magistrska naloga
Tina Bratuša (Avtor), Jožica Čeh Steger (Mentor)

Povzetek

Na prelomu stoletja je na Dunaju prišlo do premikov v literaturi in likovni umetnosti, kar je vplivalo tudi na izoblikovanje slovenske literature ter likovne umetnosti. Dva izmed pomembnih slovenskih avtorjev, ki sta predstavljala literaturo na prehodu iz 19. v 20. stoletje, sta bila Ivan Cankar in Stanko Majcen. Njuno dunajsko literarno ustvarjanje je bilo vezano na predmestje, kjer sta v tem času tudi bivala. Ta ključni element ju je razlikoval od enega izmed pomembnejših avstrijskih avtorjev dunajske moderne, Arthurja Schnitzlerja. Razlike med njihovim literarnim ustvarjanjem se odražajo tudi pri upodobitvah ženskih likov. Pri Ivanu Cankarju in Stanku Majcnu zasledimo lika modificirane krhke ("femme fragile") in otroške ženske ("femme enfant"), pri Arthurju Schnitzlerju pa lik sladke deklice ("das süsse Mädel"). Pogled na deklice in njihovo vzgojo, ki je ključnega pomena tudi v umetnosti, je Rousseau interpretiral na način, da naj bi ženske odražale pasivnost, podrejenost, materinstvo, njihova vzgoja pa naj bi spodbujala ljubeznivost, spoštovanje in zvestobo. Kanon ženskosti je bil izpostavljen že v poznem srednjem veku in je narekoval značilnosti lepote, kot so beli zobje, rdeče ustnice, angelski nasmeh, bele roke, kodrasti lasje. Značilnosti t. i. ženske lepote so razvidne tudi v delih omenjenih avtorjev, vendar se med seboj precej razlikujejo. Cankarjeve deklice so nerazvite, telesno pohabljene, jetične, na zunaj grde, bogastvo in lepoto njene duše pa razkrivajo velike oči. Cankarjeve in tudi Majcnove deklice izhajajo iz predmestnega okolja. Majcen opisuje cirkusantke, prostitutke in kavarniške plesalke z nežnimi rokami in lepimi lasmi, kar spominja na umetno lepoto. Schnitzlerjeve sladke deklice so medtem idealne ljubimke, ki v zameno za ljubimkanje niso zahtevale povračila. Prav tako izhajajo iz predmestja, delajo kot šivilje, perice ali modistke. Njihova vloga je bila zabavati lahkožive mlade meščanske moške s svojo koketnostjo in prijetnostjo. Tematiziranje smrti, ljubezni in hrepenenja so skupne značilnosti Cankarjevih, Majcnovih in Schnitzlerjevih upodobitev ženskih likov, ob katerih se poraja vprašanje o krizi identitete.

Ključne besede

magistrska dela;sladka deklica;Dunaj;neobvezna ljubezen;erotika;bledičnost;predmestje;

Podatki

Jezik: Slovenski jezik
Leto izida:
Tipologija: 2.09 - Magistrsko delo
Organizacija: UM FF - Filozofska fakulteta
Založnik: [T. Bratuša]
UDK: 821.163.6.09:73/76(043.2)
COBISS: 23988744 Povezava se bo odprla v novem oknu
Št. ogledov: 773
Št. prenosov: 116
Ocena: 0 (0 glasov)
Metapodatki: JSON JSON-RDF JSON-LD TURTLE N-TRIPLES XML RDFA MICRODATA DC-XML DC-RDF RDF

Ostali podatki

Sekundarni jezik: Angleški jezik
Sekundarni naslov: ǂThe ǂcharacter of the girl in selected works by Ivan Cankar, Stanko Majcen and Arthur Schnitzler
Sekundarni povzetek: At the turn of the century, Vienna saw a shift in literature and fine art, which also influenced the formation of Slovenian literature and fine art. Two important Slovenian authors, who represented literature at the turn of the 19th and 20th century, were Ivan Cankar and Stanko Majcen. Their Vienna literary creation was bound to the suburbs where they were also living at that time. This key element distinguishes them from Arthur Schnitzler, one of the more important Austrian authors of the Viennese Modern. The differences in their literary creation are also reflected in the representations of female characters. In works of Ivan Cankar and Stanko Majcen we see characters of modified fragile ("femme fragile"), and infantile women ("femme enfant"); in works of Arthur Schnitzler we see the character of the sweet girl ("das süsse Mädel"). Rousseau interpreted the view of girls and their education, which also has a key role in art, as reflecting passiveness, subordination and motherhood; their education should encourage kindness, respect and loyalty. The canon of femininity was already exposed in the late Middle Ages; it dictated characteristics of beauty such as white teeth, red lips, an angelic smile, white hands and curly hair. The characteristics of the so-called female beauty can also be seen in works of the authors mentioned but are quite different in comparison. Cankar's girls are undeveloped, their bodies crippled, tuberculate, ugly on the outside; the beauty of their soul revealed by their large eyes. Cankar's and Majcen's girls come from the suburbs. Majcen describes female circus performers, prostitutes and cabaret dancers with soft hands and beautiful hair, which resembles artificial beauty. Schnitzler's sweet girls on the other hand are perfect lovers who did not demand anything in return for affairs. They also come from the suburbs, work as tailors, laundresses or milliners. Their role is to entertain loose young city men with their coquette and pleasantness. The themes of death, love and longing are common features of Cankar's, Majcen's and Schnitzler's representations of female characters bringing up the issue of crisis of identity.
Sekundarne ključne besede: master theses;sweet girl;Vienna;casual love;erotic;pallor;suburbs;
URN: URN:SI:UM:
Vrsta dela (COBISS): Magistrsko delo/naloga
Komentar na gradivo: Univ. v Mariboru, Filozofska fak., Oddelek za slovanske jezike in književnosti
Strani: III, 80 f.
ID: 10943458