Please use this identifier to cite or link to this item: https://hdl.handle.net/10593/11992
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dc.contributor.authorPšihistal, Ružica-
dc.date.accessioned2014-10-28T09:31:31Z-
dc.date.available2014-10-28T09:31:31Z-
dc.date.issued2014-
dc.identifier.citationPoznańskie Studia Slawistyczne, 2014, nr 7, s.185–196pl_PL
dc.identifier.isbn978-83-63795-79-5-
dc.identifier.issn2084-3011-
dc.identifier.urihttp://hdl.handle.net/10593/11992-
dc.description.abstractFlower from the Crossroads (1902) belongs to the group of Matoš’s symbolistic novellas, rendered by the symbolically coded title, teleogenetic plot, characters as personified abstractions, motive topography (path, crossroads, garden) and especially the name of the protagonist (Solus). The name Solus, as an autofictional figure, contains its own glossary and reading instructions towards the solipsistic narrative matrix, which is supported by the diegetic level of the story through unusual events bordering dream and reality. With the help of the basic guidelines of Paul Ricoeur on storytelling as a hermeneutical mediation of the self and narrative analysis of the story, the main question of the allegorical interpretation in this study is: which model of self is offered by the narrative identity of Solus?pl_PL
dc.language.isootherpl_PL
dc.publisherWydawnictwo Nauka i Innowacjepl_PL
dc.subjectAntun Gustav Matošpl_PL
dc.subjectCvijet sa raskršćapl_PL
dc.subjectselfpl_PL
dc.subjectallegorypl_PL
dc.subjectflaneur’s subjectivitypl_PL
dc.titleMatošev Cvijet sa raskršća– alegorijom do konfi guracije sebstvapl_PL
dc.title.alternativeMatošʼs Cvijet sa raskršća [Flower from the Crossroads]– Through Allegory to the Configuration of Selfpl_PL
dc.typeArtykułpl_PL
dc.identifier.doi10.14746/pss.2014.7.14-
dc.description.number7pl_PL
dc.description.pageof185pl_PL
dc.description.pageto196pl_PL
dc.description.articlenumber14pl_PL
dc.description.journaltitlePoznańskie Studia Slawistycznepl_PL
Appears in Collections:Poznańskie Studia Slawistyczne, 2014, nr 7

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