changes in society in general: the span between the pious and counter religious often reflected events like spreading of atheism and liberalism, rule of the communist totalitarianism, etc.
KEYWORDS: Bible, Croatian drama, ideology, religion, 20th century.
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Papers by Grgo Mišković
KLJUČNE RIJEČI: Aretej, drama s ključem, Josip Broz Tito, Miroslav Krleža, politička alegorija, Postum Ilirik, totalitaristički sustavi (fašizam/nacizam/komunizam)
ARETEJ AS PLAY WITH A KEY
OR WHY DID KRLEŽA NAME ROMAN EMPEROR POSTUM AS
(SLAVIC AND MEDITARENIAN) ILLYRIAN
Summary
The paper analyses Krleža’s play Aretej and criticism of contemporary West European (based on Greek, Judaic and Christian philosophy) civilization, and discovers secret meanings of text, especially concerning political situation of the time in which was written. It also discovers the symbolism of names in play and why did Krleža the historical figure of rebel roman warlord and self-proclaimed emperor of (partial) Gaelic empire Marcus Cassianius Latinius Postumus connected with roman province of Illyricum – which is historically false. The paper discovers Krleža’s intentions in drawing parallels between 3rd century Roman Empire and political situation of his time, and the connections of (south) Slavs inhabiting the Mediterranean (territory of former roman province of Illyricum), and who is hiding behind the mask of emperor Postum Illyrian. The question that sums everything said above is: why can Aretej be defined as play with key? We could identify it as one because Krleža was, concealingly, as many signs in texts show, in character of Emperor Postumus Illyian, depict Josip Broz Tito as totalitarian ruler and unscrupulous politician, who demands godlike treatment from his subjects. Krleža’s play was not perceived like that in his own time, perhaps because interpreting it like this was too daring. This paper is a sort of introduction, because the said issues are prone to further research.
KEY WORDS: Aretej, play with a key, Josip Broz Tito, Miroslav Krleža, political allegory
KLJUČNE RIJEČI: arhetip, drama, Miroslav Krleža, religijski i biblijski elementi, trop (metafora, alegorija, simbol).
SUMMARY
In the first part of this article I explore understanding of terms metaphor, allegory, symbol and archetype, as in literary theory so in biblical theology. I also show in which way archetypes are understood and used in the Bible. These terms need to be distinguished because within the Typology of drama with religious (and biblical) elements I differ a category of troporeligious drama, in which I place Krleža's texts. After that, with such defined and distinguished terms, I present the way in which Krleža in some of his plays - here analyzed are Kraljevo (King's fair), Hrvatska rapsodija (Croatian Rhapsody), Michelangelo Buonarroti, Golgota (Calvary) and Adam i Eva (Adam and Eve) - uses (christian) religious and biblical elements as archetypes and tropes: metaphor, allegory and symbol. I also shortly mention biblical and religious elements in some other Krleža's plays in which these elements are present, but to a smaller extent. Analysis of the mentioned plays shows what is the purpose and meaning of Krleža's use of religious and biblical elements in each of these plays: Krleža, despite of his atheist, or even anti-religious world view, very often uses religious and biblical elements as means for expressing his thoughts, instrument of political allegory, or as archetypal-mythical „enhancement“ of the plot and ideas inherent in plays. The author often simultaneously destructs the very same christian religious and biblical myth whose material he uses.
KEY WORDS: archetype, drama, Miroslav Krleža, religious and biblical elements, trope (metaphor, allegory, symbol).
