78 KB3203 KB75 KB197820251999Zemljarič Miklavčič, Janaštevilka:1letnik:22str. 49-74ISSN:0351-1189COBISSID:9911650URN:URN:NBN:SI:doc-UEAIVBCGslSlovensko društvo za primerjalno književnostPrimerjalna književnostCankar, Ivan, 1876-1918literarna teorijaliterarne študijeliterary theorySlovene literatureslovenska dramatikaslovenska književnostteorija drameZaprta in odprta dramska forma pri Cankarju|Closed and Open Dramatic Form in Cankar. - The main objective of this essay is a through formal-aesthetic analysis of three plays by Ivan Cankar, Kralj na Betajnovi (1901), Pohujšanje v dolini šentflorjanski (1907) and Lepa Vida (1911). Applying Klotz's theory on closed and open dramatic form I have analysed the dramatic categories of place, time, character, act, composition and language, and gained an insight into the basic structure of Cankar's drama. The results of an individual analysis of each play were explained from the position of the entire dramatic text in its historical context. Dramatic form, as the only entirely tangible constituent part of the work of art, was taken as the basis on which to build an interpretation of an individual text, or an extract. Fairly detailed examples of both ideal types were discovered: Kralj na Betajnovi can be labelled as having a predominantly closed dramatic form, and Lepa Vida as mainly open. I was particularly interested in the modifications of both ideal types, in which the author's creativity and originality was recognisedV razpravi smo si postavili za cilj narediti formalnoestetsko analizo treh Cankarjevih dram, Kralja na Betajnovi (1901), Pohujšanja v dolini šentflorjanski (1907) in Lepe Vide (1911). S pomočjo Klotzeve teorije o zaprti in odprti dramski formi smo analizirali dramske kategorije prostor, čas, osebe, dejanje, kompozicijo in jezik, in tako dobili vpogled v temeljno strukturo Cankarjeve drame. Rezultate posamične analize smo razlagali spet s stališča celotnega dramskega besedila, vpetega v historični kontekst. Dramsko formo kot edino v celoti oprejemljivo sestavino umetniškega dela smo torej vzeli za osnovo, na kateri smo gradili interpretacijo posameznega besedila alile njegovega dela. Odkrili smo precej natančna posnetka obeh idealnih modelov: Kralja na Betajnovi lahko označimo kot pretežno zaprto dramsko formo,Lepo Vido pa kot odprto. Še posebej pa so nas zanimale modifikacije obeh idealnih tipov, saj smo ravno v njih prepoznavali avtorjevo ustvarjalnost in izvirnostTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of Slovenia