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Katarzični Efekti Suvremene Auto/Biografske Američke Drame

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Katarzični Efekti Suvremene Auto/Biografske Američke Drame SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU FILOZOFSKI FAKULTET Nadira Puškar Mustafić KATARZIČNI EFEKTI SUVREMENE AUTO/BIOGRAFSKE AMERIČKE DRAME DOKTORSKA DISERTACIJA Osijek, 2017. SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU FILOZOFSKI FAKULTET Nadira Puškar Mustafić KATARZIČNI EFEKTI SUVREMENE AUTO/BIOGRAFSKE AMERIČKE DRAME DOKTORSKA DISERTACIJA Osijek, 2017. J.J.STROSSMAYER UNIVERSITY OF OSIJEK FACULTY OF HUMANITIES AND SOCIAL SCIENCES Nadira Puškar Mustafić CATHARTIC EFFECTS OF CONTEMPORARY AUTO/BIOGRAPHICAL AMERICAN DRAMA DOCTORAL THESIS Osijek, 2017. SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU FILOZOFSKI FAKULTET Nadira Puškar Mustafić KATARZIČNI EFEKTI SUVREMENE AUTO/BIOGRAFSKE AMERIČKE DRAME DOKTORSKA DISERTACIJA Mentor: red.prof.dr.sc.Sanja Nikčević Komentor: red.prof.dr.sc.Josip Janković Osijek, 2017. J.J.STROSSMAYER UNIVERSITY OF OSIJEK FACULTY OF HUMANITIES AND SOCIAL SCIENCES Nadira Puškar Mustafić CATHARTIC EFFECTS OF CONTEMPORARY AUTO/BIOGRAPHICAL AMERICAN DRAMA DOCTORAL THESIS Supervisor: prof.Sanja Nikčević, Ph.D. Co-supervisor: prof. Josip Janković, Ph.D. Osijek, 2017. SANJA NIKČEVIĆ (Varaždin, 1960.) Redovni profesor u trajnom zvanju na UAOS, voditelj teorijskog programa i predavač kolegija povijesti drame i kazališta. Teatrolog i kazališni kritičar (objavljuje u tjednicima Hrvatsko slovo, Vijenac i portalima bitno net). Predsjednica Hrvatskog društva kazališnih kritičara i teatrologa (HDKKT) od 2008., članica Glavnog odbora Matice hrvatske od 2014., a pročelnica Odjela za kazalište i film Matice hrvatske od 2015. Dva puta bila Fulbrightov stipendist u SAD: CUNY - New York (mentor Marvin Carlson) 1995. i UCSB - Santa Barbara (mentor W. D. King) 2003., gdje je i predavala Modernu europsku dramu i kazalište 2002. U docenta je birana na zadarskom sveučilištu (2002) gdje je predavala povijest svjetske drame na doktorskom studiju iz književnosti. Od 2003. zaposlena na Sveučilištu u Osijeku. Prvo na Filozofskom fakultetu (Odsjek za anglistiku) gdje je 2006. birana u izvanrednog profesora a predavala kolegije iz američke i engleske drame te kazališne kritike. Na doktorskom studiju iz književnosti Filozofskog fakulteta u Osijeku od njegova osnutka (2006) voditeljica je dramskog modula i predaje kolegije iz povijesti drame i američke drame. Objavila je preko deset autorskih knjiga, a na velikom broju knjiga radila je i kao uredinica. Autorske knjige: 1. Druga slika hrvatskog kazališta ili izvan glavne struje, DHK, Zagreb, 2016. 2. Mit o Krleži. Krležoduli i krležoklasti u medijskom ratu, Matica hrvatska, Zagreb, 2016. 3. Kako prikazati ljudske rane na sceni. Ratne teme u hrvatskoj, bosanskoj i angloameričkoj drami, Alfa, Zagreb, 2016. 4. Kazališna kritika ili neizbježni suputnik UAOS/Leykam, Zagreb, 2012. 5. Nova europska drama ili velika obmana 2 (drugo, dopunjeno i prošireno izdanje), Leykam, Zagreb, 2009. 6. Što je nama hrvatska drama danas?, Naklada Ljevak, Zagreb, 2008. 7. Gubitnički genij u našem gradu, Filozofski fakultet, Zagreb, 2006. 