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Hrvatska udruga istraživača dječje književnosti • ZagrebCroatian Association of Researchers in Children’s Literature • Zagreb

God. 5 br. 2 • 2016 • Vol. 5 No. 2

Časopis za istraživanje dječje književnosti i kulture

Journal of Research on Children's Literature and Culture

Glavna urednica / Editor-in-ChiefSmiljana Narančić Kovač (Zagreb)

Zamjenik glavne urednice / Deputy EditorTihomir Engler (Varaždin)

Tajnice uredništva / Journal AdministratorsIvana Milković (Zagreb)Vladimira Rezo (Zagreb)

Uredništvo / Editorial Board

Robert Bacalja (Zadar), Sandra L. Beckett (St. Catharines), Milena Mileva Blažić (Ljubljana), Clare Bradford (Melbourne), Penni Cotton (Roehampton), Bernd Dolle-Weinkauff (Frankfurt), Dragica Dragun (Osijek), Giorgia Grilli (Bologna), Peter Hunt (Cardiff), Andrijana Kos-Lajtman (Čakovec), Veljko Krulčić (Zagreb), Alica Kulihová (Bratislava), Bettina Kümmerling-Meibauer (Tübingen), Berislav Majhut (Zagreb), Janelle B. Mathis (Denton, TX), Cynthia McDermott (Los Angeles), Thomas Möbius (Gießen), Karin Murris (Cape Town), Maria Nikolajeva (Cambridge), Marek Oziewicz (Minneapolis, MN), Kristina Riman (Pula), Dubravka Težak (Zagreb), Ingrid Tomkowiak (Zürich), Terrell A. Young (Provo, UT), Diana Zalar (Zagreb), Dubravka Zima (Zagreb), Jack Zipes (Minneapolis, MN)

Mlade urednice / Junior EditorsSilvija Hanžić Deda (Zagreb), Corinna Jerkin (Rijeka),

Nada Kujundžić (Zagreb), Ivana Milković (Zagreb)

Libri & Liberi: časopis za istraživanje dječje književnosti i kultureGodište 5 – Broj 2 – 2016. (Broj je izišao 2017.).Libri & Liberi: Journal of Research on Children’s Literature and CultureVolume 5 – Number 2 – 2016 (This issue published in 2017).UDK 82-93UDK 371.3:82UDK 82.0-93ISSN 1848-3488 (tisak/print)ISSN 1848-5871 (online)DOI: 10.21066/carcl.libri© 2016. Hrvatska udruga istraživača dječje književnosti (HIDK) / Croatian Association of Researchers in Children’s Literature (CARCL), Zagreb, CroatiaLibri & Liberi znanstveni je i stručni časopis koji izlazi dva puta godišnje u tiskanome i elektroničkome izdanju <www.librietliberi.org> i objavljuje znanstvene i stručne članke na hrvatskome, engleskome i njemačkome jeziku o svim temama koje se tiču dječje književnosti, književnosti za mladež i njihova široko shvaćenoga kulturnoga konteksta, njegujući interdisciplinarnost i intermedijalnost. Radovi se dostavljaju na e-adresu [email protected]. Upute za pripremu rukopisa nalaze se na mrežnoj stranici <www.librietliberi.org>.Libri & Liberi is an academic journal published twice a year in printed and electronic form <www.librietliberi.org>. It publishes peer-reviewed academic papers on various topics in the field of children’s literature and young adult literature and on related topics, on their wider cultural contexts, in English, German and Croatian. Manuscripts and inquiries should be submitted electronically to [email protected]. Guidelines for contributors can be found at <www.librietliberi.org>.Prilozi objavljeni u časopisu referiraju se u / Papers published in Libri & Liberi are referenced in: ERIH PLUS (European Reference Index for the Humanities and Social Sciences); Scopus® (Elsevier); MLA International Bibliography and MLA Directory of Periodicals; ULRICHSWEB − Global Serials Directory; CEEOL (Central and Eastern European Online Library); CEJSH (Central European Journal of Social Sciences and Humanities); Hrčak (Portal znanstvenih časopisa Republike Hrvatske / Croatian Portal of Academic Journals); ROAD (Directory of Open Access Scholarly Resources).

Libri & Liberi uvršten je u Emerging Sources Citation Index (ESCI), novo izdanje Web of Science™. Thomson Reuters razmatra sadržaje uvrštene u ESCI za primanje u Science Citation Index Expanded™, Social Sciences Citation Index® i Arts & Humanities Citation Index®.Libri & Liberi has been accepted for indexing in the Emerging Sources Citation Index (ESCI), a new edition of Web of Science™. Content in this index is under consideration by Thomson

Reuters to be accepted in the Science Citation Index Expanded™, the Social Sciences Citation Index®, and the Arts & Humanities Citation Index®.Prilozi objavljeni u časopisu dostupni su i putem akademskih baza podataka EBSCOhost.Articles from Libri & Liberi are also accessible through EBSCOhost research databases.Adresa uredništva / Address: Libri & Liberi, Savska cesta 77, HR-10000 ZagrebE-mail: [email protected]; [email protected]: +385 1 6327 323 / +385 1 6327 319 Tajnice / Journal office assistants: Tea Bošković, Katarina Kokanović, Maja Loborec, Dina Alexandra Pavković, Ivana Sabolović, Nika VučićDesign: Antonija Balić ŠimrakUDK izradila / Universal Decimal Classification (UDC): Andreja TominacLektura / Language editing: Mark Davies (engleski / English), Adrian Ramabaja (njemački / German)Korektura / Proofreading: Katarina Kokanović, Nika VučićRačunalni slog i prijelom / Layout: Nataša VukovićIzdavač / Publisher: Hrvatska udruga istraživača dječje književnosti, Savska cesta 77, HR-10000 ZagrebTisak / Printed by: Tiskara Zelina d.d.Naklada / Print run: 350Cijena primjerka / Price per copy: 50 kn / 10 EURGodišnja pretplata za pojedince: 100 kn; Godišnja pretplata za ustanove: 200 knIndividual subscription: 20 EUR; Institutional subscription: 50 EURPitanja o pretplati upućuju se na adresu / Subscription inquiries should be sent to [email protected] i donacije primaju se uplatama na žiroračun Zagrebačke banke, IBAN: HR602360000 1102154030 (Hrvatska udruga istraživača dječje književnosti – za Libri & Liberi)Subscriptions and donations are welcome to the account at ZABA, Swift Code: ZABAHR2X; IBAN: HR6023600001102154030 (to HIDK – for Libri & Liberi).Časopis izlazi uz financijsku potporu Ministarstva znanosti i obrazovanja Republike Hrvatske.The journal is published with the financial support of the Ministry of Science and Education of the Republic of Croatia.

THOMSO N REUTERS

EMERGINGSOURCESCITATIONINDEX

INDEXED IN

Libri & Liberi • Zagreb2016 5 (2): 313–534

DOI: 10.21066/carcl.libri.2016-05(02)ISSN 1848-3488 (tisak/print)ISSN 1848-5871 (online)UDK 82.93UDK 371.3:82UDK 82.0-93

SADRŽAJ • CONTENTS317 Uvodnik • Editorial

STUDIJE • PAPERSLana Molvarec323 Predodžbe djece i mladih u Pričama iz davnine

Representations of the Child and Adolescent in Tales of Long Ago Izvorni znanstveni rad / original research paper

Katarina Ivon i Sanja Vrcić Mataija341 Metafora putovanja u Pričama iz davnine

The Journey Metaphor in Tales of Long Ago Izvorni znanstveni rad / original research paper

Željka Flegar and Ivana Moritz357 Treasure, Thievery and Mischief: Blending Culture and Negotiating

Boundaries in the Worlds of Little PeopleBlago, lopovluk i nestašluk: stapanje kultura i pregovaranje granica u svjetovima napučenima čovječuljcima

Izvorni znanstveni rad / original research paperSabrina Fava 373 Fairy Tales in Italy during the 20th Century and the Translations of Tales of

Long Ago Bajke u Italiji u 20. stoljeću i prevođenje Priča iz davnine

Izvorni znanstveni rad / original research paper

Radoslav Rusňák395 Slovak Editions of Tales of Long Ago in the Context of New Reading

Priče iz davnine na slovačkome u kontekstu novoga čitanjaPregledni rad / review paper

Ivana Cindrić and Vlatka Blagus413 Young Croatian Heritage Language Learners’ Reception of “Reygoch”

Recepcija bajke „Regoč“ u nasljednih učenika hrvatskoga jezikaIzvorni znanstveni rad / original research paper

Na koricama su reproducirane ilustracije Carla Gallenija načinjene za Leggende croate, talijansko izdanje Priča iz davnine Ivane Brlić-Mažuranić, objavljeno 1957. godine. Zahvaljujemo Povijesnomu arhivu „Giunti“ u Firenci i njegovu ravnatelju, doktoru Aldu Cecconiju, na suglasnosti da u tiskanome i elektroničkome izdanju ovoga broja časopisa Libri & Liberi objavimo faksimile izvornih ilustracija za navedeno izdanje.

The cover illustration incorporates pictures by Carlo Galleni made for Leggende croate, an Italian edition of Tales of Long Ago by Ivana Brlić-Mažuranić, published in 1957. We are grateful to the Giunti Historical Archive in Florence and to its Director, Dr. Aldo Cecconi, for giving Libri & Liberi permission to publish the facsimiles of the original illustrations made for this edition in both printed and electronic versions of this issue.

BAŠTINA • DUSTY COVERS439 Illustrations for Leggende croate / Ilustracije za Leggende croate459 Illustrations for Rozprávky z pradávna / Ilustracije za Rozprávky z pradávna

PRIKAZI • REVIEWS481 New Approaches to Ideology in Children’s Literature. Marian Thérèse Keyes &

Áine McGillicuddy, eds. 2014. Politics and Ideology in Children’s Literature. (Berislav Majhut)

484 History Revaluated. Helen A. Fairlie. 2014. Revaluing British Boys’ Story Papers, 1918-1939. (Sanja Lovrić Kralj)

486 SuperDahl: Literature, Criticism and Paratext. Laura Viñas Valle. 2016. De-constructing Dahl. (Željka Flegar)

488 Multiple Interactions. John A. Bateman. 2014. Text and Image. (Tea Bošković)491 Immigrant Children and The Arrival. Evelyn Arizpe, Teresa Colomer and Carmen

Martínez-Rodlán, eds. 2014. Visual Journeys Through Wordless Narratives. (Ana Stilinović)

493 The Hidden World of Tove Jansson. Tuula Karjalainen. 2016. Tove Jansson: Work and Love. (Penni Cotton)

496 Reading Readers. Jennifer M. Miskec and Annette Wannamaker, eds. 2016. The Early Reader in Children’s Literature and Culture. (Dorja Anić)

498 Potentials of Children’s Literature in Class. Agustín Reyes-Torres, Luis S. Villacañas-de-Castro and Betlem Soler-Pardo, eds. 2014. Thinking through Children’s Literature in the Classroom. (Dina Alexandra Pavković)

500 Neue Einblicke in die Produktion der russischen Exilkinderliteratur. Preindl, Nadia. 2016. Russische Kinderliteratur im europäischen Exil der Zwischenkriegszeit. (Sonja Schreiner)

504 Kolaž slojevitih tekstova. Diana Zalar. 2014. Potjehovi hologrami. (Marina Gabelica)506 Naratološka početnica. Maša Grdešić. 2015. Uvod u naratologiju. (Corinna Jerkin)511 Vjeran i iskren drug koji drži danu riječ. Igor Duda. 2015. Danas kada postajem

pionir. (Dubravka Zima)

KRONIKA • EVENTS521 The 22nd Biennial IRSCL Congress Creating Childhoods. Worcester, UK, 8 – 12

August 2016 (Yan Zheng)524 The 35th IBBY International Congress Literature in a Multiliterate World.

Auckland, New Zealand, 18 – 21 August 2016 (Soumi Dey) 527 International Conference A Century of Ivana Brlić-Mažuranić’s Tales of Long Ago.

Zagreb, Croatia, 12 – 15 October 2016 (Katarina Kokanović)

530 Bilješke o autorima • Notes on Contributors

533 Recenzenti u ovome godištu • Reviewers in This Volume

317Libri & Liberi • 2016 • 5 (2):

Drage čitateljice i čitatelji, ovaj je broj posvećen Pričama iz davnine Ivane Brlić-Mažuranić (1874. – 1938.) iz 1916. godine, jednome od njezina dva nenadmašena klasika hrvatske dječje književnosti. Drugi je dječji roman Čudnovate zgode šegrta Hlapića objavljen 1913. godine, koji je bio temom drugoga broja časopisa Libri & Liberi za 2013. godinu. Obje su knjige prevedene na mnoge jezike i prihvaćene kao međunarodni dječji klasici. Priče iz davnine u engleskome

prijevodu Fanny S. Copeland objavio je engleski nakladnik Allen & Unwin, 1924. godine, pod naslovom Croatian Tales of Long Ago. Taj se naslov često preuzimao u različitim izdanjima djela na engleskome jeziku, a pridjev „hrvatski“ dodavao se naslovu i na drugim jezicima. Knjiga je ubrzo prešla Atlantski ocean; s novom naslovnom stranicom objavila ju je u New Yorku američka nakladnička kuća Frederick A. Stokes Company. Do danas su pojedinačne priče ili pak cjelovita zbirka prevedene na sljedeće jezike: švedski, češki, danski, ruski, slovački, njemački, srpski, slovenski, makedonski, talijanski, albanski, mađarski, ukrajinski, litvanski, bugarski, španjolski, latvijski, japanski i francuski. Na nekima od tih jezika pojavilo se i više različitih prijevoda, a knjige su često objavljene u većemu broju izdanja.

Hrvatska udruga istraživača dječje književnosti (HIDK), Hrvatska akademija znanosti i umjetnosti i Matica hrvatska organizirale su međunarodnu znanstvenu konferenciju kako bi obilježile stotu obljetnicu objavljivanja Priča iz davnine. Odabrani radovi s toga skupa objavljuju se u ovome broju časopisa Libri & Liberi. To je ujedno i glavni razlog da ovaj broj iz tiska izlazi tek u travnju 2017. godine. Konferencija je održana u listopadu 2016. te je trebalo vremena da se radovi dovrše i prođu recenzentski i urednički postupak. Stoga su sve studije prihvaćene za objavljivanje u ožujku 2017. Nakon toga, sam proces objavljivanja trajao je iznimno kratko. Stoga dugujemo posebnu zahvalnost svim suradnicima koji su svojim radom pridonijeli da se posao dovrši u tako kratkome roku. Planiramo objaviti još nekoliko radova s konferencije u sljedećim brojevima časopisa, kako bismo još prikladnije odali počast toj iznimnoj zbirci umjetničkih bajki.

Članci uvršteni u ovaj broj razmatraju Priče iz davnine iz različitih istraživačkih perspektiva. Lana Molvarec piše o predodžbama djece i adolescenata, a Katarina Ivon i Sanja Vrcić Mataija istražuju metaforu putovanja. Željka Flegar i Ivana Moritz analiziraju zbirku u usporedbi s drugim klasicima dječje književnosti koji prikazuju svjetove napučene čovječuljcima i razmatraju ih iz aspekta prakse konceptualnoga stapanja koje se zapaža na različitim razinama u takvim pripovijedima, i to u nastanku imena, vremena i mjesta radnje, kao i različitih značenja. Sabrina Fava

Uvodnik • Editorial

317–320

DOI: 10.21066/carcl.libri.2016-05(02).000e

318 Uvodnik • Editorial

istražila je složenu povijest objavljivanja talijanskih prijevoda Priča iz davnine te ju je objasnila u kontekstu statusa bajke kao vrste u Italiji tijekom 20. stoljeća. U dodatku Fava donosi korespondenciju koja dokumentira proces nastanka talijanskih izdanja, kao vrijedan doprinos razumijevanju nakladničke povijesti Priča iz davnine u Italiji, osobito dragocjen istraživačima zainteresiranima za povijest hrvatske dječje književnosti i njezine međunarodne recepcije. Radoslav Rusňák uspoređuje dva izdanja Priča iz davnine u slovačkome prijevodu, iz 1976. i iz 1991., i osvrće se na njihovu recepciju. Izmjene teksta prijevoda Zlatka Klátika koje su nastale u novijemu izdanju objašnjava autor potrebom približavanja teksta novoj čitateljskoj publici te razvija pojam „novoga čitanja“ koji se odnosi na takve trendove. Konačno, Ivana Cindrić i Vlatka Blagus provele su istraživanje o tome kako mladi nasljedni govornici hrvatskoga jezika razumiju bajku „Regoč“ i kakvi su njihovi stavovi o čitanju izvornoga hrvatskoga teksta u usporedbi s čitanjem engleskoga prijevoda bajke. Autorice također daju prijedloge za rješavanje poteškoća na koje u susretu s bajkom nailazi ta čitateljska populacija.

Croatian Tales of Long Ago, dakle prvo inozemno izdanje Priča iz davnine, bilo je ukrašeno hvaljenim ilustracijama hrvatskoga umjetnika Vladimira Kirina (1894. – 1963.). Njegove su se ilustracije potom pojavile u mnogim drugim izdanjima te knjige na hrvatskome jeziku i na drugim jezicima, a dobro su poznate i lako dostupne na internetu. Stoga Baština u ovome broju umjesto Kirinovih radova donosi dojmljive ilustracije načinjene za talijansko izdanje iz 1957., tj. ilustracije Carla Gallenija (također uključene u omotnu ilustraciju ovoga broja časopisa Libri & Liberi) i ilustracije Davida Baffettija (detalj u gornjemu rubu omotne ilustracije ovoga broja), kao i profinjene maštovite ilustracije koje je za slovačko izdanje Priča iz davnine iz 1976. načinila Irena Tarasová.

U rubrici Prikazi objavljujemo dvanaest priloga o novijim izdanjima knjiga u području istraživanja dječje književnosti i kulture, a rubrika Kronika uključuje izvješća o dvama važnim svjetskim kongresima održanima 2016. godine, tj. Kongresu udruge IRSCL (International Research Society for Children’s Literature – Međunarodna udruga za istraživanje dječje književnosti) u Velikoj Britaniji i o Kongresu asocijacije IBBY (International Board of Books for Young People – Međunarodno vijeće za dječju knjigu) na Novome Zelandu, u okviru kojega su dodijeljene i godišnje Andersenove nagrade te priznanja za Časni popis IBBY-ja za 2016. godinu. Također, prikazana je i spomenuta međunarodna konferencija „Stoljeće Priča iz davnine Ivane Brlić-Mažuranić“.

Na kraju, s ponosom upućujem na popis referentnih baza koje bilježe naš časopis, i koji raste svakim brojem. Na tome smo osobito zahvalni našim autorima i recenzentima, koji nam pomažu da zadržimo visoku razinu kriterija i držimo se očekivanih standarda u objavljivanju znanstvenih i stručnih radova.

Smiljana Narančić Kovač

319Libri & Liberi • 2016 • 5 (2):

Dear Readers,This issue is dedicated to Priče iz davnine [Tales of Long Ago] by Ivana Brlić-Mažuranić (1874–1938), first published in 1916, one of her two unmatched children’s classics in Croatian literature. The other one is the 1913 children’s novel Čudnovate zgode šegrta Hlapića [The Strange Adventures of Hlapić the Apprentice], which was the focus of Libri & Liberi 2 (2) three years ago. Both works have been translated into numerous languages and

are widely acknowledged as international children’s classics. Priče iz davnine was published by Allen & Unwin in London in an English translation by Fanny S. Copeland in 1924, titled Croatian Tales of Long Ago. This title is usually adopted in various later editions in English and in other languages. The book soon crossed the Atlantic, as the American publisher Frederick A. Stokes Company promptly published the book in New York with a new title page. Since then, individual tales from Priče iz davnine, or the complete collection, have appeared in translation in Swedish, Czech, Danish, Russian, Slovak, German, Serbian, Slovenian, Macedonian, Italian, Albanian, Hungarian, Ukrainian, Lithuanian, Bulgarian, Spanish, Latvian, Japanese, and French, sometimes in different translations, and often in multiple editions.

The Croatian Association of Researchers on Children’s Literature organised an international conference in cooperation with the Croatian Academy of Sciences and Arts and Matrix Croatica, two leading Croatian cultural and scholarly institutions, to mark the 100th anniversary of the publication of Priče iz davnine. A selection of papers from the conference is included in this issue of Libri & Liberi. This is the main reason it appears late, published only in April 2017. The conference took place in October 2016 (a report about it is given in the Events section), and it took about five months to finish the papers and complete the editorial process. Thus, all the papers in this issue were accepted for publication only in March 2017. The publishing procedure was completed in a very short time, and we owe special thanks to all who were involved and did their best to finish their part of work so well and so soon. We plan to publish more papers from the conference in the following issues of Libri & Liberi to celebrate this exceptional collection of literary fairy tales.

The selection of papers published here focuses on several aspects of the Tales; Lana Molvarec concentrates on representations of the child and adolescent, and Katarina Ivon and Sanja Vrcić Mataija explore the journey metaphor in Priče iz davnine. Željka Flegar and Ivana Moritz analyse the collection in comparison with other classics of children’s literature representing worlds populated by little

317–320

320 Uvodnik • Editorial

people, and consider them from the point of view of conceptual blending detected at various levels of such narratives in the creation of names, settings and meaning. Sabrina Fava gives an account of the fate of the Italian translations of Priče iz davnine and their publishing history, explaining this in the context of the status of fairy tales in general in Italy during the 20th century. In the appendix, Fava presents correspondence concerning these editions which makes a valuable contribution to help understand the publishing history of the Tales in Italy, especially precious for researchers interested in the history of Croatian children’s literature. Radoslav Rusňák compares two editions of Priče iz davnine in Slovak in 1976 and 1991 and examines their reception. He explains the adaptations of the text of Zlatko Klátik’s translation in the latter edition by the need to bring the text closer to a new readership, and develops the concept of new reading to describe such trends. Finally, Ivana Cindrić and Vlatka Blagus study how young Croatian heritage language learners understand the tale “Reygoch”, in particular their attitudes to reading the original Croatian text in comparison to the translated text, and offer suggestions to reduce the difficulties encountered by these learners.

Croatian Tales of Long Ago was adorned with highly praised illustrations by the Croatian artist Vladimir Kirin (1894–1963). His illustrations appear in many other editions of the book, both in Croatian and in other languages. They are largely known, and easily available in its online publications. The Dusty Covers section in this issue does not include Kirin’s illustrations, but is instead enriched by exquisite illustrations made for the Italian edition of 1957 by Carlo Galleni (also included in the cover illustration of this issue of Libri & Liberi) and by David Baffetti (also in a detail across the upper part of the cover illustration), and by delicate and imaginative images made for the Slovak edition of 1976 by Irena Tarasová.

The Review section comprises twelve contributions on recent publications relevant for children’s literature scholarship, and the Events section completes this issue with an account of two important 2016 world congresses, the IRSCL Congress in the United Kingdom and the IBBY Congress in New Zealand, and the above-mentioned international conference, A Century of Ivana Brlić-Mažuranić’s Tales of Long Ago.

Finally, I would proudly like to draw your attention to the list of abstract and citation databases of peer-reviewed literature where Libri & Liberi is referenced and which keeps growing with every issue. For this, we are particularly grateful to our authors and reviewers who help us meet the high criteria and required standards.

Smiljana Narančić Kovač

StudijePapers

323Libri & Liberi • 2016 • 5 (2):

UDK 821.163.42.09-93-34821.163.42-93-053.2

Lana MolvarecFilozofski fakultet Sveučilišta u Zagrebu, [email protected]

Predodžbe djece i mladih u Pričama iz davnine Ivane Brlić-Mažuranić

Izvorni znanstveni rad / original research paperPrimljeno / received 15. 12. 2016. Prihvaćeno / accepted 10. 3. 2017.DOI: 10.21066/carcl.libri.2016-05(02).0001

Rad Pričama iz davnine Ivane Brlić-Mažuranić prilazi iz kulturološke perspektive. Početna je teza da predodžbe djece i mladih u zbirci korespondiraju s predodžbama vremena u kojemu zbirka nastaje, a ne s predodžbama neke daleke, davne i neodređene mitološke prošlosti. U nastavku se interpretiraju obilježja predodžbi na primjeru svih bajki u zbirci. Važnost djece i mladih te značenja koja im se u bajkama pripisuju interpretiraju se kao dio poslijeprosvjetiteljskoga, modernoga pogleda na djecu, koji ih konstruira kao svojevrsna središta obiteljskoga i društvenoga života. Jedan niz predodžbi ukazuje na urođenu djetetovu dobrotu i na njegov urođeni potencijal za promjenu društvene zajednice nabolje te se u njega upisuju i utopijska značenja. Druga vrsta predodžbi prikazuje djecu i mlade na putu socijalizacije koja ih treba pretvoriti u subjekte koji svrsishodno i korisno djeluju u društvenoj zajednici. Obje grupe predodžbi mogu se promatrati u međudjelovanju s građanskom kulturom „dugoga 19. stoljeća“ (Hobsbawm 1987) koja obilježava život i djelo Ivane Brlić-Mažuranić.Ključne riječi: bajka, građanska kultura, moderna predodžba djeteta, socijalizacija, subjekt

323–340

Uvod

Naslov ovoga rada poprilično je općenit, no jasno ukazuje na smjer kojim će ova analiza krenuti. Općenit je jer ne otkriva ništa o sadržaju, tezi ili kontekstu. Znakovit je jer ukazuje na kulturološko čitanje Priča iz davnine, a onda, posredno i samoga žanra. Socijalno, kulturno i političko čitanje bajki u suvremenoj je znanstvenoj

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literaturi već ovjeren te plodan metodološki postupak. Jednim od rodonačelnika takva pristupa bajkama smatra se Jack Zipes. U našoj znanstvenoj sredini bajkama se uglavnom nije pristupalo iz te perspektive. Većina domaće znanstvene literature o bajkama uglavnom obuhvaća formalističke, stilističke, genološke, metodičke, naratološke analize ili se koncentrira na odnos usmenoga i pisanoga. Rijetke su studije koje bajkama prilaze iz književnoteorijskoga ili kulturnoteorijskoga ugla: u zadnje vrijeme, ipak, nailazimo na sve veći broj čitanja bajki koja se temelje na takvim metodološkim pretpostavkama (npr. Manuela Zlatar 2007, Marijana Hameršak 2011, Marina Protrka Štimec 2015).

Istraživanje predodžbi o djetetu i djetinjstvu tema je za koju je znatno porastao interes u zadnjih nekoliko desetljeća, stvorivši tako posebno interdisciplinarno područje proučavanja – povijest djetinjstva. Izvorište toga pristupa svakako je studija Philippea Ariѐsa Dijete i obitelj za Staroga poretka iz 1960. godine (kasnije poznatija po nazivu Stoljeća djetinjstva, prema engleskome prijevodu), koja proizlazi iz širega trenda tadašnje historiografije o proučavanju socijalne povijesti i mentaliteta, a osobito povijesti svakodnevice u čijemu su središtu tzv. obični mali ljudi. Njegova je ključna teza da su dijete i djetinjstvo kategorije koje su otkrivene u novome vijeku, tj. da ih srednji vijek nije poznavao odnosno izdvajao u zasebne kategorije, te su djeca su bila promatrana kao „mali odrasli“. Te dalekosežne zaključke izveo je mahom analizirajući djela likovne umjetnosti, ali i dostupne pisane izvore. Ne dovodi u pitanje roditeljsku ljubav prema djetetu, promatrajući je kao univerzalnu kategoriju, no ističe da je dijete bilo na marginama društvenoga i obiteljskoga života, a ne u njegovu središtu. Tek u 19. stoljeću dijete dolazi u centar roditeljske, ali i društvene brige, čime dolazi i pod veći nadzor te kontrolu. Njegove teze naišle su na brojne kritike, ali i nastavljače te reinterpretatore (usp. Hameršak 2004). Može se zaključiti, kako je unatoč opravdanim prigovorima, najveći Ariѐsov doprinos afirmiranje teze da djetinjstvo ima povijest, da nije riječ o prirodnoj, univerzalnoj kategoriji neovisnoj o povijesnome trenutku, društvenim i kulturnim obilježjima, što se može promatrati „zamašnjakom historiografskih istraživanja djetinjstva, ali i srodnih, prije svega socioloških i antropoloških, pristupa djetinjstvu, koji se danas vrlo često objedinjuju pod nazivom studiji djetinjstva“ (Hameršak i Zima 2015: 44). Današnje predodžbe djeteta i djetinjstva možemo tumačiti kao nedavne pojave, dio sveopćega procesa modernizacije koji svoje ishodište nalazi u filozofskoj misli prosvjetiteljstva, a kasnije biva poduprt institucijama nacionalne države (Fass 2004: xii).

Ideje prosvjetiteljstva o suverenome individualcu, autonomiji pojedinca i mogućnosti izgradnje sretnoga pojedinca i društva zasnovanoga na razumu i zakonu te jednakosti ljudi postavili su temelje za moderan pogled na dijete i djetinjstvo.

L. Molvarec: Predodžbe djece i mladih u Pričama iz davnine

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Posebno mjesto ipak pripada J. J. Rousseau koji u Emileu poziva na posebnu brigu o djeci kako bi im se omogućio razvoj svih njihovih potencijala koji su nemjerljivi jer se djeca rađaju dobra i s urođenim vrlinama (usp. Jenks 1996: 65). Smatra da svako dijete nosi svoju osobitu vrijednost te da su djeca ontološki drukčija od odraslih. Ta ideja nailazi na plodno tlo u romantizmu koji nastavlja perpetuirati sliku djeteta kao nevinoga, ranjivoga, emocionalno neprocjenjive vrijednosti za koje se odrasli moraju posebno brinuti te ga njegovati i čuvati. Ideja različitosti djeteta od odraslih korespondira s razvojem modernoga društva koje se sve više diferencira na svim razinama i postaje sve difuznije. Spomenutu predodžbu djeteta sociolog Chris Jenks nazvao je apolonskom, nasuprot onoj dionizijskoj, koja dijete promatra kao potencijalno urođeno zlo te slabo u smislu moralnoga posrnuća, pa ga stoga treba socijalizirati i odgajati (pa čak i prisilom ili fizičkim metodama kažnjavanja) kako bi prihvatilo društvene vrijednosti i postalo uklopljenim i korisnim članom društva (usp. Jenks 1996).

Iako bi se generalno moglo konstatirati kako je dionizijska slika djeteta prevladavajuća u predmodernim razdobljima, treba svakako imati u vidu da se u istome razdoblju javljaju različite, često ambivalentne predodžbe djeteta (usp. Hameršak 2004: 1075), što nas navodi na zaključak da takve predodžbe nisu jednostavno uzročno-posljedični rezultat velikih društvenih procesa i promjena, nego su dio širih kulturnih predodžbi koje svjedoče o sustavu vrijednosti te svjetonazoru tih zajednica, često naslijeđenih i perpetuiranih tijekom mnogih stoljeća.

Pitanje koje se nameće jest kako dosad izložene osnovne postavke o konstruiranosti djeteta i djetinjstva primijeniti na žanr bajke te, još konkretnije, na Priče iz davnine Ivane Brlić-Mažuranić. Nema sumnje da je bajka strože kodificiran žanr u odnosu na brojne druge, pa čak i shematičan, iako to neki pristupi naglašavaju više1 nego što same bajke daju povoda za to, često se opirući jednostranim tumačenjima. Doduše, istina je da se, promatrajući likove, možemo složiti da su najčešće jednodimenzionalni, ako ih sudimo iz perspektive romanesknih zaokruženih likova (round characters; prema E. M. Forsteru). Jungovska kritika promatrala ih je kao arhetipove pa tako jungovska analitičarka von Franz (2007; usp. Marjanić 2008: 213–214) ističe kako se likovi bajki ne bi trebali promatrati kao da imaju normalan ljudski ego, nego kao apstrakcije, te su, kao i bajke uostalom, izraz kolektivnoga nesvjesnoga. U tome smislu, ako su likovi bajke jednodimenzionalni (no to ne znači da su mogućnosti interpretacija njihova djelovanja i odnošenja s drugima plošne) te ako, makar i djelomično, prihvatimo teze

1 Ponajprije mislim na morfološka i strukturalistička čitanja koja su svakako stvorila novo znanje, no ne bi trebala biti završna točka analize bajke.

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jungovske psihoanalize, koje nam se mogućnosti pružaju u pokušaju istraživanja predodžbi djeteta i mladih u Pričama iz davnine? U nastavku ću iznijeti primjere reprezentacije djeteta i mladih u bajkama iz te zbirke Ivane Brlić-Mažuranić. Analitički fokus neće se iscrpiti u identificiranju i artikulaciji tih predodžbi, nego će one biti samo poticaj za razmatranje daljnjih pitanja. Ono što će me zanimati nije toliko kakve su predodžbe djeteta i adolescenta u Pričama iz davnine, koliko zašto su one takve i zašto ih u tome obliku nalazimo u književnome tekstu, točnije, u žanru bajke. Uopćeno rečeno, što nam takvi prikazi djeteta mogu reći o kulturi koja ih je omogućila i pomogla proizvesti?

Priče iz davnine tumačile su se u formalističko-stilističkoj, pozitivističkoj, književnopovijesnoj, metodičkoj i folklorističkoj perspektivi (Jelčić i dr. 1970), metodičkoj, pozitivističko-autobiografskoj i književnopovijesnoj perspektivi (Vukelić 1994), komparativističko-književnopovijesnoj (Zima 2001, Žmegač 2001), uz manji broj kontekstualističkih i kulturoloških čitanja u zadnjih desetak godina. Za temu rada važno je imati u vidu mitske (Milanja 1977), folklorističke i usmenoknjiževne aspekte (Bošković-Stulli 1970, Kos-Lajtman i Turza-Bogdan 2010, Kos-Lajtman i Horvat 2011) te književnopovijesnu perspektivu koja zbirku promatra u kontekstu fin de siѐclea, secesije i neoromantizma, no iz različitih razloga. Prvi je pristup potreban, nužan i koristan za razumijevanje formalnih i izvanjskih odrednica univerzuma bajki, no u njega se u ovome radu neće detaljnije ulaziti. Bitan je isključivo zbog naglašavanja rascjepa između vremena oblikovanja i izlaska ove zbirke te neodređenoga, ali ipak konotiranoga vremena događanja radnje u bajkama (neodređena, ali daleka prošlost). Početna je teza da predodžbe djeteta i mladih nisu plod svjetonazora, vjerovanja i vrijednosti zajednice te neodređene, ali daleke prošlosti, nego vremena u kojemu zbirka nastaje. Dakle, na temelju dosad iznesenoga, o potrebi povijesno i kulturno kontekstualiziranoga čitanja, predodžbe o djeci i mladima u Pričama iz davnine tumačit će se kao konglomerat predodžbi moderne građanske kulture, no koja nipošto nije lišena svojih proturječja i mogućnosti višestrukoga čitanja. Zato je svakako važno imati u vidu književne pojave s kraja 19. i početka 20. stoljeća, iako će analiza pokušati ići šire, u opći kulturni i društveni kontekst onoga vremena, pri čemu će od pomoći biti radovi pisani iz književnopovijesne perspektive, osobito Dubravke Zima (2001) i Viktora Žmegača (2001).

Pogled prema tekstu: dijete kao konstrukcija

Slijede primjeri iščitanih predodžbi djeteta i mladih u Pričama iz davnine. To će nužno uključivati interpretaciju reprezentiranoga, kao i odnose s drugim likovima te i neke druge aspekte pojedinih bajki.


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„Kako je Potjeh tražio istinu“ možda je najzačudnija i najhermetičnija bajka u zbirci. U središtu su pripovjednoga interesa tri mladića, unuci starca Vjesta. Iako je adolescencija suvremena socijalno i kulturno konstruirana kategorija (usp. Reynolds 2007: 70–71), ovdje se promatra jednostavno kao razdoblje života između djetinjstva i odrasle dobi. Iz tako ogoljene početne pozicije promatraju se načini konstrukcije mladih u zbirci te se dolazi do zaključka, što će se i pokazati, da su mladi reprezentirani kao ljudi koji se nalaze na prijelomnoj točki koja, ovisno o tome kako se prema njoj postave, uvjetuje njihovo buduće uklapanje u društveni život u skladu s normama zajednice.2 Time se interpretacija nadovezuje na već postojeće uvide da se adolescentska književnost često reducira na prikaz buntovnih, pobunjenih tinejdžera, a da se zanemaruje cijeli niz tekstova, osobito prije tridesetih godina 20. stoljeća, u kojima dominira prikaz uklopljene, nebuntovne mladeži (usp. Majhut 2013, Hameršak i Zima 2015: 351–352). Važnost socijalizacije mladih ljudi i njihovo pretvaranje u odrasle, zrele i punopravne članove ljudske zajednice nameće se kao dominantna tema u ovoj bajci. Osobitost je ove bajke i rodna jednoznačnost, što nije karakteristično za ostale bajke; naime nema žena – ni ženskoga djeteta, ni majke, ni potencijalne partnerice. Imamo li u vidu rodne uloge te rodnu karakterizaciju u cijeloj zbirci gdje se u pravilu žene prikazuju kao socijaliziranije: moralnije, solidarnije, lojalnije, odane načelima, moglo bi se zaključiti da se socijalizacija muške djece i mladih promatra kao složeniji i zahtjevniji zadatak. Pritom se stječe dojam da su žene i ženska djeca prirodno, urođeno takve, da nisu morale prolaziti mukotrpni proces usvajanja socijalnih normi. Tri momka iz „Kako je Potjeh tražio istinu“ nikada nisu izišla iz šume gdje su živjela s djedom. Smatra se važnim to što pripovjedač ističe njihovo nepoznavanje svijeta odmah na početku bajke. Pritom im se bude znatiželja, ali i strah i tuga zbog te činjenice. Dakle, u početku su prikazani kao društvena tabula rasa. Svarožić im postavlja svojevrsni izazov: pokazuje im ljepote, uzbuđenja i raznolikost svijeta, a onda definira sudbinu: ostanak s djedom dok mu ne vrate ljubav. Iz toga se da iščitati da je dužnost iz zahvalnosti vratiti roditeljsku/starateljsku brigu. No, Marun i Ljutiša se pod utjecajem bjesova povedu za zemaljskim bogatstvima i ratničkom slavom, kao posljedica svojega nepoznavanja života. Potjeh, autističan u svojemu gnoseološkome apsolutizmu, odriče se želje za zemaljskim uspjehom, ali ne ispunjava Svarožićev naputak o dužnosti prema djedu. Svarožić je glasnik Barčeve sintagme „etika srca“ koju je taj autor primijenio na opus Ivane Brlić-Mažuranić u cjelini: „A da si poslušao srce svoje, kad ti je na pragu kolibe govorilo, da se povratiš i ne ostavljaš djeda, eto ti, jadan, istine i bez mudrosti!“ (Brlić-Mažuranić

2 Čini se da Ivana Brlić-Mažuranić vjeruje u presudnu važnost toga životnoga perioda što je vidljivo u obraćanju tome čitateljstvu u tekstu „Omladini o idealima“ u djelu Knjiga omladini (1923.).

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2011: 28). Potjeh kao višestruko nerealiziran (u životnoj pragmi, u neispunjavanju dužnosti prema djedu, u odustajanju od etike srca te, konačno, zbog izjalovljenja potrage za mudrošću) mora nestati jer nije obavio ključan zadatak socijalizacije: uklopiti se u zajednicu u skladu s dominantnim normama i postati korisnim članom društva. Marunov i Ljutišin put jest put sazrijevanja nakon mladenačkih stranputica, uviđanja vlastitih pogrešaka i pokajanja. Nakon toga prihvaćaju svoju ulogu odraslih, zrelih i odgovornih članova zajednice, vraćaju dug djedu, nastavljaju obiteljsku patrilinearnu lozu te nasljeđuju obiteljsko imanje. Stavivši na stranu upadljive kršćanske konotacije ove bajke o grijehu, iskupljenju i oprostu, o čemu je već bilo govora u kritici (usp. Milanja 1977, Zima 2001: 121), rad se koncentrira na dimenziju značenja koja funkcionira gotovo kao parabola o odrastanju i socijalnoj evoluciji pojedinca te njegovu uklapanju u zajednicu. Oni koji se ne mogu uklopiti u važeće društvene i kulturne norme moraju nestati kako ne bi poremetili sklad i ravnotežu zajednice, a supstitutivno zadovoljstvo bajke proizlazi iz činjenice da upravo Potjeh, iako treba biti uklonjen, omogućava dvojici braće uklopljen život u skladu s načelima zajednice.

Slična se reprezentacija lako zavedenoga mladića nalazi u „ Šumi Striborovoj“. U središtu je priča o majčinskoj ljubavi koja sve razumije i oprašta. Umjesto na majku, analiza bajke može usmjeriti svoj fokus na mladića i mehanizme kojima on ostaje do kraja zarobljen moći ženskoga načela. Koliko je majka dominantna u etičkome, ali i u aktantskome smislu, toliko je mladić prikazan kao potpuno pasivna figura, dok njegovim životom upravljaju majka i supruga. Već na početku bajke okarakteriziran je kao dobričina, plašljiv i stidljiv te neuputan (Brlić-Mažuranić 2011: 106). Ljepota guje djevojke, ali i slabost i kolebljivost mladića, dovode do pobjede erosa nad etosom. Za razliku od razvoja i katarze Maruna i Ljutiše, mladićevo pokajanje i molba za Božjim i majčinim oprostom, događaju se bez jasnoga nagovještaja o osvještavanju vlastite pogreške (koju Marun i Ljutiša iskupljuju spašavanjem Vjesta od smrti) te posljedičnoga sazrijevanja na temelju vlastitih postupaka. Mladić, kao što to čine i Marun i Ljutiša, prihvaća tradicionalni moral, no za razliku od njih ne afirmira se u prostoru hegemonijskoga maskuliniteta (Connell 1995) koji traži djelovanje, gospodarenje i nastavak loze, nego se njegov identitet na kraju opet povezuje s odnosom sa ženskom osobom – dobrom i čednom siroticom te, iznova, majkom. On, čini se, ostaje nezrela, nedorasla jedinka, gotovo kao objekt nad kojim dominantni ženski likovi dobivaju priliku demonstrirati svoj etički plus ili minus, boreći se koja će od njih snažnije utisnuti svoj pečat.

U bajci „Ribar Palunko i njegova žena“ žensko je načelo opet dominantno i u etičkome i u aktantskome smislu, a dijete, Vlatko, Palunkov sin, pojavljuje se kao sporedan i pasivan lik, ponajviše jer je obilježen dojenačkom nemoći i ovisnosti


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o drugima. Nalazimo ga na dvoru Morskoga Kralja u raskoši, u zlatnoj kolijevci i svilenoj košuljici, sa zlatnom jabukom u ruci, u igri i obijesnoga, bez sjećanja na svoje roditelje, bezbrižnoga i pustopašnoga te drži oca, kada stigne na dvor Morskoga Kralja, za ludu. Dijete u raskoši i bezbrižnosti, razmaženo i lakoumno, pomalo obijesno, koje dane provodi u igri, slika je kulturalnoga pomaka pozicije djeteta do koje dolazi u moderno doba, osobito u obiteljima viših društvenih slojeva – dijete postaje središtem obiteljskoga života, njemu se posvećuje najviše pažnje i brige te ga se njeguje kako bi se omogućio razvitak svih njegovih potencijala. Vlatko je sa svojim roditeljima živio na posve drukčiji način čime se suptilno ističe staleška razlika u pristupu i odgoju djeci. Palunko se razljuti vidjevši Vlatka u igri i obijesti dok mu majka tuguje, no ta ljutnja ima više veze sa zavisti prema bezbrižnome djetetovu položaju nego s empatijom prema tuzi svoje supruge jer se već u prvoj rečenici bajke Palunko ocrtava kao osoba koja prezire svoj bijedni život i zavidi drugima na bogatstvu i lagodnome životu (Brlić-Mažuranić 2011: 37):

Bijaše pak dočuo Palunko, da imade po svijetu bogatih župana i gavana silnika, što žive u slasti i lasti, u zlatu i u raskoši. Uvrtio si dakle Palunko u glavu, kako bi i on jednom takovo bogatstvo vidio i u njem poživio.

Mogu se povući paralele između Palunka i Vlatka; Vlatko je ono što bi Palunko htio biti, svojevrsno ogledalo željene regresije, pada u primarnu sigurnost i bezbrižnost.

Bajka „Jagor“ donosi središnji lik dječaka Jagora, zanemarena i zaboravljena djeteta, koje je maćeha zlostavljala, a čiji je otac nemaran i začaran. Siročad i zapostavljena djeca sa zlom maćehom neki su od najčešćih dječjih likova u bajkama, što je jedan refleks kojim su usmene bajke iz prošlosti odražavale stvarnost surova feudalnoga predmodernoga društva (usp. Tatar 1992: 46). U tome nesretnome odrastanju Jagoru utjehu pružaju kravica, kozica i Bagan koji kasnije postaju njegovi saveznici u bijegu od kuće. Kulturna predodžba o djeci i životinjama kao međusobno sličnima i srodnima stara je tisućama godina (još je Aristotel pisao o tome), a temelji se na činjenici njihove bespomoćnosti i ovisnosti o odraslima, te posljedično nedostatku društvene moći i subordiniranosti. U romantizmu veza djece i životinja počinje se shvaćati u odnosu prema prirodi pa su tako djeca i životinje promatrani kao izmješteni iz jezika i kulture te bliži prirodi nego odrasli (Hameršak i Zima 2015: 317). U „Jagoru“ se nasljeđuje romantičarsko uvjerenje o jedinstvu djece i životinja, u opreci prema odraslima, no ne i izopćenost djeteta iz kulture i jezika. Kao društveno deprivirani, kravica, kozica i dijete solidariziraju se i ujedinjuju protiv zle maćehe i indiferentnoga oca, na taj način stvarajući alternativnu zajednicu koja se brine o djetetu umjesto obitelji koja bi to trebala. Simptomatično je kako duh umrloga djeda pomaže Jagoru u borbi protiv zle maćehe, afirmirajući tako

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patrilinearnu vezu koja preskače pasivnoga i odsutnoga oca i delegitimira maćehu kao nekoga tko nije dio krvne veze obitelji (slično usp. Zima 2011: 225). Uz pomoć životinja, kućnoga duha Bagana i djedova duha, Jagor dobiva, tj. ponovno osvaja dom koji mu prema krvnoj liniji i pripada, čime njegova nevinost i čistoća bivaju nagrađene. Bajka nam ne otkriva daljnji nastavak događaja, no može se zaključiti da ova bajka konstituira važne preduvjete za proces socijalizacije mladoga pojedinca. Ovdje je riječ o uspostavljanju materijalnih uvjeta i nasljedstva koji postavljaju temelje za daljnje korake – požrtvovan i marljiv rad te stvaranje obitelji koji su, često eksplicitno, predstavljeni kao završna točka socijalizacije djeteta i mladoga čovjeka u korisnoga i produktivnoga člana društva.

U bajci „Sunce djever i Neva Nevičica“ Nevina inicijalna ljudskost i spremnost na pomaganje bakici, koja je prerušena Mokoš, vraćaju se produktivnosti i efikasnosti u poslu odnosno omogućuju ga jer mlin uopće ne radi dok ga se ne dohvati Neva. Time joj se daje velika moć – sposobna je upravljati sredstvima za proizvodnju koja donose profit, uživati u bogatstvu, ne naslijeđenome, kraljevu ili carevu, nego stečenim radom svojih ruku, u duhu kapitalizma. Smatram zanimljivim taj Mokošin poklon jer Nevi ne daje rodno stereotipne moći (ljepota, zavodljivost, bogat muž), nego pristup u sferu ekonomske moći, što je gotovo do današnjih dana ženama nedostupno ili slabo dostupno. Dobrota se nagrađuje mogućnosti bogatstva, no dobra Neva ne mari za to jer joj je od te mogućnosti više stalo do harmonična odnosa s bližnjima: „Da mi je otići odavde, kad im mrzovoljnima ne mogu da ugodim.“ (Brlić-Mažuranić 2011: 200). Drugi Mokošin poklon ne prati subverzivnost prvoga te nudi mogućnost postanka caričine dvoranice. Nevina fleksibilnost i spremnost na promjenu donose joj ljubav koja odgovara obrascima moderne romantične ljubavi – Oleh ban i Neva odbijaju stalešku recipročnost – brak s carevnom (Oleh) ili sigurnost uhljebljenja na dvoru (Neva). I njihovo je vjenčanje ekscentrično – osim junaka i sirota, „da ih bude više i veselije“ (204), društvo im rade životinje: vuk i vučica, orao, kraguj, grlica i lastavica. Neva pokazuje autonomiju u svojim postupcima i oglušuje se o uputu i poklon Mokoš (da bude caričina dvoranica) pa pakosna Mokoš odbija pomoći Nevi i Olehu kada ih caričina vojska progoni. To je cijena Nevine neposlušnosti. Sunce dolazi kao svojevrsni deus ex machina koji djeluje prema meritokratskim, a ne prema staleškim principima poslušnosti te uništava caričinu vojsku kako bi to dvoje moglo ostvariti svoju ljubav. Afirmira se autonomija subjekta koji postupa prema vlastitoj volji i savjesti, neovisno o staleškim uzusima, kako bi ostvario svoju ljubavnu, ali i životnu sreću.

Bajka „Lutonjica Toporko i devet župančića“ donosi dva paralelna primjera dječje socijalizacije. Toporko, „sitan, tanak i garav, a tvrd“ (Brlić-Mažuranić 2011: 164), neželjeno je, prokrijumčareno dijete koje od malih nogu samoinicijativno luta


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šumom po cijele dane te tako stječe znanje i mudrost. To je djelo djeda Neumijke s kojim razgovara u šumi svaki dan, a u kojega je „mudrost baš onakova, za kakovu pita selo i naselje i o kojoj živi šuma i planina.“ (165). Vidimo da je riječ o znanju i mudrosti što proizlaze iz životnoga iskustva i poznavanja života i njegovih zakonitosti, a ne iz knjiga. Nasuprot tomu su devetorica župančića, svojevrsna Toporkova braća, koji iako jedri i rumeni, čime se konotiraju snaga i zdravlje, nikada nisu napustili dvorište te o životu ne znaju ništa, ali ih zato „mudroznanci svačemu naučaju“ (167). Socijalizacija je i klasno/staleško pitanje. Devet župančića raste pod pažnjom i maksimalnom zaštitom, koja čuva i oblikuje njihovu dobru i plemenitu narav, no čini ih nesnalažljivima i neiskusnima u životu. Slobodu i životno iskustvo omogućava im Toporko naukovanjem kod djeda Neumijke, no također ih izbavljuje otamo kada naukovanje postane kontraproduktivno. Čini se kako je takva životna obuka neophodna za njihovu budućnost u kojoj se očekuje da će morati preuzeti odgovorne upravljačke pozicije. Ideal vlasti iščitava se kao kombinacija mudrosti do koje se dolazi iščitavanjem knjiga, urođene plemenitosti naravi i mudrosti proizišle iz životnoga iskustva. Župančići preuzimaju vlast od oca župana u trenutku kada je njihova socijalizacija dovršena te u slozi zajednički vladaju županijom.3 Toporkova socijalizacija oslobođena je dužnosti upravljanja što proizlazi iz njegova položaja u društvenoj hijerarhiji, no podarena mu je osobna sloboda koju odlučuje iskoristiti kako bi činio korisna djela širom kraljevstva, čime se i njegova socijalizacija pokazuje uspješnom.

U bajci „Regoč“ susrećemo, osim naslovnoga junaka, lik male vile Kosjenke. Iako se radi o mitološkome biću, način na koji je Kosjenka predočena ne upućuje samo na to da je izrazito antropomorfizirana, nego su joj pridane osobine apolonskoga djeteta: čistoća, neiskvarenost, beskrajna znatiželja i radovanje životu te želja za upoznavanjem svih životnih tajni. Kosjenkina otvorenost i pozitivna nastrojenost prema životu i svim njegovim čudima u kontrastu je s Regočevim nedostatkom znatiželje, njegovom nepomičnosti i krutosti u fizičkome i mentalnome smislu. Kosjenka posjeduje svijest o promjenjivosti svijeta i same sebe te privlačnoj moći intervencije u prirodan poredak stvari, čak i ako to djelovanje možda ponekad dovodi do negativne posljedice (npr. u situaciji kada ostane zarobljena pod zemljom jer je pomaknula tanki štapić). Gaji vjeru u napredak, u usavršavanje sebe i svijeta. Paralelni tijek radnje vodi nas do dvaju sela čiji su stanovnici u sukobu, no djeca se i dalje međusobno igraju, simbolično, baš na granici obaju

3 Zanimljivo je kako su na tome putu socijalizacije počinili i umorstvo dvorskoga, kako bi obranili oca. To je gotovo jedina situacija moralne dvojbenosti pozitivnih likova u ovoj zbirci. Iako je čin opravdan prema načelima prirodnoga prava, netipično je da su likovi dovedeni u situaciju koja kompromitira etički apsolut kao model ponašanja pozitivnih likova. Zahvaljujem Dubravki Zima što mi je svratila pozornost na tu činjenicu ubojstva i slučaj djece kao ubojica.

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sela. U ovoj se bajci u djecu, kojoj pripovjedač često dodjeljuje pridjev „luda“, upisuju utopijska značenja. Seoska djeca odbacuju prizemne sukobe odraslih u ime višega zajedništva. Dječja igra utjelovljuje potencijal ljudske zajednice koja nije građena na principima vlasništva i podjele nego uzajamnosti i dijeljenja. Pokazuje se da su moralno, ali i razumom superiornija, npr. Liljo ne dopušta da mu emocije zamute pogled na nepobitne činjenice, kao što je to zloba uspjela kod odraslih: „znam, da naša polja i selo naše nisu tako visoka, i znam, da će se voda i nad nama sklopiti, i bit će još noćas more, gdje bijahu naša dva sela.“ (Brlić-Mažuranić 2011: 87). Seljani ne mogu odoljeti zlobi po cijenu vlastita samouništenja, djeca ostaju sama, no grade zajednicu na novim temeljima solidarnosti i zajedništva, u čemu im pomažu savjetima preživjeli djed i baka, osiguravajući zajednici legitimitet mudrosti, tradicije i iskustva te simbolički konsenzualni spoj staroga i novoga.

U bajci „Bratac Jaglenac i sestrica Rutvica“ djevojka Milojka utjelovljuje odanost načelima: poštenju, vjernosti, skromnosti i suosjećanju te ravnodušnosti prema materijalnim dobrima. Njezina djeca, osobito Jaglenac, oličenje su dječje neiskvarenosti i nevinosti koja ne poznaje zlo i bezazleno prihvaća život, ne vidjevši ni u čemu zla. Pripovjedač Jaglenčevo ponašanje karakterizira kao ludo, čime se naglašava razlika i drugost djeteta u odnosu na odrasle te afirmira romantičarska predodžba djeteta. Dok je Jaglenac urođeno dobro rusoovsko dijete, bez naslaga socijalne i idejne nadgradnje, koje jačinom svoje neiskvarenosti pobjeđuje zlo vila Zatočnica, Rutvica je glasnogovornik miroljubiva, nenasilna kršćanskoga načela koje se pokazuje jačim od Reljine pravdoljubive, ali nagle i žestoke sablje: „Silan junak bijaše Relja, čudnovato mu je s djecom razgovarati. Al djeci nije čudno s junakom razgovarati, jer im je srce svemu sklono i otvoreno.“ (Brlić-Mažuranić 2011: 151).

Zajednički osnivaju kneževinu čija je snaga upravo u odustajanju od okrutnosti i nasilja te radu za zajedničko dobro svih stanovnika, neovisno o društvenome statusu. Riječ je o rustikalnoj pastoralnoj utopiji poljodjelstva, stočarstva, sitnoga obrta i autarkije: „Sretne li kneževine, kojoj blago ne čuvaju ni silne vojske ni tvrdi gradovi, nego majke i dječica u pastirskoj kolibici. Takova kneževina propasti ne može!“ (Brlić-Mažuranić 2011: 153). Zadnje rečenice bajke potvrđuju simboličko i vrijednosno utemeljenje takve zajednice činom legitimacije odnosa Relje i Rutvice – brakom i, naravno, predviđenim nastavkom obiteljske loze te gradnjom crkvice na svetome jezeru.

Prema kontekstu: dijete između građanske kulture i utopije

Kao što je vidljivo, u svim se bajkama javljaju likovi djece i mladih, no to je čest slučaj u bajkama. U većini bajki iz zbirke ipak djeca i mladi igraju važnu, ako ne


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i središnju ulogu. Pokazala sam na spomenutim primjerima kako su reprezentirana djeca i adolescenti, no ostaje pitanje kako su nastale takve reprezentacije: je li to nešto što je inherentno žanru bajke ili je rezultat međudjelovanja širega književnoga i kulturnoga polja unutar kojega zbirka nastaje? Budući da je riječ o autorskim bajkama, nastalima osviještenim umjetničkim, književnim stvaranjem, ostavljam po strani strukturalistička ili morfološka čitanja, bitna za čitanje bajki koje su u prvome redu proizišle iz usmene predaje. Priklanjam se, zato, drugoj vrsti čitanja koja zbirku Priče iz davnine gleda kroz prizmu mehanizama koji su je omogućili te se oslanjam na važnost bajki u prenošenju vrijednosti važnih za socijalizaciju i kulturu u kojoj postoje. Zbirka Priče iz davnine arhiv je osobitoga razdoblja književne i kulturne povijesti te njezinih režima moći koja reproducira, ali ujedno i reinterpretira one diskurse koji su je omogućili.

Jack Zipes u studiji Why Fairy Tales Stick. The Evolution and Relevance of a Genre (2006) razmatra zašto su bajke tako uporno i dugo prisutne u ljudskim zajednicama, zašto su se održale tijekom povijesti. Pri tome se koristi onime što naziva epidemiološkim pristupom (2006: 3–4), pozivajući se na Dawkinsov koncept mema, jedinicu kulturne transmisije (po uzoru na gen). Mem se isprva imitira, zatim reproducira te tako prenosi, a kasnije institucionalizira. Prema Zipesu, bajke su složeni memi – javne reprezentacije ili kulturni replikatori – koji se ponavljaju i šire jer su bitni za preživljavanje zajednice, njezino prilagođavanje novim sociokulturnim uvjetima, ali i za očuvanje postojećih vrijednosti i vjerovanja (2006: 7–12). Oni nam otkrivaju socijalne konstrukcije koje zajednica ima o samoj sebi, ali i svjedoče o konfliktnim snagama kulturne proizvodnje (Zipes 2006: 14–15, 26).4 U tome smislu i bajke iz Priča iz davnine možemo razumjeti kao složene memove koji nam govore o načinu na koji se vidi i konstruira zajednica te uloga pojedinca u njoj i koje su vrijednosti važne, naravno, iz autoričine pozicije, imajući u vidu međudjelovanje njezine književne i djelatne autonomije i utopljenosti u tu istu nacionalnu, društvenu i kulturnu zajednicu.

U većini bajki u zbirci djeca i mladi predočeni su u izrazito pozitivnome kontekstu, a u svega dvije prikazana su neutralno ili ambivalentno. Možemo zaključiti da je riječ o svojevrsnoj sentimentalizaciji djece, što je odlika modernoga, poslijeprosvjetiteljskoga pristupa djetetu. Bajke u ovoj zbirci ne demonstriraju okrutne postupke usmjerene prema djeci ili sustavno zanemarivanje djece koje je često u bajkama čija je geneza u usmenoj bajci jer odražava okrutne realnosti života u predmodernome, feudalnome društvu. Čak i kada su u rijetkim primjerima zanemarena, imaju pomoćnike koji sprečavaju njihovu patnju.4 Ta se Zipesova teorija ponajprije odnosi na bajke koje imaju usmeno podrijetlo, stoga primjenjujem

njegove teze na Priče iz davnine u ograničenome opsegu i s oprezom.

