Izvorni znanstveni članak
The Heteronymous Poetics of Adolf Veber Tkalčević, 1825-1889
Zlatko Posavac
; Sveučilište u Zagrebu, Centar za povijesne znanosi, Odjel za povijest filozofije, Zagreb, Hrvatska
Sažetak
Although Veber Tkalčević was not primarily a theorist by vocation, his studies must be considered within the history of Croatian aesthetics; especially when working on the poorly researched 1850s and 1860s. In any case a reinterpretation of Veber Tkalćelvić's previous overviews and judgments of is called for, with a •new respect for his views on aesthetics, in the light of new iterpretative assumptions. Veber Tkalčervić's aesthetic theses can be found, aside from the relatively early article Nešto o kazalištu (Something on the Theater), 1848, in his study on Ivan F. Gundulić, 1854, and in the didactic essay O pjesništvu (On Poetry), 1867, but also in some of the other texts, especially criticisms, summed up later when Veber Tkalčević gradually began to withdraw from public Life in his discourse O okusu (On taste), 1882. Veber's central thesis of comprehension expressed in the demand that art must idealize the nature of aesthetics, in which the aesthetic horizon is conditioned by the ethical. Whatever is amoral and irregular can not be beautiful air artistic. The heterogeneity of poetic components follows this heteronymy of the central aesthetic principle with Veber in the field of literary practice: the complexity of romantic classicism with more strongly stressed traditional lines on the one hand, and realism in statu nascendi (protorealism) on the other. Since Veber Tkalčević was also involved in criticism it is also necessary to note, in his favor, regardless of the physiognomy and range of his critical pieces, that Veber Tkalčević was one of the first in the Croatia of that day, a rare phenomenon of those times, to establish sort of basis for his judgements and elaborate on this theoretically and aesthetically.
Ključne riječi
Hrčak ID:
87813
URI
Datum izdavanja:
3.12.1984.
Posjeta: 932 *