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50 godina u studentskim indeksima: prvi hrvatski kolegij o dječjoj književnosti

100%

Majhut B.

Libri & Liberi

2012

vol. 1

issue 1

11-28

Izučavanje književnih postupaka u dječjoj književnosti kao i prikaza povijesti hrvatske dječje književnosti postoji u Hrvatskoj već od kraja 19. stoljeća. Svijest, pak, o potrebi nastave dječje književnosti koja bi se temeljila na rezultatima tih istraživanja probijala se vrlo polako, prije svega na ustanovama koje su se bavile obrazovanjem budućih učitelja, te se pojavila tek nakon 2. svjetskog rata. Prvi kolegij koji se bavio temom dječje književnosti u toj mjeri da je termin ‘dječja književnost’ bio uključen i u naziv kolegija je Kultura usmenog i pismenog izraza s dječjom literaturom i vrlo je vjerojatno da se po prvi puta mogao čuti na katedrama hrvatskih pedagoških akademija u jesen 1961.

The studying of literary techniques and methods in children’s literature started in the late 19th century, and the first accounts of the history of Croatian children’s literature appeared in this period. However, the awareness that it is necessary to include the teaching of children’s literature, based on the findings of scholarly research, into higher education curricula developed slowly. The paper describes the history of the process of gradual inclusion of children’s literature as a topic in the higher education. The first courses including the study of children’s literature appeared in teacher training institutions after WWII. The first course in which children’s literature was included to a substantial extent, while the course name also contained the term “children’s literature” was The Culture of Oral and Written Expression with Children’s Literature. Such a course was delivered for the first time at Croatian teacher training colleges probably in 1961.

Forschungsarbeiten zu kinderliterarischen Verfahren sowie Darstellungen der kroatischen Kinder- und Jugendliteratur gibt es in Kroatien seit Ende des 19. Jahrhunderts. Demgegenüber scheint sich das Bedürfnis nach einem auf diesen Ergebnissen aufbauenden Unterricht über die Kinderliteratur erst allmählich zu etablieren, und zwar erst nach dem Zweiten Weltkrieg an den Instituten für die Ausbildung von anstehenden Lehrern. Das erste Kolleg, dass sich derart mit dem Thema Kinderliteratur befasste, so dass der Begriff Kinderliteratur zum Bestandteil der Kollegbezeichnung wurde, war das Kolleg Mündliche und schriftliche Ausdrucksformen samt Kinderliteratur. Dieses Kolleg wurde erstmals an kroatischen Pädagogischen Akademien im Herbst 1961 vorgetragen.

Prostor u Čudnovatim zgodama šegrta Hlapića

88%

Rezo V.

Libri & Liberi

2013

vol. Vol 2

issue No. 2

225-240

Polazeći od teorijskih postavki suvremenih teoretičara poput Henrija Lefebvrea, Edwarda Soje, Michela Foucaulta, Gastona Bachelarda i dr., rad iščitava Čudnovate zgode šegrta Hlapića kao roman ceste (kretanja) i roman prostora (razotkrivanja značenja prostornih uporišta), uz neizbježno isprepletanje dviju perspektiva, uzimajući u obzir autoričino u proslovu višekratno nagoviješteno žanrovsko određenje djela (pripovijest). Protagonist romana napušta sigurno utočište vlastitoga doma prešavši kućni prag, a upravo se ova prostorna minijatura na kojoj se odvija Hlapićev izlazak iz kuće malim recipijentima sugerira kao točka iz koje trebaju stupiti u priču, kao mjesto njihova ulaska u narativni prostor. Našavši se na putu, mali flaner (od trenutka krađe čizmica, tragač za rješenjem problema) osvaja prostor raznim osjetilima, registrirajući mahom pozitivne značajke ruralnoga krajolika, a negativne urbanoga. Hlapićevo se lutanje odvija po nemapiranome prostoru, topografski ispražnjenome, po kojemu su razmještena sporadična spacijalna hvatišta poput štaglja, mosta ili kamenoloma te posebno važna heterotopija sajma i njoj subordinirana heterotopija cirkusa, dva mjesta „izvan svakoga mjesta“ (Foucault), koja je ipak moguće locirati.

Starting from theoretical assumptions of contemporary theoreticians such as Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Bachelard, this paper considers the novel Čudnovate zgode šegrta Hlapića [The Brave Adventures of Hlapich the Apprentice] as a ‘road novel’ and a representative of the ‘space-oriented novel’, taking into account the genre’s specification as implied in the preface by the author. The main protagonist of the novel leaves the safe haven of the only home he has by crossing the doorstep, and it is precisely this space miniature, in which Hlapich’s departure takes place, that is offered to young readers as their point of departure into the story, i.e. their entry point into the narrative space. Finding himself on the road, the little flâneur (from the moment his shoes are stolen, he becomes a problem solver) conquers place with various senses, registering mostly the positive features of the rural landscape and the negative ones of the urban one. Hlapich’s wandering occurs in an unmapped space, topographically emptied, across which sporadic spatial points of reference, like a barn, a bridge or a quarry, are deployed, as well as the particularly important heterotopia of the fair, and the one subordinated to it − the heterotopia of the circus − two places that “are outside of all places” (Foucault), even though it may be possible to locate them in reality.

Ausgehend von den Ansätzen zeitgenössischer Theoretiker wie jenen von Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Beachelard u. a., wird der Roman Čudnovate zgode šegrta Hlapića [Wunderbare Reise des Schusterjungen Clapitsch] als „Straßenroman“ bzw. Variante des „raumorientierten Romans“ interpretiert. Dabei wird die durch die Verfasserin im Vorwort vorgenommene Gattungsdefinition des Textes als Erzählung berücksichtigt. Der Protagonist verlässt den sicheren Hafen seines Heimes, indem er die Hausschwelle übertritt. Gerade diese räumliche Miniatur, innerhalb der sich Hlapićs Auszug in die Welt vollzieht, dient sowohl als Ausgangspunkt der Geschichte wie auch als Eintrittspunkt für die Rezipienten in den Erzählraum des Romans. Der kleine Flaneur, der Vagabund Hlapić, der nach dem Raub seiner Stiefel zum Problemlöser wird, erobert auf seinem Weg den Raum mit unterschiedlichen Sinnen. Dabei nimmt er die vornehmlich positiven Merkmale ländlicher bzw. negativen Aspekte urbaner Landschaften wahr. Hlapićs Wanderung vollzieht sich durch einen unvermessenen, topographisch entleerten Raum, in dem sporadisch räumliche Bezugspunkte wie die Scheune, die Brücke oder der Steinbruch vorkommen. Darunter ist der Heterotopie des Jahrmarktes, sowie dem ihr untergeordneten Zirkus besonderer Stellenwert beigemessen, denn obgleich sie lokalisierbar sind, handelt es sich um „Orte außerhalb aller Orte“ (Foucault).

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50 godina u studentskim indeksima: prvi hrvatski kolegij o dječjoj književnosti

Prostor u Čudnovatim zgodama šegrta Hlapića