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Predodžbe djece i mladih u ovoj zbirci donose svojevrsni katalog modernih, poslijeprosvjetiteljskih ideja o djetetu i o njegovoj ulozi u društvenoj zajednici. Kao što sam iznijela prethodno, u nekoliko bajki kao temeljnu preokupaciju iščitavam problem socijalizacije, tj. cilja socijalizacije, a to je oblikovanje djeteta ili mlade osobe u zreloga i odgovornoga pojedinca, funkcionalno uklopljenoga u zajednicu kojoj radi na dobrobit. Tu svakako možemo govoriti o slici djeteta koje je blisko prosvjetiteljskomu i kasnije romantičarskomu idealu, kao potencijalu za izgradnju građanskoga liberalnoga subjekta. To se očituje u afirmaciji autonomije subjekta i njegovih odluka prema vlastitoj savjesti i osjećaju odgovornosti i/ili dužnosti (Neva, Kosjenka, Rutvica) odnosno u afirmaciji utopijske ljudske zajednice čiji su zalog upravo djeca, nositelji vrlina i vrijednosti, kojima pripovjedačka svijest daje prednost (u „Regoču“, „Bratcu Jaglencu i sestrici Rutvici“, „Lutonjici Toporku i devet župančića“).

Oblik države i državne vlasti koji se smatra idealnim utemeljen je na razumu, mudrosti, miroljubivosti, radu i marljivosti, poljoprivrednoj i maloj proizvodnji, snažnoj nuklearnoj obitelji i vjeri u Boga. Kako ističe Žmegač, utopijski naboj idealne društvene zajednice „ostaje u granicama tradicionalnih predodžbi o vrijednosnim sustavima“ (2001: 288) u doba kada se oblikuju nove, često politički radikalne avangardne slike.

Pogledamo li rodnu karakterizaciju, primijetit ćemo da su ženska djeca, ali i žene općenito, predočene kao etički jače: odane, skromne, poštene, požrtvovne, miroljubive, spremne na oprost, ali i mentalno i emocionalno jače. Muški likovi psihički su i moralno labilniji, skloni podleći agresiji, uporabi sile, ostvarivanju moći i dominacije nad drugima ili se pak pasivno prepustiti ženskomu utjecaju (najčešće lošemu). U takvim slučajevima opet ženski lik igra ulogu etičkoga korektiva koji muškarca vraća na pravi put. Čini se kako se socijalizacija muške djece promatra kao teži i zahtjevniji zadatak, no takav dojam može biti povezan s kulturnom činjenicom da su u predmodernome vremenu, ali i u modernome razdoblju 19. i početka 20. stoljeća, ženska djeca pod većim socijalizacijskim nadzorom od muške, što je Dinko Župan slikovito izrazio u naslovnoj sintagmi svoje knjige – „mentalni korzet“ (usp. Župan 2013). U kontekstu građanske kulture ženskost je prisvojena kako bi pronosila interese dominantne građanske klase te je morala utjelovljivati cijeli niz socijalnih vrijednosti i ponašanja koja su usmjerena prema uspostavljanju stabilnosti te klase (Poster 1978: 177).

U književnopovijesnome smislu Priče iz davnine najčešće se stavljaju u kontekst neoromantizma i secesije, što je već dovoljno istraženo (Zima 2001, Žmegač 2001), pa se ovom prilikom neću na tome zadržavati. Ipak, treba imati na umu da zbirka izlazi 1916. godine kada su već nova, avangardna strujanja došla do


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izražaja u hrvatskoj književnosti, pa u tome smislu ova zbirka predstavlja svojevrsni književnopovijesni anakronizam.

Pišući o izvorištima vrijednosti i načela likova, kritika je često upozoravala na kršćansku etiku i/ili kršćanski svjetonazor kao djelatno načelo univerzuma Priča iz davnine (npr. Milanja 1977, Zima 2001, Zima 2011, Protrka Štimec 2015). No i cijeli niz kulturnih prilagodbi, amalgama i aproprijacija kršćanskoga nauka u konkretnome povijesnome i kulturnome kontekstu nešto je što se ne smije ispustiti iz razmatranja. Građanska kultura 19. stoljeća svakako je preuzela i preradila mnogobrojne postulate kršćanske etike i prilagodila ih svojim potrebama, usporedno s prosvjetiteljskim i liberalnim idejama o pojedincu i političkoj zajednici te teorijom i praksom kapitalističke ekonomije. Zbirka Priče iz davnine svjedoči i o koegzistenciji, proturječnosti, ali i prožimanju kršćanske etike i modernoga građanskoga svjetonazora. Zaustavit ću se na spominjanju samo jedne proturječnosti – nesklonosti načelima kapitalizma te stjecanju, profitu i materijalnomu bogatstvu kao vrijednostima koje iz njih proizlaze.

Deirdre McCloskey u knjizi Bourgeois Virtues (2006) prepoznaje sedam kršćanskih kreposti kao konstitutivnih i u sustavu građanske (i kapitalističke) vrline. To su: vjera, nada, ljubav, razboritost, hrabrost, umjerenost i pravda. Nije teško većinu tih kreposti prepoznati kao bitne u svijetu Priča iz davnine. Još su tu skromnost, poniznost, odanost, marljivost, strpljivost, čednost, osjećaj dužnosti. Kao što sam već spomenula, te osobine češće krase žene nego muškarce. Istodobno se te osobine postavljaju kao najvažnije u konstrukciji poželjne ženskosti europskoga, pa tako i hrvatskoga, građanskog društva 19. stoljeća (Župan 2013: 41) koje poštuje patrijarhalnu podjelu rodova na javnu i privatnu sferu te izgradnjom takvih konstrukcija poželjne ženskosti priprema djevojke za njihovu buduću ulogu u građanskome društvu. Već je bilo autora koji su doveli Ivanu Brlić-Mažuranić i njezin opus u vezu s građanskom kulturom i njezinim vrijednostima5 (Brešić 1994, Zima 2001, Žmegač 2001, Svetina 2015). Smatram da predodžbe djeteta u Pričama iz davnine dijele neke konstitutivne sastavnice s predodžbama djeteta unutar građanske kulture – od uloge i potencijala djeteta u zajednici, velike pažnje koja se pridaje djetetu, njegovu razvoju i socijalizaciji, do djeteta kao nositelja značenja važnih za tumačenje građanskih ideala vladanja, društva i države i razvoja

5 Osobito bih istaknula Žmegačevu opasku na kraju njegova teksta „Folklorne šare hrvatske moderne“ (2001) koja konstatira kako utopijski naboj Priča iz davnine ostaje u granicama tradicionalnih predodžbi o vrijednosnim sustavima, gotovo se ispričavajući zbog te konstatacije. U nastavku se okreće kraju Čudnovatih zgoda šegrta Hlapića te ističe pripovjedačev nedostatak dvojbe o tome da je Hlapićev građanski životni tableau put k sreći. To je strano središnjim romantičkim motivima, no „sjeta je toga sažetka, paradoksno, u tome što on ne budi sjetu: čežnju za životom koji se kreće izvan uhodanih staza.“ (Žmegač 2001: 288)

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autonomnoga građanskoga subjekta, a sve to unutar granica građanskoga morala koji podrazumijeva i javni i privatni moral (Edmondson III 2000: 1), a možda je najbolje izražen u trima temeljnim vrijednostima: obitelji, braku i napornu radu (Seaton 2000: 193).

Vinko Brešić pišući o Autobiografiji Ivane Brlić-Mažuranić tematizira upravo uspostavu građanskoga subjekta koji ima u vidu ne samo sliku o samome sebi, nego i predodžbe drugih. Tako I. Brlić-Mažuranić u svojoj autobiografiji ovjerava, potvrđuje svoj društveni status, ali i razotkriva vrijednosni sustav svojega etičkoga kodeksa koji je „eminentno građanski, tradicionalistički s visokom sviješću o temeljnim etičkim vrijednostima dobra i pravdoljubivosti, hrabrosti i samopouzdanja, ponosa i čestitosti, vjere i milosrđa. Svijet njezinih bajki strukturiran je upravo po načelu građanskog idealizma, odnosno jedinstva temeljnih etičkih vrijednosti.“ (Brešić 1994: 18). No ona svojom književnosti, zaključuje Brešić, djeluje i društveno i ideološki, u cementiranju društva ili drugim riječima, u povezivanju i stabilizaciji društvene strukture.

O povezanosti vrijednosti građanske kulture i književnosti svjedoči i Thomas Mann, prepoznavši da njegova djela nisu (samo) odbacivanje građanskih vrijednosti, nego i njihova afirmacija te da su njegova književna postignuća ovisila o kreativnoj tenziji između estetičkoga impulsa i etičke sklonosti, percepcije o dužnostima života, koju Mann tumači kao buržujski duh primijenjen na život (prema: Seaton 2000: 194–195). Deontološka etika, o čemu je već pisala M. Protrka Štimec (2015: 665), koja vodi neke od likova Priča iz davnine, neodvojiva je od Kantova sustava mišljenja, a toga filozofa neki smatraju i izvorištem građanskoga morala (usp. Schumacher 1997). Sličnu etiku dužnosti Ivana Brlić-Mažuranić vidi kao ključnu za osjećaj mira u duši, što je ujedno i naslov teksta u kojemu to razlaže (1997: 284). Po njoj boli, patnje i ono što se naziva nesrećom često dobrim dijelom leže u nama. Svojim stavom afirmira koncept osobne odgovornosti, koji se ponajprije povezuje s građanskim, osobito konzervativnim sustavima vrijednosti. Navodeći niz primjera, od kojih su neki važne scene povijesti kršćanstva, i reinterpretirajući ih, donosi apologiju prihvaćanja dužnosti kao cilja svojega života, naglašavajući rad i aktivnost kao potrebne i nužne (Ivana Brlić-Mažuranić 1997: 290):

Spoznajmo dužnost našu, nađimo cilj naš, odlučimo se jednom za svagda za tu dužnost i za taj cilj, prigrlimo ih i počnimo oko njih raditi. Ne bježimo od teškoća i neugodnosti života i dužnosti, ne uklanjajmo se životu. Ostanimo što više sred života, sred rada, na mjestu koje smo izabrali, koje nam je određeno. Tu je put do smirenja.

Oni koji u Pričama iz davnine iznevjere dužnosti, kao npr. Potjeh, završavaju tragično (a njegova neočekivana i pomalo apsurdna smrt povratno baca sjenu i na smisao njegova života), dok dosljedno izvršavanje dužnosti donosi nagradu u


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obliku ponovnoga stjecanja ljubavi ili povratka nekad izgubljene ljubavi (majka, Palunkova žena, Rutvica, Milojka, posredno preko Rutvice). Primjetno je da su opet žene i ženska djeca odana izvršavanju dužnosti. Kako je već rečeno, to je zacijelo povezano sa snažnijom disciplinarnom kontrolom socijalizacije djevojaka i žena (ali i djece) u građanskome društvu, no zbirka produktivno rabi ta društveno uvjetovana ograničenja i povratno djeluje na kulturu iz koje je iznikla nudeći predodžbe žena te osobito djece kao nositelja jezgre etičke i društvene promjene. Ta je ideja sukladna svjetonazoru modernoga vremena koji djecu i žene odvlači s nekadašnje društvene margine.

Završna razmatranja

Predodžbe djeteta i adolescenta u Pričama iz davnine mogu biti tumačene i kao svojevrsna sinteza građanske kulture „dugoga 19. stoljeća“ (Hobsbawm 1987: 8), no nipošto nisu lišene svojih proturječja i nepomirljivosti. Čini se da te predodžbe spajaju dva proturječna impulsa građanskoga morala (usp. Armstrong 2006: 350): afirmaciju individualnosti (građanskoga) subjekta (koja se odnosi na moderno poimanje djeteta kao bitnoga i vrijednoga te kao nositelja potencijala za društvenu preobrazbu) i potrebu za ograničavanjem individualnosti subjekta (izraženu problemom socijalizacije djeteta u društvenu zajednicu) kako bi se sačuvala stabilnost i funkcionalnost društvene zajednice.

Iako modernu kulturu odlikuje slabljenje utvrđenih granica i rastakanje uloga, položaja i institucija uslijed povećanja društvene nesigurnosti i nestabilnosti (Vuković 2015: 351), ova zbirka nastoji možda zadnjim snagama sačuvati stabilnost svojega svijeta, predodžbama djeteta, ali i društva te njegova sustava vrijednosti, koje jamče sretan kraj i ponovno uspostavljanje poremećene ravnoteže. Pri tome se snažno oslanja na kršćanski etos, ali i, prema vlastitu autopoetskome iskazu, na narodno pjesništvo koje izražava slavensku dušu (usp. Brlić-Mažuranić 1997: 276), kao na simboličke stupove povijesnoga i vrijednosnoga kontinuiteta. Godina 1916. nije više samo godina krize građanske kulture i njezina svijeta, nego zapravo mnogo više, godina njihova aktivnoga propadanja i nastajanja radikalno drukčijih svjetova. Unatoč tomu, ova zbirka može se tumačiti kao jedan blistavi univerzum, čija snaga i slojevitost fasciniraju istraživače i nakon stotinu godina.

Popis literaturePrimarna literaturaBrlić-Mažuranić, Ivana. 2011. Bajke i basne. Sabrana djela Ivane Brlić-Mažuranić.

Slavonski Brod: Ogranak Matice hrvatske Slavonski Brod.Brlić-Mažuranić, Ivana. 1997. Izabrana djela. Zagreb: Matica hrvatska.

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Sekundarna literaturaArmstrong, Nancy. 2006. „The Fiction of Bourgeois Morality and the Paradox of

Individualism“. U: The Novel, vol. 2, Forms and Themes, ur. Franco Moretti, 349–388. Princeton: Princeton University Press.

Bošković-Stulli, Maja. 1970. „‘Priče iz davnine’ i usmena književnost“. U: Ivana Brlić-Mažuranić. Zbornik radova, ur. Dubravko Jelčić, 163–180. Zagreb: Mladost.

Brešić, Vinko. 1994. „Sklad kao načelo“. U: Ivana Brlić-Mažuranić. Prilozi sa znanstvenostručnog kolokvija 1994. o 120. godišnjici rođenja, ur. Verica Vukelić, 11–19. Slavonski Brod: Matica hrvatska.

Connell, R. W. 1995. Masculinities. Cambridge: Polity Press.Edmondson III, Henry T. 2000. „Introduction: Literature and Public Ethics“. U: The Moral

of the Story, ur. Henry T. Edmondson III, 1–14. New York: Lexington Books. Fass, Paula S. 2004. „Preface“. U: Encyclopedia of Children and Childhood: In Society and

History, ur. Paula S. Fass, xi–xv. New York: Macmillan Reference USA.Frantz von, Marie-Louise. 2007. Interpretacija bajki. Zagreb: Scarabeus-naklada.Hameršak, Marijana. 2004. „Desetljeća Ariѐsove povijesti djetinjstva“. Časopis za

suvremenu povijest 36 (3): 1061–1078. Hameršak, Marijana. 2011. Pričalice. Zagreb: Algoritam.Hameršak, Marijana i Dubravka Zima. 2015. Uvod u dječju književnost. Zagreb: Leykam

international.Hobsbawm, Eric. 1987. The Age of Empire. 1875-1914. New York: Vintage Books.Jelčić, Dubravko i dr., ur. 1970. Ivana Brlić-Mažuranić. Zbornik radova. Zagreb: Mladost.Jenks, Chris. 1996. Childhood. London i New York: Routledge.Kos-Lajtman, Andrijana i Tamara Turza-Bogdan. 2010. „Utjecaj usmenoknjiževnog i

mitološkog supstrata varaždinskoga kraja na književni rad Ivane Brlić-Mažuranić“. Narodna umjetnost 47 (2): 175–190.

Kos-Lajtman, Andrijana i Jasna Horvat. 2011. „Ivana Brlić-Mažuranić, Priče iz davnine: nova konstrukcija izvora i metodologije“. Fluminensia 23 (1): 87–99.

Majhut, Berislav. 2013. „Bijela područja i crne rupe povijesti hrvatske dječje književnosti“. U: Veliki vidar. Stoljeće Grigora Viteza, ur. Marina Protrka Štimec, Diana Zalar i Dubravka Zima, 310– 328. Zagreb: Učiteljski fakultet.

Marjanić, Suzana. 2008. „Marie-Louise von Franz, Interpretacija bajki“. Narodna umjetnost 45 (2): 212–214.

McCloskey, Deirdre N. 2006. The Bourgeois Virtues. Ethics for an Age of Commerce. Chicago and London: The University of Chicago Press.

Milanja, Cvjetko. 1977. „Mitska osnova strukture bajke. Na primjeru I. Brlić-Mažuranić: Kako je Potjeh tražio istinu“. U: Alkemija teksta, 47–63. Zagreb: Centar za kulturnu djelatnost Saveza socijalističke omladine Zagreba.

Poster, Mark. 1978. Critical Theory of the Family. New York: Seabury Press.Protrka Štimec, Marina. 2015. „Etika i mitologija u Pričama iz davnine Ivane Brlić-

Mažuranić“. U: „Šegrt Hlapić“ od čudnovatog do čudesnog. Zbornik radova, ur. Berislav Majhut, Smiljana Narančić Kovač i Sanja Lovrić Kralj, 657–670. Zagreb i Slavonski Brod: Hrvatska udruga istraživača dječje književnosti i Ogranak Matice hrvatske Slavonski Brod.

Reynolds, Kimberley. 2007. Radical Children’s Literature. New York: Palgrave Macmillan.Schumacher, Patrik. 1997. Materialism vs Morality – Part 2. Dostupno na: <http://www.

patrikschumacher.com/Texts/morality2.htm> (pristup: 1. prosinca 2016.).Seaton, James. 2000. „The Beauty of Middle-Class Virtue: Willa Cather’s O Pioneers!“. U:

The Moral of the Story, ur. Henry T. Edmondson III, 193–207. New York: Lexington Books.


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Svetina, Peter. 2015. „Hlapić u kontekstu građanske kulture“. U: „Šegrt Hlapić“ od čudnovatog do čudesnog. Zbornik radova, ur. Berislav Majhut, Smiljana Narančić Kovač i Sanja Lovrić Kralj, 55–61. Zagreb i Slavonski Brod: Hrvatska udruga istraživača dječje književnosti i Ogranak Matice hrvatske Slavonski Brod.

Tatar, Maria. 1992. Off With Their Heads! Fairy Tales and the Culture of Childhood. Princeton: Princeton University Press.

Vukelić, Verica, ur. 1994. Ivana Brlić-Mažuranić. Prilozi sa znanstvenostručnog kolokvija. Slavonski Brod: Matica hrvatska, Ogranak Slavonski Brod.

Vuković, Tvrtko. 2015. „Izmješteni. Dislocirani subjekt i otpor imobilizaciji značenja u književnosti hrvatskog modernizma“. U: Dviženie i prostranstvo v slavjaiskite jezici, literaturi i kulturi. Zbornik s dokladi ot dvanadesetite meždunarodni slavistični četenija – Sofija, 9. – 10. 5. 2014., ur. Margarita Mladenova i dr., 350–355. Sofija: Sveučilište „Sv. Kliment Ohridski“.

Zima, Dubravka. 2001. Ivana Brlić-Mažuranić. Zagreb: Zavod za znanost o književnosti Filozofskog fakulteta u Zagrebu.

Zima, Dubravka. 2011. „Bajke Ivane Brlić-Mažuranić izvan Priča iz davnine“. Kroatologija 2 (1): 217–229.

Zipes, Jack. 2006. Why Fairy Tales Stick. The Evolution and Relevance of a Genre. New York i London: Routledge.

Zlatar, Manuela. 2007. Novo čitanje bajki: arhetipski, divlje, žensko. Zagreb: Centar za ženske studije.

Žmegač, Viktor. 2001. „Folklorne šare hrvatske moderne“. U: Književni protusvjetovi, Nikola Batušić, Zoran Kravar i Viktor Žmegač, 281–288. Zagreb: Matica hrvatska.

Župan, Dinko. 2013. Mentalni korzet. Spolna politika obrazovanja žena u Banskoj Hrvatskoj (1868. – 1918). Slavonski Brod: Hrvatski institut za povijest.

Lana MolvarecUniversity of Zagreb, Faculty of Humanities and Social Sciences, CroatiaFakultät für Geistes- und Sozialwissenschaften der Universität Zagreb, Zagreb, Kroatien

Representations of the Child and an Adolescent in Tales of Long Ago This paper analyses Tales of Long Ago by Ivana Brlić-Mažuranić from a culturalist perspective. The initial hypothesis is that representations of children and young people correspond to the representations of the time when the collection was written and not to the period of a long-ago, unspecified mythological past. Further, the paper interprets the characteristics of children and young people representations in the tales of the collection. The importance of children and young people and the meaning that is attributed to them is interpreted as part of modern, post-Enlightenment views on children and young people, which construct them as the centre of family and social life. One set of representations shows the innate goodness of the children and their innate potential to change society for the better, thus it attributes them utopian meanings. Other representations show children and young people in their process of socialisation process which should turn them into subjects that participate in the activities of the community in a purposeful and useful way. Both

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groups of representations can be seen in the interaction with the civil culture of the long 19th century (Hobsbawm 1987) that marked the life and work of Ivana Brlić-Mažuranić.Keywords: fairy tales, civil culture, modern representation of the child, socialisation, subject.

Vorstellungen von Kindern und Jugendlichen in Ivana Brlić-Mažuranićs Priče iz davnineIm Beitrag werden Ivana Brlić-Mažuranićs Priče iz davnine [Aus Urväterzeiten. Märchen aus kroatischer Urzeit] aus kulturologischer Perspektive beleuchtet. Es wird davon ausgegangen, dass die in dieser Märchensammlung enthaltenen Vorstellungen von Kindern und Jugendlichen nicht mit den Vorstellungen aus einer urväterlichen, unbestimmten mythologischen Vergangenheit, sondern mit jenen aus der Zeit, als die Sammlung entstanden ist, kongruieren. Am Beispiel aller in der Sammlung enthaltenen Märchen werden die Merkmale dieser Vorstellungen, aber auch der Stellenwert von Kindern und Jugendlichen sowie die Bedeutung, die ihnen in den Märchen zugeschrieben wird, im Sinne eines postaufklärerischen, modernen Kinderverständnisses interpretiert, wodurch diese letztlich zum Mittelpunkt des familiären und gesellschaftlichen Lebens avancieren. Ein Teil der Vorstellungen weist auf die angeborene Güte der Kinder sowie auf ihr angeborenes Potential zur Verbesserung der gesellschaftlichen Verhältnisse hin, sodass diese Vorstellungen sogar über utopische Züge verfügen. Im anderen Teil dieser Vorstellungen dominiert die Darstellung des Sozialisierungsweges von Kindern und Jugendlichen, auf dem sie zu sozial zweckmäßigen und nützlichen Subjekten werden. Beide Arten von Vorstellungen sind in der Interaktion mit der bürgerlichen Kultur des 19. Jahrhunderts zu betrachten, die das Leben und Schaffen von Ivana Brlić-Mažuranić stark prägte. Schlüsselwörter: bürgerliche Kultur, Märchen, moderne Vorstellungen von Kindern, Sozialisierung, Subjekt


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UDK 821.163.42.09-93-34

Katarina IvonSveučilište u Zadru, Odjel za izobrazbu učitelja i odgojitelja, Zadar, [email protected]

Sanja Vrcić-MataijaSveučilište u Zadru, Odjel za nastavničke studije u Gospiću, [email protected]

Metafora putovanja u Pričama iz davnine


Kao tematska i kompozicijska okosnica, putovanje se u Pričama iz davnine iščitava kroz prizmu metafore promjene/novih spoznaja na koju su književni likovi osuđeni. Polazeći od temeljne strukture bajke, koja započinje odlaskom, putovanje se pripovjedno grana na put, postaje, povratak ili ostanak. Njime se narušava ravnoteža, mijenja lokacija; ono podrazumijeva napuštanje poznatoga i odlazak u nepoznato, što uključuje i neizvjesnost, odricanje, žrtvu, kušnju. Likovi se odlučuju na putovanje motivirani znatiželjom, vlastitim uvjerenjima ili krajnjom nuždom. Stoga se u radu prati promjena prostornoga okvira koji utječe na (ne)stabilnost likova te se uspostavlja tipologija putnika/putovanja s obzirom na svrhu putovanja, mjesto i postaje na putovanju te krajnji rezultat. Time stvarno putovanje zadobiva metaforičku funkciju duhovnoga/unutarnjega putovanja. Putujući iz svjetlosti u tamu, iz života u smrt, iz fantastike u realnost, iz neznanja u znanje i obrnuto, likovi odlaze na tjelesno, ali i duhovno, unutarnje putovanje, koje je metaforički shvaćeno kao način njihova sazrijevanja, spoznaje, povratka, odrastanja – potrage za vlastitim identitetom. Analiza primarne funkcije metafore otkrivanjem konkretnih podataka stavljena je u kontekst apstraktnoga iskustva na osnovi kojega se iščitava i konceptualna metafora – putovanje je spoznaja/sazrijevanje.Ključne riječi: metafora, Priče iz davnine, putnik, putovanje, tipologija

Uvod

Čitanje Priča iz davnine kroz prizmu putovanja kao arhetipske književne teme na tragu je obnovljenoga interesa za fenomen putovanja unutar kulturnih teorija

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humanističkih i društvenih znanosti. Tema putovanja u dječjoj je književnosti nezaobilazan pripovjedni konstrukt i to u žanrovski raznolikim tekstovima, s time da se proučavanju putovanja u književnosti prilazi s različitih teorijskih motrišta. Dean Duda navodi kako je upravo putovanje funkcionalno prilagodljivo svakoj semantičkoj matrici pripovjednoga teksta. Ono se pojavljuje kao: „[…] povratak, preobrazba, potraga, istraživanje ili sazrijevanje, a može poprimiti i oblike tumačenja simbolične ili alegorijske strukture svijeta, života svetaca, hodočašća, procesa spoznaje i društvene analize“ (Duda 1998: 43). Tema putovanja unutar žanrovske konvencije bajke zadana je kategorija. Slijedom Lüthijevih i Proppovih stilskih i morfoloških određenja bajke, za njezino je žanrovsko određenje bitan tijek događaja, „[…] s naglaskom na junaku kao putniku među svjetovima te na čudesnom pomoćniku i njegovu daru“ (Bošković-Stulli 2012: 285). Detoni Dujmić (1998: 171) naglašava značaj putovanja u Pričama ističući da se

[...] u većini Brlićkinih proza glavni aktanti ponašaju […] kao sudionici starog pikarskog žanra: nostalgični su putnici podvrgnuti zahtjevnim obredima odrastanja i sazrijevanja. Njihova lutanja potaknuta su nepravdom, samoćom, žalošću, radoznalošću (nikada ne putuju zbog osvete ili mržnje), a glavni je pokretač polaska na put – misao.1

D. Težak i S. Težak (1997) također podcrtavaju, uz nezaobilaznu etičnost, snažnu želju likova za putovanjem, tumačeći je pokretačem radnje, uz uočavanje svrhovitosti putovanja u povratku staromu ognjištu ili smirivanju u novoizgrađenome.

Svako je književno putovanje, a napose putovanje u bajkama, ispunjeno neobičnim, čudesnim događajima. Osim što se putovanje može shvatiti u tjelesnome smislu kao prelaženje „semantičkih polja“ (Lotman 2001: 318), promjena lokacije s različitim ciljem, ono se može promatrati i u smislu duhovnoga, metaforičkoga putovanja koje za krajnji cilj ima dolaženje do određenih spoznaja. Pri tome se pripovjedni konstrukti iščitavaju i u svojemu konotativnome značenju kao nadogradnja prostorne topografije. Polazeći od Friedrichove tvrdnje kako je „metafora oduvijek služila poetskoj izmjeni svijeta“ (1985: 220), propitivanje njezine uloge u Pričama iz davnine vodilo nas je tragom iščitavanja različitih semantičkih polja kroz prizmu združenosti u okvir koji im daje novo značenje (Stamać 1983), mijenjajući sebe i svijet kojim se putuje. Kako su Priče po svojim strukturnim osobinama originalne, a prostor kojim se kreću književni junaci jedinstven, daleko složeniji od prostora i pripovjedne strukture narodne bajke, prepoznavanje metafore putovanja na tragu je i prepoznavanja poetičkih osobina neoromantizma i secesije (Zima 2001), pri čemu se prostorni imaginarij, s nizom

1 Autorica u svjetlu odnosa temeljnoga teksta i mitskoga interteksta upravo inicijaciju, koja je rezultat putovanja, vidi kao bitan pokazatelj sižejne djelotvornosti mitskoga interteksta navodeći kako putnici putovanjem spoznaju načela etičke dužnosti (Detoni Dujmić 1998: 174).

K. Ivon i S. Vrcić-Mataija: Metafora putovanja u Pričama iz davnine

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stiliziranih toposa i likova, nameće kao mjesto pronalaženja poetskih pojedinosti u metaforama.

Da su putovanje i bajkovita struktura u snažnoj sprezi, potvrđuje i glasovita Proppova Morfologija bajke (2012) u kojoj je jedan vid putovanja (odlaska) prva funkcija događajne strukture same bajke: „udaljavanje od kuće jednog člana obitelji“ (36). Kod Proppa to postaje i preduvjetom zapleta, odnosno pravoga odlaska junaka, što omogućuje daljnji razvoj događajne strukture. Upravo taj odlazak lika (putovanje) čini sižejnu okosnicu cijele pripovjedne strukture u kojoj autor razabire dvije vrste putnika/junaka: „junake-tražioce i junake-žrtve“ (Propp 2012: 47). Putovanje u Pričama iz davnine iščitavamo i tragom spomenutoga Lotmanova (2001) tumačenja umjetničkoga prostora i sižea. Autor tvrdi kako je granica najvažnije topološko obilježje koje organizira prostornu strukturu teksta, a koja čitav prostor teksta dijeli na dva dijela koji se ne presijecaju. Po njemu je osnovna karakteristika granice njezina nepropusnost, a način na koji granica dijeli tekst predstavlja njezinu temeljnu osobinu. Poseban naglasak stavlja na različitost unutrašnje strukture svakoga potprostora i nepropusnost spomenute granice.2 S pojmom umjetničkoga prostora usko povezuje i pojam sižea s predodžbom događaja premještanjem lika preko granice semantičkoga polja. Sukladno tomu, kao neizbježne elemente svakoga sižea, uz semantičko polje podijeljeno na dva uzajamno komplementarna podskupa i nepropusnu granicu među tim podskupovima, Lotman vidi aktivnoga junaka koji prelazi granicu, savladava prepreku prelazeći iz jednoga u drugo semantičko polje. Upravo u tome prijelazu Dean Duda na elementarnoj razini vidi najtočniju definiciju putnika i putovanja (2012: 49), što je ujedno i središnji interes rada. Svakako treba uzeti u obzir činjenicu kako većina bajkovitoga diskursa podržava predodžbu putovanja kao kazne, nužnosti ili određene pokore, odnosno svaki odlazak od kuće, prema Lotmanu – matične sredine, predstavlja odlazak na mjesto određenoga iskušenja ili tegobe, mjesto koje u konačnici nije ugodno, stoga na kraju mora uslijediti povratak kao krajnja točka putovanja, točka nakon koje je daljnje kretanje nemoguće.

Govoreći o samome činu putovanja, treba istaknuti kako je u Pričama iz davnine trajni naglasak na dominantnim momentima transformacije samoga lika koji putuje, stoga nužno moramo govoriti o metaforičkoj/duhovnoj dimenziji putovanja sukladno s njezinim fizičkim/stvarnim ekvivalentom.3 Gotovo da se u svakoj bajci nekamo odlazi, kreće se na putovanje iz različitih razloga, „[…] pri 2 Lotman posebno ističe prostor bajke koji se raščlanjuje na kuću i šumu s jasno istaknutom granicom

među njima. Navodi da junaci povezani sa šumom ne mogu prodrijeti u kuću jer su čvrsto povezani sa svojim prostorom kao i činjenicu kako su čudesni i strašni događaji povezani isključivo s prostorom šume (2001: 308).

3 Sličan se postupak događa i s Hlapićem kojemu putovanje služi ne samo kao promjena lokacije, već i kao sazrijevanje, odnosno potraga za vlastitim identitetom na što su upozorile autorice Marot Kiš i Palašić (2015).

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čemu je putovanje katkada i potraga za vlastitim identitetom“ (Plejić Poje 2010: 74). Također je važno naglasiti kako autoričini putnici u velikoj mjeri pri povratku (iako povratak nekad nije točka kojom završava putovanje) donose bitan etički kapital, određeni smiraj, ravnotežu i ispunjenost, čime se u konačnici i završava putovanje/potraga. Iz gore navedenih teorijskih promišljanja, moguće je ponuditi registar likova putnika kao i tipologiju prostora s pripovjednim postajama u Pričama, pri čemu pod pojmom putnika podrazumijevamo aktivne likove koji prelaze iz jednoga semantičkog polja u drugo.

Tipologija putnika i putovanja s obzirom na motiv ili svrhu putovanja

Niz je razloga koji potiču junake iz Priča na putovanje, a većinom ih karakteriziramo kao određeni propovski „nedostatak“ (Propp 2012: 45) često realiziran kao materijalni ili duhovni nedostatak, znatiželja, vlastito uvjerenje ili krajnja nužda koja likove navodi na odlazak od kuće; upravo motiv putovanja uvjetno ih i tipologizira na Proppove junake tražitelje i junake žrtve. Ovdje ćemo pojmove junaka tražitelja i junaka žrtve za potrebe rada preformulirati u putnika tražitelja i putnika žrtvu. Razvojem naracije ponekad isti junak postupno prelazi od „tražitelja“ u „žrtvu“, što opravdavamo Proppovom mišlju kako pojedini lik može obavljati nekoliko funkcija unutar bajkovite strukture. Treba uvažiti i svu kompleksnost umjetničkoga svijeta bajki Ivane Brlić-Mažuranić koja se bitno očituje u suptilnome oblikovanju likova, a kao zorni primjeri takvih funkcionalnih transformacija ističu se likovi Potjeha i ribara Palunka. Na tome tragu upravo inicijacijsko putovanje nezreloga Potjeha iščitavamo kao konstrukcijski element pripovjedne strukture bajke „Kako je Potjeh tražio istinu“. U naratološkome ključu Potjehovo neznanje (nemogućnost spoznavanja istine) tumačimo Proppovim pojmom nedostatka kao jednoga vida protivnikova nanošenja štete junaku, što ujedno i pokreće zaplet, odnosno Potjehovu odluku o putovanju. Prepreke na njegovu putu sićušni su Bjesovi, „arhetipski znakovi mladenačke nezrelosti“ (Detoni Dujmić 1998: 173), koji ga tijekom naracije preobražavaju od putnika tražitelja u putnika žrtvu.4 Potjehova odluka o odlasku nije bila laka,5 ali za njega je bila nužna 4 Treba naglasiti kako funkciji prethodi pripremna funkcija u kojoj žrtva dopušta da bude prevarena

i time pomaže neprijatelju, Propp je imenuje sudioništvom (2012), a pripisujemo je Potjehovoj mladosti/naivnosti, što u relaciji sa starošću/mudrošću aktualizira „mitski vitalizam“ (Detoni Dujmić 1998: 174) kao važno sižejno uporište bajke. Njoj prethodi početna funkcija privremenoga „udaljavanja iz kuće“ (Propp 2012: 36) koja je ujedno poticaj nanošenju štete junaku i njegovu odlasku. Detoni Dujmić (1998) Potjehovo privremeno udaljavanje od kuće karakterizira pokusnim, neuspjelim pretputovanjem s braćom do sunčana boga Svarožića.

5 „Potjeha pak jako zaboli srce za djedom, i malo, malo, te bi se na pragu predomislio i ostao uz djeda. No onda se silom otkine, kako bijaše odlučio i pođe u goru.“ (Brlić-Mažuranić 2011: 20).


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jer je vođena mladenačkim uvjerenjem o ispravnosti postupka. Starac Vjest pak, zahvaljujući mudrosti i životnomu iskustvu, ipak prepoznaje situaciju te ga u znak razumijevanja i odobravanja ljubi prije odlaska, čime i otpočinje pravo putovanje nezreloga Potjeha: „– Što li će meni, sinko, ta istina, kad ja, sijedi starac, mogu tri puta umrijeti, dok joj se ti dosjetiš? […] Al Potjeh odgovori: – Idem, djede, jer sam tako smislio da je pravedno“ (Brlić-Mažuranić 2011: 19). Tumačimo li motiv koji pokreće Potjeha na putovanje kao duhovni nedostatak (neznanje), tada Palunkov primarni motiv za putovanjem nosi materijalni predznak. U složenosti pripovjedne strukture Palunko se višestruko transformira: od putnika tražitelja (materijalnoga blaga) preko putnika žrtve (vlastite zablude)6 do putnika tražitelja (duhovnoga blaga). Njegov putnički poriv balansira žena koja putuje motivirana uvjerenjem o ispravnosti svojega postupka, odnosno krajnjom nuždom, jer joj jedino potraga može spasiti obitelj. Time se upravo ona pozicionira kao središnji lik/putnik čiju potragu i dvojbe na tome putu bajkovita struktura prikazuje. Kao tipičan putnik tražitelj, prelazeći iz privatne u javnu sferu, žena u konačnici uspijeva u svojemu naumu ponovno okupljajući obitelj. Uronjena u „patrijarhalni imaginarij“ (Duda 2012: 53), ona putuje zbog muškarca, okrenuta konačnomu cilju, pri čemu je samo putovanje sporedan čin. Cijela se bajka zapravo razvija na temelju opreke vrijednosnoga sustava muško-ženskih odnosa. Time njezino putovanje postaje „činom potrage“, a unutar muško-ženskoga dualizma i činom „stjecanja ženske moći“ (Plejić Poje 2010: 85), kao što je to slučaj i s majkom u „Šumi Striborovoj“. U bajci „Regoč“ pripovjedna matrica „doma i svijeta“ (Detoni Dujmić 1998: 173), dodale bismo i ostanak kao krajnju točku, realizirana je posebnom vrstom muško-ženskoga putovanja. Ontemski je sloj prepoznat u „[…] ljudskoj neslozi koja teži (samo)uništenju i na čijim razvalinama mora nastati drukčiji i bolji svijet […]“ (Zima 2001: 120), u kojoj se tema putovanja provlači kao metaforična podloga sazrijevanja i spoznaje dvaju putnika, Kosjenke i Regoča. Premda je zavolio Kosjenku i djecu, Regoč nije bio u mogućnosti ostvariti sreću izvan svojega matičnoga prostora;7 njegovim povratkom u početno stanje uspostavljena je ne samo prostorna, već ponajprije identitetska činjenica. Kosjenka posjeduje dinamiku putnice koja bez straha kreće u nepoznato kako bi se nauživala naslućene ljepote, drukčije od one u njezinu matičnome prostoru. Premda oduševljena svime što vidi, ona uvijek želi više razvijajući i produbljujući putem svoj odnos s Regočem koji, mijenjajući se putovanjem, postaje svjestan odgovornosti prema njoj. Kosjenka

6 „Al u Palunka samo jedna luda pamet, te kako si bijaše upiljio u glavu, da se nagleda i naužije bogatstva Kralja Morskoga…“ (Brlić-Mažuranić 2011: 41).

7 Nazivi prostornoga imaginarija: matični prostor, početno stanje, ključno mjesto, mjesto susreta, prostorna i identitetska činjenica preuzeti su iz Dude (2012).

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je „[…] zapravo Regočev dobri duh, njegov pokretač i vodič svijetom“ (Skok 1995: 111), premda ni sama taj svijet ne poznaje. Na početku je Regoč neaktivni junak, ali pristaje na putovanje motiviran Kosjenkinim nagovaranjem, ponajprije zato što mu je nedostajalo društvo. Jaglenac se pak, napuštajući okvir obiteljskoga života, profilira kao putnik tražitelj izgubljene sestrice Rutvice, nailazeći na svojemu putovanju na niz prepreka koje rezultiraju pobjedom nevinosti, dobrote i bezazlenosti. Za razliku od Rutvičine opravdane statičnosti, Jaglenac, zaštićen križićem na vratu, svojevoljno napušta matični prostor, ćuteći suvišnost svojega dječjega identiteta u svijetu odraslih,8 postajući putnikom koji potpuno bezazleno prelazi Kitež-planinu ne poimajući zlo kao prepreku. Smještena u okvir prirode čija je sila antropomorfno utemeljena u djedu Neumijki, priča o Lutonjici Toporku i njegovo devetero braće razvija temu putovanja ponajprije na temelju lika Toporka, ali i njegove braće te samoga djeda koji razlog putovanju vidi u nuždi uspostavljanja žuđene ravnoteže za razliku od dječjih likova kojima je putovanje bijeg i povratak u matični prostor, donekle izmijenjen u odnosu na pripovjedni početak. Po naravi skitnica, sklon cjelodnevnim lutanjima šumom u potrazi za životinjama, opravdano prozvan Lutonjicom, Toporko razvojem naracije svoje lutanje preusmjerava u ciljano putovanje – traženje braće. U bajci „Jagor“ putovanje poduzimaju dva putnička subjekta iz životinjskoga svijeta. Bušica i kozica nisu samo odane domaće životinje, u pripovjednoj strukturi one se transformiraju u putnike tražitelje koji pomažu Jagoru. Uz Baganovu pomoć noću odlaze u potragu za njim, u nepoznato, a odlazak/nestanak Jagora kojega otima baba Poludnica pripremni je trenutak njihove potrage: „Ne znaju bušica i kozica, ni kuda će, ni kojim će putem, samo ih Bagan uputio, da idu u krš i da traže dijete, gdje je krš najviši i najstrašniji“ (Brlić-Mažuranić 2011: 221). Majka u „Šumi Striborovoj“ u nekoliko navrata napušta kuću, međutim ona ostaje u okvirima istoga prostora čime se još uvijek ne deklarira kao putnica. Njezino pravo putovanje nastupa kada ju snaha tjera od kuće. Simboličkim prelaskom preko kućnoga praga, padom raspela te gašenjem vatre na ognjištu baka postaje putnicom žrtvom, u opusu Priča iz davnina jedina junakinja koja biva otjerana. „Čim je mati prešla preko praga, utrne se vatra na ognjištu i pade raspelo sa stijene“ (Brlić-Mažuranić 2011: 115). U bajci „Sunce djever i Neva Nevičica“ protagonistica, kako navodi Detoni Dujmić (1998), na putu je ženske inicijacije prema mladoženji. Treba naglasiti kako je u pripovjednoj strukturi težište usmjereno potrazi, odnosno gradacijskoj izgradnji identiteta dvaju

8 „[…] ali se nitko od njih nije ni toliko obazreo na Jaglenca, da bi ga ponudio čašicom vode, premda bijaše velika vrućina. […] Kad je ovo sve vidio Jaglenac, obazre se on časak po sobi, a onda osjeti dijete: nije ovo sve ništa, ostao sam ja sam na svijetu […] i ode da traži svoju sestricu Rutvicu“ (Brlić-Mažuranić 2011: 126).


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središnjih likova. I tu pratimo patrijarhalnu matricu na relaciji ženska intuicija – muško junaštvo. Na početku zatičemo skromnu Nevu koja se vodi isključivo srcem i biva zbog toga nagrađena, ali navlači prijezir svojih roditelja. Imajući dovoljno snage, ona odlazi iz vlastite kuće, ali i odbacuje blagodati koju joj nudi nalazak ključeva, ne iz obijesti, već iz skromnosti i poštovanja prema staleškoj zadanosti. Nudeći ključeve Olehu banu, svjesno se odriče bogatstva, dobivajući puno više, čime se potvrđuje ispravnost postupaka autoričinih ženskih likova. Neva Nevičica svoj identitet upravo pripovjednim putovanjem/metaforom sazrijevanja postupno gradi. Proces preobrazbe od obijesnoga mladića koji previše ne mari za pronalazak ključeva do snažnoga junaka,9 bezrezervnoga čuvara svoje banovine koji se junački suprotstavlja mnogobrojnoj vojsci, pratimo i kod Oleha bana.

Prostori putovanja s pripovjednim postajama

Prostor kojim putuju likovi Priča iz davnine promatramo u odnosu dvaju semantičkih polja unutar sižejne strukture te u ulozi granice kao važnoga topološkoga obilježja prostorne strukture teksta (Lotman 2001). Putovanje s obzirom na postaje ili zaustavne točke omogućuje fizički i duhovni progres likova. Noseći snažan gradacijski potencijal, pojačava neizvjesnost zahtijevajući od putnika sve veću žrtvu i odricanje. Raznorodnost prostornoga toposa u Pričama, od oblaka preko planina, ravnica, polja, rijeka, podzemlja, mora do podmorja, s nizom mikrotoposa, iščitavamo u svjetlu metaforom transformirane slike svijeta nastale uzajamnim djelovanjem putnika i prostora. Život na oblacima (Kosjenka, Neumijka, Potjeh) nosi predznak mitološke i kršćanske duhovne dimenzije s metaforičkim vrijednostima visoko postavljenoga etičkoga sustava suprotstavljenoga kopnenim, zemaljskim vrijednostima te podzemnim i podmorskim. U vertikali prostornih odnosa uočljiva je izrazito iznijansirana hijerarhizacija sustava duhovnih vrijednosti; spuštanjem s oblaka, metaforičkoga utjelovljenja gotovo nedostižnoga ideala života, kopneni se topos nameće kao prostor propitivanja i iskušenja putnicima, dok podzemni i podmorski metaforički utjelovljuje njihovo zastranjivanje, svojevoljno (Kosjenka, Palunko) ili prisilno (Jagor). U tome je smislu znakovito Potjehovo putovanje, prepuno alegorijskih ekvivalenata koji odgovaraju duhovnomu sazrijevanju i spoznavanju čovjekova unutrašnjega svijeta. Potjeh odlazi u goru/šumu što povezujemo sa simbolikom nesigurnosti i neizvjesnosti, ali i mjestom u kojemu

9 „Samo Oleh ban slabo se za ključeve ogleda, kano da mu je do igre i obijesti“ (Brlić-Mažuranić 2011: 201); „– Stužio se junak Oleh ban, ali onda se otrgne od Nevičice, srne kroz nadvorje i vežu, da odigne hrastove zapornje, da otvori vrata vojski nebrojenoj, da pogine ili da se probije kroz vojsku“ (208).

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većina likova u Pričama traži svoj duhovni mir i određeni balans za narušenu ravnotežu.10 Prijelomna točka/postaja na tome putu svakako je Potjehovo utapanje u zdencu koje putovanju osigurava novi smjer, odnosno višu duhovnu dimenziju. Upravo pored zdenca, religijski tumačenoga kao mjesta susreta i komunikacije između Boga i čovjeka,11 Potjeh saznaje istinu: trebao je slušati svoje srce i ne ostavljati djeda, no taj obrat iz neznanja u znanje ipak nije pratio ovozemaljski povratak u početno semantičko polje; iako je Potjeh to žarko želio, on mora biti kažnjen: „– Brže da se umijem i da poletim do miloga starca svoga. – To reče i prikuči se zdencu, da se umije. Nagnu se Potjeh da zahvati vode, nagnu se odviše, okliznu se i padne u zdenac. Padne u zdenac i utopi se“ (Brlić-Mažuranić 2011: 28). Utapanje u zdencu ima snažan simbolički karakter; zdenac kao pripovjedna postaja predstavlja granicu između onostranoga i ovostranoga koju Potjeh jednosmjerno prelazi, a bez kojega njegovo putovanje ne bi imalo smisla, niti bi bio postignut (etički) krajnji cilj same bajkovite pripovijedi. Putovanje Palunkove žene kroz gradacijske prepreke/pripovjedne postaje12 na koje nailazi dokazuje postojanost njezine ljubavi i vjernosti. U trenutku najveće dramatičnosti ženine kušnje životinje iščitavamo i kao svojevrsne metafore njezine duševne borbe s kulminacijom na zadnjoj postaji na kojoj se žena odriče vlastite sreće. Odabir lubina u svjetlu kršćanske simbolike podcrtava ispravnost njezina puta; slijedeći majčine upute – žrtvujući se za drugoga – u konačnici biva nagrađena obnovljenom obitelji. Njihov zajednički bijeg novo je svladavanje morskoga prostora, ovoga puta uz čarobnu moć što ga ženi daruje Zora-djevojka kao nagradu za vjernost; ujedno je to i povratak kući. Voda, more i podmorje metafore su Palunkove kušnje i prosvjetljenja; početni cilj Palunkova putovanja – kraljevstvo Morskoga Kralja, svojevrsna utopija s kojom se povezuje njegov san o blagostanju, preobražava se u prostor u kojemu junak ne može realizirati svoj identitet, ali mu je poslužilo kao katarza. Stroga opreka kopna i mora

10 Majka odlazi u šumu k Striboru, Kosjenka odvodi Regoča u šumu, Toporko luta šumom tragajući za svojom braćom, bušica i kozica odlaze u šumu u potragu za Jagorom itd. Šuma, odnosno krčevina u koju odlaze Potjeh i njegova braća, ambivalentni je prostor Dobra i Zla utjelovljenih u Svarožiću i Bjesomaru, ali je ponajprije prostor njihove kušnje.

11 Zdenac kao mjesto susreta i komunikacije između zemlje i neba, ovostranoga i onostranoga svijeta prikazuju mnoga biblijska mjesta. S time povezujemo i vodu kao biblijski simbol fizičkoga i duhovnoga čišćenja, ali i kao putokaz k vječnomu životu (Lujić 2011).

12 Dobra djela što ih čini Palunkova žena rezultiraju dobivanjem supomoćnika na prelascima semantičkih polja doma i svijeta. Uvođenjem u pripovijed likove životinja iščitavamo kao svojevrsne „zoometafore“ (Hameršak 2015: 29) čime se putovanje gradira. Mitske nemani kao prepreke na ženinu putu svladane su njezinom poniznošću, žrtvom i dobrotom. Zmije se javljaju u dvostrukome obličju; kao simboli zla koje pokušava uništiti junakinju, ali i kao supomagači koji uslugu vraćaju dobrim djelima. Orijaška ptica uzalud nudi ženi „živu vodu“ iz svojega kljuna – metaforu vraćenoga govora, jednako kao i zlatna pčela „maloga kralja“ – sina. Pripovjedna funkcija košute kao od Boga poslane pomagačice (Majhut i Lovrić 2010) putniku tražitelju, povezuje se s narodnim vjerovanjima kao motiv umrle majke koja nudi kćeri korisne savjete (Težak i Težak 1997).


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dodatno naglašava antagonizam pripovjednoga prostora. More i njegov fantastičan (mitski) svijet utjelovljuje Palunkove zablude, potiče privid sreće i nestabilnost lika te je suprotstavljeno sigurnosti i stabilnosti kopna (doma), čime se sugerira tjelesno, ali i duhovno putovanje iz realnosti u fantastiku i natrag. Kosjenkina želja za putovanjem motivirana je znatiželjom; njezin je silazak istovremeno „(i zbiljski i metaforički) jer zemaljski je život i najveće iskušenje i čudo – kako ga gleda ona svojim radoznalim očima“ (Zalar 2014: 30). Pašnjaci, rijeke, brda usputna su mjesta njihova putovanja, da bi dva sela smještena podno gore postala ključnim mjestom koje će osmisliti i usmjeriti njihovo zajedničko putovanje. Legen grad kao mjesto susreta topos je prema kojemu njih dvoje imaju ambivalentan odnos: Kosjenki je on mjesto susreta i odlaska, a Regoču i mjesto povratka13 u kojemu jedino može realizirati svoj identitet.14 Pripovjedna je postaja njihova putovanja podzemlje do kojega dolaze zahvaljujući Kosjenkinoj radoznalosti i Regočevoj snazi. Silazak u podzemlje metaforički je prikaz njihova zastranjivanja u želji za spoznavanjem nespoznatljivoga, što je Kosjenku zamalo došlo života. Mrak podzemlja razbijen je svjetlom svjetiljke, metafore života kao Božjega dara što se u konačnici, zahvaljujući putovanjem stečenomu prijateljstvu, razgori u pobjedi života. Prostor Kitež-planine, s nizom toposa i likova, antropomorfiziranih prirodnih fenomena, kojim Jaglenac putuje u potrazi za nestalom sestricom, prepun je arhetipskih i kršćanskih simbola u funkciji sukoba nevinosti i zloće što ih nivelira djetinja ćud i dječakov nedostatak uvida. Vile Zatočnice, metaforičko utjelovljenje mitskoga Zla, ne uspijevaju napakostiti dječjoj nevinosti koja se pripovjedno gradira nizom epizoda te uvođenjem likova životinja. Nasuprot bratu, Rutvica neželjeno napušta svoj matični prostor prebacujući se orlovim kandžama na vrh planine u kojemu biva zaštićena od svakoga zla, zahvaljujući svetosti mjesta i postojanosti svoje djetinje vjernosti. Otočić, crkvica i jezero postaju tako zaštićenim mjestom i krajnjim ciljem Jaglenčeve potrage. Na kraju se putovanja u bajci uspostavlja poetska promjena svijeta/prostora po kojoj planina od prvotnoga prostora utjelovljenoga Zla, u združenosti dječje nevinosti, postaje okvirom koji joj daje novo značenje – prostor svetosti kao zalog miru. Putovanje Toporka i njegovo devetero braće sa zemlje na oblake u znaku je bijega („Bježmo, braćo, ako Vam je život drag!“ Brlić-Mažuranić 2011: 173) od opakoga i osvetoljubivoga dvorskoga

13 „– Lud si ti, Regoču, zaista si lud, što ovdje živiš i život svoj baviš brojeći pusto legensko kamenje. Hajdemo, Regoču, da vidiš krasote po svijetu i da si nađeš vrednijega posla – reče Kosjenka“ (Brlić-Mažuranić 2011: 68); „Nikada još ne bijaše Regoč pomislio, da si traži ljepšega mjesta od Legena grada, niti je kada pomislio, da ima boljega posla od njegova“ (isto).

14 „A onda dalje pođe Regoč do svog Legena. Tamo i sad sjedi, kamen broji i Bogu se moli, da ga nikad više ne odvede od silnoga i pustoga Legen-grada, kuda bijaše najbolje pristao onakav golem i neuputan“ (103).

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u sigurno utočište djeda Neumijke. Život na oblacima, potpuno oprečan onomu u županiji, donio im je mnoga znanja o prirodi, ali i uskratio povlastice u kojima su u domu uživali. Poput Regoča, i župančići žude polazišnomu mjestu – županiji kamo će ih, zahvaljujući domišljatosti, stečenoj bratskoj ljubavi i sućuti vratiti Toporko uz pomoć bake, spone dvaju oprečnih semantičkih polja, te šubarice, metonimije maloga čovjeka (Težak i Težak 1997) i velikoga djela. Metaforom poetizirani prostor kojim se likovi kreću, narušavajući granice polja i vraćajući se matičnomu, u znaku su dvaju ključnih, ambivalentnih pojmova – toposa zidina/šatora, polisemične metafore ograničenja, zabrane, sputanosti, ali i ironiziranoga staleškoga dosega, za razliku od „rosne ledine“ (Brlić-Mažuranić 2011: 164) – kao izraza slobode, nesputanosti i suživota s prirodom. Kao spona dvaju semantičkih polja nastupa Toporko nivelirajući oprečnosti u rupi, svojevrsnim drugim i drukčijim pogledom iz kojega i proizlaze spoznaje do kojih junaci dolaze.15 Putovanje iz poznatoga u nepoznato bušice i kozice u „Jagoru“ također ima svoje zaustavne točke. Pripovijedanje je strukturirano prema načelima gradacije: postaje određene danom putovanja pojačavaju neizvjesnost i zahtijevaju od putnika sve veću žrtvu i odricanje, a put koji trebaju proći postupno se gradira od livada za ispašu i obilja vode u kladenicama do samoga krša i neprohodnoga prostora te potpunoga izostanka vode. Treba naglasiti kako žrtvu putovanja prati i gradacija metaforičkoga pejzaža sa simbolikom kotline, opasane liticama i skliskim i vrućim gvozdenim pločama, u kojoj se nalazi Jagor, kao vrhuncem muke i neizvjesnosti (Brlić-Mažuranić 2011: 221):

Penje se ona, penje – kamen sve goliji i sve strmiji, pusta i strašna visina, kano da je u nebo uperila. Iskrvarila kozica noge, ali stigla pod gvozdenu zagradu. Vidi kozica, da je ono kotlina liticama i gvozdenim pločama opasana, a nad kotlinom razbijelilo se i nebo i zrak od vrućine. – Goreg mjesta u kršu nema, tu će i biti siroče [... ]

Podzemni prostor babe Poludnice, metaforičkoga predznaka pakla,16 s konotacijama zla ispriječenoga na putu Jagorova sazrijevanja, poput Jaglenčeve Kitež-planine, ne uspijeva nauditi čistoći djetinje ćudi, za razliku od oca koji zakašnjelo spoznaje vlastitu zabludu i na kojega paklenski prostor djeluje pogubno. Pripovjedna struktura „Šume Striborove“ postavlja jasnu distinkciju dvaju semantičkih polja, označenu oprekom kuće (realnoga) i šume (fantastičnoga), podržavajući pritom misao o nepropusnosti dvaju potprostora, ali i njihovu

15 „Čudom se čude župančići, jer njih mudroznanci svačemu naučaju, ali im dosada ni o kakvoj rudini ni besjede ne rekoše. Još se više čude, gdje imadu eto brata u čupavoj šubarici – sitnog brata s onu stranu zida, a oni jedva i znali, da tamo živog svijeta ima!“ (Brlić-Mažuranić 2011: 167).

16 „Ploča visoka za dva čovjeka, glatka kano staklo, vruća kao pakao. Pod njom u kotlini spava dijete; preteščala mu pečal za ovo četiri dana, pružilo se po kamenu i zaspalo“ (222).


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autentičnost. U strogoj prostornoj oprečnosti i autentičnosti, putovanju iz realnoga u fantastično te ponovno u realno najbliža je bajci „Ribar Palunko i njegova žena“. Upravo sinov odlazak od kuće, odnosno prelazak iz jednoga u drugi semantički prostor rezultira disbalansom, pronalaskom snahe guje čime se stvara preduvjet samoga bajkovitoga zapleta. Na početku bajke ističe se kako je šuma začarana i kako se u njoj svakojaka čuda događaju. „Zbivala se u njoj čuda dobra, ali i naopaka – svakome po zasluzi“ (Brlić-Mažuranić 2011: 105), čime se a priori odbacuje isključivo crno-bijela atribucija paralelnih prostornih svjetova. Na njezinu putu majci pomažu Domaći uz čiju pomoć prolazi začaranom šumom. Kao supomoćnik u svladavanju granice među semantičkim poljima, u naraciju se uvodi i antropomorfizirani lik jelena17 kao kršćanskoga simbola čistoće koji donosi baku pred Stribora. Zajedničko putovanje Neve i Oleha bana prema istomu cilju, odnosno odlazak konjem u Olehovu banovinu osigurava lagano, gotovo neprimjetno svladavanje granice među semantičkim poljima, ali sugerira i određenu opasnost koja ih kasnije može zadesiti. Oksimoronska slika banovine s „čađavim domom“ (Brlić-Mažuranić 2011: 203) u središtu, prostorni je topos koji nosi snažan metaforički potencijal. U obrani banovine, metafore ljubavi, skromnosti i zajedništva udružio se gotovo cijeli svijet: značajni su pomagači likovi iz životinjskoga svijeta: vuk, vučica, orao, kragulj, grlica i lastavica, ali i metamorfizirani mitski aktant Sunce koji utjelovljuje poveznicu Neba i Zemlje.

