Papers by Antun Pavešković
Anali Zavoda za Povijesne Znanosti Hrvatske Akademije Znanosti i Umjetnosti u Dubrovniku, Jul 10, 2012
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Anali Zavoda za Povijesne Znanosti Hrvatske Akademije Znanosti i Umjetnosti u Dubrovniku, May 23, 2004
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Dani Hvarskoga kazališta : Građa i rasprave o hrvatskoj književnosti i kazalištu, May 3, 2009
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Pjerko Bona (1788-1846), odvjetak slavne dubrovačke plemićke loze, nakon pustolovna života u mlad... more Pjerko Bona (1788-1846), odvjetak slavne dubrovačke plemićke loze, nakon pustolovna života u mladosti – sudjelovao je u ustanku protivu francuske okupacije, potom desetak godina boravio u Egiptu – oženio se i nastanio se u Dubrovniku. Ovaj osiromašeni vlastelin napisao je tridesetak drama na hrvatskome jeziku, dvije na talijanskome, te nešto pjesama, a bavio se i glazbom. Žanrovski se njegove drame mogu ugrubo podijeliti na pseudopovijesne i pučko-prosvjetiteljske. Komedija Jačinto hvastalo spada u potonju grupu. U pitanju je niz dramaturških općih mjesta, ali organiziranih koherentno, uz uvjerljive dijaloge i iskaze koji ne samo da prate i potiču radnju, nego i zorno materijaliziraju duhovne profile lica. Kritičnost kao element realizma, opća pomirba i smirivanje tenzija bez dramatičnog raspleta kao trag bidermajerskog kompleksa toplog doma, pouka kao očitovanje prosvjetiteljske svijesti, pučki ambijent i puk kao ciljani recipijent, savršen su obrazac hrvatske pučke drame XIX. stol...
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The author tries to analyze the ethical aspect of Držić’s literary work comparing it to Vetranovi... more The author tries to analyze the ethical aspect of Držić’s literary work comparing it to Vetranović’s and Gundulić’s artistic projects. Unlike Vetranović, Držić also relied on the dimension of his engagement that was not only aesthetic. The end of his life and artistic path bear witness to the tragic gap of identity which always wanted more from the art by not accepting only the artistic message but also by denoting social and political messages. Ivan Gundulić, a very complex author, personifies the authority itself and that puts him in a position significantly different from that of Držić and Vetranović. Gundulić and Vetranović are united by their poetic divergences. In his work, Vetranović completely realizes himself; Gundulić tries to master the world which is seriously shattered in its foundation through his work, while Držić’s has manneristic relation towards creating. Both Držić and Gundulić use literature more than they serve it. Vetranović is the only one of the three who can...
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Rad sintetizira znanstvenu, prije svega kroatističku, recepciju djela Mavra Vetranovića (1482.-15... more Rad sintetizira znanstvenu, prije svega kroatističku, recepciju djela Mavra Vetranovića (1482.-1576.). Započinje opširnim komentarom studije Mirka Tomasovića o sudbini Vetranovićevoj u našoj književnoj historiografiji, te je problematizirajući ujedno sumira pregled vetranoloških studija od devetnaestog stoljeća do kraja sedamdesetih godina našega stoljeća. Pregled završava prikazom literature i otkrića o Vetranoviću osamdesetih i devedesetih godina
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Branko Gavella was one of the most important theater directors and pedagogues of Croatian theater... more Branko Gavella was one of the most important theater directors and pedagogues of Croatian theater. With his status he has also imposed himself as a creator of acting system. However, it has for too long been believed, even since today, that his directing method represented also the acting method. Besides, as a philosophically formed intellectual, he deliberated both drama and theater also as a deep spiritual activity. The pattern put in that way created a mytheme about Gavella’s acting system as of something self understood. A whole range of researchers of Gavella’s heritage have talked about a certain justification of that mytheme. However, this paper evidently shows that Gavella has not left behind any concrete instructions about the art of acting
