- ItemŽivot kao artefakt: Matoševo autorstvo. Povodom knjige Dubravke Oraić Tolić Čitanja Matoša(Wydawnictwo Nauka i Innowacje, 2014) Protrka Štimec, MarinaPaper deals with a conception of Antun Gustav Matoš authorship, regarding his own definition of his life as a work of art. Performing his authorship in a variety of literary texts, letters and notices, he lived in extremes, being flaneur, dandy and a bohem, world traveler and a nationalist ideologist, what infl uenced reception of his work until recent period. Critical and historiographic, as much as other literary works related to AGM follow this „author-centered” positions regarding his life as a work of art, as much as his literary texts as a refl ection of his life. Latest Croatian „Matosiana” book, Dubravka Oraić Tolić̕Reading Matoš (Čitanja Matoša, 2013), attests some traditional critical assumptions regarding authorship of this canonical writer end expands them in a new context. Different theories of literary canon formation, especially those grounded on feminist or psychoanalytical approach, call in question usual strategies in creation and understanding AGM̕ s authorship, aestheticism and anti-modernism.
- ItemMatoš w nowej optyce teoretycznej(Wydawnictwo Nauka i Innowacje, 2014) Nemec, Krešimir
- ItemDubravka Oraić Tolić’s Thoughts on Antun Gustav Matoš(Wydawnictwo Nauka i Innowacje, 2014) Dujić, TatjanaThe purpose of this appendage (addendum) is to study a position of the female subject in the fictional prose of Antun Gustav Matoš through the reading of Dubravka Oraić Tolić. This research has shown that female subjects carry, or better to say, possess all features of Matoš’s poetic expression, therefore it is possible to sort them into three different models: woman--mother, woman-aesthetic creation and femme fatale.
- ItemHrvatska kratka priča i Antun Gustav Matoš(Wydawnictwo Nauka i Innowacje, 2014) Sablić Tomić, HelenaAntun Gustav Matoš has affirmed the Croatian short story and that is why his short story collections have initiated a major „breakthrough” in terms of this genre’s reception. His narrative oeuvre includes the following collections: Iverje(Wood Shavings, 1899), Novo iverje(New Wood Shavings, 1900) and Umorne priče(Tired Tales, 1909). Depending on the type of motif, his short stories have been read as follows: 1. stories about local people and events; 2. humorous stories about people at home and abroad; 3. stories about unusual, unbelievable „unreal” events; 4. stories of enchanting and yearning love; 5. lyrical cadenzas. His symbolic-grotesque-fantastic story Moć savjesti(The Power of Conscience) marked his entry into the world of narrative literature. In this story, the binary relationship between the theme and the motif is recognised in the gap between the world of wakefulness and the world of dreams, reality and fantasy, what is real and what is unreal, the actual life and the ideal life, the object and the subject. At the same time, however, Matoš is trying to unite these opposites. In his other short stories, unusual plots become an expression of a deep ontological crisis which engulfed the European culture and art during modernism. The maxim of modern art at the turn of the century is „the world is a text”: art is a subjective reconstruction of the world and therefore plots, with all their logical cause and effect relationships, are no longer important since they cannot express other spheres of consciousness. In his short stories, the bizarre plots were used by Matoš to join two worlds, the world of outward reality and the world of imagination, the empirical and the fantastic, the possible and the impossible.
- ItemMatoš and Whitman: a Comparison of Two Poems(Wydawnictwo Nauka i Innowacje, 2014) Mitrovich, Ksenija; Swanson, MarthaThis essay compares Utjeha kose, translated as The Solace of Hair, by Antun Gustav Matoš and Death’s Valleyby Walt Whitman. We analyze similarities in theme, metaphor and poetic style. We also offer a close analysis of verse, together with meter, together with syntax and phonology of the two poems. Matoš and Whitman approach similar themes from different perspectives. However, we find coincidental similarities in both techniques and stylistic devices and the underlying messages of the pieces. We also draw upon our personal vision of the pieces as well as, in the case of Death’s Valleyin particular, outside sources, to form our opinions. It is necessary to say that we had no access to any materials on Matoš, and, therefore, all our statements on The Solace of Hairare our personal conclusions and have no intext or works cited documentation.