Članak prikazuje dosad nedovoljno istražen odnos između dvaju dramskih tekstova: Čuda djevice Ivane Drage Gervaisa i Glorije Ranka Marinkovića, pri čemu se nameće zaključak kako se radi o dvama sadržajno i ideološki veoma bliskim tekstovima. Obje drame, nastale otprilike u isto vrijeme, od autora koji su obavljali vrlo visoke i odgovorne kazališne dužnosti, tematiziraju Katoličku Crkvu na izni-mno negativan način u vrijeme kad je politička, komunistička, vlast to zahtijevala radi vlastitih interesa. Čudo djevice Ivane temelji se na stvarnom slučaju Johance Jeroušek s početka XX. stoljeća, koji je već onomad u Supilovu Riječkom novom listu bio iskorišten za " antikleri-kalnu propagandu " , što je ponovljeno 1952. u Riječkom listu. Marinko-vićeva Glorija donosi istu ideološku pouku, pri čemu se radnja Glorije može itekako povezati s Gervaisovom komedijom (glavna junakinja u sukobu s Crkvom), pa su autori vjerojatno crpili iz istog izvora. Nije pritom neznačajno da se i u Gloriji spominje slučaj " svete Johance ". U razdoblju nakon proglašenja zatočenog nadbiskupa Stepinca kardi-nalom 1952. i posljedičnog prekida diplomatskih odnosa Jugoslavije s Vatikanom, kad se staleškim udruženjima svećenika željelo razbiti crkveno jedinstvo i odvojiti Crkvu u Hrvata od Rima, oba teksta propa-giraju politički podoban zaključak. Gervaisova drama nije nikad izve-dena – kao da je od dvije podobne i kao naručene drame odabrana ona uspješnija, kojoj je lošija maknuta s puta da ne bi smetala! Oba se teksta, posebice Gervaisov, tako u svojem povijesnom kontekstu i izrazitoj ideologičnosti mogu usporediti i s rimskim mimovima i farsa-ma koji su ismijavali kršćane u vrijeme njihova progona.
Ključne riječi: Čudo djevice Ivane Drage Gervaisa, Glorija Ranka Marinkovića, hrvatska drama, ideologija, intertekstualnost, komuni-stički progoni Crkve, religija, XX. stoljeće.
Summary
The article presents the so-far unexplored relation between the two dramas: The Virgin Joanna’s Miracle by Drago Gervais and Glo- ria by Ranko Marinković, with conclusion that these are very similar in content and ideology. Both dramas, created at around the same time by the authors who held high and responsible theatre positions, deal with the Catholic Church in a very negative way at a time when political, communist authorities demanded it for their own interest. The Virgin Johanna’s Miracle is based on a real case of Johanca Jeroušek of the early twentieth century, which even then was used for “anticlerical propaganda” in Supilo’s papers Riječki Novi List, and repeated again in 1952 in Riječki List. Marinković’s Gloria brings the same ideological lesson, in which the plot of Gloria may well be connected with Gervais’ comedy (the heroine in conflict with the Church), so they probably drew from the same source. It is not insignificant that the case of “Saint Johanca” is also mentioned in Gloria. In the period after the imprisoned Stepinac was named Cardinal in 1952 and consequential severance of diplomatic relations between Yugoslavia and Vatican, when the aim was to break the church unity by the class associations of priests and to separate the Church of Croatia from Rome, both texts propagated politically acceptable conclusion. Gervais’ drama had never been performed – presumably, out of two acceptable and commissioned dramas, the more successful one was chosen, while the worse drama was moved away not to be in the way! Both texts, in their historical context and distinctive ideological line, could be compared with Roman mimes and farces that ridiculed Christians at the time of their persecution.
Key words:
The Virgin Joanna’s Miracle by Drago Gervais; Gloria by Ranko Marinković; Croatian drama; ideology; intertextuality; Communist persecutions of the Church; religion; XX century;
The Play With The Myth
Thomas Mann's Joseph and His Brethen as Literary Reading of The Bible
Thomas Mann's tetralogy 'Joseph and His Brethen' represents an expanding of the biblical story of Joseph, Jacob's son, using also other sources that deal with the story of Joseph (like the persian poet Firdausi's epic poem, Koran or jewish rabinic literature). A comparative structuralistic analysis of psychemic, sociemic and ontemic sequence led to the conclusion that what we have here is a productive reception, a literary reading or a concretisation of the biblical narrative. The prevailing characteristic of the work is a humoristic irony / parody, where the irony refers to the content and the parody to the style of the novels. The author had put the biblical story into reality with help of the contemporary means of philology, psychology, mythology, philosophy, archeology, historigraphy, religiology, theology and biblical egzegesis. But all this scientific treatment of the wholly unscientific and legendary matters is nothing but pure irony and the play with the myth. This work is necesserily partial, because it doesn'n consider other sources about Joseph, it only deals with the relation between the biblical narrative and the Mann's novels.
