APA 6th Edition Durić, D. (2020). DIMENZIJE PROSTORA U PODGORKI VJENCESLAVA NOVAKA. Senjski zbornik, 47 (1), 17-38. https://doi.org/10.31953/sz.47.1.2
MLA 8th Edition Durić, Dejan. "DIMENZIJE PROSTORA U PODGORKI VJENCESLAVA NOVAKA." Senjski zbornik, vol. 47, br. 1, 2020, str. 17-38. https://doi.org/10.31953/sz.47.1.2. Citirano 19.06.2021.
Chicago 17th Edition Durić, Dejan. "DIMENZIJE PROSTORA U PODGORKI VJENCESLAVA NOVAKA." Senjski zbornik 47, br. 1 (2020): 17-38. https://doi.org/10.31953/sz.47.1.2
Harvard Durić, D. (2020). 'DIMENZIJE PROSTORA U PODGORKI VJENCESLAVA NOVAKA', Senjski zbornik, 47(1), str. 17-38. https://doi.org/10.31953/sz.47.1.2
Vancouver Durić D. DIMENZIJE PROSTORA U PODGORKI VJENCESLAVA NOVAKA. Senjski zbornik [Internet]. 2020 [pristupljeno 19.06.2021.];47(1):17-38. https://doi.org/10.31953/sz.47.1.2
IEEE D. Durić, "DIMENZIJE PROSTORA U PODGORKI VJENCESLAVA NOVAKA", Senjski zbornik, vol.47, br. 1, str. 17-38, 2020. [Online]. https://doi.org/10.31953/sz.47.1.2
Sažetak Ivo Frangeš had already noticed that the literary opus of Vjenceslav Novak can be divided into several circles and he singled them out on the basis of thematic criteria. So, Senj and its problems and social processes made up the first; Senj’s surroundings or Podgorje made up the second; the third relates to the civic context of Senj and Zagreb, and the fourth was the world of the deprived urban masses in Zagreb and Senj.
From this division, the possibility of a different view of Novak’s opus is already hinted at: based on space, and therefore we are able to speak about Senj, Zagreb and Podgorje as the main topoi. The novel Podgorka (Foothill Woman) by Vjenceslav Novak, as the title itself suggests, in this context would enter the domain of the author’s work that deals with the space and problematic of Podgorje. The goal of the presentation is to connect the concept of literary geography with the
mode of romance. The literary construction of the space and its intertwinement with the social construction of the space will be examined. Also to be considered is how spatial determinants
are brought into connection with Soya’s concept of thirdspace and the mode of romance as the primary form of the organisation of the narration.