{"id":5322,"date":"2023-09-17T20:34:35","date_gmt":"2023-09-17T18:34:35","guid":{"rendered":"https:\/\/rusistika.ffzg.unizg.hr\/?page_id=5322"},"modified":"2026-02-05T13:32:58","modified_gmt":"2026-02-05T11:32:58","slug":"knjizevnost-i-kultura-kasnog-socijalizma-2","status":"publish","type":"page","link":"https:\/\/rusistika.ffzg.unizg.hr\/?page_id=5322","title":{"rendered":"Knji\u017eevnost i kultura kasnog socijalizma 2 (1968-1990-e)"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Broj ECTS bodova:<\/strong> 3\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Semestar izvo\u0111enja:\u00a0<\/strong>ljetni\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Nositelj i izvo\u0111a\u010d: <\/strong>izv. prof. dr. sc. Danijela Lugari\u0107 Vukas\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Jezik: <\/strong>ruski\u00a0\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Oblik nastave: <\/strong>predavanje (2 sata) i seminar (1 sat)\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Trajanje:<\/strong> 1 semestar (zimski), 3 sata tjedno\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Prostor i vrijeme:<\/strong> predavanje:\u00a0srijeda\u00a013.15-14.45; seminar 14.45-15.30\u00a0(A-223)\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Uvjeti:<\/strong> polo\u017een <em>Pregled povijesti ruske knji\u017eevnosti 2\u00a0<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Ciljevi kolegija:<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kolegij se bavi ruskom i sovjetskom kulturom kasnog socijalizma (A.&nbsp;Yurchak), s posebnim naglaskom na razvoj ruskog postmodernizma, koji se oblikuje na specifi\u010dnim temeljima, druk\u010dijima od zapadnih. Nakon Staljinove smrti 1953. godine dolazi do ja\u010danja kulturnog pluralizma, dok razdoblje od kasnih 1960-ih do 1990-ih obilje\u017eava sve izra\u017eenija subverzivnost i raslojavanje kulturnih praksi.&nbsp;Socrealisti\u010dka tradicija i klju\u010dni ideolo\u0161ki mitovi 20. stolje\u0107a (novi \u010dovjek, svijetla budu\u0107nost, Veliki vo\u0111a, Domovinski rat) postaju sredi\u0161nje polje umjetni\u010dke i knji\u017eevne polemike. Za kasniji kasni socijalizam karakteristi\u010dan je proces demitologizacije bez stvaranja novih dominantnih narativa.&nbsp;Posebna se pozornost posve\u0107uje \u201edeteritorijaliziranim\u201c kulturnim prostorima&nbsp;undergrounda,&nbsp;samizdata,&nbsp;tamizdata&nbsp;i emigracije, kao klju\u010dnim mjestima nastanka najrelevantnijih knji\u017eevnih i kulturnih tekstova razdoblja.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Uloga kolegija u ukupnom kurikulumu:<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kolegij \u010dini dio izbornosti kolegija iz knji\u017eevnosti na tre\u0107oj i \u010detvrtoj godini preddiplomskog studija ruskog jezika i knji\u017eevnosti. Uloga je kolegija da, kao jedan od kolegija u izbornoj ponudi, studentima omogu\u0107i snala\u017eenje u ruskoj sovjetskoj kulturi kasnoga socijalizma prije raspada Sovjetskog Saveza.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Ishodi kolegija:&nbsp;<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Po zavr\u0161etku kolegija studenti \u0107e mo\u0107i:&nbsp;&nbsp;<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>objasniti na ruskome jeziku posebnosti u knji\u017eevnosti stagnacije\u00a0<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>uo\u010diti i definirati osobitosti (kulturno-povijesne, dru\u0161tvene, umjetni\u010dke) stagnacije\u00a0<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>opisati na ruskome jeziku dominantne teme u knji\u017eevnosti toga razdoblja\u00a0<\/li>\n<\/ul>\n\n\n\n<ul class=\"wp-block-list\">\n<li>uo\u010diti i komentirati promjene koje nastaju u knji\u017eevnome polju po zavr\u0161etku \u201ejugovine\u201c\u00a0<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Nastavne jedinice:&nbsp;<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">1.&nbsp;Upoznavanje s na\u010dinom rada, studentskim obavezama i primarnom te sekundarnom literaturom. Odre\u0111ivanje tema seminarskih radova.