Povratak ili ostanak kao krajnja točka putovanja

Putovanje koje poduzimaju likovi s obzirom na krajnju točku može biti finalizirano dvojako: putnik putovanje završava povratkom u polazno semantičko polje / matični prostor ili putnik ostaje u sekundarnome18 semantičkome polju, pri čemu je uočljiva dominacija povratka matičnomu prostoru – domu. Povratak kući duhovnim sazrijevanjem putnika poprima novu dimenziju, a događa se u „Jagoru“, „Ribaru Palunku i njegovoj ženi“, „Lutonjici Toporku“, „Šumi Striborovoj“ i bajci „Bratac Jaglenac i sestrica Rutvica“, dok u „Regoču“ svjedočimo putničkomu povratku i ostanku. Najuočljivija promjena matičnoga prostora u konceptualnome smislu događa se u bajci o Jagoru čija je kuća na početku pripovijedi u znaku opake maćehe i nemarnoga oca, s izuzetkom zaštitnički određene staje. Povratkom putnika, Jagora, kozice i bušice, kuća mijenja svoju dimenziju (nestaje sve zlo) 17 Nadnaravno oblikovani životinjski likovi jelena s rogovima ukrašenim zvjezdicama i dvanaest

vjeverica s očima od dragoga kamena sugeriraju mitski sloj, ali postaju i premosnicom među semantičkim poljima vodeći radnju sretnomu raspletu. Semantička ambivalentnost na relaciji Dobro – Zlo utjelovljena je u likovima majke – metafore dobra i snahe – metafore zla.

18 Pojam sekundarnoga semantičkoga polja rabi se u opreci prema polaznome semantičkome polju ili ishodišnome prostoru.

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i postaje mjestom smiraja, topline i uspostave narušene duhovne ravnoteže.19 Koncepcija putovanja bušice i kozice počiva na traganju koje je realizirano iznimnom žrtvom, aktanti posjeduju gotovo mitsku snagu, što u konačnici mora rezultirati povratkom, odnosno blagostanjem koje je jedino moguće u matičnome prostoru. Palunkov povratak kući također je u znaku putovanjem stečene spoznaje o važnosti oproštaja i zaborava početnoga nepoćudnoga odnosa prema domu; metaforička vizura njegova povratka omogućuje mu da vidi ono što ranije nije vidio potvrđujući se povratkom kao suprug i otac. Novu, blagoslovljenu20 dimenziju dobiva i matični prostor županije u koju se vraćaju Toporkova braća. Nekad omražena kneževina kao nepoželjni prostor, „mrtvi grad“, koji su u bajci o Jaglencu i Rutvici likovi napustili, djelovanjem dječjih junaka potvrđenih putovanjem u svojoj nevinosti, doživljava svoju duhovnu i materijalnu reinkarnaciju. Majčin dom u „Šumi Striborovoj“, narušen djelovanjem mitskoga Zla, postaje utjelovljenjem obiteljskoga zajedništva stečenoga putovanjem potvrđenom snagom majčinskoga identiteta, dok snaha guja nestaje zajedno sa šumom potvrđujući i podržavajući misao o spomenutoj autentičnosti dvaju prostora. Kosjenkin ostanak u sekundarnome svijetu, izmijenjenome i u konačnici spašenome upravo njezinim i Regočevim djelovanjem, u znaku je pristanka na promjenu, djetinji doživljaj ljepote prirode i stečenoga prijateljstva. Regoč se vraća u svoj matični prostor stekavši „višak znanja“ (Duda 2012: 48) o ljudskoj civilizaciji, čime se uspostavlja i pripovjedna ravnoteža. U sekundarnome semantičkome polju ostaje i Neva Nevičica s Olehom banom čiji zajednički ostanak Olehovu banovinu preobražava u prostor potpuno novoga predznaka. Sižejna struktura bajke o Potjehu drukčija je od ostalih. Potjehovo ponuđeno inicijacijsko putovanje kao krajnju točku pripovjedne strukture ipak prepoznaje ostanak, povratak dokida kršćansko načelo koje čini strukturni temelj samoga teksta, a po kojemu se prava sreća ipak nalazi izvan primarnoga (ovostranoga) prostora, točnije u onostranome, koji bi u religijskome interpretacijskome ključu ipak simbolički predstavljao primarni čovjekov prostor.21 19 „Svezali se u tili čas krajevi gužve za stupove s obiju strana ljese, pa se nešto upregnulo pod gužvu

i zategnulo. Silno zategnulo, još jače potegnulo. Krenula se ljesa, krenuo se sav pleter i sve što je pleterom ograđeno bilo: povezla se i koliba i pojata, i njivica i polje niz humak. Kako se povezlo selište, tako se probio rov pred ljesom, pala maćeha sa ljese u rov, prešla kuća preko rova, zatrpala maćehu, odrubila glavu babi Poludnici, a dobro djetetovo sašlo lijepo i čitavo, kao na božjem dlanu, niz humak upravo do siročeta“ (Brlić-Mažuranić 2011: 229–230).

20 „A kako ona županija vele prostrana bijaše, tako je podijeliše među se na osam županija, a najjačega među sobom izabrali, te ga zakraljili. I vladao kralj sa braćom županima složno i blagoslovno onim županijama, te se i sad još spominje ono doba“ (Brlić-Mažuranić 2011: 195).

21 Milanja u Potjehovu putovanju, u strukturi same bajke prepoznaje mitsku osnovu koja je svoj obrazac našla u kršćanskoj tradiciji, odnosno modelu inkarnacije i uskrsnuća, kazne i okajanja. „U ovoj relaciji Vjest bi predstavljao Krista-Adama; on daje savjete Potjehu ali ne kao obvezatne prinudnosti, ostavlja, naime, Potjeha da sam odluči; on će na koncu biti i iskupitelj Potjehovih grijeha: iz čistilišta (predvorje Svarožićevo) on će ga izravno uvesti u dvor (raj)“ (Milanja 1977: 61).


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Potjehovo putovanje u „prostor onostranosti prikazano je slikama ovostranog putovanja“ (Grmača 2015: 105), a time je, rekle bismo, i ublaženo jer je „nepoznato stavljeno u relaciju s poznatim i bliskim“ (isto).

Zaključno – o putovanju kao konceptualnoj metafori spoznaje/sazrijevanja

U konačnici putovanje u Pričama biva realizirano kao nova spoznaja/duhovno sazrijevanje koje izaziva promjenu kod putnika te metaforički figurira kao „putnički kapital“ (Duda 2012: 49); putovanjem putnik spoznaje ono što ranije nije primjećivao/znao, stoga govorimo o „metaforičkome konceptu“ (Lakoff i Johnson 2015), koji se realizira u bajkovitome opusu, sadržan u metafori putovanja kao spoznaje/sazrijevanja. Trajna vrijednost realizirana putovanjem uvijek je u funkciji etičnosti koja je u autorice dosljedna od početka do kraja. Upravo ona gotovo u većini priča likove određuje kao putnike tražitelje koji su u stalnoj potrazi za boljim i pravednijim svijetom. Bitno je kako se kompleksnost etičkih načela, ali i njihova aktualnost, iščitava i iz funkcionalnih transformacija likova – od putnika tražitelja do putnika žrtve. Kulturološka zadanost, uz znatnu odvažnost ženskih likova, također utječe na funkcionalnu stabilnost likova putnica. Na tome tragu upravo kršćanska etičnost, uz reljefnost uloga koju Potjeh zadobiva u pripovijedi, nastavlja njegovo putovanje prema Svarožićevu dvoru – metafori raja. Sličan je u funkcionalnoj nestabilnosti, ali s različitim motivacijskim putničkim predznakom, Palunko čije putovanje kao trajno stečenu vrijednost donosi reafirmaciju i pobjedu obiteljskoga zajedništva. Regoč i Kosjenka, potpuno suprotni u karakterizaciji, od vizualne do psihološke divergencije, postaju suputnicima na proputovanju zemljom i pod zemljom, izgradivši odnos izrazite povezanosti, topline i ljubavi kao najveću vrijednost zajedničkoga putovanja.22 Funkcionalnu stabilnost potvrđuje majka u „Šumi Striborovoj“ koja preuzimajući ulogu putnice žrtve prolazi začaranom šumom s neupitnim i jedinim ciljem spašavanja sina, ali i Palunkova žena koja u tražiteljskoj ulozi gotovo mitskom snagom svladava sve prepreke na putu. Jaglenčevo i Jagorovo putovanje u konačnici je potvrđivanje njihova dječjega identiteta, za razliku od Reljina putovanja koje postaje načinom spoznavanja kršćanske filozofije praštanja. Relja od junaka koji mačem svladava Zmaja Ognjenoga, planirajući povratak domu realizirati borbom, postaje ponizni

22 Dirljiv je trenutak u kojemu Regoč spašava zatrpanu Kosjenku i u kojemu oboje spoznaju koliko jedno drugome znače: „Kosjenka pak skoči na nožice, uhvati se Regoču za bradu i od velike radosti zaplakaše oboje. Regočeve suze bijahu krupne kao kruške, a Kosjenkine sićane kao proso; al u stvari isto bijaše, i oni se od to doba silno zavolješe“ (Brlić-Mažuranić 2011: 78).

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obraćenik,23 čija je najveća putnička vrijednost upravo spremnost na promjenu, odbacivanje obijesti, sile i osvetoljubivosti te prihvaćanje nenasilnoga obrasca ponašanja. Time je Reljino putovanje inicijacijski ispit spoznaje etičke dužnosti u okviru kršćanskoga svjetonazora izmireno u pripovjednoj ravnoteži sretnoga zajedničkog života. Analogiju pronalazimo u putovanju Neve i Oleha bana čije je zajedničko putovanje također na tragu spoznavanja etičkih dužnosti zajedništva i ljubavi, usprkos materijalnoj sigurnosti i obijesti. Metaforika prostorne topografije, promatrana u odnosu primarnoga/matičnoga i sekundarnoga semantičkoga polja, tipološki raslojena na nebeski, zemaljski i podzemni/podvodni svijet, funkcionalno ostvarena kao prostor bijega, kušnje, ostanka, odlaska ili povratka, u konceptualnome je smislu usmjerena na semantičku promjenu što ga u nju upisuje novostečeni ili potvrđeni, visokoetični svjetonazor putnika dajući joj dimenziju ključnoga mjesta zbog kojega je, u konačnici, vrijedilo putovati.

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zgodama šegrta Hlapića“. U: Zbornik radova, ur. Berislav Majhut, Smiljana Narančić Kovač i Sanja Lovrić Kralj, 115–125. Zagreb i Slavonski Brod: Hrvatska udruga istraživača dječje književnosti i Ogranak Matice hrvatske Slavonski Brod.

Milanja, Cvjetko. 1977. Alkemija teksta. Zagreb: Centar za kulturnu djelatnost Saveza socijalističke omladine Zagreba.

23 „– Ne budali, luda djevojčice! Nije me majka rodila junaka, da me vodi svijeća i kandilo, dok ja imam sablju okovanu!“ (Brlić-Mažuranić 2011: 152); „Čudno mu je, tolikom junaku, što ga vode svijeća i kandilo, a ne vodi ga sablja okovana“ (153).


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Plejić Poje, Lahorka. 2010. „Tko doma ne sidi, a tko sidi? Tema putovanja i ženski likovi u ranonovovjekovnoj književnosti“. U: Dani hvarskog kazališta 36. Putovanje, lutanje i bijeg u hrvatskoj književnosti i kazalištu, ur. Nikola Batušić i dr., 72–87. Split: Književni krug.

Propp, Vladimir. 2012. Morfologija bajke. Beograd: Prosveta.Skok, Joža. 1995. Čudnovate zgode šegrta Hlapića i Priče iz davnine. Zagreb: Školska

knjiga.Stamać, Ante. 1983. Teorija metafore. Zagreb: Centar za kulturnu djelatnost Saveza

socijalističke omladine Zagreba.Težak, Dubravka i Stjepko Težak. 1997. Interpretacija bajke. Zagreb: DiVič.Zalar, Diana. 2014. Potjehovi hologrami. Zagreb: Alfa.Zima, Dubravka. 2001. Ivana Brlić-Mažuranić. Zagreb: Zavod za znanost o književnosti

Filozofskog fakulteta.

Katarina IvonUniversity of Zadar, Department of Teacher and Preschool Teacher Education, Zadar, CroatiaAbteilung für Ausbildung von Lehrern und Vorschullehrern der Universität Zadar, Zadar, Kroatien

Sanja Vrcić MataijaUniversity of Zadar, Department of Teacher Education Studies in Gospić, CroatiaAbteilung für Lehrerausbildung der Universität Zadar, Gospić, Kroatien

The Journey Metaphor in Tales of Long AgoAs a thematic and compositional framework in Tales of Long Ago by Ivana Brlić-Mažuranić, the journey can be read and interpreted through the metaphoric prism of changes/new realisations which the characters are destined to have. Starting from the basic structure of a fairy tale, which begins with a departure, the journey branches out to a kind of travel, stations, a return or stay. The journey disrupts the balance, it changes the location; it implies abandoning the familiar and going into the unknown, which often means uncertainty, self-denial, sacrifice and temptation. The characters decide to travel motivated by curiosity, their own convictions or extreme necessity. Therefore, this paper follows the changes in the spatial framework that affect the (in)stability of the characters and establish a typology of passenger/journey considering the purpose of the journey, place and the stations on the journey, as well as the end result. In this way, the actual journey takes on a metaphorical function of a spiritual/inner journey. Travelling from light to darkness, from life to death, from fiction to reality, from ignorance to knowledge – and vice versa – the characters go through a physical and a spiritual inner journey, metaphorically understood as a journey toward maturity, knowledge, returning home, growing up – a search for their own identities. An analysis of the metaphor’s primary functions through the revelation of specific data is placed in the context of abstract experience on the basis of which the conceptual metaphor – a journey is knowledge/maturity – can be interpreted.Keywords: Tales of Long Ago, journey, metaphor, traveller, typology

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Die Reisemetapher in Ivana Brlić-Mažuranićs Priče iz davnineIm Beitrag wird das Reisen als thematischer und kompositorischer Rahmen der Märchensammlung Priče iz davnine aus der Perspektive des metaphorischen Prismas von Veränderung bzw. von Erwerb neuer Erkenntnisse gedeutet. Ausgehend von der Grundstruktur eines Märchens, das mit der Abreise beginnt, wird das Reisen in narrativer Hinsicht auf den Weg, auf einzelne Stationen und auf die Rückkehr respektive das Verbleiben aufgeteilt. Durch die Reise wird man aus dem Gleichgewicht gebracht, es wird der Standort geändert; unter der Reise werden das Verlassen des Bekannten und das Sicheinlassen ins Unbekannte verstanden, was zugleich Ungewissheit, Verzicht, Opfer und Bewährung bedeutet. Die Gestalten begeben sich auf eine Reise aus Neugier, aus eigener Überzeugung oder aus äußerster Not. Deshalb werden im Beitrag die Veränderungen im räumlichen Rahmen verfolgt, die auf die (Un-)stabilität der Gestalten einwirken, wobei eine Typologie der Reisenden/Reisen in Bezug auf den Zweck, den Ort, die Stationen sowie auf das Endergebnis der Reise entworfen wird. Dadurch bekommt eine konkrete Reise ihre metaphorische Funktion der geistigen/inneren Reise. Mit der Reise aus der Helligkeit in die Dunkelheit, aus dem Leben in den Tod, aus dem Phantastischen in die Realität, aus Unwissen ins Wissen – und umgekehrt – begeben sich die Gestalten sowohl auf eine körperliche als auch geistige, innerliche Reise, die metaphorisch als Weg zu ihrer Reife, zur Erkenntnis, zur Rückkehr und ins Heranwachsen, d.h. als eine Suche nach der Eigenidentität zu verstehen ist. Die Analyse der primären Funktion der Metapher anhand der Hinterfragung konkreter Daten wird in den Kontext abstrakter Erfahrung eingebettet, um von da aus auch die konzeptuelle Metapher – Reisen ist Erkennen/Reifen – deuten zu können. Schlüsselwörter: Metapher, Priče iz davnine, Reise, Reisende, Typologie


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UDK 821.163.42-93-34:2-169

Željka Flegar and Ivana MoritzJosip Juraj Strossmayer University of Osijek, Faculty of Education, Osijek, [email protected]@foozos.hr

Treasure, Thievery and Mischief: Blending Culture and Negotiating Boundaries in the Worlds of Little People


This study places Croatian Tales of Long Ago (1916) by Ivana Brlić-Mažuranić in the context of international literature by discussing “little people” in children’s fictional texts. “Worlds of little people” (Lynch-Brown and Tomlinson 2005) reveal conceptual blending at a linguistic, cultural and semantic level visible in the creation of new emergent structures. Brlić-Mažuranić’s combining of seemingly incompatible concepts (Fauconnier and Turner 2002) from various aspects of Slavic and Croatian mythologies as input spaces in the process of conceptual integration demonstrates the ability of little people to transcend boundaries and allows for the creation of new and unique cultures and lexica. Ivana Brlić-Mažuranić’s Croatian Tales of Long Ago, populated with tiny characters such as Malik Tintilinić, is a superb example of an original, adaptable world comparable to those created by Swift, Andersen, Tolkien, Baum, Barrie, Norton, Dr. Seuss or Dahl. Consequently, the conceptual integration at work in Ivana Brlić-Mažuranić’s original Croatian mythology has resulted in the empowerment and enchantment of readers from long ago to the present day.Keywords: conceptual blending, culture, little people, modern fantasy, mythology

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Introduction

In 1991 Roald Dahl’s final book The Minpins described Little Billy surrounded by “more than twenty small windows all around where [he] was sitting, and from

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each window the[se] amazing little faces were peering out” (18). Such depictions appeared as early as Charles Perrault’s “Little Thumb” (Histories or Tales of Past Times, 1697) and in Jonathan Swift’s Gulliver’s Travels (1726) in tales and adventures not originally intended for children, but gladly consumed by them. Subsequently, the existence of “little people” and “worlds of little people” in children’s literature, as noted by Carol Lynch-Brown and Carl Tomlinson (2005), has become both a tradition and a modern fantasy phenomenon. Lynch-Brown and Tomlinson suggest that little people “delight children because they can identify with the indignities foisted upon little and powerless people”, also because “the big people are invariably outdone by the more ingenious little people” (122). Many authors such as Hans Christian Andersen in Fairy Tales Told for Children (1835), Mary Norton in The Borrowers (1952), L. Frank Baum in The Wonderful Wizard of Oz (1900), Dr. Seuss in Horton Hears a Who! (1954), or J.R.R. Tolkien in The Hobbit (1937) successfully use the function of little people and their appearance as an understatement, signifying the cultural “give and take” of knowledge, goods, salvation, as well as a strong sense of community.1

Likewise, the appearance of little people was the point of origin of Ivana Brlić-Mažuranić’s Croatian Tales of Long Ago (1916), a collection of stories that had a profound impact on Croatian literature and culture. As one of the most prolific Croatian (children’s) writers, Ivana Brlić-Mažuranić was the author of fairy tales, stories, poems, novels, and fables, had a whole period of children’s literature (1913–1933) named after her, was the first woman ever to become a member of the Yugoslav Academy of Sciences and Arts and a four-time Nobel Prize nominee (Zima 2014: 239), and was recognised both in her homeland and abroad.2 It is our intention to place Ivana Brlić-Mažuranić in the context of the international literary canon by taking a look at the motif of little people, specifically Malik Tintilinić and the Domaći, as the manifestation of conceptual blending defined by Fauconnier and Turner (2002) and its implications on the creation of an original national mythology. Croatian Tales of Long Ago is an exceptional collection in Croatian children’s literature, marked by numerous editions and translations, as well as by its stylistic, thematic and ethical qualities (Hranjec 2004: 38). From Dubravka 1 The most obvious example being Norton’s Borrowers who “borrow” from the “human beans” or

Tolkien’s Bilbo Baggins who is a “burglar”. However, Swift’s Gulliver helps the Lilliputians steal their enemies’ fleet, Baum’s Munchkins introduce Dorothy to the Land of Oz and Dr. Seuss’ Whos perpetuate the multiethnic idea that “a person’s a person no matter how small” (Dr. Seuss 1954).

2 A review in the Time and Life (London, 5 December 1924) revealed that in Croatian Tales of Long Ago “[e]ach story is a parable of life, full of meaning and beauty” (cf. Narančić-Kovač 2016: 99, 102). The first English translation was published by Frederick A. Stokes in 1924, a mere eight years after the Croatian publication of the Tales.

Ž. Flegar and I. Moritz: Treasure, Thievery and Mischief: Blending Culture…

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Zima’s research on Ivana Brlić-Mažuranić’s membership in the Academy and her four Nobel Prize nominations (2014), it is evident that these achievements were primarily based on the cultural impact of Croatian Tales of Long Ago. The Tales have also been recognised for their complexity in terms of sources and influences, resulting in a unique authorial expression.

Conceptual blending, language and culture

Recent literary criticism has drawn on existing research in the field of cognitive linguistics to shed light on literary practice and phenomena.3 In talking about the world, we invoke all kinds of knowledge – mental spaces. They provide a conceptual background for the contextualisation and evaluation of the speaker’s ideas. Accordingly, conceptual blending implies the overlapping of mental spaces, as well as conceptual integration. The result of conceptual blending is a blended space containing elements from two (or more) input spaces. Originally, blending was studied only as a word-formation process, where elements of two words were joined and the result was a new word with a new meaning (Radden 2008: 11–13) (e.g. smoke + fog → smog). Subsequently, cognitive researchers realised that blending occurs not only at lexical, but also at conceptual, semantic and cultural levels. As such, conceptual integration functions in many fields – everyday creation of knowledge, conceptual change, metaphor and analogy, scientific discoveries, counterfactual thinking, grammar, acting and shaping (Fauconnier and Turner 1999: 77–78), being “a powerful means of creating new meanings from input spaces” (Radden 2008: 13). Coulson also elaborates conceptual integration theory, claiming that it offers a general model of meaning creation where a set of compositional processes functions within analogy, metaphor, and many more semantic and pragmatic phenomena (2006: 189). Equally, blending theory clarifies many former doubts about conceptual metaphors and metonymies, as well as other phenomena in cognitive science. According to Turner (2003), the mind constantly integrates apparently incompatible mental patterns. For Stephens and Geerts (2014), without such tendencies “radical adaptations could be neither imagined nor comprehended” (2014: 193). The fantastic, adaptable and fluid world of Ivana Brlić-Mažuranić’s Croatian Tales of Long Ago is the perfect example of how conceptual blending works in rather complex ways. We will focus on the example of Ivana Brlić-Mažuranić’s little people to illustrate this point.3 See, for example, John Stephens’ and Sylvie Geerts’ “Mishmash, Conceptual Blending and

Adaptation in Contemporary Children’s Literature Written in Dutch and English” (2014) or the forthcoming 3rd Cambridge Symposium on Cognitive Approaches to Children’s Literature (17 March 2017).

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Little people drawn from the past

Ivana Brlić-Mažuranić’s creation of Croatian Tales of Long Ago can be observed as an example of a process significantly marked by conceptual blending at a semantic, linguistic (lexical/etymological) and cultural level. In “Stribor’s Forest”4 she introduces the guardians of home and hearth, Domaći, thus (Ivana Brlić-Mažuranić 1924: 170):

The old woman wondered what on earth was going on there in the dark, and went into the kitchen. And when she got there the kindling-chips just flared up on the hearth, and round the flame there were Brownies5 dancing in a ring – all tiny little men no bigger than half an ell. They wore little fur coats; their caps and shoes were red as flames; their beards were grey as ashes, and their eyes sparkled like live coal. More and more of them danced out of the flames, one for each chip. And as they appeared they laughed and chirped, turned somersaults on the hearth, twittered with glee, and then took hands and danced in a ring. And how they danced!

In line with the characteristics of literary little people, Ivana Brlić-Mažuranić’s Domaći are lively tiny creatures who engage in mischief by bringing joy to the old Mother whose son marries the Snake-Woman, for “[I]t seemed to the old woman as though she were growing young again” (1924: 172). They are involved in an exchange of material goods, having landed in the old Mother’s house by means of the kindling-wood that she had received as compensation from the poor girl whose sleeve she had mended. Finally, they provide access to treasure and salvation by taking the old Mother to their master Stribor who offers the old Mother a return to the village of her youth, “fenced about with silver” (182–183), which she politely declines, not willing to part from her son.

The origin of the Domaći was depicted by Ivana Brlić-Mažuranić in the letter to her son Ivan Brlić written on 30 November 1929:

One winter night our home was, very unusually, completely quiet. There was no one around and the rooms were semidark, and seemed big and empty except for fires burning in all the stoves. Very mysterious! From the most distant room in the house, a huge dining room, I suddenly heard someone knocking. “Who is it?” I asked but there was no answer. Again I heard, “knock! knock!” and again asked “Who is it?” with no reply. So I went to explore and entered the big dining room with some trepidation. Suddenly I heard the sound “Crack!” and the fire in the stove flared up in a little explosion. A pine log was loudly throwing up sparks out into the room towards me, like a flock of tiny stars, and when I raised my hands to catch that golden gift, they flew up to the roof and… they were gone. – I was reading Afanasiev’s Vozzrijenija drevnih

4 Orig. “Šuma Striborova”.5 F.S. Copeland’s translation refers to the Domaći as “Brownies”, tiny creatures with a similar role in

Anglo-Saxon mythology (Keightley 1892: “The Brownie”).


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Slavjan na prirodu at the time, and at that moment I remembered the “domaći”. And this is how the “brownies” who eventually appear in “Stribor’s Forest” came into being, from that little explosion and tiny flock of sparks and stars. After that other stories came, seven of them, without any specific “genesis”. In a way they too were like the “brownies” thrown out from the hearth of an ancient Slavic home. (Translated by Bulaja 2002).

While denying a specific “genesis” of the Tales, Ivana Brlić-Mažuranić nevertheless attributes the origin of the whole collection to the encounter with the Domaći. However, this excerpt also demonstrates that the Tales, although a superb example of modern fantasy owing to its known authorship and originality, was also created as a result of a multitude of influences, connections and correlations, all immersed within a complex conceptual system. This is also very likely the reason why images of the Domaći and Malik Tintilinić permeate the public sphere and the media to the present day (Fig. 1).

Fig. 1. A simple Google search of “Malik Tintilinić”, “Domaći” and “Šuma Striborova” yields an impressive number of results.

Sl. 1. Jednostavno pretraživanje pojmova „Malik Tintilinić“, „Domaći“ i „Šuma Striborova“ uz pomoć programa Google donosi iznimno velik broj rezultata.

The case of Ivana Brlić-Mažuranić strongly supports the idea of a unique emergent structure. The development of mental spaces theory and conceptual integration has the purpose of explaining cases where the contents of two or more mental spaces combine to create new inferences (Coulson 2006: 189–190). It is a basic and comprehensive mental operation that enables the blending of two or more mental spaces, thus creating a new mental space, which is not just a combination of the initial ones, but possesses its own emergent structure. A typical conceptual network consists of two input spaces, a blended space and a generic space. There can also occur a partial mapping between two input spaces, and selective

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projections from the input to the projection space (Fauconnier and Turner 1999: 77). By combining various input spaces, Ivana Brlić-Mažuranić created an original national mythology to which we turn in exploration of our tradition and heritage.

Ivana Brlić-Mažuranić’s use of conceptual blending is particularly apparent in her creation of the Domaći as the catalysts of Croatian Tales of Long Ago. Accordingly, Fig. 2 maps the generic, input and blended spaces that lead to the final creation of Brlić-Mažuranić’s little people:

Fig. 2. Image of the mental spaces involved in the creation of the Domaći and Malik Tintilinić.

Sl. 2. Slika mentalnih prostora uključenih u nastanak pojmova Domaćih i Malika Tintilinića.

In the network of conceptual integration, the generic space involves an abstract structure that is common to all the input spaces. The first input space for

GENERIC SPACE

BLENDED SPACEMalik Tintilinić

and Domaći

INPUT SPACE 1Macić, Malić, Tintilin

INPUT SPACE 2Domovoi

INPUT SPACE 3I.B.-M.'s imagination


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the present linguistic and conceptual projection includes Macić, Malić and Tintilin, characters from Croatian tradition and mythology. Malić, malik or maljak is a tiny Istrian and Dalmatian household god, depicted as a small mischievous boy with a red hat, emerging from leaping flames. He is always positive and ready to help. Complementing Malić’ s looks and character, Tintilin, also part of Croatian folklore, a demon with a red hat, swooshing through houses, functions also as one of the constituents of input space 1 (more on the characters below) in the process of conceptual blending. The Domovoi, small and bearded6 house gods from Russian mythology, known as tricksters and shapeshifters, make up the second input space. Ivana Brlić-Mažuranić, being well read and of extensive knowledge, therefore also under the versatile influences of Slavic mythology, as shown in her letters and through her collaborations, added elements from her own imagination in the form of input space 3, thus creating brand-new, original concepts in the form of Malik Tintilinić and the Domaći. They are combinations of selected features from all three input spaces, new concepts with new original elements.

Conceptual integration works at multiple levels in the case of Malik Tintilinić and the Domaći. Both names, Malik Tintilinić and Domaći, are linguistic blends, created from Malić, Tintilin and Domovoi. Blending processes and mental spaces resulting at semantic and cultural levels permeate in a certain way, since the creation of unique characters, as are Malik Tintilinić and the Domaći, has brought new concepts not only to children’s literature, but to culture and conceptual systems in general. Malik and the Domaći are part of the general cognitive experience of Croatian (and international) minds and lives, thus being a universal (inter)national cultural blend/phenomenon.

So, while creating Croatian Tales of Long Ago, Ivana Brlić-Mažuranić relied on fragments of Slavic mythology, as well as the oral tradition of storytelling and the Christian tradition. The specific sources indicated in the aforementioned letter to her son and detected in research conducted by Maja Bošković-Stulli (1970), and subsequently by Andrijana Kos-Lajtman and Jasna Horvat (2009, 2012), are Alexander Nikolayevich Afanasyev’s The Poetic Outlook of Slavs about Nature (1865, 1868, 1869)7 and Anton Tkány’s Mythologie der alten Teutchen und Slaven [Mythology of Old Germans and Slavs] (1827). Several examples are listed in Table 1.

6 Sometimes hairy all over.7 Orig. Vozzrijenija drevnih Slavjan na prirodu; another possible source is the mythological study

by Natko Nodilo Religija Srba i Hrvata na glavnoj osnovi pjesama, priča i govora narodnog [The Religion of Serbs and Croats, on the main basis of songs, stories and folk speech] (1890).

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Table 1. Some examples of names in Croatian Tales of Long Ago derived from Slavic mythology and Croatian folklore and folk tradition.Tablica 1. Neki primjeri imena u Pričama iz davnine koji su razvijeni na temelju slavenske mitologije te hrvatskoga folklora i folklorne tradicije.

Slavic mythology Croatian folk tradition Svarožić (All-Rosy; son of god Svarog)Stribor (Stribog)Mokoš (Mokosh)Bjesomar (Rampogusto)Zora-djevojka (the Dawn-Maiden)djed Neumijka (Old Man Weather)Poludnica (the Noon Crone / Witch) Zmaj orijaški (the Fiery Dragon)

Regoč (Reygoch; Ignjat Đurđević; Suze Marunkove; Vladimir Nazor: Veli Jože)Legen (the city of Frosten; Leđan)Relja (Relya; Hrelja, derived from epic tradition)Malik Tintilinić (Wee Tinkilinkie; malik – devil; Belostenec)žena-guja (Snake-Woman; also Christian symbolism)

Source: Hranjec (2004).

Accordingly, Branimir Donat suggests that Ivana Brlić-Mažuranić built original structures on the foundation of mythology and oral tradition and created “an artistically vital fairy tale pastiche” (1970: 31). In her research, Ivana Brlić-Mažuranić dealt with incomplete mythologies which she reconstructed and combined to form original plots and storylines. This resulted in original tales with an archaic foundation, stylistically resembling the orally transmitted tales of Croatian folklore and folk tradition. The conceptual blending explanations of Ivana Brlić-Mažuranić’s phenomena fully support the previous research findings.

The times of Ivana Brlić-Mažuranić

The fantastic scenes that Ivana Brlić-Mažuranić constructed throughout her work, the historical and biblical creatures, as well as her patriotic sentiment (Hranjec 2006: 57), were also the result of her upbringing and circumstances,8 reflecting the influence of the period of the belle époque and neo-romanticism,9 and her family. In her “Autobiography” commissioned by the Academy of Sciences

8 “I remember well the excitement that I felt about the strange surroundings and unusual folk costumes of the local people. The mountain Klek, with its strange and striking shape, and the romantic river Dobra running nearby fired my imagination till late into the night, spinning in my mind the strangest images and the most fantastic ideas” (Brlić-Mažuranić: “Autobiography”; transl. by Bulaja 2002).

9 Marked by tendencies towards the imaginative, exotic and historical subject matter, stylised expression and the picturesque (Hranjec 2004: 40). The “epochal characteristics are also found in her extremely visual experience, in the pictures that she in the preface to the collection considers the core of every art” (Skok 1995: 25, emphasis in the original). Such influences are also discussed in Dubravka Zima’s monograph Ivana Brlić-Mažuranić (2001).


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and Arts in 1916, Ivana Brlić-Mažuranić lists her immediate influences, foremost her grandfather Ivan Mažuranić, Croatian poet, linguist, lawyer, politician and the first commoner to become Croatian Ban, as well as Josip and Fran Mažuranić, poet and friend Franjo Marković, Bishop Josip Juraj Strossmayer, and her own children. However, Kos-Lajtman and Horvat (2009) suggest that much of the terminology might have been derived from Ivana Brlić-Mažuranić’s collaboration with her father Vladimir Mažuranić, a scientist, lawyer, and author. Evidence of this can be found in the dictionary of legal and historical terms Prinosi za hrvatski pravno-povjestni rječnik [Contributions to the Croatian Dictionary of Legal and Historical Terms] from 1908 to 1922 and its appended version from 1923.10 According to scholars, the dictionary contains notes written by Ivana Brlić-Mažuranić herself, and entries that might pinpoint the origin of specific names, such as that of Malik Tintilinić, the head Domaći in “Stribor’s Forest” (see Table 2).

Table 2. Entry for malić, maljak and tintilin in Prinosi za hrvatski pravno-povjestni rječnik by Vladimir Mažuranić, 1908–1922. The creature is primarily defined as an apparition, a spirit or a ghost (of a child), often with negative connotations, such as the devil, or otherwise in an idolatrous context.Tablica 2. Natuknice „malić“, „maljak“ i „tintilin“ u djelu Prinosi za hrvatski pravno-povjestni rječnik Vladimira Mažuranića, 1908. – 1922. To je biće ponajprije određeno kao utvara, prikaza ili duh (djeteta), često s negativnim konotacijama, kao npr. vražić, ili, naprotiv, u idolatrijskome smislu.

malić, malik, maljak

maljak

m., a type of apparition, approximately the same as macić or mačić. See Maljak (p. 626)

m., same as macaruo, malik, etc. The phantasm is different on different sides. Methinks, however, one must not forget Mikl. Etym.Wtb. under the word maljeva. – perhaps there is no confirmed relationship with the Old German mal, yet the old meaning of malik in Slov. language is statue, idol, (the same as kumir), thus implying evil spirit, etc. Belost. says it is also a synon. for devil, so sub verbo lar, “malik, household god” (among pagans). Like the basilisk, maljak emerges from an egg, laid by a cock, etc. (p. 626)

tintilin m., spiritus, ghost (of a child), macić, maljak; see macaruo, etc. (p. 1452)

Source: Andrijana Kos-Lajtman and Jasna Horvat (2009).

The origin of the character Malik Tintilinić implies conceptual blending at a cultural and etymological level. Malik (and variations) is a mythological character

10 Dodatak prinosima za hrvatski pravno-povjestni rječnik (1923).

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often appearing in the oral tradition from Istria to central Dalmatia (also recognised by Kajkavian Croats and Slovenes), whereas tintilin is mentioned in the tales of southern Dalmatia and the area of Dubrovnik (Bošković-Stulli 1970: 169). In the oral tradition, tintilin appears as a tiny boy in red clothes and a red cape, mischievous and joyful, who brings prosperity. In “Stribor’s Forest”, Malik Tintilinić is the most outspoken, cunning and mischievous of all Domaći, the protagonist who provides the means to expose the Snake-Woman and restore the original order (Brlić-Mažuranić 1924: 173):

I will help you! I will go to the sunshiny land and bring you magpies’ eggs. We will put them under the sitting hen, and when the magpies are hatched, your daughter-in-law will betray herself. She will crave for little magpies like any ordinary forest snake, and so put out her tongue.

In her 1970 study, Bošković-Stulli explains that “[I]n the index at the end of the book [Malik] is presented as ‘the old folk name for one of the liveliest domaći,’ but that is not true. The name Malik Tintilinić was coined by the authoress herself, aware of the beliefs about malik and tintilin” (169).11 The image of Malik Tintlinić remains recognisable a century later. He is the tiny fire-like guardian of the hearth and the playful protector of the weak and the oppressed. In other words, by blending the local mythologies, Ivana Brlić-Mažuranić created a novel mythological creature recognisable across the national culture.

In such a manner, Ivana Brlić-Mažuranić created a distinct language of the Tales as well. Consequently, her work has been recognised for the opulence and stylistic richness of her literary expression. As a virtuoso of the Croatian language, Ivana Brlić-Mažuranić often used archaisms, verses and the rhythm of folk poetry, as well as the decasyllabic verse of heroic epics. She was infinitely lauded for her rhythmic and narrative playfulness, luxuriant picturesqueness and lexical opulence (Hranjec 2004: 44), also evident in her description of the Domaći (Brlić-Mažuranić 1924: 171–172):

Round the hearth, in the ashes, under the cupboard, on the table, in the jug, on the chair! Round and round! Faster and faster! They chirped and they chattered, chased and romped all over the place. They scattered the salt; they spilt the barm; they upset the flour – all for sheer fun. The fire on the hearth blazed and shone, crackled and glowed; and the old woman gazed and gazed. She never regretted the salt or the barm, but was glad of the jolly little folk whom God had sent to comfort her.12

11 All translations were done by the authors, unless indicated otherwise.12 Here is a fragment of the original Croatian text: “Pa zaigra kolo: po ognjištu, po pepelu, pod policu,

na stolicu, po ćupu, na klupu! Igraj! Igraj! Brzo! Brže! Cikću, vrište, guraju se i krevelje. Sol prosuše, kvas proliše, brašno rastepoše – sve od velike radosti. Vatra na ognjištu plamsa, sjaji, pucka i grije” (Brlić-Mažuranić 1997: 85).


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Therefore, conceptual blending is also present in the distinct literary style of Ivana Brlić-Mažuranić. Ana Pintarić suggests that Ivana Brlić-Mažuranić combined elements of classic fairy tales, embellished with details, descriptions and narrations like those of Oscar Wilde, was thematically positioned between the Grimms and Andersen, and stylistically by means of introducing characters based on Slavic mythology conceived unique and original fairy tales (2008: 166).

Likewise, the translation of Domaći and Malik Tintilinić points to conceptual blending as the general strategy for finding the equivalent term in the English language. The first translator, F.S. Copeland, opted predominantly for names which corresponded to the cultural equivalent of the mythical creatures, in this case the “Brownies”, “little home ghosts that come to hearth, and they often do a lot of damage, but sometimes they can do good” (Keightley 1892: "The Brownie"). The temperament of the Brownies resembles that of the Domaći, including their inclination towards the exchange of goods, with the only exception being their outfit which is predominantly brown (ibid.). However, because of the local origin of some of the characters, such as Malik Tintilinić, the translation simply accommodated the English language equivalent and resulted in new terminology (i.e. Wee Tinkilinkie). It is important to note that because of the blending involved in the creation of such distinct characters, they are immediately recognisable across cultures as well.

Although Croatian Tales of Long Ago has been recognised as Ivana Brlić-Mažuranić’s original work, it is nevertheless referred to in the context of the Croatian cultural heritage and the national tradition of storytelling as well. In the aforementioned letter to her son, Ivana Brlić-Mažuranić explains (1929):

Successful or unsuccessful, defective or perfect, the Tales are, in their essence as well as in their realisation purely and completely my own original work. They are indeed created with names and characters from Slavic mythology, and that is all there is to say about their link to any folk mythology or heritage. Not a single scene, a single plot, a single development, a single tendency in those stories is found complete in our mythology. (Everyone who has tried to study Slavic mythology knows that, unfortunately, our Slavic mythology as a whole is a structure of almost completely incoherent guessing; it is like a field full of ruins, in which the only pillars left standing are just the names).

However, she goes on to elaborate:If any link exists between the Tales of Long Ago and our traditional folk poetry, it is perhaps on a deeper level. From this point of view my stories really are not mine: they are inspired by the storytelling, visions, hopes, beliefs and secrets which comprise the soul of the Slavic tribe. From Slavic land and air, from the white hazes of Slavic waters and seas, from Slavic snows and blizzards, from the grain of Slavic fields, our body is being created and renewed – body of all Slavs. From Slavic feelings and emotions, from Slavic opinions and convictions, our mind and soul is made. So, when we dive

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into ourselves, to write something from our hearts, then everything we create is truly Slavic folk poetry. (Translated by Bulaja 2002).

All these examples point to the use of conceptual blending as a distinct feature of the creation of Croatian Tales of Long Ago. It is for this reason that as the founder of children’s literature in Croatia and its most prominent representative (Crnković 1970: 101), Ivana Brlić-Mažuranić is, according to Antun Branko Šimić (1960), “as distinctly Croatian as the Croatian land, Croatian national costume and Croatian wine”, but is also often compared to the foreign literary greats such as Hans Christian Andersen or J.R.R. Tolkien. Much like them, she created fantastic worlds, characters and mythologies that have their roots in the past, yet were conceptually moulded in her mind. In this way, Ivana Brlić-Mažuranić created a novel structure that is nowadays considered a national mythology in its own right.

The future of the little people

Ivana Brlić-Mažuranić is a representative example of the fairy-tale web as defined by Cristina Bacchilega in Fairy Tales Transformed, a construct proposed as a metaphor, a traditional practice and twenty-first-century phenomenon “that reaches back in history and across space to intersect with multiple story-weaving traditions” (2013: 20). Due to the fact that the fairy-tale web spans across the oral tradition of storytelling to the World Wide Web, the complex conceptual system in Croatian Tales of Long Ago has found its way into media adaptations and global culture. Accordingly, Ana Pintarić emphasises numerous translations, dramatic performances and media adaptations of Ivana Brlić-Mažuranić’s work (2008: 166).13 In her novel Finding Stribor,14 Snježana Grković-Janović described the guardians of the home/house/hearth/table/threshold as mythical creatures and tiny household ghosts called Domaći, inhabitants of the stove/fire and invisible until the fire is lit (1997: 257) which builds on and expands the legacy of Ivana Brlić-Mažuranić (Pintarić 2005: 73). Helena Bulaja, the project editor of the Croatian Tales of Long Ago interactive CD released in 2002, which involved collaboration with renowned artists and was the recipient of many international awards,15 claims that it was a challenge to depict Croatian Tales of Long Ago in this particular medium (2002):

13 See also the study on online media material related to Croatian Tales of Long Ago “A Communicative Approach to Ivana Brlić-Mažuranić’s Opus in the Digital Media” (2016) by Irena Krumes Šimunović and Maja Koporčić.

14 orig. Striborovim stazama.15 e.g. NetFestival 2002.


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The digital revolution, globalisation, the Internet, modern communications on the one hand, and the world of fairytales on the other. Where to start it all? Even the concept of an interactive book is so open, and, unlike film, theatre or illustration, it can take almost any form, that at the same time can be a film and an illustration and a game […].

The trilingual multimedia project Croatian Tales of Long Ago sought to explore the relationship between digital media and literature (Bulaja naklada 2000–2014) and was a significant step towards combining hypertextuality, animation techniques and interactivity within the narrative. The result was yet another version of Ivana Brlić-Mažuranić’s Tales adorned in a new style and format. This adaptability further accentuates the significance of the Tales and its emergent structure which allows for the creation of newly blended spaces.

Conclusion

By observing the motif of little people in literature, it is apparent that by means of “thievery” and “mischief” they transfer and exchange goods, wisdom and knowledge, and signify the empowerment of a (child) reader. In her writing, Ivana Brlić-Mažuranić created the “poetry of the home” (Crnković 1980) and introduced the little people who are “recognisable in their demeanour, mood, and readiness to help in the battle against the forces of evil” (Pintarić 2005: 86). Likewise, it is true that Ivana Brlić-Mažuranić’s characters are “half-mythical co-creators of reality which contain the residue of much that has accumulated in the collective human memory [...]” (Detoni Dujmić 1998: 184). In borrowing, transferring and merging cultures, Ivana Brlić-Mažuranić created an original Croatian mythology. Much like the literary greats abroad, she also generated fantastic worlds and a unique mode of expression which earned her the title of the most prominent representative of children’s literature in Croatia and beyond. There is a need for worlds of little people within the fairy-tale web to transfer meaning, language and culture. Thanks to them, Ivana Brlić-Mažuranić has endowed us with fantastic images that inspire us to the present day. Her example shows that integrating concepts, as well as drawing from one’s own past and present, results in emergent structures which are the foundation of identity and the future.

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Grković-Janović, Snježana. 1997. Striborovim stazama. Split: Laus.Hranjec, Stjepan. 2004. Dječji hrvatski klasici. Zagreb: Školska knjiga.Hranjec, Stjepan. 2006. Pregled hrvatske dječje književnosti. Zagreb: Školska knjiga.Keightley, Thomas. 1892 [1828]. The Fairy Mythology, Illustrative of the Romance and

Superstitions of Various Countries. London: George Bell & Sons.Kos-Lajtman, Andrijana & Jasna Horvat. 2009. “Tematsko-motivske veze u stvaralaštvu

Vladimira Mažuranića i Ivane Brlić-Mažuranić.” Riječ 15 (4): 182–206.Kos-Lajtman, Andrijana & Jasna Horvat. 2012. “Utjecaj ruskih mitoloških i

usmenoknjiževnih elemenata na diskurs Priča iz davnine Ivane Brlić-Mažuranić.” In Zbornik radova Petoga hrvatskog slavističkog kongresa, edited by Marija Turk and Ines Srdoč-Konestra, 157–166. Rijeka: Filozofski fakultet u Rijeci.

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Pintarić, Ana. 2005. “Domaći i Malik Tintilinić u djelima Ivane Brlić-Mažuranić, Jagode Truhelke i Snježane Grković-Janović.” In Zlatni danci 6 – Život i djelo(vanje) Ivane Brlić-Mažuranić, edited by Ana Pintarić, 69–87. Osijek: Filozofski fakultet.

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Radden, Günter. 2008. “The Cognitive Approach to Language.” In When Grammar Minds Language and Literature: Festschrift for Prof. Béla Korponay on the Occasion of his 80th Birthday, edited by József Andor, Béla Hollósy, Tibor Laczkó and Péter Pelyvás, 387–412. Debrecen: Institute of English and American Studies.

Skok, Joža. 1995. “Čudnovate zgode šegrta Hlapića i Priče iz davnine.” Ključ za književno djelo, kolo II., knj. 5. Zagreb: Školska knjiga.

Stephens, John & Sylvie Geerts. 2014. “Mishmash, Conceptual Blending and Adaptation in Contemporary Children’s Literature Written in Dutch and English”. In Never-ending Stories, edited by Sara Van den Bossche and Sylvie Geerts, 193–214. Ghent: Academia Press.

Šimić, Antun Branko. 1917. “Priče iz davnine.” Obzor LVIII (54).Turner, Mark. 2003. “Double-scope Stories”. In Narrative Theory and the Cognitive

Sciences, edited by David Herman, 117–142. Stanford: Center for the Study of Language and Information.

Zima, Dubravka. 2001. Ivana Brlić-Mažuranić. Zagreb: Zavod za znanost o književnosti FFZG.

Zima, Dubravka. 2014. “Ivana Brlić-Mažuranić, članstvo u Akademiji i Nobelova nagrada”. Libri & Liberi 3 (2): 239–262.

Željka Flegar i/und Ivana MoritzSveučilište u Osijeku, Fakultet za odgojne i obrazovne znanosti, Osijek, HrvatskaFakultät für Bildungs- und Erziehungswissenschaften der Universität Osijek, Osijek, Kroatien

Blago, lopovluk i nestašluk: stapanje kultura i pregovaranje granica u svjetovima napučenima čovječuljcimaIstraživanje smješta Priče iz davnine (1916) Ivane Brlić-Mažuranić u kontekst širega književnoga korpusa, fokusirajući se na pojavu čovječuljaka ili sićušnih ljudi u fikcionalnim tekstovima za djecu. Postojanje „svjetova čovječuljaka“ (Lynch-Brown i Tomlinson 2005) primjer je prakse konceptualnoga stapanja na jezičnoj, kulturnoj i semantičkoj razini, koja dolazi do izražaja u tvorbi imena, prostora i značenja. Ivana Brlić-Mažuranić kombinirala je naizgled nespojive koncepte (Fauconnier i Turner 2002), koji pripadaju različitim razinama i slojevima slavenskih i hrvatskih tradicija i mitologija. Takve su kombinacije u Pričama iz davnine ključna mjesta u procesu konceptualnoga međudjelovanja koja pokazuju i dokazuju sposobnost čovječuljaka kao književnih bića da prelaze granice, čime omogućuju stvaranje novih i jedinstvenih kultura i pojmova. Napučene čovječuljcima poput Malika Tintilinića, Priče iz davnine izvanredan su primjer fluidna i prilagodljiva svijeta, usporediva s onima što su ih stvorili Swift, Andersen, Tolkien, Baum, Barrie, Norton, Dr. Seuss ili Dahl. S

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tim u skladu, konceptualna integracija obilježava jedinstven književni sadržaj i stil izvorne hrvatske mitologije Ivane Brlić-Mažuranić čiji je krajnji rezultat osnaživanje i očaravanje čitatelja od davnina do danas.Ključne riječi: konceptualno stapanje, kultura, mali ljudi, mitologija, suvremena fantastika

Schätze, Diebstähle und Unfug: Zusammenschmelzung von Kulturen und Grenzabsprache in den mit Männchen bevölkerten Welten Im Beitrag wird Ivana Brlić-Mažuranićs Werk Priče iz davnine in einen breiteren literarischen Kontext eingebettet, indem das Vorkommen von Männchen oder winzigen Menschen in fiktionalen kinderliterarischen Texten unter die Lupe genommen wird. „Mit Männchen bevölkerte Welten“ (Lynch-Brown und Tomlinson 2005) stellen ein Beispiel der konzeptuellen Zusammenschmelzung auf sprachlicher, kultureller und semantischer Ebene dar, die in der Schöpfung von Namen, Räumen und Bedeutungen zum Vorschein kommt. Die Kombination von scheinbar unvereinbaren Konzepten (Fauconnier und Turner 2002) ist im Schaffen von Ivana Brlić-Mažuranić auf verschiedenen Ebenen und in unterschiedlichen Schichten der slawischen und kroatischen Tradition und Mythologie vorzufinden. Solche Kombinationen stellen in Priče iz davnine entscheidende Stellen der konzeptuellen Interaktion dar, worin gezeigt und bewiesen wird, dass Männlein als literarische Wesen fähig sind, Grenzen zu überschreiten, wodurch sie die Erschaffung von neuen und einzigartigen Kulturen und Begriffen ermöglichen. Indem Priče iz davnine mit Männchen wie Malik Tintilinić bevölkert sind, erweisen sich diese Märchen als ein außerordentliches Beispiel von fluiden und anpassbaren Welten, worin sie vergleichbar mit jenen von Swift, Andersen, Tolkien, Baum, Barrie, Norton, Dr. Seuss oder Dahl sind. Dementsprechend trägt die konzeptuelle Integration zu dem einmaligen literarischen Gehalt und dem urväterlich wirkenden mythologischen Stil von Ivana Brlić-Mažuranić bei, deren Endergebnis in der Ermutigung und Bezauberung des Lesers von Urzeiten bis heute liegt. Schlüsselwörter: konzeptuelle Verschmelzung, Kultur, Männchen, Mythologie, zeitgenössische Phantastik


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UDK 821.163.42-93-34’255=131.1821.163.42.09-93Brlić-Mažuranić,I.

Sabrina FavaUniversità Cattolica del S. Cuore, Milan, [email protected]

Fairy Tales in Italy during the 20th Century and the Translations of Tales of Long Ago


Why was the book Tales of Long Ago translated into Italian only in 1957, whereas it was published by Ivana Brlić-Mažuranić in 1916? The paper explains that this delay depends on the development of fairy tales in Italy during the 20th century between the folktale tradition and fantastic children’s literature. At the beginning of the 20th century there were two lines of evolution: on the one hand, attention was given to fairy tales coming from Northern Europe and, on the other hand, attention was given to traditional and local folktales. During the Fascist era, fantastic writing was an “unfettered realm” which prepared the development of the post-war period. In the second half of the 20th century in Italy, cultural and publishing trends were directed to reinforce national identity and build a European identity at the same time. Tales of Long Ago was translated into Italian and then this collection became part of the Enciclopedia della leggenda [Encyclopaedia of the Legend] (1957), a book edited by Giunti-Marzocco which extended the worldview of Italian children. The documentation in the Giunti Historical Archive allows us to explain the complex history of the Italian translation of Tales of Long Ago.Keywords: publishing history, fairy tales, Italy, Ivana Brlić-Mažuranić, 20th century.

Controversial dissemination of fairy tales in Italy in the 19th and the 20th centuries

According to Italo Calvino, the fairy tale with its themes emerged sooner in Italy than in other countries. As early as the mid-16th century, Giovanni Francesco Straparola’s Piacevoli notti [Pleasant Nights] had infused tales of wonder and

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imagination tales with gothic and dialectal elements, while in the following century Giambattista Basile produced the grotesque Pentamerone (Calvino 1956). However, north of the Alps the fairy tale appeared as a fully fledged literary genre. At the Versailles court, Charles Perrault’s Contes de fées [Fairy Tales] (1697) introduced a literary genre intended for adults, while at the beginning of the 19th century the German Märchen blended with the oral folk tradition. Wilhelm and Jacob Grimm collected folk tales and translated them into German so that children could develop their national culture and identity seated around the family hearth (Rak 2004: 117–142; Zipes 2004: 103–121).

The reworking of the fairy tale as fantasy traversed the Romantic period in Europe from Hoffmann through Afanas’ev to Puškin and finally condensed into Andersen, with his extraordinary insight into how children think, perceive and feel.

Nothing like this happened in 19th century Italy, where the unification of the country was paramount. In the Risorgimento epoch, Romantic values gave way to the historical values exemplified in Manzoni’s writings. Verisimilitude, a literary synthesis of “vero storico e vero poetico” [historical truth and poetic truth], was mainly a feature of the increasing number of books intended for young readers who needed to be educated rather than entertained. Le avventure di Pinocchio [The Adventures of Pinocchio], Carlo Collodi’s masterpiece published in 1883, is a reworking of fairy-tale elements drawn from the Italian baroque tradition and the French tradition of Perrault, whose Contes de fées he had already translated into Italian in 1875. At the same time, the influence of the German and, more generally, Northern European fairy-tale tradition is less evident in the tale of the famous puppet.

The positivist folk psychology studies of the late 19th century, in Italy mainly those of Giuseppe Pitré and Domenico Comparetti, tried to construct an archaeology of the folk tale in the form of an historical and philological document, though it remained within a small circle of specialists despite its evident cultural value (Calvino 1996: 47–66). An example of the limited literary dissemination of the fairy tale is Luigi Capuana’s fairy tales – Il Raccontafiabe [The Tale Teller] (1893), Chi vuol fiabe, chi vuole? [Anyone Want Fairy Tales? Anyone?] (1908) – whose reworking of traditional fairy tale structure encouraged the shift towards the classic fairy tale.

The immediate effects of these specialised studies on Italian children’s literature were mainly indirect, though interesting nonetheless. With folk psychology on the one hand, and, on the other, the start of a new century marked by the appearance of educational studies centring on children as educational subjects with specific traits that could not be subordinated to those of adults (see Key, Il secolo dei fanciulli,

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1906, original edition Barnets arhundrale, 1900), new hermeneutical attention was paid to the fairy tale (Gecchele, Polenghi and Dal Toso 2017: 9–49). The most evident result was a new distinction between anonymous folk tales and fairy tales written specifically for a young public. The latter were extremely popular at the beginning of the 20th century because not only did they translate foreign works, but also offered new Italian stories.

In translation, Maria Pezzè Pascolato’s renderings of Andersen’s fairy tales in 1904 proved fundamental (Filippini 2004). It was she who first enabled Italian children to read them, translated directly from the Danish original. This was not simply the result of her linguistic and literary competence, but also of the well-grounded studies of folklore that constituted her translation background. It comes as no surprise that her translations from Andersen were highly praised by Giosue Carducci (1904), and remained an exemplary educational model for all the Italian writers who would later venture into the realm of fairy tales, including such intellectuals as Guido Gozzano with I tre talismani [The Three Talismans] (1914) or La principessa si sposa [The Princess Gets Married] (1917). The same period also produced Dino Provenzal’s translations of the Grimms’ collections (1914) and the first publication of Puškin’s and Hoffmann’s fairy tales, selected by Silvio Spaventa Filippi for the readers of Corriere dei Piccoli, the weekly children’s magazine he edited from 1908 to 1931.1 The Belle Époque years were marked by the publication in Italy of English fantasy tales such as J.M. Barrie’s Peter Pan and Lewis Carroll’s Alice nel paese delle meraviglie [Alice’s Adventures in Wonderland] along with its sequel Attraverso lo specchio [Through the Looking Glass and What Alice Found There].2 Although, strictly speaking, these works were not fairy tales, their element of fantasy helped to shape the magical features in the works of a new generation of female writers such as Carola Prosperi with Coda di topo [The Mouse’s Tail], Camilla Del Soldato with Le memorie del merlo zoppo [The Lame Blackbird’s Memoirs] (1920), as well as the magical realism of Massimo Bontempelli’s La scacchiera davanti allo specchio [The Chessboard in Front of the Looking Glass] (1922), and Annie Vivanti’s Il viaggio incantato [The Enchanted Journey] (1923 and 1933).

During the twenty years of the Fascist Era, fairies and magic became workable antidotes to the regime’s propaganda rhetoric – a sort of ideologically untainted

1 About Corriere dei Piccoli and Silvio Spaventa Filippi as director, see in Ginex (2009) and Fava (2009: 45–71).

2 Peter Pan appeared quite early in Corriere dei Piccoli, translated by Silvio Spaventa Filippi: in 1909 and 1912. Spaventa Filippi also translated Alice nel paese delle meraviglie during the same period (1913).

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“unfettered realm” – as well as an opportunity to try out new narrative solutions and visions of childhood that would pave the way for literary production in the postwar era. The notion of a child’s world that was both autonomous and praised by adults barely survived the pressures of totalitarianism and the wars that robbed infancy of infancy itself. Such initiatives as the “Scala d’oro” collection proved highly successful in raising awareness of classic literature, fairy tales included. Writers like Mary Tibaldi Chiesa and Dino Buzzati (Boero and De Luca 1995/2009, Fava 2004) expressed their detachment from Fascism through, among other things, fantasy metaphors that encouraged readers to see beyond the grey skies of the times they were living in.

New scenarios in the acceptance of the fairy tale in the postwar era

The desire to rebuild the country was a major force in postwar Italy where, despite the ubiquity of neorealism in all the arts, the main objective was once again to reinforce national identity. In this sense the re-evaluation of traditional fairy tales helped to strengthen the cultural unity of the nation. At the same time, renewed awareness of foreign fairy tales helped to nurture relations and significant exchanges at the European level. Several publishing ventures merit consideration in this twofold situation, which was simultaneously national and European: first, the pivotal role played by the translation of Vladimir Propp’s Le radici storiche dei racconti di fate [Historical Roots of the Fairy Tale] published by Einaudi in 1949. In it he reminded scholars that memories of ancient rituals and traditions were the key to deciphering the hidden meanings behind metaphors and symbols in fairy tales. And second, there was an increasing awareness of Russian fairy tales as publishing houses assigned more room to this genre in their catalogues. The ambitious Enciclopedia della fiaba [Encyclopaedia of Fairy Tales] launched by Principato in 1941 was systematically developed only from 1949, when the first collection of classic fairy tales was followed by another three volumes dealing with Western, Eastern, and Central Europe, and finally the Middle and Far East.

