| Sažetak (engleski) | The research of magazine production in Split and its surroundings led us in two directions. The first one went through an insight into the existing magazine holdings, primarily of the Split University Library and other related libraries (National and University Library in Zagreb, Split City Library, Zagreb City Library) and into the existing bibliographies created according to these funds. We can call these sources primary. Others are secondary, related to all reference literature that ... Više focuses its interest in Split and magazines, especially literary ones, which are the subject of this work. Both of these led us to the main result, which is the compilation, that is, the record of the corpus and descriptions of as many as 25 titles that in continuity from the sixties of the 19th century until today give a picture of Split literary magazines and establish a special branch of the cultural tradition of a city and region, which in many ways also expresses the general image of the national tradition. This relatively extensive corpus is primarily the result of two basic criteria: that the magazine was published in Split or in its immediate surroundings, which gravitated towards Split as its center, and that not only was it declaratively directed at literary production but factfully as well, or at least to certain extent participated in generating and shaping the literary life of Split and its image. Namely, after the first printed books, then the first calendars, almanacs, magazines and newspapers during the 17th century, calendars and almanacs played an important role in the 18th century, then magazines and newspapers began to come to the fore. The new media reacted equally to technological and social changes, so both are changing with regard to the rhythm of appearance, the character of the articles and the target audience. Both experienced their peaks at the turn of the 19th and 20th centuries, when they began to be threatened by new, electronic media, which became dominant with the advent of the Internet at the turn of the 20th and 21st centuries (V. Brešić, Practice and Theory of Literary Magazines, 2017: 313). Both in Europe and in Croatia – with a small time delay typical of each periphery. While the beginning of the European tradition of magazines and newspapers is linked to the Paris Journal des sçavans (1665), the London Mercurius Librarius (1668) and the Daily Courant (1702), the beginning of the Croatian tradition is linked to the announcement of the Latin Calendarium Zagrabiense (1771) and the appearance of Agramer deutsche Zeitung (1786) and Kroatischer Korrespondent (1789), along with the messenger of the French administration in the area of Napoleon's Illyria Il Regio Dalmata – Kraglski Dalmatin (1806) and its successor Télégraphe officiel with (and allegedly) Croatian version (1810). The Italian Gazzetta di Zara was first published in Zadar in 1832, and on the wave of revival changes – after Gaj's Novine and the weekly Danicza Horvatzka, Slavonzka y Dalmatinzka (1835) – the most important magazine, Zora dalmatinska (1844) was also published. In the meantime, the first national cultural institution Matica hrvatska was founded in 1842, and Zagreb became a cultural center as well. The first Croatian newspaper in Istria Naša sloga was published in 1870, and Dubrovnik, as the center of older Croatian literature, had its own magazine Dubrovnik (1849- 52), then Slovinac (1878-84). Slavonija got its own magazine Slavonac in 1863, and with the help of Gaj and Matica hrvatska, the first Croatian magazine in Bosnia and Herzegovina, Bosanski prijatelj began to be published in 1850, etc. The politically and administratively fragmented space began to integrate into a unique national cultural space. Gaj and other revivalists thus created and shaped Croatian nation as a modern European cultural nation using a new medium (Ibid, 314). Of course, Split was also a part of that area; its periodicals began in a foreign language. Namely, the Annuario dalmatico was published in Italian, and most brochures of Dalmatian Croats during the revival were also written in Italian, including most of Narodni list - Il Nazionale (1862). The Annuario was not politically intoned, but in the second volume, a Slavic idea is visible, which went on the wave of the revival of national consciousness in Dalmatia as well, and which, after Gaj's impulse, was ignited in the circle around the aforementioned Zora dalmatinska from Zadar. Moreover, it was planned for the third volume to be issued separately in Italian and in Croatian, but in the meantime Il Nazionale – Narodni list was launched in Zadar in 1862, so the Split Annuario lost its raison d'être. On the trail of revival events and especially the triumph of right-wing politics, Nada (1883) appeared in Split, which already in its subtitle (Periodical for entertainment and instruction) reminds of Šenoa's Vienac, which August Šenoa had brought to its peak and made it the main national cultural tribune. Nada is not a competitor to anyone, but – as its editor writes – “only a response“ of the youth of Split. The extent to which Vienac served as a model can be seen from the song written by Jovan Sundečić honouring the exit of Nada – just as Ivan Trnski once did for Vienac. Young Kranjčević was among associates of Nada. Nada's Listak is rich and current, etc. The concept of cultural mobilization and national integration is noticeable at all levels. The experience that the national periodical gained by the end of the 19th century is best reflected in the place of its self-legitimization, so the third Split literary magazine Novi viek (1897) is no longer a paper for enlightenment (education and entertainment) but for literature, science and politics. It is edited by the distinguished writer, follower and supporter of Starčević Dr. Ante Tresić Pavičić, who did not manage well in the upcoming modernist turmoil – just like the circle around Zagreb's Matica hrvatska and “old Vienac“ – it would be shut down after 33 years. However, just like Nada, Novi viek succeeded in mobilizing Dalmatian writers and had the support of collaborators from Zagreb as well – among them are again S. S. Kranjčević and Jakša Čedomil, Mihovil Nikolić, Milan Begović, Vladimir Nazor, Ante Petravić and others. Besides poetry and prose, the editor Tresić Pavičić also published his historical drama Katarina Zrinska and a translation of a part of Dante's Divine Comedy. It seems that Novi viek has acquired the status of another center of the otherwise still very Zagreb-centric Croatian culture and literature – just as Kranjčević was successful with Sarajevo's Nada in those years. Milan Marjanović, the chief critic of Croatian literary modernism, showed that the gap between Zagreb and Split is getting smaller, and the national media network is getting denser. “In Spljet“ at the beginning of 1911, he starts and edits Jug, youth “the newsletter of Starčević's youth“ and immediately provokes the anger of Zagreb Savremenik, the newsletter of the young Society of Croatian writers, who seem to think that Jug is unnecessary in a period when there are too many literary magazines and too few subscribers. However, the Dalmatian public supports the paper, it needs less politics and “more sun“, it needs to connect the North and the South better, so that we are not strangers to each other. Although he gathered distinguished collaborators, Marjanović moved to Zagreb after the eighth issue to run the new magazine Val – “a magazine of Croatian and Serbian youth“ with young Čerina. At the beginning of 1912, tireless Marjanović merged his Split Jug with the Zagreb Zvono in a general independent review of the dual name Jug (Zvono) and the dual place of publication Spljet/Zagreb, so although more for declarative than real reasons, it was a strong cultural and political gesture that points to the idea of an integrated not only literary but also ideological-political scene. As many as eight magazines changed in the relatively short period between the two world wars. This fully corresponds, on the one hand, to the dynamics of public life, that is, to the turmoil and breakdowns at absolutely all levels of public life, and on the other hand, to the triumph of print media, which is experiencing its “golden age”. Renesansa was started in 1921 by the Split canon Ivan Delalle, a very active Christian intellectual and an engaged collaborator of Catholic newspapers, and his first and only collaborators are from that same circle. His idea is that “save the cultural unity of the homeland“ starts from Split, the city of “the first Croatian and Yugoslav book“, therefore it is also the “beginning of the first Yugoslav renaissance“ (sic!). Given that Giovanni Papini, a controversial and militant Italian writer, has the first say in the new paper, and that he openly advocates Serbian nationalism, the project was soon suspended. Savremeni vidici (1928), “an independent magazine for all contemporary cultural problems“ by Zvonko Krstić, was supposed to bring a weekly overview of all cultural issues through the prism of the youngest people of Split, those who did not participate in the war, but to continue the tradition of the oldest pre-war generation, which “in the city at the foot of Marjan” manifested ”the same aspirations with a lot of enthusiasm and a lot of perseverance, and to be the first harbinger of the return of old moral and spiritual values refreshed with new ideas of the 20th century“. The expression of these new ideas is definitely Vinka Bulić's article On feminism, which largely corresponds to what Marija Jurić Zagorka is doing in Zagreb. Such is the nature of the issue of a unified speech and language in Zagreb and Belgrade, which is debated on both sides, but is also produced on strange mixtures of Serbian and Croatian, Ekavian and Ijekavian – mainly on the Croatian side in the name of a political principle: one dialect, one script and one spelling. Not long after Savremeni vidici, “a family magazine for literature and culture“ appeared in mid-summer of the same year, 1928, under the name Jadranska vila of the Omiš bookseller and writer