{"id":6909,"date":"2025-09-12T18:15:36","date_gmt":"2025-09-12T16:15:36","guid":{"rendered":"https:\/\/rusistika.ffzg.unizg.hr\/?page_id=6909"},"modified":"2026-08-28T22:00:57","modified_gmt":"2026-08-28T20:00:57","slug":"citanje-odabranih-tekstova-iz-ruske-knjizevnosti-1","status":"publish","type":"page","link":"https:\/\/rusistika.ffzg.unizg.hr\/?page_id=6909","title":{"rendered":"\u010citanje odabranih tekstova iz ruske knji\u017eevnosti 1"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>IME NASTAVNIKA:&nbsp;<\/strong>Antonio Milovina, asistent (izvo\u0111a\u010d); dr. sc. Ivana Peru\u0161ko, izv. prof. (nositelj)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>STATUS KOLEGIJA:&nbsp;<\/strong>unutarnja izbornost<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>JEZIK:<\/strong>&nbsp;hrvatski i ruski<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>OBLIK NASTAVE:&nbsp;<\/strong> seminar (2 sata)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>TRAJANJE:&nbsp;<\/strong>1 semestar (zimski), 2 sata tjedno<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PROSTOR I VRIJEME:<\/strong> \u010detvrtak, 9:30\u201311:00 (1. grupa) i 12:30\u201314:00 (2. grupa)<a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a> [A-306]<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>BROJ ECTS BODOVA:&nbsp;<\/strong>3<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>UVJETI:<\/strong>&nbsp; polo\u017een kolegij Uvod u studij ruske knji\u017eevnosti 2<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>OPIS KOLEGIJA:<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\"><em>U vezi s \u010ditanjem postavlja se mnogo pitanja, ali sva nas vra\u0107aju klju\u010dnome problemu igre izme\u0111u slobode i prisile. \u0160to \u010ditatelj radi s tekstom kad \u010dita? A \u0161to njemu rad tekst? Je li \u010ditanje aktivno ili pasivno? \u2026 Odvija li se poput razgovora kojemu sugovornici mogu pode\u0161avati tok? Opisuje li ga dovoljno dobro uobi\u010dajeni model dijalektike? Treba li \u010ditatelja poimati kao skup pojedina\u010dnih reakcija, ili kao aktualizaciju kolektivne kompetencije? Je li \u010ditatelja najprikladnije prikazati na<\/em> slobodi pod nadzorom<em>, pod paskom teksta?<\/em><\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">A. Compagnon, <em>Demon teorije<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Seminar je koncipiran kao radionica tijekom koje studenti razvijaju svoju sposobnost \u010ditanja knji\u017eevnog teksta. \u010citanje se pritom shva\u0107a u \u0161irokom smislu \u2013 kao interakcija s tekstom, koja se\u017ee od \u0161iroko prihva\u0107enih interpretativnih metoda, poput <em>pomnog \u010ditanja<\/em>, preko oslanjanja na knji\u017eevnoteorijske konstrukte (posebice one s ruskim korijenima, poput Bahtinova dijalogizma), do njihova uklapanja u \u0161ire idejne (filozofske, mitopoetske i dr.) sustave. Vje\u017eba \u010ditanja, a time i \u010ditateljske spoznaje, temeljit \u0107e se na prou\u010davanju zna\u010dajnih tekstova ruske knji\u017eevnosti, zaklju\u010dno s razdobljem Oktobarske revolucije. Pritom \u0107e ti tekstovi, okosnice pojedina\u010dnih nastavnih cjelina, biti prizma kroz koju \u0107e studentima biti pru\u017een uvid u \u0161ire tekstualno tkivo. Pojedina\u010dni knji\u017eevni tekstovi bit \u0107e promatrani kao sjeci\u0161ta razli\u010ditih \u201emakrotekstova\u201c (diskurs\u0101, fikcij\u0101, filozofij\u0101, ideologij\u0101, religij\u0101), tj. otvorit \u0107e vrata za sagledavanje i promi\u0161ljanje primarno ruskog kulturno-povijesnog i civilizacijskog naslije\u0111a. Studenti \u0107e samostalno, ali i grupno, kroz diskusije, pomno \u010ditanje odabranih ulomaka i sl., analizirati primarne i sekundarne tekstove.