Title Prostori ženske slobode u modernoj i suvremenoj hrvatskoj drami Title (english) Areas of women`s freedom in modern and contemporary Croatian drama Author Nikolina Markuš Mentor Daniel Mikulaco (mentor)Committee member Boris Koroman (predsjednik povjerenstva)Committee member Daniel Mikulaco (član povjerenstva)Committee member Dubravka Dulibić-Paljar (član povjerenstva)Granter University of Pula Defense date and country 2019-09-20, Croatia Scientific / art field, HUMANISTIC SCIENCES Abstract U radu se obrađuje tema ženske slobode u hrvatskim dramama. Cilj je prikazati načine na koje se ženski likovi bore protiv učmalosti, prošlosti ili obiteljskih (ne)prilika. Prvotno će biti riječi općenito o drami i kazalištu te njihovim elementima, kao i podjelama. Nadalje, obrađuje se povijesni pregled koji donosi razvoj drame i kazališta kroz stoljeća. Važno je naglasiti da se kazalište rađa u antičkoj Grčoj, skupa s tragedijom i komedijom te da svako razdoblje ima druge preokupacije. Tako u
... More prosvjetiteljstvu vladaju filozofija i razum, u romantizmu osjećaji, a u realizmu stvarnost i istina. Kroz stoljeća, mijenjale su se i ženske uloge u dramama. Tako je u srednjemu vijeku dominacija motiva robinje, a jedino je Bogorodica pozitivan ženski lik, dok renesansa ženu promatra kao uzvišeno biće, ponajprije zbog ljepote. Potom će biti riječi o pojavi feminizma te njegovu razvoju kroz tri vala, a zatim se rad bavi analizom jedanaest hrvatskih drama s izdvojenim ženskim karakterima. Promatra se položaj žene u društvu, njezin odnos prema životu i nedaćama koje on nosi, ostvarivanje njezine slobode te njezina pozicija na kraju drame. Odabrane su sljedeće drame: Ivo Vojnović – Ekvinocijo, Janko Polić Kamov – Mamino srce, Fran Galović – Pred smrt, Marija Jurić Zagorka – Jalnuševčani, Miroslav Krleža – Gospoda Glembajevi, Milan Begović – Bez trećega, Ranko Marinković – Glorija, Drago Ivanišević – Antiantigona, Ivo Brešan – Anera, Miro Gavran – Traži se novi suprug, Lada Kaštelan – Posljednja karika. Ovo poglavlje donosi pregled modernih i suvremenih hrvatskih drama u kojima se junakinje bore za pravdu. Svaka nastoji spasiti sebe, svoju djecu ili kolektiv, pokazuju hrabrost i volju za promjenom društva te pobjeđuju. Posljednje se poglavlje bazira na sličnostima i razlikama u svim obrađenim dramama. Na kraju rada dolazi se do odgovora na pitanje jesu li se junakinje u novijim hrvatskim dramama izborile za svoj položaj i na koji način. Less Abstract (english) The thesis deals with women's freedom in Croatian drama. The aim is to show in which ways female characters fight against views of life, past or family (in)conveniences. First, the concept of drama and the theatre, as well as their elements and classification will be discussed. Furthermore, the historical review, showing the development of drama and theatre throughout the centuries, will be discussed. It is important to emphasise that the theatre was born in Ancient Greece, together with the
... More tragedy and comedy, and that every period had other preoccupations. For example, in the Age of Enlightenment the philosophy and rationality dominated, in Romanticism feelings, and in Realism the reality and truth. Over the centuries, women's roles in dramas have also changed: in the Middle Ages the motif of the slave dominated, while Virgin Mary was the only positive female figure. In the Renaissance a woman is considered a supreme being, primarily because of her beauty. Afterwards, the appearance of feminism and its development through three waves will be discussed. The analysis includes eleven Croatian dramas with selected feminine characters. The position of a woman in society, her relation to her life, the problems she confronts, the freedom as her achievement and her position at the end of the drama are being studied. The following works have been selected: Ivo Vojnović – Ekvinocijo, Janko Polić Kamov – Mamino srce, Fran Galović – Pred smrt, Marija Jurić Zagorka – Jalnuševčani, Miroslav Krleža – Gospoda Glembajevi, Milan Begović – Bez trećega, Ranko Marinković – Glorija, Drago Ivanišević – Antiantigona, Ivo Brešan – Anera, Miro Gavran – Traži se novi suprug, Lada Kaštelan – Posljednja karika. This chapter represents an overview of the modern and contemporary Croatian drama in which heroines fight for justice. Each of them strives to save herself, her children or her collective, they show courage and will to change the society and they win. The last chapter is based on the similarities and differences in all included dramas. At the end of the work, it will be determined whether the heroines in the new Croatian drama succeeded in their aim and in what way. Less Keywords
drama
kazalište
žene
feminizam
Keywords (english)
drama
theatre
women
feminism
Language croatian URN:NBN urn:nbn:hr:137:446754 Study programme Title: Croatian Language and Literature (single major); specializations in: teaching track, general track Type of resource Text File origin Born digital Access conditions Open access Terms of use Created on 2020-02-11 10:58:50