SAŽETAK
Igra s mitom
Josip i njegova braća Thomasa Manna kao književnoumjetničko čitanje Biblije
Tetralogija Thomasa Manna Josip i njegova braća predstavlja proširenje biblijske pripovijesti o Josipu, Jakovljevom sinu, koristeći i druge izvore koji govore o Josipu (kao što su poema perzijskog pjesnika Firdusija, Kuran ili židovska rabinska literatura). Komparativna strukturalna analiza psihemskog, sociemskog i ontemskog niza pokazala je da se radi o produktivnoj recepciji, književnoumjetničkom čitanju ili konkretizaciji biblijske pripovijesti. Prevladavajuća odlika djela jest humoristička ironija / parodija, pri čemu se ironija odnosi na sadržqj, parodija na stil djela. Autor je biblijsku priču postavio u realnost, koristeći suvremena sredstva filologije, psihologije, mitologije, filozofije, arheologije, historiografije, religiologije, teologije i biblijske egzegeze. Ali sva ta znanstvena obrada potpuno neznanstvene i legendarne građe nije ništa drugo nego čista ironija i igra s mitom. Ovaj je rad nužno djelomičan jer ne uzima u obzir druge izvore o Josipu, bavi se samo odnosom biblijske pripovijesti i Mannovih romana.
ZUSAMMENFASSUNG
Thomas Manns Tetralogie „Joseph und seine Brüder“ stellt eine Erweiterung der biblischen Erzählung über Joseph, Jakobs Sohn, dar, benutzt aber auch andere Quellen, die Joseph-Erzählung bearbeiten (wie Poem des persischen Dichters Firdausi, den Kora'n oder jüdisch rabbinische Literatur). Die vergleichende strukturalistische Analyse der psychemischen, soziemischen und ontemischen Reihe zeigte, dass es sich um eine produktive Rezeption, ein kunstliterarisches Lesen oder eine Konkretisation der biblischen Erzählung handelt. Die überwiegende Werkauszeichnung ist eine humoristische Ironie/Parodie, wobei sich die Ironie auf den Stoff und die Parodie auf den Stil bezieht. Der Autor hat mit Hilfe der Gegenwartsmittel der Philologie, Psychologie, Mythologie, Philosophie, Archäologie, Geschichtsforschung, Religionswissenschaft, Theologie und Bibelexegeze die biblische Geschichte in die Realität gesetzt, aber all diese wissenschaftliche Bearbeitung eines völlig unwissenschaftlichen und legendären Stoffes ist nicht anderes als eine Ironie und ein Spiel mit dem Mythos. Diese Arbeit ist notwendigerweise partial, denn es nimmt die anderen Quellen nicht in Betracht, sie beschäftigt sich nur mit dem Verhältnis zwischen biblischer Geschichte und Manns Werk.
Doctoral dissertation by Grgo Mišković
Autor se u disertaciji bavi religijskim i biblijskim elementima u hrvatskoj drami XX. stoljeća. Nakon prikaza dosadašnjih rezultata istraživanja donosi neka terminološka pojašnjenja definirajući i razgraničujući sljedeće pojmove: biblijska, religijska i religiozna drama/književnost, mit, ideologija i religija, teodrama, metafora, alegorija, simbol i arhetip. Pritom razgraničuje religijsku dramu/književnost (koja religiju tematizira, ali ne mora biti pobožna) od one religiozne (koja odiše pobožnošću). Biblijsku književnost smatra podvrstom religijske književnosti. Na osnovi odabranog korpusa drama autor je osmislio tipologiju drama s religijskim (i biblijskim) elementima u kojoj razlikuje pet kategorija: religijsku dramu, biblijsku, ambijentalnoreligijsku, troporeligijsku i instrumentalnoreligijsku dramu. Potom, prema svojoj tipologiji i prema tipologiji primijenjenih postupaka intertekstualnosti u hrvatskoj drami druge polovice XX. stoljeća Helene Peričić, analizira više od 140 dramskih djela, pri čemu raščlanjuje kako nazočnost religijskih i biblijskih elemenata tako i religiozni stav kojim djelo odiše. Analizira i komparativne utjecaje iz stranih književnosti koji su vidljivi u djelima. U sociotekstualnim istraživanjima donosi kronološku analizu međuodnosa dramskog teksta i društvenih okolnosti (kazališno-dramskih, povijesnih i crkvenopovijesnih) kroz cijelo XX. stoljeće. Konačan zaključak je kako su religijski i biblijski elementi bili neprestance nazočni u hrvatskom dramskom pismu kroz cijelo XX. stoljeće, ali je religiozan stav imanentan tekstovima u nekim slučajevima doživljavao promjene u kojima su se reflektirale društvene promjene: raspon od pobožnog do protureligioznog odražavao je širenje ateizma i liberalizma, vrijeme komunističkog totalitarizma i slično.
