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Tehničko-stilske karakteristike dramaturgije Leonida Andrejeva u periodu od 1905. do 1910. godine

dc.contributor.advisorKosanović, Bogdan
dc.contributor.otherGrdinić, Nikola
dc.contributor.otherRamadanski, Draginja
dc.contributor.otherKosanović, Bogdan
dc.creatorПанаотовић, Мелина
dc.date.accessioned2019-06-27T10:54:41Z
dc.date.available2019-06-27T10:54:41Z
dc.date.available2020-07-03T14:19:36Z
dc.date.issued2019-04-15
dc.identifier.urihttp://nardus.mpn.gov.rs/handle/123456789/11205
dc.identifier.urihttps://www.cris.uns.ac.rs/DownloadFileServlet/Disertacija155531405050460.pdf?controlNumber=(BISIS)110601&fileName=155531405050460.pdf&id=12767&source=NaRDuS&language=srsr
dc.identifier.urihttps://www.cris.uns.ac.rs/record.jsf?recordId=110601&source=NaRDuS&language=srsr
dc.identifier.urihttps://www.cris.uns.ac.rs/DownloadFileServlet/IzvestajKomisije15553146572904.pdf?controlNumber=(BISIS)110601&fileName=15553146572904.pdf&id=12768&source=NaRDuS&language=srsr
dc.description.abstractMenjajući poetike, istražujući u oblasti forme, Leonid Andrejev u svom ranom dramskom stvaralaštvu ostaje veran svojoj inicijalnoj ideji: on promišlja ljudsku misao, njenu prirodu i njene moguće manifestacije, kao i moć i nemoć ljudske misli u svetu koji ga okružuje. U prvom periodu svog ranog stvaralaštva, definisanom kao realistički teatar, pisac sagledava tri različite manifestacije ljudske misli: nauku, religiju i revoluciju. U perodu potrage za novom dramskom formom, supstancionalnom teatru, misao dolazi u sukob sa supstancom i rađa se ideja da ljudska misao nije svemoguća, to jest da čovek ne može da živi vođen isključivo razumnim načelom. U trećem periodu svog ranog dramskog stvaralaštva, takozvanom melodramskom teatru, pisac se naizgled udaljava od svoje osnovne teme i afirmišući studentske uspomene, na biografskoj građi stvara dve psihološke melodrame.   U sva tri navedena teatra, realističkom, supstancionalnom i melodramskom, pisac se služio bogatim aresenalom tehničko-stilskih sredstava. U radu se tumači upotreba hromatskog i muzičkog prosedea, priroda i funkcija didaskalija, portetna metaforičnost likova, kao i simbolični plan drama, te njihove tematske i idejne koncepcije.    Zaključak je da je u potrazi za formom, u tim spontanim smenama poetika i bogatom korišćenju tehničko-stilskih sredstava (npr., montažnost dramskog teksta, kolektivni monolog, personalizacija i depersonalizacija aktera radnje; upotreba metafore, poređenja, metonimije, sinegdohe, sinestezije, groteske, lirskih paralelizama itd.), L. Andrejev ostao dosledan svojoj primarnoj ideji, promišljanju o moći i nemoći ljudske misli. Ta ista ideja ušla je u osnovu teatra panpsihe, koji je okarakterisao naredni plodan period ovog dramskog pisca.sr
dc.description.abstractAlthough he was not consistent in his approach when poetics and the form were concerned, Leonid Andreyev never gave up on the initial idea in his early plays: in them he was deeply involved in consideration of human thought, its nature and its possible manifestations, as well as its power, or the lack of it. In the first phase of his early works, which is in this thesis termed a realist theater, the playwright takes into consideration three different manifestations of human thought: science, religion and revolution. During the period in which he was searching for a new form for his plays, the so-called substantialist theater, thought is confronted with substance, upon which a new idea emerges, that of powerlessness of human thought– human beings cannot live their lives based solely on the principle of rationality. In the third period of his early writing, the so-called melodramatic theater, the author seemingly deviates from main theme, and by returning to his university days, creates two autobiographical, psychological plays.    In all three theaters, the realist, the substantialist and the melodramatic, the author uses a rich palette of technical and stylistic devices. This thesis offers analyses of chromatic and musical principles; the nature and function of stage directions; metaphorical nature of the characters; as well as the symbolism present in the plays.    Searching for the form, through spontaneous shifts between different poetics and an array of technical and stylistic devices (such as editing of plays, collective monologue, personalization and depersonalization of the characters, the use of metaphor, simile, metonymy, synecdoche, synesthesia, grotesque, lyrical parallelisms), Leonid Andreyev remained loyal to his initial idea of pondering the power and weakness of human thought. This idea has become a constitutive part of pan-psyche theater that marked the next, rather fruitful period of this playwright.en
dc.languagesr (cyrillic script)
dc.publisherУниверзитет у Новом Саду, Филозофски факултетsr
dc.rightsopenAccessen
dc.sourceУниверзитет у Новом Садуsr
dc.subjectL. N. Andrejevsr
dc.subjectL. N. Andreyeven
dc.subjectrano stvaralaštvosr
dc.subjectdramaturgijasr
dc.subjecttehnika i stilsr
dc.subjectearly worksen
dc.subjectdramaturgyen
dc.subjecttechniqueen
dc.subjectstyle.en
dc.titleТехничко-стилске карактеристике драматургије леонида андрејева у периоду од 1905. до 1910. годинеsr
dc.title.alternativeTehničko-stilske karakteristike dramaturgije Leonida Andrejeva u periodu od 1905. do 1910. godinesr
dc.title.alternativeStylistic and Technical Characteristics of Leonid Andreyev’s Plays (1905-1910)en
dc.typedoctoralThesissr
dc.rights.licenseBY-NC-ND
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/44951/IzvestajKomisije.pdf
dc.identifier.fulltexthttp://nardus.mpn.gov.rs/bitstream/id/44950/Disertacija.pdf


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