The section “The Balkan Fairy Tales and Legends” (Palazzi 1941–1959) includes some that generically come “from Yugoslavia”, though the authors are not named and no more information is given. In 1951, Einaudi launched the “I millenni” collection that not only included Italo Calvino’s Fiabe italiane [Italian Folk Tales] (1956) but, as Calvino wrote in a letter to Cocchiara, “intendeva porre mano a un piano organico di tutta la favolistica mondiale” [was aiming to create a structured plan of all the fairy in the world] (Lavagetto 1996: 3) with the evident imbalance between countries that already had printed collections of fairy tales and others that had not.

S. Fava: Fairy Tales in Italy and the Translations of Tales of Long Ago

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This recovery of collective memory through Italian and foreign fairy tales was accompanied by important changes in children’s literature criticism. More specifically, the IBBY (International Board on Books for Young people) has played a leading role since 1953 in raising awareness of children’s literature and fostering dialogues among various countries in Eastern and Central Europe, notwithstanding the Berlin Wall and the Cold War.3 Italy played an active part in IBBY conferences, fostering lively discussion and initiating publishing projects, which in our view included the Italian translations of Ivana Brlić-Mažuranić’s Racconti e leggende della Croazia [Croatian Tales of Long Ago].

A long story: the Italian translation of Ivana Brlić-Mažuranić’s fairy tales

The name Ivana Brlić-Mažuranić briefly appeared in Italy in 1952 when Erio Franchi was commissioned by the Mladost publishing house in Zagreb to translate her fairy tale “Compare Sole e Comarina Candida” (“Sunce Djever i Neva Nevičica”) [Godfather Sun and Godmother Candida], a rather unusual choice in the publishing field. The choice of the Croatian publisher certainly did nothing to raise awareness of Mažuranić and her work among the Italian readers but may have caught the attention of the Istrian-Dalmatian community, which was especially aware of and eager to encourage cultural interchange between the two bordering countries.

The translation of Priče iz davnine [Tales of Long Ago] (1916) got off to a better start in Italy thanks to the intervention of Umberto Urbani in 1953. At that time, Urbani was a faculty member at the Slavic Philology Institute at Università degli studi di Trieste,4 where he had long been engaged in the dissemination of the Slavic culture.5 He was also an active presence at the Università popolare della città di Trieste [Popular University in Trieste]. Moreover, he lived in Trieste. It was not by chance that he went to the Bemporad Marzocco publishing house with his translation of Brlić-Mažuranić’s fairy tales, considering that he had already written

3 For more information on this topic, see Fava 2016, where there is a contextualisation of the Italian support to IBBY in the development of the association within the European context in the 1950s.

4 The link between Umberto Urbani and the Slavic Philology Institution at Università degli studi di Trieste can be inferred from the letterhead that he used since his first document on 25 November 1953 preserved in the Fondo Bemporad in the Giunti Archive in Florence (from now on AG, FB. U.U.).

5 Beginning in the 1920s he opened up to Italy the beauties of Dalmatian nature with Le Grotte di Postumia: nel mondo sotterraneo ai confini d’Italia. [Postumia Caves: an underground world at the edge of Italy] Trieste: Spazzal 1923, or the literature from Yugoslavia (Scrittori jugoslavi. [Yugoslavian writers] Trieste: Parnaso, 1927), or again in the 1940s, when he published a bilingual Croatian-Italian dictionary (Dizionario di italiano e croato. Trieste: Trani, 1944).

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a Croatian conversation manual entitled Parliamo croato [Let’s Speak Croatian] (1945), which remained in Marzocco’s catalogue at least until 1960.

From the documentation in the Giunti Historical Archive, it seems that Urbani submitted his translation to the publisher in March 1953 (AG, FB. U.U. doc. dated 25.11.1953) but had to wait until at least April 1954 to be finally accepted (AG, FB. U.U. doc. 24.4.1954). This was because Marzocco consulted Luigi Salvini, an official at the Ministry of Education who directed the Library and was editor of Bollettino di Legislazione scolastica comparata, the Bulletin of Comparative School Legislation.6 Due to his specialisation in Slavic studies, Salvini had already translated several Slavic authors for Marzocco (including Vladimir Nazor, Tone Seliškar, Laza Lazarević, Božena Němcová, among others). Salvini was asked to compare Urbani’s translation with the original Croatian text only in July 1953. At that time, he was already on holiday running a campsite in Polesine,7 so he managed to postpone the revision to the following September (AG, FB. Salvini Luigi, doc. 26.7.1953). Health problems in the following months (AG, FB. Salvini Luigi, 30.11.1953) delayed completion of the task until April 1954 (AG, FB. U.U. doc. 24.4.1954). In accepting his work, Marzocco offered him two options. One was to include the text in its “Capolavori stranieri” [Foreign Masterpieces] collection; the other was to add it to a new collection entitled “Storie, favole e leggende di tutti i popoli” [Stories, Fairy Tales and Legends of All Peoples]. Marzocco chose the second option which, though implemented as early as 1954, came to fruition only in 1957 under the leaner title “Racconti e leggende di tutti i popoli” [Legends and Tales of All Peoples]. It contained five titles,8 including Mažuranić’s fairy tales, but the initiative was not particularly successful because the original intentions were shelved and the number of titles in the collection was gradually whittled down until 1960.

Thus, the translation had a lengthy gestation and decisions concerning every single aspect of the job were the result of a painstaking exchange of letters between the translator and the editor. In the correspondence the shortened title Favole antiche 6 The information on Salvini’s assignments can be inferred from the letterhead of the document dated

26 July 1953 (AG, FB. Salvini Luigi).7 Salvini appears to have written about this life experience in Una tenda in riva al Po: racconti di

Bosgattia. (1957) Firenze: Marzocco.8 In the Catalogo Editrice Marzocco Bemporad of 1957, the collection “Racconti e leggende di

tutti i popoli” was supposed to include seven titles (Ballario Pina, Leggende delle Dolomiti, Cioni Raffaello, Leggende popolari toscane; De Giacomo Lamberto, Leggende della Sila; Fulizio Aldo, Racconti della giungla africana; Gelardini Renata, Dalla terra dei ciliegi; Brlić-Mažuranić Ivana, Favole antiche; Pezzetta Silvano, Novelle dei piccoli negri). Actually, from the 1958 catalogue it can be inferred that Fulizio Aldo, Racconti della giungla africana had not been published and from the 1960 catalogue there is not even a mention of Pezzetta Silvano with Novelle dei piccoli negri, which had been marked as ‘forthcoming’ in previous catalogues.


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was used for quite some time. Indeed, there is reason to believe that the decision to use the title Leggende croate, as it became known to the public, was taken only after the first galleys were printed, as shown by the originals in the archive. In any case, the chosen title gives the text a prevalently popular feel related to the traditions of the Croatian people, whereas the genuine fairy-tale feel and magic naturally present in Brlić-Mažuranić’s collection has been lost. It is possible that the reason for the inaccurate classification of the text as a fairy tale collection lies in Italian postwar realism which – again wrongly – tended to attribute all cultural content relating to magic to fairy tale and the legend. This was because it was difficult to accept the sense of wonder typical of fairy tales.

Urbani’s typescript included all eight Favole antiche whereas the publisher had stipulated only four: “Potieh cerca la verità” [Potieh Looks for the Truth], “Il pescatore Palunko” [Palunko the Fisherman], “Jagor”, “Il bosco di Stribor” [Stribor’s Wood] (AG, FB. U.U. doc. 28.5.54). While the publisher justified this choice saying that these were most consonant with Italian public taste (AG, FB. U.U. doc. 7.6.54), the translator unwillingly accepted this limitation, trusting that there would be a further collection of the other fairy tales (AG, FB. U.U. doc. 9.6.54). Actually, one more was added later on: “La sorellina Rutvica e il fratellino Jaglenac” [Sister Rutvica and Brother Jaglenac], titled “Il piccolo fratello Primrose e la sorella Lavender” [Little Brother Primrose and Sister Lavender] in other editions. This shows, then, that the publisher’s choices were made bearing in mind the Croatian edition of 1926, in which Brlić-Mažuranić included “Manicuccio il Girandolone e i nove principini” [Manicuccio il Girandolone and the Nine Young Princes] and “Jagor”, compared with the six fairy tales of 1916. Unlike the expanded edition, the Marzocco collection of 1957 did not include “Il sole padrino e la sposa Neva” [Godfather the Sun and Neva the Bride], “Regoc e Primolino”, or “Manicuccio il girandolone e i nove principini”.

A compromise also had to be reached concerning Urbani’s fee, about 50,000 liras at the time, though in his opinion 80,000 liras would have been nearer the mark. Urbani’s position was backed by Ivana Brlić-Mažuranić’s own son, Ivan Brlić, who in a letter to Urbani later forwarded by Brlić to the publisher (AG, FB. U.U. doc. 18.5.54) declared:

I really do believe that the publisher’s offer of 50,000 liras is way too low, especially for such a lengthy, difficult and demanding literary work. The offer does not even represent one tenth of the real value of the work. Unfortunately, the best intellectual work has always been miserably rewarded.

Negotiations reached a turning point in June 1954 when Marzocco proposed a midway price of 60,000 liras, showing they had also taken into consideration the

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influence exercised by Ivan Brlić (AG, FB. U.U. doc. 7.6.54). This solution was also made easier when Brlić and his sister formally waived copyright to allow this first edition to be published in the “harmonious and expressive [Italian] language” (AG, FB. U.U. doc. 18.5.54), a collection they had long been waiting for. For these reasons, Brlić said:

[...] we must entrust publication of the collection to your experience and the love with which you began the work that will make our mother’s TALES accessible to the Italian public. You are undoubtedly able to decide what can be done in the circumstances to ensure that the publication will be a worthy one.

Thus, the heirs set great store by a publishing initiative which would finally do justice to Mažuranić’s collection of fairy tales, almost unknown until then in Italy. For these reasons they favoured the rapid publication of a worthy, stylishly illustrated edition.

The sign that the publication was imminent came when payment for the translation endorsed by Urbani on 25 June 1954 was received. There is also reason to believe that, in reality, further delay in publication was due to the difficulty in reaching a mutually satisfactory agreement over the graphic design.

In an exchange of letters in May 1954 Urbani had already proposed that the publisher should use “the much praised illustrations by Vladimir Kirin” (AG, FB. U.U. doc. 10.5.54), which had already spurred the imagination of young readers in several European countries. These illustrations had already left their distinctive mark on all the authoritative international editions, from the English version (1924) translated by F.S. Copeland, the Swedish (1928) and the Danish (1929), to the Russian (1930) and finally the Slovakian (1931) and German (1933) editions (cf. Javor 2002).

The Florentine publisher turned to the writer’s son to ask for the original plates, but based on the reply that reached Marzocco late in the summer of 1954 it can be inferred that Ivan Brlić may only have been able to provide the black-and-white original illustrations, admitting that he did not own the original colour illustrations (AG, FB. U.U. doc. 29.9.54). The impossibility of reproducing artist Vladimir Kirin’s illustrations in their entirety seems to have persuaded the publisher that the volume had to be totally redesigned. The archive material is of no help in determining when the design of the colour plates was awarded to David Baffetti and the black-and-white ones to Carlo Galleni. Both had been working with Marzocco for several years, and Galleni had also worked with Salani and Vallechi, as well as with Mondadori on the realisation of its Enciclopedia dei ragazzi [Young People’s Encyclopaedia] (1948).


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In the correspondence with Urbani, the long silence regarding the graphic design project suggests that a decision had not yet been taken. Work on the text layout progressed and in October 1955 Urbani stated that he had sent the draft copies to the printers and had written a “short bio of the writer” so that Italian readers could fully appreciate the literary quality of “the Croatian Andersen” (AG, FB. U.U. doc. 27.10.55 and Urbani, 1957, p. 7). However, nothing was said about the illustrations, and the translator evidently knew nothing about them because he expressly asked for information on the matter. The correspondence offers no further clarification. One possible explanation of this silence and the two-year gap before the work was printed and released in December 1957 for the Christmas gifts market follows, if one takes into account the vicissitudes of the publishing house. In 1955 Marzocco went through a crisis that led to internal restructuring at board level. Significantly, the crisis ended in 1957 when Renato Giunti acquired ownership of Marzocco and immediately set about expanding the business (Cecconi 2008). Evidently the collection was never a success since it was never enlarged, whereas the focus shifted in the following years to the “Capolavori stranieri per la gioventù” collection, which also included Croatian writers such as Vladimir Nazor L’angelo del campanile [The Angel of the Bell Tower] (1951), though the novel and short-story genres not specifically related to fairy tales also received special attention.9

The endless problems involved in getting Ivana Brlić-Mažuranić published by Marzocco were interwoven with a parallel publishing initiative undertaken by Saie in Turin. Lack of archive material precludes any detailed reconstruction of the story. However, it is certain that the correspondence relating to Brlić relinquishing his copyrights to Marzocco definitely sets the beginning of the Saie project later than 1955. Most probably, the long silence over publication by Marzocco left an open playing field which other publishers could exploit at will. Translation of the tales was assigned to Franjo Trogrančić, a leading exponent of Slavic studies in Italy who taught Serbo-Croat Language and Literature at Università La Sapienza in Rome. He had already written Storia della letteratura croata [History of Croatian Literature] (1953) and in 1965 his book Poeti croati moderni [Modern Croatian Poets] was well received by critics.

With the exception of “Il pescatore Palunko” [Palunko the Fisherman] (Trogrančić 1956), Trogrančić decided to translate the entire corpus of fairy tales, meaning that his main concern was the literary character of the text rather than its accessibility by the public. In short, his primary objective was to raise awareness of the tales, and only secondarily to assess the tastes and preferences of Italian readers. 9 Catalogo casa editrice Bemporad – Marzocco (1960).

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The beauty of the tales, and the spontaneity and honesty inherent in their “spark of joyful poetry” (Trogrančić 1957: 183) are the distinctive traits that Trogrančić regarded as undisputed merits of Brlić-Mažuranić’s works, which had justly earned her the praise of Italian young readers.

Published as Racconti e leggende della Croazia [Croatian Legends and Tales], the collection became part of the “Racconti e leggende di tutti i paesi” series of around 20 titles which appeared over a period of about 20 years from 1954 to the mid-1960s. The year of publication is not mentioned in the text but is given as 1956 in the Bollettino delle pubblicazioni italiane ricevute per diritto di stampa [Bulletin of Italian Editions Submitted for Copyright] in 1957.

Trogrančić’s translation was subsequently included – though no later than 1957 – in the Enciclopedia della leggenda, whose third volume covered Racconti e leggende della Boemia, Russia, Polonia e Croazia [Legends and Tales from Bohemia, Russia, Poland and Croatia]. Clearly, the Encyclopaedia’s aim was to harmonise the publication of each volume of tales so as to preserve their unity. Not a single aspect of Brlić-Mažuranić’s tales was altered in their transfer to the Enciclopedia. Alongside the translator appeared the illustrator Giannina Lavarello, a scrupulous interpreter of Russian culture whose chiaroscuro greens and the grotesquerie of her graphic design gave the tales a dreamlike atmosphere. By contrast, the small number of four-colour plates conveyed a message of hope and joy.

In short, the complex publishing history of Ivana Mažuranić’s tales in Italy was paradoxical. The first translation for the Marzocco collection does not match the first publication of the original text, while Saie had already published it several months earlier. Thus, in 1957 two different editions of Tales of Long Ago were available to Italian readers. The lasting success of these translations rewarded Saie’s investment in Brlić-Mažuranić’s literary style and the fidelity to the book’s original structure. Indeed, until 1975 Brlić-Mažuranić’s tales remained in the catalogues of Paoline, Saie’s publishing trademark, and continued to feed the imagination of young readers.

Archive sourcesArchivio storico Giunti Editore. Fondo Bemporad. AG. FB, Urbani UmbertoAG. FB, Salvini Luigi

Archivio storico Giunti Editore. Raccolta iconografica. Cartella 443


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Sabrina FavaKatoličko sveučilište Svetoga Srca, Milano, ItalijaKatholische Universität des Hl. Herzens, Mailand, Italien

Bajke u Italiji u 20. stoljeću i prevođenje Priča iz davnine Zašto je knjiga Priče iz davnine, koju je Ivana Brlić-Mažuranić objavila 1916. godine, na talijanski jezik prevedena tek 1957. godine? U radu se ta činjenica objašnjava razvojem bajke u Italiji u 20. stoljeću, na razmeđi tradicije usmene pripovijesti i fantastične dječje književnosti. Na početku 20. stoljeća bajci su svojstvene dvije razvojne linije: prva se odnosi na pridavanje pozornosti bajkama koje su u Italiju stigle sa sjevera Europe (primjerice, Andersenove bajke u važnome prijevodu M. Pezzè Pascolato, 1904.), a druga na priklanjanje tradicionalnim i lokalnim pripovijestima (primjerice, onima iz zbirke Il Pentamerone G. Basilea, pisanima dijalektnim izričajem, koje je 1925. godine na talijanski preveo B. Croce). Za vrijeme fašizma fantastična se književnost smatrala „nesputanim područjem“ koje je pripremalo temelje za razvoj u poslijeratnome razdoblju. U drugoj polovici 20. stoljeća cilj kulturnih i nakladničkih trendova u Italiji bio je istovremeno jačati nacionalni i graditi europski identitet. U tome kontekstu Calvino je 1956. objavio Le fiabe italiane [Talijanske bajke], a djelo Povijesni korijeni bajke Vladimira Proppa (1946) talijanskoj publici postalo je poznato gotovo trenutačno, već 1949. godine. Osnivanje svjetske organizacije International Board on Books for Young People (IBBY), Međunarodnoga odbora za dječju knjigu, 1953. godine, dalo je važan kulturni poticaj za upoznavanje dječje književnosti središnje i istočne Europe. Priče iz davnine stoga su prevedene na talijanski jezik te potom uvrštene u djelo Enciclopedia della leggenda [Enciklopedija legendi] nakladnika Giuntija i Marzocca, objavljeno 1957. godine. Na taj su se način proširili vidici talijanske dječje čitateljske publike. Složena povijest talijanskoga prijevoda Priča iz davnine objašnjava se uz pomoć dokumenata pohranjenih u Povijesnome arhivu „Giunti“.Ključne riječi: povijest objavljivanja, bajka, Italija, Ivana Brlić-Mažuranić, 20. stoljeće

Märchen in Italien im 20. Jahrhundert und die Übersetzung von Ivana Brlić-Mažuranićs Priče iz davnineWarum erfolgte die italienische Übersetzung der 1916 veröffentlichten Märchensammlung von Ivana Brlić-Mažuranić Priče iz davnine erst im Jahre 1957? Diese zeitliche Verzögerung wird in der Arbeit anhand der Entwicklung von Märchen in Italien im 20. Jahrhundert erklärt, die an der Schnittstelle zwischen dem mündlichen Erzählen und der phantastischen Kinder- und Jugendliteratur anzusiedeln sind. Zu Beginn des 20. Jahrhunderts sind zwei Entwicklungslinien zu erkennen: In der einen richtet man die Aufmerksamkeit auf die nach Italien aus Nordeuropa herkommenden Märchen wie beispielsweise jene von Andersen, die Pezzé Pascolate 1904 übersetzte, in der anderen auf die traditionellen und lokalen Erzählungen wie jene aus G. Basiles Sammlung Il Pentamerone, die im Dialekt verfasst sind und die B. Croce 1925 ins Italienische übersetzte. Zur Zeit des Faschismus stellte die phantastische Literatur einen „uneingeschränkten Bereich“ dar, innerhalb dessen die Grundlagen für die Nachkriegsentwicklung vorbereitet wurden. In der zweiten Hälfte des 20. Jahrhunderts verfolgte man in der italienischen Kultur und im italienischen Druck das Ziel, zugleich die nationale Identität zu stärken und die europäische Identität auszubauen. In einem solchen Kontext veröffentlicht Calvino Le fiabe italiane (Italienische Märchen, 1956), wobei sofort das italienische Publikum auch mit Vladimir Propps Werk Historische Wurzeln des Märchens vertraut gemacht wird. Die Gründung des IBBY (Internationales

386

Kuratorium für das Jugendbuch, 1953) bildet einen wichtigen kulturellen Anstoß zum besseren Kennenlernen der Kinder- und Jugendliteratur aus Mittel- und Osteuropa. Deshalb wurden auch Priče iz davnine ins Italienische übersetzt und danach in die seitens Guinti-Marzocco redaktionell betreuten Enciclopedia della leggenda (Legendenenzyklopädie, 1957) aufgenommen, wodurch der Horizont des jungen italienischen Lesepublikums erweitert wurde. Die sehr komplexe Entstehungsgeschichte der italienischen Übersetzung von Priče iz davnine wird im Beitrag anhand der im historischen Archiv Guinti aufbewahrten Unterlagen erklärt. Schlüsselwörter: Veröffentlichungsgeschichte, Märchen, Italien, Ivana Brlić-Mažuranić, 20. Jahrhundert

Appendix The letters reprinted below are preserved in the archive of Casa Editrice Giunti

in Florence (abbreviated as AG) and belong to Fondo Bemporad (abbreviated as FB). The letters are unnumbered and they belong to the folder on the translator Urbani Umberto and to the folder on the translator Luigi Salvini. These documents include the correspondence between Umberto Urbani and Renato Giunti, and between Luigi Salvini and Renato Giunti, regarding the preparation and publishing of Leggende croate. These original letters were written in Italian. There is also a letter by Ivo Brlić that was written in French. All letters have been translated into English by the author of this paper.

AG FB, Urbani UmbertoTrieste 25.11.53 Pendice Scoglietto, 18

Spett.le Casa Editrice Marzocco Firenze

Con nota Pr/essi del 23 marzo a.c. mi avete comunicato di aver ricevuto il dattiloscritto di Favole antiche di Ivana Brlić Mazuranic e di confidare potermi comunicare presto le vostre decisioni in proposito. Io risposi che non c’era fretta di decidere; ora però desidero saper qualche cosa anche per informare M Ivan Brlić, figlio dell’Autrice.

Nel contempo Vi prego di comunicarmi qualche dato sulla poetessa Edvige Pesce

AG FB, Urbani UmbertoTrieste 25 November 1953 Pendice Scoglietto, 18

Casa Editrice Marzocco Florence

You wrote on 23 March last to tell me that you had received the typescript of Ivana Brlić-Mažuranić’s Favole antiche and that you were confident you would soon be able to inform me of your reactions to and decisions on the matter. I replied that there was no need to hurry but now I wish to be updated because, among other things, I need to keep Ivan Brlić, the writer’s son, informed.

Could you also tell me something about the poetess Edvige Pesce Gorini, whose

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387Libri & Liberi • 2016 • 5 (2): 373–394

Gorini di cui avete pubblicato le liriche Respingo il sole, prestatemi da un amico con preghiera che ne scrivessi nel “Corriere di Trieste”.

In attesa di un sollecito riscontro Vi saluto cordialmente.

Prof. Umberto Urbani

24 aprile 1954Al Chiar. mo Prof.UMBERTO URBANIPendice Scoglietto, 18TRIESTE

Dopo cento solleciti il nostro consulente ci ha finalmente restituito le Favole Antiche della Mazuranic da lei tradotte; e vedremo di curarne la stampa il più sollecitamente possibile.

Il volume entrerà dunque a far parte della nostra Collezione di “Capolavori stranieri” o della nuova collezione “Storie, favole e leggende di tutti i popoli”.

E siamo disposti a compensare il suo lavoro di traduzione con pagamento a forfait di ₤ 50.000 (cinquantamila).

Ci faccia conoscere con tutta franchezza il suo pensiero a questo riguardo e gradisca intanto i nostri migliori saluti.

Trieste, 10 maggio 1954Pendice Scoglietto, 18

Spet. Casa Editrice MarzoccoFirenze

Appena ricevuta la Vostra pregiata del 24 u.s., con la quale mi comunicavate che al più sollecitamente possibile vedrete di curare la stampa di FAVOLE ANTICHE di Ivana Mažuranić Brlić, scrissi all’avvocato dott. Ivo [Ivan] Brlić, figlio dell’Autrice,

collection of lyrical poems, Respingo il sole, you have published; a friend has lent me the book hoping I might write about these poems in the Corriere di Trieste.

I look forward to hearing from you soon.Best regards, Prof. Umberto Urbani

24 April 1954To Prof.UMBERTO URBANIPendice Scoglietto, 18TRIESTE

After a hundred reminders, our consultant has finally returned your translation of Mažuranić’s Favole Antiche; we will try to publish it as soon as possible.

The printed volume will be included in our “Capolavori stranieri” collection, or our new Storie, favole e leggende di tutti i popoli collection.

And we are prepared to pay a lump sum of 50,000 (fifty-thousand) liras for your translation.

Please let us know frankly what you think about this proposal.

In the meanwhile, best regards.

Trieste, 10 May 1954Pendice Scoglietto, 18

Casa Editrice MarzoccoFlorence

I have just received your letter dated 24 April last which you say that you will publish the print edition of Ivana Mažuranić Brlić’s FAVOLE ANTICHE as soon as possible. I have written to the writer’s son, Ivo [Ivan] Brlić, a lawyer, who lives in

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residente a Jesenice na Dolenjskem (Slovenia), invitandolo a rinunciare ai diritti d’autore, ma non ebbi ancora risposta.

Giacché volete conoscere il mio pensiero riguardo al compenso, Vi dirò francamente che quanto offertomi per il lavoro di traduzione, con pagamento a forfait, è troppo poco. Colleghi, con i quali ne parlai, richiederebbero il doppio: io mi accontenterei di 80.000 (ottantamila) lire e di una diecina di copie. Secondo me, sarebbe meglio inserire il lavoro della Brlić nella collezione “Storie, favole e leggende di tutti i popoli”, mentre per l’altra collezione potrei offrirvi la ristampa del bellissimo romanzo sloveno FUOCHI DI SAN GIOVANNI di Francé Bevk, uscito nel 1937 presso le Lingue Estere di Milano e da anni esau/rito. È pure esaurito il romanzo sloveno STREGHE E DEMONI di Ivan Tavčar, da me pubblicato a Trieste, circa vent’anni or sono. Né per l’uno né per l’altro c’è da pensare a diritti d’autore.

Come l’edizione inglese, tedesca, russa ecc., anche l’edizione italiana di FAVOLE ANTICHE dovrebbe fregiarsi delle lodatissime illustrazioni di Vladimir Kirin. Riterrei pure necessario premettere un mio saggio sulla famiglia Mažuranić che hanno dato tanti nomi illustri alla cultura croata.

Vogliate gradire i miei distinti saluti.(prof. Umberto Urbani)

Con Reg.[Non comprensibile]R. [Renato Giunti]

Trieste, 18 maggio 1954Pendice Scoglietto, 18

Spett. Casa Editrice MarzoccoFirenze

Jesenice na Dolenjskem (Slovenia), inviting him to relinquish his copyrights, but so far I have received no reply.

Since you wish to know my thoughts about payment, to be frank I must say that the lump sum you are offering for my translation is not enough. Some of my colleagues I have turned to for advice would expect to receive twice that amount. I would be willing to accept 80,000 (eighty-thousand) liras and a dozen or so copies of the book. In my opinion it would be better to include Brlić’s title in the “Storie, favole e leggende di tutti i popoli” collection, whereas for the other collection I could offer you a reprint of Francé Bevk’s fine Slovene novel FUOCHI DI SAN GIOVANNI, which was published in 1937 by Lingue Estere in Milan and has been out of print for years. There are also no copies left of Ivan Tavčar’s Slovene novel STREGHE E DEMONI, which I published in Trieste about twenty years ago. The copyrights for these two books are not an issue.

Like the English, German, Russian, etc. editions, the Italian edition of FAVOLE ANTICHE should also be accompanied by the much praised illustrations by Vladimir Kirin. I would also suggest that the book should include my essay on the Mažuranić family, many members of which have contributed significantly to Croatian culture.

Best regards,(Prof. Umberto Urbani)

[Unintelligible]R. [Renato Giunti]

Trieste, 18 May 1954Pendice Scoglietto, 18


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389Libri & Liberi • 2016 • 5 (2): 373–394

A seguito della mia del 10 corrente, posso comunicarVi ora quanto mi scrisse l’altro giorno il Dott. Ivo [Ivan] Brlić in risposta alla mia del 27 u.s. Ecco la parte che Vi potrà interessare:

“Per la stampa della versione italiana di FAVOLE ANTICHE della nostra defunta madre Ivana Brlić = Mažuranić, noi suoi eredi non richiediamo diritti d’autore.

Questa mia dichiarazione è legalmente obbligatoria per me e per le mie sorelle delle quali sono io il procuratore. Saremo lieti se quest’opera di nostra Madre uscirà, in bella veste editoriale, nella Sua bellissima versione, nell’armoniosa ed espressiva lingua italiana, e perciò dobbiamo affidare la cura dell’edizione alla Sua esperienza e all’amore con cui Ella si è accinto al lavoro che renderà accessibile al pubblico italiano le FAVOLE di nostra Madre. Ella saprà benissimo ciò che si potrà fare in date circostanze perché l’edizione riesca in bella veste dignitosa”.

Omissis“Mi sembra veramente irrisoria l’offerta

di ₤ 50.000 che Le fa l’editore per un lavoro letterario così voluminoso, difficile e di responsabilità. L’offerta non presenta nemmeno il decimo del vero valore dell’opera. Il miglior lavoro intellettuale, purtroppo, è stato sempre meschinamente ricompensato”

(F. to Dott. Ivo [Ivan] Brlić)

Da parte mia confermo quanto Vi ho scritto in data 10 corrente: Accetterò il modesto compenso di ₤ 80.000 purchè vengano accettate anche le altre mie condizioni affinché l’edizione di FAVOLE ANTICHE sia degna della più grande Scrittrice croata e non sfiguri di fronte alle fortunate versioni, uscite in altre lingue.

Nell’attesa di un Vostro riscontro, Vi saluto distintamente.

(prof. Umberto Urbani)

Following my letter on 10 May, I can now inform you of Mr. Ivo [Ivan] Brlić’s reply to my letter of 27 April. This is the part that may interest you:

“Regarding the published Italian version of FAVOLE ANTICHE by our late mother Ivana Brlić Mažuranić, as her heirs we are not requesting any copyrights.

The statement is legally binding on me and my sisters, for whom I act as legal counsel. We would be pleased if our mother’s book were published in your fine Italian translation, a harmonious and expressive language. Therefore we must entrust publication of the collection to your experience and the love with which you began the work that will make our mother’s TALES accessible to the Italian public. You are undoubtedly able to decide what can be done in the circumstances to ensure that the publication will be a worthy one.”

Omissis“I really do believe that the publisher’s

offer of 50,000 liras is way too low, especially for such a lengthy, difficult and demanding literary work. The offer does not even represent one tenth of the real value of the work. Unfortunately, the best intellectual work has always been miserably rewarded.”

(Signed Dr. Ivo [Ivan] Brlić)

For my part I confirm what I said in my letter of 10 May: I will accept the modest amount of 80,000 liras provided that the other conditions I have stipulated are accepted, to ensure that the publication of FAVOLE ANTICHE is worthy of the most important Croatian writer and matches the standard of the other versions in other languages.

I await your reply.Best regards.

(Prof. Umberto Urbani)

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390

Ill. mo Prof. Umberto UrbaniPendice Scoglietto, 18Trieste

28.5.54Scusi se rispondiamo con ritardo alla sua

del 18 corr. [corrente]Per la sua traduzione delle “Favole

Antiche” della Mauranic, ci permettiamo insistere sull’offerta di ₤ 50.000. = (cinquantamila) avuto riguardo al fatto che noi desideriamo pubblicare quattro sole favole e precisamente:

Potjeh cerca la VeritàIl pescatore PalunkoJagorIl bosco di Stribor

Queste quattro (le più adatte al ns. [nostro] pubblico) sono sufficienti a formare un volume di 120–140 pagine circa.

Il volume porterà, come è anche suo desiderio, una introduzione che illustri l’opera dell’autrice.

Ci scriva due righe definitive a questo riguardo e gradisca intanto i nostri migliori saluti.

PR/vgIll. mo Prof. UMBERTO URBANI

7 giugno 1954Pendice Scoglietto, 18Trieste

Scusi se rispondiamo con ritardo alla Sua del 18/5 u.s.

Per la Sua traduzione delle “Favole antiche” della Mažurani[c] siamo disposti a ritornare sulle nostre decisioni e portare a 60.000 (sessantamila) il compenso.

Il nostro Consiglio di Amministrazione ci pone questo limite per il fatto che è nostra intenzione pubblicare per ora quattro sole favole, e cioè le meglio adatte al nostro pubblico. Per le altre vedremo in seguito ciò che potremo fare.

To Prof. Umberto UrbaniPendice Scoglietto, 18Trieste

28 May 1954 Please excuse us for our late reply to

your letter of 18 May [1954].For your translation of Mažuranić’s

"Favole Antiche” we must insist with our offer of 50,000 (fifty-thousand) liras in consideration of the fact that we wish to publish only four stories, which are:

Potjeh Looks for the TruthPalunko the FishermanJagorStribor’s Wood

These four (the most suitable for our readers) are enough to constitute a volume of about 120–140 pages.

It will include, as you have asked, an introduction on the author’s work.

Please send us a definitive statement on this issue, and accept our kind regards.

PR/vgIll. mo Prof. UMBERTO URBANI

7 June 1954Pendice Scoglietto, 18Trieste

Please excuse our delay in replying to your letter of 18 May [1954].

For your translation of Mažuranić’s “Favole antiche” we are willing to reconsider our earlier decisions and raise the payment to 60,000 (sixty-thousand) liras.

Our Board of Directors set this limit because it is our intention to publish only four stories for the moment, those which are most suitable to our readership. For the others we will see what can be done later on.

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391Libri & Liberi • 2016 • 5 (2): 373–394

Le quattro che vorremmo intanto pubblicare sono:

– Potieh cerca la verità; – Il pescatore Palunko; – Jagor; – Il bosco di Stribor.

Il volume porterà, come è anche Suo desiderio, una introduzione che illustri l’opera dell’Autrice e dia una breve biografia della medesima.

Ci scriva due righe definitive a quanto sopra e gradisca intanto i nostri migliori saluti.

Trieste, 9 giugno 1954Pendice Scoglietto, 18

In risposta alla notaPR/vg del 7 giugno 1954

Spett. Casa Editrice MarzoccoFIRENZE

Con riferimento alla nota del 7 c.m., accetto il compenso di ₤ 60.000 (sessantamila) per la traduzione di “Favole Antiche” di Ivana Brlić Mazuranić.

Sono pure d’accordo con Voi sulla scelta delle quattro favole che intendete pubblicare per ora.

Accludo l’articolo, che Voi già conoscete, che potrebbe forse servire da prefazione, a meno che non preferiate pubblicare un saggio più lungo.

Vogliate gradire i miei distinti saluti.(prof. Umberto Urbani)

Spett. Casa Editrice Marzocco,rimando ricevuta10, debitamente firmata,

a saldo del mio avere per traduzione di “Favole antiche”. Gradirò sapere notizie riguardo alla prefazione e quando usciranno.

Distinti salutiUmberto UrbaniDr. Ivan Brlić

The four stories we wish to publish now are:

– Potieh Looks for the Truth; – Palunko the Fisherman; – Jagor; – Stribor’s Wood.

The volume will include, as you suggested, an introduction to the author’s work and a short biography.

Please send us your definitive statement on this issue, and accept our kind regards.

Trieste, 9 June 1954Pendice Scoglietto, 18

Reply to letterPR/vg, 7 June 1954

Casa Editrice MarzoccoFLORENCE

With reference to your letter of 7 June, I accept the sum of 60,000 (sixty-thousand) liras for the translation of Ivana Brlić Mazuranić’s “Favole Antiche”.

I also agree with you on your choice of the four stories that you wish to publish first.

I attach the article you already know, which may serve as preface unless you prefer to publish a longer essay.

Please accept my kind regards.(Prof. Umberto Urbani)

Casa Editrice Marzocco,I am returning you, duly signed,

the receipt11 which settles our financial agreement for the translation of “Favole antiche”. I look forward to hearing about the preface and when the volume will be published.

Best regardsUmberto UrbaniDr. Ivan Brlić

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10 The receipt is dated 25 June 1954.11 The receipt was sent on 25 June 1954.

392

(Mazuranic – traduz. Di Urbani)Jesenice na DolenjskemSlovenja – Jugoslavija

le 29 sept. 1954Casa Editrice MarzoccoSoc. ital. p. az.

Firenze

Signore,Voglia gradire le mie scuse per non aver

potuto rispondere alla vostra amabile lettera del 10 settembre in italiano, che rimpiango infinitamente di non poter scrivere. Sono stato assente dal 10 al 26 di questo mese, e ho trovato la vostra lettera rientrando al mio domicilio.

Temo che la mia risposta ritardi e anche il fatto, che i clichés non sono miei ma di mia sorella, la quale non sarà a casa se non verso la metà di ottobre, non causino troppo ritardo per la vostra edizione, che io attendo con impazienza e con il più grande piacere.

In tale edizione originale vi sono illustrazioni a colori e altre in bianco e nero. L’avverto che possiedo solo i clichés delle vignette e delle illustrazioni in bianco e nero. Pertanto la vostra edizione sarà ancora più accurata e interessante, se voi aggiungete tali illustrazioni. Ora, potete domandare al Signor Urbani la copia del volume originale e comunicarmi al più presto la vostra decisione, in modo che vi potrei inviare, verso la metà del mese di ottobre, i clichés delle illustrazioni in bianco e nero.

In attesa di una vostra cortese risposta, voglia, Signore, gradire i miei più distinti saluti

Ivan Brlić

Spett. Casa Editrice Marzocco Firenze

Prof. Umberto UrbaniPendice Scoglietto, 18Trieste

Trieste 19.9.1955

(Mažuranić – transl. Urbani)Jesenice na DolenjskemSlovenja – Jugoslavija

29 Sept. 1954Casa Editrice MarzoccoPLC

Florence

Sir,Please accept my apologies for not

having been able to reply in Italian, a language I profoundly regret I am unable to write, to your kind letter of 10 September. I have been away from 10th to 26th of this month and I found your letter on returning home.

I am afraid that my reply comes late, and also that I do not own the clichés, as they belong to my sister who won’t be at home before mid-October. I hope this won’t delay the publication of your edition, which I await with the utmost pleasure and I can barely wait to see.

This original edition has both colour and black-and-white illustrations. Please bear in mind that I own the clichés of the black-and-white stereotypes alone. Your edition will be all the more authoritative and interesting if you include these illustrations. Could you now ask Mr. Urbani for a copy of the original volume and inform me of your decision as soon as possible so that I may send you, around mid-October, the stereotypes of the black and white illustrations.

I look forward to receiving your reply.Warm regardsIvan Brlić

To Casa Editrice MarzoccoFlorence

Prof. Umberto UrbaniPendice Scoglietto, 18Trieste

Trieste 19 September 1955

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393Libri & Liberi • 2016 • 5 (2): 373–394

Leggo nei giornali jugoslavi che a Lubiana sono uscite, tradotte in sloveno, Favole antiche della scrittrice croata Ivana Brlić Mažuranić. Gradirei sapere quando uscirà la versione italiana?

Distinti saluti.Prof. Umberto Urbani(IncrociarLo con la ris. di ieri)

Trieste 27/ X/ 55 Pendice Scoglietto, 18

Spett. Casa Editrice MarzoccoFirenze

Ieri Vi ho spedito le bozze di “Favole antiche” di Ivana Brlić Mažuranić, oggi accludo un breve profilo dell’autrice. Nelle bozze ho apposto i segni diacritici dell’ortografia croata (ć, č, š, ž), pur non sapendo se la Vostra tipografia possieda tali caratteri. Così pure non so se avete ricevuto a suo tempo i clichés dal figlio dell’autrice, Dott. Ivan Brlić di Jesenice na Dolenjskem (Slovenija).

In attesa d’un gentile riscontro, Vi saluto distintamente,


AGFB, Salvini Luigi

Casa Editrice Marzocco,Firenze

Ricevo la Vs. gradita del 22.7.’53 e sarò ben lieto di rivedere, in confronto con l’originale, le favole della Mažuranić tradotte dall’Urbani. Presentemente, però, sono lontano dai libri e dalle sudate carte; mi occupo di pesca e di caccia fino alla fine di agosto. Giungerà in ritardo la mia revisione, se la comincerò a settembre?

I have read in Yugoslavian newspapers that a Slovene translation of “Favole Antiche” by the Croatian writer Ivana Brlić Mažuranić has been published in Ljubljana. I would be grateful if you could tell me when the Italian version is due.

Kind regards.Prof. Umberto Urbani(Compare with yesterday’s reply)

Trieste, 27 October 1955Pendice Scoglietto, 18


Yesterday I sent you the proof copies of Ivana Brlić Mažuranić’s “Favole antiche”. Today I enclose a brief profile of the writer. In the proof copies I have added Croatian diacritical marks (ć, č, š, ž), though I don’t know if your printing works has them in its stock. Also, I do not know if you received in due course the stereotypes from the writer’s son, Dr. Ivan Brlić from Jesenice na Dolenjskem (Slovenia).

I await your reply and send you my warm regards,


AGFB, Salvini Luigi

Casa Editrice Marzocco,Florence

I have received your letter of 22 July 1953 and I will be more than willing to revise Mažuranić’s tales translated by Urbani, comparing them with the original text. At the moment, however, I am far from my books and everyday chores; I’ll be hunting and fishing until the end of August. Will my revision come too late if I start

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394

Vi prego di darmi qualche indicazione in proposito. Frattanto, ricambio cordialmente i saluti migliori

Affez. [ionatissimo]Luigi Salvini 26.7.’53

[risposta 11.9. 53]

Roma 30 novembre 1953Spett.le Sede,

Il Prof. Salvini è in clinica per una operazione; mi ha pregato di dirvi di pazientare altri 8 o 10 giorni in modo che possa tornare a casa per spedirvi il manoscritto.

Cordiali saluti.Marrucci

in September? Please let me know. In the meanwhile, I send you my best regards

Yours [most] trulyLuigi Salvini 26.7.’53

[reply dated 11/9/53]

Rome 30 November 1953Dear Sirs,

Prof. Salvini is in the hospital for an operation; he asked me to tell you to be patient for 8 to 10 days more so that he can return home and send you the manuscript.

Best wishes. Marrucci

⁎ ⁎ ⁎

⁎ ⁎ ⁎


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UDK 821.163.42-93-34’255=162.4

Radoslav RusňákUniversity of Prešov, Faculty of Education, Prešov, [email protected]

Slovak Editions of Tales of Long Ago in the Context of New Reading*

Pregledni rad / review paperPrimljeno / received 14. 12. 2016. Prihvaćeno / accepted 10. 3. 2017.DOI: 10.21066/carcl.libri.2016-05(02).0005

The paper focuses on the concept of world literature for children and young adults, defining its constant, unchanging part and its variable part, which is still in the process of verification. Tales of Long Ago by Ivana Brlić-Mažuranić is identified as a constituent of world literature for children and young adults. The translation of the collection entered Slovak children’s literature thanks to its valuable, as well as pragmatic aspects. The paper evaluates Tales of Long Ago from a genealogical aspect, as a fusion of three genres of children’s literature. Two different Slovak editions are addressed: one from 1976, Rozprávky z pradávna [Tales of Long Ago] and the other from 1991, Ctiborova hora a iné rozprávky [Ctibor’s Forest and Other Tales], both translations signed by Zlatko Klátik. We are particularly interested in the concept of new reading, which significantly differs for each edition. New reading is defined as a progressive process of the revival of older literary works and reception of foreign literary texts by contemporary children, which brings a new type of pleasure to old tales.Keywords: Tales of Long Ago, Ivana Brlić-Mažuranić, translation into Slovak, literary translation, new reading, world literature for children and young adults

Based on an artistic understanding of literary works with a dominant aesthetic function, we could wrongly suppose that world literature for children and young adults (YAs), in its four-hundred-year development, had to build on better, more

* The paper is a partial outcome of the grant project VEGA 1/0233/15, Svetová literatúra pre deti a mládež v slovenskom preklade po roku 1990. [World Literature for Children and Young Adults in Slovak Translation after 1990].

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original and higher quality works. We could think that, in order to become “world-known”, a given work must necessarily be at least one level better in terms of the horizontal-vertical structure than a different work belonging to the same genre. However, this is not true. Without the criteria that world literature generally creates, it is not possible to understand and evaluate the significance of literature; literature is not developing as an art in this sense – therefore, not even in the corpus of world literature for children and young adults is one work considered to be better than another (Ďurišin 1992: 13; Rakús 1993: 16). Only something which is of the highest value in itself can be considered art. Seen from this perspective, literature is a set of high values.

According to Zlatko Klátik (1973: 650–655), the basic invariant model represents a more general and wider term of world literature, while world literature for children and YAs is built as its variant, defined by its so-called children’s aspect (i.e. acceptance of a child’s way of perceiving and evaluating reality at a certain level of psychological development). The variability of world literature for children and YAs is, on the one hand, rooted in different ways of its selection and creation; on the other hand, it is defined by the otherness of its determinants, because literature for children and YAs is created and selected by adults, while the child reader ultimately decides whether or not s/he will accept this offering.

Widely defined, world literature for children and YAs consists of two parts: a constant (unchanging) one and a variable (non-closed) one. Namely, literary artefact does not automatically acquire artistic value; rather, a given society and culture have to assign this value to the artefact. A literary work needs to be accepted as literary reality, which is able to reach specific addressees. Indeed, it does not need to be the society in which the literary work was created, but it might also be a temporally more distant society (or another generation). The constant part of world literature for children and YAs, according to Klátik (1978: 17), also includes classic works of children’s literature, and the gaps which are filled in subsequently; the variable part, on the other hand, mirrors the verification process of a given work, the value of which is ultimately defined through time.

As part of world literature for children and YAs, Priče iz davnine, i.e. Tales of Long Ago by the Croatian author Ivana Brlić-Mažuranić, first published in 1916, entered Slovak children’s literature in the 20th century in several translations. This is very unusual for the Slovak context of translated literature. Therefore, we might state that, considered from the above-mentioned perspective on world literature for children and YAs, the work of Ivana Brlić-Mažuranić represents its constant, time-verified part.

R. Rusňák: Slovak Editions of Tales of Long Ago in the Context of New Reading

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There is no doubt that the Croatian author has a stable place among writers of world children’s literature.1 Although attempts have been made to understand and explain the position of this Croatian author within Slovak children’s literature, it remains somewhat unclear. Admittedly, the primary criterion is the axiological aspect, as well as the aspect of a common cultural-historic (Slavic) tradition. The case of Ivana Brlić-Mažuranić could easily be explained through the existence of the so-called non-textual space in a literary text, also known as interference zones (Rakús 1995). This is what might be known as supra-text, i.e. the existence of another (vertical) plane of text, which runs parallel to the linear story plane; the sub-text, i.e. reading between the lines, which does not have a holistic dimension, but always connects with some parts of the literary text; and the post-text, i.e. the space of catharsis, including the ideological message of the story, which is connected to the strong emotional reaction of a reader faced, for instance, with the death of the protagonist. Obviously, these zones always transcend the child in some way, but at the same time enable his/her emotional and spiritual growth in their continual “fulfilment”, which could be compared with Lev S. Vygotskij’s (1970) zone of proximal development. However, as a secondary criterion we cannot forget the real (pragmatic) aspect, including the contemporary political situation, the experimentation of the author, the cultural politics of the former Czechoslovakia, the subjective tastes of translators, the assertiveness of the author or the inheritors of her copyright, as well as a cluster of completely random circumstances (Klátik 1974).

Our interest in Brlić-Mažuranić’s most popular work was not stimulated only by “A Century of Ivana Brlić-Mažuranić’s Tales of Long Ago”, the international conference held in Zagreb and dedicated to the author. We were also motivated by professional interest in world literature for children and YAs (Rusňák 2009) as well as our participation in the Slovak project2 focused on literary scholarship and literary history. So, how can we look at this best-known and most-translated work of Croatian children’s literature from the current point of view?

Seen from the current genealogical aspect, the stories in Tales of Long Ago are the result of an interesting fusion of three genres: myth, folktale (folk fairy tale) and literary fairy tale, or “authorial fairy tale” (cf. Rusňák 2012). As a myth, Tales of Long Ago presents a universal Slavic explanation of the world and its functioning,

1 For instance, Ivana Brlić-Mažuranić is included in the 2007 Czech dictionary of world authors for children and young adults (Řeřichová et al.).

2 World Literature for Children and Young Adults in Slovak Translation after 1960 (2012–2014); World Literature for Children and Young Adults in Slovak Translation after 1990 (2015–2017).

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receptively stimulating concrete models of human behaviour in borderline life situations and simultaneously offering a fundamental way of human perception of the world. As a collection of artistic stories, these tales give the impression that they are a product of collective human creation (which is a typical feature of myths). Moreover, Brlić-Mažuranić’s protagonists are not moved by reason, but by emotion, will, desire, faith, and fear. By portraying such protagonists, the stories also present a basic mythical mission: since evil always arises, it is necessary to constantly fight it so the world can be preserved as a place for living. In this fight, man can become weaker and even die, but he can never succumb to evil. Using old-fashioned songs and surreal figurative expressions, the author combined knowledge of Croatian and Slavic mythology and created her own mythical world, in which everything happens in the right and proper way (see Řeřichová et al. 2007).

As a collection of fairy tales, Tales of Long Ago brings together stories organised on the ethical principle: the fight between good and evil. Similar to folktales, Brlić-Mažuranić also brings together fictional apocryphal stories, unclear and uncertain in terms of time and space. Their endings still have an ethical dimension, as justice always wins. Similar to folktale characters, Brlić-Mažuranić’s protagonists are models of ethical categories: they readily stand in clear contrast to one another and reveal more about themselves through their actions than their words. As in traditional folktales, here we can find the magic of numbers, particularly the number three. If we look at Brlić-Mažuranić’s stories as folktales in terms of their functions, we could state that they also have the ambition to bring meaning and rules into an irrational (and, for children, chaotic) world, offer meanings and solutions to different life problems, but also a hierarchical reality (cf. Černoušek 1990).

As a collection of authorial fairy tales, Tales of Long Ago represents a metamorphosis of the folktale. On the one hand, the author follows the folktale tradition, but on the other hand she challenges it. In the case of the artistic tale, it is very difficult to define the age suitability of the recipient: age suitability is closely related to the ability to express oneself through a tale addressing elementary ontological issues. From the aspect of the artistic tale, it is obvious that the author does not treat folklore and its simulation arbitrarily: Brlić-Mažuranić shows that even in clearly authorial adaptations, the folklore material is not allowed to crash and irreparably disturb the mythical rule of the world. As artistic creations, the stories in Tales of Long Ago deeply respect the rules of folklore: they do not lose the sense of myth (they preserve the mythical dimension of a forest, nature, fire, sea, etc.); similarly, the Tales of Long Ago does not lose the sense of the deeply rooted familiar dimensions of life (the relationship between man, woman and child, grandfather and grandchildren, siblings, etc.).


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Brlić-Mažuranić’s stories could also be labelled as imitations of folktales; in the Slovak context, this kind of artistic tale is characterised as “folklorised”. The folklorised artistic tale presents a bond between the folk and the artistic tale; it is like a variant of a folk model. Affirmatively, it remains within the folktale context, without stepping outside its frame in terms of motifs, composition or style. Tales by the Croatian author also incorporate folk motifs, which are transformed through the author’s creativity and autonomy. In addition to the folklorised type, they are also close to the symbolic artistic tale (which has a more complex internal structure and rich connotative space, as the vertical storyline hides human issues and develops great ideas within small textual space), as well as the imaginative tale (with a weakened sujet, because of the atmosphere and the sense of the proximity of the reality to magic; in its macrocomposition, the story is a great metaphor).

As we mentioned above, there have been several translations of Tales of Long Ago into Slovak. The collection first appeared in 1931, titled Povesti z pradávna, translated by Anna Dollinayová-Vračanová and with illustrations by Vladimir Kirin. It was published by Vydanie Matice slovenskej in Turčiansky sv. Martin. The translation of the recognised Slovak literary scholar, writer and translator with southern-Slavic roots, Zlatko Klátik, titled Rozprávky z pradávna, appeared with illustrations by Irena Tarasová in Bratislava in 1976, published by Mladé letá. Juraj Tušiak’s translation, titled Rozprávky z pradávna, illustrated by István Bálint, was published by Zavod za izdavanje udžbenika in Novi Sad, former Yugoslavia, twice, in 1979 and in 1984. The most recent Slovak edition is that published in 1991 by Mladé letá in Bratislava. It is titled Ctiborova hora a iné rozprávky, and it is another publication of tales in Klátik’s translation. However, his text was modified by the language editor Mária Števková, whose adaptations reveal somewhat different strategies.

For the purposes of this paper, which focuses on “new reading” of the literary work of Brlić-Mažuranić, we will consider the last two translations published in Bratislava, those from 1976 and 1991. We have two significant reasons for doing so.

The first comes from the availability of this work by the Croatian author in Slovak libraries. For the purposes of our paper, we contacted the Slovak National Library in Martin, as we needed to find out where in Slovakia Tales of Long Ago was available for Slovak readers. In Slovakia, Tales of Long Ago is available in 27 cities and 31 public libraries in total. However, only the last two publications of 1976 and 1991 are available. As mentioned above, in both cases Zlatko Klátik is named as the translator, but the texts differ due to the language editing of the latter edition. Copies of the translation into Slovak published in the first half of the 20th century are practically inaccessible to “ordinary” readers (in many cases, they

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Fig. 1. The front cover of the Slovak edition of Tales of Long Ago of 1976.Sl. 1. Prednja strana korica slovačkoga izdanja Priča iz davnine iz 1976.

are placed in the archives or removed from the catalogues and from the shelves, possibly due to the disinterest of readers).3

The second reason is our interest in the concept of new reading of this Croatian author’s works: for this purpose, the last two Slovak publications of the book (with the same translator, but a different concept) are the most suitable. In fact, both publications appeared in diametrically different societal, cultural, and also political circumstances, which significantly influenced the readers’ perception and the appeal of the work for Slovak children.

The 1976 edition of Tales of Long Ago (Fig. 1) has been found in the third biggest Slovak city, Prešov.3 Tušiak’s translation is not available to Slovak readers in Slovakia, as his translation probably never

reached Slovak libraries, and Dollinayová-Vračanová´s translation is only in the holdings of the Slovak National Library; it is removed from both shelves and catalogues of Slovak public libraries (probably sold cheaply in a book market of „unwanted“ books). It would be most unfortunate if this happens to be the destiny of Klátik´s translation from 1976, too.


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Fig. 2. A lending record card, front.Sl. 2. Prednja strana knjižnoga listića.

Fig. 3. A lending record card, back.Sl. 3. Stražnja strana knjižnoga listića.

However, the book was not available in the central children’s library, only in its branch office in one of Prešov’s suburbs (which was quite surprising for us). Some of the books were long in the possession of this library, and in the copy used in this research, the library lending record card has not been removed, which helped us explore the reading fate of the collection in the hands of Slovak children through time (Figs. 2, 3). The book had been borrowed quite regularly in the period 1977–1982, then a couple of times in the mid 1980s, and its only borrowing after that was in 1994.

The most important milestone in the history of the Slovak translation of Tales of Long Ago is 17 November 1989. In that year, the Velvet Revolution took place in the former Czechoslovakia, which completely changed the political and socio-cultural situation in the common state of Czechs and Slovaks (which in 1993 was definitively separated into two independent states, the Czech Republic and the Slovak Republic). Since November 1989, as Zuzana Stanislavová (2010)

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Fig. 4. The front cover of the Slovak edition of Tales of 1991.Sl. 4. Prednja strana korica slovačkoga izdanja Priča iz 1991.


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mentions, significant changes occurred on the Slovak book market, as well as in the field of publishing, in the span of several years. Some of the changes also relate to market mechanisms, which were established in the field of culture as well, and thus children’s books became a source of profit. This meant that Slovak publishing houses started to focus on publishing commercial and trivial titles, mainly foreign ones. In Slovakia, a value and reading crisis occurred very quickly, and this completely changed both publishing and reading habits. This fact is recorded in the library lending record card – especially with the last three dates between 1989 and 1994: one from 1990 and two from 1994, obviously extended borrowing by the same person.

More interesting is the fact that Brlić-Mažuranić’s book was published again in 1991 (i.e. two years after the political and social changes in Czechoslovakia), once again in Klátik’s, albeit edited, translation. This edition is a selection of stories from the original collection of Tales of Long Ago, published under the title Ctibor’s Forest and Other Tales and with illustrations by the Croatian artist Cvijeta Job (Fig. 4).

If we compare these two publications of the book, we come to some interesting findings that can best describe the concept of new reading. By “new reading” we do not mean the second reading of the same text, which, according to P. Nodelman and M. Reimer (2003: 45), changes the reader’s pleasure, because s/he knows what is going to happen. Rather, what we have in mind is the interpretative variation and modification of original literary works, which is supposed to contribute to their repeated attractiveness within world literature for children and YAs. If we return to the introductory explanation of what the meaning of world literature for children and YAs is, we have to state that Ivana Brlić-Mažuranić’s book undoubtedly belongs to the constant part of world children’s literature. Even so, the book has almost disappeared from the real reading of Slovak children. The concept of new reading of Rozprávky z pradávna (1976), as well as the selection of tales titled Ctibor’s Forest and Other Tales (1991), which has the potential to bring Ivana Brlić-Mažuranić back to the reading of Slovak children, is briefly summarised in Table 1, by means of a comparison of two editions.

As seen, the more recent 1991 publication is interesting from the perspective of new reading as it contains only a selection of tales from the original collection (four of the original eight tales; and reasons for selecting those four tales are not clear or even explained). One of those – “Ctibor’s Forest” – lent its title to the entire collection. However, we can see that the title was actualised and modified: “Stribor’s Forest” was modified to “Ctibor’s Forest”. Stribor is a name taken from Slavic mythology: its current and, for children, more understandable form in the Slovak language is Ctibor. This name communicates a meaning to Slovak readers: one who fights for honour.

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Table 1. A comparison of two Slovak editions of Tales of Long Ago.Tablica 1. Usporedba dvaju slovačkih izdanja Priča iz davnine.

Year of publication 1976 1991

Title (in English translation) Croatian Tales of Long Ago Ctibor’s Forest and Other Tales

Number of pages 178 pp. 94 pp.

Format A5 A4

Typography Smaller font size Larger font size

Illustrator Irena Tarasová (Slovak) Cvijeta Job (Croatian)

Illustrations vs. text A few illustrations over a number of pages

Numerous illustrations over a number of pages

Included tales Stribor’s ForestFisherman Plunk and his WifeHow Quest Sought the TruthToporko the Wanderer and the

Nine Princes ReygochLittle Brother Primrose and

Sister LavenderBridesman Sun and Bride

BridekinsJagor

Ctibor’s ForestFisherman Plunk and his WifeHow Quest Sought the TruthToporko the Wanderer and the

Nine Princes

Editorial tendency Mythological concept emphasised Tale-fantastic concept emphasised

Epilogue (about the author) Yes (pp. 171–174) Absent

Explanatory notes Yes (pp. 175–178) Absent

Intention Two implied readers One implied reader

In this part of the paper, we take a closer look at the literary aspects of the tale “Stribor’s Forest” published in 1976, with reference to its 1991 publication as “Ctibor’s Forest”.

From the point of view of composition, in the fairy tale “Ctibor’s Forest” the literary-artistic artefact is created by various principles, which influence its internal composition. Several principles can be found in one text in different forms. In “Ctibor’s Forest” we can identify the following compositional principles (see Všetička 2001): the contrast principle, the route principle, the hooding principle (the disguising of the character), and the motivic principle (the motif of a snake, fire, elf/brownie, and forest).