KLJUČNE RIJEČI: Biblija, hrvatska drama, ideologija, religija, XX. stoljeće.
SUMMARY
In the dissertation the author deals with the religious and biblical elements in the 20th century Croatian drama. After the display of the former research results, he brings forth some terminological explanations by defining and distinguishing the following terms: biblical, religion and religious drama/literature, myth, ideology and religion, theodrama, metaphor, allegory, symbol and archetype. The most important thing here is that he distinguishes religion drama/literature (which deals with religion, but doesn't have to be pious) from the religious, pious one. He considers the biblical drama/literature to be a subspecies of the religion one. Both religion and biblical drama can have a religious attitude which spans from devotion and piety over skepticism, religious indifference and agnosticism to a(nti)theism and struggle against religion. He also differentiates among myth, ideology and religion, terms whose meanings, in the author's opinion, are often not enough clearly specified as used in the Croatian literary theory. After that he clarifies insufficiently clear meaning (which is also the case in the Croatian literary theory) of theodrama and explains the usage of terms metaphor, allegory, symbol and archetype in this dissertation. On the basis of existing research he names some categories of contextuality/metatextuality, or relation of the texts towards other texts and the language of culture (religion-textuality, ideological-textuality, cultural-textuality, myth-textuality, etc.) as well as to natural language or reality (spacial-textuality, socio-textuality, historical-textuality, etc.).
On the basis of the chosen body of texts he created a typology of drama with religious (and biblical) elements in which he differentiates five categories: (1) religion drama, which deals with themes from the world of religion, with subtypes: biographic and hagiographic drama (which depicts the lives of saints and other religiously significant characters), miracle and epiphany drama (which depicts miracles and apparitions), and demonological drama (which depicts the dark side of the spiritual); (2) biblical drama with themes and motifs from the Bible; (3) religion-ambient drama, which happens in religious ambient or milieu, but doesn't necessarily deals with religion themes; (4) religion-trope drama in which religion and biblical elements are primarily used as archetypes and tropes: metaphors, allegories and symbols; and (5) religion-instrumental drama, in which the playwrights use the religion and biblical elements as means/instrument of expressing the ideological or political ideas. The author compares his typology to categories of mediaeval church drama (liturgical drama, mystery, miracle and morality play).
In the following literary-analytic and comparative studies, according to his typology and the typology of the applied intertextuality proceedings in Croatian drama of the second half of the 20th century by Helena Peričić, Mišković analyzes more than 140 plays. He places every play in separate category by exploring the presence of the religion and biblical elements in it, discovering what is the purpose of use of these elements as well as the religious attitude inherent to the play. He also analyzes comparative influences from foreign literatures which can be identified within every text. At the end of this chapter he presents a short comparative survey of the 20th century Croatian drama in European and world literature context.
In socio-textual studies he brings forth the chronological analysis of the interrelation between the plays and social circumstances throughout the whole 20th century. He shows in which way events like foundation and disappearance of different states, changes in social and political structures and systems, different theatrical organization, changes in literary theory and practice, events like church councils and other reforms of the Catholic Church, the spreading of atheism and liberalism, immersion of totalitarian regimes like Nazism, fascism and communism and all sorts of theatrical-dramatic, historical and church historical events changed the purpose of religion and biblical elements in dramatic texts. He explores which impact all these events had on religious attitude of different texts and on quantity of religious, pious plays written and produced.
The final conclusion is that religion and biblical elements were constantly present within the Croatian drama throughout the whole 20th century, but the purpose of use of these elements were different from case to case and it also depended on religious attitude expressed more or less openly in the text. The religious attitude intrinsic to the majority of texts in some cases changed and the quantity of religious plays fluctuated, and these changes reflected the changes in society in general: the span between the pious and counter religious often reflected events like spreading of atheism and liberalism, rule of the communist totalitarianism, etc.