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>CILJEVI KOLEGIJA:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cilj seminara je da studenti osvijeste slo\u017eenu prirodu knji\u017eevnog teksta kao takvog, a samim time i njegovu vrijednost kao oru\u0111a za kriti\u010dko promi\u0161ljanje knji\u017eevne, ali i izvanknji\u017eevne stvarnosti. Kako bi se to postiglo, kroz svaku od nastavnih jedinica usvojit \u0107e se:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>neki od osnovnih knji\u017eevnopovijesnih i knji\u017eevnoteorijskih pojmova i koncepata;<\/li>\n\n\n\n<li>razli\u010diti apstraktni koncepti, bilo iz domene znanosti o knji\u017eevnosti, bilo iz filozofije ili drugih dru\u0161tveno-humanisti\u010dkih znanosti (s naglaskom na one s ruskim korijenima);<\/li>\n\n\n\n<li>razli\u010dite metode prou\u010davanja i tuma\u010denja knji\u017eevnih tekstova<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Prema potrebi, studenti se mogu obratiti nastavniku tijekom nastave ili na konzultacijama kako bi ih upoznao s:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>prakti\u010dnim vje\u0161tinama iz domene pripremnog rada s tekstom (tra\u017eenje izvora i relevantne sekundarne literature, snala\u017eenje u tekstu), njegove analize (kontekstualizacija, primjena usvojenih pojmova i koncepata na tekst) i produkcije (akademsko pismo);<\/li>\n\n\n\n<li>digitalnim vje\u0161tinama korisnima za knji\u017eevno-znanstveno i op\u0107enito humanisti\u010dko istra\u017eivanje (alati za rad s tekstom, alati umjetne inteligencije).<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Opremljeni takvim pojmovnim i konceptualnim aparatom, nizom prakti\u010dnih metoda i vje\u0161tina, te kriti\u010dkom svije\u0161\u0107u, studenti \u0107e na primerima konkretnih knji\u017eevnih tekstova vidjeti kako iskoristiti njihov sinergijski u\u010dinak u pisanju znanstvenih radova na akademskoj razini, \u0161to bi za njih kao mlade filologe trebao biti poticaj za daljnje samostalno <em>\u010ditanje<\/em> knji\u017eevnosti i stvarnosti.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>ISHODI U\u010cENJA:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Definirati knji\u017eevno-znanstvene termine na ruskom jeziku te ih primijeniti pri analizi i interpretaciji knji\u017eevnih tekstova.<\/li>\n\n\n\n<li>Analizirati na ruskom jeziku relevantne knji\u017eevne tekstove te opisati i komentirati tendencije i koncepte karakteristi\u010dne za pojedine knji\u017eevno-umjetni\u010dke pravce i kulturne fenomene u povijesnom kontekstu.<\/li>\n\n\n\n<li>Prezentirati stru\u010dnjacima i laicima osnovne informacije iz podru\u010dja ruskoga jezika, jezikoslovlja, knji\u017eevnosti, filma, kulture i dru\u0161tva.<\/li>\n\n\n\n<li>Sintetizirati ste\u010deno znanje o ruskoj knji\u017eevnosti, umjetnosti, filmu i kulturi s ciljem otkrivanja i formuliranja novih pristupa umjetni\u010dkoj gra\u0111i.<\/li>\n\n\n\n<li>Samostalno oblikovati stru\u010dne tekstove u razli\u010ditim akademskim formama u skladu s na\u010delima akademske etike te usmeno izlo\u017eiti stru\u010dne spoznaje i rezultate znanstveno-istra\u017eiva\u010dkog rada na hrvatskom i stranom jeziku.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>ULOGA KOLEGIJA U UKUPNOM KURIKULUMU:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Seminar, kroz usvajanje i primjenu \u0161irokog raspona prakti\u010dnih i konceptualnih alata, priprema studente za daljnje samostalno razumijevanje i prou\u010davanje knji\u017eevnih, knji\u017eevnoteorijskih, knji\u017eevnopovijesnih i knji\u017eevnokriti\u010dkih tekstova, ali i ruske kulture i civilizacije u cjelini.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>KORI\u0160TENE METODE:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Diskusija, analiza i interpretacija knji\u017eevnog teksta, samostalan rad, multimedija, e-u\u010denje.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>PLAN RADA PO TJEDNIMA:<\/strong><\/p>\n\n\n\n<ol class=\"wp-block-list\">\n<li><strong>UVODNO PREDAVANJE:<\/strong> upoznavanje sa sadr\u017eajem kolegija, na\u010dinom rada i ocjenjivanja; rasprava o humanistici i njezinoj \u201evje\u010dnoj krizi\u201c (novi nastavak: era umjetne inteligencije).<\/li>\n\n\n\n<li><strong>TRANSFORMACIJE TEKSTA: <em>Pripovijest o kraljevi\u0107u Bovi<\/em> (<\/strong><strong><em>\u041f\u043e\u0432\u0435\u0441\u0442\u044c<\/em><\/strong> <strong><em>\u043e<\/em><\/strong> <strong><em>\u0411\u043e\u0432\u0435<\/em><\/strong> <strong><em>\u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447\u0435<\/em>, XVI. st.)