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Ovaj završni rad analizira glavne ženske likove drama Lutkina kuća (1879.) i Gospoda Glembajevi (1928.), Noru Helmer i barunicu Charlottu Castelli Glembay. S obzirom na to da su drame vezane za razdoblja realizma i modernizma prikazuju se i osnovne značajke tih dvaju razdoblja. Predstavljeni su autori; Henrik Ibsen i Miroslav Krleža te njihovi opusi i odabrane drame. Glavne ženske junakinje analizirane su u zasebnim poglavljima, a posljednje je posvećeno njihovoj usporedbi. Nora je naturalistička drama u kojoj Ibsen kritizira norveško građansko društvo devetnestog stoljeća, dok Krleža u Gospodi Glembajevima kritizira zagrebačku građansku sredinu u dvadesetom stoljeću. Obje su drame obilježene dinamičnim dijalozima s britkim i kratkim replikama te naglašenom psihologizacijom likova. Također, obje drame sastoje se od tri čina kroz koja pratimo razvoj ženskih junakinja, ali i ostalih likova. Nora se razvija od žene lutke preko žene patnice kako bi postala samostalna žena koja odlučuje o svojem životu, a barunica Castelli Glembay razvija se od žene bludnice s pojedinim osobinama žene patnice te postaje još jedna tragična glembajevska žena. Dvije navedene junakinje povezuje to što obje odbacuju maske koje im je društvo nametnulo te se pokušavaju izboriti za jednako ugodan i samostalan život, kakav imaju muškarci u njihovim sredinama. This final thesis analyses Nora Helmer and baroness Charlotte Castelli Glembay, female characters of dramas A Doll’s House (1879) and The Glembays (1928). Considering that both plays belong to the epochs of realism and modernism, they show the fundamental characteristics of those two periods. The thesis also introduces the authors Henrik Ibsen and Miroslav Krleža, as well as their opuses and selected plays. The main female heroines are analysed in separate chapters while the last one focuses on their comparison. Nora is a naturalistic drama in which Ibsen criticises Norweigan civil society in nineteenth century. Likewise, Krleža criticises the one in Zagreb in The Glembays in twentieth century. Both dramas are characterized by dynamic dialogues with brittle and short replicas, and emphasised psychologizing of the characters. Also, they consist of three acts through which the development of the female heroines is followed, together with the other characters. Nora develops from a puppet woman through a suffering woman to become an independent woman who makes decisions about her own life whereas baroness Castelli Glembay evolves from a harlot woman with certain characteristics of a suffering woman and becomes another tragic Glembay woman. The above mentioned heroines are related by the fact that they both reject the masks imposed on them by society and try to fight for the same comfortable and independent life as men in their milieu. |