KEYWORDS: Bible, Croatian drama, ideology, religion, 20th century.
KLJUČNE RIJEČI: Aretej, drama s ključem, Josip Broz Tito, Miroslav Krleža, politička alegorija, Postum Ilirik, totalitaristički sustavi (fašizam/nacizam/komunizam)
ARETEJ AS PLAY WITH A KEY
OR WHY DID KRLEŽA NAME ROMAN EMPEROR POSTUM AS
(SLAVIC AND MEDITARENIAN) ILLYRIAN
Summary
The paper analyses Krleža’s play Aretej and criticism of contemporary West European (based on Greek, Judaic and Christian philosophy) civilization, and discovers secret meanings of text, especially concerning political situation of the time in which was written. It also discovers the symbolism of names in play and why did Krleža the historical figure of rebel roman warlord and self-proclaimed emperor of (partial) Gaelic empire Marcus Cassianius Latinius Postumus connected with roman province of Illyricum – which is historically false. The paper discovers Krleža’s intentions in drawing parallels between 3rd century Roman Empire and political situation of his time, and the connections of (south) Slavs inhabiting the Mediterranean (territory of former roman province of Illyricum), and who is hiding behind the mask of emperor Postum Illyrian. The question that sums everything said above is: why can Aretej be defined as play with key? We could identify it as one because Krleža was, concealingly, as many signs in texts show, in character of Emperor Postumus Illyian, depict Josip Broz Tito as totalitarian ruler and unscrupulous politician, who demands godlike treatment from his subjects. Krleža’s play was not perceived like that in his own time, perhaps because interpreting it like this was too daring. This paper is a sort of introduction, because the said issues are prone to further research.
KEY WORDS: Aretej, play with a key, Josip Broz Tito, Miroslav Krleža, political allegory
KLJUČNE RIJEČI: arhetip, drama, Miroslav Krleža, religijski i biblijski elementi, trop (metafora, alegorija, simbol).
SUMMARY
In the first part of this article I explore understanding of terms metaphor, allegory, symbol and archetype, as in literary theory so in biblical theology. I also show in which way archetypes are understood and used in the Bible. These terms need to be distinguished because within the Typology of drama with religious (and biblical) elements I differ a category of troporeligious drama, in which I place Krleža's texts. After that, with such defined and distinguished terms, I present the way in which Krleža in some of his plays - here analyzed are Kraljevo (King's fair), Hrvatska rapsodija (Croatian Rhapsody), Michelangelo Buonarroti, Golgota (Calvary) and Adam i Eva (Adam and Eve) - uses (christian) religious and biblical elements as archetypes and tropes: metaphor, allegory and symbol. I also shortly mention biblical and religious elements in some other Krleža's plays in which these elements are present, but to a smaller extent. Analysis of the mentioned plays shows what is the purpose and meaning of Krleža's use of religious and biblical elements in each of these plays: Krleža, despite of his atheist, or even anti-religious world view, very often uses religious and biblical elements as means for expressing his thoughts, instrument of political allegory, or as archetypal-mythical „enhancement“ of the plot and ideas inherent in plays. The author often simultaneously destructs the very same christian religious and biblical myth whose material he uses.
KEY WORDS: archetype, drama, Miroslav Krleža, religious and biblical elements, trope (metaphor, allegory, symbol).