<\/strong> <strong>i A. Remizov \u2013 <em>Kraljevi\u0107 Bova<\/em> (<\/strong><strong><em>\u0411\u043e\u0432\u0430 \u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447<\/em><\/strong><strong>, 1957):<\/strong> uvod u starorusku knji\u017eevnost (specifi\u010dnosti srednjovjekovne knji\u017eevnosti; svjetovna i prijevodna knji\u017eevnost stare Rus&#8217;i); M. Bahtin o romanu (pojam kronotopa; osobine vite\u0161kog romana); europska tradicija vite\u0161kih narativa o Bovi (Beuve(s)\/Bueve\/Beavis de Hanton(n)e, Boeve de Haumtone, Buovo d&#8217;Antona, Bevis of Hampton); Bovino \u201eputovanje\u201c do Rusije; usporedna analiza radnje europskih i ruske verzije pri\u010de o Bovi.<\/li>\n\n\n\n<li><strong>TRANSFORMACIJE TEKSTA: <em>Pripovijest o kraljevi\u0107u Bovi<\/em> (<\/strong><strong><em>\u041f\u043e\u0432\u0435\u0441\u0442\u044c<\/em><\/strong> <strong><em>\u043e<\/em><\/strong> <strong><em>\u0411\u043e\u0432\u0435<\/em><\/strong> <strong><em>\u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447\u0435<\/em>, XVI. st.) i A. Remizov \u2013 <em>Kraljevi\u0107 Bova<\/em> (<\/strong><strong><em>\u0411\u043e\u0432\u0430 \u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447<\/em><\/strong><strong>, 1957):<\/strong> evolucija vite\u0161kog romana o Bovi u Rusiji (razli\u010dite redakcije teksta; promjene u \u010ditateljskoj publici i presti\u017eu); Bova i ruski lubok (analiza lubo\u010dnih grafika s prizorima iz pripovijesti o Bovi).<\/li>\n\n\n\n<li><strong>TRANSFORMACIJE TEKSTA:<\/strong> <strong><em>Pripovijest o kraljevi\u0107u Bovi<\/em> (<\/strong><strong><em>\u041f\u043e\u0432\u0435\u0441\u0442\u044c<\/em><\/strong> <strong><em>\u043e<\/em><\/strong> <strong><em>\u0411\u043e\u0432\u0435<\/em><\/strong> <strong><em>\u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447\u0435<\/em>, XVI. st.) i A. Remizov \u2013 <em>Kraljevi\u0107 Bova<\/em> (<\/strong><strong><em>\u0411\u043e\u0432\u0430 \u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447<\/em><\/strong><strong>, 1957):<\/strong> A. M. Remizov i njegov ciklus <em>Legende u vjekovima<\/em> (preosmi\u0161ljavanje drevnih tekstova u kontekstu moderne knji\u017eevnosti); Remizovljev predgovor vlastitoj pripovijesti <em>Bova korolevi\u010d<\/em> (usporedba s na\u0161im vlastitim radom na nastavi); primjena Bahtinove teorije na analizu Remizovljeve pripovijesti (razaranje pustolovnog kronotopa; knji\u017eevna samosvijest); zaklju\u010dak (sve Bovine transformacije).<\/li>\n\n\n\n<li><strong>DVA LICA PETERBUR\u0160KOG TEKSTA: M. Lomonosov \u2013 oda u \u010dast dolaska na prijestolje carice Elisavete Petrovne(<\/strong><strong><em>\u041e\u0434\u0430<\/em><\/strong> <strong><em>\u043d\u0430<\/em><\/strong> <strong><em>\u0434\u0435\u043d\u044c<\/em><\/strong> <strong><em>\u0432\u043e\u0441\u0448\u0435\u0441\u0442\u0432\u0438\u044f<\/em><\/strong> <strong><em>\u043d\u0430<\/em><\/strong> <strong><em>\u0412\u0441\u0435\u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0439<\/em><\/strong> <strong><em>\u043f\u0440\u0435\u0441\u0442\u043e\u043b<\/em><\/strong> <strong><em>\u0415\u0451<\/em><\/strong> <strong><em>\u0412\u0435\u043b\u0438\u0447\u0435\u0441\u0442\u0432\u0430<\/em><\/strong> <strong><em>\u0413\u043e\u0441\u0443\u0434\u0430\u0440\u044b\u043d\u0438<\/em><\/strong> <strong><em>\u0418\u043c\u043f\u0435\u0440\u0430\u0442\u0440\u0438\u0446\u044b<\/em><\/strong> <strong><em>\u0415\u043b\u0438\u0441\u0430\u0432\u0435\u0442\u044b<\/em><\/strong> <strong><em>\u041f\u0435\u0442\u0440\u043e\u0432\u043d\u044b 1747<\/em><\/strong> <strong><em>\u0433\u043e\u0434\u0430<\/em>, 1747) i N. Gogol&#8217; \u2013 <em>Nos<\/em> (<\/strong><strong><em>\u041d\u043e\u0441<\/em>, 1836):<\/strong> konceptualno polje Ro\u0111enja tragedije F. Nietzschea (opreka apolonsko\u2013dionizijsko, \u201eumjetnost kao spas\u201c); J. Lotman i strukturalna semiotika (pojam sekundarnih modeliraju\u0107ih sustava); zna\u010denje Peterburga za rusku kulturu (samostalno usvajanje temeljnih opreka na osi Moskva\u2013Peterburg); peterbur\u0161ki tekst ruske knji\u017eevnosti radovi V. Toporova).