Showing papers in "Neohelicon in 2005"
TL;DR: In this article, the authors focus on the ethnic stereotypes in Macedonian folklore and their reflections in the Macedonian contemporary literature, especially in the poetry, so in the major part of the paper it deals mostly with these expressions.
Abstract: Initially, the paper “Ethnic Stereotypes in the Macedonian Folklore and their Reflection in the Macedonian Contemporary Literature' is focusing on the ethnic stereotypes in folklore, knowing that it often reflects the historical reality in a fuller, more penetrating way than the other sources. In the Macedonian folklore, the positive image and the epic glorification of the Macedonian heroes are opposed to the manifested negative judgments about Others (mostly Turks and Arabs), often based upon ethnic stereotypes. The treatment of the motifs and the characters in them are quite typicalized and even overproportioned by frequent usage of hyperbolas and contrasts. The paper presents Bolen Dojcin and Marko Krale as typical heroes whose images succumb to stereotyping and the Crna Arapina as the perfect depiction of their enemy. These folklore images and stereotypes have significant implications and reflections in the Macedonian contemporary literature, especially in the poetry, so in the major part of the paper it deals mostly with these expressions. One of the main reasons for the usage of these “old-fashioned' stereotypes is to provoke familiar images in the people's minds (both good and evil), and to use this touch of the tradition as a base for the new ideas and poetry innovations. This paper pursues their transformations in the contemporary poetry of a few Macedonian authors, such as Blaze Koneski, Vlada Urosevic, Radovan Pavlovski and others. We read their poetry as intertext, namely as restoration and resemantisation of the traditional oral poetry, and we follow up the modifications done in their composition, versification and basic poetry idea. Apart from the poetry, these images and stereotypes taken from the Macedonian folklore can be noted in the other genres of the Macedonian contemporary literature, who enclose rereading of the ethnic stereotypes, upgrading of mythical fables, unconventional, unconditional and often very complexed usage of the folklore elements, symbols, myths or motifs. The paper leads to the conclusion that Macedonian folklore accumulates knowledge and image of the Other, but at the same time abounds with ethnical stereotypes. In the text, they were viewed through their manifestations and their alterations mainly in contemporary Macedonian poetry, through a number of paradigms and poetic concepts, highlighting their ability to make use of the spirit of the tradition as fundamentals for the fresh ideas and expressive innovations.
7 citations
TL;DR: The enigma and exasperation of laughter arise from the impossibility of parsing risible meaning as discussed by the authors, which disturbs precisely by its ambiguity, its ability to send a meaningless message.
Abstract: Why should laughter not possess “meaning”just like other forms of human articulation? It does use the same organs as speech: face, mouth, voice, diaphragm, breath, and so on. Yet the enigma and exasperation of laughter arise from the impossibility of parsing risible meaning. In short, laughter disturbs precisely by its ambiguity, its ability to send a meaningless message. It raises the issue of cognition but then veers off into (non-rational) bodily expression: in short laughter-as-gesture. If Kant first noted this dynamic, it was Schopenhauer, following Jean Paul, who reflected most deeply on it. Max Kommerell's groundbreaking book on Jean Paul (1933), recognizing the originality of these thinkers, conceptualized Gebarde“gesture”as a means of expressing the ego through the body without recourse to language (Ichgefuhl). Laughter is one of the most complex manifestations of Ichgefuhl. This insight extends key aspects of insights Nietzsche formulated in Also sprach Zarathustra.All of these meditations postulate variations on the bodily grotesque as a non-conceptual meeting of corporeal being with an unmasked and chaotic world.
4 citations
TL;DR: The authors reviewed how, in the work of Hugh Blair, Thomas Warton, Henry Hallam and John Churton Collins, the combination of the rhetorical, historical, and comparatist considerations shaped the study of English literature in the eighteenth and nineteenth centuries, drawing attention to elements of the old paradigm which in the restructuring of the discipline can in no way be ignored.
Abstract: At a time when even the disciplinary nature of literary studies is subjected to intense questioning, the lessons of the past may provide useful points of orientation. By reviewing how, in the work of Hugh Blair, Thomas Warton, Henry Hallam and John Churton Collins, the combination of the rhetorical, historical, and comparatist considerations shaped the study of English literature in the eighteenth and nineteenth centuries, the article draws attention to elements of the old paradigm which in the restructuring of the discipline can in no way be ignored.