Jakov Tomasović. Even though it is “the only literary paper on our Adriatic today, the cradle and focal point of our culture“, Tomasović does not like the ignorant attitude of some Zagreb newspapers towards his “Vila“ – they will not even advertise it, because they consider it “some obscure provincial paper“. During the period of the most intense so-called 6 January Dictatorship, in May 1929, another literary review began to be published in Split – Korablja. Although, despite the unfavourable circumstances, it started out relatively ambitiously (to be published four times a year), only two issues were published. Its goal “to give Dalmatia literary and artistic reading and to serve spiritual gathering and culture“ will fail on the second step, leaving spiritual culture at the level of Cinderella (“there is not enough political, social, or economic material“) – in short: “The atmosphere is not favourable for us“. That the situation was truly serious is obvious from the fact that the next paper in Split would not appear until February 1940. It was “a youth art magazine“ by Duško Kečkemet and Ivo Miše under the title Pregnuća. It is actually a student paper, a project of the Student Literary Association “Luka Botić“ at the State Male High School in Split. Only two issues of the planned monthly periodical were published. However – at the same time, Pregnuća gained its followers, in March 1940 Proljeće, “the paper of high school female students“ and Mladi Hrvat were published. The magazine Proljeće is almost identical to the magazine Mladi Hrvat, however one was for male and the other for female students. This fact was probably considered by the members of the editorial board, so Proljeće stopped being published after the fourth issue; the news was announced in the 4th issue of Mladi Hrvat, stating material circumstances as the reason for the shutdown of Proljeće. However, at the end of this, tentatively speaking, central phase of Split literary periodicals, which we limited by the years of two world wars, a magazine dedicated only to poetry appeared quite unexpectedly. It was the first time in our country, so Poezija from Split (1941) was truly the first national genre magazine and the first magazine for poetry. It was started, published, edited and mostly completed by Split lawyer, poet, storyteller and translator Branko Storov. Storov was of broad culture, well versed in the world of literature, had refined taste and the type of poetry he preferred. However, Poezija remains, first and foremost, a private enthusiastic project launched in a delicate time and because of all that it was marginal and relatively quickly fell into oblivion. Almost thirty years will pass until new magazines dedicated exclusively to poetry begin to appear, but different in almost everything from their pioneering predecessor from Split. After an almost ten-year hiatus, a new wave of Split magazines followed after the Second World War and post-war period with all the tectonic disturbances that did not bypass culture, literature, and consequently its media. The new, first and foremost, ideological paradigm was deeply inscribed in a series of almost a dozen periodicals in Split and its surroundings, and all this is obviously accompanied by new discursive practices. The first monthly magazine of the Split-based Newspaper and Publishing Company “Slobodna Dalmacija“ was entitled Književni Jadran (1952), edited by the so-called “Editorial board“, and the signed “chief and responsible editor“ was Hranko Smodlaka. The editors of the new magazine assessed that “the cultural life of the coastal region today flows quite unevenly, in several separate centers, and some regions hardly even participate in it“, so now it is up to “our literary workers to come before the public with their magazine“. The first issue is welcomed by Vicko Krstulović, who hopes that the Književni Jadran will contribute to “the development of advanced ideas“ and the “struggle of people for a new world“ – “always keeping in mind the ideal of freedom of thought for which so many fighters have given their lives over the centuries and the construction of socialism – the life path of Tito's Yugoslavia“. In the same 1952, two more magazines appeared. The first is Peristil – “a review of literature and art“ named after the most famous square in Split in front of the cathedral of St. Dujam in the old center of Split. The chief editor was Davorin Rudolf, and the managing editor was Davor Šošić, who criticizes the condition of our literature and states that it has no resonance in the world: “Our literature needs works that will take it beyond our borders, works that will overflow with youth!“ and adds: “Young writers are a necessity for a literature that wants to exist and that wants to live!