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The contrast principle within the text tectonic belongs to one of the oldest and most frequently implemented principles. Its basic characteristic, which defines it and on which it is built, is the principle of opposition, contrast. In the form of contrast, this principle not only allows the expression of human relationships and attitudes, but gives them a tone of urgency and clarity as well. The fairy tale contrasts the femininity element, represented by two female protagonists: the mother – the main protagonist around whom the story revolves (however, it is an unusual main character for a fairy tale laden with folklore) and the bride – in the role of pest, antagonist (typical of folktales) and the shrew. At the same time, the viper-bride is a disturbing character. Indeed, at the beginning of the story she suddenly steps into a foreign and already stable environment, and disturbs the calm family relationship between the mother and son, deflects him and disappears again at the end of the story. This character’s behaviour is such that all the protagonists have to take a stand – either positive (son), or negative (mother, brownies, Ctibor). Essentially, the character of the viper-bride is different from the others – she possesses certain magical powers.

The route principle is a typical compositional principle in folktales, implemented in the story of Ctibor’s forest as well. On the journey to Ctibor, the main character, the mother, travels to seek redemption for her son, enchanted by the viper-bride. During the journey to her destination, she is pursued by the adversary (bride); however, this tracking will not have any impact on the plot. After meeting Ctibor, the forest ruler, the mother rejects the offered solution to her problem, because it would require her to forget her son – to give up the role of mother. The main protagonist rejects Ctibor’s tempting offer to return to the period of her youth, because she considers motherhood to be the most precious thing in her life, despite her son being unworthy.

The hooding principle is based on a character wearing a disguise. Characters pretend to be someone they are not and beguile others against their will. In the analysed story, this principle is explicitly implemented through the role of the bride, who is essentially a dark soul, cursed into a serpentine form. The beauty of the girl is only her mask, needed in order for her to selfishly survive (only the one who would marry her could survive her). Implicitly, the hooding principle occurs in the shy and timid son, who is influenced by the viper-woman to such an extent that he develops hatred for his good mother (the nature of the snake is such that she can hypnotise her victim).

The motivic principle is always the most important principle in the construction of a literary work. As the name of the principle suggests, its basic element is a motif. In the story of “Ctibor’s Forest”, the following dominant motifs can be identified:

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the snake, fire, brownie, and forest (see Richter 2004). In our opinion, these motifs contribute the most to the artistic persuasiveness of Brlić-Mažuranić’s story/stories and thus lend her work an axiological timelessness. Motivic construction and its encryption of meaning also contribute to the reading experience (so important for literature), on which the very existence of literature as a literary artistic artefact is built.

In the world of folktales, the snake motif embodies danger, smoothness, cunning, a mysterious gripping quality (the ability to hypnotise the victim) as well as the fear of poison. Through its attachment to the ground, the snake motif is more engaged with underground evil forces and, from a Biblical perspective, it is seen as an ally of the devil, even as a self-reincarnation of the devil. The feminine nature and essence are usually attributed to the snake, which is a symbol of sexual lust and, because of its poison, death and destruction (interchangeable with the dragon in fairy tales). The viper-woman in Brlić-Mažuranić’s story is originally a sinful soul, and therefore founds her transitional physical shape in a snake. After her transformation into a woman, her only weaknesses are the snake’s forked tongue and snake instincts, which ultimately turn against her.

In folktales, the fire or fireplace motif is a symbol of life, its cycle, but also of purification and transformation. Moreover, fire in the house is a symbol of home and has a link to basic needs: warmth, food, and safety. From a mythological perspective, fire has a link to the cult of ancestors: the fireplace is where dead ancestors remain. As a flame, fire is a reflection of spirituality and spiritual power. In our story, fire signifies home and maternal care, but also appears as a source of spiritual and magical forces (the good): the brownies, and especially Pinkie Tintilíček who acts as the main helper and supporter of the old mother.

In Slavic folklore, elves/brownies are little domestic ghosts, fairy figures, who come to the fireplace and mostly do a lot of damage. In the Slovak context, these kinds of elves were commonly known as zmok or rarášok. As a brownie (an elf which belongs to Croatian folklore), Pinkie Tintilíček fulfils the important role of helper of the main protagonist.

The forest motif has a significant mythological dimension for Slavic nations. It is seen as a dark place associated with wandering, a place of getting lost or being abandoned, a place of disorientation, danger, threat, and tests. At the same time, it is an unknown and mysterious place. Simultaneously, the forest motif represents a place where the fate of a man is decided, where routes are lost, changed, or derived. As such, the forest in the analysed story is the residence of the forest ruler Ctibor. According to Slavic mythology, Stribor was the god of the winds, but the author has creatively changed his mythological role and turned him into a fairy creature, full


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of magical powers. As the mother’s guide on her journey to Ctibor, a deer appears, a symbol of dignity and majesty, but also a messenger or a guardian. In the mythology of primeval nations, the deer is a symbol of light; this connotation is also found in our story, where the deer has a little star on each horn and thus lights the road during the night-time journey. Surprisingly, the deer is also seen as opposite to the snake. Moreover, the deer is associated with speed, fertility, freshness, and restoration.

If we compare the story of “Stribor’s Forest” and “Ctibor’s Forest” in the two analysed editions of Brlić-Mažuranić’s stories in Slovak (1976 and 1991), we can find that “Ctibor’s Forest” (1991) contains more than 160 different modifications at various levels (from small ones to more significant changes) when compared to Klátik’s original translation of the story (1976). However, seen as a whole, all of these lexical-stylistic corrections give the story of “Ctibor’s Forest” (as well as the other three tales published in this selection) the character of new reading (Table 2).

Table 2. A comparison of two Slovak editions of Tales of Long Ago: differences in the texts of the translation. Selected examples.Tablica 2. Usporedba tekstova dvaju slovačkih izdanja Priča iz davnine. Izabrani primjeri.

Publication year 1976 1991

Comparison: (The examples are translated literally into English.)

At the level of word order

zostalo v ústach – remained in the mouth

v ústach zostalo – in the mouth remained

stará slepaňa – the old blind one

slepaňa stará – the blind old one

zočila znezrady – faced suddenly

znezrady zočila – suddenly faced

At the level of proper names

Stribor Ctibor

Malíček Tintilínček – Pinkie Tintilínček

Malíček Tintilíček – Pinkie Tintilíček

At the level of general names/words

klát – Log

peň – tree stump

premieňala – converted

premenila – changed

vystupujú z plameňa – act from the heat

vyskakujú z plameňa – jump out of the heat

tancujú po ohnisku – dancing by the fireplace

roztancujú sa po ohnisku – dancing on the fireplace

rozkázala – commanded

zapovedala – ordered

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Publication year 1976 1991At the level of collocations

odpočinúť v pekný zimný deň

– relax on a nice winter day

odpočinúť, pretože bol pekný zimný deň – relax, because it was a nice winter day

syn sa na to zasmial – son laughed at it

syn sa na tie reči zasmial – son laughed at those words

smelý a bystrý mládenec by na ňu hneď zamával sekerou a skríkol...

– a courageous and bright young man would soon wave at her with an axe and shout

keby teraz pred ňou smelý a bystrý mládenec zamával sekerou a skríkol... – if now in front of her a courageous and bright young man waved an axe and shouted

mamička – mommy

mamička moja – my mom

stálo tam vysoké bralo – there stood a high cliff

obďaleč stálo vysoké bralo – nearby stood a high cliff

a jedného dňa rozkáže – and one day he will command

a tu jedného dňa rozkáže – and here one day he will command

prizrie sa dievčine – looks at the girl

prizrie sa peknej dievčine – looks at the nice girl

zapláta synovu košeľu – mends the son’s shirt

zapláta synovu roztrhanú košeľu – mends the son’s torn shirt

starenka bola ako omladnutá – the old woman was like juvenescence

starenka akoby omladla – the the old woman appeared to rejuvenate

že sa kolo v tanci zastavilo – that the wheel stopped dancing

že sa tanec hneď zastavil – that dancing stopped immediately

pomôžte mi prizrieť sa na jazyk mojej nevesty – help me to have a look at my bride’s tongue

či by ste mi vedeli pomôcť prizrieť sa na jazyk mojej neveste – could you help me to have a look at my bride’s tongue

At the level of sentence structure

Večer vraví nevesta starenke: „Pôjdem na návštevu ku kmotre, a ty, kým sa vrátim, prihrej vodu!“

– In the evening, the bride tells the old lady: “I am going to visit the godmother, and until I come, you warm up the water!”

Ubehol deň a večer vraví nevesta starenke: „Zájdeme s mužom ku kmotre na návštevu, a ty prihrej vodu, kým sa vrátime!“ – A day passed away and in the evening the bride tells the old woman: “With my husband, we are going to visit the godmother, and you warm up the water until we come back!”


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Keď s mužom odišla preč, starenka osamela, vzala triesky od dievčiny, nakládla oheň v ohnisku a šla do kôlne po drevo. – When she left with her man, the old woman stood alone, took the girl’s kindling-wood, lit the fire in the fireplace, and went to the shed for wood.

Starenka osamela, vzala triesky, ktoré jej dala dievčina, nakládla oheň v ohnisku a šla do kôlne po drevo.

– The old woman stood alone, took the kindling-wood that the girl had given her, lit the fire in the fireplace, and went to the shed for wood.

Starenke sa to v noci videlo čudné a vrátila sa do kuchyne. – The old woman found it strange at night, and she went back to the kitchen

Starenke sa to zdalo čudné, čo sa deje v noci, a vrátila sa do kuchyne. – The old woman found it strange what it was happening at night, and she went back to the kitchen.

Starenka všetko piadimužíkom vyrozprávala. – The old woman told the brownies everything.

Starenka vyrozprávala piadimužíkom všetko tak, ako bolo. – The old woman told the brownies everything just as it was.

At the level of a compound sentence

Starenka bola ako omladnutá, zasmiala sa ako hrdlička. Vyskočila ako dievčatko a vychytila sa s piadimužíkmi tancovať. – The old woman was like juvenescence, laughed like a turtle-dove. She jumped like a little girl and wanted to dance with the brownies.

Starenka akoby omladla – zasmiala sa ako hrdlička, vyskočila ako dievčatko a vychytila sa s piadimužíkmi tancovať. – The old woman rejuvenated suddenly – she laughed like a dove, jumped like a little girl and wanted to dance with the brownies.

At the level of addition

--- Prosil syn boha i matku, aby mu odpustila. – The son begged God and mother to forgive him.

In the context of new reading, we can state that such a large amount of changes and various modifications in the text of one translation did not occur solely because of the lexical update and stylistic modification of the text after fifteen years. The modification of the original translation of Brlić-Mažuranić’s tales of 1976 includes (not only in the analysed “Ctibor’s Forest”, but in other tales as well) more ceremony and folktale conventions. Parentheses (inserts), inversions, flowery adjectives and full sentences, shortening of long compound sentences, lexical-stylistic interventions, etc., are all eloquent editing interventions, supported also by the choice of the surrealist illustrations by Cvijeta Job. In their aesthetic effect, they are particularly close to the similarly surrealist world of the painter and illustrator of Slovak folktales and legends, Albín Brunovský.

As shown in Table 1, Brlić-Mažuranić’s collection published in Slovak translation in 1976 in A5 format had more pages (178 pp); the compilation from 1991 was published in A4 format and was slenderer (94 pp). The difference is

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obvious also in font typography, which is different in these publications, and in the amount of illustrations per total number of pages. The publication from 1976 has smaller font size and only a few illustrations by the Slovak illustrator Irena Tarasová; the 1991 publication has larger font size and rich (“child friendly”) illustrations by Cvijeta Job. Both publications also differ in their editorial tendency; it is obvious that the 1976 publication has a more prominent mythological Slavic dimension of the literary text, which corresponds to the inclusion of the Croatian author’s epilogue with explanatory notes related to the names of the characters in the tales derived from the Slavic mythological context. However, the 1991 publication does not contain this, because its intention is to intensify and strengthen its tale-fantastic character (generally, child readers read myths like tales, i.e. without perceiving their mythological core and archetypal dimension).

We can state that another difference between the publications lies in the category of implied reader. According to Nodelman and Reimer (2003: 17), it is not only the quality that makes a specific kind of reader the implied reader – it is the role which the text indicates and invites the real reader to fulfil. A reader has to identify with an implied reader in a certain way and at a certain level. However, Klátik’s translation from 1976 actually had two implied readers: a pseudo-addressee and a real addressee. Indeed, the child in this translation is more of an excuse while the adult reader is the real addressee (cf. Nodelman & Reimer 2003: 55). On the other hand, the 1991 compilation has only one implied reader: the child, becoming both the primary intended reader and the real addressee at the same time.

The aim of this paper is not to evaluate changes in the editions of the text in terms of their adequacy. The changes are perceived rather as indicators of a new reading of old tales.

The paradox of the great works of world literature for children and YAs lies in the fact that they are acknowledged for their uniqueness, as well as for the versatility of their content. Tales of Long Ago by Ivana Brlić-Mažuranić is important for both its uniqueness and versatility. It would be sad if this artistically convincing work – which teaches readers not to forget their past in order not to lose their future – disappeared from what children actually read. In order to avoid this, new readings of old texts could renew or restart the original life of the work, even at the cost of various modifications and variations in translation, interpretation and reception of text. Moreover, as H.G. Gadamer states, the meaning of a text is never depleted by the intentions of its author (as quoted in Compagnon 2006: 66). When a text moves from one historical or cultural context to another, new meanings are assigned, which neither the author nor the original reader predicted. Therefore, each interpretation is contextual and depends on the criteria of the context in which it takes place. The concept of new reading of Ivana Brlić-Mažuranić in Slovak translation is a


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contextual reading, particularly in relation to the new situation of contemporary children and their reading habits.

ReferencesBrlić-Mažuranićová, Ivana. 1976. Rozprávky z pradávna [Tales of Long Ago]. Bratislava:

Mladé letá.Brlić-Mažuranićová, Ivana. 1991. Ctiborova hora a iné rozprávky [Ctibor’s Forest and

Other Tales]. Bratislava: Mladé letá.Compagnon, Antoine. 2006. Démon teórie. Literatúra a bežné myslenie. Bratislava:

Kalligram.Černoušek, Michal. 1990. Děti a svět pohádek. Praha: Albatros.Ďurišin, Dionýz. 1992. Čo je svetová literatúra? Bratislava: Obzor.Klátik, Zlatko. 1973. “O pojme a výskume svetovej literatúry pre deti a mládež 1”. Zlatý

máj 12 (10): 650–655.Klátik, Zlatko. 1974. “O pojme a výskume svetovej literatúry pre deti a mládež 2”. Zlatý

máj 13 (1): 15–20.Klátik, Zlatko. 1978. Svetová literatúra pre mládež (profily a prehľady). Bratislava: SPN.Nodelman, Perry & Mavis Reimer. 2003. The Pleasures of Children’s Literature. 3rd ed.

Boston: Allyn & Bacon. Rakús, Stanislav. 1993. Medzi mnohoznačnosťou a presnosťou. Levoča: Modrý Peter.Rakús, Stanislav. 1995. Poetika prozaického textu. Bratislava: Slovenský spisovateľ.Richter, Luděk. 2004. Co je co v pohádce. Praha: Dobré divadlo dětem.Řeřichová, Vlasta et al., eds. 2007. Autoři světové literatury pro děti a mládež. Multimedia

CD-ROM. Olomouc: nakladatelství Olomouc.Rusňák, Radoslav. 2009. Svetová literatúra pre deti a mládež v didaktickej komunikácii.

Prešov: Prešovská univerzita v Prešove, Pedagogická fakulta. Rusňák, Radoslav. 2012. “Variants of Authorial Fairy Tale and the Current Children

Audience”. Practice and Theory in Systems of Education 7 (2): 153–158.Stanislavová, Zuzana et al., eds. 2010. Dejiny slovenskej literatúry pre deti a mládež po

roku 1960. Bratislava: Literárne informačné centrum.Všetička, František. 2001. Tektonika textu. Olomouc: Votobia.Vygotskij, Lev Semionovič. 1970. Myšlení a řeč. Praha: SPN.

Radoslav Rusňák Obrazovni fakultet, Sveučilište u Prešovu, Prešov, Slovačka Pädagogische Fakultät der Universität Prešov, Prešov, Slowakei

Priče iz davnine na slovačkome u kontekstu novoga čitanja Rad se bavi konceptom svjetske književnosti za djecu i mladež koja se dijeli na stalni, nepromjenjivi dio i na promjenjivi dio koji je još u fazi prepoznavanja i priznavanja. Priče iz davnine Ivane Brlić-Mažuranić ubrajaju se u njezin stalni dio. Prijevod te zbirke ulazi

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u slovačku dječju književnost zahvaljujući svojemu vrijednosnomu, ali i pragmatičnomu aspektu. U radu se Priče iz davnine razmatraju sa žanrovskoga stajališta, kao spoj triju žanrova dječje književnosti. Analiziraju se dva različita slovačka izdanja: Rozprávky z pradávna (Priče iz davnine) iz 1976. i Ctiborova hora a iné rozprávky (Ctiborova šuma i druge priče) iz 1991. godine, koje kao prevoditelj potpisuje Zlatko Klátik, pri čemu je tekst drugoga izdanja jezično izmijenjen. Posebna se pozornost posvećuje konceptu novoga čitanja, koji se oslanja na razlike u tekstovima. Novo čitanje definira se kao progresivni proces revitalizacije starijih izdanja i suvremene dječje recepcije stranih književnih tekstova, a omogućuje novu vrstu uživanja u starim pričama. Ključne riječi: Priče iz davnine, Ivana Brlić-Mažuranić, prijevod na slovački jezik, književni prijevod, novo čitanje, svjetska književnost za djecu i mladež

Priče iz davnine in slowakischer Sprache und im Kontext des Neuen LesensIm Beitrag setzt man sich mit dem Konzept der Weltliteratur für Kinder und Jugendliche auseinander, die hier in einen beständigen, unveränderbaren Teil und einen veränderbaren Teil, der erst zu entdecken und anzuerkennen ist, aufgeteilt wird. Ivana Brlić-Mažuranićs Werk Priče iz davnine gehört zum beständigen Teil der Weltliteratur für Kinder und Jugendliche. Die Übersetzung dieser Märchensammlung ist nicht nur wegen der darin enthaltenen Wertvorstellungen, sondern auch aus pragmatischen Zwecken zum festen Bestandteil der slowakischen Kinder- und Jugendliteratur geworden. Im Beitrag wird der genrespezifische Aufbau der Sammlung besprochen, der aus dem Zusammenspiel von drei kinderliterarischen Genres besteht. Dabei werden zwei unterschiedliche slowakische Sammlungsübersetzungen analysiert: Rozprávky z pradávna (1976) und Ctiborova hora a iné rozprávky (1991), die von ein und demselben Übersetzer, Zlatko Klátik, stammen, wobei im letztangeführten Titel sprachliche Änderungen festzustellen sind. Besonderes Interesse wird dem Konzept des Neuen Lesens gewidmet, das auf Textunterschiede ausgerichtet ist. Neues Lesen ist als ein progressiver Prozess der Wiederbelebung älterer literarischer Werke und der Übernahme fremdliterarischer Texte seitens der zeitgenössischen jungen Leser zu verstehen, der die Lust am Lesen alter Geschichten steigern sollte.Schlüsselwörter: Priče iz davnine, Ivana Brlić-Mažuranić, Übersetzung ins Slowakische, literarische Übersetzung, Neues Lesen, Weltliteratur für Kinder und Jugendliche


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UDK 37.091.3:821.163.42

Ivana CindrićUniversity of Zagreb, Faculty of Teacher Education, Zagreb, [email protected]

Vlatka BlagusAmerican International School of [email protected]

Young Croatian Heritage Language Learners’ Reception of the Fairy Tale “Reygoch”


The paper presents the habits and attitudes of young Croatian heritage language learners (CHLLs) attending the American International School of Zagreb (AISZ) towards reading in general and towards reading fairy tales in Croatian and English. More specifically, their reception of the fairy tale “Reygoch” by Ivana Brlić-Mažuranić is considered. Although mostly bilingual, the CHLLs in this study follow the curriculum in the English language, and they attend Croatian Language and Literature classes. The curriculum for this subject, adapted to AISZ students’ needs, introduces Croatian Tales of Long Ago by Ivana Brlić-Mažuranić in Croatian in the 4th grade. The results show that works of Brlić-Mažuranić can be offered for reading to young CHLLs, taking into consideration their specific reception. They also reveal the level of literary reading skills and describe the differences between students. Possible difficulties which students encounter in reading an authentic text, challenging at various levels of reading a literary text, are explained. Finally, the authors offer suggestions to help avoid such difficulties or at least to lessen them.Keywords: c-test, fairy tale, reception, “Reygoch”, young Croatian heritage language learners

Introduction

Present day technology has enabled people to establish a variety of relationships and connections at a global level without moving from the comfort of

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414 I. Cindrić and V. Blagus: Young Croatian Heritage Language Learners’ Reception…

their home. Technology and travel opportunities have also influenced the ease with which people move to close, distant, even remote areas of the world while, at the same time, maintaining relationships with their family, relations and friends in their home country. These days, people’s desire to move is powered not only by whim, curiosity, exploration, but by the nature of their work, professional opportunities, dislocations of businesses and companies, and the search for better opportunities. Over the last few decades, this has created a kind of global nomad. The term was coined by Norma McCaig in 1984, defining a person of any age or nationality who has lived a significant part of his or her developmental years in one or more countries outside his or her passport country because of a parent’s occupation (Schaetti 1993). Such living has created the need for children to be educated in a way that provides them with a programme of study that is internationally common and recognised, regardless of where the students are or will be educated. Children who require such an education do not generally enter or plan to continue their education in the host country and often simply study the language of the host country as a foreign language by taking language acquisition classes.

Looking at the Croatian context, one school offering an international and American curriculum for children from pre-kindergarten to grade 12 for students on the go is the American International School of Zagreb (AISZ). For approximately 30% of the students attending AISZ, Croatian is a heritage language (HL), as those students are children of Croatian nationality or Croatian descent. Jelaska (2014) refers to heritage language learners (HLLs) as a subgroup of second language learners who acquire HL in the family or in the narrow language environment of a dominant language, and therefore they are in a broader sense bilingual. Due to their very limited instruction time in Croatian and their family background, Croatian Language and Literature students at AISZ mostly belong to the group of HLLs. For example, in grades 1 to 5 only 5% of the total language instruction is in Croatian. In grades 6 to 10 the percentage is higher, 12.5%. The ratio of instruction time in Croatian and English with French / German shows that Croatian heritage language learners (CHLLs) at AISZ are not sufficiently exposed to the Croatian language in order to acquire it as Croatians in Croatian public schools, and they often need to learn it as second language learners (SLLs) do. Moreover, for AISZ CHLLs, English has become the dominant language for most social interactions even outside the school, with both peers and siblings. The course Croatian Language and Literature at AISZ bridges these gaps and provides its students with language to enable them to enter the Croatian school system at some point at primary, high school, or university level, or simply to work in Croatia. These students will receive an international primary and high school education with English as the language of instruction, but could potentially enrol in a Croatian university.

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In order to reconcile the specific needs of such CHLLs, the curriculum for Croatian Language and Literature encompasses both the international and Croatian curriculum. According to the Croatian National Educational Standard for Elementary School (Nastavni plan... 2006), one of the two obligatory literary works in grade four are the two fairy tales, “Stribor’s Forest” and “Reygoch”, from the Tales of Long Ago by Ivana Brlić-Mažuranić, first published in 1916, in Croatian.1 For the last ten years, the mentioned fairy tales have been introduced to AISZ students in the fourth grade. However, the difference in students’ reception between the two fairy tales has been evident year after year. While “Stribor’s Forest” would instantly engage students into the world of fantasy, generating much discussion from students, “Reygoch” was often received in a lukewarm manner, requiring additional explanations and contextualisation. We put forward some of the obvious explanations for such differences in the reception of the two fairy tales: length (“Reygoch” has almost twice the number of pages, 18 pages compared to 10 pages of “Stribor’s Forest”); familiarity/likability of literary elements (themes, characters, or setting); teaching strategies and tools employed by the teacher; the phase of the school year, or even the season when the fairy tales are introduced (e.g. “Stribor’s Forest” which takes place in winter is also introduced in the winter season, making it easy for students to sense the atmosphere and engage in the story; “Reygoch”, on the other hand, is a story which takes place in summer but is read with students during the winter months, possibly making it difficult for students to sense the atmosphere in the fairy tale); and the students’ various profiles (their specific readiness, interests, learning profiles). Even when the animated CD-ROMs Croatian Tales of Long Ago 1 and Croatian Tales of Long Ago 2 were used as instructional tools in the classroom for both fairy tales, students continued to demonstrate less engagement and comprehension with regard to “Reygoch” than to “Stribor’s Forest”. To what extent is the students’ engagement based on their text comprehension? And to what extent is students’ comprehension based on familiarity of vocabulary and context, and simplicity of syntax? These three categories (vocabulary, syntax and context) were considered as challenging factors for CHLLs while reading “Reygoch”.2 If students’ engagement and comprehension are highly correlated with these three categories, how would they be ranked? Furthermore, what makes “Reygoch” difficult for students to comprehend and carry

1 This collection of tales, originally titled Priče iz davnine, was translated into English by Fanny S. Copeland in as early as 1924, and received a wide and positive response in the English-speaking world (Narančić Kovač 2016).

2 “Reygoch” is about a giant and a little girl, Curlylocks (Regoč and Kosjenka in Croatian), who help unite two previously conflicting villages into one, so they could live in peace and pursue their common interests together.


on reading? Many questions regarding the teaching of “Reygoch” have been raised over the past decade and this study has been conducted in an attempt to answer them.

Theoretical frame

Research related to the reception of works by Ivana Brlić-Mažuranić has mostly focused on the perception and reception of her work from the literary-theory point of view, i.e. with respect to the reception theory in literature. Such research has shed light on reception with respect to the social-historical context (e.g. Skok 1995, Ewers 2013, Jurišić 2014), or with respect to readers whose mother tongue is not Croatian (e.g. Hranjec 2010, Turza-Bogdan & Kovač 2015, Grahovac-Pražić & Marijić 2015). Furthermore, the majority of recent research has focused on Brlić-Mažuranić’s first children’s story The Strange Adventures of Hlapich the Apprentice.

In the field of Croatian second language acquisition, only research on literary texts in relation to adult learners has been conducted. One of the newest products of such research is the first complete adaptation of Šegrt Hlapić for B1 level (Grgić, Đurđević and Salak 2015) by Croaticum’s3 lecturers. This paper will reveal yet another group of language learners, young Croatian heritage learners, and their reception of literary works by Ivana Brlić-Mažuranić. It is hoped it will add to the richness of research in the domain of literature and language.

Aims and research methodology

The research mentioned, or lack of research, prompted us to study a group of Croatian heritage language learners (CHLLs) at AISZ. The research conducted would provide insight into the habits and attitudes students have towards the fairy tale as a genre and in particular students’ reception of the fairy tale “Reygoch”. More precisely, with this research, we aimed to establish the following:

1. Young Croatian heritage language learners’ (CHLLs) reading habits in Croatian and English;

2. Young CHLLs’ attitudes towards the fairy tale genre and the fairy tale “Reygoch”;

3. Young CHLLs’ reception of the fairy tale “Reygoch” and their comprehension of an excerpt from the fairy tale.

Finally, based on the research findings, the aim was to provide suggestions and strategies to help CHLLs improve their reception and comprehension of fairy tales

3 Croaticum – Centre for Croatian as a Second and Foreign Language at the Faculty of Humanities and Social Sciences, University of Zagreb.

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in general, but in particular Croatian fairy tales. The research results were expected to disclose successful aspects of students’ reception of fairy tales, but also aspects which are complex and therefore challenging for second language learners.

Research questions

According to the aims of the research, the following research questions were set: 1. Do young Croatian heritage language learners read more in English or

Croatian?2. What attitudes do Croatian heritage language learners have towards the fairy

tale genre, Croatian and English fairy tales and the fairy tale “Reygoch”?3. What is the difference between young CHLLs’ reception of the fairy tale

“Reygoch” with respect to their grade level, number of years out of the Croatian school system, and mother tongue(s)?

4. What is the difference between young CHLLs’ comprehension of the fairy tale “Reygoch” with respect to students’ grade level, number of years out of the Croatian school system, and mother tongue(s)?

Sample of participants

The sample of participants included students (N=30) of the American International School of Zagreb who attend the Croatian Language and Literature course. In terms of gender, the sample of participants was distributed almost equally, i.e. 14 male and 16 female participants. The distribution of participants in grades was the following: grade six – 7 students, grade seven – 9 students, grade eight – 4 students, grade nine – 4 students and grade ten – 6 students. Because of the relatively small sample size and uneven distribution of students per grade level, in the analysis of results, students were grouped into middle school students (20) and high school students (10). All the students in grades 6 to 10 have Croatian Language and Literature lessons of 90 minutes, two/three times per week alternatively. The research was conducted in September 2016, almost a month into the school year.

Instruments

Three instruments were used for the purpose of this research. The first instrument was a 3-part questionnaire with the first part providing general information about the participants, i.e. student bio-data (part A). In the second part of the questionnaire (part B), participants were provided with questions and statements on a 5-point Likert scale to elicit student habits and attitudes with respect to reading in Croatian and in English and their attitudes and perception of the fairy tale genre in general. It also provided data on students’ perception of the fairy tale “Reygoch”. Finally, the third part of the questionnaire (part C), which was completed upon reading an


excerpt from the fairy tale “Reygoch”, provided information on students’ reception of the text and aspects of the fairy tale with which they expressed their degree of agreement.

The second instrument used in the research was a six-page handout containing the first of the two original parts of the fairy tale “Reygoch” (Brlić-Mažuranić 2006) which students were to read independently in class. While reading, students were encouraged to circle or underline words or expressions they found unusual or unknown. Given that the students are at various proficiency levels, the instructor/researcher suggested that students should try to read as much as they could, but insisted that they all read the first page.

The final, third instrument was an assessment in the form of a c-test. The c-test is a series of short texts prepared for testing by deleting the second half of every second word (Read 2000: 111). Its intention is to assess general proficiency in the language, particularly for selection and placement purposes, and the deletions should be a representative sample of all the elements in the text (Klein-Braley 1985[1997]: 63–66 as cited in Read 2000). For the purpose of our research, two initial paragraphs from the fairy tale “Reygoch” were chosen for the c-test. The second half of every second word was omitted, thus making 21 omissions in the first paragraph (Task 1) and 20 omissions in the second paragraph (Task 2). The rationale for using a c-test rather than some other type of test for testing as indicated by Katona and Dörnyei (1993) is that more items can be included since we were using shorter paragraphs, easy and objective scoring, a more representative sample of different parts of speech, and students enjoy doing c-tests. Finally, deleting the second half of a word might suggest that knowledge of word formation and sentence structure is more important in this kind of test than, for example, semantic aspects of vocabulary, especially if the language being tested has a complex system of word endings (Read 2000: 111) as is the case with Croatian. Therefore, this instrument was used to determine the students’ language comprehension of a recently read text. After reading “Reygoch”, students were instructed to first answer the third part of the questionnaire (part C), then to fill in the blanks in the two paragraphs. All three instruments (questionnaire, excerpt from the fairy tale “Reygoch”, and the c-tests) were coded in order to establish a correlation between the tested variables in the research.

Procedure

The research was carried out in a regular classroom setting. Students from grades 6–10 who attend Croatian Language and Literature courses at AISZ are

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divided into 4 groups. Grade 6 and grade 7 students have a joint lesson. During the 90 minutes (double lesson) students were given the 3-part questionnaire, the reading assignment – the first chapter of “Reygoch”, and the final task, the c-tests. The teacher allocated a maximum of 30 minutes for the completion of each of the tasks, but most students handed in all their answers in 60 minutes.

All students who participated had parental permission to do so. Through a written consent form, parents were informed about the nature of the research and its purpose. Data were entered into the SPSS 17.0 statistical program and were analysed using descriptive statistics, t-tests, non-parametric tests for independent samples and content analysis.

Results and discussion

As students attending AISZ are a highly mobile group of students in terms of moving to different countries and educational systems, we wanted to establish the number of years this population has been out of the regular Croatian system of education. Because of the small sample size and uneven distribution of participants according to the number of years away from the Croatian school system, the researchers created two categories for this variable: students who have been out of the Croatian school system from 1–4 years and those out of it for 5+ years. As a result, the distribution of students was the following 1–4 years: 15 students, and 5+ years: 15 students. In the analysis of results, this kind of a categorisation might indicate whether there are statistically significant differences between students who have been away from the Croatian school system for shorter or longer periods, and variables such as habits, attitudes and reception.

The language of instruction at AISZ is English; however, keeping in mind the variety of national backgrounds of students in our sample as bilinguals with some possible multilinguals, we also wanted to establish what language(s) the students speak in the home environment. Based on the students’ responses, their answers were grouped into three major categories: Croatian only, Croatian +1 or more languages, and other (a language other than Croatian). The distribution of languages spoken at home can be seen in Table 1.

Having correctly anticipated that in the last two years CHLLs would have read more in English, we wanted to find out whether the situation was somewhat different over a longer period of time (six years). Fig. 1 shows the number of books students have read in the Croatian language over the last six years. Most students reported they do not read more than two books in Croatian per year, which is an unexpected finding because most students have been enrolled in Croatian Language


Table 1. Distribution of languages students speak in the home environment.Tablica 1. Distribucija jezika koje učenici govore kod kuće.

Frequency Percent Valid Percent

Cum.Percent

Croatian only 11 15.7 36.7 36.7

Croatian +1/more 14 20.0 46.7 83.3

Other 5 7.1 16.7 100.0

Total 30 42.9 100.0

and Literature classes for at least two years, in which they had to read at least eightnovels in Croatian. Although the distribution of students’ answers is varied, further analysis showed no statistically significant differences with respect to the school department (middle school / high school); the number of years out of the Croatian school system (one to four / more than four), or mother tongue(s) spoken at home (Croatian only / Croatian +1).

Books read in the Croatian language

14

12

10

8

6

4

2

0

4

22

none two/three four/five six/seven eight/more

13

9

Fig. 1. Distribution of books read in the Croatian language over a period of six years.

Sl. 1. Distribucija broja knjiga na hrvatskome jeziku pročitanih tijekom šest godina.

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Table 2. Mean values for students’ attitudes towards the fairy tale genre, Croatian fairy tales, and fairy tales in English.Tablica 2. Srednja vrijednost stavova učenika prema bajci kao žanru, hrvatskoj bajci i bajci na engleskome jeziku.

N Min. Max. Mean Std. Deviation

Fairy tale genre 30 1 5 3.40 1.192

IBM’s fairy tales in Croatian 30 1 4 2.70 1.022

Fairy tales in English 30 -1 5 3.87 1.224

Valid N 30

The second part of our questionnaire focused on students’ attitudes towards the fairy tale genre. It included attitudes students have towards Croatian fairy tales, more specifically fairy tales by Ivana Brlić-Mažuranić and fairy tales in the English language, and their perception of the fairy tale “Reygoch”.

The mean values of students’ reports of their attitudes towards the fairy tale genre, fairy tales by Ivana Brlić-Mažuranić in the Croatian language, and fairy tales in the English language are reported in Table 2. The students in our sample show an indifferent attitude towards the fairy tale as a genre (M=3.4), i.e. they neither like nor dislike them. The situation is slightly different in terms of Croatian fairy tales, where the analysis shows that they mostly do not like Croatian fairy tales (M=2.7). The rather negative perception of Croatian fairy tales could be ascribed to insufficient, partial or inadequate exposure to the mentioned fairy tales throughout their education or upbringing, leading to the perception they report. What is more, fairy tales by Ivana Brlić-Mažuranić in the Croatian language are very rich in stylistic aspects (description, rhythm, idiolect), and in linguistic aspects (vocabulary, phraseology, syntax, etc.), making them somewhat more challenging for CHLLs to read than fairy tales in the English language which are abundant and presented in numerous reader-friendly ways. The mean value for attitudes towards fairy tales in the English language was calculated at M=3.87, again indicating that even fairy tales which are written in the language of instruction and in which students read more often do not seem to inspire a like or even a dislike for that matter.


Attitudes towards IBM’s fairy tales in Croatian and fairy tales in English

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No answer Mostly don’t like Mostly like Like a lot

Croatian fairy tales Fairy tales in English

Neither like nor dislike

Fig. 2. Comparison of students’ attitudes towards Brlić-Mažuranić’s fairy tales in Croatian and fairy tales in the English language.

Sl. 2. Usporedba stavova učenika o bajkama Ivane Brlić-Mažuranić na hrvatskome jeziku i bajkama na engleskome jeziku.

Fig. 2 gives a visual comparison of students’ attitudes towards Croatian fairy tales and fairy tales in the English language. Although students express a general liking of fairy tales written in the English language, they do not disregard or reject Croatian fairy tales entirely. There is evident indifference, but more positive than negative attitudes.

Considering the variety of students’ backgrounds in terms of the number of years out of the Croatian school system, the researchers wanted to find out how many students were familiar with the fairy tale “Reygoch”, and how they liked it. Almost half of the participants (N=13) were familiar with the fairy tale, while 12 participants were not, and the remaining 3 participants could not recall. Of the 13 students who had read “Reygoch” or were familiar with it, 8 students liked it a little, while 4 neither liked it nor disliked it and 1 student did not like it at all. Students who had not read the fairy tale were asked to report their expectation of the fairy tale. In the analysis of this question, more answers were reported than expected, indicating that some students who had either read the fairy tale or were familiar with it also expressed their expectation, perhaps because they misunderstood the question or perhaps they had a different expectation for this particular reading session. The distribution of their answers is the following: 4 students reported that they would not like it at all, 2 students said they would not like it, 8 students were indifferent

423Libri & Liberi • 2016 • 5 (2): 413–435

in their reply, 5 students said that they would like it a little, and 2 students said that they would like it a lot. This is a similar distribution to the students’ liking of Croatian fairy tales in general.

According to the students’ responses to the question “Have you read any other fairy tales by Ivana Brlić-Mažuranić?”, 13 students reported having read some of her works, while the remaining 17 students had not read any, or could not recall. Some of the fairy tales students mentioned were: “Stribor’s Forest”, “Little Brother Primrose and Sister Lavender”, Tales of Long Ago, and Wild Horse (which is a tale by Božidar Prosenjak, and not by Brlić-Mažuranić). Those students who had been at the school since grade 4 would probably recall having read “Stribor’s Forest”, and those students who had been in a Croatian school system in the higher grades would most certainly recall having read Tales of Long Ago in grades 6, 7. It is also not wrong to assume that, being heritage language learners, some students would have been exposed to the fairy tales by reading them in the home environment.

Guided by the schema theory which is based on Kenneth S. Goodman’s model of reading as a guessing game (1967), i.e. that evoking schema aids comprehension, prior to engaging in reading the fairy tale, students were asked if they could make some associations for the title of the fairy tale “Reygoch”. One assumption about schema activation is that some words, or groups of words, or the title of a text, are highly suggestive and can signal a certain schema (An 2013). Students’ answers are presented in Fig. 3. Although the answers vary, we can categorise them as associations with a giant (monster), a feature from nature (plant, forest, tree, stream, field, mushroom), a name (character, boy, animal), and a sound. One student mentions an association with the sound of a frog, which from the point of view of an English speaker would be “ribbit ribbit” or “breedeet breedeet”, but the Croatian cross-linguistic onomatopoeia would be “rega rega”, indicating the possible influence of the Croatian language for this particular student. Three students could not associate the title with anything, while five students reported not being able to make an association as they struggled with the meaning of the word.

Students’ responses regarding some aspects of fairy tales were tested in order to establish what makes an interesting fairy tale for Croatian heritage language learners. On a 5-point Likert scale (1=not important at all; 2=not important; 3=neither important nor unimportant; 4=mostly important; 5=very important) students reported their opinion in terms of the importance of a particular fairy tale feature. Table 3 shows that the variables exciting plot, convincing dialogues, words and expressions I can understand, and unpredictable ending are for them the important characteristics of an interesting fairy tale. This suggests that in order for students to read a fairy tale, it should have an interesting action (plot), convincing dialogues


Associations with the title “Reygoch”

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Fig. 3. Associations with the title “Reygoch”.Sl. 3. Asocijacije uz naslov „Regoč“.

unburdened by unfamiliar words and expressions, and have an unpredictable ending. Other characteristics of fairy tales, such as rich descriptions of time and place (M=3.70), rich character descriptions (M=3.87), a moral (M=3.83), rich illustrations (M=3.27) were neither important nor unimportant for this sample of participants. Students’ indifference to the aesthetic presentation of fairy tales is, however, particularly important for teachers, as this creates a space for resorting to strategies, activities and tasks which will help students understand and consequently appreciate the significance of the mentioned features. The engagement of teachers in this case is crucial in order for students not only to overcome potentially difficult language, but to have a better understanding of characters, the setting, to make and create associations, explore illustrations, inquire, predict, and discuss the moral of the fairy tale.

Upon reading the excerpt from the fairy tale “Reygoch”, students were asked to report their reception (general liking, motivation to read on, understanding) of the first pages of the fairy tale. Their reports are presented in Fig. 4. Five students did not provide an answer to this question, which could be attributed to a simple omission. Only six students in the sample answered that they did not like the beginning of the fairy tale, while four students were indifferent. Nine students liked the beginning a little, and six students mostly liked the beginning. It could be said that for half of

4

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Table 3. Students’ opinions of the importance of aspects of fairy tales.Tablica 3. Učenički stavovi o važnosti pojedinih aspekata bajki.

Variable N Mean Std. Dev Min. Max.

Exciting plot 30 4.27 .69 3.00 5.00

Rich description of time and place 30 3.70 .84 2.00 5.00

Rich character description 30 3.87 1.07 1.00 5.00

Convincing dialogues 30 4.20 .89 2.00 5.00

Words and expressions I can understand 30 4.33 .76 3.00 5.00

Unpredictable ending 30 4.37 1.00 1.00 5.00

Moral 30 3.83 .91 2.00 5.00

Rich illustrations 30 3.27 1.62 1.00 5.00

our sample (15 participants), the reception of the initial part of the fairy tale was rather positive, while the rest of the sample is not purely negative. Rather, it is distributed across dislike (6 students), indifference (4 students) and 5 students who did not provide an answer to this question. The mean value for students’ answers is M=1.8 indicating that the sample liked the initial part a little. This kind of a result indicates that the reception of the fairy tale is on the positive side. However, in order to strengthen that reception, preparatory, pre-reading activities (explanation of words, discussions, description of context) should be conducted, regardless of the students’ age and grade level.

Table 4 shows the mean values of the variables relating to particular aspects of the students’ reception of the fairy tale. According to the students’ responses, it seems that they were rather indecisive in determining whether the fairy tale motivated them to read on (M=3.27). This finding indicates that in order for students to read on, efforts should be made by the teacher not only before the actual reading, but after reading the initial part in order for students to reflect, explain and discuss the introduction, visualise the setting, the characters, discuss character descriptions and make predictions.

An unexpected finding in respect of the students’ comprehension reports was that they mostly understood (M=2.50) the fairy tale, regardless of the words that were unfamiliar to them and regardless of the unusual word order (M=2.43). These


Students’ reception of the first pages of the fairy tale “Reygoch”

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no answer don’t like at all neither like nor dislike

like a little mostly like

Fig. 4. Students’ reception of the initial part of the fairy tale “Reygoch”.Sl. 4. Učenička recepcija uvodnoga dijela bajke „Regoč“.

answers will be explored further when they are analysed in comparison with the results of the students’ assessment. Furthermore, students were rather undecided in their responses with respect to having to watch the animated version of the fairy tale in order to understand the story (M=3.10).

Table 4. Students’ reception of particular aspects of the fairy tale.Tablica 4. Učenička recepcija određenih aspekata bajke.

N Min. Max. Mean Std. Deviation

The beginning motivates me to read on. 30 -1 5 3.27 1.461

I understand the fairy tale regardless of unknown words. 30 -1 5 2.50 1.503

I understand the fairy tale regardless of word order. 30 1 5 2.43 1.278

To understand one should see the animated film. 30 1 5 3.10 1.583

“Reygoch” should be obligatory reading in school. 30 1 5 3.70 1.236

I would recommend “Reygoch” to my friends. 30 1 5 3.77 1.223

Valid N 30

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“Reygoch” should be read as a required reading in school.

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Fig. 5. Students’ opinion’s of whether “Reygoch” should be required reading in schools.

Sl. 5. Učenički stavovi o tome bi li bajka „Regoč“ trebala biti uključena u školsku lektiru.

The same attitude was shared with respect to whether “Reygoch” should be obligatory reading in school (M=3.70) and whether they would recommend the fairy tale to their friends (M=3.77). In other words, students were undecided about whether “Reygoch” should be obligatory reading in school and whether to recommend the fairy tale to their friends. The breakdown of students’ answers regarding the variable “Reygoch” should be obligatory reading in school is presented in Fig. 5.

For the following variable, “I would recommend ‘Reygoch’ to my friends”, the mean value was measured at M=3.77, indicating the students’ indifferent attitude. The distribution of students’ answers is shown in Fig. 6.

In similar research conducted on a sample of 100 fourth-grade students in primary schools in Croatia regarding their reception of the fairy tales “Reygoch” and “Stribor’s Forest” (Turza-Bogdan and Kovač 2015), almost 73% of the students would assign these fairy tales as required reading and 67% would highly recommend them to their friends. Compared to the sample in our research, it is evident that there is a degree of uncertainty with respect to whether “Reygoch” should be obligatory reading and whether students would recommend this fairy tale to their friends. The difference could be explained by the size of the sample in this research. However, we could also say that Croatian heritage language learners are indecisive as they

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I would recommend “Reygoch” to my friends.

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Fig. 6. Students’ opinions on recommending “Reygoch” to their friends.Sl. 6. Učenički stavovi o preporučivanju bajke „Regoč“ prijateljima.

lack continuity or authenticity in their exposure to Croatian fairy tales. This could be attributed to their learning environment which is not Croatian and therefore does not provide a natural context for reading Croatian fairy tales. Still, they sense that this is an area they should be familiar with. The second difference is that the participants in our sample were somewhat older than the participants in the research by Turza-Bogdan and Kovač (2015) which leads us to the question “What grade would you recommend ‘Reygoch’ to be read in?”.

According to the results presented in Fig. 7, students generally recommend “Reygoch” for reading in the lower grades of primary school (grades 3, 4, and 5). In the research conducted by Turza-Bogdan and Kovač (2015), the results show that grade 4 students find “Reygoch” and “Stribor’s Forest” as acceptable reading at the level of reception and they have a positive attitude towards the two fairy tales. Furthermore, as required reading in Croatian schools, “Stribor’s Forest” and “Reygoch” are set to be read in grade four. The rest of the collection of Tales of Long Ago is intended for reading and interpretation in the sixth grade in the Croatian National Educational Standard (Nastavni plan i program... 2006). Based on the opinions of students in our sample, it seems that they generally agree in recommending “Reygoch” for reading in grades 3–5, i.e. in the upper primary grades or lower middle schools grades.

I. Cindrić and V. Blagus: Young Croatian Heritage Language Learners’ Reception…

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Fig. 7. Students’ recommendations for grade level in which “Reygoch” should be read.

Sl. 7. Učeničke preporuke o tome u kojemu bi se razredu trebala čitati bajka „Regoč“.

This only confirms the authors’ observation that creating an appropriate classroom environment for introducing the fairy tale, introducing the fairy tale during a season that matches the fairy tale most appropriately, or during the particular phase of the school year (avoiding mid-term, half-term, school-break periods which can be rather stressful or distracting for students), and taking into consideration the students’ backgrounds and language proficiency may actually contribute to a better reception of the fairy tale “Reygoch” in grade four or five.

The final part of the research was an assessment of the students’ comprehension of the text presented in the form of a c-test. The results of the first c-test, i.e. the first paragraph of “Reygoch”, showed that the students were able to solve this test with a very high degree of accuracy. Therefore, the students’ opinions of the statements “Reygoch can be understood regardless of the unknown vocabulary” and “Reygoch can be understood regardless of the unusual word order”, presented in Fig. 8, do not seem to deviate much from their performance on the assessment part.

The maximum number of points for the first assessment task was 21 and the calculated mean value was M=18.13 (min. 4 and max. 21). An analysis of the students’ errors shows that the students understand the text and sentence context, as they were able to produce appropriate and correct words. The majority of errors were of an orthographic nature. For example, there were two occurrences of the error “*noči” (instead of “noći”) and four instances of “*noci” which show insecurity in applying diacritics. There were also some spelling mistakes such as “*najživnjeg” or “*najživjeg” when the correct answer was “najživljeg”. Another error that was

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Vocabulary and word order10

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“Reygoch” can be understood regardless of the unknown vocabulary

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Completely agree Mostly agree Can’t decide Mostly disagree Entirely disagree

Fig. 8. Students’ opinions of the influence of vocabulary and word order on text comprehension.

Sl. 8. Učenički stavovi o utjecaju rječnika i reda riječi u rečenici na razumijevanje teksta.

observed, although not frequently, was the use of the very common phrase (simile) “ljut kao vrag” (‘angry as a devil’) instead of “ljut kao vatra” (‘angry as fire’, as used in the original fairy tale).

The results of the second c-test were somewhat lower, i.e. the mean value was M=14.48 (min. 0, max. 20). Lower scores on the second c-test could possibly be attributed to a lack of time, the lack of challenge or “saturation” with a very similar task done twice, or perhaps the fact that the first c-test “mutilated” the first paragraph of the fairy tale which students generally read with more attention and focus.

Whether the scores differed with respect to grade level, i.e. middle school students and high school students, was calculated by applying the Mann-Whitney U test. The test showed that the result from the second c-test was statistically significantly higher for high school students (M=21) than for middle school students (M=12.30) (U=36.000, p=0.009). The difference between the results of high school students and the results of middle school students in the first c-test was not significant. What does this result tell us?


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Because of the relatively marginal difference in scores in the first c-test between the two groups (middle and high school), we can assume that the difference which occurred in the second c-test can be ascribed to the middle school students’ requiring more time to complete the second task. Alternatively, it might be assumed that all the students were simply more confident in solving the first task as they remembered more information coming from the first paragraph of the fairy tale.

In order to find out whether there was a difference in the students’ background, i.e. number of years at school and students’ achievement in the c-test, we conducted another Mann-Whitney U test for independent samples. Students were grouped according to the number of years they had been educated out of the Croatian school system as follows: those who had been out of the system from 1–4 years and those out of it for 5 and more years. The assumption was that students who had been out of the Croatian school system for longer than 4 years would have lower scores on the c-tests. The results showed no difference between the students who had been in the school system for fewer than four years and those with more years away from the Croatian school system. Another test was conducted to see whether there was a difference between students with different backgrounds, i.e. mother tongues spoken at home. We assumed that students who speak Croatian, or Croatian +1 or more languages˝at home would perform better on the c-tests than students whose mother tongue is not Croatian. The Kruskal-Wallis non-parametric test was conducted and it established that there was no statistically significant difference in the score on the first assessment task and languages spoken at home χ2(2)=0.834, p=0.659, and scores on the second assessment task and languages spoken at home χ2(2)=1.289, p=0.525.

Summary and conclusion

Due to English being their language of instruction, young Croatian heritage language learners in this research show a tendency to read more in the English language. In terms of genre, they show a rather indifferent attitude towards fairy tales, but also seem to like fairy tales in English more than fairy tales in Croatian, more specifically fairy tales by Ivana Brlić-Mažuranić. Although students are familiar with these fairy tales (almost half of the students in the sample), the majority express a cautious indifference towards reading them. This can be ascribed to the rich stylistic and linguistic aspects of the fairy tales, which, if not approached carefully, may cause anxiety and indifference in CHLLs.

In terms of literary elements which they find intriguing for engaging in reading fairy tales, CHLLs mention an interesting plot, dialogues and unpredictable endings. CHLLs find descriptions of setting, characters, even rich illustrations as stumbling blocks or simply overwhelming. Reading the first pages of the fairy tale “Reygoch”

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showed that CHLLs are mostly undecided in terms of making a decision to read on, and students are almost unanimous in recommending “Reygoch” for reading in upper primary and lower middle school grades. Differences were not established between CHLLs’ reception of the fairy tale “Reygoch” with respect to the students’ grade level, number of years out of the Croatian school system or mother tongue(s). Surprisingly for the authors, the students’ comprehension of the initial pages of the fairy tale was not hindered by unknown words or unfamiliar sentence structures, and their comprehension of the text did not depend on their grade level, years of being out of the Croatian school system, or language(s) spoken at home.

The above findings suggest the need for an instructional agenda for teaching HLLs demanding literary texts. Their indifference towards fairy tales and fairy tale features across the board is a clear indicator to the teacher that it is indispensable to implement activities for HLLs which foster inquiry into aspects of vocabulary, syntax and contextualisation.

Due to the infancy of the field of heritage language acquisition in relation to Croatian learners, and, analogously, the embryo phase of research on young CHLLs, there are no significant research findings with which we could compare the findings of our research. Preliminary research of this kind, on a population of young Croatian heritage language learners, particularly with respect to their reception of Croatian fairy tales, has not been carried out. Considering that the sample size was relatively small and heterogeneous, exploring other research methodologies, mostly qualitative ones, a deeper text-level analysis, and using different techniques for testing reading comprehension in further research might lead to clearer explanations, stronger argumentations and consequently more precise recommendations for teaching. In addition, extending research to another school with a similar student body could potentially yield further results to identify commonalities among young CHLLs.

As the learning of a heritage language is a multifaceted endeavour, the methodological principles for both teaching and researching such a dynamic system should always consider what is comprehended and what is not, as well as the familiar and unfamiliar contexts in which that comprehension or lack of comprehension takes place (cf. Gass and Selinker, 2008). This specific group of young heritage language learners in Croatia has shed light on the need, perhaps even urgency, for a closer interdisciplinary approach to the methodology of literary scholarship and second language acquisition. With the goal of providing more beneficial instruction to HLLs, the two areas mentioned should simultaneously be considered: fostering understanding of the concept of fairy tales, and fostering interest in and appreciation for the Croatian language and culture.


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3 (1): 130–134.Brlić-Mažuranić, Ivana. 2006. “Regoč” = “Reygoch”. Transl. by Fanny S. Copeland. In

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Grgić, Ana, Ranka Đurđević and Tanja Salak. 2015. Šegrt Hlapić za razinu B1: prilagodba romana Čudnovate zgode šegrta Hlapića Ivane Brlić-Mažuranić. Zagreb: Filozofski fakultet.

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Turza-Bogdan, Tamara and Nina Kovač. 2015. “Recepcijske posebnosti i individualan doživljaj Šume Striborove i Regoča Ivane Brlić-Mažuranić u izvannastavnome čitanju”. In “Šegrt Hlapić” od čudnovatog do čudesnog: zbornik radova, edited by Berislav Majhut, Smiljana Narančić Kovač and Sanja Lovrić Kralj, 733–747. Zagreb and Slavonski Brod: Hrvatska udruga istraživača dječje književnosti, Ogranak Matice hrvatske Slavonski Brod.

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Ivana CindrićSveučilište u Zagrebu, Učiteljski fakultet, Zagreb, CroatiaFakultät für Lehrerausbildung der Universität Zagreb, Zagreb, Kroatien

Vlatka BlagusAmerička međunarodna škola, Zagreb, HrvatskaAmerikanische Internationale Schule Zagreb, Zagreb, Kroatien

Recepcija bajke „Regoč“ u nasljednih učenika hrvatskoga jezika Globalno povezano društvo koje karakterizira gotovo nomadski život nametnulo je potrebu za školovanjem djece u sustavima koji omogućuju međunarodno priznato obrazovanje, neovisno o državi u kojoj se učenici školuju. Tako primjerice Američku međunarodnu školu u Zagrebu (AISZ) pohađaju djeca različitih nacionalnosti, uključujući djecu hrvatske nacionalnosti ili hrvatskoga podrijetla. Iako ti nasljedni učenici hrvatskoga prate nastavu na engleskome jeziku, oni imaju i predmet Hrvatski jezik. Prema predmetnome kurikulu oblikovanome u skladu s potrebama učenika AISZ-a, u četvrtome i petome razredu obrađuju se i Priče iz davnine Ivane Brlić-Mažuranić. Ovaj rad prikazuje recepciju bajke „Regoč“ na primjeru heterogenih skupina učenika od šestoga do desetoga razreda. Za provjeru razumijevanja pretpostavljeno nepoznatih ili kontekstualno teže razumljivih riječi upotrijebljen je c-test. Rezultati istraživanja pokazuju da se djelo Ivane Brlić-Mažuranić može ponuditi na čitanje i inojezičnim učenicima hrvatskoga jezika uvažavajući osobitosti njihove recepcije. Analizom učeničkih odgovora stječe se uvid i u njihovu razinu književnoga čitanja te se opisuju individualne razlike među učenicima. Objašnjavaju se poteškoće na koje učenici nailaze dok čitaju izvorni književni tekst koji je zahtjevan na svim razinama književnoga čitanja. Također se predlažu strategije poučavanja kojima se takve poteškoće mogu izbjeći ili umanjiti.Ključne riječi: bajka, c-test, nasljedni učenici hrvatskoga jezika, recepcija, „Regoč“

Die Rezeption des Märchens Regoč unter Schülern mit Kroatisch als Herkunftssprache Die global vernetzte Gesellschaft, der beinah ein Nomadenleben eigen ist, erfordert eine Ausbildung von Kindern im Rahmen solcher Systeme, die einen international anerkannten und vom Standort unabhängigen Schulabschluss ermöglichen. Dementsprechend besuchen die Amerikanische Internationale Schule in Zagreb (AISZ) neben Kindern kroatischer Nationalität oder Abstammung auch jene unterschiedlicher nationaler Herkunft. Obwohl diese Kinder auf Englisch unterrichtet werden, belegen sie auch das Fach Kroatische Sprache und Literatur. Nach der Maßgabe des an die Bedürfnisse der AISZ-Schüler angepassten Lehrplanes wird in der vierten und fünften Klasse auch Ivana Brlić-Mažuranićs Werk Priče iz davnine bearbeitet. Im Beitrag wird die Rezeption des Märchens Regoč von Ivana Brlić-Mažuranić in gemischten Schülergruppen von der sechsten bis zur zehnten Klasse vorgestellt. Bei der Überprüfung des Verständnisses des Vokabulars, von dem anzunehmen war, es sei unverständlich oder schwer verständlich, wurde der C-Test angewandt. Die Forschungsergebnisse weisen darauf hin, dass das Werk von Ivana Brlić-Mažuranić


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auch fremdsprachlichen Teilnehmern am Kroatischunterricht unter Berücksichtigung der Besonderheiten der Rezeption dieses Textes zum Lesen anzubieten ist. Im Beitrag wird auch die durch die Analyse der Schülerantworten erworbene Einsicht ins Niveau, auf dem die Schüler literarische Texte zu lesen im Stande sind, vermittelt, wobei auf individuelle Unterschiede zwischen den Schülern eingegangen wird. Ferner werden im Beitrag Schwierigkeiten erklärt, mit denen Schüler beim Lesen dieses anspruchsvollen literarischen Textes konfrontiert waren, sowie Lehrstrategien vorgeschlagen, mit deren Hilfe man diese Schwierigkeiten ausklammern oder zumindest vermindern kann. Schlüsselwörter: C-Test, Märchen, Regoč, Rezeption, Schüler mit Kroatisch als Herkunftssprache

413–435

The title page of the first edition of Priče iz davnine [Tales of Long Ago] by Ivana Brlić-Mažuranić (1916).

Naslovnica prvoga izdanja Priča iz davnine Ivane Brlić-Mažuranić (1916).

BaštinaDusty Covers

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Illustrations for Leggende croate

This section presents facsimiles of the original illustrations by Carlo Galleni and by David Baffetti made for the 1957 Italian edition of Croatian Tales of Long Ago (Leggende croate) by Ivana Brlić-Mažuranić. The title Favole antiche was also considered, but it was eventually abandoned.