4 citations
TL;DR: The authors propose three levels of understanding that would help us to assimilate the works of Kafka into "Weltliteratur" and find analogies between Kafka's works and major literary productions of non-Western cultures.
Abstract: The process of “canonization”at the level of world literature is slow and difficult. In the case of Franz Kafka it has begun, albeit in a rather disorderly fashion, by “hit-and-miss”comparisons. The present article does not claim to be exhaustive. However, it proposes threelevels of understanding that would help us to assimilate the works of Kafka into “Weltliteratur”. The first is the inclusion of Kafka into the abundant dystopian writing of the first half of the 20thcentury. The second is the area of the phantastic, not in as far as it preceded Kafka, but in the ways in which it allowed specific Kafkian techniques to be taken over creatively by writers of the second half of the 20thcentury. The third is the suggestion that we can note some analogies between Kafka's works and major literary productions of non-Western cultures. I consider that in adopting my proposal we make some useful steps forward in our understanding of Franz Kafka's universal appeal.
3 citations
TL;DR: The authors examines the conditions for group cohesion through the relationship between the modes of identification (in structured groups) and assertions of identity (in virtual groups) through the communication strategies of the Mexican Zapatistas.
Abstract: This paper examines the conditions for group cohesion through the relationship between the modes of identification (in structured groups) and assertions of identity (in virtual groups). I would like to consider the nodes between local and global organisation of collectivities through the communication strategies of the Mexican Zapatistas as one of the movements most critically aware - in theory and practice - of the political nature of a social imaginary, and of the corresponding mechanisms of group psychology. The absence of the very possibility of identification in virtual groups calls into question the sustainability of a social (imaginary) project on a global scale. This, I will argue, provides one of the conditions for new forms of violence in identitarian mobilisations more generally.
3 citations
TL;DR: In this paper, the role of stereotypes in the interpretation of literary genres in general and of autobiographies in particular is investigated from a theoretical aspect, considering the various concepts available concerning the genre of autobiography and with the help of specific analyses of individual literary works, with special emphasis on Peter Esterhazy's Celestial Harmonies.
Abstract: The objective of the paper is to investigate the role of stereotypes in the interpretation of literary genres in general and in the interpretation of autobiographies in particular. It aims to do so, first, from a theoretical aspect, considering the various concepts available concerning the genre of autobiography and, second, with the help of the specific analyses of individual literary works, with special emphasis on Peter Esterhazy's Celestial Harmonies. According to the theoretical premise of the study, it is only in relation to stereotypes responsible for precursory anticipations in the readers that a new literary piece is able to debunk and re-create the concepts of text creation and reception. In this sense, stereotypy is one of the factors that guarantee the continuity of literature through its intermittent and cyclic quality.
2 citations
TL;DR: The authors examines from the viewpoint of comparative literature the interaction between the French version of Nigerian literary production in English (source language) and Francophone African literature, and focuses on the symbiotic relationship that should exist between traditional African and modern European cultures, as portrayed in a peculiar manner in both literary texts.
Abstract: This paper examines from the viewpoint of comparative literature the interaction between the French version of Nigerian literary production in English (source language) and Francophone African literature. It comprises two parts. The first part presents a critical appraisal of the French version of novels, poems and plays written by Nigerians, mostly those of the Nigeran pioneer writers like Chinua Achebe, Wole Soyinka, Cyprian Ekwensi and Amos Tutuola. The study shows that translation into French (target language) makes it possible not only to promote the interaction between cultures within the framework of Francophonie in the global village, but also to project the Nigerian authors concerned and their writings on Francophonie's international literary scene, as well as to make significant contributions to the advancement of studies and research in comparative literature. The second part narrows down the discussion on cultural interactions to the relationship existing between two different African novels: Le Monde s'effondre,French version of Chinua Achebe's Things Fall Apart and L'Aventure ambigue,Cheikh Hamidou Kane's original text written in French. Emphasis is placed on the symbiotic relationship that should exist between traditional African and modern European cultures, as portrayed in a peculiar manner in both literary texts.
2 citations
TL;DR: This paper re-appraised the poetries of Christopher Okigbo and Dennis Brutus through textual analysis of LabyrinthsandLetters to Martha, in order to underscore the question of commitment and examine the contention that to be obscure is not to be committed.
