Počátky novodobých literatur a metamorfózy romantismu u jižních Slovanů, Rumunů a Albánců

Autor:	M. Černý, A. Jensterle-Doležalová, J. Horáková, I. Mikušiak, M. K. Nedvědová, J. Otčenášek,, P. Vinš
Předmět:	Albanian literature--19th century--History and criticism, Albanian literature--18th century--History and criticism, Romanticism--Balkan Peninsula, Slavic literature, Southern--19th century--History and criticism, Slavic literature, Southern--18th century--History and criticism, Romanian literature--19th century--History and criticism, Romanian literature--18th century--History and criticism
Kategorie:	LITERARY CRITICISM / European / Eastern
Popis:	This collective monograph looks at the emergence of the modern literature of the southern Slavs, Romanians and Albanians in the context of romanticism, the pan‑Slavic movement and struggles for national autonomy or independence. The 19th century saw the h of most south eastern European nations and their literatures and many notions from this period are evident in one form or the other in the societal changes of the 20th century. The romantic period in Albanian literature is markedly delayed in comparison to the majority of Balkan nations due to a lower Albanian national awakening (it peaked from 1878–1912). The main centres of Albanian cultural life were Albanian communities outside their own ethnic areas. The Arbër communities in southern Italy – the birthplace of Albanian romantic literature and of the Albanian nation (poet J. De Rada) were instrumental in the movement. Albanian communities in Bucharest and Istanbul where the most important figures of the Albanian Romantic Movement (the Frashëri brothers, P. Vasa) and others worked also played a significant role. Theseworks have a strong national revivalist character calling for the unification of all Albanians regardless of regional or religious affiliation. Bosnia and Herzegovina, which was until 1878 (resp. 1908) a part of Turkey, was multi‑ ethnic and multi‑ confessional country. Realism and particularly modernism were the only European literary styles to fully develop there. Romanticism and the emancipation movements of Balkan people are reflected only partially in literature. Muslim literature evolved in the context of Turkish‑ Arab literature outside the European framework, similarly to Jewish writing. Most of the literature produced by Croatian and Serbian writers in this period was primarily of an educational‑ didactic character. The only exceptions were certain Croatian Franciscans who favoured Illyrian (I. F. Jukić, P. Bakula). The national revival in Bulgarian literature (1762–1878) is divided into three main stages: 1st The Early Revival (1762–1820's) – (P. Chilendarski, his contemporaries and S. Vračanski); 2nd The Genuine Revival (1820's.–1856) – the period of cultural growth and the birth of Bulgarian enlightenment. At this period Bulgarian education took shape, there were debates about the use of language in literature, periodicals and literary oeuvres emerge and the struggle for the autonomy of the Bulgarian church became a national question; 3rd Prime Revival (1856–1878) – the prevailing genre syncretism was overcome and Bulgarian poetry was consolidated (D. Čintulov, G. S. Rakovski, P. R. Slavejkov, mystification Veda Slovena, N. Kozlev, I. Vazov), drama (D. Vojnikov, V. Drumev) even artistic prose appeared, with the exception of the novella (V. Popovič, V. Drumev, I. R. Blăskov, L. Karavelov). The 1870's brought about artistic critique (N. Bončev) and Bulgarian revolution emigres turned literature into revolutionary journalism and distinctive poetry (L. Karavelov, Ch. Botev). Romanticism and the national revival in Croatia gave rise to the Illyrian movement, i.e. a political and social program for the unification of the Southern Slavs and the establishment of a single language (1830's. and Ljudevit Gaj). A rejection of these ideas by other southern Slavs resulted in this broad concept being narrowed down only to the Croatian National Revival during which romanticism quickly spread. Poetry was at the forefront (P. Preradović, S. Vraz, I. Mažuranić), but modern drama also emerged (D. Demeter) as did essays and journalism. The prose was mostly nonfiction e.g. travel journals (M. Mažuranić). In addition to the ever‑ present spirit of Slavic solidarity (the Slavonic Congress in Prague, 1848), Bosnia and Herzegovina was „discovered” as a literary theme as well as the Dubrovnik Renaissance. During the 1840's–50 s modern Croatian literature takes shape and the first signs of literary realism begin to appear. Today's B
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