The original plates are preserved in the Giunti Historical Archive, Images collection, Folder 443. The folder contains original plates and proofs for the best solutions in printing the book. All these facsimiles are published in Leggende croate, translated from Croatian into Italian by Umberto Urbani and published in Florence by Marzocco.

Carlo Galleni (1920 – 2015) was a Florentine artist. In 1936, when he was only sixteen years old, he illustrated an edition of the Bible by the Florence children’s literature publisher Salani. In the following years he illustrated fairy tales by Emma Perodi, Charles Perrault and Madame de Segur in the Salani editions and in 1948 in the Mondadori edition of Enciclopedia dei ragazzi [Young People’s Encyclopaedia]. In the Marzocco editions in 1953 he illustrated Peter Pan, some fairy tales and historical novels.

David Baffetti (?) was a Florentine architect. We have limited biographical information about him. In 1933 he illustrated I racconti di Boscobello [The Stories of Boscobello] by Bruna Bini. In the following years he worked as a curator of exhibitions, including Fernando Farulli: scene e costumi per Ulisse [Fernando Farulli: Sets and Costumes for Ulysses] (1969), La ceramica di Montelupo [Ceramics from Montelupo] (1970), and History Today (Museum of the City of Skopje, 1994).1

Sabrina Fava1 We are grateful to the Giunti Historical Archive in Florence and to its Director, Dr. Aldo Cecconi,

for giving Libri & Liberi permission to publish the facsimiles of the original illustrations by Carlo Galleni and by David Baffetti made for the 1957 Italian edition of Croatian Tales of Long Ago (Leggende croate) by Ivana Brlić-Mažuranić, in both printed and electronic versions of this issue.

439–457

DOI: 10.21066/carcl.libri.2016-05(02).0007

The envelope containing the file with original illustrations by Carlo Galleni and David Baffetti.

Omotnica s mapom koja sadrži izvorne ilustracije Carla Gallenija i Davida Baffettija.

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Ilustracije za Leggende croate

Ovdje donosimo faksimile originalnih ilustracija Carla Gallenija i Davida Baffettija koje su načinjene za talijansko izdanje Priča iz davnine Ivane Brlić-Mažuranić, koje je 1957. objavljeno pod naslovom Leggende croate. Također se razmatrao i naslov Favole antiche, no od njega se na kraju odustalo.

Izvorni se crteži i slike čuvaju u Povijesnome arhivu „Giunti“ (Zbirka slika. Mapa 443). Mapa sadrži originalne table i pripadne otiske načinjene kako bi se odabralo najbolje rješenje za tisak. Svi su ti faksimili kasnije uvršteni u spomenuto izdanje Leggende croate, u prijevodu Umberta Urbanija, a knjiga je objavljena u

nakladi Marzocca iz Firence. Carlo Galleni (1920.– 2015.)

bio je firentinski umjetnik. Kad je imao samo šesnaest godina, 1936., oslikao je izdanje Biblije firentinskoga nakladnika dječjih knjiga, Salanija. Sljedećih je godina ilustrirao bajke Emme Perodi, Charlesa Perraulta i Madame de Segur za istoga nakladnika, a 1948. godine i djelo Enciclopedia dei ragazzi [Dječja enciklopedija], u Mondadorijevu izdanju. Za Marzoccovu nakladu 1953. godine ilustrirao je Petra Pana, pojedine bajke i povijesne romane.

David Baffetti (?) bio je firentinski arhitekt. Raspolažemo samo njegovim ograničenim biografskim podatcima. Zna se da je 1933. godine ilustrirao knjigu I racconti di Boscobello [Boscobellove priče] Brune Bini, a sljedećih je godina kao kustos postavio nekoliko izložbi, među kojima su: Fernando Farulli: scene e costumi per Ulisse [Fernando Farulli: scenografija i kostimi za Uliksa] (1969.), La ceramica di Montelupo [Keramika iz Montelupa] (1970.) i History Today [Povijest danas] (Muzej grada Skopja, 1994.).2

Sabrina Fava

2 Zahvaljujemo Povijesnomu arhivu „Giunti“ u Firenci i njegovu ravnatelju, doktoru Aldu Cecconiju, na suglasnosti da u tiskanome i elektroničkome izdanju ovoga broja časopisa Libri & Liberi objavimo faksimile izvornih ilustracija Carla Gallenija i Davida Baffettija načinjene za talijansko izdanje Priča iz davnine (Leggende croate) Ivane Brlić-Mažuranić iz 1957. godine.

Illustrations for Leggende croate • Ilustracije za Leggende croate

Printing proofs for the book. In this step the title Favole antiche becomes Leggende croate. Priprema za tisak knjige. U ovome se koraku umjesto naslova Favole antiche prihvatio naslov Leggende croate.

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Carlo Galleni. An illustration for the story “Jagor”.Carlo Galleni. Ilustracija za priču „Jagor“.

Published in / objavljeno u: Leggende croate (Brlić-Mažuranić 1957: 13).

Illustrations by Carlo Galleni

442

Carlo Galleni. An illustration for the story “Jagor”.Carlo Galleni. Ilustracija za priču „Jagor“.



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Carlo Galleni. An illustration for the story “Fisherman Plunk and His Wife”. Carlo Galleni. Ilustracija za priču „Ribar Palunko i njegova žena“.


444

Carlo Galleni. An illustration for the story “Fisherman Plunk and His Wife”.Carlo Galleni. Ilustracija za priču „Ribar Palunko i njegova žena“.



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Carlo Galleni. An illustration for the story “Stribor’s Forest”.Carlo Galleni. Ilustracija za priču „Šuma Striborova“.


446

Carlo Galleni. An illustration for the story “Stribor’s Forest”. Carlo Galleni. Ilustracija za priču „Šuma Striborova“.



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Carlo Galleni. An illustration for the story “How Quest Sought the Truth”.Carlo Galleni. Ilustracija za priču „Kako je Potjeh tražio istinu“.


448

Carlo Galleni. An illustration for the story “How Quest Sought the Truth”.Carlo Galleni. Ilustracija za priču „Kako je Potjeh tražio istinu“.



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Carlo Galleni. An illustration for the story “Little Brother Primrose and Sister Lavender”.

Carlo Galleni. Ilustracija za priču „Bratac Jaglenac i sestrica Rutvica“.Published in / objavljeno u: Leggende croate (Brlić-Mažuranić 1957: 97).

450




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452




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David Baffetti. An illustration for the story “Jagor”. David Baffetti. Ilustracija za priču „Jagor“.


Illustrations by David Baffetti

454

David Baffetti. An illustration for the story “Fisherman Plunk and His Wife”. David Baffetti. Ilustracija za priču „Ribar Palunko i njegova žena“.



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David Baffetti. An illustration for the story “Stribor’s Forest”.David Baffetti. Ilustracija za priču „Šuma Striborova“.


456

David Baffetti. An illustration for the story “How Quest Sought the Truth”. David Baffetti. Ilustracija za priču „Kako je Potjeh tražio istinu“.



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David Baffetti. An illustration for the story “Little Brother Primrose and Sister Lavender”.

David Baffetti. Ilustracija za priču „Bratac Jaglenac i sestrica Rutvica“. Published on the front cover of / objavljeno na prednjoj strani korica knjige

Leggende croate (Brlić-Mažuranić 1957).

The front cover of the first edition of Priče iz davnine [Tales of Long Ago] by Ivana Brlić-Mažuranić (1916).

Prednja strana korica prvoga izdanja Priča iz davnine Ivane Brlić-Mažuranić (1916).

459Libri & Liberi • 2016 • 5 (2): 459–478

Illustrations for Rozprávky z pradávna

The following pages display original illustrations by Irena Tarasová made for Rozprávky z pradávna, the 1976 Slovak edition of Croatian Tales of Long Ago by Ivana Brlić-Mažuranić (1874–1938), published in Bratislava by Mladé letá. The book comprises all eight tales found in the third Croatian edition of the collection (1926), in translation by Zlatko Klátik (1922–1990). Each story is adorned by three subtle images: a vignette on the page where the story begins, another on the page where the story ends, and a rich full-page colour illustration bled to the edges, incorporated in the text in between. Two additional vignettes accompany Klátik’s afterword about the author and her tales, and the short glossary at the end, the final vignette on the very last page of the book.

Irena Tarasová is an internationally acknowledged Slovak illustrator whose pictures have appeared in books in several languages. She started her career in the 1960s, and has illustrated more than 30 children’s books. Currently, Irena Tarasová is in retirement and lives in the capital of the Slovak Republic, Bratislava.

Irena Tarasová represents a lyrical line of book illustrations for children. Her work is based on the effects of a colour and the decorativeness of a collage. She is one of only a few illustrators who have focused just on illustrations for younger children. According to contemporary literary critics, Irena Tarasová has reached the very top in the aestheticisation of children’s books, especially in the illustrations of the book of Ivana Brlić-Mažuranić Rozprávky z pradávna (1976). Their beauty lies in the uniform, exquisite and vibrant colour of the collages – in the use of the paper structure, on which she draws and paints with oil pastel, gouache and tempera in several layers.1

Radoslav Rusňák

Ilustracije za Rozprávky z pradávna

Na sljedećim se stranicama nalaze ilustracije umjetnice Irene Tarasove za slovačko izdanje Priča iz davnine Ivane Brlić-Mažuranić (1874. – 1938.), Rozprávky z pradávna (1976). Zlatko Klátik (1922. – 1990.) preveo je svih osam priča koje se nalaze u trećemu hrvatskome izdanju zbirke iz 1926. godine, a knjiga je objavljena u Bratislavi, u nakladi Mladé letá. Svaka je priča ukrašena trima ilustracijama; najprije nalazimo vinjetu na stranici gdje priča počinje, potom raskošnu ilustraciju 1 We are grateful to Irena Tarasová for giving Libri & Liberi permission to publish the facsimiles

of her original illustrations published in the Slovak translation of Croatian Tales of Long Ago (Rozprávky z pradávna, 1976) by Ivana Brlić-Mažuranić, in both printed and electronic versions of this issue of Libri & Liberi.

DOI: 10.21066/carcl.libri.2016-05(02).0008

460 Illustrations for Rozprávky z pradávna • Ilustracije za Rozprávky z pradávna

preko cijele stranice unutar priče, a na kraju i vinjetu na kraju priče. Dodatne dvije vinjete ukrašavaju Klátikov pogovor o autorici i njezinu djelu te kratak rječnik pojmova, pri čemu se vinjeta nalazi na zadnjoj stranici cijele knjige.

Irena Tarasová međunarodno je priznata slovačka ilustratorica dječjih knjiga čije su se slike pojavile u knjigama na različitim jezicima. Knjige je započela oslikavati 1960-ih godina, a njezine se ilustracije nalaze u više od 30 dječjih knjiga. Danas je u mirovini i živi u Bratislavi, glavnome gradu Republike Slovačke.

Radovi Irene Tarasove predstavljaju lirski smjer u ilustriranju knjiga za djecu, ukrasne i žanrovske naravi. Njezin se rad zasniva na učincima boje i dekorativnosti kolaža. Pripada malomu broju ilustratora koji su se usmjerili na oslikavanje djela za mlađu djecu. Prema suvremenim književnim kritičarima Tarasová je dostigla vrhunac na putu estetizacije dječje knjige, osobito u ilustracijama za Rozprávky z pradávna (1976) Ivane Brlić-Mažuranić. Njihova su odlika ujednačene, birane i žive boje kolaža i vješto iskorištena struktura papira na koji je umjetnica u nekoliko slojeva nanijela crteže i slike uljnim pastelom, gvašem i temperom.2

Radoslav Rusňák

2 Zahvaljujemo umjetnici Ireni Tarasovoj na suglasnosti da u tiskanome i elektroničkome izdanju ovoga broja časopisa Libri & Liberi objavimo faksimile njezinih izvornih ilustracija objavljenih u slovačkome izdanju Priča iz davnine (Rozprávky z pradávna) Ivane Brlić-Mažuranić iz 1976. godine.

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Front cover of / prednja strana korica knjige Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976).

Cover illustration / omotna ilustracija: Irena Tarasová.

462

Irena Tarasová. Vignettes for the story “Ako Potech pravdu hľadal” [How Quest Sought the Truth]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna

(1976: 7, 27).Irena Tarasová. Vinjete uz priču „Ako Potech pravdu hľadal“ [Kako je Potjeh

tražio istinu]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 7, 27).

Illustrations for Rozprávky z pradávna • Ilustracije za Rozprávky z pradávna

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Irena Tarasová. Full page illustration for the story “Ako Potech pravdu hľadal” [How Quest Sought the Truth]. Ivana Brlićová-Mažuranićová: Rozprávky z

pradávna (1976: 17).Irena Tarasová. Ilustracija za priču „Ako Potech pravdu hľadal“ [Kako je Potjeh tražio istinu]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 17).

459–478

464

Irena Tarasová. Vignettes for the story “Rybár Palunko a jeho žena” [Fisherman Plunk and His Wife]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna

(1976: 28, 45).Irena Tarasová. Vinjete uz priču „Rybár Palunko a jeho žena“ [Ribar Palunko i

njegova žena]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 28, 45).


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Irena Tarasová. Full page illustration for the story “Rybár Palunko a jeho žena” [Fisherman Plunk and His Wife]. Ivana Brlićová-Mažuranićová: Rozprávky z

pradávna (1976: 35).Irena Tarasová. Ilustracija za priču „Rybár Palunko a jeho žena“ [Ribar Palunko i njegova žena]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 35).

459–478

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Irena Tarasová. Vignettes for the story “Rehoč” [Reygoch]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 47, 65).

Irena Tarasová. Vinjete uz priču „Rehoč“ [Regoč]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 47, 65).


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Irena Tarasová. Full page illustration for the story “Rehoč” [Reygoch]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 55).

Irena Tarasová. Ilustracija za priču „Rehoč“ [Regoč]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 55).

459–478


Irena Tarasová. Vignettes for the story “Striborova hora” [Stribor’s Forest]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 67, 77).

Irena Tarasová. Vinjete uz priču „Striborova hora“ [Šuma Striborova]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 67, 77).

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Irena Tarasová. Full page illustration for the story “Striborova hora” [Stribor’s Forest]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 73).

Irena Tarasová. Ilustracija za priču „Striborova hora“ [Šuma Striborova]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 73).


Irena Tarasová. Vignettes for the story “Braček Jelenček a sestrička Ruženka” [Little Brother Primrose and Sister Lavender]. Ivana Brlićová-Mažuranićová:

Rozprávky z pradávna (1976: 79, 108).Irena Tarasová. Vinjete uz priču „Braček Jelenček a sestrička Ruženka“ [Bratac

Jaglenac i sestrica Rutvica]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 79, 108).

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Irena Tarasová. Full page illustration for the story “Braček Jelenček a sestrička Ruženka” [Little Brother Primrose and Sister Lavender]. Ivana Brlićová-

Mažuranićová: Rozprávky z pradávna (1976: 91).Irena Tarasová. Ilustracija za priču „Braček Jelenček a sestrička Ruženka“ [Bratac Jaglenac i sestrica Rutvica]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna

(1976: 91).

459–478

472

Irena Tarasová. Vignettes for the story “Tuláčik Toporček a deväť synčekov-župančekov” [Topoko the Wanderer and Nine Princes]. Ivana Brlićová-

Mažuranićová: Rozprávky z pradávna (1976: 110, 140).Irena Tarasová. Vinjete uz priču „Tuláčik Toporček a deväť synčekov-župančekov“ [Lutonjica Toporko i devet župančića]. Ivana Brlićová-

Mažuranićová: Rozprávky z pradávna (1976: 110, 140).


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Irena Tarasová. Full page illustration for the story “Tuláčik Toporček a deväť synčekov-župančekov” [Topoko the Wanderer and Nine Princes]. Ivana Brlićová-

Mažuranićová: Rozprávky z pradávna (1976: 123).Irena Tarasová. Ilustracija za priču „Tuláčik Toporček a deväť synčekov-

župančekov“ [Lutonjica Toporko i devet župančića]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 123).

459–478

474

Irena Tarasová. Vignettes for the story “Slnce družba a Neva Nevestička” [Bridesman Sun and Bride Bridekins]. Ivana Brlićová-Mažuranićová: Rozprávky z

pradávna (1976: 141, 152).Irena Tarasová. Vinjete uz priču „Slnce družba a Neva Nevestička“ [Sunce djever

i Neva Nevičica]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 141, 152).


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Irena Tarasová. Full page illustration for the story “Slnce družba a Neva Nevestička” [Bridesman Sun and Bride Bridekins]. Ivana Brlićová-Mažuranićová:

Rozprávky z pradávna (1976: 149).Irena Tarasová. Ilustracija za priču „Slnce družba a Neva Nevestička“ [Sunce

djever i Neva Nevičica]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 149).

459–478

476

Irena Tarasová. Vignettes for the story “Jahor” [Yagor]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 28, 45).

Irena Tarasová. Vinjete uz priču „Jahor“ [Jagor]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 28, 45).


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Irena Tarasová. Full page illustration for the story “Jahor” [Yagor]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 35).

Irena Tarasová. Ilustracija za priču „Jahor“ [Jagor]. Ivana Brlićová-Mažuranićová: Rozprávky z pradávna (1976: 35).

459–478

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Irena Tarasová. Two vignettes in Rozprávky z pradávna [Croatian Tales of Long Ago]. Ivana Brlićová-Mažuranićová (1976: 174, 178).

Irena Tarasová. Dvije vinjete u zbirci priča Rozprávky z pradávna [Priče iz davnine]. Ivana Brlićová-Mažuranićová (1976: 174, 178).


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New Approaches to Ideology in Children’s LiteratureMarian Thérèse Keyes & Áine McGillicuddy, eds. 2014. Politics and Ideology in Children’s Literature. Dublin: Four Courts Press. 191 pp. ISBN 978-1-84682-526-2

DOI: 10.21066/carcl.libri.2016-05(02).0009

The Irish Society for the Study of Children’s Literature (ISSCL) was founded in 2002, eight years before the Croatian Association of Researchers in Children’s Literature. Having similar objectives, both societies aim to promote multi-disciplinary research in the field of children’s and young adult literature and help disseminate research findings.

ISSCL publishes a series of edited collections of essays, and the seventh book in this series focuses on politics and ideology in children’s literature. The book contains an introduction, written by editors Marian Thérèse Keyes and Áine McGillicuddy, thirteen articles by various authors divided into four thematic units, notes on the authors (179–181) and an index (183–191).

Starting from the well-known fact that children’s literature cannot address its readership without affirming certain values and beliefs, the editors aim to shed light on various modes in which politics and ideology are present in children’s literature, and also on their role. With this aim in mind, they have gathered contributions by a range of researchers focusing on the central theme of the volume. Thus, the collection assembles research papers in which particular children’s books are studied from an innovative perspective not yet applied to them, as well as papers which discuss the presence of ideology in children’s literature by using new approaches and perspectives (ecocritical, biopolitical, paratextual, cinematic).

The first topic, “Ideology and Subversion” is addressed in Clémentine Beauvais’s opening essay “Little Tweeks and Fundamental Changes: Two Aspects of Sociopolitical Transformation in Children’s Literature”. Beauvais explores so-called “radical books for young readers” (or “transformative children’s literature”) (20). In her opinion, the main problem with studying committed children’s literature lies in the easy labelling of such books as “Green”, “Marxist”, “antiracist”, “queer”. The effect of this approach is the fragmentation of the corpus of committed literature and the eventual weakening of its social perception. Therefore, Beauvais suggests that the “fluid, controversial, commonly disagreed-upon, ever changing corpus of texts that we might name politically ‘radical’ or ‘transformative’ children’s literature [is] to be analysed transversally” (20). Thus, at one end of the scale are the books that promote “local and gradual changes” and rely on the “existentialist form of reflection” (25). Children’s books that call for the “complete restructuring of whole worlds” occupy the other end of the scale. However, the crucial sentence in the paper seems to be in the introductory part, where Beauvais considers difficulties related to the categorisation of what constitutes a radical book for young readers. In her opinion, radicalism, apart from being “easily outdated” (20), is difficult to categorise because one country’s radicalism may be the neighbouring country’s mainstream. This leads us to suggest that the Eastern European view of children’s books, in particular those placed at the latter end of the proposed scale, might be considerably different from what Beauvais suggests.

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Eithne O’Conell applies ecocriticism to the study of the work of Beatrix Potter. A relatively new area within literary studies, ecocriticism emerged in the 1990s. Concerned with the relationships of literature and the environment, in the course of its development ecocriticism moved away from the exclusively ecocentric position and came closer to the sociocentric standpoint. This tendency paved the way for talk on behalf of the silent environment and silent animals, but also on behalf of silent social groups (from feminism to ageism and ableism). Children’s literature certainly has its own role here. Viewed in this perspective, Beatrix Potter, passionately engaged with problems that are today recognised as ecocentric and sociocentric, is seen as a writer and person far ahead of her time.

In the chapter “Creaturely life: Biopolitical Intensity in Selected Children’s Fables”, Victoria de Rijke applies biopolitics, as developed by Michel Foucault in The Birth of Biopolitics, to animal characters in Aesop’s fables. Biopolitics is concerned with the political impact of capitalism on corporal, biological aspects of human existence. De Rijke explores how “particular fables, suggestive of class struggle and revolution, may be smoothed over or radicalized in children’s literature” (46). Thus, the very story about Aesop, who, if he ever existed, was a Phrygian slave and never grew to old age, is cited as an example of “whitewashing”. In various illustrations and interpretations, Aesop is depicted as an old white man, and not as a black young man. With regard to this, it is interesting to examine the solution employed in Relković’s Esopove fabule za slavonsku u skullu hodechju dicu (Aesop’s Fables for Slavonic Schoolchildren) from 1804, where the reader has, on his own, to read into the illustration portraying Aesop as a bearded man under heavy clothes the “ugliness of the body” and “bad temper”, attributed to him in the verses under the illustration.

Applying the concepts of the individual and the masses, as conceived by John Stuart Mill, and Bakhtin’s concept of the carnivalesque, Olga Springer explores the characteristic structure of Edward Lear’s limericks, founded on the confrontation of an individual and society. Looking for the full meaning of Lear’s limericks, Springer not only examines the text but also takes into account Lear’s drawings. The interplay of the drawing and text opens space for the resonating multiple meanings that actually constitute the full sense of the limerick.

The second topic of the book is “Utopias and Dystopias”. In this part, two texts address a kind of utopia, if that might be the appropriate term to refer to the creation of an idealised picture of Ireland in the past in adolescent novels by Eilís Dillon, or the relations of the mythological and real Ireland in the novels by Irish-Canadian author O.R. Melling (whose real name is Geraldine Whelan).

Anne Marie Herron analyses the work of Eilís Dillon (1920–1994), an Irish author for children and adults, whose works have been translated into sixteen languages (regrettably, not into Croatian). Herron focuses on fifteen books for teenagers, in which Dillon seeks to inspire the Irish “boy’s capacity to embrace the literal and symbolic values of hearth and home”.

Ciarae Ni Bhroin addresses the problems of the return of Irish emigrants to their country of origin, of national identity and tradition in three fantasy novels by O.R. Melling, an author who was born in Ireland and grew up in Canada (her works have not been translated into Croatian). The protagonists of The Druid’s Tune are Canadian teenagers, whose father,

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a judge, sends them to visit relatives in rural Ireland in order to move them away from their wild friends in Canada and to keep them out of mischief for a while. Of course, Ireland as their father remembers it does not exist any longer; his is only an emigrant’s picture of the homeland. According to Ni Bhroin, this vision of the homeland, in Melling’s novels amalgamated with ancient mythological themes, has no foundation in modern Irish reality. Still, it is a significant reminder of the power of Irish tradition and heritage, both for the Irish people living in Ireland and those living abroad.

The starting point in Susan Shau Ming Tan’s study of The Hunger Games is the thesis that this trilogy is not only a teenage dystopia, or a cautionary tale, but also a cultural and political critique of the United States. Her aim is to explore the interaction of space, history and national identity in The Hunger Games. There is an impressive analysis of the politicised landscape, of places permeated with history that in the dystopic future will become places of destruction, or, in other words, the geography of Panem. The memories of the history of these places are preserved, though in fragments, in the very structure of Panem (for example, District 11 – slave plantations, District 12 – coal mines in the Appalachians). In a similar vein, parallels are drawn between contemporary American tradition, reflected, for example, in Thanksgiving, and its twisted reflections in the games held in Panem. Ming Tan perceives The Hunger Games as a warning projection that is a result both of the traumas from the past and the ideological perversions of today.

The third topic in this collection addresses “Experiences of War and The Exile”. Elizabeth A. Galway explores the ideological foundations of the three main child figures emerging during the First World War – the child victim, the child soldier and the child peacemaker, as they are presented in English-language periodicals and annuals aimed at school children. The child victim is analysed not only as a victim but also, within war propaganda, as an excuse for war actions. In the children’s literature of the period, boys are often presented as those who will find freedom, a sense of belonging, and their natural environment in a military unit. The child peacemaker is a “revived Romantic notion of the child as an incarnation of mankind’s potential” (110). Galway pays particular attention to Hermann Hagerdon, an American author who in 1917 wrote You Are the Hope of the World! An Appeal to the Girls and Boys of America. In his book, Hagerdon does not see the American child as a victim or a soldier, but as a thinker, leader and ambassador of democracy, who struggles against the dark layers of the past (which are destroying and devouring Europe): “coercive government, irrationality, barbarism, feudalism…” (113).

The topic of Jessica d’Eath’s paper is Italian children’s literature in the 1930s, when squadrismo became an established theme in Italian children’s literature. Squadristi were depicted as “heroic” protectors of the Italian people in the 1920s, “who used public beatings and castor oil ‘purges’ amongst other methods to silence and punish their declared enemies” (116). Actually, as in the 1920s Italian Fascists were not happy to be perceived as associated with the brutal actions of the squadristi, the image of the scuadrista was only later ameliorated and the squadristi were incorporated into the history of the Fascist movement. As children’s literature was under the strong control of Fascist propaganda, it played a significant role in the dissemination of the “truth”.

Áine McGillicuddy analyses Out of the Hitler Time, a trilogy written by Judith Kerr in 1994. Judith Kerr, a British children’s author and illustrator, was born in 1923 in Berlin, in

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a family of Jewish origin, who fled from Germany in the face of Hitler’s accession to power in 1933. McGillicuddy’s attention is placed on the emotional traumas suffered by the nine-year-old Anne and her family, caused by the crossing of linguistic, national and cultural boundaries during her childhood and youth.

The fourth topic is “Gender politics”. Marian Thérèse Keyes explores the role played by the paratext (as created by the publisher or the author) in ideologically preparing the reader for the encounter with the text. For this purpose, she analyses the works of Anne Marie Fielding Hall (1800–1881), more precisely her three frontispiece portraits and paratextual elements of The Juvenile Forget-Me-Not (1829–1837).

Brigitte Le Juez examines the film adaptation of the story about Bluebeard produced by French director Catherine Breillat in 2009 under the title Barbe Bleue. Le Juez finds reasons for the appearance of a host of interpretations, adaptations, rewritings of this story in diverse cultural and historical contexts in the fascination with its realistic basic motif: “the husband as a serial abuser and killer of his young bride(s)” (158), that is, in the central theme of psychological and sexual abuse.

Marion Rana describes the presentation of rape and sexual violence in contemporary young adult novels, as well as numerous myths that make up the commonplaces of contemporary culture, employed to justify rape or diminish its criminal nature.

The edited collection of essays Politics and Ideology in Children’s Literature opens up a whole range of thought-provoking perspectives on Irish children’s literature, which is insufficiently researched. At the same time, it offers insight into Irish research of children’s literature (where we can look for parallels with the situation in Croatian research). In doing so, this collection of essays also brings Ireland closer to us. There are many similarities between Ireland and Croatia. Undoubtedly, when such a large number of Croats are choosing Ireland as a country where they hope to achieve their ambitions, there must be a certain sense of affinity, surpassing pure economic interests. Perhaps this fact also makes it difficult for us to resist the temptation to look for parallel experiences and parallel practices, in particular with regard to the themes of politics and ideology, evidently a delicate topic in both countries. Still, however difficult it might be for us in Croatia to resist such interpretations, we should note that we are also facing a very different culture, whose experiences can be really precious.

Berislav Majhut (translated by Snježana Veselica-Majhut)

History RevaluatedHelen A. Fairlie. 2014. Revaluing British Boys’ Story Papers, 1918-1939. London: Palgrave Macmillan. 210 pp. ISBN 978-1-137-29305-3

DOI: 10.21066/carcl.libri.2016-05(02).0010

The book Revaluing British Boys’ Story Papers, 1918–1939 presents a bright example of the successful application of various theoretical approaches in a case study of children’s literature. Helen A. Fairlie focuses on revaluation, as the title says, of boys’ story papers published in Britain in the period from 1918 to 1939. As Fairlie emphasises, this period of British children’s literature was often interpreted as a decline in the quality of children’s

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books which came after the “golden”, late Victorian years and today is generally considered as unexciting and tasteless, “an ocean of terrible trash” (18). To overcome this perspective, Fairlie recognises this period as a cultural phenomenon and tries to explain it without attributing any marks of value to it. She observes story papers as cultural products consumed by child consumers and shaped at the same time by the cultural environment (cinema or comics) and its readership (questioning children’s preferences).

In her research, Fairlie combines textual theoretical analysis and historical investigation. Through six chapters she positions story paper narratives in a socio-cultural context with special attention to power relations between producers and consumers, and analyses it in the context of popular culture (discovering analogies and influences between story paper narratives and cinema serials). Furthermore, she interprets the texts according to the ideological messages produced in moral codes, school world images and hero figures in stories, school world images and hero figures, and uses story papers as cultural artefacts situated in an economic and cultural field of production, while also taking into account their paratextual elements.

In order to be able to make such a broad cultural analysis, the subject of the research had to be narrowed as far as possible. This is why Fairlie focuses on just two representative story papers: The Magnet (1908–1940) and The Hotspur (1933–1959), both published in the period between the two world wars, aimed at the same audience (boys) of approximately the same age (12–15) and exploiting the same genre (school stories).

Fairlie bases her research mainly on the theories of new historicism and cultural materialism which she applies to the field of children’s literature. Beside contextualising the phenomenon in a historical setting (contemporary practices of publishing for children, changes in the educational system) and explaining it from the perspective of cultural production (the rise of the cinema and other mass media), she employs documentary resources, such as surveys and memories of childhood reading experiences from that time, to describe the formation of a new consumer: the autonomous child reader who chooses his leisure reading matter by himself.

Reader-response theory serves as a frame for analysis of the ideology transferred through story papers. Fairlie concludes that story paper producers/authors were both “reconstructing and reinforcing the dominant social character” (66) after the First World War in order to regain the stability of pre-war mythologies. Although the analysis of identified conservative values depicted through the moral code, schooling system, and hero characteristics presented in the two narratives in focus is welcome, it would be also useful to set these values in a broader context in order to see their role and strength in comparison to other lines of power in literature which competed for the child’s attention. Furthermore, what would be the final goal and impact of these messages directed at working- and lower-middle-class children? It is nicely shown how story papers influenced the development of the school story genre, but it would also be interesting to see the position of the genre and the whole phenomenon in the wider context of children’s literature of that time.

The last two chapters show the full potential of the cultural theory framework for research in children’s literature. By recognising the child as a consumer, not just as a reader, Fairlie approaches children’s everyday life which was flooded by the variety of stories

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presented in different media (newspapers, cinema, magazines, comics). The author shows how cinema affected the story paper narrative (use of cliff-hangers) and style (cinematic speed in the succession of action events) and ultimately led to its final decline. Fairlie sees this field of entertainment production for children as a constant competition in which story papers eventually lose the battle (story papers disappeared by the 1960s) (187) against the strong appeal of visual (cinema) and multimodal (comics) storytelling.

The theoretical approaches of new historicism and cultural materialism make it possible for this study to view the story paper genre in a completely new way. For the study of children’s literature, this research is valuable from several viewpoints: it shows how these entertaining and, for children, affordable narratives excluded adults from the author-text-reader communication and turned children into consumers (of different kinds of goods as well), and how other mass media brought a change of style and narrative construction to the school story genre (I assume this influence may have a much broader application). Finally, it tries to construct an image of childhood leisure experience in reading story papers in the period between the two world wars. In this way, this study can certainly contribute to developing a new perspective on the history of children’s literature.

Sanja Lovrić Kralj

SuperDahl: Literature, Criticism and ParatextLaura Viñas Valle. 2016. De-constructing Dahl. Cambridge: Cambridge Scholars Publishing. 191 pp. ISBN: 978-1-4438-8258-3

DOI: 10.21066/carcl.libri.2016-05(02).0011

The book De-constructing Dahl by Laura Viñas Valle, published by Cambridge Scholars Publishing in 2016, is an academic study of the children’s literary works of Roald Dahl from the point of view of socio-cultural constructivist theory, and the first single-authored monograph on Roald Dahl since 1994. The long list of sources, acknowledgments and references is proof that the author spent a substantial amount of time immersed in research on this famous, highly complex and controversial author in an attempt to subject Dahl “to a de-constructing process which has entailed analysing the assumptions that underpin claims made about ‘children’, ‘childhood’ and ‘children’s literature’” (165).

Accordingly, the book is divided into three chapters which landmark the authorial process of de-construction. The author claims that despite Dahl’s popularity, there is not much scholarly work available on his writing and lists three existing book-length studies: Alan Warren’s Roald Dahl: From the Gremlins to the Chocolate Factory (1988), Mark I. West’s Roald Dahl (1992), and the essay collection Roald Dahl (2012) edited by Catherine Butler and Ann Alston. These are outnumbered by several biographies on Dahl, written by Chris Powling (1985), Jeremy Treglown (1994), Jennet Conant (2008), Donald Sturrock (2010) and Michael Rosen (2012). The book De-constructing Dahl is therefore an attempt to review, complement and contextualise the exploration of Dahl from a multitude of perspectives.

In the first chapter, “De-constructing Dahl through Criticism”, Viñas Valle provides a thorough overview of the criticism and reception of Dahl’s work within the context of a variety of literary and cultural theories. The overview addresses text-based approaches to

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children’s literature that emerged in the 1990s, as well as traditional approaches derived from educational studies, librarianship and reader-response criticism. The chapter focuses on the striking features and appeal of Dahl’s writing in terms of memory, observation, or identification, and in particular on an examination of studies on Charlie and the Chocolate Factory (1964) and Matilda (1988). Provided in this chapter is a detailed account of the plurality of critical voices which mark the mixed reception of Roald Dahl’s children’s books, as well as what is known of his influence and legacy.

This overview of the literary and cultural significance of Roald Dahl is followed by the chapter “De-constructing Dahl’s Children’s and Adult Books”, in which the author presents the reader with her own analysis of the particular ingredients of Roald Dahl’s writing. By discussing Dahl’s narrative voice, characterisation in terms of names and surnames, physical or character attributes, bodily functions – a.k.a. “the pleasures of orality and anality” (94) – and conflicts of power in both his children’s books and fiction for adults, Viñas Valle pinpoints some of the defining characteristics of Dahl’s style, and attempts to “dismantle the idea that Dahl is a two-headed writer whose children’s and adult books belong to two distinct separate literary fields with nothing or little in common between the two” (166). Quite inconveniently, however, the author was not granted permission from the Roald Dahl Literary Estate to reproduce quotes from Dahl’s literary works or his editorial correspondence in Chapter Three, which affects the overall flow, impact and stylistic opulence of the text.

Finally, in Chapter Three, the author places Roald Dahl in context by focusing on paratexts, elaborated in Gérard Genette’s 1987 study Paratexts: Thresholds of Interpretation (published in English in 1997), and observes Dahl in the public and private spheres pertaining to epitexts (his writing hut, his “SuperDahl figure”, his editorial correspondence), and peritexts, such as the Dahl-Blake partnership or the classification of his works in terms of his target audience, marketing and design, all of which “make up the packaging of ‘Dahl’” (4).

As an extension of her doctoral dissertation “Constructing Dahl: A Reappraisal of Roald Dahl’s Children’s Books” (Universidad Autónoma de Madrid, 2004) which was followed by years of research, as well as a personal battle to overcome a serious illness, this book is Laura Viñas Valle’s attempt at portraying “her Dahl” as a representation of her own practice in reading, interpreting and researching children’s literature, as stated in the Epilogue. For this reason, the focus is on Dahl’s work as literature. Furthermore, as a Spanish native speaker, the author speaks from within a culture which has, from a critical perspective, always favoured Dahl, while her analysis is also based on her research conducted in the UK. At the same time, she discusses the relatively small output of research on Dahl’s work, predominantly available in English-speaking countries. While this book does not provide an answer or any groundbreaking theory on Dahl’s literary creation, it does outline key issues and considerations attributed to his fiction, and provides an overview of the perspectives, theories and approaches to childhood, children’s literature, and children’s culture.

Although we might never resolve the enigma of Dahl, his mind, his mastery of language, or the fact that he probably would have considered any academic research on his opus sheer idiocy, we should certainly be grateful for worthy contributions such as

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De-constructing Dahl by Laura Viñas Valle. It is a valuable and detailed resource which examines Dahl in a social, cultural and literary context, but which also sheds some light on the contents of Dahl’s hut, what went on in there, and why it delights us so much.

Željka Flegar

Multiple InteractionsJohn A. Bateman. 2014. Text and Image: A Critical Introduction to the Visual/Verbal Divide. London: Routledge. 276 pp. ISBN: 978-0-415-84198-6

DOI: 10.21066/carcl.libri.2016-05(02).0012

In today’s digital environment, the commonplace practice of combining text with image is transforming and adopting new flexible forms, a process which provokes scholars to develop approaches for understanding these notions and how they work together to create new meanings. However, as different disciplines approach the subject, they also offer different perspectives and the “text-image divide” is still present. In his book Text and Image: A Critical Introduction to the Visual/Verbal Divide, John A. Bateman aims to relate these different approaches and establish a common ground for research on this subject. It is an introductory textbook for the interdisciplinary study of multimodality and the text-image relationship which provides a detailed overview of approaches dealing with text, image and their combinations, such as socio-semiotics, visual communication, psycholinguistic approaches to discourse, rhetorical approaches to advertising and visual persuasion, and cognitive metaphor theory. The author highlights the strengths and weaknesses of each approach, outlines questions for further research, and finally proposes a new multimodal framework for the study and interpretation of meanings produced by the text-image interaction/combination.

The book is divided into three parts consisting of five modules, each representing a different aspect of the text-image relation, and fourteen units. The first part of the book, “Relating Text and Image”, focuses on the definition of “text” and “image”, and the meaning multiplication which occurs when these two distinct modalities of information presentation are used together: “the meanings of one and the meanings of the other resonate so as to produce more than the sum of the parts” (6). Although some text-image combinations are straightforward and easy to interpret, some are more complex and require a more systematic approach. Hence, the author emphasises the need for research on text-image relations and the importance of multimodal literacy in our digital, multimodal climate. In Unit 2, the author presents a historical overview of scholarly investigation of text-image relations, pointing out the contributions of Roland Barthes, whose early work presents a starting point in the study of text-image relationships.

Part 2, “Visual Contexts”, consists of two modules and is concerned with contexts, such as picturebooks, comics and advertisements, in which text and image coexist, providing new possibilities of meaning.

In Module 2, “Visual Narratives”, the author suggests that the constructs used for exploring and describing narratives can also be employed in investigating visual communication and visual narratives, which he then exemplifies in the analysis of

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picturebooks and comics. In Unit 4, Bateman refers to Nikolajeva and Scott’s (How Picturebooks Work, 2001) definition of picturebooks and their classification according to the type of text-image relationships, and demonstrates how visual narrative is achieved in them. Unit 5 is concerned with the visual narrative in comics and sequential art. The unit provides a definition of comics and their elements, and sets forth Cohn’s (The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images, 2013) framework for text-image relations in comics, as well as Groensteen’s semiotic perspective (The System of Comics, 2007). The author suggests that the former offers the most thorough and detailed review of text-image relations in comics.

Consisting of two units, Module 3, “Visual Persuasion”, provides an account of the development of traditional rhetoric and how its devices provide a useful tool for investigating the use of visual representations and text-image combinations. As complex examples of multimodal communication whose role is to persuade the audience to do something, advertisements represent perfect material for visual rhetoric study. Thus, Unit 7, “Visual Persuasion and Advertisements”, explores how visual rhetoric is deployed in advertisements and in their study. The author suggests that rhetorical accounts of visual and verbo-visual materials can also be applied in other areas, and welcomes the widening of research and the use of new methods, such as eye-tracking.

The last part of the book, “Frameworks”, is composed of two modules and addresses the frameworks specifically designed for describing text-image relations that are based on the linguistic system, communicative action, cognitive models and pragmatics, exploring how general and reliable each of them is.

Module 4, “Frameworks Drawing on the Linguistic System”, presents frameworks for describing verbo-visual relations that are based on cohesion, metaphor, grammar and discourse. Unit 8, “Multimodal Cohesion and Text-Image Relations”, introduces the notion of cohesion and explores its accounts in text-image relations. Terry D. Royce’s model of intermodal complementarity (“Intersemiotic Complementarity: A Framework for Multimodal Discourse”, 2007) shows how intermodal cohesive ties, namely repetition, synonymy, antonymy, meronymy, hyponymy and collocation, can be used in text-image discourse between verbal elements of the text and visual message elements (VME) to create intersemiotic cohesion. This model was further developed by Liu and O’Halloran (“Intersemiotic Texture: Analyzing Cohesive Devices between Language and Images”, 2009), who considered the levels of abstraction at which intersemiotic connections can be drawn, and added polysemy to Royce’s list. However, Bateman points to a methodological issue with Royce’s model and suggests a different direction in which the study should be developed. In Unit 9, “Using Metaphor for Text-Image Relations”, the author moves from the traditional definition of verbal metaphor to the exploration of metaphor in other research areas, such as cognitive linguistics (conceptual metaphor), visual rhetoric (pictorial metaphor), and semiotics (semiotic metaphor). At the end of the unit, Bateman suggests that efforts should be directed at defining the concept of metaphor more precisely in order to clarify how meaning multiplication is achieved, thus elucidating the construction of interpretations in text-image combinations.

The next unit, “Modelling Text-Image Relations on Grammar”, describes grammar-based approaches to image-text relations. Here, the author points out Martinec and

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Salway’s (“A System for Image–Text Relations in New (and Old) Media” 2005) approach to text-image relations based on systemic-functional grammar and logico-semantic clause-combining principles, which was further developed by Unsworth (“Image/Text Relations and Intersemiosis”, 2007) and Kong’s (“A Taxonomy of the Discourse Relations between Words and Visuals”, 2006) multi-layered descriptive framework, which is more discourse oriented. The author considers these approaches to be beneficial for describing visual depictions, as well as for forming solid criteria for a more reliable description of text-image relations. In the unit “Modelling Text-Image Relations as Discourse”, Bateman shows linguistic approaches that study image-text relations from the perspective of discourse. In this respect, two linguistic theories, Martin’s conjunctive relations (English Text: Systems and Structure, 1992) and Mann and Thompson’s Rhetorical Structure Theory (RST) (1988) have been influential. The author states that these approaches are valuable for improving multimodal literacy and our understanding of the diversity of relations existing between text and image. However, he also points out that further study is needed in terms of the precise definition and organisation of conjunctive relations.

The final module, “Frameworks Relating to Context of Use”, concentrates on text-image relations from the perspectives of text linguistics, pragmatics and action, highlighting the need for the construction of new frameworks for understanding and interpreting the relationship between text and image in conveying meaning. In the unit “Text–Image Relations from the Perspectives of Text Linguistics, Pragmatics and Action”, the author sets out Stöckl’s (Textstil und Semiotik englischsprachiger Anzeigenwerbung 1997) text linguistic approach, which he regards as a serious step in empirically-based theoretical research, and Bucher’s (“Multimodales Verstehen oder Rezeption als Interaktion” 2011) pragmatic model, which offers an action-based foundation for exploring text-image relations. Unit 13, “Text-Image Relations and Empirical Methods”, outlines some of the empirical methods that have been applied in research of the reception and comprehension process with text-image materials, and emphasises the importance of the use of corpora in general multimodal research, as well as in particular text-image relationship studies. In the final unit of the book, “The Continuing Research Agenda: Topics for Further Work”, the author accentuates the demand for building new frameworks on and around existing ones, in order to resolve current and address new issues related to text-image relations. In dealing with these complex multimodal phenomena, the author suggests that a dynamic inter- and transdisciplinary approach is essential for providing a foundation for further research development.

To conclude, this book provides a valuable systematic exploration of text-image relations and suggests directions for further research development. It offers an overview of theoretical approaches that have attempted to interpret text-image relations, emphasising the contributions as well as the shortcomings of each approach and establishing a common, interdisciplinary ground for constructing a framework for future text-image study. Written in a clear and readable style, the book presents an invaluable asset for all those interested in the field of multimodality and text-image relations, scholars and students alike.

Tea Bošković

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Immigrant Children and The ArrivalEvelyn Arizpe, Teresa Colomer and Carmen Martínez-Roldán, eds. 2014. Visual Journeys Through Wordless Narratives. London&NewYork: Bloomsbury Academic. 272 pp. ISBN: 978-1-7809-3758-8

DOI: 10.21066/carcl.libri.2016-05(02).0013

Visual Journeys Through Wordless Narratives makes a detailed inquiry into an international project which focuses on Shaun Tan’s picturebook The Arrival and the effect it has on immigrant children. The aim of the research was to find out in what ways participation in visual response strategies and discussions of wordless postmodern texts supports recent immigrant children as readers (5). The research was carried out in three international contexts led by research teams in Glasgow, Arizona, and Barcelona. The first part of the book deals with the theoretical framework and choice of methods used in the project. The second part presents the findings from the inquiry, including transcripts of readers’ responses and group discussions. The third part offers an overview of types of mediation used to interpret The Arrival, as well as recommended reading strategies for teachers. Throughout the book, the emphasis is on readers’ meaning-making of the wordless narrative, elicited by researchers-mediators during a series of literary sessions.

The book starts by acknowledging all the contributors who participated in the research. In the introduction, the authors write about the point of departure of their research, or, as they call it, their “journey”. Social, economic and political problems in the world today cause migration, and host countries struggle with the inclusion of immigrant children in schools. While educationalists explore new theories of language to respond to their needs, one of the least explored ideas in education is the use of visual images. Most children from different countries today are greatly exposed to visual culture and the authors suggest building on that knowledge, and using it in language and literacy learning.

In the first chapter, the authors discuss the contextual and theoretical frameworks needed for a better understanding of the educational needs of immigrant children. Some of the topics mentioned are globalisation and migration, visual literacy and language, and the role of wordless picturebooks in education. The authors stress the benefits of reading wordless picturebooks, such as the development of an active literary response, inciting the imagination, and activating intercultural and intertextual knowledge.

Three international contexts, Glasgow, Catalonia, and the US state of Arizona, are described in the second chapter. The differences and similarities between the research groups are presented in a social, historical and educational context. The variables in each country and the diversity of participants forced the research teams to abandon a comparative study model to focus on a more flexible research design.

The third chapter describes the setting of the initial research design, bearing in mind the different backgrounds of immigrant pupils. While the basic structure of the design remained similar enough to allow comparisons among international contexts, the variations in the design led to some discrepancies. For example, the Barcelona and Glasgow teams included non-immigrant participants in some sessions, and the languages in which mediators communicated with participants varied depending on the context. In selecting children, the mediators aspired to meet the following criteria: children having had their

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primary education interrupted by a journey to another country, 10–12 years of age, having spent no more than three years in the host country, a diversity of countries of origin, gender balance (if possible), and willingness to participate in the study.

The research methodology combined elements of using images to elicit responses and analysing images made by children with observation and interviews. The selected wordless narratives included Flotsam by David Wiesner (2006) and The Arrival by Shaun Tan (2006). Flotsam, a short and colourful wordless picturebook chosen because of its relative simplicity, was used to introduce the idea of “looking” to the participants. The main wordless narrative used in the study was The Arrival, a complex wordless picturebook, often classified as a wordless graphic novel, which covers the theme of migration. The researchers used various techniques to elicit oral responses to the visual text, such as an introductory “walkthrough” reading of the picturebook, semi-structured interviews, and literary discussions with groups of children. Each team mediated discussions according to the time available and the comprehension pace of the readers. The goal was to support dialogue and co-creation of meaning through an exchange of ideas among the readers. Annotation of images was another technique carried out in the Barcelona and Glasgow research groups, where children were encouraged to write comments, notes, dialogues and thought bubbles for characters in the images. The visual response method included creating visual artefacts through sessions of drawing and of taking photographs. All these methods were designed to include creativity and further draw students into the narrative, in order to form more detailed and comprehensive responses.

The second part of the book introduces a deeper insight into discussions between participants, offering discussion transcripts, children’s drawings and text annotations. An important conclusion that stems from chapter 4 is that children’s understanding of the narrative is based on personal migrant experience. Some of the difficulties the participants experienced are separation from family members, stress of migration, bureaucratic difficulties, language barriers and a sense of personal identity in the new country. All these challenges affected the way immigrant children read and comprehended the narrative. The discussions provided the children native of the host countries who participated in the study with feelings of empathy and understanding for their classmates’ and other immigrants’ stories. The participants displayed awareness of socio-economic and socio-political factors that influence migrations.

In chapter 5, the authors explain the referential system the three teams used to analyse the children’s statements. The children’s inferences about the plot, setting and characters were included, as were the children’s interpretations of text through the creation of dialogue and parallel texts. The children made conclusions about the narrative by looking forward and backward in the book, listening to feedback from peers, choosing from multiple possible explanations, searching for more clues, and answering mediators’ questions and follow-up comments.

Chapter 6 deals with identifying all the intertextual links the children managed to detect. The complexity of Tan’s visual narrative disoriented the participants. They had to focus on every kind of media and cultural and historical references in the picturebook to apprehend the narrative. Chapter 7 explains how visual affordances form readers’ responses. The analysis is divided into two parts, the first dealing with the wordless nature

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of The Arrival, and the second with the visual and verbal peritext, colour, panels, frames, perspective, symbolism and the complex combination of reality and fantasy.

The third part of the book starts with chapter 8, in which the authors discuss the types of mediation used to interpret The Arrival. Some questions the mediators asked the children are described, together with the interaction the children achieved during the literary sessions.

The final chapter claims that the findings of the study could be used for the better inclusion of immigrant children into school systems. Image-based narratives, often overlooked in school curricula, contribute to the intellectual advancement of all pupils, so teachers should include as much imagery in their teaching as possible. The authors offer some strategies for literary understanding of image-based narratives. The chapter ends with a commentary by some teachers who participated in the inquiry.

The book’s coda, A (Visual) Journey to Italy, describes the findings that researchers from the University of Bologna reported after replicating the study in Italy. After the study was conducted, the participating immigrant children highlighted the amount of new Italian words they had learned through group discussions, which also helped improve their self-esteem. This shows that reading wordless picturebooks helps immigrant students overcome the language barrier and boosts their confidence.

This book is a valuable and interesting read for every teacher, scholar and student in the field of children’s literature, as well as scholars from other fields such as psychology, pedagogy and education. Well-organised and understandable to a wide audience, the book offers insights into the way children convey meaning from such intricate wordless narratives. As Shaun Tan himself says in the foreword, children tend to look carefully at concrete details in pictures, whereas adults are often overly preoccupied with understanding meaning (xiv). Imaginative ideas and emphatic responses combined with a deep understanding of the characters’ feelings show the vast potential of a child’s imagination when steered in the right direction.

Ana Stilinović

The Hidden World of Tove JanssonTuula Karjalainen. 2016. Tove Jansson: Work and Love. Trans. David McDuff. London: Penguin Random House. 304 pp. ISBN: 9781846148484

DOI: 10.21066/carcl.libri.2016-05(02).0014

Tove Jansson: Work and Love will surprise! As the life of this cherished and renowned picturebook creator unfolds, it is clear that the children’s books for which she is so famous were only a small part of her work. Tove Jansson did in fact only produce three picturebooks, which she created alongside her Moomin stories and numerous lesser known artistic works, including cartoon strips, stamps, theatre productions, films, adult novels and her greatest love – paintings. David McDuff’s translation of Tuula Karjalainen’s book was brought out by Penguin in the UK in 2016 to coincide with two major London exhibitions about this famous writer/illustrator: one at the Southbank Centre and the other at the Dulwich Picture Gallery. Both of these focus quite heavily on Jansson’s artistic talents as, according to Karjalainen, Tove Jansson dreamed of becoming an artist of renown although she later had to come to terms with the fact that her fame was eventually due to her children’s books.

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I was first introduced to Tove Jansson’s work in 1996, during the developmental stages of the European Picture Book Collection (www.ncrcl.ac.uk/epbc), when my Finnish colleague chose Who Will Comfort Toffle? (Vem ska tröst knyttet?) as Finland’s contribution to the Collection. I was stunned by the artwork and endless atmospheric images that this artist created with just the flick of a brush stroke, producing textures that could make her characters appear filled in and strong, or wispy-thin and insignificant. By making her protagonists look directly at her readers, Jansson has the ability to focus on “the outsider” (a feeling she had herself) and portray emotions such as fear, loneliness, solitude and love with a minute precision. Her excess use of colour and exuberance, too, contrasts happy moments with the sadder times of her black and white scratchy characters. When, at the story’s dénouement, Toffle actually finds somebody even more scared and unloved than himself, Karjalainen suggests that this perhaps sums up Tove Jansson’s feelings through much of her life, and she has in fact entitled one of her chapters “What Do You Do With a Seashell If There Is No One to Show It To?” – a direct quote from this picturebook.

Jansson herself describes Who Will Comfort Toffle as “a picture book for children about being in love and accepting love”, as the plot consists of “longing for someone and the desire to find a partner” (201). This is how Karjalainen presents the artist’s life in Tove Jansson: Work and Love. She manages to encapsulate the essence of Jansson’s being and gives us the opportunity to discover more about not only her picturebooks, but also her personal life and other achievements. Karjalainen’s book mainly focuses on how Jansson was influenced by her Finnish islands, how she was affected by the wars in Finland, their aftermath and her retreat to Sweden which was unaffected by war. She also discusses Jansson’s loves, both heterosexual and homosexual, and British influence on the publication of her works for children, because the translations became popular before she was accepted in Finland. The chapters are divided into themes which focus on different elements of Jansson’s work and love. Whilst this is extremely illuminating, it does necessitate a certain flexibility of reading as the time frame jumps around quite a lot, causing much repetition of events and reversal in time, which is somewhat confusing. The illustrations and early photos, however, make up for this and are liberally spread throughout this beautiful book from beginning to end.

Chapter One concerns itself with Jansson’s father’s art and her mother’s pictures. Both being artists obviously laid the foundations for Tove’s own creativity and Karjalainen provides many family anecdotes which illuminate these relationships, including revelations such as that although “Tove’s relationship with her father was burdened by many conflicts and sometimes coloured by plain hatred, the bond between them never broke” (3), or that life with mother was like living “under a bell jar” (10). Focus is also placed on the close relationship she had with her brothers and the important role they played in her life, especially Per Olaf who took pictures for the Moomin book An Unwanted Guest. Chapter Two moves on to relate Tove’s experiences of youth and war and her grief when her friend Eva moved to America. Their letters form a large part of this chapter, as her friend is sorely missed, but Tove finds solace in her pictures of horror and colours in a wicked world. During this period, a stormy love affair developed between Tove Jansson and Tapio Tapiovaara, which opened her eyes to politics and dreams of living in Morocco.

Chapter Three highlights Jansson’s work and love and the beginnings of her Moomin stories, but it is Chapters Four, Five and Six which bring to life the real Moomins, Jansson’s

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road towards fame and how the Moomins conquered the world, with the previously mentioned seventh chapter, “What Do You Do With a Seashell If There Is No One to Show It To?”, focusing on picturebooks. These four chapters, which are likely to prove the most insightful to lovers of her children’s books, follow the development of the Moomin characters from a sketch in a letter to one of her friends, paintings in 1947 and fairy-tale frescos, to the birth of the Moomins, Moominvalley, the Finn Family Moomintrol (1948), and the first Moomin play. Her journey towards success helps us to discover how the Moomins managed to achieve international popularity. Chapter Eight takes us back to Jansson’s real love, that of painting. Even though she was a hard-working artist, however, her exhibitions often had “a lukewarm reception” (211). By this time, she had also spent seven years of intensive work on comic strips for children, but felt that cartoons were “life threatening to all forms of narrative” (221), so moved towards writing books for children and about children – the theme of Chapter Nine. Unfortunately, these did not have the same success as her Moomin stories and, when Tove’s mother died, she devoted herself to three books of mourning.

By the time Tove reached the age of sixty-four, she decided to visit Paris, hoping that she would be able to find “freedom and colour”, the title of Chapter Ten. The sorrowful self portrait on the facing page as this chapter begins, tells the rest. She said, “If I don’t get my teeth into my painting now I will never try to paint again: this is the last chance. I don’t even know if it’s all that important, and I can’t be bothered to think about it” (239). Fortunately, she found contentment in “life and living” and Chapter Eleven explores this, focusing on the successful radio dramas, theatre and television series that she produced. It also emphasises that her islands, where she spent so much time with the love of her life, Tuulikki Pietila, were “the best things” she had ever had (249). As Jansson takes her leave in Karjalainen’s final chapter, we are presented with the two women, Tove and Tuulikki, as they enjoy being together at the end of their lives, with Tove reflecting that “she had lived an exciting and colourful life, though it had also been a strenuous one” and “the two most important things in it had been work and love” (277).

Above all, what comes through when reading Tove Jansson: Work and Love is how much of Tove Jansson there is in all her stories. Every character she has created appears to have been influenced by either a member of her family or close friends, and she has shared these relationships with her readers. Right up until the end of her life, she was writing for adults, but it was her Moomin stories that captured the world and will always be her best-known work. Tuula Karjalainen’s book is a testimony to this work and love, and opens up a hidden world to all those who have loved Tove Jansson’s stories. In spite of some repetition, all children’s literature enthusiasts will enjoy the detailed references to Jansson’s life experiences and how they have influenced the visual creativity which exudes from her work for children. It is almost as if we are being treated to share an Aladdin’s cave of moments in Tove Jansson’s life which have helped her to grow into an internationally well-loved household name for so many children and their parents.

Penni Cotton

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Reading ReadersJennifer M. Miskec and Annette Wannamaker, eds. 2016. The Early Reader in Children’s Literature and Culture. New York: Routledge. 256 pp. ISBN: 978-1-138-93168-8

DOI: 10.21066/carcl.libri.2016-05(02).0015

As reading is an important aspect of growing up and learning, every child has to learn how to do it. At the beginning of their reading journey, children are usually exposed to picturebooks which parents read to them and later they start to read books by themselves. But what happens in between? How do children learn to read books by themselves?

The essay collection The Early Reader in Children’s Literature and Culture deals with books especially written and designed for children who are beginning to read independently, called Early Readers, and it is the first volume to consider this category. In the book, the editors argue that Early Readers deserve more attention than they have so far received, as they play a very important role in the process of learning how to read. They also note that very little academic thought has been devoted to Early Readers because they are usually seen as “transitional and cheaply produced works of paraliterature” (1). According to the editors, Early Readers deserve much more scholarly attention since they “shape a child’s relationship with the written world” (2). In order to give Early Readers the attention they deserve, editors Jennifer Miskec and Annette Wannamaker gathered original essays that examine the books in this category from different points of view. These essays have been divided into four sections, each exploring one aspect of Early Readers.

In the introduction, the editors familiarise readers with the topic and define Early Readers as children’s first opportunity to engage with a piece of literature on their own and the first books children are able to read by themselves. They also note that throughout the collection of essays they use the terms “Early Readers” (capitalised) and “early readers” (lower case) to make the distinction between the books and the children who read them.