8. Nova evropska drama ili velika obmana, Meandar, Zagreb, 2005. 9. Afirmativna američka drama ili živjeli Puritanci, Hrvatski centar ITI, 2003. 10. Subverzivna američka drama ili simpatija za losere, CDM, Rijeka, 1994. JOSIP JANKOVIĆ (Đakovo, 1943.) Na Filozofskom fakultetu u Zagrebu diplomirao je psihologiju kao prvi i sociologiju kao drugi glavni predmet 1972. godine. Magistarski rad pod naslovom: "Evaluacija uspješnosti liječenja alkoholičara na odjelu za liječenje alkoholizma Neurophijatrijske bolnice "Dr. Ivan Barbot" u Popovači" obranio je 1984. godine Na Stomatološkom fakultetu u Zagrebu. Doktorsku disertaciju pod naslovom "Interakcijsko komunikativni pristup u socijalnom radu s porodicom alkoholičara" obranio je na Fakultetu političkih nauka "Veljko Vlahović" u Sarajevu 1989. godine i stekao doktorat s područja socijalnog rada i socijalne politike. Tijekom svih ovih godina polazio je edukacije prvenstveno iz različitih psihoterapijskih pravaca: grupna terapija ovisnika, terapijska zajednica, sustavna obiteljska terapija, psihodinamski, transakcijski i Rogersov nedirektivni pristup u terapiji i savjetovanju te za stručnu superviziju. Školske godine 1985/86. kao vanjski suradnik na kolegiju Socijalni rad s porodicom voditelj je vježbi savjetovanja na Studijskom centru socijalnog rada Pravnog fakulteta Sveučilišta u Zagrebu, a 1. lipnja 1986. izabran je za znanstvenog asistenta na Studij socijalnog rada te preuzeo vođenje vježbi i seminara iz kolegija Socijalni rad s porodicom. Kad je izabran u znanstveno nastavno zvanje docenta (15. siječanja 1992.) u potpunosti je preuzeo vođenje svih oblika nastave i prakse vezane za kolegij "Socijalni rad s porodicom" te osmislio i uveo nove kolegije "Obiteljska terapija" i "Preventivni programi u socijalnom radu" na ovom Studiju. Od 27. svibnja 1998. radi na Studijskom centru socijalnog rada u znanstveno nastavnom zvanju izvanrednog profesora a u zvanje redovnog profesora izabran je 23. ožujka 2005. godine. Do sada je objavio samostalno ili u suautorstvu i suuredništvu 15 knjiga, 25 znanstvenih radova, 34 stručna rada i 3 prethodna priopćenja. Autorske knjige: 1. Obitelj u fokusu. Zagreb : etcetera d.o.o., 2008 (monografija). 2.Rječnik dijete-odrasli: Tumač dječjeg svijeta odraslima .Zagreb : etcetera d.o.o., 2007 (priručnik). 3. Pristupanje obitelji - sustavni pristup .Zagreb : Alinea, 2004 (sveučilišni udžbenik). 4. Savjetovanje u psihosocijalnom radu .Zagreb : Et cetera, 2004 (monografija). 5. Savjetovanje - psihodinamski pristup .Zagreb : etcetera d.o.o., 2003. (priručnik). 6. Savjetovanje - nedirektivni pristup .Zagreb : Alinea, 1997. (monografija). Zahvale i posveta Ovaj doktorski rad posvećujem svojim roditeljima Aliji i Osmanu i suprugu Almiru, koji su u mene usadili marljivost, upornost i ljubav prema znanosti. Izuzetnu zahvalnost dugujem svojim mentorima i znanstvenim uzorima, profesorici Sanji Nikčević i profesoru Josipu Jankoviću, bez čijeg znanja i strpljenja, ali i kritika i prijateljskog ohrabrenja ovaj doktorat zasigurno ne bi ugledao svjetlo dana. Hvala i izuzetnim profesorima Filozofskog fakulteta i Umjetničke akademije u Osijeku, Biljani Oklopčić, Ani Mikić Čolić, Alenu Biskupoviću i Ivanu Trojanu. Izuzetna mi je čast bila učiti od i raditi s profesoricama Sanjom Runtić i Silvijom Ručević, koje su ovom radu