Abstract: Both Nigerian and (Apartheid era) South African literatures, especially the genre of poetry, are known for their confrontational attitude and their attempt to oppose the destruction of the potentials of development by politicians. But this attempt is often assumed to be impeded by the tendency of both poetries to be obscure rather than “committed”. This paper seeks to re-appraise the poetries of Christopher Okigbo and Dennis Brutus through textual analysis of LabyrinthsandLetters to Martha, in order to underscore the question of commitment and examine the contention that to be obscure is not to be committed.
2 citations
TL;DR: The femme noire doit s'emanciper et retrouver la serenite, la paix et le vrai amour en France.
Abstract: Nee a Douala, au Cameroun en 1958 (61), Calixthe Beyala s'avere comme la premiere femme africaine a braquer sur la violence sexuelle dont la femme africaine souffre, de meme, elle presente la femme comme soumettant au desir de l'homme pour le seul plaisir de l'humilier. Installee a Paris avec ses deux enfants, Beyala a fait ses etudes au Cameroun, en Espagne, et en France. Ainsi, a l'encontre de ses sœurs africaines elle est munie d'audace pour contredire les exigences orthodoxes et traditionnelles qui meprisent la femme. Face a une societe corrompue, ou les gens ne semblent vivent que pour les plaisirs sexuels, Beyala exploite, par l'usage d'un langage mordant et percant, la realite crue, violente, et malefique dans laquelle se trouve la femme africaine. Elle postule que la femme noire doit s'emanciper et retrouver la serenite, la paix et le vrai amour en France. Beyala va la placer dans les bidonvilles, les quartiers abjects de Paris. Mais les suicides de ses protagonistes, Sorraya et Ngaremba a Paris, le centre de luxe, au moment de l'eclatement de leur succes retentissant souligne l'alienation des africaines, leur echec au jeu sentimental et la nevrose traumatique resultante. L'amour pour la plupart d'entre elles n'est qu'un mirage et une anticipation inachevee. Il est suppose qu'enfin de compte l'option que l'ecrivain releve sera utile a la consolation de la femme africaine, delaissee et desorientee par une culture denigrante. L'amour entre femmes les aidera a supporter leur « Feminitude ». Neanmoins l'entendement des femmes dans l'œuvre de Calixthe Beyala n'empeche pas leur humiliation, ni leur deces chagrinant.
2 citations
TL;DR: The authors examines the historical relationship between Comparative Literature (CL) and General Literature (GL) as two approaches or practices, and argues that, over the course of the past century, CL as an elitist pursuit initially emerged from GL, the kind of enriched literary study which is conducted using mainly texts adopted into local languages, alongside texts created in the local culture.
Abstract: This paper examines the historical relationship between Comparative Literature (CL) and General Literature (GL) as two approaches or practices. It argues that, over the course of the past century, CL as an elitist pursuit initially emerged from GL, the kind of enriched literary study which is conducted using mainly texts adopted into local languages, alongside texts created in the local culture. But gradually CL has succumbed to the pressures of an enormously expanded repertory and has found a new working partnership with GL.
1 citations
TL;DR: In this paper, eine fur die europaische Reflexion auf das Sprechen und Schreiben auserordentlich wirkungsmachtige Unterscheidung, diejenige zwischen Grammatik and Rhetorik, wird gewohnlich als selbstverstandlich vorausgesetzt, bemerkenswert selten als solche diskutiert.
Abstract: Eine fur die europaische Reflexion auf das Sprechen und Schreiben auserordentlich wirkungsmachtige Unterscheidung, diejenige zwischen Grammatik und Rhetorik, wird gewohnlich als selbstverstandlich vorausgesetzt, bemerkenswert selten als solche diskutiert. Der vorliegende Aufsatz rekonstruiert, wie Quintilian in seiner Institutiodiese Grenze zu ziehen versucht, um 'Fehler' (pejorativ bewertete, grammatische Abweichungen) von 'Figuren' (positiv bewertete, rhetorische Abweichungen) zu unterscheiden. Diese Lekture wurde entscheidend von zwei Romanen aus Afrika angeregt, von denen der eine - Amos Tutuolas Palm-Wine Drinkard- nach den Pramissen der europaischen Sprechordnung korrigiert wurde, wahrend der andere - Ken Saro-Wiwas Sozaboy- mit seinerseits eigenwilligen sprachlichen Mitteln bewust macht, welches Machtpotential schon die Grammatik, nicht erst die Rhetorik, besitzt.
