engleski

KOSOR O DRUGIMA I DRUGI O KOSORU

Because of known historical reasons (state bond with the Habsburgs), Croatian culture (but not only culture) was tied with the German speaking area for almost half the millennium. That bond becomes especially pronounced in the time of Croatian modernism and expressionism. One of the most prolific authors of Croatian expressionism Josip Kosor (Trbounj, 1879 –Dubrovnik, 1961) spent a great part of his life travelling and living for longer or shorter periods in metropolises of European culture of which, for the need of this paper, we especially discern two: Vienna and Munich. Kosor's most noted work Passion's Furnace (Požar strasti) was created in the atmosphere of Vienna's Secession in 1910 under the mentorship of Hermann Bahr and Steffan Zweig. Munich remained until World War I a constant destination of Kosor's numerous journeys and permanent artistic inspiration, but also the place where he returned joyfully because of his friendship with Stanislaw Przybyszewski. The most fundamental task of this paper is to show, by reading Kosor's works, autobiographies and letters, how Kosor, as a member of one of Europe's marginal cultures, experienced Others and how Others experienced Kosor in the atmosphere of New Art and New Man. Whilst reading and analysing said opus, we will use theory and glossary of imagology.

Josip Kosor, Drugi, imagologija, identitet, hrvatska književnost, Stefan Zweig, Hermann Bahr, Stanislaw Przybiszewski,

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