dale završne konture. U pripremi ovoga rada sudjelovao je velik broj ljudi, te se i njima želim zahvaliti: Nihada Delibegović-Džanić, Alma Pirić, Nadira Šabanović, Alija Selimović, Jelena Ogresta, kao i svi sudionici u istraživanju s Univerziteta u Tuzli i Zenici. Imam veliku obitelj i mnogo prijatelja koji su mi na jedan ili drugi način pomogli, ali ipak želim izdvojiti svog daidžu Muharema, sestru Amiru, kao i njenu i suprugovu obitelj, koji su bezrezervno vjerovali u mene i s kojima sam prolazila lijepe, ali i one malo manje lijepe momente tijekom izrade ove disertacije. Na kraju, želim svima onima koji budu čitali ovu disertaciju poželjeti ugodne i zanimljive trenutke koji će ih inspirirati da o katarzi razmisle iz drugog kuta i nastave istraživati ovaj pojam kroz književnost, ali i kroz druge znanosti. i SAŽETAK Kraj 20. i početak 21. stoljeća zabilježio je pojavu novih trendova na scenama vodećih europskih kazališta koja su se, pod krinkom minimalizma i umjetničke sofisticiranosti, postupno „riješila“ svih dramskih elemenata koji su povezivali kazalište s publikom. Sve je počelo s epskim kazalištem koje je osudilo emocionalnu identifikaciju publike s likovima iz drama, a slijedilo je kazalište apsurda koje je predstavilo potpuno nerealan svijet i likove nalik karikaturama, s kojim se publika nije mogla identificirati. Posljednje je stiglo in-yer-face kazalište, popularizirajući negativne emocije i likove, pod izgovorom da prikazuje težak i besmislen svakodnevni ljudski život koji treba kritizirati. S druge strane, američko kazalište glavne struje nastavilo je funkcionirati slijedeći osnovne postavke realizma i u 21. stoljeću, promovirajući pozitivne emocije, pozitivne likove i katarzu. Usporedba europskog s američkim suvremenim kazalištem rezultirala je hipotezom prema kojoj suvremene auto/biografske američke drame imaju katarzičan učinak na publiku, čemu uvelike doprinosi i činjenica da istina ispričana u takvim dramama omogućuje publici da se lakše identificira s njihovim likovima. Kao rezultat toga, publika može otpustiti neke svoje potisnute emocije i doživjeti katarzu. Doktorski rad sastoji se od sedam dijelova: 1) Uvod, 2) Teorija, 3) Metodologija, 4) Rasprava i rezultati, 5) Zaključak, 6) Literatura i 7) Prilog 1. Svrha istraživanja bila je ispitati hipotezu teorijski i empirijski, te smo stoga anketirali recipijente o njihovim reakcijama na osam suvremenih auto/biografskih američkih drama. Recipijenti, ukupno 30 njih, bili su podijeljeni u dvije skupine: čitatelje i gledatelje. Za analizu smo odabrali sljedeće drame i njihove filmske adaptacije: Jan Van Druten, Sjećam se Mame (1944); Dore Schary, Izlazak sunca na Campobellu (1958); William Gibson, Čudotvorka (1959); William Gibson, Leptiri su slobodni (1969); Beth Henly, Zločini srca (1979), Neil Simon, Sjećanje na Brighton Beach (1983), Robert Harling, Čelične Magnolije (1987) i David Auburn Dokaz (2001). Nakon uvoda, razvili smo teorijski okvir koji je, osim različitih teorijskih razmatranja o katarzi, također uključio poglavlja o auto/biografiji, suvremenoj auto/biografskoj američkoj drami i teorijama recepcije. U drugom dijelu, ili metodologiji, opisana je i obrazložena anketa, te instrumenti i načini na koje su rezultati
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