Članak prikazuje dosad nedovoljno istražen odnos između dvaju dramskih tekstova: Čuda djevice Ivane Drage Gervaisa i Glorije Ranka Marinkovića, pri čemu se nameće zaključak kako se radi o dvama sadržajno i ideološki veoma bliskim tekstovima. Obje drame, nastale otprilike u isto vrijeme, od autora koji su obavljali vrlo visoke i odgovorne kazališne dužnosti, tematiziraju Katoličku Crkvu na izni-mno negativan način u vrijeme kad je politička, komunistička, vlast to zahtijevala radi vlastitih interesa. Čudo djevice Ivane temelji se na stvarnom slučaju Johance Jeroušek s početka XX. stoljeća, koji je već onomad u Supilovu Riječkom novom listu bio iskorišten za " antikleri-kalnu propagandu " , što je ponovljeno 1952. u Riječkom listu. Marinko-vićeva Glorija donosi istu ideološku pouku, pri čemu se radnja Glorije može itekako povezati s Gervaisovom komedijom (glavna junakinja u sukobu s Crkvom), pa su autori vjerojatno crpili iz istog izvora. Nije pritom neznačajno da se i u Gloriji spominje slučaj " svete Johance ". U razdoblju nakon proglašenja zatočenog nadbiskupa Stepinca kardi-nalom 1952. i posljedičnog prekida diplomatskih odnosa Jugoslavije s Vatikanom, kad se staleškim udruženjima svećenika željelo razbiti crkveno jedinstvo i odvojiti Crkvu u Hrvata od Rima, oba teksta propa-giraju politički podoban zaključak. Gervaisova drama nije nikad izve-dena – kao da je od dvije podobne i kao naručene drame odabrana ona uspješnija, kojoj je lošija maknuta s puta da ne bi smetala! Oba se teksta, posebice Gervaisov, tako u svojem povijesnom kontekstu i izrazitoj ideologičnosti mogu usporediti i s rimskim mimovima i farsa-ma koji su ismijavali kršćane u vrijeme njihova progona.
Ključne riječi: Čudo djevice Ivane Drage Gervaisa, Glorija Ranka Marinkovića, hrvatska drama, ideologija, intertekstualnost, komuni-stički progoni Crkve, religija, XX. stoljeće.
Summary
The article presents the so-far unexplored relation between the two dramas: The Virgin Joanna’s Miracle by Drago Gervais and Glo- ria by Ranko Marinković, with conclusion that these are very similar in content and ideology. Both dramas, created at around the same time by the authors who held high and responsible theatre positions, deal with the Catholic Church in a very negative way at a time when political, communist authorities demanded it for their own interest. The Virgin Johanna’s Miracle is based on a real case of Johanca Jeroušek of the early twentieth century, which even then was used for “anticlerical propaganda” in Supilo’s papers Riječki Novi List, and repeated again in 1952 in Riječki List. Marinković’s Gloria brings the same ideological lesson, in which the plot of Gloria may well be connected with Gervais’ comedy (the heroine in conflict with the Church), so they probably drew from the same source. It is not insignificant that the case of “Saint Johanca” is also mentioned in Gloria. In the period after the imprisoned Stepinac was named Cardinal in 1952 and consequential severance of diplomatic relations between Yugoslavia and Vatican, when the aim was to break the church unity by the class associations of priests and to separate the Church of Croatia from Rome, both texts propagated politically acceptable conclusion. Gervais’ drama had never been performed – presumably, out of two acceptable and commissioned dramas, the more successful one was chosen, while the worse drama was moved away not to be in the way! Both texts, in their historical context and distinctive ideological line, could be compared with Roman mimes and farces that ridiculed Christians at the time of their persecution.
Key words:
The Virgin Joanna’s Miracle by Drago Gervais; Gloria by Ranko Marinković; Croatian drama; ideology; intertextuality; Communist persecutions of the Church; religion; XX century;
The Play With The Myth
Thomas Mann's Joseph and His Brethen as Literary Reading of The Bible
Thomas Mann's tetralogy 'Joseph and His Brethen' represents an expanding of the biblical story of Joseph, Jacob's son, using also other sources that deal with the story of Joseph (like the persian poet Firdausi's epic poem, Koran or jewish rabinic literature). A comparative structuralistic analysis of psychemic, sociemic and ontemic sequence led to the conclusion that what we have here is a productive reception, a literary reading or a concretisation of the biblical narrative. The prevailing characteristic of the work is a humoristic irony / parody, where the irony refers to the content and the parody to the style of the novels. The author had put the biblical story into reality with help of the contemporary means of philology, psychology, mythology, philosophy, archeology, historigraphy, religiology, theology and biblical egzegesis. But all this scientific treatment of the wholly unscientific and legendary matters is nothing but pure irony and the play with the myth. This work is necesserily partial, because it doesn'n consider other sources about Joseph, it only deals with the relation between the biblical narrative and the Mann's novels.
