APA 6th Edition Brlenić-Vujić, B. (2009). Držićeva komedija Tripče de Utolče i Boccacciov Dekameron. Dani Hvarskoga kazališta, 35 (1), 54-70. Preuzeto s https://hrcak.srce.hr/72826
MLA 8th Edition Brlenić-Vujić, Branka. "Držićeva komedija Tripče de Utolče i Boccacciov Dekameron." Dani Hvarskoga kazališta, vol. 35, br. 1, 2009, str. 54-70. https://hrcak.srce.hr/72826. Citirano 02.12.2021.
Chicago 17th Edition Brlenić-Vujić, Branka. "Držićeva komedija Tripče de Utolče i Boccacciov Dekameron." Dani Hvarskoga kazališta 35, br. 1 (2009): 54-70. https://hrcak.srce.hr/72826
Harvard Brlenić-Vujić, B. (2009). 'Držićeva komedija Tripče de Utolče i Boccacciov Dekameron', Dani Hvarskoga kazališta, 35(1), str. 54-70. Preuzeto s: https://hrcak.srce.hr/72826 (Datum pristupa: 02.12.2021.)
Vancouver Brlenić-Vujić B. Držićeva komedija Tripče de Utolče i Boccacciov Dekameron. Dani Hvarskoga kazališta [Internet]. 2009 [pristupljeno 02.12.2021.];35(1):54-70. Dostupno na: https://hrcak.srce.hr/72826
IEEE B. Brlenić-Vujić, "Držićeva komedija Tripče de Utolče i Boccacciov Dekameron", Dani Hvarskoga kazališta, vol.35, br. 1, str. 54-70, 2009. [Online]. Dostupno na: https://hrcak.srce.hr/72826. [Citirano: 02.12.2021.]
Sažetak The source of this theme initiated by Frano Čale, Franjo Švelec and Mate Zorić as a contribution to the interpretation of Držić’s comedy Tripče de Utolče, was very useful in further research of the Držić – Boccaccio relation.
The alias from Boccaccio’s stories (the 6th and the 9th story of The Third day and the 4th and the 8th story of the Seventh day in Decameron) in Držić’s comedy follows the pattern of ethical behavior of a de-sacralized idea about literature as an art form, in which the mythical organization of life principles is no longer valid; how to live, the futility of sublimity, giving way to principle, how to live as a triumph of intellect over stupidity.
Boccaccio’s story in its structure resembles dramatic structure. It retains the structure of the beginning and end in the process of reduction. Like a drama, it races from the beginning to an end and from the plot to an outcome in which the moral is some kind of unraveled trouble. In Decameron, Držić could recognize the outline of the plot of this comedy, a kind of scenario for the plot and the characters he saw as possible actors on the stage. The listed outlines which Držić expertly incorporated into his comedy Tripče de Utolče, are incorporated in a game of multi vocals which serves to differentiate the characters while outlining the concordance of the syntactic structure with compositional structure, at the same time reflecting the spirit of the time in which he lived as well as his own poetics.