TL;DR: In this article, the authors of the novel Odlomena haluz (Broken Branch, 1934) addressed the forms and conditions of Jewish assimilation in Slovakia in their novel OdLomena Haluz (broken branch, 1934), which dealt with assimilation from the perspective of the contemporary Czechoslovak Republic.
Abstract: The assimilation of the Jewish minority (as well as the German and Hungarian ones) was widely discussed in Czechoslovakia after 1918. The situation was more pressing in the Slovak part, especially due to a large population of mostly orthodox Jews in Carpathian Ruthenia. Their political, economic, and social emancipation was in the beginning stages compared with other parts of Central Europe. Gejza Vamos (1901-1956) addressed the forms and conditions of Jewish assimilation in Slovakia in his novel Odlomena haluz (Broken Branch, 1934). Vamos himself came from a Hungarian-speaking Jewish family and was an eager adherent of assimilation. His novel was set in Upper Hungary (Slovakia) during the last years of the Austro- Hungarian Monarchy, but he dealt with assimilation from the perspective of the contemporary Czechoslovak Republic. He discussed the degree of assimilation in different regions of Central Eastern Europe, and claimed that it was more successful in the southern than in the northern part. He also focused on the differences between Jews in Hungary itself and in Upper Hungary. Vamos wished to show that the precondition of successful assimilation is for the Jews to forsake their outdated religious and mercantile practices. Jews should be proud of their historical tradition and intellectual heritage, but they should strive to adopt the culture, as well as the (secular) worldview and mentality, of the nation they are in. This general doctrine of assimilation is exemplified by the story of a Jewish boy who unexpectedly changes his identity and, taking his non-Jewish father's name, also accepts his father's worldview. This narrative line contains obvious features of Bildungsroman: a change of attitudes and perceptions, along with the mixing of the races, could lead to a new, united mankind. Vamos believed in the power of education and the natural sciences. His theory of assimilation encompassed various ideological sources, such as social Darwinism, modern Jewish Messianism, as well as ideas on nation-building (including Masaryk's). Vamos probably wished to act as a mediator in relations between Slovaks and Jews, and to break with the tradition in nineteenth- and early twentieth-century Slovak literature of portraying Jews negatively. Nevertheless, his book - in spite of its vision of a united mankind and its praise of Jewish heritage - contained numerous negative stereotypes of Jews. When excerpts of the novel were published, several lawsuits were brought against Vamos. The discussion of Broken Branch was centered round several questions: What role would this book play in the contemporary political situation in regard to Judaism? What is the nature of the relation between reality and fiction? What are the limits of artistic freedom? The reaction to the novel showed the political polarization of Slovak society in the 1930s, and contributed indirectly to Vamos's decision to leave the country in 1939.
TL;DR: In this article, the authors define the ideas of national music and national opera in the broader context of nineteenth-century nationalistic political and philosophical discourses, and consider Hungarian and Romanian operas as cultural phenomena that do not only reflect or express their own times, but are also active agents in shaping their social and cultural world.
Abstract: The project is a cultural-historical investigation of nineteenth-century concepts of national opera and national music. It brings under close scrutiny the genre of national opera as a cultural institution and as a multimedia art form. The main goal is to define the ideas of national music and national opera in the broader context of nineteenth-century nationalistic political and philosophical discourses. Cultural and historical approaches interpret musical and literary works by means of constructing the cultural context from which they arouse. I wish to consider nineteenth-century Hungarian and Romanian operas as cultural phenomena that do not only reflect or express their own times, but are themselves also active agents in shaping their social and cultural world. National operas did not arise accidentally. They were part of the national awakening that swept across much of East-Central Europe during the nineteenth century. What was first a passion later became a mission. National awakenings gave the impetus and the ideology for institutionalizing literature and music; but there is a two way traffic within this process, since the ideology is like a chiastic rhetorical figure: on the one hand it is an inherent characteristic of the language, on the other hand it is a construction. It creates and at the same time itself is a creation. That is why it is so important to examine the language use itself when we talk about national ideologies, national literature and music.
TL;DR: In this article, a multikulturelle Lesemoglichkeit of Alaine Polcz' Leanyregeny's Roman Die Schrift des Freundes (1998) is discussed.