<\/li>\n\n\n\n<li><strong>DVA LICA PETERBUR\u0160KOG TEKSTA: M. Lomonosov \u2013 oda u \u010dast dolaska na prijestolje carice Elisavete Petrovne(<\/strong><strong><em>\u041e\u0434\u0430<\/em><\/strong> <strong><em>\u043d\u0430<\/em><\/strong> <strong><em>\u0434\u0435\u043d\u044c<\/em><\/strong> <strong><em>\u0432\u043e\u0441\u0448\u0435\u0441\u0442\u0432\u0438\u044f<\/em><\/strong> <strong><em>\u043d\u0430<\/em><\/strong> <strong><em>\u0412\u0441\u0435\u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0439<\/em><\/strong> <strong><em>\u043f\u0440\u0435\u0441\u0442\u043e\u043b<\/em><\/strong> <strong><em>\u0415\u0451<\/em><\/strong> <strong><em>\u0412\u0435\u043b\u0438\u0447\u0435\u0441\u0442\u0432\u0430<\/em><\/strong> <strong><em>\u0413\u043e\u0441\u0443\u0434\u0430\u0440\u044b\u043d\u0438<\/em><\/strong> <strong><em>\u0418\u043c\u043f\u0435\u0440\u0430\u0442\u0440\u0438\u0446\u044b<\/em><\/strong> <strong><em>\u0415\u043b\u0438\u0441\u0430\u0432\u0435\u0442\u044b<\/em><\/strong> <strong><em>\u041f\u0435\u0442\u0440\u043e\u0432\u043d\u044b 1747<\/em><\/strong> <strong><em>\u0433\u043e\u0434\u0430<\/em>, 1747) i N. Gogol&#8217; \u2013 <em>Nos<\/em> (<\/strong><strong><em>\u041d\u043e\u0441<\/em>, 1836):<\/strong> Peterburg kao \u201eApolonov grad\u201c (razrada teme peterbur\u0161kog teksta ruske knji\u017eevnosti); ruski klasicizam i sve\u010dana oda (specifi\u010dnosti klasicisti\u010dke poetike; klasicizam u ruskom kontekstu; specifi\u010dnosti klasicisti\u010dke sve\u010dane ode kao \u017eanra); analiza Lomonosovljeve sve\u010dane ode (usvajanje poetike klasicisti\u010dke ode na primjeru); Lomonosovljeva sve\u010dana oda kao \u201epretpovijest\u201c peterbur\u0161kog teksta ruske knji\u017eevnosti.<\/li>\n\n\n\n<li><strong>DVA LICA PETERBUR\u0160KOG TEKSTA: M. Lomonosov \u2013 oda u \u010dast dolaska na prijestolje carice Elisavete Petrovne(<\/strong><strong><em>\u041e\u0434\u0430<\/em><\/strong> <strong><em>\u043d\u0430<\/em><\/strong> <strong><em>\u0434\u0435\u043d\u044c<\/em><\/strong> <strong><em>\u0432\u043e\u0441\u0448\u0435\u0441\u0442\u0432\u0438\u044f<\/em><\/strong> <strong><em>\u043d\u0430<\/em><\/strong> <strong><em>\u0412\u0441\u0435\u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0439<\/em><\/strong> <strong><em>\u043f\u0440\u0435\u0441\u0442\u043e\u043b<\/em><\/strong> <strong><em>\u0415\u0451<\/em><\/strong> <strong><em>\u0412\u0435\u043b\u0438\u0447\u0435\u0441\u0442\u0432\u0430<\/em><\/strong> <strong><em>\u0413\u043e\u0441\u0443\u0434\u0430\u0440\u044b\u043d\u0438<\/em><\/strong> <strong><em>\u0418\u043c\u043f\u0435\u0440\u0430\u0442\u0440\u0438\u0446\u044b<\/em><\/strong> <strong><em>\u0415\u043b\u0438\u0441\u0430\u0432\u0435\u0442\u044b<\/em><\/strong> <strong><em>\u041f\u0435\u0442\u0440\u043e\u0432\u043d\u044b 1747<\/em><\/strong> <strong><em>\u0433\u043e\u0434\u0430<\/em>, 1747) i N. Gogol&#8217; \u2013 <em>Nos<\/em> (<\/strong><strong><em>\u041d\u043e\u0441<\/em>, 1836):<\/strong> Peterburg kao \u201egrad iluzija\u201c (razrada teme peterbur\u0161kog teksta ruske knji\u017eevnosti); fantasti\u010dno u knji\u017eevnosti (poku\u0161aj definicije \u2192 T. Todorov, J. Mann \u2192 fantastika N. Gogol&#8217;a); Koja je \u201etajna\u201c Gogol&#8217;eva <em>Nosa<\/em>? (analiza odabranih fragmenata pripovijesti kroz prizmu usvojene teorije fantasti\u010dnog u knji\u017eevnosti); <em>Nos<\/em> u kontekstu peterbur\u0161kog teksta ruske knji\u017eevnosti; zaklju\u010dak (objedinjavanje usvojenih koncepata i primarnih tekstova u jedinstveno tuma\u010denje).<\/li>\n\n\n\n<li><strong>DEFINIRANJE TEME SEMINARSKOG RADA<\/strong><\/li>\n\n\n\n<li><strong>TEKST KAO DIJALOG: F. Dostoevskij \u2013 <em>Zapisi iz podzemlja<\/em> (<\/strong><strong><em>\u0417\u0430\u043f\u0438\u0441\u043a\u0438<\/em><\/strong> <strong><em>\u0438\u0437<\/em><\/strong> <strong><em>\u043f\u043e\u0434\u043f\u043e\u043b\u044c\u044f<\/em>, 1864):<\/strong> M. Bahtin i dostoevistika (koncept dijalogizma); Bahtinovi <em>Problemi poetike Dostoevskog<\/em> (usvajanje teorijske gra\u0111e na konkretnim primjerima iz knji\u017eevnih djela \u2192 odnos autora i junaka u Dostoevskoga, ideja u Dostoevskoga, \u017eanrovski korijeni Dostoevskijeva stvarala\u0161tva, rije\u010d u Dostoevskoga).