SAŽETAK
Igra s mitom
Josip i njegova braća Thomasa Manna kao književnoumjetničko čitanje Biblije
Tetralogija Thomasa Manna Josip i njegova braća predstavlja proširenje biblijske pripovijesti o Josipu, Jakovljevom sinu, koristeći i druge izvore koji govore o Josipu (kao što su poema perzijskog pjesnika Firdusija, Kuran ili židovska rabinska literatura). Komparativna strukturalna analiza psihemskog, sociemskog i ontemskog niza pokazala je da se radi o produktivnoj recepciji, književnoumjetničkom čitanju ili konkretizaciji biblijske pripovijesti. Prevladavajuća odlika djela jest humoristička ironija / parodija, pri čemu se ironija odnosi na sadržqj, parodija na stil djela. Autor je biblijsku priču postavio u realnost, koristeći suvremena sredstva filologije, psihologije, mitologije, filozofije, arheologije, historiografije, religiologije, teologije i biblijske egzegeze. Ali sva ta znanstvena obrada potpuno neznanstvene i legendarne građe nije ništa drugo nego čista ironija i igra s mitom. Ovaj je rad nužno djelomičan jer ne uzima u obzir druge izvore o Josipu, bavi se samo odnosom biblijske pripovijesti i Mannovih romana.
ZUSAMMENFASSUNG
Thomas Manns Tetralogie „Joseph und seine Brüder“ stellt eine Erweiterung der biblischen Erzählung über Joseph, Jakobs Sohn, dar, benutzt aber auch andere Quellen, die Joseph-Erzählung bearbeiten (wie Poem des persischen Dichters Firdausi, den Kora'n oder jüdisch rabbinische Literatur). Die vergleichende strukturalistische Analyse der psychemischen, soziemischen und ontemischen Reihe zeigte, dass es sich um eine produktive Rezeption, ein kunstliterarisches Lesen oder eine Konkretisation der biblischen Erzählung handelt. Die überwiegende Werkauszeichnung ist eine humoristische Ironie/Parodie, wobei sich die Ironie auf den Stoff und die Parodie auf den Stil bezieht. Der Autor hat mit Hilfe der Gegenwartsmittel der Philologie, Psychologie, Mythologie, Philosophie, Archäologie, Geschichtsforschung, Religionswissenschaft, Theologie und Bibelexegeze die biblische Geschichte in die Realität gesetzt, aber all diese wissenschaftliche Bearbeitung eines völlig unwissenschaftlichen und legendären Stoffes ist nicht anderes als eine Ironie und ein Spiel mit dem Mythos. Diese Arbeit ist notwendigerweise partial, denn es nimmt die anderen Quellen nicht in Betracht, sie beschäftigt sich nur mit dem Verhältnis zwischen biblischer Geschichte und Manns Werk.
Autor se u disertaciji bavi religijskim i biblijskim elementima u hrvatskoj drami XX. stoljeća. Nakon prikaza dosadašnjih rezultata istraživanja donosi neka terminološka pojašnjenja definirajući i razgraničujući sljedeće pojmove: biblijska, religijska i religiozna drama/književnost, mit, ideologija i religija, teodrama, metafora, alegorija, simbol i arhetip. Pritom razgraničuje religijsku dramu/književnost (koja religiju tematizira, ali ne mora biti pobožna) od one religiozne (koja odiše pobožnošću). Biblijsku književnost smatra podvrstom religijske književnosti. Na osnovi odabranog korpusa drama autor je osmislio tipologiju drama s religijskim (i biblijskim) elementima u kojoj razlikuje pet kategorija: religijsku dramu, biblijsku, ambijentalnoreligijsku, troporeligijsku i instrumentalnoreligijsku dramu. Potom, prema svojoj tipologiji i prema tipologiji primijenjenih postupaka intertekstualnosti u hrvatskoj drami druge polovice XX. stoljeća Helene Peričić, analizira više od 140 dramskih djela, pri čemu raščlanjuje kako nazočnost religijskih i biblijskih elemenata tako i religiozni stav kojim djelo odiše. Analizira i komparativne utjecaje iz stranih književnosti koji su vidljivi u djelima. U sociotekstualnim istraživanjima donosi kronološku analizu međuodnosa dramskog teksta i društvenih okolnosti (kazališno-dramskih, povijesnih i crkvenopovijesnih) kroz cijelo XX. stoljeće. Konačan zaključak je kako su religijski i biblijski elementi bili neprestance nazočni u hrvatskom dramskom pismu kroz cijelo XX. stoljeće, ali je religiozan stav imanentan tekstovima u nekim slučajevima doživljavao promjene u kojima su se reflektirale društvene promjene: raspon od pobožnog do protureligioznog odražavao je širenje ateizma i liberalizma, vrijeme komunističkog totalitarizma i slično.
