Izazovi u prostornom obilježavanju i prikazu enciklopedijskoga znanja

Enciklopedije se, kao pouzdani izvori znanja koje izrađuju stručnjaci predmetnoga područja i leksikografi, među drugim karakteristikama, diče i svojom pouzdanošću, točnošću i preciznošću. Prostorni prikaz enciklopedijskoga znanja na određeni se način već odavno koristi na geografskim i tematskim kartama, no digitalno doba donijelo je znatno proširene mogućnosti. Ipak, u nedostatku osustavljenoga modela obilježavanja i prikaza (geotagiranja) enciklopedijskoga znanja, rijetka djela u punoj mjeri rabe takav pristup. Stvaranje takva modela donosi i neke izazove. Imena lokacija (gradova, ulica, trgova i sl.) kroz vrijeme se mogu mijenjati, što je izazov u složenom pretraživanju ili prikazu na karti. U takvim se slučajevima traže rješenja svođenja na zajedničku oznaku, što je princip regularizacije (normalizacije) teksta. Istraživanje je potaknuto nastojanjem za unapređenjem mrežnoga izdanja Hrvatske tehničke enciklopedije Leksikografskoga zavoda Miroslav Krleža na Portalu hrvatske tehničke baštine. Autori analiziraju dosadašnju enciklopedijsku praksu bilježenja mjesnih imena koja su se kroz vrijeme mijenjala te razmatraju koji oblici bilježenja najbolje odgovaraju specifičnim, praktičnim zahtjevima digitalne enciklopedike. Takav bi način bilježenja i prikaza povećao upotrebljivost enciklopedija, jer bi se uz nastavak prakse prikaza informacija koje su precizne, korisnicima omogućilo olakšano pretraživanje i pregledavanje te prikaz znanja na karti .

Tko je važan, a tko nije? O razlozima uvrštenja dvaju uglednih rapskih renesansnih kanonika u integralni abecedarij Hrvatskoga biografskoga leksikona

U radu se, na temelju izvorne građe, nastoji proniknuti u životni put i djelatnost dvaju protagonista rapskoga društvenoga i kulturnoga života u drugoj polovici XV. st. U to je vrijeme, naime, u rapskoj komuni živjelo više kanonika koji su obnašali važne crkvene i javne dužnosti te uvelike kreirali svakodnevicu sredine u kojoj su živjeli. Među njima bili su i Toma Stančić, dugogodišnji rapski notar, prokurator katedralne crkve sv. Marije, te Toma Zangarel, dugogodišnji prior crkve sv. Katarine na Komrčaru. Svaki od njih dao je poticaj uređenju crkvenih i karitativnih ustanova na Rabu kojih su bili priori i prokuratori. Analiza ujedno otkriva da je kanonik i notar Toma Stančić znatno pridonio vjerskoj kulturi Raba svojim prijepisom Historia sancti Christophori Martyris te kao promicatelj, zajedno s rapskim patricijem Petrom de Zaro, novoga vjerskoga kulta Tijela Kristova. Njegov suvremenik Toma Zangarel, dugogodišnji prior crkve sv. Katarine na Komrčaru, bio je poduzetna osoba koja je poslovala s različitim slojevima rapskoga društva. Nekoliko njegovih oporuka (zapisanih u rasponu od 1452. do 1478) govori o njegovu obiteljskom krugu, bliskim mu suradnicima i skrbi o crkvenim i karitativnim ustanovama na Rabu. U drugom dijelu analize raspravlja se o kriterijima po kojim bi ta dva pojedinca mogla biti uvrštena u jednu od temeljnih edicija Leksikografskoga zavoda Miroslav Krleža, Hrvatski biografski leksikon.

Značenje Atlasa svijeta Leksikografskoga zavoda Miroslav Krleža u hrvatskoj atlasnoj kartografiji