<\/li>\n\n\n\n<li><strong>TEKST KAO DIJALOG: F. Dostoevskij \u2013 <em>Zapisi iz podzemlja<\/em> (<\/strong><strong><em>\u0417\u0430\u043f\u0438\u0441\u043a\u0438<\/em><\/strong> <strong><em>\u0438\u0437<\/em><\/strong> <strong><em>\u043f\u043e\u0434\u043f\u043e\u043b\u044c\u044f<\/em>, 1864):<\/strong> \u010ditanje Dostoevskijevih <em>Zapisa iz podzemlja<\/em> kroz prizmu Bahtinove teorije (analiza zna\u010dajnih fragmenata \u2192 junak u Dostoevskoga: \u010covjek iz podzemlja, ideja u Dostoevskoga: \u010covjek iz podzemlja kao junak-ideolog, rije\u010d u Dostoevskoga: rije\u010d \u010covjeka iz podzemlja).<\/li>\n\n\n\n<li><strong>TEKST KAO DIJALOG: F. Dostoevskij \u2013 <em>Zapisi iz podzemlja<\/em> (<\/strong><strong><em>\u0417\u0430\u043f\u0438\u0441\u043a\u0438<\/em><\/strong> <strong><em>\u0438\u0437<\/em><\/strong> <strong><em>\u043f\u043e\u0434\u043f\u043e\u043b\u044c\u044f<\/em>, 1864):<\/strong> dijalogizam u <em>Zapisima iz podzemlja<\/em> (integralno tuma\u010denje pripovijesti kroz analizu odabranih fragmenata \u2192 \u010covjek iz podzemlja kao \u201eautor\u201c vlastite \u201eknji\u017eevnosti\u201c, dijalog i pseudodijalog, odnos izme\u0111u fabule i si\u017eea u pripovijesti).<\/li>\n\n\n\n<li><strong>AUTOR KAO TEKST (AUTORSKI MIT): A. Blok \u2013 izbor iz <em>Pjesama o Divnoj dami<\/em> (<\/strong><strong><em>\u0421\u0442\u0438\u0445\u0438<\/em><\/strong> <strong><em>\u043e<\/em><\/strong> <strong><em>\u041f\u0440\u0435\u043a\u0440\u0430\u0441\u043d\u043e\u0439<\/em><\/strong> <strong><em>\u0434\u0430\u043c\u0435<\/em>, 1904), <em>Neznanka<\/em> (<\/strong><strong><em>\u041d\u0435\u0437\u043d\u0430\u043a\u043e\u043c\u043a\u0430<\/em>, 1906) i <em>Dvanaestorica<\/em> (<\/strong><strong><em>\u0414\u0432\u0435\u043d\u0430\u0434\u0446\u0430\u0442\u044c<\/em>, 1918):<\/strong> pojam teksta kod ruskih simbolista (pomno \u010ditanje teorijskog rada Z. Minc); simbolisti\u010dki \u201emit\u201c kao nadtekst (pojam panestetizma; mitpoetika V. Solov&#8217;\u0451va \u2192 Vje\u010dna \u017eenstvenost, trijadi\u010dna struktura); autorski mit A. Bloka kao paradigmatski primjer simbolisti\u010dkog shva\u0107anja knji\u017eevnog stvarala\u0161tva (primjena usvojenih koncepata).<\/li>\n\n\n\n<li><strong>AUTOR KAO TEKST (AUTORSKI MIT): A. Blok \u2013 izbor iz <em>Pjesama o Divnoj dami<\/em> (<\/strong><strong><em>\u0421\u0442\u0438\u0445\u0438<\/em><\/strong> <strong><em>\u043e<\/em><\/strong> <strong><em>\u041f\u0440\u0435\u043a\u0440\u0430\u0441\u043d\u043e\u0439<\/em><\/strong> <strong><em>\u0434\u0430\u043c\u0435<\/em>, 1904), <em>Neznanka<\/em> (<\/strong><strong><em>\u041d\u0435\u0437\u043d\u0430\u043a\u043e\u043c\u043a\u0430<\/em>, 1906) i <em>Dvanaestorica<\/em> (<\/strong><strong><em>\u0414\u0432\u0435\u043d\u0430\u0434\u0446\u0430\u0442\u044c<\/em>, 1918):<\/strong> Blokova \u201eteza\u201c (analiza odabranih pjesama iz ciklusa Pjesme o Divnoj dami \u2192 primjena usvojenih koncepata); Blokova \u201eantiteza\u201c (analiza pjesme Neznanka \u2192 primjena usvojenih koncepata); uklapanje analiziranih pjesama u Blokov \u201eautorski mit\u201c.<\/li>\n\n\n\n<li><strong>AUTOR KAO TEKST (AUTORSKI MIT): A. Blok \u2013 izbor iz <em>Pjesama o Divnoj dami<\/em> (<\/strong><strong><em>\u0421\u0442\u0438\u0445\u0438<\/em><\/strong> <strong><em>\u043e<\/em><\/strong> <strong><em>\u041f\u0440\u0435\u043a\u0440\u0430\u0441\u043d\u043e\u0439<\/em><\/strong> <strong><em>\u0434\u0430\u043c\u0435<\/em>, 1904), <em>Neznanka<\/em> (<\/strong><strong><em>\u041d\u0435\u0437\u043d\u0430\u043a\u043e\u043c\u043a\u0430<\/em>, 1906) i <em>Dvanaestorica<\/em> (<\/strong><strong><em>\u0414\u0432\u0435\u043d\u0430\u0434\u0446\u0430\u0442\u044c<\/em>, 1918):<\/strong> Blokova \u201esinteza\u201c (Oktobarska revolucija kao prijelom u Blokovu stvarala\u0161tvu \u2192 Raskid s tradicijom ili kontinuitet?; analiza poeme <em>Dvanaestorica<\/em> \u2192 primjena usvojenih koncepata); zaklju\u010dak (zatvaranje pri\u010de o Blokovu \u201eautorskom mitu\u201c).<\/li>\n\n\n\n<li><strong>ZAKLJU\u010cNO PREDAVANJE:<\/strong> revizija ste\u010denog znanja; kriti\u010dka diskusija o sadr\u017eaju kolegija.