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Slobodan Prosperov Novak, Slaveni u renesansi.Zagreb, Matica hrvatska, 2009. (Biblioteka Peristil.)864 pp. Illustrations. (CROSBI ID 202822)

Prilog u časopisu | prikaz, osvrt, kritika

Franić Tomić, Viktoria Slobodan Prosperov Novak, Slaveni u renesansi.Zagreb, Matica hrvatska, 2009. (Biblioteka Peristil.)864 pp. Illustrations. // Solanus, 23 (2013), 199-201

Podaci o odgovornosti

Franić Tomić, Viktoria

engleski

Slobodan Prosperov Novak, Slaveni u renesansi.Zagreb, Matica hrvatska, 2009. (Biblioteka Peristil.)864 pp. Illustrations.

In extensive monograph entitled Slavs in the Renaissance author found the kernel of the old type of Slavic studies at Yale and in its invaluable libraries where he taught at their Department of Slavic Languages and Literatures from 2001 to 2007. He has also worked in Europe at Zagreb and Split Universities, he taught Slavic philology at La Sapienza in Rome. Among some fifty books published by Novak are Povijest hrvatske književnosti (History of Croatian Literature) and the monograph Dubrovnik Revisited. In the first chapter, of his book entitled The Renaissance, Slavs and the German - Roman Abendland, Novak challenges the preceding narrow view of Slavhood in Europe and debates the reasons for the demonisation of the Slavs. In the large and crucial second chapter of his book the author meticulously documents the first transmissions of humanism into Slavic Europe, dedicating his utmost attention to the arrivals of Italian humanists in Cracow and its university, and to the first contacts of Italian humanists with Croats in Dalmatia, then in Hungary, and before that in Bohemia. To Copernicus and his heavenly but also earthly revolution the writer devotes some very convincing pages, as he does to Piccolomini and his east European and middle European friends. The book then treats the Italian Ciriacco de' Pizzicoli, who arrives on the east coast of the Adriatic and in Zadar, Trogir, Split and Dubrovnik, which were steeped in antiquity, encounter an already mature humanist circle gathered around Juraj Begna and Petar Cippico. In Dubrovnik, Ciriacco takes part in the making of the Asclepius capital on the Knežev dvor (the Rector’s Palace), which is reminiscent of Hermes Trismegistus. Separate chapters deal with the activity of Cracow University, the focal point of the earliest Polish humanism, and especially with the Italian Filippo Buonaccorsi who, in fleeing from Rome to Poland, met Grzegorz from Sanok-Special attention is given to the presence of Renaissance stimuli among Orthodox and with the activity of a very unusual Italian student who had received a humanist education and who was to become a monk of the Hilandar Monastery: Maksim Grek. The author discusses the late Renaissance in Poland and the very important events in literature of that style in the Ukraine and Belarus in a separate chapter in which he describes, in detail, the characteristics of the golden age of Polish literature before Jan Kochanowski. and then he treats polemicists such as Ucrainian Stanislav Orichòvs'ky and the poet of the famous song about the bizon, Belarusian Gusovsky. The author studies the Belarusian Gusovsky and his 1523 poem Gusovsky and his 1523 song about the bison about the bison with great care as it opens up the issue of a brand new relationship of Renaissance Slavs with the landscape, which had repercussions in several literary works – of which Gusovsky and the Croat Hektorović only represent a small segment. Although the narrow areas of interest of the author of this book are the Italian Renaissance and Croatian Renaissance literature, for the study of which he is in a privileged expert position, he tried not to devote a disproportionately large portion of his manuscript to these areas. The author stresses the importance of the influence of the Mediterranean moresque on Croatian literature and on most Renaissance writers. He very energetically analyses the case of the play Robinja by Hanibal Lucić and opens the question about its happy ending and about the masculine vision due to which the heroine is molested. He pays special attention to the literature of Jewish refugees in Renaissance Dubrovnik and to literary works of Mavro Vetranović, author of the humanist drama Orfej and of an important play about Abraham's sacrifice. It covers in great detail the political circumstances which determined the life of the most important Slavic playwright before Chekhov, Marin Držić of Dubrovnik, who wrote a dozen excellent comedies and also political conspiratory letters to the Florentine duke Cosimo Medici. The author meticulously notes and describes occurrences of mannerism and of the crises of Renaissance ideologemes in Slavic literatures. He asks _Were there any women in Slavic Renaissance? The polemic papers of Mare Gundulić Gozze are looked into, as well as the very recently discovered book Difesa della poesia by Nada Speranza Bona. Author wrote about utterly sensational discovery of Shakespeare's Ur-Falstaff in Zadar on the east coast of the Adriatic, where the character had first appeared in 1575. The chapter on Giulio Camillo, advocate of hermetism and a precursor of the Internet, also carries great weight in Slavs in the Renaissance. In their later development, each Slavic nation which had attained a literary and spiritual identity in the Renaissance had to initiate an independent struggle for a political form of national identity, which also meant for the territorial demarcation of their influence. The majority of Slavic nations in the struggle for national independence were too late for the global distribution of power, both during the 17th century, at the time of European absolutist and parliamentary monarchies, when Slavic nations once again, at the end of the early modern times remained outside European integration and without proper states. It was Voltaire and his encyclopedists who would try to expose this process and its flaws which were reflected in the individualisation of Slavic identities in the 18th century, which is when they recognised the Renaissance epoch as the first coming forth of European nations from out of barbarism. Novak's monograph Slavs in the Renaissance preserves the spirit of older times in which professors circled the globe in the style of theatrical vagrants. This book is dynamic, which is its most significant trait. It belongs with the most voluminous synthetic works in the centennial history of general Slavic studies and comparative studies.

Slavic Literature; Italian Literature; Reneaissance

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Podaci o izdanju

23

2013.

199-201

objavljeno

0038-0903

Povezanost rada

nije evidentirano