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Ciche wojowniczki o sprawę narodową – o głosie kobiet w chorwackim dyskursie narodowym

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Kaniecka D.
Pamiętnik Słowiański
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2012
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vol. 62
|
issue 1-2
25-42
EN
The article presents modest attempts of women joining the discourse pertaining to national matters. Their significant but still underestimated contribution to the above-mentioned discourse was described on the basis of didactic and literary activity of Dragolja Jarnevic, Marija Jambrisak and Jagoda Truhelka. As the community important for the literature thriving, those creative teachers established the very first Croatian women's magazine titled 'Domace ognijste'. The magazines first issues were thoroughly analyzed with a special attention to national matters that were included in them. Those female writers and teachers mentioned in the text - although they were not able to get themselves out of the dominant male paradigm at the time - they undoubtedly prepared a sound foundation/ ground for more courageous gestures of other creative women of the future.
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Literatura jako narzędzie kreowania zbiorowej wyobraźni. August Šenoa i jego czytelnicy

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Kaniecka D.
Pamiętnik Słowiański
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2010
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vol. 60
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issue 2
7-34
EN
August Šenoa was regarded by literary historians as the creator of the Croatian public readership. This article aims to present some aspects of the relationship between the author and his reader and prove that Šenoa indeed deserved this a name. The key issue is the relation of the content communicated by the author (the question of national identity) and the needs and limitations of the reader of his era. The subject of the analysis is the category of reader developed in the text as compared to the reader who is the real recipient of the author’s texts in the second half of the nineteenth century. The objectives present in Šenoa’s writings point to the fact that through literature he intended to influence the content of the nation's collective memory and thereby shape the extratextual reality. Presented in the article is also the category of the author - the authority of the era - in order to answer the question of the extent to which Šenoa had the chance to influence the readers' tastes and habits.
3
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Narod protiv Olivera Frljića ili Poljska poslije Kletve

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Kaniecka D.
Slavia Meridionalis
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2019
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vol. 19
EN
The people against Oliver Frljić, or Poland after The CurseIn the spring of 2017, the play entitled The Curse, directed by Oliver Frljić premiered at one of Warsaw theatres. It was not the first attempt to perform in Poland on the part of the Croatian director, well known as a controversial artist whose plays discuss social and political issues. His previous appearances on Polish stages usually evoked an air of scandal. The content of The Curse, too, had its producers investigated by the state prosecutors soon after its premiere; and blasphemy and incitement to crime in the theatre were discussed in the public sphere. The Curse is a loose adaptation of Stanisław Wyspiański’s drama, originally written in 1899. It deals provocatively with questions about modern religiousness and non-religiousness, touching upon relations between the Polish Catholic Church and the state, and upon national identity in contemporary Poland.This paper is focused on reactions to Frljić’s play, especially on different ways of expressing public anger as the most frequent reaction; it shows how politicians, members of religious and nationalist groups and other protesters became part of the performance. It aims to explain the success of one of the most scandalous theatrical ventures in Poland, describes the peculiarity of the Polish context, the dynamics of reaction of opponents and students of Frljić’s activities, and shows the lasting consequences as well as the performative potential of the Croatian director’s presence in the Polish public sphere. A very important circumstance in researching The Curse is that – as emphasized both in the performance itself and in the public debate – Polish national values were criticized by an outsider, in other words, by the Other.The article pays particular attention to two contexts: one is engaged theatre’s potential to transcend its own boundaries and influence the social and political reality; the other is the author’s personal participation in Frljić’s performance. Naród przeciwko Frljiciowi albo Polska po KlątwieWiosną 2017 roku w jednym z warszawskich teatrów premierę miał spektakl Klątwa w reżyserii Olivera Frljicia. To nie był debiut reżysera w Polsce, jego poprzednim działaniom na polskich scenach towarzyszyła atmosfera skandalu. Frljić jest znany jako kontrowersyjny artysta, którego sztuka dotyka sprawa społecznych i politycznych. Wkrótce po premierze prokuratura wszczęła postępowanie przeciwko realizatorom spektaklu, w związku z jego treścią; namawianie do zbrodni i bluźnierstwo w teatrze zdominowały dyskusje w sferze publicznej. Klątwa to luźna adaptacja dramatu Wyspiańskiego, napisana w 1899 roku. Prowokuje pytaniami o współczesną religijność i niereligijność, dotyka relacji między Kościołem katolickim a państwem, porusza także kwestie związane z tożsamością narodową we współczesnej Polsce.Artykuł koncentruje się na reakcjach na spektakl Olivera Frljicia, zwłaszcza na temat różnych sposobów wyrażania publicznego gniewu; pokazuje, jak politycy, członkowie grup religijnych i ugrupowań nacjonalistycznych oraz inni protestujący, stali się częścią przedstawienia. Tekst ma na celu wyjaśnienie sukcesu jednego z najbardziej skandalicznych przedsięwzięć teatralnych w Polsce, opisuje specyfikę polskiego kontekstu, dynamikę reakcji przeciwników i badaczy działań Frljicia, ale pokazuje także trwałe konsekwencje oraz performatywny potencjał obecności chorwackiego reżysera w polskiej sferze publicznej. Istotnym dla badań czynnikiem jest eksponowany i w spektaklu, i w debacie publicznej fakt, że polskie wartości narodowe zostały skrytykowane przez Innego/Obcego.Rozważania zostały przedstawione w kontekście oczywistego dla teatru zaangażowanego potencjału do przekraczania własnych granic, ingerowania w sprawy społeczne i polityczne, ale także w kontekście osobistego udziału autorki artykułu w spektaklu Frljića.
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