<\/li>\n<\/ol>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>LITERATURA:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Primarna:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Pripovijest o kraljevi\u0107u Bovi<\/em> (<em>\u041f\u043e\u0432\u0435\u0441\u0442\u044c<\/em> <em>\u043e<\/em> <em>\u0411\u043e\u0432\u0435<\/em> <em>\u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447\u0435<\/em>)<\/li>\n\n\n\n<li>A. Remizov \u2013 <em>Kraljevi\u0107 Bova<\/em> (<em>\u0411\u043e\u0432\u0430 \u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447<\/em>)<\/li>\n\n\n\n<li>M. Lomonosov \u2013 <em>Oda u \u010dast dolaska na prijestolje carice Elisavete Petrovne<\/em> (<em>\u041e\u0434\u0430<\/em> <em>\u043d\u0430<\/em> <em>\u0434\u0435\u043d\u044c<\/em> <em>\u0432\u043e\u0441\u0448\u0435\u0441\u0442\u0432\u0438\u044f<\/em> <em>\u043d\u0430<\/em> <em>\u0412\u0441\u0435\u0440\u043e\u0441\u0441\u0438\u0439\u0441\u043a\u0438\u0439<\/em> <em>\u043f\u0440\u0435\u0441\u0442\u043e\u043b<\/em> <em>\u0415\u0451<\/em> <em>\u0412\u0435\u043b\u0438\u0447\u0435\u0441\u0442\u0432\u0430<\/em> <em>\u0413\u043e\u0441\u0443\u0434\u0430\u0440\u044b\u043d\u0438<\/em> <em>\u0418\u043c\u043f\u0435\u0440\u0430\u0442\u0440\u0438\u0446\u044b<\/em> <em>\u0415\u043b\u0438\u0441\u0430\u0432\u0435\u0442\u044b<\/em> <em>\u041f\u0435\u0442\u0440\u043e\u0432\u043d\u044b 1747<\/em> <em>\u0433\u043e\u0434\u0430<\/em>)<\/li>\n\n\n\n<li>N. Gogol&#8217; \u2013 <em>Nos<\/em> (<em>\u041d\u043e\u0441<\/em>)<\/li>\n\n\n\n<li>F. Dostoevskij \u2013 <em>Zapisi iz podzemlja<\/em> (<em>\u0417\u0430\u043f\u0438\u0441\u043a\u0438<\/em> <em>\u0438\u0437<\/em> <em>\u043f\u043e\u0434\u043f\u043e\u043b\u044c\u044f<\/em>)<\/li>\n\n\n\n<li>A. Blok \u2013 <em>Pjesme o Divnoj dami<\/em> (<em>\u0421\u0442\u0438\u0445\u0438<\/em> <em>\u043e<\/em> <em>\u041f\u0440\u0435\u043a\u0440\u0430\u0441\u043d\u043e\u0439<\/em> <em>\u0434\u0430\u043c\u0435<\/em>), <em>Neznanka<\/em> (<em>\u041d\u0435\u0437\u043d\u0430\u043a\u043e\u043c\u043a\u0430<\/em>), <em>Dvanaestorica<\/em> (<em>\u0414\u0432\u0435\u043d\u0430\u0434\u0446\u0430\u0442\u044c<\/em>)<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sekundarna:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>\u041a\u0443\u0437\u044c\u043c\u0438\u043d\u0430, \u0412. \u0414. 1941. <em>\u041f\u043e\u0432\u0435\u0441\u0442\u044c \u043e \u0411\u043e\u0432\u0435-\u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447\u0435 \u0432 \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u0440\u0443\u043a\u043e\u043f\u0438\u0441\u043d\u043e\u0439 \u0442\u0440\u0430\u0434\u0438\u0446\u0438\u0438 XVII\u2013XIX \u0432\u0435\u043a\u043e\u0432<\/em>, \u0432: <em>\u0421\u0442\u0430\u0440\u0438\u043d\u043d\u0430\u044f \u0440\u0443\u0441\u0441\u043a\u0430\u044f \u043f\u043e\u0432\u0435\u0441\u0442\u044c<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430, \u041b\u0435\u043d\u0438\u043d\u0433\u0440\u0430\u0434: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0438 \u043d\u0430\u0443\u043a \u0421\u0421\u0421\u0420. 83\u2013134.<\/li>\n\n\n\n<li>\u041a\u0443\u0437\u044c\u043c\u0438\u043d\u0430, \u0412. \u0414. 1961. <em>\u0420\u0443\u0441\u0441\u043a\u0430\u044f \u0441\u043a\u0430\u0437\u043a\u0430 \u043e \u0411\u043e\u0432\u0435-\u043a\u043e\u0440\u043e\u043b\u0435\u0432\u0438\u0447\u0435 \u0432 \u043b\u0443\u0431\u043e\u0447\u043d\u044b\u0445 \u0438\u0437\u0434\u0430\u043d\u0438\u044f\u0445 XVIII\u2013\u043d\u0430\u0447. XX \u0432.<\/em>, \u0432: \u041a\u0443\u0437\u044c\u043c\u0438\u043d\u0430, \u0412. \u0414. (\u0440\u0435\u0434.). <em>\u0418\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f \u0438 \u043c\u0430\u0442\u0435\u0440\u0438\u0430\u043b\u044b \u043f\u043e \u0434\u0440\u0435\u0432\u043d\u0435\u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u0435<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u0410\u043a\u0430\u0434\u0435\u043c\u0438\u0438 \u043d\u0430\u0443\u043a \u0421\u0421\u0421\u0420. 148\u2013192.<\/li>\n\n\n\n<li>Nietzsche, F. 1997. <em>Ro\u0111enje tragedije (prevela Vera \u010ci\u010din-\u0160ain)<\/em>. Zagreb: Matica hrvatska<\/li>\n\n\n\n<li>\u0422\u043e\u043f\u043e\u0440\u043e\u0432, \u0412. \u041d. 2003. <em>\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433\u0441\u043a\u0438\u0439 \u0442\u0435\u043a\u0441\u0442 \u0440\u0443\u0441\u0441\u043a\u043e\u0439 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u044b. \u0418\u0437\u0431\u0440\u0430\u043d\u043d\u044b\u0435 \u0442\u0440\u0443\u0434\u044b<\/em>. \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e\u2013\u0421\u041f\u0411.