“. Šošić is also the author of the “inappropriate“ poem Tri pljuvanja (Three Spits). Although after the political drama of the Cominform, in 1952 the political scene at that time began to liberalize, and it was the young people who were the first to take advantage of this, and Peristil found itself a target of dogmatic critics, although prepared, the second number was not published. The second, that is, the third magazine from Split in the same 1952 was Stvarnost – “youth literary magazine“, that is, “magazine for literature and art“ edited by Mirko Prelas, and its publisher was the Central Literary Section of Youth for the city of Split. However, this magazine was also shut down after the third issue. Moreover, according to the records, this happened despite the claim of the editorial board that they “sorted out the financial situation“, so thanks to “the People's Government primarily“, the magazine “will be published regularly“. Perhaps more revealing is the statement of the same editorial board that “our magazine has no pretensions to 'lead' and become an organ of some 'rebellion' and 'revolutionism', but to publish the works of young people from our region (maybe from other regions as well), to show through their work how much young people can accomplish“! In the 23rd issue (November 1953) in Književni Jadran there was news about the establishment of the subcommittee of “Matica hrvatska“ in Split, and Književni Jadran certainly welcomes this act. One of the results of that act was the establishment of yet another literary magazine, which will bring to life not only Split cultural and literary scene, but also the entire practice of literary magazines, in which institutions – even when they themselves are unstable for any reason – will be the best guarantor of the durability and quality of any magazine (V. Brešić, Reading Magazines, 2005: 79). That new magazine was Mogućnosti – a magazine for literature, art and cultural issues, firstly edited by Matica hrvatska, then the Department of Literature and Culture of the Chakavian Assembly and finally the Split Literary Circle. It appeared in January 1954 and with a relatively stable rhythm and continuity it is published even today. The editorial policies of Jure Franičević Pločar and especially Živko Jeličić were crucial, and the temporary atmosphere of relaxation of dogmatic socialism and Yugoslav unitarism was in their favour. In such an atmosphere, Vidik was launched in 1954, which grew out of the Youth Literary Section and it soon grew into a provocative magazine of young writers in Split, often strongly opposing and rivalling Mogućnosti. Along with the important publishing activity of the editorial offices of both magazines, Split was turned into a strong and recognizable, not only regional, but also national literary center. The appearance of the first and only issue of Kerub (1967) – the magazine of the Split branch of the literary group Tin – can be explained in its own way by the thesis of the aforementioned liberalization of the cultural space in the sixties and seventies of the 20th century. Different from other magazines in many respects, Kerub openly calls this “atmosphere“ “the second Croatian revival“, as soon evidenced by the events from the Declaration on the Name and Status of the Croatian Literary Language (1967) to the Croatian Spring (1971). Although a philological magazine rather than an eminently literary one, Čakavska rič (1971) refers to the complex structure of national literature with its “study of the Croatian Chakavian word“, as it is realized in several Croatian “languages“, that is, in the standard and in three dialects. The relationship towards this fact is also complex, but it was precisely in this period of the 60s and 70s that the work on equal treatment of the linguistic media of Croatian literature was intensified, trying to turn one specificity into national cultural and artistic capital. What magazine Kaj (1968) does for Kajkavian, Čakavska rič does for Chakavian, whose first publisher was The Branch of Matica hrvatska, and when the branch was closed, Chakavian Assembly – Department of Literature and Culture, a newly founded publishing house in Split, and after its shutting down the Literary Circle. The reforms that started in the sixties, and which culminated in the Croatian Spring, proved to be too demanding for the ruling politics and dangerous for the regime at the time, so a counterattack followed, first of all, against any form of national exposure (the so-called “Croatian silence“). This can be seen in the Split magazines of the time – the old ones (Vidik and Mogućnosti) and the new ones like Rast. Launched on November 29, 1974 in honour of the Republic Day and the thirtieth anniversary of the liberation of Split, Rast self-legitimizes itself as the Newsletter of the literary group of the Center for Culture of the Workers' University “Đuro Salaj“, which was founded in April 1974 with the task of encouraging the “quality of workers' creativity“ which is normally spoken of with disrespect and irony. Almost two decades will pass before a new magazine initiative arises in the Split area, now in a significantly different situation because it was marked by the beginning of the Homeland War and the founding of the Republic of Croatia. In 1991, Mosorska vila began to be published in Omiš, announced as a quarterly culture magazine of