Abstract: Im Beitrag geht es um das Anderssein, das oft etwas Verfuhrerisches ist, aber meistens erregt es doch ein Gefuhl des Unheimlichen. Im ersten Teil der Arbeit wird ein Uberblick uber die theoretischen Tendenzen der postkolonialen Literatur gegeben, im zweiten Teil wird dann die psychoanalytische Entdeckung dargestellt, die fur den multikulturellen Diskurs so relevant geworden ist, und zum Schluss komme ich zur Vorstellung von Barbara Frischmuths Roman Die Schrift des Freundes (1998), den ich als ein pragnantes Beispiel fur den Moment der Entortung, Hybriditat und der Mimikrie lese. Anschliesend versucht die Arbeit eine multikulturelle Lesemoglichkeit von Alaine Polcz' Leanyregeny(2000) zu bieten, die anhand der Beispiele Tourismus und Kolonialismus ein grundlegendes Problem von Kulturkontakten und interkulturellen Begegnungen thematisiert: das Problem der Wahrnehmung des Fremden.
TL;DR: The Poldevie et al. as mentioned in this paper presented a visite systematique du stereotype des Balkans, percu dans une dimension diachronique. But it was only used in France, where it appeared in quatre ou cinq textes.
Abstract: Longtemps inconnus, les Balkans ont fini par meubler l'imaginaire de l'Europe occidentale. On songe par exemple a la Ruritanie, a Zenda et a son prisonnier, tels qu'ils ont ete concus dans un celebre roman de Anthony Hope, dont les adaptations cinematographiques ont fait rever des milliers d'enfants... et de grands enfants. Un certain stereotype prenait son essor. Il s'est renforce en France a partir de la fin des annees 1920 et tout au long du siecle notamment par l'elaboration d'une Poldevie fantasmee, remplie de montagnes et de moustachus, de bons princes et de redoutables felons. La Poldevie apparait dans quatre ou cinq textes francais : il s'agit de l'un des rares espaces geographiques imaginaires ayant une veritable portee intertextuelle. Explorer la Poldevie mene a une visite systematique du stereotype des Balkans, percu dans une dimension diachronique.
TL;DR: The history of Hungarian discourse on anecdotes is analyzed in this paper, where the authors analyse the role of Hungarian anecdotes in the self-image or self-representation of Hungarians.
Abstract: Anecdotes play some role in the self-image or self-representation of Hungarians. This paper will analyse the history of Hungarian discourse on anecdotes. In the nineteenth century some theoreticians thought that not only do Hungarian anecdotes aptly characterise the nation, but the Hungarians' national fervour for anecdotes also forms an important trait of the national character. Some representatives of a “modernist' movement in Hungarian literature regarded the anecdotal character of Hungarian literature as its decisive shortcoming.
TL;DR: In this paper, the authors discuss the political views of Janos Asboth, an outstanding representative of the nineteenth-century Hungarian Conservatism, explained in his various works, and discuss the relations between political and cultural Conservatism.
Abstract: The paper discusses the political views of Janos Asboth, an outstanding representative of the nineteenth-century Hungarian Conservatism, explained in his various works. Asboth's Conservatism cannot be characterized by Friedrich A. Hayek's terms as 'fear of change' or 'fondness for authority'; it rather shows similarity to Edmund Burke's attitude. Asboth clearly considered progress the task of the human race, but he wanted progress to be continuous and organic. He might be regarded as a disillusioned Liberal too, since his Conservatism seemed to be based on the criticism of Liberalism, which he did not think could cope with the challenge of Socialism. On the other hand, he thought that Conservatism was more flexible an ideology, since it started from given circumstances and focused on the needs of the state and its citizens, while Liberals started from principles, which involved certain goals. The paper also discusses Asboth's criticism of the Austro-Hungarian Monarchy and the relations between political and cultural Conservatism.
TL;DR: The focus of as discussed by the authors is on ethnic stereotypes that emerge in particular areas of group identities, as ideological products articulated through collective representation, and the cultural stereotypes of the "Happy Good Savage" and "Pitiful Westerner" represented as such in an insightful series of literary texts, have an interesting prehistory dating back to mid-nineteen century, when Romanian intellectuals educated in Western Europe started building a modern national identity.