<\/li>\n\n\n\n<li>\u041b\u043e\u0442\u043c\u0430\u043d, \u042e. \u041c. 1984. \u0421<em>\u0438\u043c\u0432\u043e\u043b\u0438\u043a\u0430 \u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433\u0430 \u0438 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u0441\u0435\u043c\u0438\u043e\u0442\u0438\u043a\u0438 \u0433\u043e\u0440\u043e\u0434\u0430<\/em>, \u0432: \u041b\u043e\u0442\u043c\u0430\u043d, \u042e. \u041c. (\u043e\u0442\u0432. \u0440\u0435\u0434.). <em>\u0421\u0435\u043c\u0438\u043e\u0442\u0438\u043a\u0430 \u0433\u043e\u0440\u043e\u0434\u0430 \u0438 \u0433\u043e\u0440\u043e\u0434\u0441\u043a\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u044b. \u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433. \u0422\u0440\u0443\u0434\u044b \u043f\u043e \u0437\u043d\u0430\u043a\u043e\u0432\u044b\u043c \u0441\u0438\u0441\u0442\u0435\u043c\u0430\u043c XVIII. \u0423\u0447\u0451\u043d\u044b\u0435 \u0437\u0430\u043f\u0438\u0441\u043a\u0438 \u0442\u0430\u0440\u0442\u0443\u0441\u043a\u043e\u0433\u043e \u0433\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0433\u043e \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0430. \u0412\u044b\u043f. 664<\/em>. \u0422\u0430\u0440\u0442\u0443: \u0422\u0430\u0440\u0442\u0443\u0441\u043a\u0438\u0439 \u0433\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0439 \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442. 30\u201345.<\/li>\n\n\n\n<li>Pavlovi\u0107, C. 2012. <em>Uvod u klasicizam<\/em>. Zagreb: Leykam international.<\/li>\n\n\n\n<li>\u0410\u043b\u0435\u043a\u0441\u0435\u0435\u0432\u0430, \u041d. \u042e. 2005. <em>\u0420\u0443\u0441\u0441\u043a\u0430\u044f \u043e\u0434\u0430: \u0420\u0430\u0437\u0432\u0438\u0442\u0438\u0435 \u043e\u0434\u0438\u0447\u0435\u0441\u043a\u043e\u0439 \u0444\u043e\u0440\u043c\u044b \u0432 XVII\u2013XVIII \u0432\u0435\u043a\u0430\u0445<\/em>. \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433: \u041d\u0430\u0443\u043a\u0430.<\/li>\n\n\n\n<li>\u041c\u0430\u043d\u043d, \u042e. \u0412. 2007. <em>\u0422\u0432\u043e\u0440\u0447\u0435\u0441\u0442\u0432\u043e \u0413\u043e\u0433\u043e\u043b\u044f: \u0441\u043c\u044b\u0441\u043b \u0438 \u0444\u043e\u0440\u043c\u0430<\/em>. \u0421\u041f\u0411: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u0421\u0430\u043d\u043a\u0442-\u043f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433\u0441\u043a\u043e\u0433\u043e \u0443\u043d\u0438\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0430.<\/li>\n\n\n\n<li>Todorov, C. 2010. <em>Uvod u fantasti\u010dnu knji\u017eevnost (prevela Aleksandra Man\u010di\u0107)<\/em>. Beograd: Slu\u017ebeni glasnik.<\/li>\n\n\n\n<li>\u0411\u0430\u0445\u0442\u0438\u043d, \u041c. \u041c. 2017. <em>\u041f\u0440\u043e\u0431\u043b\u0435\u043c\u044b \u043f\u043e\u044d\u0442\u0438\u043a\u0438 \u0414\u043e\u0441\u0442\u043e\u0435\u0432\u0441\u043a\u043e\u0433\u043e<\/em>. \u041c\u043e\u0441\u043a\u0432\u0430: \u042d\u043a\u0441\u043c\u043e.<\/li>\n\n\n\n<li>\u0421\u043e\u0437\u0438\u043d\u0430, \u0415. \u041a. 2008. <em>\u0417\u0430\u043f\u0438\u0441\u043a\u0438 \u0438\u0437 \u043f\u043e\u0434\u043f\u043e\u043b\u044c\u044f<\/em>, \u0432: \u0429\u0435\u043d\u043d\u0438\u043a\u043e\u0432, \u0413. \u041a., \u0422\u0438\u0445\u043e\u043c\u0438\u0440\u043e\u0432, \u0411. \u041d. (\u0440\u0435\u0434.). <em>\u0414\u043e\u0441\u0442\u043e\u0435\u0432\u0441\u043a\u0438\u0439: \u0441\u043e\u0447\u0438\u043d\u0435\u043d\u0438\u044f, \u043f\u0438\u0441\u044c\u043c\u0430, \u0434\u043e\u043a\u0443\u043c\u0435\u043d\u0442\u044b. \u0421\u043b\u043e\u0432\u0430\u0440\u044c \u0441\u043f\u0440\u0430\u0432\u043e\u0447\u043d\u0438\u043a<\/em>. \u0421\u041f\u0411: \u041f\u0443\u0448\u043a\u0438\u043d\u0441\u043a\u0438\u0439 \u0434\u043e\u043c.<\/li>\n\n\n\n<li>\u041f\u0438\u043b\u044c\u0434, \u041b. \u041b. (\u0441\u043e\u0441\u0442.). 