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Gundulićeva Dubravka djelo je posebna statusa u nacionalnoj književnosti. Njena je fabula mitski ... more Gundulićeva Dubravka djelo je posebna statusa u nacionalnoj književnosti. Njena je fabula mitski zasnovana, a drama genološki pripada pastorali. Međutim, način kako su realizirana pravila genrea nameće mnoge dvojbe o svrsishodnosti postupaka, kao i o cjelovitosti drame te, u krajnjoj liniji, o stvarnim namjerama pisca. Gundulić kao da je svojoj publici htio poručiti da, uz istodobno prihvaćanje pravila pastoralnoga genrea, on od njih svjesno odstupa. Taj “pomak” dug je ideologiji, dominantnoj komponenti Gundulićeve stvarateljske svijesti koja se u konačnici potpuno zatvara u autizam stvarateljeva sebstva.Dubravka, one of Gundulić’s most famous works, falls among the greatest achievements of Croatian literature. Generally viewed as a model ode to liberty and independence of Dubrovnik, Marxist literary criticism, however, tended to vulgarize the drama by interpreting it as a patrician philippic against Ragusan wealthy commoners who, dissatisfied with their status, demanded greater par...
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Dani Hvarskoga kazališta : Građa i rasprave o hrvatskoj književnosti i kazalištu, May 9, 2018
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Gunduliceva "Dubravka" djelo je posebna statusa u nacionalnoj književnosti. Njena je fa... more Gunduliceva "Dubravka" djelo je posebna statusa u nacionalnoj književnosti. Njena je fabula mitski zasnovana, a drama genoloski pripada pastorali. Međutim, nacin kako su realizirana pravila genrea namece mnoge dvojbe o svrsishodnosti postupaka, postupaka, kao i o cjelovitosti drame te o stvarnim namjerama pisca. Gundulic kao da je svojoj publici htio poruciti da, uz istodobno prihvacanje pravila pastoralnoga genrea, on od njih svjesno odstupa. Taj "pomak" dug je ideologiji, dominantnoj komponenti Gunduliceve stvarateljske svijesti koja se u konacnici potpuno zatvara u autizam stvarateljeva sebstva.
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The article is dealing with two programmatic texts which have been printed in the first volume of... more The article is dealing with two programmatic texts which have been printed in the first volume of the series Dani Hvarskoga kazališta, the publication which was published as additional material of the symposium Hvar Theatre Days. The first one is Five Centuries of Croatian Drama by Marin Franičević. The second one is Five Centuries of Croatian Theatre by Marko Fotez. The main problem in the first text is the delineation between Medieval creating and treating it as literacy, the Renaissance creating it as the beginning of »proper« literature. Franičević solves the problem of periodization of Croatian drama by classifying the material on older, newer and recent drama. Some other works in this volume absolutely rejected this model of periodization. Another Franičević’s problem is the question of classification of genres. This is a problem because of the unsolvable interlacing of phenomena, authors and genres. In his article Fotez announced a less precise approach. The advantage of Fote...
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The paper deals with the reception of Krleža’s last drama which failed disgracefully during its s... more The paper deals with the reception of Krleža’s last drama which failed disgracefully during its simultaneous premiere in Zagreb, Belgrade, and Ljubljana. In order to uncover the reasons and circumstances of the failure, this review, after analyzing the text of the drama itself, explores the critical reception of its theatrical production. Along with other critics, the author extensively analyses the comprehensive and studious critical valorization of Vlado Mađarević, at the end of which, coincidentally, the critic anticipates one successful stage adaptation of the drama – the one at the Dubrovnik Summer Festival, directed by Georgij Paro.
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Anali Zavoda za Povijesne Znanosti Hrvatske Akademije Znanosti i Umjetnosti u Dubrovniku, 2002
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Papers by Antun Pavešković