&nbsp;Uvod \u2013 stagnacija.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2. Novi tip knji\u017eevnoga subjekta \u2013 tip&nbsp;\u201e\u010dudaka\u201c. Uvod u tzv.&nbsp;seosku&nbsp;prozu.&nbsp;&nbsp;<br>V.&nbsp;\u0160uk\u0161in:&nbsp;<em>\u010cudik<\/em>, 1967.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3.&nbsp;Ruralni tematski krug u ruskoj sovjetskoj prozi kasnog socijalizma. \u201eSeoska proza\u201c kao jedan od najva\u017enijih knji\u017eevnih pravaca u kulturi kasnog socijalizma. Arhetipski oslonci ruralne proze: selo, majka, dom, zemlja. Opozicija selo \u2013 grad.&nbsp;<br>V. Rasputin<em>:&nbsp;Pro\u0161\u010danie&nbsp;s&nbsp;Materoj<\/em>, 1976. \u2013 poetski manifest ruske sovjetske ruralne proze&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">4.&nbsp;Ruralni tematski krug u ruskoj sovjetskoj prozi kasnog socijalizma. \u201eSeoska proza\u201c kao jedan od najva\u017enijih knji\u017eevnih pravaca u kulturi kasnog socijalizma. Arhetipski oslonci ruralne proze: selo, majka, dom, zemlja. Opozicija selo \u2013 grad.&nbsp;<br>V. Rasputin<em>:&nbsp;Pro\u0161\u010danie&nbsp;s&nbsp;Materoj<\/em>, 1976. \u2013 poetski manifest ruske sovjetske ruralne proze&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">5.&nbsp;Kantautorska poezija V.&nbsp;Vysockog&nbsp;i A.&nbsp;Gali\u010da. Subverzivnost kantautorske poezije. Poetika \u201enadryva\u201c. \u201eJunaci u ulogama\u201c.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">6. Politika knji\u017eevnosti.&nbsp;Soc-art (Komar &amp;&nbsp;Melamid; I.&nbsp;Kabakov&nbsp;i dr.);&nbsp;klasici moskovske&nbsp;konceptualisti\u010dke&nbsp;\u0161kole. D.&nbsp;Prigov:&nbsp;<em>Apofeoz&nbsp;milicianera<\/em>, 1978.<em>&nbsp;<\/em>i V.&nbsp;Sorokin:&nbsp;<em>Otkrytie&nbsp;sezona,&nbsp;<\/em>1979-1984.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">7.&nbsp;Ponavljanje, izlaganja seminarskih radova.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">8.&nbsp;Uvod u ruski postmodernizam. Svijet kao tekst. Roman-poema.&nbsp;Pseudoautobiografija. V.&nbsp;Erofeev:&nbsp;<em>Moskva-Petu\u0161ki,&nbsp;<\/em>1969-1970.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">9. Uvod u ruski postmodernizam. Svijet kao tekst. Roman-poema.&nbsp;Pseudoautobiografija. V.&nbsp;Erofeev:&nbsp;<em>Moskva-Petu\u0161ki,&nbsp;<\/em>1969-1970.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">10. Razine estetskog prevrednovanja u&nbsp;Bitovljevoj&nbsp;prozi.&nbsp;Intertekstualnost. Pu\u0161kin kao knji\u017eevni i kulturni mit. A.&nbsp;Bitov:&nbsp;<em>Fotografija Pu\u0161kina,&nbsp;<\/em>1985.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">11.&nbsp;Poezija&nbsp;i esejistika&nbsp;Iosifa&nbsp;Brodskog.&nbsp;<em>Ro\u017edestvenskij&nbsp;romans<\/em>, 1961;&nbsp;<em>Re\u010d\u2019 o&nbsp;prolitom&nbsp;moloke<\/em>, 1967;&nbsp;<em>Konec&nbsp;prekrasnoj \u00e8pohi<\/em>, 1969.;&nbsp;<em>Poltory&nbsp;komnaty<\/em>, 1984.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">12. Neorealisti\u010dka proza S.\u00a0Dovlatova.\u00a0Pseudodokumentarizam.\u00a0S.\u00a0Dovlatov:\u00a0<em>\u0160oferskie\u00a0per\u010datki<\/em>,\u00a0<em>Kurtka\u00a0Fernana\u00a0Le\u017ee<\/em>, 1986.\u00a0\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">13.&nbsp;Ponavljanje, zaklju\u010divanje, izlaganja seminarskih radova.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">14. Ponavljanje, zaklju\u010divanje, izlaganja seminarskih radova.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Literatura<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Knji\u017eevni tekstovi (obavezni) \u2013 navedeni u planu rada po tjednima.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Dodatna literatura&nbsp;<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u0411\u043e\u0433\u0434\u0430\u043d\u043e\u0432\u0430, \u041e. 2004.&nbsp;<em>\u041f\u043e\u0441\u0442\u043c\u043e\u0434\u0435\u0440\u043d\u0438\u0437\u043c&nbsp;\u0432&nbsp;\u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442\u0435&nbsp;\u0440\u0443\u0441\u0441\u043a\u043e\u0439&nbsp;\u0441\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u043e\u0439&nbsp;\u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u044b<\/em>.