| Abstract | Svrha je ovoga rada prikazati žensko pismo i suvremenu hrvatsku dramu te analizirati obilježja ženskoga pisma u dramama suvremenih hrvatskih dramatičarki. Pitanje ženskoga dramskoga pisma u hrvatskoj književnosti postaje aktualno devedesetih godina dvadesetoga stoljeća. Na razvoj ženskoga pisma snažno je utjecao razvoj feminističke književne kritike koja je imala zadatak preispitati književni kanon koji su dotada sadržavali muški autori. Trebamo biti pažljivi prilikom korištenja sintagme žensko pismo jer se ono ne može prepisivati samo ženama, već i muškim autorima koji u svojim djelima također koriste obilježja ženskoga pisma. U radu su predstavljene dvije feminističke struje angloamerička i francuska književna kritika, njihove značajke i najznačajnije predstavnice. Osim ženskoga pisma predstavljen je kontekst suvremene hrvatske drame. U devedesetim godinama hrvatska je dramska književnost obilježena velikim brojem dramatičarki. Neka od istaknutijih imena takozvane „ženske drame“ su Lada Kaštelan, Asja Srnec Todorović, Ivana Sajko, Tanja Radović, Tena Štivičić te Nina Mitrović. Prikazana su obilježja ženskoga pisma u dramama Lade Kaštelan Posljednja karika i Prije sna, u drami Tene Štivičić fragile! te u drami Tanje Radović Iznajmljivanje vremena. Najistaknutija obilježja ženskoga pisma u suvremenim hrvatskim dramama su ispovjedni ton, u njezinom središtu je ženski lik i njezin senzibilitet te izloženost tog lika društvenim predrasudama, problematizacija muško-ženskih odnosa, potraga za ženskim identitetom i boljim životom, odnos majke i kćeri, majke i bake te bake i unuke, specifična ženska tjelesna iskustva: spolnost, trudnoća, majčinstvo, tabuizirana tema obiteljskoga nasilja, patrijarhalan ustroj društva koje je ženama isključivo namijenilo uloge vezane uz sferu privatnog te propitivanje odnosa unutar obitelji iz ženskog očišta, tematizacij socioemocionalnih trauma žene u odnosu s muškarcima. |
| Abstract (english) | The purpose of this paper is to present female writing and contemporary Croatian drama and to analyze the features of female writing in the plays of contemporary Croatian playwrights. The issue of women's playwriting in Croatian literature became topical in the 1990s. The development of women's writing was strongly influenced by the development of feminist literary criticism, which had the task of re-examining the literary canon that had hitherto been monopolized by male authors. We need to be careful when using the phrase female writing because it can be transcribed not only to women but also to male authors who also use the features of female writing in their work. The paper presents two feminist theoretical currents, Anglo-American and French literary criticism, their features, and their most significant representatives. In addition to female writing, the paper presents contemporary Croatian drama. Contemporary Croatian drama appears in the second half of the twentieth century. In the 1990s, Croatian dramatic literature was represented by a large number of female playwrights. Some of the more prominent names of the so-called "female drama" are Lada Kaštelan, Asja Srnec Todorović, Ivana Sajko, Tanja Radović, Tena Štivičić, and Nina Mitrović. The features of female writing are shown in Lada Kaštelan’s plays “The Last Link” and “Before the Dream,” in Tena Štivičić’s play “fragile!” and in Tanja Radović’s play “Renting Time.” The most prominent features of female writing in contemporary Croatian dramas are the confessional tone, a central female character and her sensibility, exposure of that character to social prejudices, issues of male-female relationships, search for female identity and a better life, relationships between mother and daughter, mother and grandmother and grandmother and female grandchild, specific female physical experiences: sexuality, pregnancy, motherhood, taboo topic of domestic violence, patriarchal structure of society that exclusively intended for women roles related to the private sphere and questioning relationships within the family from women's point of view, thematization of socio-emotional traumas of women in relation to men. |
