SADRŽAJ/CONTENT Introduction 7 Starija Književnost / Older Literature

SADRŽAJ/CONTENT Introduction 7 Starija književnost / Older Literature Divna MrDeža antonina Panegirik ili satira u vili Slovinki Jurja Barakovića? – muka čitatelja s povijesne distance 13 Janko lJuMović Komička snaga dramskog teksta kada je piše vladar – studija slučaja Nikole I Petrovića Njegoša i njegove šaljive igre u tri čina kako Se ko roDi 33 Satiričko obnavljanje staroga / Satirical Renewal of the Old Marina MilivoJević-Mađarev roDolJupci Jovana Sterije Popovića – Dve postavke u tri turbulentne decenije novije srpske istorije 51 Goran lazičić Stradija je Stradija je Stradija. Politička satira Radoja Domanovića i Svetislava Basare 63 Satiričko prikazivanje ljubavi / Satirical Presentation of Love aDiSa Bašič Komični prikaz braka u južnoslavenskoj usmenoj lirici 83 BernarDa katušić Matoš’ subtile Ironisierung des romantischen Liebescodes 103 Prikazivanje Drugog svjetskog rata / Presentation of World War II alMir Bašović Ironija i satira kod Branka Ćopića i Derviša Sušića 125 nenaD veličković zatočnik u Bašti SlJezove BoJe. Previđanje satire u Ćopićevom opusu – dekontekstualizacija kao strategija revizionizma 143 Satira u socijalizmu / Satire in Socialism anGela richter Von der Massenhysterie um einen Wal bis zur Kritik an repressiven Strukturen. Ironische Zuspitzung und groteske Übertreibung bei Erih Koš 161 Marina protrka štiMec Mišolovka za Horacija Djelokrug kazališta, teksta i izvedbe u Brešanovoj preDStavi haMleta u Selu MrDuša DonJa 177 FahruDin kuJunDžić Shakespeare u svijetu bez transcendencije 193 BoriS Senker Satirične maskerate Antuna Šoljana 211 Tranzicija u novijoj književnosti / Transition in Contemporary Literature SvetiSlav Jovanov Uzaludno uskrsnuće: satiričke perspektive u drami Dušana Kovačevića lari toMpSon, traGeDiJa JeDne MlaDoSti 227 renate hanSen-kokoruš Formen der (politischen) Satire bei Ante Tomić 235 Darko lukić Pitanja o mogućnostima satire u tranzicijskim društvima 251 toMiSlav zaGoDa Humoristične subverzije nacionalističke ideologije (na primjerima romana konačari I JeBo SaD hilJaDu Dinara) 269 O autorima i autoricama / About the Authors 283 INTRODUCTION Since the Ancient world satire is one of the most popular/effective forms of arts, especially of literature, to get involved in societal aspects, to act and react. Satire as a specific genre of arts combines poetical characteristics with a critical relationship to phenomena of reality – both on a individual and societal level. Arts are developing aesthetical categories, but corresponding to societal developments, based on and acting with it, forming and express- ing references to reality in the most different ways – fantastic, realistic or grotesque, amongst others. Insufficient or dissatisfying political, social, eco- nomic, cultural or other situations have always been critically reflected in literature, albeit not to retreat into pure aesthetics, but to adopt a clear attitude towards grievances and to use the potentials of the word. Being aware of its own strength and facilities, literature has developed ways and strategies of dealing with the comical, satire and irony. The presentation of negative reality ranging from mocking and parody to polem- ics and grotesque exaggeration. But satire outruns it, attacking the negative in a humorous or ironic way, from a latent positive, even ideal vision, to awaken a reader’s wish in changes of the criticized reality. All literary forms and genres provide a satirical way of writing, but some of them developed specific expressions in which satire and humor played dominant roles. In addition to pastiche and parody which make a special reference to literary reality, drama (especially comedy) is very prominent, because no other form of literature interacts so directly, on stage, with the audience, and is immediately discussed in the media. The topic of satire and humor has multiple relevance. Even if there are broad and widely recognized theoretical works and analyses of the topic, some assumptions and implications from this field – the aesthetic attri- butes, the role of the fantastic, the implicated impacts of humor and satire – bring up new discussions. Against the backdrop of negative developments in recent societies satire and humor seem to have gained a new height and popularity. Especially in transitional post-Yugoslav countries, this manner of literary expression correlates to the stagnation of democratic structures 8 and increases in popularity. But the fondness for comical alienation, black humor and ways of reading between the lines provided very good precon- ditions for satire, which readers were used to during, but also before, socialism. Special significance is related to the theatre directly participating in societal discourse. But irrespective of the