Vol. 20 No. 2 (2023): Studi Slavistici XX (2023) 2
Articoli

The Dalmatian Motifs of Miroslav Krleža: Space, Culture and Conflict in the Borderlands

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  • Maciej Czerwiński
Maciej Czerwiński
Jagiellonian University of Krakow
Bio
DOI: https://doi.org/10.36253/Studi_Slavis-14967

Published 2024-01-29

Keywords

  • Krleža,
  • Dalmatia,
  • Croatia,
  • Communist Yugoslavia,
  • Italy,
  • East-West paradigm,
  • Historical-Cultural Ties between Italy and Montenegro,
  • Slavs and the West
    • ...More
    Less

How to Cite

Czerwiński, M. (2024). The Dalmatian Motifs of Miroslav Krleža: Space, Culture and Conflict in the Borderlands. Studi Slavistici, 20(2), 57–73. https://doi.org/10.36253/Studi_Slavis-14967

Copyright (c) 2024 Maciej Czerwiński

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Abstract

The aim of this article is to deal with the disputable role Dalmatia played in the Croatian-Italian-Serbian borderlands, referring to the foremost Croatian and Yugoslav writer Miroslav Krleža. Although he is mostly associated with the Croatian North, i.e., historical Croatia-Slavonia, called sometimes the Panonian cultural complex, his engagement in the discourse of Dalmatia after World War Two cannot be underestimated. In the period 1950-1951 Krleža prepared two exhibitions of medieval art (one staged in Paris as L’art médiéval Yougoslave and the other in Zagreb as Zlato i srebro Zadra) and wrote two introductions to their catalogues. In them, he builds a concept of a separate “South Slavic civilisation” that “negates” the bipolarism of Roman-Byzantine competing cultural models (Slavia Romana vs. Slavia Orthodoxa, according to Picchio). Referring to the spatial approach to literature, I attempt to situate the post-war Yugoslav discourse, radically confrontational and militaristic, within historical antagonistic discourses (Croatian-Italian-Serbian).

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References

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