the Omiš Culture Center and co-publisher Matica hrvatska Omiš and the Society of Poljičani. The main initiator and mobilizer, and then the editor in chief was Anđelko Novaković, and at the head of the project The Council of Collaborators was nominated, which consisted of cultural workers, not only from Omiš, Split and Zagreb, but also from abroad, for example Ante Kadić from Bloomington and Eduard Pivčević from Bristol. The head of the Council was Mirko Tomasović, a Zagreb university professor, one of the editors and the son of Jakov Tomasović, the founder of the “pre-war Jadranska vila in Omiš“ (1928-1937), and he was also one of the editors of Vidik. Novaković's Mosorska vila was published until 1993, when The Branch of Matica hrvatska in Split launched its first magazine in the sovereign homeland. Namely, after the socio-political changes of the 1990s in the Republic of Croatia, branches of Matica hrvatska were re-established. The Split subcommittee of Matica hrvatska was founded on November 15, 1953, and as early as January 1954, the first issue of the magazine Mogućnosti was published, and has been published to this day. Matica hrvatska developed publishing activities and printed a number of books until, due to the political circumstances of the seventies, its activities ceased, and the committees of Matica hrvatska were dissolved. After that, the Literary Circle and the Chakavian Assembly in Split continued with publishing which was the most important activity of Matica hrvatska. At the end of 1989, just before the socio-political changes in Croatia, Matica hrvatska renewed its activity in Zagreb, which was soon followed by its branches. The Split Branch held its renewal assembly on October 9, 1990. Split Matica managed to renew its publishing activity as well. However, despite its efforts, it was unable to get back its magazine Mogućnosti which it “lost“ in 1973, so it started a new magazine Hrvatska obzorja. It was run as a quarterly by Ivan Bošković. The magazine had several hiatuses, it was accepted, however, with critical tones coming from the Split community, so a discussion “Hrvatska obzorja – for or against?“ was organized in the Split City Museum. In those years, Split's literary scene becomes one of the liveliest, and Split becomes one of the most important centers of national literary life – with its magazines, writers and attitudes. Although only two issues were published, the Split Torpedo (1997) – a literary magazine, with its “independent“ publisher A. B. Gigantic and editors Ivica Ivanišević and Ante Tomić, imposed itself as an “alternative literary magazine“ of a completely new Split circle to which – in addition to the aforementioned editors, Jurica Pavičić, Renato Baretić and Alem Ćurin also belonged to, and it also gathered other important names of the modern national literary scene such as Borivoj Radaković, Miljenko Jergović, Zoran Ferić, Simo Mraović and others. This circle had a part in the subsequent establishment of the so-called Alternative Literature Festival (FAK). In the meantime, Split also established itself as a strong university center, and this was also evident on the literary front when The Split Mind (2005) began to be published in 2005 – the first student “Magazine for literature and culture of the students of the Faculty of Philosophy in Split“ called “the literary oasis of Split University“. In addition to the names of collaborators known from Torpedo, there are many new ones; poetry, prose, essays, translations, drama and comics are published, and there was a special place for the column Out of Mothballs, which brought interesting stories from the life of Split dedicated to events and people like Miljenko Smoje. The Split Mind is also active on social networks, it was promoted in Split clubs, bookstores and libraries – in Split and outside Split, becoming an intermedial project that greatly changed the image of not only modern national literature and culture, but also the very concept of a magazine. From a morphological point of view, it can be said that in its tradition, a century an a half long, the magazine scene in Split has produced all of the important and well-known genre forms – from annuals, through monthlies to weeklies, that is, from almanacs to newspapers or, if we use another key – communal, regional, national, school, academic, professional, independent, institutional and other forms. Split (literary) magazines also followed the dynamics of social life, generated and shaped literary production in the media, which – as this review shows – slowly and steadily turned one city and its surroundings into a regional, national, in some aspects even a supranational (global) center. In this way, we confirmed to the greatest extent the theses from the starting point of this research, aware first of all of the fact that the corpus, although relatively successfully consolidated, is still extremely complex and demanding for research and that we can return to it with a series of smaller, more precise, subspecialist researches and re-examinations. Sakrij dio sažetka |
