Trojanski rat u Dubrovniku

master's thesis

• Title: Trojanski rat u Dubrovniku : (usporedba dubrovačkih drama s antičkim izvornicima)
• Title (english): Trojan War in Dubrovnik : (comparision of Dubrovnik plays with ancient originals)
• Author: Donat Kardum
• Mentor: Davor Dukić (mentor)
• Mentor: Jelena Marohnić (mentor)
• Committee member: Inga Vilogorac Brčić (predsjednik povjerenstva)
• Granter: University of Zagreb; Faculty of Humanities and Social Sciences; (Department of Croatian language and literature); Zagreb
• Granter: University of Zagreb; Faculty of Humanities and Social Sciences; (Department of History); Zagreb
• Defense date and country: 2024-05-22, Croatia
• Scientific / art field, discipline and subdiscipline: HUMANISTIC SCIENCES; History; Ancient History
• Scientific / art field, discipline and subdiscipline: HUMANISTIC SCIENCES; Philology; Croatian Studies

Abstract

U ovom radu se istražuju izvornici dubrovačkih drama 16. i 17. stoljeća s tematskom poveznicom Trojanskim ratom. Nikola Nalješković, Marin Držić te Junije Palmotić u preradi svojih djela koriste antičke predloške Euripida, Publija Ovidija Nazona te Publija Papinija Stacija. Izvornike žanrovski prebacuju te ih prilagođavaju dubrovačku vremenu. Dubrovačka kazališna publika navikla je na pastorale, stoga vile i satiri dobivaju mjesto i u ovim antičkim preradbama. Rad iznosi novu tezu kako je Nalješković pišući vlastito djelo slijedio Ovidijeve Heroide te ju potkrepljuje sižejnim i spacijalnim sličnostima, imajući u vidu dosadašnje znanstvene spoznaje. Uočavaju se razlike u fabuli te ih se dovodi u vezu sa širenjem političke dogme. Slična pitanja se propituju i u analizi Držićeve Hekube koja je jedino djelo obrađeno u odnosu spram dvaju izvornika. Pokazat će se kako Držić želi politički probuditi dubrovačku publiku te kako preko Euripidovih ideja upozorava dubrovačku vlast. Uvodeći anakrone pojmove („ban“ i „crkva“) radnju dodatno aktualizira, a koristeći termine „višnji“ i „bogugodan“ radnju kristijanizira. Sličnim postupcima se koristio i Palmotić u pisanju svoga Natjecanja Ajača i Ulisa za oružje Akilovo. Rad pokazuje da se u finalnoj sceni Palmotić udaljava od Ovidijeve narativne pjesme te da izostavlja tragiku djela. Pišući djelo dubrovački autor simplificira izraz rimskog pisca kako bi publici lakše prenio djelo te u svom naumu uspijeva. Manje vjeran izvorniku bio je u pisanju Akilea, drame koja se bavi Ahilejevim životom na Skiru. Palmotić ima mnoštvo intervencija u fabulu djela te početkom trećeg čina praktički kreće pisati vlastito djelo. Zanimljivo je uočiti kako je moralno dvojbene motive, kao što je Dejidamijino silovanje, izbacio u svojoj preradbi. Dubrovački pisci su uglavnom bili uspješni u svojim preradbama antičkih djela.

Abstract (english)

The main topic of this research are the original works of Dubrovnik plays from the 16th and 17th century within the Trojan War theme. In the rework of their writing, Nikola Nalješković, Marin Držić and Junije Palmotić make use of the ancient models from Euripides, Publius Ovidius Naso and Publius Papinius Statius by adapting the genre to fit the Dubrovnik audience. Dubrovnik's theater audience is used to pastorals, therefore fairies and satyrs find a place in these antique adaptations as well. The graduation thesis presents a new viewpoint that points out how Nalješković followed Ovid's Heroides while writing his own work and substantiated it with thematic and spatial similarities, bearing in mind the previous academic findings. Differences in the plot are noted and linked with the spread of political dogma. Similar questions are answered in the analysis of Držić's Hekuba, which is the only work elaborated in relation to two originals. It is shown how Držić wants to politically awaken Dubrovnik audiences and how he warns the government through the ideas of Euripides. By introducing anachronistic terms („ban and „Crkva”), he further actualizes the act and by using the terms „višnji” and „bogugodan” he Christianizes the action. Similar methods were used by Palmotić in writing the play Natjecanje Ajača i Ulisa za oružje Akilovo. The paper shows that in the final scene Palmotić moves away from Ovid's narrative poem and omits the tragedy of the work. When writing the work, the author from Dubrovnik simplifies the expression of the Roman writer to convey the work to the audience more easily and succeeds in his intention. He was less faithful to the original in writing Akile, a play dealing with Achilles' life on Skyros. Palmotić intervenes a great deal in the original plot to the point that by the beginning of the third act he is practically writing his own work. It is interesting to see how he removed morally questioning motives, such as Deidamia's rape in his adaptation. Dubrovnik writers were mostly successful in their adaptations of ancient works.

• Keywords: Trojanski rat; preradba izvornika; dubrovačke drame; antički izvornici; aktualiziranje djela
• Keywords (english): Troyan war; reworking of originals; Dubrovnik plays; ancient originals; actualization of plays
• Language: croatian
• URN:NBN: urn:nbn:hr:131:099787
• Study programme: Title: Croatian Language and Literature; specializations in: Teaching; Course: Teaching; Study programme type: university; Study level: graduate; Academic / professional title: magistar/magistra edukacije hrvatskog jezika i književnosti (magistar/magistra edukacije hrvatskog jezika i književnosti)
• Study programme: Title: History (single major); specializations in: Research, Teaching; Course: Research; Study programme type: university; Study level: graduate; Academic / professional title: magistar/magistra povijesti (magistar/magistra povijesti)
• Type of resource: Text
• File origin: Born digital
• Access conditions: Open access
• Created on: 2024-05-25 10:04:05