2004. <em>\u041f\u043e\u044d\u0442\u0438\u043a\u0430 \u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440\u0430 \u0411\u043b\u043e\u043a\u0430<\/em>. \u0421\u041f\u0411: \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e<\/li>\n\n\n\n<li>\u041f\u0438\u043b\u044c\u0434, \u041b. \u041b. (\u0441\u043e\u0441\u0442.). 1999. <em>\u041f\u043e\u044d\u0442\u0438\u043a\u0430 \u0440\u0443\u0441\u0441\u043a\u043e\u0433\u043e \u0441\u0438\u043c\u0432\u043e\u043b\u0438\u0437\u043c\u0430<\/em>. \u0421\u041f\u0411: \u0418\u0441\u043a\u0443\u0441\u0441\u0442\u0432\u043e<\/li>\n\n\n\n<li>\u0411\u043b\u043e\u043a, \u0410. \u0410. 1962. <em>\u0418\u043d\u0442\u0435\u043b\u043b\u0438\u0433\u0435\u043d\u0446\u0438\u044f \u0438 \u0440\u0435\u0432\u043e\u043b\u044e\u0446\u0438\u044f<\/em>, \u0432: <em>\u0421\u043e\u0431\u0440\u0430\u043d\u0438\u0435 \u0441\u043e\u0447\u0438\u043d\u0435\u043d\u0438\u0439 \u0432 8-\u0438 \u0442\u0442. \u0422. 6. \u041f\u0440\u043e\u0437\u0430 (1918\u20131921)<\/em>.\u041c., \u041b.: \u0413\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0435 \u0438\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0439 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u044b. 9\u201320.<\/li>\n\n\n\n<li>\u042f\u043a\u043e\u0431\u0441\u043e\u043d, \u0410. 1973. <em>\u041a\u043e\u043d\u0435\u0446 \u0442\u0440\u0430\u0433\u0435\u0434\u0438\u0438<\/em>. \u041d\u044c\u044e-\u0419\u043e\u0440\u043a: \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e \u0438\u043c. \u0427\u0435\u0445\u043e\u0432\u0430.<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Izborna:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Lauer, R. 2009. <em>Povijest ruske knji\u017eevnosti<\/em>. Zagreb: Golden marketing<\/li>\n\n\n\n<li>U\u017earevi\u0107, J. 2020. <em>Ruska knji\u017eevnost od 11. do 21. stolje\u0107a<\/em>. Zagreb: Disput<\/li>\n\n\n\n<li>Billington, J. 1988. <em>Ikona i sekira: istorija ruske kulture, jedno tuma\u010denje; Preveo B. Vu\u010di\u0107evi\u0107<\/em>. Beograd: Rad<\/li>\n\n\n\n<li>Compagnon, A. 2007. <em>Demon teorije; Prevela M. \u010cale<\/em>. Zagreb: AGM<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>STUDENTSKE OBAVEZE:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Studenti su du\u017eni poha\u0111ati nastavu (uz maksimalno 3 neopravdana izostanka), sudjelovati u diskusijama i radu na tekstovima tijekom nastave, predati seminarski rad te se pojaviti na dvama konzultacijama tijekom semestra (prije definiranja teme seminarskog rada i nakon predaje istog), \u0161to su sve aspekti njihove kona\u010dne ocjene iz kolegija.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>NA\u010cIN POLAGANJA ISPITA:<\/strong> seminarski rad.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>NA\u010cIN PRA\u0106ENJA KVALITETE I USPJE\u0160NOSTI IZVEDBE KOLEGIJA:<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Anketa Filozofskog fakulteta i anketa Sveu\u010dili\u0161ta u Zagrebu.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Ako broj upisanih studenata bude manji od 15, druge grupe vjerojatno ne\u0107e biti.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>IME NASTAVNIKA:&nbsp;Antonio Milovina, asistent (izvo\u0111a\u010d); dr. sc. Ivana Peru\u0161ko, izv. prof. (nositelj) STATUS KOLEGIJA:&nbsp;unutarnja izbornost JEZIK:&nbsp;hrvatski i ruski OBLIK NASTAVE:&nbsp; seminar (2 sata) TRAJANJE:&nbsp;1 semestar (zimski), 2 sata tjedno PROSTOR I VRIJEME: \u010detvrtak, 9:30\u201311:00 (1. grupa) i 12:30\u201314:00 (2. grupa)[1] [A-306] BROJ ECTS BODOVA:&nbsp;3 UVJETI:&nbsp; polo\u017een kolegij Uvod u studij ruske knji\u017eevnosti 2 OPIS KOLEGIJA: [&hellip;]<\/p>\n","protected":false},"author":123457,"featured_media":0,"parent":5777,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6909","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/6909","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=6909"}],"version-history":[{"count":6,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/6909\/revisions"}],"predecessor-version":[{"id":7302,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/6909\/revisions\/7302"}],"up":[{"embeddable":true,"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/5777"}],"wp:attachment":[{"href":"https:\/\/rusistika.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6909"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}