The first section, “History”, deals with the origins of Early Readers. At the beginning, Ramona Caponegro lists numerous labels often given to Early Readers: primer, reader, Easy Reader, beginning book, transitional book, first chapter book, tot series book, early graphic novel. She also describes some of the first Early Readers, such as the New England Primer, Rollo Learning to Read, Bow-Wow and Mew-Mew, The Boxcar Children, The Cat in the Hat, and Little Bear. Besides investigating the first Early Readers and their characteristics and success, this chapter also addresses the topic of creating and marketing Early Reader picturebooks which, according to Rebekah Fitzsimmons, occupy a central place in the Early Reader category.

Section two, entitled “Aesthetics and Form”, demonstrates the multidisciplinarity of Early Readers and how and why the stories in them are told. As Karen Coats emphasises, reading should be seen as a repetitive act, so “each book has to end with an invitation to return rather than an expression of finality” (68). Consequently, many Early Readers lack a global closure, obstacles and problems remain unresolved, and they lack the typical ending we are used to. On the other hand, Gretchen Papazian deals with story beginnings and notes that reading involves motivation and a reason to read, so Early Readers are required to begin in that way: with motivation. Arnold Lobel’s book Frog and Toad Are Friends is

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given as an example of a book which begins in such a way. When it comes to the way of reading Early Readers, Hade and Hudock describe and praise Mo Willems’s Elephant and Piggie series in which reading is not limited just to reading words written on the page, but also includes visual language clues which help young readers understand the story.

The third section, “Culture”, examines how cultural aspects are manifested in Early Readers. While most children’s books deliver nice and warm stories, there are also some which are full of horror and scary plots. In her essay, Katherine Slater examines the Early Reader In a Dark, Dark Room, and notes that “fear and pleasure are not mutually exclusive categories” (125). On the contrary, children can still function and learn how to read when exposed to fear and excitement presented in the stories. Another cultural concern is addressed in Michelle Beisell Heath’s essay which considers some of the ways in which Early Readers may trouble traditional value systems, while focusing on normalising “weird girl characters to demonstrate identity conflicts of childhood, and frequently girlhood in particular” (141). Helen Bittle writes about a similar topic in her discussion of normalising the kind of free-range, risky plays in stories for children, while Sarah Park Dahlen explores the issue of misuse and stereotyping of Native American culture.

The final, fourth section, “Global Contexts”, puts Early Readers in an international context. In this chapter, the authors list and describe various Early Readers that promote world cultures and discuss the issue of translating Early Readers from one language to another.

As this is the first book dealing with the topic of Early Readers, it is very valuable for both teachers and parents when it comes to teaching children how to learn independently. The editors have managed to gather essays that approach the common theme from different points of view and have divided them into special chapters, which make it very easy to find a particular subject.

The first two sections will be more interesting to people who want to learn what Early Readers are and how and why they are written, while the next two sections primarily deal with specific examples and descriptions of Early Readers. This is probably the more inspiring part of the collection for teachers and parents because it brings numerous examples of Early Readers and offers a variety of options for their practical use in class and at home. All of them are carefully evaluated and both the advantages and possible disadvantages of each book are explained.

While most of the chapters deal with the positive aspects of using Early Readers, there are also some that criticise them for containing made-up words, misspellings, and, surprisingly, they object to such aspects as nonsense and different kinds of wordplay.

The Early Reader in Children’s Literature and Culture gives an interesting overview of this special genre, raising both theoretical and practical issues. The editors have achieved their goal of giving it the attention it needs. Besides, their book offers a sound foundation for further examination and discussion of these little books for early readers.

Dorja Anić

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Potentials of Children’s Literature in ClassAgustín Reyes-Torres, Luis S. Villacañas-de-Castro & Betlem Soler-Pardo, eds. 2014. Thinking through Children’s Literature in the Classroom. Newcastle upon Tyne: Cambridge Scholars Publishing. 206 pp. ISBN 978-1-4438-5336-1

DOI: 10.21066/carcl.libri.2016-05(02).0016

Edited by Agustín Reyes-Torres, Luis S. Villacañas-de-Castro and Betlem Soler-Pardo, faculty members of the Language and Literature Education Department at the Universitat de València, Thinking through Children’s Literature in the Classroom is a collection of research papers which addresses a variety of issues concerning children’s reading and education. It explores, both theoretically and practically, the boundaries of teaching, education and children’s literature, and, as the editors state in the introduction, “is the result of understanding literature as a central part of children’s education” (1). The volume is divided into five sections, and altogether contains twelve chapters. Each section emphasises different aspects, but the editors present them in a logical sequence and also ensure the quality of all the contributions, making the collection meaningful and interesting for everyone concerned with children’s and young adult literature, as well as foreign language teaching.

Section One, “Thinking Theoretically”, consists of two papers which explore the relations between teaching, education and children’s literature. In the first chapter, Luis S. Villacañas de Castro examines the role of literature in the concept of “education to reality”, a term coined by Freud. The author defends “the need for reality to return to the curricula” (11) and gives a number of examples of how literature can help students recognise and understand basic scientific concepts and social realities, which can equip them with the knowledge and opportunity to transform the world around them. In the second chapter, Xavier Mínguez argues that children’s literature is undeniably educational “to the same extent that general literature is educational” (31) and that, rather than focus on social or moral values when teaching literature, teachers should emphasise literary values. The enjoyment of reading should be the most important function of children’s and young adult literature.

Section Two, entitled “Thinking Literary Competence”, starts with a chapter by Agustín Reyes-Torres in which he cites different authors, such as Bakhtin, Vygotsky and Culler, to explain literary competence and to present it as the ultimate goal of literacy education. He discusses how teachers should reflect on their own teaching in order to provide students with opportunities to think critically and make their own conclusions. Josep Ballester, the author of the next chapter, examines literature as “a space of reflection through the voices of its various characters, but also from its most significant silences and absences” (61). He states that literature and books have enabled humans to transcend “all possible coordinates: time, space, ideology and material. So by reading the experience can be extended forever” (56). The growth of migration, according to the author, is the most important challenge facing education today, and literature can contribute to creating a dialogue between cultures and diversity in the classroom.

“Thinking Teaching Practice” is the title of the third section in which the authors analyse the use of children’s literature in different classroom contexts and present a variety of

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meaningful activities. In “ʻDragons Be Here’: Teaching Children’s Literature and Creative Writing with the Help of Maps”, Björn Sundmark states that maps in children’s books are an unusually under-researched area. He views them as rich iconotexts that “have the potential of making readers into mapmakers and storytellers themselves” (65). With examples such as Stevenson’s Treasure Island, Tolkien’s The Hobbit, Swift’s Gulliver’s Travels and Lewis’ Narnia, the author highlights three basic functions of maps in children’s books: they can be an integral part of the story, a plot guide, or can serve as a means to create a setting. Finally, he illustrates how map-making can be used as a tool for creative writing. Poetry and its educational potential are the subject matter of Maria Luisa Alonso’s chapter. She identifies the causes of the neglect of poetry in the academic field of children’s literature in its hybrid and varied nature, as well as the fact that “[b]oth childhood and poetry are social constructs and, as such, they are not static concepts” (79). She thoroughly presents and discusses the objectives of using children’s poetry in an ESL (English as a Second Language) classroom and gives a number of examples and guidelines that educators will find useful.

The next section, “Thinking Children’s Literature in EFL”, encompasses three chapters that address the challenge of integrating children’s and young adult literature in the specific context of the EFL (English as a Foreign Language) classroom. Elena Ortells’ contribution focuses on the introduction of young adult literature in the EFL secondary school and how it offers a wide range of educational possibilities while also serving “as a medium to provide our students with the critical apparatus to question the established system” (97). Stories as an invaluable tool for teaching English from an early age are the focus of Rowena Coles’ chapter, which presents a study aimed at early education levels. As part of this study, Oscar Wilde’s “The Selfish Giant” (1888) was analysed by university students, and then taken into the classroom and a kindergarten group, in an appropriate form, and shared with children through various engaging activities. The last chapter in this section, written by Tzina Kalogirou and Konstantinos Malafantis, introduces literary works such as The Red Tree, a picturebook by Shaun Tan (2001), and the surrealist poem “The Light-Tree” by Odysseus Elytis (1971), which were read and discussed by students training to become teachers. They were encouraged to become critically conscious readers, since “literature in general has a potential liberating effect in the lives of our students, generating change within them. Literature can inspire students to negotiate the present and anticipate tomorrow” (143).

The last section in the collection, “Thinking Children’s Literature in Society” aims to show interdependence between children’s literature and other spheres of culture. Gemma Lluch opens her chapter with these questions: “What happens when relevant books for children and young adults in English reach the literary trail in Catalan? How are these books adapted? What do they represent? What changes do they create in the target culture?” (150). To find the answers, she proceeds to analyse the following popular titles of young adult literature: Alice’s Adventures in Wonderland, George’s Marvellous Medicine, Harry Potter, and The Hunger Games. In the next chapter, written by Betlem Soler Pardo and Beatriz Martín, two film adaptations of one of the most popular fairy tales, “Snow White”, were used as a didactic tool in the secondary ELF classroom. The films enhanced students’ motivation and interest in literature, and improved their language skills. The last chapter in the book, “ʻAnd Her Step-Mother Organized the Wedding’: How Violence and Inequalities

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in the Grimms’ Collection Can Foster Social Integrative Behaviours in Children”, penned by María Alcantud Díaz, considers reading literature, particularly fairy tales, in light of key competences for lifelong learning suggested by the European Union.

As the editors state in the introduction, all twelve chapters share the goal of materialising the full potential that is set off when children’s literature takes the central place within the educational endeavour. A variety of perspectives and ideas is included and elaborated by scholars from across Europe: Spain, England, Italy, Sweden and Greece. All the contributions are well referenced and some of them contain illustrations, charts and pictures, as well as questions that can trigger discussion and serve as starting points for further research. This book offers a fresh and inspiring view of some key concepts in the study of children’s literature and language teaching, and introduces major trends and innovations that characterise it. This engaging and useful collection is of interest not only to scholars, teachers, teacher trainees, but also to both the general public and academic readers interested in this field of study.

Dina Alexandra Pavković

Neue Einblicke in die Produktion der russischen ExilkinderliteraturNadia Preindl. 2016. Russische Kinderliteratur im europäischen Exil der Zwischenkriegszeit. Frankfurt am Main-Bern-Bruxelles-New York-Oxford, Warszawa-Wien: Peter Lang (Russian Culture in Europe 11). 278 Seiten. ISBN 978-3-631-67020-0 (Print). 978-3-653-06179-6 (E-Book). DOI 10.3726/978-3-653-06179-6

DOI: 10.21066/carcl.libri.2016-05(02).0017Der vorliegende Band ist die überarbeitete Fassung von Nadia Preindls 2014 am Institut

für Slawistik der Universität Wien bei Fedor Poljakov eingereichter Dissertation „Russische Kinderliteratur im europäischen Exil zwischen 1918 und 1939“. Die Monographie bietet nach einer Einführung zu Forschungslage, literaturgeschichtlichem Kontext und Kindheit im Exil mit Schwerpunkt auf der Rolle des Kinderbuches zunächst eine Beschreibung und Typologisierung der (vielgestaltigen) Quellen, gefolgt von theoretischen Diskussionen zu Kinderliteratur im Spiegel pädagogischer und literarischer Kritik, und wird stimmig abgeschlossen mit vier Einzelanalysen. Das breite Resümee ist dreisprachig (deutsch, russisch und englisch). Dazu tritt ein reiches, nach Publikationsformen gegliedertes Quellenkorpus inklusive zahlreicher Abbildungen von Titelblättern und dergleichen mehr, die eindrucksvoll die künstlerische Hochwertigkeit und liebevolle Gestaltung der Veröffentlichungen zeigen. (Ein kleines Manko ist, dass corpus bei Preindl durchgehend masculini generis ist – ein Lapsus, der die Rezensentin vielleicht nur aufgrund ihres latinistischen Hintergrundes stört; deren komparatistischer Background sichert der Verfasserin jedoch die Anerkennung für die Kombination von großer Übersicht und Gespür für aussagekräftige Schwerpunktsetzung.) Das Verzeichnis enthält neben Veröffentlichungen, die als kindgerecht eingestuft wurden, ohne Kinder- oder Jugendliteratur zu sein, sämtliche Werke für Kinder und Jugendliche, die in der Zwischenkriegszeit in den Exilzentren Europas, aber auch in Berlin, für den russischen Markt gedruckt wurden. Ein umfangreicher Anhang mit Werkverzeichnissen in

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ausgewählten Periodika, eine informative Bibliographie, ein Abbildungsverzeichnis und ein hilfreiches Personenregister runden das Buch ab.

Durch Preindls verdienstvolle Studie zieht sich wie ein roter Faden das Bedürfnis der vorgestellten Autoren und Herausgeber, den Heranwachsenden ein Stück russischer Heimat(bezogenheit) in ihrem neuen Lebensumfeld zu erhalten (oder wiederzugeben). Keineswegs unberechtigt befürchtete man Sprachverlust und Identitätswandel. Von besonderem Interesse sind überdies ideologisch-weltanschauliche Unterschiede zwischen der Literatur, die im mehrere Jahrzehnte umfassenden Untersuchungszeitraum in Russland (bzw. der Sowjetunion) und außerhalb auf den Buchmarkt kam. Preindl unterscheidet (beginnend bereits vor der Wende zum 20. Jahrhundert) drei große Strömungen bis zur Oktoberrevolution (sentimentalistisch-moralistisch, künstlerisch-realistisch, modernistisch). Dabei rückt die Ästhetik zusehends gegenüber der Didaktik in den Vordergrund, und der Prozentsatz der Autoren, die nicht in erster Linie mit Kinder- und Jugendliteratur in Verbindung gebracht werden, steigt. In Sowjetrussland ging nach den Wirren des Jahres 1917 mit dem Anstieg der klassenkämpferischen Ausrichtung der Literatur für die Jüngsten eine langlebige Märchen- und (Anti-)phantastikdebatte einher: Tier- und Abenteuergeschichten wurden als zu trivial, als zu gestrig empfunden. Im Exil erkannte man das ‚Heile Welt‘-Potential, das gerade diese Texte boten; parallel dazu wurde – durchaus als (Überlebens-)hilfe – die neue, oft harte und schwierige Lebensrealität der Flüchtlingskinder literarisch aufgearbeitet.

Berlin, Prag und Paris wurden zu den zentralen Erscheinungsorten russischer Exilliteratur für junge LeserInnen; später kamen Finnland, Lettland, Schweden, Serbien, Bulgarien und diverse fernöstliche Exilzentren hinzu. Namhafte Literaturkritiker und eigens eingerichtete Kommissionen erarbeiteten (theoretische und praxisorientierte) Standards und Qualitätskriterien; erklärtes Ziel war eine Art Revival vorrevolutionärer Texte, durchaus intendiert als möglicher Ersatz für bolschewistische Literaturproduktion, geschuldet aber auch der pragmatischen Tatsache, dass der Wiederabdruck bereits existierender Literatur in der Fremde bedeutend einfacher war als die Publikation neuer Werke. Die Diskussion, ob es überhaupt spezieller Kinder- und Jugendliteratur bedürfe, reicht zurück bis ins 19. Jahrhundert und fand auch in der Emigration und im Exil – Termini, die es gemäß des state of the art der Exil- respektive Emigrationsforschung recht streng zu unterscheiden gilt – rege Fortsetzung. Lesepsychologie und ästhetischer Anspruch wurden zu den bestimmenden Kriterien; im Rückgriff auf vorrevolutionäre Kinderliteratur erhielt humanistischer Realismus den Vorzug vor moralisierender Verniedlichung, Klassiker der sogenannten Allgemeinliteratur blieben stets zentral, da so eine Heranführung an das literarische Erbe Russlands ermöglicht werden sollte. Der ideale Kinderschriftsteller war einer, der das Grundprinzip des Crosswriting verfolgte: jemand, dessen Texte auch für Erwachsene anziehend waren. Die Kinderliteratur im und zum Exil erhob den Anspruch, vollwertige Literatur zu sein. Die Themenwahl ist auf die Lebensrealität der jungen LeserInnen abgestimmt und soll – neben dem inneren Bezug zur alten Heimat – wenigstens eine gewisse Erleichterung in der neuen bieten; die Verfasserin exemplifiziert dies an vier (recht unterschiedlichen) Beispielen: So ist (a) bei Aleksandr Jablonovskij (Die Abenteuer des Miša Šišmarev, 1921) ein Flüchtlingskind auf einem Schiff von den vielen Eindrücken zunächst überwältigt und fühlt sich von den Menschenmassen eingeengt. Letztlich lernt es die Multikulturalität zu schätzen, wenngleich

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der schrittweise Sprachwechsel (in diesem Fall vom Russischen zum Englischen) schwierig ist. Die eingestreuten, nicht übersetzten fremdsprachigen Wendungen sind für Preindl ein Indikator dafür, dass die potentiellen LeserInnen als mehrsprachig eingestuft wurden; meines Erachtens liegt darin aber auch ein gezieltes Mittel, um die jungen RezipientInnen an das eigene Empfinden in einer vergleichbaren Situation zu erinnern und zu zeigen, dass (und wie) man damit fertig werden kann. In jedem Fall wird Autobiographisches – für Jablonovskij ist dies belegbar – zu einem wichtigen Gestaltungselement; die jungen LeserInnen werden als reife RezipientInnen gesehen, weswegen ihnen auch ein offenes, keineswegs gesichert positives Ende zugemutet wird.

Im Zuge der in Russland und später in der Sowjetunion dominanten Märchendebatte ergaben sich vielfältige Wechselbeziehungen zur deutschen Literatur – etwa über Übersetzungen und auf dem Weg von Klassikerbearbeitungen für Kinder. Dazu kamen Almanache, in denen (trotz der Anthropomorphismusdebatte) Tiere eine wesentliche Rolle spielen. Auch kinderbiblische Elemente fanden in reichem Maß Eingang – ein Vorgang, der in der Sowjetunion unmöglich gewesen wäre. Die oftmals kritisierte Phantastik, die mit dem Auftritten von Tieren einhergeht, wird (b) von Saša Černyj (d.i. Aleksandr Michailovič Glikberg) in Wunderbarer Sommer insofern abgemildert, als sie in eine Art Traum- oder Gegenwelt ausgelagert wird: Ein bedrohliches „Krokodil“ ist in Wahrheit ein Pudel, dessen harmloses Bellen das schlafende Kind im Traum falsch interpretiert hat. Zudem wird das Gespräch mit Tieren zum idealen Vehikel für Zweisprachigkeit: Der kleine Protagonist spricht in der französischen Emigration mit den dort heimischen Tieren Französisch, weil sie Russisch nicht verstehen würden. Hinzu tritt die Stadt-Land-Diskrepanz: Der Bub hat schon mehrere Wohnsitzwechsel hinter sich. Die in Paris massiv empfundene Außenseiterrolle erscheint auf dem Land weniger ausgeprägt: So dominiert in Wunderbarer Sommer die positive Evasion, in Černyjs Lyrik hingegen reale Tristesse, v.a. aber Einsamkeit. Effektvoll ist die Entscheidung des Autors zur „Abkehr von der ‚Onkelhaftigkeit‘“ (145) durch den literarischen Kunstgriff, alles aus der Perspektive des Kindes zu erzählen. Dies gelang, wie Preindl betont, in besonderem Maß durch Bewahrung der Kindlichkeit auf Seiten des Autors. Resultat ist ein höchst gelungenes Stück Crossover-Literatur, da sich mindestens so viele erwachsene LeserInnen dafür begeistern konnten wie auch jene im Kindes- und Jugendalter.

International wird (c) Michail Osorgin nicht primär als Kinder- und Jugendliteraturautor wahrgenommen; vielleicht erklärt das auch das doch sehr spezielle Setting seiner Erzählung Über den persönlichen Beziehungen stehend (1929): Zwei Gymnasiasten, deren Hobby es ist, gemeinsam (und laut deklamierend) russische Klassiker zu lesen, geraten in Streit und stellen ihre Treffen ein. Doch die Liebe zur Literatur lässt sie den mit dem für junge Menschen typischen ‚heiligen Ernst‘, mit dem das Zerwürfnis gepflegt wird, nicht lange durchhalten; letztlich stellen sie das große gemeinsame Ideal über ihre kleinlichen Differenzen und begraben ihre Zwistigkeiten. Neben dieser patriotischen Botschaft, die dem Einstehen für die russische Literatur zweifellos anhaftet, ist der Text in erster Linie durch eine Fülle intertextueller Referenzen bemerkenswert: Den LeserInnen in der Emigration und im Exil wird durch diese Texte im Text (zuzüglich Literaturkritik und Kanonisierung) ein konstitutives Element der russischen Kultur (nebst Stolz und Heimatgefühl) vermittelt. Das damit unweigerlich verbundene Pathos dürfte Preindl so ergriffen haben, dass ihr in

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diesem Abschnitt einige Wiederholungen unterlaufen sind, die der zentralen und wichtigen Botschaft dieses Kapitels aber keinen Abbruch tun.

Ebenfalls markant ist (d) das vierte und letzte Fallbeispiel mit dem (besonders auf dem Feld der Kinder- und Jugendliteratur) etwas verstörenden Titel Durch Protektion (1931 von Varvara Cechovskaja in der Pariser Kinderzeitschrift Ogon‘ki publiziert). Das entwickelte, gelebte Demokratieverständnis des Editorial Board des Periodikums kommt dadurch zum Tragen, dass mittels gezielter redaktioneller Aufrufe an die junge Leserschaft Feedback eingefordert wurde; die Blattlinie sollte so aktiv mitgestaltet werden. Dem drohenden Identitätsverlust in der Emigration wurde durch den Abdruck ausgewählter Erwachsenenliteratur entgegengewirkt. Der Protagonist von Cechovskajas Erzählung ist Exponent eines neuen (nachrevolutionären) Erziehungsideals, das Mitverantwortung und aktives Engagement über passiven Konformismus stellt. Er wird aufgrund seiner zutiefst optimistischen Grundhaltung zum Hoffnungsträger einer neuen Generation, ist es doch – unter Auslotung der Rollenumkehr – keineswegs Standard, dass ein Kind sich für eine junge Erwachsene einsetzt, die es aufgrund ihres Exilantinnenstatus nicht wagen würde, sich um eine Stelle zu bewerben, für die sie geradezu ideal qualifiziert ist. Es ist ein erfindungsreiches – literaturtheoretisch nicht uninteressantes – Detail, dass der Bub die fragliche Stellenanzeige nur liest, weil ihm sein Vater ein Buch in gerade das Stück einer Zeitung eingeschlagen hat, auf dem die Annonce abgedruckt ist.

Das unbestreitbare Verdienst der Verfasserin ist eine reichhaltige Synopse auf Basis arbeitsintensiver Bibliotheks- und Archivarbeit, wobei sie auch den sozialwissenschaftlichen Aspekt nicht vernachlässigt: Preindl berichtet von (bestürzenden) Umfragen, die den Verlust der Kindheit und das aufgrund der Umstände zu schnelle Erwachsenwerden vieler Betroffener belegen. Sie setzt sich detailliert mit Qualitätskriterien auseinander, die in – auch und gerade im Exil – intensiv geführten literaturtheoretischen Diskursen entwickelt wurden: Evgenij Elačič legte in seinen Untersuchungen (1921–1926) größten Wert auf die Verbreitung von Büchern, die Kinder intellektuell, ästhetisch und ethisch forderten und förderten. In Prag bewertete 1926–1928 die Kommission für Fragen der Kinderliteratur die im Exil kursierenden Werke, im Russischen Pädagogischen Museum in Paris sammelte die Fürstin Varvara Bobrinskaja 1929–1934 während ihrer Direktionszeit eine Fülle von Büchern und gründete eine Bibliothek für junge LeserInnen. Statistisch gesehen publizierten die meisten der die Exilliteratur prägenden AutorInnen Erwachsenen- sowie Kinder- und Jugendliteratur, was den (schrittweisen) Einstieg in die sogenannte Allgemeinliteratur für das junge Publikum fast mühelos ermöglichte. – Nadia Preindl hat ein reichhaltiges Repertorium geschaffen, das jede Möglichkeit zu eigenen Forschungen eröffnet. Ihre Musterinterpretationen regen zur Lektüre der Originale an und zum Vergleich mit dem, was sie aufgrund der ungeheuren Materialfülle nicht in derselben Intensität vorstellen konnte. Die Monographie ist ein Referenzwerk für alle, die Literatur und Literaturwissenschaft lieben und gleichzeitig verstehen wollen, wie Menschen jeglichen Alters und welcher Herkunft auch immer Flucht und Vertreibung, den Verlust der alten und das Finden einer neuen Heimat bewältigen – in der Wirklichkeit und in der Fiktion. Gerade das 20. Jahrhundert hat die Menschheit gelehrt, dass beides oft näher beieinander liegt, als man je geglaubt hätte.

Sonja Schreiner

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Kolaž slojevitih tekstovaDiana Zalar. 2014. Potjehovi hologrami: studije, eseji i kritike iz književnosti za djecu i mladež. Zagreb: Alfa d. d. 654 str. ISBN 978-953-297-469-0

DOI: 10.21066/carcl.libri.2016-05(02).0018

Potjehovi hologrami, knjiga intrigantna naziva, svojevrsni je dijakronijski kolaž važnih tekstova autorice Diane Zalar, književne teoretičarke i kritičarke, nastalih od kraja osamdesetih godina do današnjih dana. Tekstovi sabrani u zbirci obuhvaćaju raznolike studije, eseje, kritike, govore na promocijama, prikaze i recenzije knjiga, a donose pregršt razmišljanja i domišljanja o hrvatskim i inozemnim autorima te knjigama za djecu i mlade. S obzirom na vremenski odmak, tematsku raznolikost te činjenicu da su nastajali za potrebe raznolikih prigoda, među sabranim tekstovima ponegdje se može uočiti stilska različitost, no zbirku u cjelini odlikuje jedna važna karakteristika. Naime, rijetko kada nam u ruke može doći knjiga o književnosti koja je pisana gotovo jednako pitko, prožeta zgusnutim konceptima i interpretacijama kao i samo književno djelo. Ta stilska odlika autoričina rukopisa čini ovu zbirku ujednačenom i izuzetno pitkom za čitatelje različitih polazišta, od akademskih istraživača do studenata i laičkih ljubitelja knjige.

Knjiga je podijeljena na deset poglavlja s više potpoglavlja u kojima se sustavno izlažu tekstovi o pojedinim autorima, naslovima ili temama. Tako strukturirano djelo olakšava čitatelju kretanje odabranim temama u pozamašnoj knjizi od šestotinjak stranica. Ipak, ovaj kolaž odabranih tekstova mogli bismo promatrati kroz pet temeljnih tematskih jedinica: studije o prozi (uključujući komparativne analize hrvatskih i inozemnih pisaca), poeziji, slikovnici, drami i kazalištu (recenzije dramskih tekstova i osvrti na kazališne izvedbe) i metodičkim ogledima. Uz ovih pet temeljnih tematskih jedinica, posebno bismo istaknuli još dvije koje zapravo prožimaju zbirku, ali su od posebne važnosti. Jedna su od njih prijevodi poezije i proze s engleskoga i slovenskoga jezika, a drugi anegdotalne bilješke.

Naime, prijevodi proznih i poetskih djela u knjizi su razvrstani nakon odgovarajućih poglavlja (nakon poglavlja o prozi ili poeziji), no zapravo je riječ o autorskim radovima umjetničke vrijednosti koji zaslužuju poseban osvrt. Anegdote iz privatnoga života, i s druženja s piscima, profesorima i studentima utkane su u samo tkivo knjige te često služe kao ilustracija i odmor od zahtjevnijih dijelova štiva. Ove su anegdote vrijedna zapažanja koja oslikavaju autohtona stanja i zbivanja perioda u kojima su tekstovi nastajali, ilustriraju autore s kojima su povezane i duh vremena u kojemu su nastale.

U prvome poglavlju naziva „O romanima i pričama“ nalaze se tekstovi koji su pratili svojedobno nove prozne naslove ili koji osvjetljavaju neke klasike dječje književnosti. Tako je početni tekst poglavlja usmjeren na stvaralaštvo jedne od najvećih hrvatskih spisateljica, Ivane Brlić-Mažuranić. Kao u hologramskim prikazima najavljenima u naslovu knjige, autorica u početnim tekstovima projicira mitološka bića kroz raznolike prizme, od usmene književnosti, zatim originalnih Priča iz davnine i njihova transponiranja u djelu Snježane Grković-Janović, sve do digitalnih adaptacija Priča koje je izdala Bulaja naklada. Komparativni postupci nastavljaju se i u tekstu u kojemu se autorica bavi usporedbom lingvističko-stilskih postupaka u priči Trude Stamać s postupcima stvaranja lika djedice Neumijke u originalnoj priči.

Tekstovi koji slijede nastavljaju se baviti pojedinim autorom i njegovim proznim stvaralaštvom. Prije svega, to su detaljne studije stvaralaštva autora Đure Sudete, Ivana

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Kušana, Paje Kanižaja, Anđelke Martić, Sunčane Škrinjarić te suvremenijih autora kao što su Snježana Grković-Janović, Hrvoje Kovačević, Nada Mihoković-Kumrić i Maja Brajko-Livaković. U takvim se tekstovima redovito javljaju i različite perspektive; u interpretaciji pojedinoga djela autorica iščitava druge publikacije, u obzir uzima i biografske činjenice, autorove bilješke i intimne razgovore s piscem, što u konačnici pridonosi sveobuhvatnijemu uvidu u stvaralaštvo pojedinoga autora.

Uz opsežnije studije, u poglavlju se nalaze i pojedinačni eseji ili kritike nešto starijih djela ili posve suvremenih naslova autora poput Ivone Šajatović, Blanke Pašagić, Sanje Lovrenčić, Melite Rundek, Mladena Kopjara i dr.

Drugo je poglavlje posvećeno komparativnim studijama u kojima autorica usporedno proučava stvaralaštvo starijih i suvremenijih hrvatskih pisaca (Jože Horvata, Nade Iveljić, Vladimira Nazora, Stanislava Marjanovića, Ane Đokić i brojnih drugih) ili inozemnih velikana poput Hansa Christiana Andersena, Charlesa Perraulta, Philipa Pullmana i dr. Ovdje se ističe tekst o prijevodima suvremene hrvatske dječje književnosti u kojemu autorica sumira brojne doprinose i dosege koje je hrvatska knjiga postigla izvan granica Hrvatske. Komparativne studije tematski su vrlo raznovrsne, ali se najveći broj tema ipak može uključiti u područje u kojemu je autorica vrsna, a to su mitologija i fantastična priča. Ta se sklonost fantastici očituje i u sljedećemu poglavlju, u odabranim autoričinim prijevodima proznih djela, koji, kako je navedeno ranije, doista zaslužuju posebnu pažnju.

Poglavlje posvećeno poeziji donosi tekstove u kojima autorica analizira i interpretira autorske opuse Vesne Parun, Zvonimira Baloga, Ratka Zvrka, Paje Kanižaja, Gustava Krkleca i dr. i pojedine zbirke Luke Paljetka, Rade Brajnovića, Maria Raguža i dr. Prijevodi poezije također su od posebnoga značenja jer se radi o autoričinim prijevodima velikana svjetske dječje poezije, koji nam u suprotnome ne bi bili dostupni: poeziji Shela Silversteina i Roalda Dahla te rimovanome tekstu slikovnice Helen Cooper. Uz prijevode s engleskoga jezika, u zbirci se nalaze i prijevodi sa slovenskoga: pjesme suvremenih slovenskih autora, Andreja Rozmana i Barbare Gregorič.

Poglavlje „O slikovnici“ započinje preglednim tekstom koji se teorijski i povijesno bavi ovom autohtonom vrstom dječje književnosti. Nakon izlaganja o razvoju slikovnice u Hrvatskoj, autorica donosi zaključke o trenutačnim pojavama i suvremenome položaju slikovnice. Tekstovi u nastavku posvećeni su pojedinačnim naslovima stranoga autora, Dicka Brune, i nekolicine hrvatskih autora.

Sljedeća su dva poglavlja posvećena dramskim tekstovima, zbornicima drama i predložaka za igre ili radiodrame te odgledanim kazališnim izvedbama. Spomenuta dva poglavlja veliko su osvježenje jer se bave pomalo zanemarenim žanrovima dječje književnosti i književnosti za mladež. Pritom, osvrti na kazališne predstave artikuliraju doživljaje živoga ostvarenja igrokaza i drama na kazališnim daskama. Na kraju poglavlja nalazi se i jedan osvrt na animirani film iz Disneyjeva studija, Pocahontas, s posebnim osvrtom na izgradnju karaktera u filmu. Šteta je da se u zbirci nalazi samo jedan osvrt ovoga tipa jer ponuđeni tekst daje naslutiti drugačije i originalno čitanje starijih priča u novijemu mediju.

Posljednje poglavlje knjige naziva „Metodičke studije i ogledi“ zaokružuje, ali i nadopunjuje studije iz prethodnih poglavlja jer ukazuje na raznolike mogućnosti interpretacije i drugačija iščitavanja proznih i poetskih djela. Također, u nekoliko priloženih

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tekstova, autorica se bavi općenitijim temama poput čitanja, odnosa mladih prema knjigama te metodama za razvijanje ljubavi prema knjizi i čitanju. Završno poglavlje, a posebice posljednji tekst u knjizi, ujedno je i trenutak otvaranja, svojevrsno vraćanje na početak jer živopisno govori o mladim čitateljima, onima kojima je književnost i namijenjena.

Potjehovi hologrami iscrpna je zbirka studija, eseja, prikaza i ogleda o velikome broju autora i njihovih djela, knjiga koja će zasigurno biti polazište i referencija brojnih novih radova, promišljanja o dječjoj književnosti i književnosti za mladež. Spomenuta raznolikost i raznovrsnost zbirke zasigurno ne dopušta čitanje u jednome dahu, ali poziva čitatelje da joj se iznova vraćaju.

Slojevitost tekstova postignuta je minucioznim i često komparativnim pristupom u kojemu se autorica oslanja na bogato profesionalno iskustvo, kao i na poznavanje izvanknjiževne zbilje. U posljednjemu tekstu autorica se humoristično ispričava čitatelju na manjku ilustracija u svojoj pozamašnoj knjizi, no istina je da knjiga obiluje ilustracijama. Riječ je o brojnim oživotvorenim slikama poteklima iz opažanja zbilje, druženja s autorima i čitateljima, ponekad utkanima u samo štivo, a ponekad jasno naznačenima u anegdotalnim bilješkama.

To nas zapažanje ponovno vodi na početak – naslov knjige. Hologrami, slike satkane od svjetla, svojega označenika prenose do vremenski i prostorno udaljenoga sugovornika. Odnos književnoga kritičara i knjige u tome je smislu hologramski. Objekt promatranja mijenja se kao i vrijeme i prostor koji ih dijeli, a stoga i značenje koje iz toga odnosa proizlazi. Poput Potjeha, kritičar će se iznova domišljati istini koja je posve hologramska, neuhvatljiva i uvijek fluidna, ali stoga – kao i tekstovi ove zbirke – na materiji ostavlja tragove svjetla koje valja slijediti.

Marina Gabelica

Naratološka početnicaMaša Grdešić. 2015. Uvod u naratologiju. Zagreb: Leykam international. 228 str. ISBN 978-953-340-027-3

DOI: 10.21066/carcl.libri.2016-05(02).0019

Biblioteka Uvodi koju je pokrenuo zagrebački nakladnik Leykam international posvećena je ključnim temama brojnih društvenih i humanističkih znanosti. Leykamovu propedeutičkomu nakladničkomu nizu 2015. godine pridružilo se šest naslova, a među njima se našla i naratološka početnica. Autorica Maša Grdešić, docentica na Odsjeku za komparativnu književnost zagrebačkoga Filozofskoga fakulteta, oblikovala ju je oslanjajući se na desetogodišnje iskustvo razmatranja i primjene teorije pripovijedi stečeno u nastavnome radu na visokoškolskoj razini. Uvod u naratologiju, svoju drugu autorsku knjigu, autorica je pobliže odredila kao (sustavni) priručnik iz klasične naratologije teksta (8).

U skladu sa zahtjevom biblioteke i svrhom sveučilišnoga udžbenika sadržaj je ograničen na pojmove klasične naratologije. Iscrpnije revizije brojnih pravaca poslijeklasične naratologije opravdano su izostavljene jer premašuju zahtjeve koji se postavljaju pred namjeravane čitatelje – studente koji se upoznaju s određenom disciplinom. Uže područje interesa u ovome uvodu predstavljaju pojmovi povezani s formom teksta, iz čega je

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razvidno da se autorica priklanja pristupu koji se naziva naratologijom diskurza ili teksta. On se shvaća i kao kasnija faza klasične naratologije. U njezinoj prvoj fazi pozornost se posvećivala strukturi ili gramatici priče, zbog čega je pristup nazvan naratologijom priče. Utvrdivši da je u našoj literaturi taj pristup dovoljno zastupljen, autorica je odabrala drugi iznoseći i dodatne tvrdnje koje mu idu u prilog.

Naratološki koncepti koji su se u kompendiju našli u središtu pozornosti jesu vrijeme, karakterizacija, pripovjedač, fokalizacija i pripovjedne tehnike za prikaz svijesti. Oni su postavljeni u odgovarajući okvir naratologije (književnoga) teksta u uvodnome poglavlju. Autorica ga je izgradila polazeći od Barthesova naratološkoga manifesta „Uvod u strukturalnu analizu pripovjednih tekstova“ u koji je upisana važnost pripovjednih tekstova za povijest čovječanstva i umjetnosti, ali i njihova uloga u svakodnevici. Prikazavši početke discipline i opisavši podrijetlo njezina naziva, M. Grdešić prikazala je strukturalističku koncepciju priče i diskurza u odnosu prema formalističkoj koncepciji fabule i sižea, na čijim se temeljima i razvio dvodijelni strukturalistički model. Autorica, međutim, preuzima i kombinira trodijelne strukturalističke modele Gérarda Genettea i Shlomith Rimmon-Kenan usredotočavajući se u prvome redu, kako je već rečeno, na diskurznu razinu, ali i na pripovjednu. U društvo temeljnih referentnih autora, uz dvoje spomenutih velikana, uključila je i jednako važne teoretičare pripovijedi Seymoura Chatmana i Mieke Bal. U povlaštenu društvu mjesto je pronašla i Dorrit Cohn, čiju tezu o posebnosti fikcije spram drugih pripovjednih tekstova autorica podržava služeći se njome za suženje znanstvenoga interesa priručnika na književne pripovjedne tvorevine.

Sustavna analiza temeljnih koncepata klasične naratologije teksta započinje poglavljem o vremenu, što predstavlja svojevrsnu sintezu triju poglavlja Genetteove kultne metodološke studije objavljene 1980. u utjecajnome prijevodu na engleski jezik pod naslovom Narrative Discourse (prvotno se pojavila kao Discours du récit u Figures III 1972.), i to onih o poretku, trajanju i učestalosti. Te su kategorije aspekti koji proizlaze iz naratoloških istraživanja koncepta vremena teksta, odnosno odnosa između vremena priče i vremena teksta. Slijedeći Genetteov raspored, razdioba poglavlja podudara se s aspektima koje je izdvojio. Svaki aspekt sadrži odgovarajuće postupke (poredak analepse i prolepse, trajanje, sažetak, opisnu pauzu, elipsu i scenu, a učestalost singulativno, iterativno i repetitivno pripovijedanje) oprimjerene citatima iz hrvatske književnosti. Korpus književnih primjera čine ulomci iz Kovačićeva romana U registraturi, Krležina Povratka Filipa Latinovicza, Matoševe novele „Camao“, Begovićeve „Kvartet“, Kozarčeve „Oprave“ i Kamovljeve „Katastrofe“, Fabrijeva romana Vježbanje života te iz djela Izgubljeni zavičaj S. Novaka i Posljednji Stipančići V. Novaka, zatim Šimunovićeve „Duge“ i Štefice Cvek u raljama života D. Ugrešić. Pojedini se primjeri tumače u poveznici s poznatim primjerima iz svjetske književnosti, posebice analiziranima u naratološkim studijama.

Koncept karakterizacije predmet je sljedećega poglavlja. Nakon uvodnih zapažanja o likovima, koja se ponajprije odnose na čitateljska poimanja i doživljaje te na strukturalističko shvaćanje, prema kojemu se nazivaju akterima i koje uključuje Proppov i Greimasov aktantski model, autorica uvodi distinkciju između klasifikacije i karakterizacije pozivajući se na teze S. Rimmon-Kenan. Izraelska teoretičarka pomiruje dva oprečna pristupa, dopuštajući da se likovi istodobno razumiju poput ljudi i kao dijelovi strukture, što omogućuje spomenuta podjela na priču i diskurz. Pristup likovima iz gledišta priče podrazumijeva

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klasifikacijske podjele koje su razvili E. Forster i S. Rimmon-Kenan, a G. Peleš dopunio ih je trima vrstama narativnih figura, među kojima se, napominje autorica, svojom važnosti za teoriju pripovijedi ističe sociemska koja proučava odnos pojedinca i skupine u koju je uključen. Karakterizacija je postupak koji se provodi na razini diskurza. M. Grdešić preuzima podjelu S. Rimmon-Kenan, nastalu prema Ewanovoj teoriji karakterizacije, koja se sastoji od izravne definicije i neizravne prezentacije. Šenoina Branka, Valpurga Stipančić, Filip Latinovicz i Melkior iz Kiklopa likovi su s pomoću kojih se čitatelju objašnjava karakterizacija izravnom definicijom. Neizravna prezentacija može se ostvariti radnjama lika, njegovim govorom, vanjskim izgledom i okolinom koja obuhvaća fizičko i ljudsko okruženje. Analogija, prikazana u zasebnome potpoglavlju, prema S. Rimmon-Kenan modus je pojačanja karakterizacije, a ne njezina podvrsta. Može se uspostaviti na temelju imena, krajolika i veze s drugim likovima. I ta je podjela potkrijepljena primjerima iz utvrđenoga korpusa koji će se u sljedećim poglavljima ponešto proširiti.

Poglavlje o pripovjedaču otvara definicija prema kojoj je određen kao nositelj kazivanja u pripovjednome tekstu, pri čemu se naglašava da ga valja shvatiti kao književni postupak. U primjedbi koja se odnosi na shvaćanje pripovjedača u školskome kontekstu, ali i povijesti teorije književnosti sadržan je razlog za uključivanje pregleda, tj. geneze pojma implicitnoga (podrazumijevanoga) autora, koji je u teorijsku raspravu uveo W. Booth, u ovo poglavlje. Naime, iako je danas jasno da je pripovjedač „tekstualn[a] instancij[a] koja posreduje pripovjedni tekst“ (86), određeno je vrijeme bilo potrebno za osvještavanje teorijske konstruiranosti toga sudionika pripovjedne komunikacije i njegovo semantičko omeđivanje odnosno pozicioniranje u modelu pripovjedne transmisije. Dio poglavlja posvećen je vremenu pripovijedanja. Opisuju se četiri tipa vremenskih odnosa između pripovijedanja i priče: naknadna ili kasnija naracija, prethodna ili ranija naracija, istovremena ili simultana naracija i umetnuta ili interpolirana naracija. Potom se prikazuje Genetteova tipologija pripovjedača koju su doradile M. Bal i S. Rimmon-Kenan. Podjela se temelji na dvama kriterijima: pripovjednoj razini i opsegu sudjelovanja u priči. Prema prvome kriteriju pripovjedač je ekstradijegetički, intradijegetički, hipodijegetički itd. Primjenom drugoga kriterija on je heterodijegetički i homodijegetički. Heterodijegetički pripovjedač ne sudjeluje u radnji, a homodijegetički sudjeluje u priči, odnosno jedan je od likova. Nakon potpoglavlja koja se bave hipodijegetičkom pripovijesti i metalepsom, raspravlja se o pripovjedaču kao nužnome preduvjetu pripovijedanja. Sljedeći segment teksta didaktički je možda i najkorisniji, a donosi pregled stupnjeva uočljivosti pripovjedača u tekstu oprimjeren odgovarajućim citatima iz Krležina romana Tri kavaljera frajle Melanije. Uzlazna gradacija vidljivosti pripovjedača u tekstu načinjena je po uzoru na S. Rimmon-Kenan, koja ju je preuzela od Chatmana, a sastoji se od opisa mjesta radnje, identifikacije likova, vremenskoga sažetka, definicije lika, izvještaja o tome što likovi nisu rekli ili mislili i komentara koji obuhvaća interpretaciju, prosuđivanje, generalizaciju i komentar naracije. U razmatranju parateksta autorica se oslanja na Genettea, a raspravljajući o pripovjednome tekstu u prvome i trećemu licu poziva se na Stanzela. Razlikovna obilježja sveznajućega pripovjedača navode se prema S. Rimmon-Kenan, a njezini prijedlozi prihvaćaju se i u raspravi o nepouzdanome pripovjedaču. U nastavku se raspravlja o adresatu, pri čemu se misli na pripovjedanika odnosno narrateea. Poglavlje o pripovjedaču zaključuje se prikazom distinkcije javnoga i privatnoga pripovijedanja S. Lanser.

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Poglavlje u nastavku posvećeno je važnomu naratološkomu konceptu fokalizacije. Prvo se predstavlja kontekst problematike, a zatim fokus interesa prelazi na Genetteovu tipologiju prema kojoj fokalizacija može biti nulta (pripovjedač zna više od lika ili govori više nego što lik zna), unutarnja (pripovjedač govori samo ono što određeni lik zna; podvrste su fiksna, promjenjiva i mnogostruka) i vanjska (pripovjedač govori manje nego što određeni lik zna). Djelo koje služi kao primjer za objašnjenje Genetteovih tipova fokalizacije jest Povratak Filipa Latinovicza, a njime se autorica koristi i tumačeći promjene u fokalizaciji, alteracije, odnosno pojedinačne povrede koda koje ne utječu na funkcioniranje koda u cjelini. U alteracije se ubrajaju paralipsa, koja se odnosi na uskraćivanje informacija, i paralepsa, kojom se označava pružanje „viška“ informacija. Autorica nije propustila prikazati kritiku Genetteove tipologije, u prvome redu M. Bal koja odbacuje kategoriju nulte fokalizacije francuskoga naratologa, a prikazala je i nastavak kompleksne akademske rasprave, odnosno Genetteova obrazloženja i odgovore na kritike. Objašnjavajući teorijski nesporazum do kojega je došlo, istaknula je ključne razlike u oprečnim koncepcijama fokalizacije uvaženih teoretičara oprimjerući ih jezičnim izrazima koje rabe (Genette piše focalisation sur, a Bal focalisation par). M. Bal u raspravu je uvela pojmove fokalizatora (subjekta fokalizacije) i fokaliziranoga (objekta fokalizacije), a njezina se podjela svela na dvije vrste, unutarnju i vanjsku. Na njezinu se koncepciju nadovezala S. Rimmon-Kenan, koja je predložila četiri tipa odnosa između subjekta fokalizacije i njegova objekta. Ista autorica dala je na važnosti studiji Poetika kompozicije (objavljenoj prvotno na ruskome 1970.) Borisa Uspenskoga. Izniman utjecaj ruskoga semiologa na teoriju fokalizacije istaknula je i M. Grdešić, koja je njegovo gledište prikazala u zasebnome dijelu teksta. Upozorivši uvodno na terminološku zastarjelost studije toga teoretičara, podrobno je razmotrila četiri razine na kojima se prema njemu ostvaruje fokalizacija. Razine su u nomenklaturi Uspenskoga planovi, a vrste su ideološki, frazeološki, prostorno-vremenski i psihološki plan. Na svakome planu „zbivanja se mogu prikazivati iz dvije odvojene pozicije: vanjske i unutarnje“ (145), pri čemu se vanjska načelno odnosi na pripovjedača, a unutarnja na likove. Nastavljajući praksu prethodnih poglavlja, prikaz razvoja koncepta fokalizacije nakon Genettea uključuje više književnih primjera: Bogovićevu pripovijetku „Šilo za ognjilo“, Posljednje Stipančiće, Kiklop, Truhelkin roman Plein air itd. Zaključujući poglavlje o često osporavanome konceptu u teoriji pripovijedi, autorica je naglasila njegovu važnost i korisnost (i) za razumijevanje i interpretaciju određenih djela, upozorila je na različite koncepcije različitih teoretičara te dala korisne savjete za određivanje fokalizacije u analizama pojedinih djela.

U zadnjemu razradbenome poglavlju autorica je teorijsko uporište pronašla u „studij[i] o načinima prikazivanja svijesti u pripovjednoj prozi“ (153) Dorrit Cohn. Poglavlje tematizira tehnike s pomoću kojih se čitateljima omogućuje izravan uvid u tuđe unutarnje svjetove, svojstvene isključivo fikcionalnim pripovjednim tekstovima. Odabravši takvu temu poglavlja, M. Grdešić dodatno je naglasila orijentiranost svojega priručnika na naratologiju književnoga teksta, razvidnu i na razini cijeloga priručnika iz primjera koji su dosljedno književni. Prikazujući razvoj „pripovjednih tehnika za prezentaciju svijesti likova u pripovjednoj prozi od 18. stoljeća do druge polovine 20. stoljeća“ (159) u knjizi Transparent Minds, teoretičarka D. Cohn razvila je tezu o njegovoj istovjetnosti s razvojem romana od pred(realizma) do modernizma. Podjela koju je načinila temelji se na načinu iznošenja unutarnjega svijeta lika, a sastoji se od triju osnovnih tehnika –

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psihonaracije (pripovijedanja misli i osjećaja likova), citiranoga (unutarnjega) monologa (izravnoga navođenja misli likova) i pripovijedanoga monologa (slobodnoga upravnoga govora). Obje su autorice tehnike razmotrile na konkretnim pripovjednim situacijama s obzirom na dodatni kriterij – lice u kojemu se pripovijeda, koji je poslužio i kao nadređeni kriterij za razdiobu ovoga dijela naratološke početnice. Poslije prikaza svih triju tehnika u trećemu pa u prvome licu (gdje se uvode dodatni, određeniji nazivi: retrospektivne tehnike kao krovni naziv, samonaracija, samocitirani monolog i samopripovijedani monolog), u poseban dio teksta izdvojen je koncept autonomnoga unutarnjega monologa D. Cohn, za čiju je pojavu ponudila dvojako objašnjenje. Osamostaljivanje neoznačenoga unutarnjega citiranoga monologa jedan je način njegova nastanka, a drugi se pojavio u kontekstu pripovijedanja u prvome licu prezenta, premještanjem fokusa s pripovijedanja radnji na prikaz pripovjedačeve svijesti.

Priručnik iz klasične naratologije teksta na hrvatskome jeziku Maše Grdešić, Uvod u naratologiju, pojavio se dvadeset i šest godina nakon istoimenoga zbornika prevedenih tekstova. Iako se brzo nakon prvoga zbornika pojavio drugi (Suvremena teorija pripovijedanja, 1992.), na sveučilišni udžbenik (pre)dugo se čekalo. Ipak, držeći knjigu u ruci, može se ustvrditi da se čekanje isplatilo. Priručnik, prije svega, udovoljava visokim teorijskim standardima. Potpisuje ga autorica koja se etablirala kao vrsna teoretičarka u području kulturalnih studija i feminističke teorije brojnim radovima i prije nego što je objavila knjigu Cosmopolitika. Kulturalni studiji, feminizam i ženski časopisi (2013.) u kojoj je sadržan najobuhvatniji dokaz njezine teorijske kompetentnosti. Naratološka početnica i iz metodičke perspektive vrijedan je priručnik jer su složena pitanja teorije pripovijedi u njemu koncepcijski vrlo dobro osmišljena, odnosno logički organizirana, jasno prikazana, uključena u povijesni kontekst i oprimjerena. Studenti će posebno cijeniti sistematičnost i preglednost u izlaganju te mogućnost lakoga snalaženja u knjizi osiguranu kazalima imena i pojmova. „Predgovor“ i „Zaključne napomene“ važni su dodaci koji zainteresiranijim čitateljima omogućuju razumijevanje autoričina pristupa i njegovih ograničenja. Priručnik se u nevelikoj, ali dovoljnoj mjeri dotiče suvremenijih pravaca u disciplini, suptilno nagovještavajući tijek daljnje rasprave i pozivajući na nova istraživanja. Njegova dijalogičnost ne odnosi se samo na referentnu literaturu, nego otvara brojne mogućnosti. Jedna je takva mogućnost povezivanje perspektiva različitih uvoda Leykamove biblioteke u kojoj je izišla i ova knjiga, što može rezultirati vrlo zanimljivim suvremenim temama i pristupima. Parafrazirajući autoričine primjedbe o autonomnome unutarnjemu monologu i dijeleći njezine stavove o položaju teorije pripovijedanja (odnosno teorije pripovijedi, što je prikladniji prijevod engleskoga naziva) u znanosti o književnosti danas, knjizi se samo može poželjeti skora dobrodošlica u obveznu literaturu za književnoteorijske kolegije na svim filološkim studijima u Hrvatskoj i puno pažljivih i posvećenih čitatelja, u prvome redu komparatista i kroatista, ali i drugih.

Corinna Jerkin

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Vjeran i iskren drug koji drži danu riječ Igor Duda. 2015. Danas kada postajem pionir: djetinjstvo i ideologija jugoslavenskoga socijalizma. Zagreb i Pula: Srednja Europa i Sveučilište Jurja Dobrile. 274 str. ISBN 9789537963354

DOI: 10.21066/carcl.libri.2016-05(02).0020

Knjiga Igora Dude Danas kada postajem pionir: djetinjstvo i ideologija jugoslavenskoga socijalizma, objavljena 2015. kao rezultat istraživačkoga projekta o ideologiji jugoslavenskoga socijalizma u Hrvatskoj, u historiografski fokus uzima osnivanje, djelovanje i raspad Saveza pionira Jugoslavije, odnosno njegova hrvatskoga segmenta. Duda, autor važnih povijesnih studija o jugoslavenskoj i socijalističkoj svakodnevici, u ovoj se knjizi također pozabavio svakodnevicom, no s pogledom usmjerenim na dijete. Knjiga je iscrpan historiografski pogled na političke, povijesne i vrijednosne osobitosti ideje o društvenome organiziranju djece. Premda se ideja o sveobuhvatnoj, inkluzivnoj i ideološkoj dječjoj organizaciji danas čini ne samo ideološki kompromitiranom nego i neumjesnom, ova knjiga pokazuje važnu povijesnu i društvenu posebnost toga fenomena: promatranje djeteta kao političkoga, društvenoga bića. Knjiga se dakle bavi poviješću djetinjstva u mikrosegmentu razumijevanja dječje društvenosti, odnosno djeteta u društvu, društvenoga, a ne preddruštvenoga ili izvandruštvenoga bića kakvim ga danas percipiramo.

Autor tu problematiku zahvaća u njezinu povijesnome i društvenome aspektu, prikazujući strukturu i regulaciju pionirske organizacije, kao i njezine sadržajne i ritualne kodove. Savez pionira dječja je organizacija, no njezinu strukturu, način djelovanja i ideologiju reguliraju odrasli. Dječje sudjelovanje u organizaciji nije dobrovoljno niti se – u kontekstu regulacije – o toj dobrovoljnosti raspravlja. Također, bez obzira na pojam dječjega samoupravljanja koji se, u određenim razdobljima, primjenjuje na pionirsku organizaciju, dijete sudjeluje u organizaciji bez mogućnosti samoregulacije, što se odnosi na strukturu, sadržajne i ritualne aspekte pionirske organizacije. Ujedno, s obzirom na način i sadržaje djelovanja, kao i na političke procese uspostave, upravljanja i raspada organizacije, ona se jasno profilira kao dominantno performativna struktura, na što se također u knjizi ukazuje.

Pionirska organizacija začeta je još za vrijeme rata, a prve konture ocrtane su već 1941. godine. Ratne i političke okolnosti uvjetuju snažan militarizacijski impuls kojim se pristupa društvenomu organiziranju djece tijekom NOB-a. Premda se u odabiru imena i s obzirom na ideološke okvire unutar kojih se organizacija razvija može činiti da je upravo taj impuls dao ton cjelokupnoj povijesti organizacije, dokumenti koje Duda predstavlja pokazuju kako je razdoblje kasnih pedesetih godina obilježeno nastojanjima oko demilitarizacije pionirske organizacije i postupnim prenošenjem fokusa, osobito tijekom šezdesetih, ali i u sedamdesetim godinama 20. stoljeća, s organizacijskih i disciplinskih pitanja na problematiku proizvodnje i oblikovanja djetinjstva uopće. U tome kontekstu autor interpretira pojmove i diskurse koji proizvode djetinjstvo u proučavanome razdoblju, od kojih kao dominantne izdvajamo (socijalističku) ideologiju, igru, slobodno vrijeme i popularnu (dječju) kulturu, a od diskurzivne regulacije ponajprije diskurs odgovornosti odraslih za odgoj budućih naraštaja, potom diskurs ideološke ispravnosti u odgoju, diskurs nadzora i diskurs kriminalizacije izostanka kontrole odraslih nad djetetovim vremenom (najsnažnije prisutan u toposu „odgoja ulice“ i kriminalizaciji djetetova samostalnoga upravljanja slobodnim vremenom).

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U prvome, uvodnome poglavlju autor upućeno i sažeto predstavlja osnovne konture istraživanja djetinjstva u hrvatskim humanističkim i društveno-znanstvenim okvirima, od historiografskih i etnografskih do promišljanja o društvenoj regulaciji djetinjstva, pri čemu se fokusira na razdoblje koje istražuje, spominjući istraživanja i tekstove koji se bave djetinjstvom u socijalističkoj Hrvatskoj, odnosno u Jugoslaviji. Ta je tema, kako pokazuje Duda, zanimljiva u povjesničarskome i etnografskome rakursu, pri čemu njega posebice zanima tema organiziranja djece u 20. stoljeću, koje nikako nije rezervirano samo za socijalističke ideologe. Dapače, kako navodi Duda, ideja o strukturiranome okupljanju djece i o strukturiranome dječjemu djelovanju povijesno je definirana i razvija se u okvirima istih procesa koji su iznjedrili i organiziranje odraslih od sredine 19. stoljeća: ponajprije konceptom slobodnoga vremena i iz njega proizišlim idejama o društvenoj korisnosti, ali i popularnoj kulturi. Prve dječje organizacije na tlu Hrvatske, kako Duda napominje, oslanjaju se na devetnaestostoljetnu tradiciju skautskoga, vjerskoga i političkoga udruživanja djece i mladih. O tim se udruživanjima ponešto može saznati i iz opsežnoga tematskoga priručnika Pravila društava od 1845. do 1945. koji je uredila Slavica Pleše (2000.) i u kojemu se društva dobno ne razdvajaju, no iz njega je vidljivo da su najranija udruživanja djece i mladih u Hrvatskoj povezana ponajprije s konfesionalnim organiziranjima, a potom i sa sportom. Početkom 20. stoljeća dječje su i mladenačke organizacije očitije definirane militarizacijskim impulsima, o čemu piše Iskra Iveljić u važnoj studiji o građanskome (zagrebačkome) životu i ideologijama u drugoj polovici 19. i početkom 20. stoljeća: riječ je o skautskim i sportskim društvima, rodno ekskluzivnima, čije se funkcije mogu iščitati u političkome, društvenome, socijalizacijskome i rodno uspostavnome odgojnome kontekstu. Tradiciju dječjega udruživanja Duda predstavlja izdvojenim primjerima militarističkih (nacističkih, fašističkih) dječjih europskih organizacija sredinom 20. stoljeća, kao i dokumentiranom poviješću sovjetskoga organiziranja djece pionira pri čemu se u toj organizaciji jasno artikulira ideološki mehanizam projekcije ili stvaranja kulta vladara kao oca u odnosu odrasloga i djeteta. Sličan će ideološki okvir biti prisutan i u pionirskoj organizaciji u Hrvatskoj i Jugoslaviji s fokusom na očinski lik Josipa Broza Tita.