KLJUČNE RIJEČI: Biblija, hrvatska drama, ideologija, religija, XX. stoljeće.
SUMMARY
In the dissertation the author deals with the religious and biblical elements in the 20th century Croatian drama. After the display of the former research results, he brings forth some terminological explanations by defining and distinguishing the following terms: biblical, religion and religious drama/literature, myth, ideology and religion, theodrama, metaphor, allegory, symbol and archetype. The most important thing here is that he distinguishes religion drama/literature (which deals with religion, but doesn't have to be pious) from the religious, pious one. He considers the biblical drama/literature to be a subspecies of the religion one. Both religion and biblical drama can have a religious attitude which spans from devotion and piety over skepticism, religious indifference and agnosticism to a(nti)theism and struggle against religion. He also differentiates among myth, ideology and religion, terms whose meanings, in the author's opinion, are often not enough clearly specified as used in the Croatian literary theory. After that he clarifies insufficiently clear meaning (which is also the case in the Croatian literary theory) of theodrama and explains the usage of terms metaphor, allegory, symbol and archetype in this dissertation. On the basis of existing research he names some categories of contextuality/metatextuality, or relation of the texts towards other texts and the language of culture (religion-textuality, ideological-textuality, cultural-textuality, myth-textuality, etc.) as well as to natural language or reality (spacial-textuality, socio-textuality, historical-textuality, etc.).
On the basis of the chosen body of texts he created a typology of drama with religious (and biblical) elements in which he differentiates five categories: (1) religion drama, which deals with themes from the world of religion, with subtypes: biographic and hagiographic drama (which depicts the lives of saints and other religiously significant characters), miracle and epiphany drama (which depicts miracles and apparitions), and demonological drama (which depicts the dark side of the spiritual); (2) biblical drama with themes and motifs from the Bible; (3) religion-ambient drama, which happens in religious ambient or milieu, but doesn't necessarily deals with religion themes; (4) religion-trope drama in which religion and biblical elements are primarily used as archetypes and tropes: metaphors, allegories and symbols; and (5) religion-instrumental drama, in which the playwrights use the religion and biblical elements as means/instrument of expressing the ideological or political ideas. The author compares his typology to categories of mediaeval church drama (liturgical drama, mystery, miracle and morality play).
In the following literary-analytic and comparative studies, according to his typology and the typology of the applied intertextuality proceedings in Croatian drama of the second half of the 20th century by Helena Peričić, Mišković analyzes more than 140 plays. He places every play in separate category by exploring the presence of the religion and biblical elements in it, discovering what is the purpose of use of these elements as well as the religious attitude inherent to the play. He also analyzes comparative influences from foreign literatures which can be identified within every text. At the end of this chapter he presents a short comparative survey of the 20th century Croatian drama in European and world literature context.
In socio-textual studies he brings forth the chronological analysis of the interrelation between the plays and social circumstances throughout the whole 20th century. He shows in which way events like foundation and disappearance of different states, changes in social and political structures and systems, different theatrical organization, changes in literary theory and practice, events like church councils and other reforms of the Catholic Church, the spreading of atheism and liberalism, immersion of totalitarian regimes like Nazism, fascism and communism and all sorts of theatrical-dramatic, historical and church historical events changed the purpose of religion and biblical elements in dramatic texts. He explores which impact all these events had on religious attitude of different texts and on quantity of religious, pious plays written and produced.
The final conclusion is that religion and biblical elements were constantly present within the Croatian drama throughout the whole 20th century, but the purpose of use of these elements were different from case to case and it also depended on religious attitude expressed more or less openly in the text. The religious attitude intrinsic to the majority of texts in some cases changed and the quantity of religious plays fluctuated, and these changes reflected the changes in society in general: the span between the pious and counter religious often reflected events like spreading of atheism and liberalism, rule of the communist totalitarianism, etc.
KEYWORDS: Bible, Croatian drama, ideology, religion, 20th century.