&nbsp;\u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433. (\u043e\u0442\u0440\u044b\u0432\u043a\u0438)&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u0413\u0440\u043e\u0439\u0441, \u0411. 1993.\u00a0<em>\u041f\u043e\u0441\u0442\u0443\u0442\u043e\u043f\u0438\u0447\u0435\u0441\u043a\u043e\u0435\u00a0\u0438\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e:\u00a0\u043e\u0442\u00a0\u043c\u0438\u0444\u0430\u00a0\u043a\u00a0\u043c\u0438\u0444\u043e\u043b\u043e\u0433\u0438\u0438.;\u00a0\u0414\u0438\u0437\u0430\u0439\u043d\u0435\u0440\u044b\u00a0\u043f\u043e\u0434\u0441\u043e\u0437\u043d\u0430\u043d\u0438\u044f\u00a0\u0438\u00a0\u0438\u0445\u00a0\u043f\u0443\u0431\u043b\u0438\u043a\u0430.;\u00a0\u041c\u043e\u0441\u043a\u043e\u0432\u0441\u043a\u0438\u0439\u00a0\u043a\u043e\u043d\u0446\u0435\u043f\u0442\u0443\u0430\u043b\u0438\u0437\u043c,\u00a0\u0438\u043b\u0438\u00a0\u0440\u0435\u043f\u0440\u0435\u0437\u0435\u043d\u0442\u0430\u0446\u0438\u044f\u00a0\u0441\u0430\u043a\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e<\/em>. \u0412:\u00a0<em>\u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e\u00a0\u0443\u0442\u043e\u043f\u0438\u0438.\u00a0Gesamtkunstwerk\u00a0Stalin<\/em>.\u00a0\u0421\u0442\u0430\u0442\u044c\u0438.\u00a0\u0421\u0442\u0440. 99-147; 224-231.\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u041b\u0435\u0439\u0434\u0435\u0440\u043c\u0430\u043d, \u041d. \u041b.;&nbsp;\u041b\u0438\u043f\u043e\u0432\u0435\u0446\u043a\u0438\u0439, \u041c. \u041d. 2003.&nbsp;<em>\u0421\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u0430\u044f&nbsp;\u0440\u0443\u0441\u0441\u043a\u0430\u044f&nbsp;\u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0430&nbsp;1950-1990-\u0435&nbsp;\u0433\u043e\u0434\u044b. \u0422. 2.&nbsp;<\/em>\u041c\u043e\u0441\u043a\u0432\u0430. (\u043e\u0442\u0440\u044b\u0432\u043a\u0438)&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lugari\u0107 Vukas, D. 2019.&nbsp;<em>Izleti u Drugo: mit, klasa i rod (rasprave o ruskoj knji\u017eevnosti, filmu i popularnoj kulturi)<\/em>, Zagreb: FFpress; Hrvatska sveu\u010dili\u0161na naklada.&nbsp;&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lugari\u0107 Vukas, D. 2020.&nbsp;The I as the Eye: on the Poetics of Ruins in I. Brodsky\u2019s essay Homage to Marcus Aurelius\u202f<em>\/\/ Mundo eslavo,<\/em>\u202f19, 141-152&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ugre\u0161i\u0107, D. 1980.&nbsp;<em>Nova ruska proza. Kretanja u ruskoj sovjetskoj prozi 70-ih godina<\/em>. Zagreb.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ugre\u0161i\u0107, D. 1989.&nbsp;<em>Pljuska u ruci (Antologija alternativne ruske proze)<\/em>. Zagreb.&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Broj ECTS bodova: 3\u00a0 Semestar izvo\u0111enja:\u00a0ljetni\u00a0 Nositelj i izvo\u0111a\u010d: izv. prof. dr. sc. Danijela Lugari\u0107 Vukas\u00a0 Jezik: ruski\u00a0\u00a0 Oblik nastave: predavanje (2 sata) i seminar (1 sat)\u00a0 Trajanje: 1 semestar (zimski), 3 sata tjedno\u00a0 Prostor i vrijeme: predavanje:\u00a0srijeda\u00a013.15-14.45; seminar 14.45-15.30\u00a0(A-223)\u00a0 Uvjeti: polo\u017een Pregled povijesti ruske knji\u017eevnosti 2\u00a0 Ciljevi kolegija:&nbsp; Kolegij se bavi ruskom i sovjetskom [&hellip;]<\/p>\n","protected":false},"author":123457,"featured_media":0,"parent":22,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5322","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/5322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/users\/123457"}],"replies":[{"embeddable":true,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5322"}],"version-history":[{"count":4,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/5322\/revisions"}],"predecessor-version":[{"id":7096,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/5322\/revisions\/7096"}],"up":[{"embeddable":true,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/22"}],"wp:attachment":[{"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}