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Original scientific paper

Anita Peti

Full text: croatian pdf 1.147 Kb

page 121-145

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After aiming to present survey of theoretical investigations of a term »irony«, the author takes philosophical views as a starting point. What follows is a discussion of the same term linked with works of art and especially with dramatic. In the main part of the text, the author tries to explain the modes through which Antun Soljan investigates the brink and border situations in which the characters of his plays (Lice; Sova; Brdo; Galilejevo uzasasce; Ledeno ljeto; Dobre vijesti, go- spo; Potop; Klopka; Dioklecijanova palaca; Romanca o tri ljubavi) found themselves. This is the world fulfilled with an immanent polysemy,
in which the sense has been destabilized by irony achieved through creative and urban dialogicity of thinking. This is the world of disturbed values. The only mode of »recovering« is to direct questions to this world, filling it by irony and establishing new meanings through it. At the same time, Soljan is being suspicious about the sense created in his own work of art. His questions, as well as his irony, are of three parts: 1. existential questions which a character, being in self-conflict, directs to himself; 2, questions posed in dialogues with the other characters about the feasibility of being together in the world; and finally, 3. questions directed toward the world, about impossibility of its survival.


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