Dramaty Tituša Brezovačkiego na tle chorwackiej literatury kajkawskiej XVIII i XIX wieku
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2015-05-26
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The plays of Tituš Brezovački against the background of Croatian Kajkavian literature of the eighteenth and nineteenth centuries
Abstract
Celem pracy jest rozwinięcie i poszerzenie dotychczas w chorwackim literaturoznawstwie wyzyskiwanych możliwości interpretacyjnych o konteksty, idee i wartości dotychczas nieuwzględniane, bądź uważane za marginalne. Twórczość kajkawskiego pisarza ukazana zostaje na tle kajkawskiej literatury XVIII i XIX w., potraktowanej jako składowa część szerszego, europejskiego universum. Konstatacja o naturalnym uczestnictwie dramatów Brezovačkiego w kulturowym krwioobiegu epoki Oświecenia, pozwala postrzegać je w kontekście tradycji chrześcijańskiej (Sv. Aleksi), wspólnoty tematów i konwencji estetycznych charakterystycznych dla obszaru pozostającego pod władzą Habsburgów (Matijaš Grabancijaš dijak), czy m. in. oświeceniowego współwystępowania tematów i wzorców osobowych, zaczerpniętych z antyku i chrześcijaństwa (Diogeneš). Wśród dziedzin, dostarczających narzędzi dla analizy i interpretacji wymienionych dramatów znajdują się literaturoznawstwo, teatrologia, folklorystyka, historia duchowości chrześcijańskiej, historia społeczna, historia Kościoła w wymiarze lokalnym i powszechnym, historia i teoria muzyki i tańca, a także teoria symboli. Utwory kajkawskiego pisarza ukazane zostają jako zapis zarówno aksjologicznych jak i estetycznych uwarunkowań, charakterystycznych dla swojej epoki, a kajkawski kontekst twórczości Titusa Brezovačkiego służy nie tyle wykazaniu specyficzności realizacji propozycji uniwersalnego modelu, co potwierdza osiągnięcia chorwackiego artysty jako pełnoprawnego jego uczestnika.
The output of the Kajkavian writer, Tituš Brezovački is shown against the background of Kajkavian literature of the eighteenth and nineteenth century, treated as a constituent part of the wider European universum. Establishing the natural place of Brezovački’s plays within the literature of the Age of Enlightenment enables us to perceive them in their respective contexts: the Christian tradition (Sv. Aleksi), the shared pool of themes and aesthetic conventions that were characteristic of the Habsburg realm (Matijaš Grabancijaš dijak), and the co-occurrence of themes and role models taken inter alia from antiquity and Christianity (Diogeneš). The adopted approach to the Croatian playwright’s oeuvre encompasses a variety of interpretative possibilities offered by different humanistic disciplines. The fields providing tools for analysing and interpreting the plays in question include literary, theatre and folklore studies, the history of Christian spirituality and of the Church on a local and global level, social history, the history and theory of music and dance, and also the theory of symbols. The author attempts to illuminate the analysed works, treated as interesting documents of their times, in a complex and historically adequate way. The plays of Tituš Brezovački are shown as a record of the axiological and aesthetic conditions characteristic of his age, and the Kajkavian context serves not so much to ground the specificities of his proposition of a universal model as to confirm his achievements as a fully-fledged contributor to that model.
The output of the Kajkavian writer, Tituš Brezovački is shown against the background of Kajkavian literature of the eighteenth and nineteenth century, treated as a constituent part of the wider European universum. Establishing the natural place of Brezovački’s plays within the literature of the Age of Enlightenment enables us to perceive them in their respective contexts: the Christian tradition (Sv. Aleksi), the shared pool of themes and aesthetic conventions that were characteristic of the Habsburg realm (Matijaš Grabancijaš dijak), and the co-occurrence of themes and role models taken inter alia from antiquity and Christianity (Diogeneš). The adopted approach to the Croatian playwright’s oeuvre encompasses a variety of interpretative possibilities offered by different humanistic disciplines. The fields providing tools for analysing and interpreting the plays in question include literary, theatre and folklore studies, the history of Christian spirituality and of the Church on a local and global level, social history, the history and theory of music and dance, and also the theory of symbols. The author attempts to illuminate the analysed works, treated as interesting documents of their times, in a complex and historically adequate way. The plays of Tituš Brezovački are shown as a record of the axiological and aesthetic conditions characteristic of his age, and the Kajkavian context serves not so much to ground the specificities of his proposition of a universal model as to confirm his achievements as a fully-fledged contributor to that model.
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Wydział Filologii Polskiej i Klasycznej
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Dramat, Drama, Kultura Kajkawska, Kajkavian culture, Oświecenie, Enlightenment