The Dalmatian Motifs of Miroslav Krleža: Space, Culture and Conflict in the Borderlands
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
How to Cite
Copyright (c) 2024 Maciej Czerwiński
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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