U drugome se poglavlju predstavljaju dostupni dokumenti o uspostavi i organiziranju Saveza pionira, koji se inicijalno oslanja – barem djelomice – na međuratno iskustvo politiziranoga organiziranja djece u dječjim grupama pod zajedničkim nazivom „Budućnost“, koje su organizirane s ciljem političkoga odgoja djece kroz zabavu, a djelovale su mahom u gradovima. Međutim, kako upozorava Duda, poslijeratni Savez pionira ne uspostavlja povijesni kontinuitet s tim grupama, nego se začetkom organizacije smatraju inicijative i procesi pokrenuti za vrijeme Narodnooslobodilačke borbe. Tako je naziv pionir, navodi autor, u upotrebi već od 1941.; od lipnja 1942. izlazi dječji list Pionir, a službeno je Savez pionira osnovan 27. prosinca 1942. na Prvome kongresu Ujedinjenoga saveza antifašističke omladine Jugoslavije u Bihaću. To službeno osnivanje, međutim, kako napominje Duda, zapravo je službena potvrda o postojanju organizacije s obzirom na to da dokumenti već i prije toga datuma spominju dječju organizaciju Saveza pionira i njezino se djelovanje na terenu već bilježi. Nadalje, Duda raspravlja o odnosu pionirske organizacije i škole te o organizacijskim rješenjima kojima se taj odnos nastoji regulirati nakon rata i tijekom cijeloga razdoblja postojanja Saveza pionira. Povijesni pogled na organizaciju uočava nekoliko bitnih povijesnih trenutaka, ponajprije „prijelomne“ pedesete godine 20. stoljeća,

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kako ih naziva autor, u kojima se organiziranje djece u pionirskoj organizaciji, u donekle glomaznome reformskome zahvatu, snažnije usmjerava prema zabavi odnosno odgojno-zabavnim postulatima, napuštajući tako militarizacijske i previše disciplinske organizacijske postavke iz prethodnoga razdoblja. Isti se reformski zahvati odnose i na organizacijske strukture i odgovornosti odraslih u odnosu prema Savezu pionira te na postupno čvršće strukturiranje i raspodjelu tih odgovornosti u suradnji sa Savezom društava „Naša djeca“. Savez pionira organiziran je dvorazinski: prva je razina dječja organizacija (Savez pionira), koja će, postupno, dobivati ponešto – barem prividne – autonomije s obzirom na protokole samoupravljanja, a na drugoj su razini odrasli uključeni u društveno reguliranu brigu o djeci (Društva „Naša djeca“, Savez društava „Naša djeca“ i partijske strukture nadzora pionirskoga saveza).

U ovome se poglavlju usmjereno pokazuje kako su pojam „dijete“ i ideje o djetinjstvu u potpunosti društveno konstruirani i bitno definirani aktualnim društvenim trenutkom, pa se u povijesnome i kulturološkome smislu ne može govoriti o „univerzalnosti“ djetinjstva, nego uvijek i samo o procesima, ideologijama i manje ili više fiksiranim vrijednostima koji artikuliraju spomenute pojmove. Društvena briga o djeci u razdoblju koje istražuje ova knjiga (druga polovica 20. stoljeća) u konkretnome društvenome okružju (isprva uspostava, a potom održavanje društvenoga uređenja na ideološkim postavkama socijalizma) u bitnome je obilježena, kako jasno pokazuje Duda, određenim misaonim postulatima, od kojih kao najvažniju izdvajamo već spomenutu misao/ideju o djetetu kao društvenome biću – naspram ideje o djetetu kao preddruštvenome ili društveno isključenome, bezglasnome biću kakvu, rekli bismo, podržava aktualni društveni trenutak. Druga je važna regulatorna ideja svakako pojam odgoja koji je snažno društveno konotiran: odgoj se odnosi na dijete, ali je u nadležnosti odrasloga i usmjerava procese koji nipošto nisu dvosmjerni. Odgojni odnos, kakav iščitavamo u Dudinu predstavljanju i tumačenju dokumenata, odnos je neupitnoga autoriteta odrasloga, a uključuje i društvenu, a ne samo osobnu odgovornost odrasloga koji odgaja. U ovome se poglavlju raspravlja i o organizacijskome trokutu čija je treća strana škola, uz pionirsku dječju organizaciju i strukture odraslih uključenih u upravljanje dječje organizacije. Duda predstavlja i analizira veliki broj dokumenata i bilježi povijesne i ideološke pomake u tome kontekstu, no središnji se konceptualni okviri ne mijenjaju tijekom cijeloga razdoblja postojanja pionirske organizacije. Savez pionira cijelo vrijeme funkcionira unutar istoga okvira – u osloncu na ideje o dječjoj društvenosti i odgojnoj odgovornosti odraslih.

Taj se okvir povremeno ili u duljemu razdoblju nadopunjuje i drugim ideološkim postulatima, ponajprije socijalističkim društvenim vrijednostima, ali i spomenutim pitanjem dječje autonomije, koja je u ovome kontekstu interpretirana u idejama dječjega samoupravljanja. Nakon 1950. godine, kada se u Jugoslaviji uvodi radničko samoupravljanje, ono se, u određenoj mjeri transformirano, uvodi i na pionirskoj razini. Tijekom šezdesetih godina 20. stoljeća pionirsko se samoupravljanje razrađuje i nastoji implementirati, s više ili manje uspjeha – ovisno o razdoblju, prostoru, entuzijazmu i uključenosti odraslih i djece – u svakodnevni rad pionirskih dječjih grupa. Zanimljivo je pritom uočiti, što Duda ne propušta pokazati primjerima i iščitavanjem dokumenata, da je u dječjemu kontekstu pitanje samoupravljanja bitno kompleksnije nego u životu i radu odraslih, no isto tako i da se može uspostaviti paralelizam u odnosu odrasloga i društvene zajednice/države naspram

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odnosa djeteta i odrasloga. U oba je slučaja samoupravljanje „izvanjsko“, a u kontekstu pionirske organizacije lijepo zrcali kompleksnost problematike odnosa autoriteta odrasloga i djeteta: pionire na „samorad“, na pokazivanje inicijative, na aktivnost, na istupanje i stvaranje potiče – odrastao, isti onaj koji će sve te procese i regulirati (i odbaciti one koje ne odobrava). Međutim, pionirsko samoupravljanje, barem u pojedinim periodima, uključuje i pionirsku samoodgovornost, u koju se ubraja i nadzor nad financijama i upravljanje njima. No proučavajući dokumente i javne diskurse, Duda zaključuje da se pionirsko samoupravljanje propituje i vrednuje u najmanju ruku ambivalentno, osobito s obzirom na rezultate. Ponegdje se spominje i da su mnoge mogućnosti u tome kontekstu ostale neiskorištene, baš kao što se i u dokumentima (zapisnicima, pravilnicima i drugim javim aktima) implicitno ili eksplicitno iščitava niz problema u organiziranju rada na terenu. Stoga se s razmjernom sigurnošću može zaključiti da su djelovanje, aktivnosti, rezultati i samoupravljanje u pionirskoj organizaciji uvijek ovisni o konkretnim osobama i okolnostima u svakoj pojedinačnoj sredini, a manje o regulatornim i preskriptivnim rješenjima.

U ovome se poglavlju otvara i još jedno izrazito zanimljivo pitanje, ono dječjega slobodnoga vremena, koje Duda predstavlja pomoću teme „ideološkoga suparništva“ pionirskoj organizaciji. Ideološkim je protivnikom pionirske organizacije, dakako, percipirana ponajprije Katolička Crkva (i u manjoj mjeri druge organizirane religijske zajednice), ali je zanimljivo da se ideološkim protivnikom percipira i popularna kultura. Taj problemski kompleks, međutim, nikako nije jednostavan, što Duda izvrsno pokazuje upućujući na mjestimično i povremeno turbulentan, pa i proturječan odnos roditelja prema pionirskoj organizaciji. Društvena uključenost i ideološki odgoj djece zahtijeva suradnju s roditeljima, koja ponegdje izostaje, posebice u razdoblju neposredno nakon rata. Ideološko suparništvo s Katoličkom Crkvom, pak, očituje se u nizu zabilježenih slučajeva u kojima svećenici, uz potporu roditelja ili bez nje, nastoje aktivnostima koje se percipiraju kao religijsko obrazovanje djeci organizirati slobodno vrijeme. U poratnome razdoblju, pa i do kraja četrdesetih godina, zabilježeni su i slučajevi gotovo izravnoga „sukoba“ u kojima se aktivnosti pionirske zajednice ciljano organiziraju i provode kako bi – vremenski ili interesno – kolidirale s obredima i aktivnostima Katoličke Crkve. No u tome nam je kontekstu zanimljivija Dudina kontekstualizacija problematike dječjega slobodnoga vremena u dvama smjerovima – u odnosu djeteta i popularne kulture i u kontekstu razumijevanja pojma djetetova „slobodnoga“ vremena. Dječje je slobodno vrijeme, kako to Duda izvrsno pokazuje, organizirano prema idejama i vrijednostima odraslih. Dapače, nestrukturirano vrijeme snažno je negativno obilježeno kao potencijalno kriminogeno – diskurs o opasnom i prijetećem „odgoju ulice“ jedan je od najperzistentnijih u kontekstu djeteta i djetinjstva, i to ne samo u istraživanome razdoblju. Popularna neparticipativna i potrošačka dječja kultura (osobito „uvozna“, zapadna) također se smatra ideološki problematičnom te se, kako pokazuje autor, djelovanje pionirske organizacije usmjerava prema nastojanjima stvaranja ideološki „ispravne“ i dijelom participativne dječje kulture. U tome smislu važno je stvaranje zasebnoga, strukturiranoga dječjega prostora poput pionirskih domova, kutića, soba, logora i odmarališta te sadržaja kojima se ti prostori nastoje ispuniti. Duda predstavlja promišljanja o dijalektici odnosa rada i zabave, politiziranosti (ideologiziranosti) i kreativnosti djeteta, kao i gradskoga i seoskoga djeteta, te navodi brojne dokumentirane izvannastavne i izvanškolske aktivnosti u zasebnim pionirskim prostorima, koje su u velikoj

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mjeri upravljane romantiziranom idejom o pionirskome djetinjstvu koje će biti bogatije i bolje od djetinjstva generacije njihovih roditelja. Tu su uključene i prakse socijalnoga turizma, odnosno organiziranih pionirskih ljetovanja (isprva prilično politiziranih), potom cjelogodišnje kreativne ili socijalizacijske aktivnosti, ali i promišljanja o simboličkoj figuri prigodnoga sezonskoga dječjega darivatelja, koja je, kako se čini, u svim društvenim uređenjima ideološki problematizirana; tako se kao potencijalna simbolička figura darivatelja djeteta povodom Nove godine spominje i Tito, Stari Partizan ili Baba Zima, ali je ipak, kako duhovito navodi Duda, Djed Mraz uspio preživjeti jugoslavensko-sovjetski sukob koji ga je bio privremeno ideološki delegitimirao. U tome nam se kontekstu zanimljiva čini opaska koju Duda citira, a koja je navedena u zapisniku sa sastanka s književnicima „po pitanju dječje literature i pionirske štampe“ iz 1949. Djecu, sugerira nepotpisani izvor s toga sastanka, ne smijemo slikati sasvim onakvu kakva jesu nego kakvom ih želimo, što simbolički sažima povijesno i društveno mjesto prijepora i pregovaranja o djetetovoj društvenoj konstruiranosti i njegovoj društvenoj performativnosti.

U sljedećim se poglavljima pionirska organizacija tumači s obzirom na sadržajne i ritualne aspekte, koji počivaju na ideološkim konturama socijalističkoga društvenoga uređenja: preklapanje sadržajnih i ritualnih kodova najjasnije se očituje u ritualu pionirske štafete, odnosno štafeta, u kojemu je ujedinjeno sadržajno okupljanje pionirskih aktivnosti s usmjerenjem na osobu Josipa Broza Tita kao simboličkoga političkoga „oca“ pionirske organizacije i države te ritualni, manifestni karakter su-djelovanja pionirske organizacije. Pionirska se štafeta uz Štafetu mladosti „trčala“ već od prvih poratnih godina kao oblik iskazivanja poštovanja, divljenja i odane ljubavi zajedničkomu „ocu“ Titu i sadržajno je odražavala spominjane postulate o dječjoj samoaktivnosti s jedne i kultu Titove ličnosti s druge strane. Pionirsku štafetu, kao zasebnu hrvatsku republičku manifestaciju povezanu s proslavom Titova rođendana odnosno Dana mladosti u svibnju, hrvatski pioniri održavaju od 1953. godine kao, kako citira Duda, „zbir spretno povezanih sportskih, kulturno-umjetničkih, svečanih i radnih elemenata“, a najvažnije joj je pritom obilježje naglasak na pionirskoj aktivnosti i što većoj samostalnosti – izrada štafetnih palica i pisanih poruka Titu povodom rođendana uglavnom su bili samostalni pionirski zadaci, dakako uz pomoć i „vodstvo“ uključenih odraslih. Slična je situacija bila i s drugom važnom manifestacijom, odnosno ritualom pionirske organizacije, svečanim primanjem u Savez pionira koje se, kako napominje Duda, kao obavezno i primjenjivo na sve prvoškolce u Jugoslaviji ustalilo od 1963. godine. Jesensko se svečano primanje u pionire (datumski povezano s jugoslavenskim praznikom, Danom Republike, krajem studenoga) organizira na sličan način kao i proljetna štafeta: odrasli smišljaju i odrađuju sadržaj, djeca (pioniri) to izvode i provode. Ritualni je karakter manifestacije određen trima točkama: ritualom svečanoga obećanja, ideološkim naglascima svečanosti, ali i simboličkim odjevnim kodovima – pionirskom kapom, maramom i prstenom kojim se veže marama, kao i pionirskom iskaznicom koje novi članovi Saveza pionira dobivaju prilikom svečanoga čina primanja te normiranom odjećom (gornji dio bijeli, donji plavi) namijenjenom upravo činu primanja u pionire. Ritual svečanoga obećanja, međutim, doima se još i važnijim s obzirom na snažan spoj ideološkoga i performativnoga: nove pionirke i pioniri tim se obećanjem identificiraju kao društvena bića, čak i ako toga nisu (posve) svjesni. Ujedno, svečanost i ritual, ciklus „pionirske godine“ kao i „proizvodnja tradicije“ o kojoj govori Duda, danas u velikoj mjeri simboliziraju povijesnu

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sliku, pa i povijesno naslijeđe pionirske organizacije i njezinu funkciju u društvenome i političkome životu zajednice, zajedno sa spominjanom performativnošću.

Posljednje se poglavlje vrlo upućeno bavi posljednjim razdobljem djelovanja Saveza pionira, odnosno desetljećem nakon Titove smrti: Pionirska štafeta zamijenjena je donekle sličnom manifestacijom, Spomenicom rada i drugarstva, koja se održavala od 1981. Posljednji je put održana u svibnju 1990. godine, za razliku od saveznoga pionirskoga pohoda „Po Titovom rodnom kraju“ i pionirskoga logora Sutjeske, koji su posljednji puta održani u proljeće i ljeto 1989. U desetljeću nakon Titove smrti 1980. godine, usprkos nekim simboličkim inicijativama i procesima ojačavanja Saveza pionira poput, primjerice, pjesme „Pionirsko kolo“ iz 1987. autora Zdenka Runjića koju su izvodili Oliver Dragojević i pionirski zbor Zvjezdice, Savez pionira postupno gubi ne samo ideološko središte, nego i usmjerenost djelovanja. Duda izvještava o problemima financijske naravi krajem osamdesetih, koji su, dakako, odraz ideoloških i vrijednosnih prijepora. Usprkos naporima oko održavanja organizacije, jugoslavenski Savez pionira prestaje postojati činom ukidanja slovenske republičke pionirske organizacije u ožujku 1990., dok se hrvatski Savez pionira, nakon niza rasprava o depolitizaciji, odbacivanju ideologije SKJ-a i mogućemu budućemu smjeru te ili neke druge dječje organizacije, gasi u razdoblju između travnja i srpnja 1990. Generacija prvašića iz jeseni 1990. tako više nije obuhvaćena dječjom organizacijom, a sve postojeće pionirke i pioniri to jednostavno prestaju biti činom ukidanja Saveza pionira: ovakav završetak Dudine knjige sjajno ilustrira primarno performativni karakter organizacije, izvrsno nadopunjen vrlo kratkim dodatkom usmene povijesti (autoetnografije) u „Pogovoru“, u kojemu se sažimaju osobna iskustva i sjećanja autorove generacije, primljene u pionire u studenome 1983. Dominantne su figure sjećanja rituali (čin primanja, pionirski simboli, tekst svečanoga obećanja, čiji se dio citira u naslovu ovoga prikaza) koji se tumače iz perspektive bivše djece, potom promišljanje o ideologiji i inkluzivnosti organizacije te problematiziranje ideje i realizacije pionirskoga samoupravljanja.

Dudina knjiga odličan je kompendij historiografskoga promišljanja o temi djetinjstva i djeteta na mikroprimjeru dječjega organiziranja. Upućeno čitajući, predstavljajući i interpretirajući dokumente, diskurse i strategije koje uspostavljaju i oblikuju pionirsku organizaciju, Duda precizno pokazuje kako djetinjstvo biva društveno konstruirano. Pionirska organizacija ujedno se predstavlja i kao vrsta društvenoga eksperimenta s relativno nepovoljnim ishodom, ali je isto tako možemo razumjeti i kao pregovaranje s predodžbama, idejama i vrijednostima koje proizvode i oblikuju dijete unutar društvene zajednice, pri čemu ponajprije mislimo na položaj djeteta u odnosu na društvenu zajednicu. Proizvodnja „djeteta“, „socijalističkoga djeteta“ ili „djeteta“ uopće – pri čemu, dakako, mislimo na društveno operativan pojam kojime se opisuje i određuje biološko potomstvo zajednice – i njegova performativnost koje su prikazane u ovoj knjizi, predstavljaju proces pregovaranja i promišljanja odnosa „odrasloga“ i „djeteta“, proces uspostave mehanizama razumijevanja i nadziranja potomstva, ali i održavanja predodžaba o djetetu kao biću nad kojim se ima pravo uspostaviti nadzor, čije se ponašanje smije regulirati, kojemu se trebaju impostirati vrijednosti i kojega je potrebno upućivati u razumijevanje svijeta i društva. Ključnim smo pojmom u tome kontekstu prepoznali pojam odgovornosti – odgovornosti koje biološki odrastao/odrasla ima prema biološkome potomstvu – a taj se pojam odgovornosti u ovoj

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knjizi rabi često i jasno prikazuje. Struktura pionirske organizacije temeljno počiva na ideji odgovornosti odraslih, koja pak reproducira ideje o djetetu niknule i razvijene još za romantizma – o djetetu kao budućnosti zajednice, stoga i kao društvenoj grupi vrijednoj posebne, posvećene pozornosti. Mali pomak u promišljanju toga odnosa u kontekstu pionirske organizacije vidimo u nekim mehanizmima – ne do kraja definiranima i čak, čini se, niti osobito osviještenima – prenošenja odgovornosti i davanja glasa. Dijete je u zajednici i u pogledu odrasloga, kako to argumentirano pokazuje Karìn Lesnik-Oberstein (Children’s Literature: Criticism and the Fictional Child, 1994) bezglasno: ono glas dobiva samo kao bivše dijete, ponajčešće u nostalgičnome registru, rjeđe (i s umjetničkim konotacijama) u registru bijesa, no uvijek u prošlome vremenu. Pionirska organizacija usprkos svojemu dominantno performativnomu karakteru nije, dakako, bezglasnomu djetetu dala društveno neuvjetovan glas, ali je, kako to pokazuje Igor Duda, svojim djelovanjem i postulatima u određenoj mjeri – određenoj, dakako, nepropusnim ideološkim granicama – pokazala volju da o tim pitanjima promišlja.

Dubravka Zima

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The beginning of the tale “How Quest Sought the Truth” in the first edition of Priče iz davnine [Tales of Long Ago] by Ivana Brlić-Mažuranić (1916).

Početak priče „Kako je Potjeh tražio istinu“ u prvome izdanju Priča iz davnine Ivane Brlić-Mažuranić (1916).

KronikaEvents

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The 22nd Biennial IRSCL Congress Creating ChildhoodsWorcester, UK, 8 – 12 August 2015

DOI: 10.21066/carcl.libri.2016-05(02).0021As one of the biggest and oldest international children’s literature associations, IRSCL

(International Research Society for Children’s Literature) has left its footprint all over the world. However, the last IRSCL Congress in the United Kingdom was almost twenty years ago. Thus, one can imagine the thrill running through the veins of British children’s literature researchers upon hearing the news that IRSCL was coming back to the UK for its 22nd biennial Congress, with the theme of “Creating Childhoods”. The place chosen for this “creation” was St John’s Campus of the University of Worcester, sitting not far from the tranquil body of the River Severn.

According to Jean Webb, the Congress convenor, the impetus for this Congress was an awareness of two matters in the study of children’s literature that were “topical” but relatively “under explored”: one is “creativity” in the sense that “writers, artists and academics variously create, interpret and re-create notions of childhoods and the child body”, and the other the increasingly interdisciplinary nature of children’s literature studies. Jean Webb explained, “The Congress team at Worcester therefore decided to bring these two matters together against which to consider, interrogate and analyse children’s literature and texts in the widest interpretation, and to furthermore consider the impact upon children and childhoods from international perspectives”. Under such a guideline, the Congress consisted of two parts:

• academic discussions of childhoods and the child body, which, according to their general subject affiliations, were grouped into four themes/panels: History, Body, Media, and Childhoods;

• artistic workshops for re-experiencing and re-creating childhoods with storytellers, picturebook artists, a puppeteer, a children’s poet, a children’s writer, and an actor.

The organisers must have conjured up some magic, for they smoothly scheduled almost 300 presentations – in addition to the rich activities and workshops – into a five-day calendar, particularly considering the “rumour” that the number of the participants and attendees was the biggest in IRSCL history.

While browsing through all the abstracts, my first impression was that this Congress was truly international, interdisciplinary, and, above all, brought together a huge variety of fascinating research. The attendees came from various cultural, national and academic backgrounds.

The first day of the Congress started with the keynote speech from Maria Nikolajeva, who gave an overview of the development of children’s literature research, with particular emphasis on some of the current trends focusing on body and place, one of them being the cognitive approach. According to Nikolajeva, recent findings in cognitive neuroscience seem to suggest that children do not have the ability to acquire empathy until quite late in their childhoods. This is a very controversial statement which contradicts most of our life experience.

Michael Kerins, a master storyteller from Glasgow, was responsible for a different kind of experience on this first day, demonstrating the power of storytelling. With the help

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of spontaneous props obtained from random audience members, Kerins, speaking in a musical Scottish accent, told the story of how he became a storyteller.

Starting from the second day, 266 presentations and five artists’ workshops were scheduled into various parallel sessions. Due to personal research needs, I tried to cover most of the sessions on digital media while fighting hard against the temptation to attend other intriguing parallel sessions. However, I did succeed in getting a glimpse of some fascinating topics from Congress sessions focusing on other themes, too.

The “Body, Health, Well-Being” panel explored quite a range of topics, including the depiction of disability, gender and race in children’s literature. It included an eye-opening presentation on “Trans Bodies in British Children’s Fiction” given by Catherine Butler, a senior lecturer at Cardiff University. After introducing how “the landscape has changed for queer and trans children, in terms of both policy and the perception of trans people by the public and the media”, Butler used two novels, The Boy in the Dress (2008) by David Walliams and The Art of Being Normal (2015) by Lisa Williamson, to discuss “the changed questions, assumptions and vocabulary with which readers are likely to approach” texts addressing such themes. During her presentation, she also discussed the different stages for trans children in terms of their psychological and physical development. In my opinion, the presentation attacked and mocked the ignorance of today’s society with regards to the life of the LGBTI community. Like Michael Kerins’ storytelling, Butler’s presentation reflects the power of literature, as well as the need for mirror identities for children in literature.

Echoing Butler’s identity aspect, Emma McGlip – a PhD student at the University of Glasgow – discussed the role of sport in a selection of young adult novels. She pointed out that sport could be thought of as an internationally recognised code to break down barriers of language and even gender. Moreover, it could also be used as a mirror for readers to identify with characters and find similarities in their own lives.

Later that same day, Evelyn Arizpe addressed the themes of child wellbeing and the creation of childhoods in her paper “Precarious Childhoods: Critique, Hope and Survival”. Referring to both cognitive criticism and emotional literacy, Arizpe discussed four picturebooks that depict children living in precarious situations as a result of poverty, insecurity and violence across four different cultural contexts. Referring to the texts’ images and words, she considered how these picturebooks invite their readers to move between wonder, empathy, pity, fear and horror, while also offering a greater awareness of social injustice.

I had the chance to attend only one out of 24 sessions in the “History” panel, yet it was enough to get a feeling of how multi-cultural it was. The session I went to consisted of three presentations on childhood reflected in Nordic, Scottish and Chinese children’s literature from a historical perspective. Åse Marie Ommundsen from Norway discussed “the historical development of how the notion of a specific national (Norwegian) or regional (Nordic) childhood is constructed through children’s literature from 1850 to the present”. Maureen Farrell from Glasgow examined how young people’s engagement with major historical events offered a particular view of childhood in Scotland and she also provided a close reading of Mollie Hunter’s historical fiction. Surprisingly, according to Farrell, it is difficult to trace representations of Scottish childhoods in anything other than the fiction of the period. Shih-Wen Sue Chen from Deakin University provided an Asian point of view on

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the development of childhood. By examining the illustrations and articles in Mengxue bao, the first children’s periodical issued by Chinese authors (1897–1899), she explored how the Chinese concept of childhood changed in the late 19th century.

“Media, Creativity and Childhood” was one of the largest panels, comprising 40 sessions and 94 presentations. The topics explored in this panel were really multifarious: from poetry to drama, from films to apps, from picturebooks to graphic novels… It seems there was hardly any medium that was not covered in this panel.

As my research deals with story apps, I was quite happy to see three sessions investigating digital narratives. Sarah Mygind from Aarhus University introduced an award-winning Danish app to the Congress, called “Wuwu & Co.”. The app uses augmented reality technology during storytelling. While demonstrating how the app worked, Mygind explored the kind of interactivity that creates “a more immersive and physical interactive literary experience” for the reader. Aline Federico from the University of Cambridge introduced her case study with children playing story apps. By providing several video clips of a child playing with the app The Monster at the End of This Book, she analysed the case from a multimodal perspective, discussing how “children manifest their responses to the text in their gestures and dialogues with an adult co-reading”. Following Federico, I discussed the narrative patterns brought up by story apps, and provided a preliminary typology of the texts I had developed to show similarities between the so-called digital and non-digital narratives. Apparently, the audience was not that familiar with story apps yet, but they were quite interested in the subjects. One of the issues raised during discussion was how to reform publication procedures to cope with the development of digital literature. Junko Yokota, one of the pioneers of children’s app research, expressed her concern regarding the speed of publishing. Everyone in the room agreed that the delay of publication is a serious issue for research on digital technology as technology develops so fast nowadays. There were many other interesting topics on digital and other media that I could not possibly cover, such as Anika Ullmann’s discussion on digital natives and Ayoe Quist Henkel’s account of digital young adult literature, to name a few.

In the “Childhood” panel, I had a chance to listen only to a report from Robert Davis from the University of Glasgow, who gave a historical overview of the trends prevailing within childhood studies today. He described several areas of dynamic development and discussed the possible creation of a “general theory of childhood”. In addition, Davis explored what advances in this interdisciplinary field might entail for the portrayal and examination of childhood across a range of cultural and literary forms.

While guiltily knowing that I have covered only a tiny bit of what went on at this huge Congress, I would like to mention a fascinating event that took place on its second day. It was called “Open Mic” and was held at the university bar on St John’s Campus. After a few sips of beer, the floor first heard several stories from professional storytellers, and then sensational jokes, stories and songs from children’s literature scholars.

If I had to summarise what I learned from the 2015 IRSCL Congress, on top of a multitude of new approaches and an awareness of the quickly developing world of children’s literature scholarship, I would offer an understanding of what an amusing and inspiring lot children’s literature scholars really are.

Yan Zheng

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The 35th IBBY International Congress Literature in a Multiliterate WorldAuckland, New Zealand, 18 – 21 August 2016

DOI: 10.21066/carcl.libri.2016-05(02).0022Kia Ora! This Maori expression for “Welcome!” or “Hello!” is what one is welcomed

with in New Zealand. The 35th IBBY World Congress was an entrancing and stimulating gathering of over 500 experts on and enthusiasts of children’s literature from 58 countries around the world. Its organisation was impeccable, and it offered diverse and memorable experiences for everyone involved.

The Auckland setting against the backdrop of New Zealand and Maori culture made our experience all the richer and even more unforgettable. As part of the IBBY UK delegation, I was struck by how completely the indigenous Maori culture and spirit were embedded into New Zealand life. This report deals in equal measure with the proceedings of the IBBY Congress and my first and lasting impressions of this wonderful country.

New Zealand is a modern-day first-world nation with its many successes and challenges. There are big debates on national definitions of identity as well as disturbing reports on child poverty, which were prominently featured in the news while we were there. As a result of recent efforts to promote the Maori heritage and culture, New Zealand has officially become a bilingual country. From immigration halls in airports and tourist information sites to the beautiful inaugural ceremony of the Congress, Maori is used alongside English with ease, pride and a charming matter-of-factness. Along with Maori, there is the surprising (to us) presence of Pacifica cultures and languages: those cherished by the descendants of the Polynesian nations of the Cook Islands, Tonga, Niue, Samoa, Tuvalu and Tokelau. These languages are widely taught through “language nests” or Kohanga Reo in a bid to preserve and maintain them. Thus, the very poignant Maori proverb rings true:

Ko taku reo taku ohooho, ko taku reo taku mapihi mauria.(My language is my awakening; my language is the window to my soul.)

The IBBY experience started the day before the Congress, with a programme of library visits. Tessa Duder, the well-known New Zealand author, was our guide and entertained us with her experiences as a writer and her knowledge of Auckland’s history. The libraries that we saw were exciting, innovative places, thanks to (among other things) their collections, architecture and the technology they use.

The other remarkable visit we made was to the National Library’s Services for Schools section which, rather uniquely, provides a full range of free services to schools throughout New Zealand (http://schools.natlib.govt.nz). We wrapped up the day at the new public library at Davenport, which has the most sensational views of the harbour, as well as thoughtful, quirky and cosy reading nooks and window seats, which a reader would be loath to leave at all. In that inviting and beautiful place, Tessa Duder read to us from the much-admired New Zealand author Margaret Mahy and her own work.

The theme of the Congress was Literature in a Multiliterate World and the first day’s inaugural ceremony amply demonstrated that New Zealand is a multicultural country, as well as one very welcoming of new and emerging literacies. The emotive welcome included

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the powhiri (a Maori welcoming ceremony) and the conch horn being blown as traditional dancers sang for us. Speeches were made in both Maori and English, not because there was an international audience, but as an entirely natural practice, a part of the daily, bilingual life of New Zealand. The ceremony closed with the famous “Kapa Haka” (a traditional kind of dancing with dancers standing one next to another in a line) performed by school pupils representing the five Pacifica cultures. The day was split into a number of parallel sessions including three to four presentations each, gathered around the following themes: Bridging Worlds, Targeted Collections, The Past Informs the Present: Politics and History, Literature through Drama and Dance, National Initiatives for Engaging Readers, and Landscape in Literature, with an additional Poster Session including ten short presentations. The only downside was that one had to choose from seven interesting sessions each time.

The keynote speeches reflected on the Congress theme. Witi Ihimaera, Kate De Goldi and Joy Cowley spoke movingly and eloquently on the importance of storytelling, especially the kind that reflects the culture and histories of its audience. This is essential in helping children widen their horizons. Later in the day, in a special keynote panel plenary session provocatively titled There Is No Such Thing as a Children’s Book, Leonard Marcus and Julia Eccleshare conversed about what makes a good children’s book and how these books have changed with time. They started with W.H. Auden’s words, “There are good books which are only for adults. There are no good books which are only for children”.

A new set of six sessions plus a poster session followed, in parallel, covering the following topics: The Past Informs the Present: Conflict, Diverse Words and Images, Imaginary Worlds, Inclusion in Australian Children’s Literature, Translation in a Multilingual World, and Children’s Literature in Education Conceptual Development. Rounding off the day’s proceedings was the IBBY Asahi Reading Promotion Awards ceremony, and the winners were the “Read with Me” project from Iran and “Big Brother Mouse” from Laos, the representatives of which made moving presentations about their work. Both these projects are remarkable and offer hope through books to children in dire and heart-breaking situations, which was humbling to hear about.

On the second day, Ghanaian author Meshack Asare started us off with a discussion on indigenous literature and the importance of names and words that sound local, bringing recognition to enchanting myths and legends, thus making them even more steeped in local cultures. Nadia Wheatley, Gavin Bishop and Nahoko Uehashi discussed the issue of cultural diversity in children’s literature in a keynote panel session. Then followed the sharply focused paper presentations lending an analytical edge to the emotional heart of the Congress, titled Communities of Readers and Writers, Engaging Young Readers, Engaging Readers and Thinkers, Diverse and Engaging, Identity in YA Literature, and Multimodal Diversity. Later in the day we watched the IBBY Honour List 2016 presentation, showing all the books that were included, nominated by the member state associations, to which wonderful Maori music was playing in the background (https://youtu.be/wRpSt6hw1iI). The book displays and stalls around the expansive conference centre complimented the session and drew in numerous visitors.

The next session of the day titled Illustration Unbound was an outstanding visual treat, with illustrators Bronwyn Bancroft, Zak Waipara and Roger Mello, the winner of the Hans Christian Andersen Award for Illustration (2014), speaking to the audience about


their work. Waipara called the picturebook a philosophical medium, like a museum or an art gallery within the covers of a book. Leonard Marcus noted that in a world where artists work for different reading audiences, there is pressure from publishers and distributors to have aspects in books which are generic and universally recognisable so they can fit in any culture. But these picturebook artists, who have a strong sense of place in their works, show us the way to go: they are our windows to the world in its diversity. The session was a profound, moving experience of literature and culture. In parallel, there was another Panel Plenary on Imagination in an Age of Reason, with Katherine Paterson, Ursula Dubosarsky and Kate De Goldi.

Lastly, in another pair of parallel plenary sessions, Raina Telgemeier talked about comics, and Australian Children’s Laureate Leigh Hobbs lent a touch of celebrity to the proceedings, bringing the house down with his hilarious and moving stories about how he created his famous characters like Horrible Harriet, Old Tom and Mr Chicken.

Day three started early with an interesting “Meet the Author” breakfast with Gavin Bishop and Kate De Goldi. The opening plenary From Print to Screen was a spell-binding presentation by writer Martin Baynton and Sir Richard Taylor, co-founder of the Weta Workshop which produces models and puppets used in famous films and TV shows like The Lord of the Rings (2001–2003), Avatar (2009), The Chronicles of Narnia (2005, 2008) and King Kong (2005). It was amazing to see what a small country like New Zealand was achieving in terms of technological success, definitely leading in this area.

The parallel sessions for the morning included another poster session, as well as those comprising presentations on Teen Voices, Multilingual Texts, Global Identity, Graphic Novels, Verse and Diverse World, and Storytelling and ‘Bookselling’. After this string of engaging and hard-to-choose-from parallel sessions, came the afternoon plenary by Marcus Zusak, best known for the novel The Book Thief (2005), who gave a humorous and poignant personal account of his creative influences. Both his parents were settlers from Europe and great storytellers. Zusak firmly believes that their early stories taught him how to write and he emphasised that our individual stories are our legacy for children to be shared.

The plenary was followed by another set of parallel sessions including the final poster session rounding up the number of posters at the Congress to 40. The topics of the remaining three sessions were focused on global issues and child authors: Global Perspectives, Writing Globally, and Children Creating Their Stories.

The Hans Christian Andersen Awards Dinner – a wonderland of Aboriginal decorations, live music and stimulating food for thought – was held that evening. During this ceremony, in between speeches from distinguished guests, Patricia Aladana, President of the Awards Jury, presented the Award for Writing to Cao Wenxuan. For this Chinese author, writing is a shelter, representing space and time as well as spiritual freedom. He spoke of the magic in writing and words to transpose people into another culture and another’s experience. Unfortunately, Rotraut Susanne Berner, winner of the Award for Illustration, was unable to attend, but, happily for us, sent a hilarious animated video as her acceptance.

On the last day we had another keynote by Sir Richard Taylor and Martin Baynton, the IBBY General Assembly, and Tim Bray’s adaptation for the stage of Witi Ihimaera’s famous novel The Whale Rider. During the Congress closing ceremony, Joy Cowley said something that we all felt the truth of:

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Haere mai ano hoa, ka waiho ano te utuafare.(You came as friends and leave as family.)

According to Nahoto Uehashi (Hans Christian Andersen Award winner, 2014), by “simply borrowing the device of the story” we can share the authenticity of indigenous experience, transcend the bounds of other cultures and access a world full of diversity. So, here is to more mana (Maori for “prestige and power”) to the IBBY motto of alleviating ignorance through stories, which I find inspiring and enlightening in equal measure. Kia Ora!

Soumi Dey

International Conference A Century of Ivana Brlić-Mažuranić’s Tales of Long Ago Zagreb, Croatia, 12 – 15 October 2016 DOI: 10.21066/carcl.libri.2016-05(02).0023

The most famous Croatian collection of fairy tales written by the prominent author Ivana Brlić-Mažuranić, Tales of Long Ago (Priče iz davnine, 1916), celebrated the centenary of its first publication. As the most published and translated Croatian prose collection, Tales of Long Ago is certainly a jewel in the crown of Ivana Brlić-Mažuranić’s literary work. What makes the Tales so exquisite is an original storyline with motifs taken from Slavic mythology. Confirmation of Ivana Brlić-Mažuranić’s impeccable writing came with four nominations for the world’s most respected literary award – the Nobel Prize in Literature. Besides being one of Croatia’s most famous nominees for the Nobel Prize in literature, she also played a significant role in Croatian cultural history as the first woman member of the Croatian Academy of Sciences and Arts. To honour another famous work by Ivana Brlić-Mažuranić, The Strange Adventures of Hlapić the Apprentice (Čudnovate zgode šegrta Hlapića, 1913), the Croatian Association of Researchers in Children’s Literature (CARCL) in cooperation with Croatian Academy of Sciences and Arts, Matrix Croatica Unit in Slavonski Brod and several other institutions organised an international conference held in Slavonski Brod (18–20 April 2013): “From the Strange to the Wondrous: 100 Years of The Strange Adventures of Hlapić the Apprentice”. The conference held in Slavonski Brod was the first in Croatia entirely dedicated to a single work of children’s literature. In this tradition, CARCL, the Croatian Academy of Sciences and Arts and Matrix Croatica organised an international conference to celebrate Tales of Long Ago: “A Century of Ivana Brlić-Mažuranić’s Tales of Long Ago”, which attracted even more presenters than its predecessor.

The Conference was held under the auspices of the President of the Republic of Croatia, Mrs. Kolinda Grabar-Kitarović, in Zagreb, from 12 to 15 October, and took place in the library of the Croatian Academy of Sciences and Arts, and the halls of Matica hrvatska [Matrix Croatica]. The opening ceremony was held at the National Revival Hall of the Croatian Academy of Sciences and Arts. More than 160 participants from many different countries contributed to the Conference with their presentations, which were held in 24 thematic sections. Besides enjoying the Conference, visitors and presenters had the


opportunity to travel to Ogulin to explore the birthplace of Ivana Brlić-Mažuranić and its natural beauty and mountainous surroundings which inspired her imagination in writing the Tales. The official languages of the Conference were Croatian and English. The Conference covered a variety of topics related to Tales of Long Ago, from its influence on literature to its presentation in media and culture.

Two keynote lectures were held after the welcome address of the organisers and the artistic programme. Jennifer Miskec from Longwood University (Virginia, USA) talked about her curricular project in which students explore Croatian children’s culture. They read and discussed the English translation of the book, titled Croatian Tales of Long Ago and the adaptations of individual tales on a CD ROM and related their own experience of Disney-conveyed traditional fairy tales to these complex tales. The project involves a field trip to Croatia, including a visit to the museum “Ivana’s House of Fairy Tales” in Ogulin. The second keynote lecture was held by Dubravka Zima from the Centre for Croatian Studies (University of Zagreb). In her talk, she explored the discourse, poetic descriptions, interpretations and other features of Tales of Long Ago in the context of Croatian modernism.

The following two days of the Conference were divided into several sections. Since Ivana Brlić-Mažuranić’s tales also have a notable history of reception in other cultures, it was exciting to hear presentations about translations of Tales of Long Ago into other languages and the mark that the book and its author left on other cultures, for instance Slovak (Radoslav Rusňák, Martin Machata), Italian (Sabrina Fava) and Ukrainian (Ljudmila Vasiljeva). Besides language, other domains such as history, folklore and religion were addressed as areas where the Tales have been an important and influential addition to Croatian culture and to other international cultural contexts. As an example, M. Brkić Vučina talked about the juxtaposition of pre-Christian and Christian layers in Tales of Long Ago. There were several presentations concerning old Slavic religion and mythological motifs in Brlić-Mažuranić’s work, such as elements from Slavic and Mediterranean mythology (Mirjana Barović, Martina Novosel).

Presentations by Tea Dvoršćak and Sanja Lovrić Kralj referred to Vladimir Kirin and his illustrations of Ivana Brlić-Mažuranić’s works. They discussed the relationship between Kirin and Brlić-Mažuranić and her influence on his illustrations, as he illustrated the edition of Tales of Long Ago translated into English (1924) and continued to illustrate other editions even after her death. The presentation also received visual support in the form of an exhibition of Kirin’s illustrations held in the library of the Croatian Academy of Sciences and Arts. Some presentations led us into the world of interactive Tales of Long Ago, such as talks on dramatic adaptations for actors and puppets (Maja Verdonik and Natalija Stojaković), or on musical arrangements inspired by the literary works of Brlić-Mažuranić (Mirna Marić and Mihaela Matešić). Željka Flegar and Ivana Moritz discussed the little people (brownies) from the Tales in the context of a similar fictional population of international classics. There were several sections dedicated to the fairy tale genre in general. Topics such as the transformation of domestic settings in fairy tales and contemporary adaptations of age-old tales, for instance retellings of Charles Perrault’s “Cinderella”, were just a small part of the variety of themes presented in these sections.

The uniqueness of Brlić-Mažuranić’s tales extend beyond the enjoyment of reading such art. Her characters have personalities that challenge readers, which provides a good

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basis for research in neighbouring areas of literature studies. One of the sections dealt with Tales of Long Ago in a pedagogical and educational context. It was rather diverse, as some of the presenters focused on the educational values in Tales of Long Ago (Vesnica Mlinarević, Antonija Vranješ), while others focused more on the methodological aspects of comprehension of less familiar words (Lejla Ovčina, Sanja Soče). The section dedicated to linguistic and stylistic aspects of Tales of Long Ago highlighted elements of language, such as archaic words (Irena Krumes), style, and phrases (Željka Matulina). Brlić-Mažuranić’s literary work belongs to the peak of Croatian literature. The main source of her creative and original work is the author’s bold character and determined personality. These aspects, including her inspiration and biography, were the main themes of several presentations, for example that by Jasna Ažman. Presentations addressing the topic of Brlić-Mažuranić’s character and personal life left the audience inspired and motivated.

Ivana Brlić-Mažuranić made a huge contribution not only to Croatian, but also world literature. Her works are wide fields open for exploration. Even though her tales remain the same in form, words and expressions, they still change through time, as their readers change. Books that are as relevant today as they were at the time of publication are rare, but this Conference showed that Tales of Long Ago belong to these few: it has the same significance today as it had a hundred years ago.

Katarina Kokanović

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Bilješke o autorima • Notes on Contributors

Dorja Anić obtained her Master’s degree from the Faculty of Teacher Education, University of Zagreb. This issue of Libri & Liberi includes her second published book review. <[email protected]> Vlatka Blagus (1977) teaches primary and secondary students at the “American International School of Zagreb”. She holds an MA in History and Croatian Language and Literature from the University of Zagreb, and is a PhD student of Glottodidactics. Since 1999 she has been teaching Croatian as a second and foreign language, Croatian culture, and literature. She taught for two years in Austrian high schools and for six years Croatian as a foreign language to adults and university students. Her research focuses on heritage language learners and inquiry approaches to language acquisition. <[email protected]>Tea Bošković (1984) obtained her Master’s degree from the Faculty of Teacher Education in Zagreb and is working as a teacher in “Antun Gustav Matoš Primary School” in Zagreb. Her academic interests include the use of literary works in the classroom. <[email protected]>Ivana Cindrić, PhD, is Assistant Professor at the Faculty of Teacher Education, University of Zagreb. She teaches courses relating to teaching methodology, with a focus on assessment, teaching culture to young learners, creative teaching activities and content-based language teaching and learning. Her research interests lie in the areas of assessment, teaching English to young learners, and literature. <[email protected]> Dr Penni Cotton is Senior Research Fellow at the National Centre for Research in Children’s Literature, University of Roehampton, UK, where she is responsible for European research projects. She is Director of the European Picture Book Collection (EPBC <www.ncrcl. ac.uk/epbc>) and the European School Education Training course (ESET <www.ncrcl. ac.uk/eset>). She has worked on several other EC projects related to European children’s literature and has published many articles on the subject. Her first book, Picture Books sans Frontières (2000), explains the rationale behind her work. <p.cotton@roehampton. ac.uk>Soumi Dey is a PhD researcher at the University of Glasgow. She has an MPhil from the University of Hyderabad, India. Before commencing research in picturebooks, cognitive literary studies, play and language learning, she worked as an EFL teacher and corporate trainer in India and the UK. She speaks five languages and has a special interest in early years bi/multilingual immigrant learners. She won a bursary to represent the UK at the “2016 IBBY Congress” in Auckland, NZ, has presented at a number of international children’s literature conferences, and writes regular book reviews for IBBYLink. <[email protected]>Sabrina Fava is Associate Professor of Children’s Literature at the Faculty of Education, Università Cattolica del Sacro Cuore of Milan. Her publications include the following books: Emilia Formìggini Santamaria. Dagli studi storico-pedagogici alla letteratura per l’infanzia (2002); Percorsi critici di letteratura per l’infanzia tra le due guerre (2004); Dal “Corriere dei Piccoli” Giana Anguissola scrittrice per ragazzi (2009). Her book Piccoli lettori del Novecento. I bambini di Paola Carrara Lombroso sui giornali per ragazzi (2015) won the Siped Prize in 2016. She is on the international editorial board of the journal History of Education and Children’s Literature. <[email protected]>

DOI: 10.21066/carcl.libri.2016-05(02).0024


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Željka Flegar (1978), PhD, Assistant Professor at the University of Osijek, teaches courses and does research on children’s literature, media and drama in English. Her research deals with the intricacies and deviations of English language and literary discourse, more recently in the context of the historical development of children’s culture, as well as with her theory on the ‘childlike language’ of children’s literature. She has published papers in Croatia and abroad and is the author of the interdisciplinary book Theatrical Improvisation, Language and Communication [Kazališna improvizacija, jezik i komunikacija] (2016). <zflegar@ foozos.hr>Dr. sc. Marina Gabelica (1981.) docentica je na Učiteljskome fakultetu Sveučilišta u Zagrebu gdje predaje kolegije iz dječje književnosti, medija i metodike Hrvatskoga jezika. Njezini su znanstveni interesi povezani sa suvremenom dječjom književnosti, lektirom, novim medijima i digitalnom književnosti. Objavila je više stručnih i znanstvenih radova u zemlji i inozemstvu, autorica je nekoliko čitanki i digitalnih udžbenika za niže razrede osnovne škole te je članica domaćega i regionalnoga povjerenstva za književne nagrade za djecu i mladež. <[email protected]>Dr. sc. Katarina Ivon (1976.) docentica je na Odjelu za izobrazbu učitelja i odgojitelja Sveučilišta u Zadru gdje je nositeljica i izvoditeljica kolegija Temeljni pojmovi teorije književnosti, Hrvatska usmena književnost, Hrvatska književnost u dijaspori te suradnica na kolegijima iz dječje književnosti. Njezini primarni znanstveni interesi usmjereni su književnoj i kulturnoj teoriji, posebice književnoj imagologiji te hrvatskoj dječjoj književnosti. Aktivno je sudjelovala na brojnim domaćim i međunarodnim znanstvenim skupovima te je objavila veći broj radova u domaćim i inozemnim časopisima. <[email protected]>Corinna Jerkin (1986.) asistentica je na Učiteljskome fakultetu Sveučilišta u Zagrebu i doktorandica na uspostavnome istraživačkome projektu Hrvatske zaklade za znanost Uspostavljanje međukulturnih poveznica kroz prijevode dječje književnosti: tekst, kontekst, strategije (BIBRICH). Njezini znanstveni interesi obuhvaćaju dječju književnost, teoriju književnosti (posebice teoriju pripovijedi) i metodiku književnoga i jezičnoga odgoja i obrazovanja. <[email protected]>Katarina Kokanović (1993) is a fifth-year student at the Faculty of Teacher Education, University of Zagreb. Besides being interested in children s literature and picturebooks, she is also interested in handicrafts. <[email protected]>Dr. sc. Sanja Lovrić Kralj (1983.) docentica je na Učiteljskome fakultetu Sveučilišta u Zagrebu, Odsjek u Petrinji, gdje drži nastavu iz kolegija o dječjoj književnosti i medijskoj kulturi. Obranila je doktorski rad pod nazivom Paradigme tridesetih godina 20. st. u hrvatskoj dječjoj književnosti. Objavljuje radove iz povijesti hrvatske dječje književnosti. Tajnica je Hrvatske udruge istraživača dječje književnosti. <[email protected]>Dr. sc. Berislav Majhut (1956.) redoviti je profesor na Učiteljskome fakultetu Sveučilišta u Zagrebu, Odsjek u Petrinji. Predaje kolegije iz dječje književnosti i medijske kulture. Njegovi su znanstveni interesi uglavnom povezani s povijesti hrvatske dječje književnosti, naratologijom i ilustracijom. Predsjednik je Hrvatske udruge istraživača dječje književnosti. <[email protected]>Dr. sc. Lana Molvarec (1983.) diplomirala je kroatistiku i sociologiju na Filozofskome fakultetu u Zagrebu, gdje radi kao znanstvena novakinja – poslijedoktorandica na Odsjeku za kroatistiku. Doktorirala je 2014. radom Izmještanje i identitet u hrvatskoj prozi od krugovaške generacije do danas. Glavne su joj teme interesa kulture putovanja, teorije prostora i identiteta u suvremenoj hrvatskoj književnosti te dječja književnost. Objavila je niz znanstvenih i stručnih radova te je sudjelovala kao izlagačica na petnaestak međunarodnih i domaćih znanstvenih konferencija. <[email protected]>

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Ivana Moritz (1976), PhD, Senior Assistant at the University of Osijek, Faculty of Education, teaches courses in English language and grammar. Her fields of academic interest include the interdisciplinarity of figurative language and cognitive science, particularly the cognitive grounding of euphemisms, as well as conceptual integration in language and mind. She has published a number of academic papers and attended academic events in Croatia and abroad. <[email protected]>

Dina Alexandra Pavković (1991) graduated from the Faculty of Teacher Education in Zagreb in 2014. She currently works as a primary school teacher in “Ivan Meštrović Primary School” in Zagreb. Her interests include children’s literature and picturebooks and their uses with young learners. This issue of Libri & Liberi contains her third published book review. <[email protected]>

Radoslav Rusňák (1978), PhD, is Assistant Professor in the Department of Communicative and Literary Education at the Faculty of Education, University of Prešov (Slovak Republic). His research interest focuses on the interpretation of artistic works and world literature for children and young people in didactic transformation for primary education. As an author or co-author, he has published several books, including the monograph The Modern Fairy-tale and its Children Perception (2008) and the textbook World Literature for Children and Youth in Didactic Communication (2009). ˂[email protected]˃

Sonja Schreiner (1976) Studium der Latinistik, Vergleichenden Literaturwissen- schaft und Französistik an der Universität Wien; seit 2001 Wissenschafts- referentin im Institut für Klassische Philologie, Mittel- und Neulatein; 2003 Promotion zur Dr. phil.; Vortragstätigkeit u. Publikationen zu Übersetzungen volkssprachlicher Texte ins (Neu)lateinische (incl. Klassiker der KJL), zu Supplementdichtung, scherzhaften Heldengedichten, lateinischer Fachliteratur, Mensch-Tier-Beziehung in der Allgemeinliteratur & KJL und zu Instituts- und Wissenschaftsgeschichte (Schwerpunkt 20. Jh.); Beiträge zur Kinderuni Wien. <[email protected]>

Ana Stilinović (1990) is a fifth-year student at the Faculty of Teacher Education, University of Zagreb. Her interests include children's and young adult literature and teaching English. She is currently working on her thesis in the field of young adult literature. This issue of Libri & Liberi contains her first published book review. <[email protected]>

Dr. sc. Sanja Vrcić-Mataija (1972.) docentica je na Odjelu za nastavničke studije u Gospiću Sveučilišta u Zadru. Nositeljica je kolegija iz dječje književnosti, teorije književnosti, medijske i scenske kulture. Bavi se književnoteorijskim proučavanjem dječje književnosti s naglaskom na poetici suvremenoga hrvatskoga dječjega romana te kulturološkim osobitostima zavičajnosti u književnosti. Objavila je četrdesetak znanstvenih i stručnih radova u domaćim i inozemnim publikacijama. Suautorica je (s Vesnom Grahovac-Pražić) znanstvene monografije Tragom ličke zavičajnosti (2012.). <[email protected]>

Yan Zheng is a PhD student at the University of Glasgow, investigating app storytelling for children. She was part of the creating team for the story app The Great Ghost Chase (Audois & Alleuil Editions). She is interested in interactivity studies, and how information/meaning is shaped and received by the audience (children in particular) from different media and textualities. She has an MPhil degree in children’s literature from the University of Cambridge, and is a member of IRSCL. <[email protected]>

Dr. sc. Dubravka Zima docentica je na Odjelu za kroatologiju na Hrvatskim studijima Sveučilišta u Zagrebu, gdje predaje kolegije iz dječje književnosti, novije hrvatske i svjetske književnosti. Objavila je knjige Ivana Brlić-Mažuranić (2001.), Kraći ljudi. Povijest dječjeg lika u hrvatskom dječjem romanu (2011.) i Uvod u dječju književnost (u suautorstvu s Marijanom Hameršak, 2015.). <[email protected]>


533Libri & Liberi • 2016 • 5 (2):

Recenzenti u ovome godištu • Reviewers in this VolumeZahvaljujemo kolegicama i kolegama na recenziranju radova ponuđenih za tisak u petome godištu časopisa Libri & Liberi.

We wish to thank these colleagues for their contribution to the journal by reviewing the manuscripts submitted for the fifth volume of Libri & Liberi.

Dr. Lee Artz, Media Studies, Purdue University Northwest (Hammond, Indiana, USA)Doc. dr. Aleksander Bjelčevič, Oddelek za slovenistiko, Filozofska fakulteta Univerze v Ljubljani (Ljubljana, Slovenija)Doc. dr. sc. Mateja Dagarin Fojkar, Pedagoška fakulteta Univerze v Ljubljani (Ljubljana, Slovenija)Prof. dr. sc. Dean Duda, Filozofski fakultet Sveučilišta u Zagrebu (Zagreb, Hrvatska)Doc. dr. sc. Marina Gabelica, Učiteljski fakultet Sveučilišta u Zagrebu (Zagreb, Hrvatska)Dr. Aleš Gabrič, Inštitut za novejšo zgodovino (Ljubljana, Slovenija)Associate Professor William Grandi, University of Bologna (Bologna, Italy)Dr. sc. Lovorka Gruić Grmuša, Filozofski fakultet Sveučilišta u Rijeci (Rijeka, Hrvatska)Dr. sc. Milvia Gulešić Machata, Filozofski fakultet Sveučilišta u Zagrebu (Zagreb, Hrvatska)Dr. sc. Marijana Hameršak, Institut za etnologiju i folkloristiku (Zagreb, Hrvatska)Dr. Dag Heede, Department for the Study of Culture, University of Southern Denmark (Odense, Denmark)Doc. dr. Mario Hibert, Odsjek za komparativnu književnost i bibliotekarstvo, Filozofski fakultet Univerziteta u Sarajevu (Sarajevo, Bosna i Hercegovina)Dr. Carrie Hintz, Department of English, Queens College, City University of New York (New York, USA)Dr. Jones Irwin, St. Patrick’s College, Institute of Education, Dublin City University (Dublin, Republic of Ireland) Dr. sc. Ivana Klinčić (Zagreb, Hrvatska)Prof. dr. Lejla Kodrić Zaimović, Katedra za bibliotekarstvo Filozofskog fakulteta Univerziteta u Sarajevu (Sarajevo, Bosna i Hercegovina)Dr. Alenka Koron, Inštitut za slovensko literaturo in literarne vede, Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti (Ljubljana, Slovenija)Dr. Monika Kropej Telban, Inštitut za slovensko narodopisje, Znanstvenoraziskovalni center Slovenske akademije znanosti in umetnosti (Ljubljana, Slovenija)Doc. dr. sc. Sanja Lovrić Kralj, Katedra za hrvatski jezik i književnost, scensku i medijsku kulturu, Učiteljski fakultet Sveučilišta u Zagrebu (Petrinja, Hrvatska)

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Claire L. Malarte-Feldman, Professor Emerita of French, Department of Languages, Literatures and Cultures, University of New Hampshire (Durham, New Hampshire, USA)Dr. Vida Medved Udovič, Pedagoška fakulteta Univerze na Primorskem (Koper, Slovenija)Izv. prof. dr. sc. Perina Meić, Filozofski fakultet Sveučilišta u Mostaru (Mostar, Bosna i Hercegovina)Dr. sc. Krunoslav Mikulan, Katedra za obrazovanje učitelja engleskog jezika, Učiteljski fakultet Sveučilišta u Zagrebu (Čakovec, Hrvatska)Prof. Karin Murris, PhD, School of Education, University of Cape Town (Cape Town, South Africa)Dr. Ján Papuga, Pedagogická fakulty Univerzity Komenského (Bratislava, Slovensko)Van. prof. dr. Nemanja Radulović, Katedra za srpsku književnost sa južnoslovenskim književnostima, Filološki fakultet, Univerzitet u Beogradu (Beograd, Srbija)Assoc. Prof. Dr. Susanne Reichl, Department of English and American Studies, University of Vienna (Vienna, Austria)Prof. dr. sc. Igor Saksida, Pedagoška fakulteta Univerze v Ljubljani (Ljubljana, Slovenija)Dr. Scott Sheridan, Illinois Wesleyan University (Bloomington, Illinois, USA)Dr. Kevin Shortsleeve, Department of English, Christopher Newport University (Newport News, Virginia, USA)Prof. dr. Zuzana Stanislavova, Faculty of Education, University of Presov (Presov, Slovakia)Doc. dr. sc. Sanja Šimleša, Edukacijsko-rehabilitacijski fakultet Sveučilišta u Zagrebu (Zagreb, Hrvatska)Dr. sc. Alen Albin Širca, Filozofska fakulteta Univerze v Ljubljani (Ljubljana, Slovenija)Prof. dr. Laurence Talairach-Vielmas, Dpt of English, Toulouse Jean Jaurès University (Toulouse, France)Dr. sc. Tvrtko Vuković, Filozofski fakultet Sveučilišta u Zagrebu (Zagreb, Hrvatska)Professor Shannon R. Wooden, PhD, Department of English, Missouri State University (Springfield, Missouri, USA)Prof. dr. Junko Yokota, National College of Education, National Louis University (Chicago, Illinois, USA)Dr. Metka Zupančič, Department of Modern Languages and Classics, University of Alabama (Tuscaloosa, Alabama, USA)Prof. dr. sc. Berislav Žarnić, Odsjek za učiteljski studij, Filozofski fakultet Sveučilišta u Splitu (Split, Hrvatska)

Recenzenti • Reviewers

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