Leksikografski zavod Miroslav Krleža objavljuje geografske atlase opće namjene od 1960-ih. Najzapaženiji je Atlas svijeta objavljen u sedam izdanja, pod vodstvom više glavnih redaktora/urednika, koji su uglavnom zadržali početnu koncepciju atlasa, ali su unijeli nove uredničke ideje i stilove. Jedini je potpuno domaći atlas svijeta, komercijalno među najuspješnijim zavodskim izdanjima i jedan od najraširenijih atlasnih priručnika u Hrvatskoj. Pretpostavlja se stoga da je njegovo značenje u ukupnoj produkciji geografskih atlasa svijeta u Hrvatskoj iznimno. Svrha rada jest pokazati je li ta pretpostavka opravdana. Napravljeno je istraživanje u kojem se analizom nekih obilježja (ideja, posebnosti, struktura atlasa i poglavlja, karte, pristupi, stil pisanja) zavodskoga i odabranih prijevodnih atlasa svijeta u razdoblju od tiskanja prvoga (1961) do posljednjega zavodskoga atlasa (2008) te njihovom usporedbom dolazi do ciljeva istraživanja: a) raspoznavanje sličnosti i razlika (posebnosti) zavodskoga atlasa u odnosu na atlase drugih nakladnika, b) ocjena utjecaja koje zavodski atlas ima u širenju geografskih znanja, c) određivanje njegova značenja u hrvatskoj atlasnoj kartografiji. Rezultati istraživanja upućuju na iznimno značenje zavodskoga atlasa koje proizlazi iz njegovih posebnosti. Ističe se jer prikazuje svijet iz domaće perspektive, odražava visoku stručnost u obradi sadržaja primjenom načela obuhvatnosti i dosljednosti, sadržava pojačanu tekstualnu sastavnicu, postavlja norme u pisanju geografskih imena iz stranih jezika, predočuje vlastite karte i primjenjuje leksikografski stil pisanja.

Wilde about Wilde — The Translation of Oscar Wilde’s Salomé in Croatian Literature of the Early 20th Century

The Irish writer Oscar Wilde was extremely popular in Croatian culture in the first decades of the 20th century. Although Croatian writers of that time generally did not read the original works of British authors but rather their translations, Wilde’s popularity in Germany and Vienna sparked interest in his works among the Croatian readership and spectatorship. This paper explores the translation of Wilde’s Salomé from German by Julije Benešić and Nikola Andrić, and the complex influence that this translation had on Croatian literature of early modernism, relying primarily on the interpretation of the same motif in the texts of young Fran Galović and Miroslav Krleža. The paper argues that the influence of Wilde’s aestheticism is visible not only in the adoption of typical motifs, characters, or atmosphere but also in the autonomous and self-reflective language play in Krleža’s texts.

Utjecaj interpretacija pojma periferijske umjetnosti Ljube Karamana i Miroslava Krleže na dalmatinsku povijesti umjetnosti

Although the so-called „Vienna school“ practised an universalist approach to history of arts, their prominent acters like Alois Riegel and Max Dvořák influenced the nationalist ideas among the Central European art historians in the interwar period. An evident example of such an influence is Croatian art historian Ljubo Karaman (1886‒1971) ‒ a Vienna student who studied the art relations between center and periphery from early 1930s on. His thoughts on this topic were collected in his 1963 book Problemi periferijske umjetnosti. O djelovanju domaće sredine u umjetnosti hrvatskih krajeva (Problems of Peripheral Art. On Influence of Local Surrounding on the Art of the Croatian Areas). Colonial character of the Karaman’s definition of the center/periphery relation is clear in his notion that the dissemination and assimilation of the artistic styles is always one-way: from developed center to the province. His definition of „peripheral art“ appeared as a reaction to the works of famous „Vienna school“ scholars from early 20th century (particularly Polish-Austrian art historian Strzygowski). It is based on the idea of external, political and artistic influences in Dalmatia as external forces of artistic exchange. A prominent writer and encyclopaedist Miroslav Krleža turned upside-down the idea of the artistic transfer from the advanced West toward underdeveloped East/Balkans as a periphery at the edge of civilisation. In his discussion on the Second Congress of writers in Zagreb he promoted the idea of the periphery as a true center. During 1950s, Krleža strongly influenced the formation of a new cultural paradigm, and forging of the new scientific paradigm within art history in Croatia. In her paper, the author explores how texts of the Croatian art-history scholars regarding ancient Dalmatian art were influenced by Karaman’s and Krleža’s ideas and concepts on peripheral, provincial, and border-line art.

Zagorac kao lik periferije u kontekstu kajkavske dopreporodne svjetovne književnosti i hrvatskoga književnog kanona 20. stoljeća

Kajkavian literature of the pre-Illyrian movement was often seen as a less valuable segment of national literature and for that reason was already placed in a peripheral literary phenomenon. That literature often was underestimated because of religious character, utilitarianism and didactics. In the 20th century, when the dialectical literature emerged, Kajkavian literature was recognised as equal in Croatian literature. The main purpose of the paper is the analysis of peripheral literary characters who were appearing in the Enlightenment period in Kajkavian literature at the end of the 18th and beginning of the 19th century. In that period secular topics were included in the Kajkavian literature and reached its culmination, especially in the drama. The paper will explore which literature types are represented by these literary characters and which civic values they represent. The analysis will cover several titles from the secular Kajkavian prose and drama from the late 18th and beginning of the 19th centuries, a work entitled Adolf iliti kakvi su ljudi by Jakob Lovrenčić and Kajkavian drama adaptations performed on the stage of the school theatre at Kaptol Roman-Catholic Preparatory. The Illyrian movement forcefully and deliberately stopped Kajkavian literary production. Immediately after the Illyrian movement Kajkavian language was used to characterize a type of literary character whose purpose was mocking and creating a comic effect. The work will explore at which moment the literary characters of Kajkavian peripheries become inspirational to Croatian writers as representatives of a certain milieu and worldview. Particularly interesting will be the analysis of literary characters from the collection of stories Croatian God Mars by Miroslav Krleža and the paper will answer the question on the universal values of the literary characters of Kajkavian periphery and their purpose in the national literature.