timeliness of the topic, the field of satire and humor so far is given little attention in literary history and theory discussion of Bosnian, Croatian, Montenegrin and Serbian literature. This publication attempts to stimulate research and analyses of this field, as no general scientific survey exists concerning these literatures. This book collects contributions from an international conference dedicated to the topic of satire and humor in Bosnian, Croatian, Montenegrin and Serbian literature which took place from September, 22 – 23, 2017 at the Department of Slavic Studies at the University of Graz. It was organized by an international committee with representatives of the Croatian Acad- emy of Sciences and Arts (Prof. Boris Senker), the Academy of Dramatic Arts in Zagreb (Prof. Darko Lukić) and the University of Graz (Prof. Re- nate Hansen-Kokoruš) and was accompanied by a literary reading of Ante Tomić and Nenad Veličković at the House of Literature, Graz. The publication presents seventeen double blind peer reviewed contributions of researchers from Austria, Bosnia and Herzegovina, Croatia, Germany, Montenegro and Serbia who analyze critical satirical and humorous aspects of the above-mentioned literatures in a national and trans- national context over a long period time, from older oral traditions and Renaissance through the 19th and 20th century up to the newest literary texts. As drama and theatre are the central expertise of two of the organiz- ers, aspects of drama and dramatization are represented very prominent- ly. They are given in the origin languages of the conference and were not translated, but contain a summary in one of the other languages. The publication contents six sections of mixed aspects of literary history and topics: older literature, satirical renewal of the old, satirical presentation of love, the presentation of World War II, satire in socialism and transition in the contemporary literature. The section of the older literature is opened by Divna Mrdeža Antonina with her research of satirical use and its recognition in VILA SLOVINKA by Juraj Baraković, a lyrical poem from 9 the 17th century. Her article especially analyzes the role of irony then and now with the consequences of a change of understanding. Janko Ljumović examines a three-act drama, the only comedy of the Montenegrin poet and sovereign Nikola I Petrović Njegoš. He identifies the historical context and conflict of ideas as a main source of humor. Two articles deal with the satirical renewal of the old, concrete texts from the 19th century which gave inspiration to contemporary interpretations. Marina Milivojević-Mađarev compares two performances of the comedy THE PATRIOts by Jovan Sterije Popović, the founder of the Serbian comedy, in 1986 and 2015. She shows two totally different interpretations and understandings of patriotism in a time of increasing nationalism and the critiques of nationalism. Two satires by one of the most serious Serbi- an satirists of the 19th century, Radoje Domanović, are the foundation for Goran Lazičić’s comparision with the contemporary writer Svetislav Basara. His research focuses attention on the presentation of autocracy and lack of democratic structures then and now. Two contributions are dedicated to the satirical presentation of love. An alternative, humorous overview of marriage, adultery and premarital sexual experience in south Slavic oral literature is given by Adisa Bašić, who defines the role of humor in this context as a possibility of articulating the forbidden and suppressed. The anthological story CAMAO by the modernist G.A. Matoš serves Bernarda Katušić as a basic text to show how romantic love is ironized in the work of this author. Almir Bašović and Nenad Veličković deal with literary presentations of World War II. Using examples by Branko Ćopić and Derviš Sušić and based on theories of laughing and the carnevalesque, the first contribution examines specific forms of humorous and ironic presentations of war. Velič- ković’s work is also focused on Branko Ćopić, but under a quite different as- pect: he critically analyzes the scientific criteria of three volumes of a project dedicated to the writer and attests the use of stereotypes and mystifications to most of them, based on the missing acknowledgement of humor. More contributors explore satire in socialism. Angela Richter focuses attention on two satires of Erih Koš which attack bureaucracy, rivalty and opportunism in socialism, underlining the hidden alliance between text mes- 10 sage and the readers. Two articles examine Ivo Brešan’s famous tragicomedy THE STAGE PLAY OF HAMLET IN THE VILLAGE OF MRDUšA DONJA. Marina Protrka Štimec interprets this piece – in contrast to the known works on it – not as an intertexual

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