Abstract: The focus of this essay is on ethnic stereotypes that emerge in particular areas of group identities, as ideological products articulated through collective representation. The fervid exchange of stereotypes between Western and Eastern Europe has its sources in specific contexts: the two distinct “Europes', historically divided by unstable borders and the purportedly peripheral status and socio-economic belatedness of the latter. Due to the frequent journeys of the Occidentals to the European “Far East', Western stereotypes have been set swiftly by widely circulated texts. The cultural stereotypes I am pointing to - crafted in Romania, a liminal area of Eastern Europe - should mostly be identified as a response to these. The polar stereotypes of the “Happy Good Savage' and the “Pitiful Westerner' represented as such in an insightful series of literary texts, have an interesting prehistory dating back to mid-nineteen century, when Romanian intellectuals educated in Western Europe started building a modern national identity. In their birthplace, these polar stereotypes have constantly been evaluated on rhetorical, ontological and moral grounds. My analysis of both fictitious and non-fictitious texts (novels, travelogues, essays) clearly follows and underlines these levels of stereotyping.
TL;DR: This article used Oliver Goldsmith's The Citizen of the World and W. Somerset Maugham's On a Chinese Screen as two examples to illustrate how and why different notions of China have been appropriated.
Abstract: This paper uses Oliver Goldsmith's The Citizen of the Worldand W. Somerset Maugham's On a Chinese Screenas two examples to illustrate how and why different notions of China have been appropriated. The discussion builds upon and seeks to expand a long tradition of Chinese interest in their presentations in Western literature by linking the two texts to their respective epochal ethos.
TL;DR: The fact that poets, novelists, journalists, critics, and the general public of Latin America have embraced the interpretation of Martin Fierro as a work that defines Argentine national identity, has, in my opinion, diverted the attention of most critics from the real core of the analysis, which is that the very concepts of literature, history, identity, and nationality are and have been cultural constructions as mentioned in this paper.
Abstract: The fact that poets, novelists, journalists, critics, and the general public of Latin America have embraced the interpretation of Martin Fierro as a work that defines Argentine national identity, has, in my opinion, diverted the attention of most critics from the real core of the analysis, which is that the very concepts of “literature,' “history,' “identity,' and “nationality' are and have been cultural constructions. The purpose of this essay is, then, to analyze Martin Fierro through the light of the theories of Benedict Anderson, Edward Said and Irena Nikolova in order to verify if the poem articulates the archetypical conventions (structure, theme, style) of the classical epic genre. And, departing from the results of that analysis, to examine how the textual and contextual relations between authorial ideology and European Romantic epic converge in the construction of the official concept of national literature in Argentine.
TL;DR: In this paper, the authors unify the notion of the "Wolfsnatur" in the Hungarian-Kroatischen Konigreichs with the concept of the frommste and aruhmreiche kriegerische Volk versehen.
Abstract: Im Begriff „das Ungarnbild in der kroatischen fruhneuzeitlichen Literatur“kann man zwei wesentlich verschiedene imagologische Aspekte bzw. Objekte unterscheiden: 1. das Bild der Ungarn, d.h. das Bild des ungarischen Volkes; 2. das Bild von Ungarn, d.h. das Bild des ungarischen Staates, in diesem Fall das Bild des Ungarisch-Kroatischen Konigreichs. Fur den ersten imagologischen Aspekt findet man relativ wenig Material,in dem das Stereotyp uber die „Wolfsnatur“der Ungarn (Tapferkeit, Kampflust, Grausamkeit) bestatigt wird. In der Zeit der grosen osmanischen Eroberungen im 15. und 16. Jahrhundert, als das Ungarische Konigreich in der humanistischen Literatur als „Vormauer des Christentums“dargestellt wurde, wurden in derselben Literatur auch die Ungarn mit dem Attribut das „ frommste“und „ruhmreiche kriegerische“Volk versehen. Der zweite Aspekt, fur den eine durchaus positive Einstellung zum Ungarischen Konigreich charakteristisch ist, ist in der kroatischen Literatur viel besser dokumentiert. Die Hungarophilie im nordwestlichen Teil Kroatiens (Banska Hrvatska), der auch in der fruhen Neuzeit ein Teil des gemeinsamen ungarisch-kroatischen Staates geblieben ist, konnte, trotz mancher kritischer oder sogar antihabsburgischer Tone (J. Rattkay), einfach als ein Ausdruck der Loyalitat verstanden werden. Viel interessanter ist die gleichzeitige Hungarophilie in Dubrovnik und Dalmatien (M. Vetranovih, L. CrijevihTuberon, J. Palmotih, J. Kavanjin, P. Kanavelih, F. Grabovac, A. KacihMiosihusw.). Eine Nostalgie dem ehemaligen Konigreich gegenuber konnte hier als eine implizite Kritik der damaligen politischen Verhaltnisse, d. h. als eine antiturkische bzw. antivenezianische Position interpretiert werden.