HUNNIA ÉS PANNÓNIA KÖZÖTT

A 2010-es évek második felének szerb irodalomtudományában a Miroslav Krleža életműve iránti érdeklődést a Gradac című folyóirat tematikus száma mellett a Krležát több évtizede kutató horvát tudós és lexikográfus, Vlaho Bogišić 2016-ban Újvidéken megvédett doktori értekezése jelzi. Bogišić disszertációjában kifejti, Krleža szerb írónak is tekinthető, hiszen műveivel, pozíciójával és kapcsolataival olyan befolyást gyakorolt a szerb irodalomra, melyet lehetetlen figyelmen kívül hagyni. Bori Imre 1976-os Krleža-monográfiájában pontosan meghatározza az életmű magyar vonatkozásait: a Krleža eszmei fordulatát elbeszélő Hodorlahomor, a nagy című novellát Ady Ős-Kaján-képzetével hozza összefüggésbe; az 1930-as Ady-esszét pedig azok közé az egykorú írások közé sorolja be, melyekben Krleža irodalomszemléletét fogalmazta meg. A dolgozat egyfelől Bori Imre monográfiájának gondolatmenetét mutatja be és értékeli, másfelől azt bizonyítja, hogy a horvát író művének magyar elemei nem tárgyalhatók kizárólag a Monarchia-irodalom keretében, a Zára aranya és ezüstje című esszében a mediterrán térség harmadik komponenséről megfogalmazott elképzelés ugyanis a múlt század hatvanas éveinek fiatal vajdasági irodalmában közvetlen visszhangra talált.

The backstories of Cold War translations

Ideological expectations coupled with opportunism, personal advancement, friendship, and the political and ideological loyalties held by those who served as patrons for publishing translations were the factors that informed decisions about what would be translated in the Cold War years between 1945 and 1989. This article considers the choices made by publishers Frederick A. Praeger, Harcourt Brace Jovanovich, and Vanguard Press when publishing the fiction and non-fiction of Milovan Djilas and Miroslav Krleža, writers from Yugoslavia. The backstories behind the publishing of the translations lie at the intersection of the public and private spheres of culture, and demonstrate how ideological agendas interlace with personal bonds, loyalties, aspirations, and ambitions.

From Lenin to the NEPmen, from famine to gluttony: Moscow during the NEP through the eyes of Bulgakov and Krleža

In this article, the October Revolution is considered as the fundamen-tal mythological construct of Soviet (totalitarian) mythology, which, according to E. Meletinsky, was supposed to accomplish a symbolic cosmization of the pre-revolutionary Chaos. The post-October Moscow played a leading role in this process. The theoretical basis of the article are the works of E. Meletinsky, J. Derrida and M. Ryklin dedicated to Soviet Moscow. M. Ryklin in the book “Communism as Religion.Intellectuals and the October Revolution” (2009) argues that for many European left-wing intellectuals, post-October Moscow has become the “new Jerusalem”. Moscow as a new Mecca was perceived not only by European left intellectuals, but also by most of the Russian intelligentsia, which either enthusiastically welcomed the Soviet regime or decided to reconcile with it and cooperate. Upon his return from Moscow, the emi-nent Yugoslav Croatian writer and confi dent Leninist Miroslav Krleža published “A Trip to Russia” (1926), one of the deepest “returns from the USSR” that was banned in Soviet Russia. Mikhail Bulgakov, after his fail to emigrate, i.e. to leave Vladikavkaz and go abroad, moved to Moscow, on which he pinned great hopes and from which he expected a lot in the 1920s. At this time, Moscow was an inexhaustible source of inspiration for Bulgakov, as evidenced by his feuilletons of the twenties in “Nakanune” (“Capital in a notebook”, 1922; “Sorok sorokov”, 1923; “The golden city”, 1923). Despite the completely opposite political views of Bulgakov and Krleža, they have strikingly much in common in terms of subtle observations of everyday Moscow during the NEP and in terms of the fi ght against Soviet censorship. This article is the fi rst attempt at a comparative study of the Moscow impressions of two prominent Slavic writers of the 20th century.