| Abstract | U diplomskom radu Ženski likovi u Raosovoj trilogiji Vječno žalosni smijeh pozornost je usmjerena na analizu najznačajnijih ženskih likova i prikaz slike žene. Trilogija Vječno žalosni smijeh autora Ivana Raosa sastoji se od tri romana koji prate Raosovo djetinjstvo, dječaštvo i mladenaštvo. Prvi dio trilogije Vječno nasmijano nebo objavljen je 1957. godine, a 1962. izlazi drugi dio pod nazivom Žalosni Gospin vrt, dok nekoliko godina kasnije, odnosno 1965. godine Raos objavljuje i posljednji dio trilogije Smijeh izgubljenih djevojaka. Nakon iznošenja biografskih i bibliografskih podataka i nakon predstavljanja svakog romana navedene trilogije, pozornost je usmjerena na sagledavanje položaja žene u razdoblju kraja 19. i početka 20. stoljeća. U svrhu bolje analize i sagledavanja položaja žene predstavljen je patrijarhalni oblik mišljenja, feminizam u Hrvatskoj i život u Dalmatinskoj zagori. Među prvim ženskim likovima izdvojene su Raosova majka Mara, baba Kata i Mala Marija. Dok se Raosova baba Kata istaknula kao netipična žena svojega vremena, majka Mara je posjedovala sve odlike tipične žene u jednoj patrijarhalnoj obitelji. Mala Marija predstavljala je prvu Raosovu dječačku ljubav, ali i prvo ljubavno razočaranje. U drugom dijelu trilogije istaknuti su ženski likovi u koje je mladi Raos bio zaljubljen, ali se njegova zaljubljenost očitovala samo u razmišljanjima i maštanjima. Treći dio trilogije odnosi se na likove običnih djevojaka i likove prostitutki. Dok su obične djevojke predstavljale objekt Raosove zaljubljenosti i njegove tjelesne požude, prostitutke, koje je Raos nazivao „izgubljenim djevojkama“ izazivale su njegovo sažaljenje i suosjećanje. Na kraju se moglo zaključiti kako su žene Raosovog djetinjstva, izuzev babe Kate koja je mladost provela školujući se izvan svoga rodnog mjesta, posjedovale tipične odlike patrijarhalne sredine i patrijarhalnog odgoja. Žene koje je Raos poznavao školujući se u Splitu bile su sasvim drugačije i slobodnije od žena njegovog rodnog mjesta. Također se moglo zaključiti i to da je odgoj u sredini u kojoj su vladali zakoni patrijarhata utjecao na Raosov odnos prema ženskim likovima. |
| Abstract (english) | In the thesis Female characters in Raos's trilogy Eternal sad laughter, attention is focused on the analysis of the most significant female characters and the presentation of the image of a woman. The Eternally sad laughter trilogy by Ivan Raor is divided into three novels that follow Raos's childhood, boyhood and youth. The first part of the trilogy The Eternally smiling sky was published in 1957, in 1962 the second part was published, entitled The garden of the sorrowful Lady , and a few years later, i.e. in 1965, Raos published the last part of the trilogy The Laughter of lost girls. After the presentation of biographical and bibliographic information and after the presentation of each novel of the mentioned trilogy, the attention was focused on looking at the position of women in the period of the end of the 19th century and the beginning of the 20th century. For the purpose of better analysis and insight into the position of women, the patriarchal form of thinking, feminism in Croatia and life in Dalmatian Zagora are presented. Among the first female characters, Raos' mother Mara, grandmother Kata and Little Marija are singled out. While Raos' grandmother Kata stood out as an atypical woman of her time, mother Mara possessed all the qualities of a typical woman in a patriarchal family. Little Marija represented Raos's first boyhood love, but also his first romantic disappointment. In the second part of the trilogy, the female characters with whom the young Raos was in love were highlighted, but his infatuation manifested itself only in thoughts and fantasies. The third part of the trilogy refers to the characters of ordinary girls and the characters of prostitutes. While ordinary girls represented the object of Raos's infatuation and his carnal lust, prostitutes, whom Raos called lost girls, evoked his pity and compassion. In the end, it could be concluded that the women of Raos's childhood, with the exception of grandmother Kate, who spent her youth studying outside her birthplace, possessed typical characteristics of a patriarchal environment and patriarchal upbringing. The women that Raos knew while studying in Split were completely different and freer than the men of his hometown. It could also be concluded that upbringing in an environment where the laws of patriarchy ruled influenced Raos's attitude towards female characters |
