Relevant bibliographies by topics / Drakulic

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Drakulic'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Drakulic"

1

Sambunjak, Slavomir. "Stokerov "Drakula" i Boškovićev putopis." Croatica et Slavica Iadertina, no. 4 (January 18, 2017): 309. http://dx.doi.org/10.15291/csi.610.

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U članku se uspoređuju prikazi slavenskih naroda i prostora iz Stokerova romana Drakula i iz Dnevnika putovanja iz Carigrada u Poljsku Ruđera Boškovića. Usporedba je metodološki opravdana stoga što su opisi nekih prostora (Bukovine, Moldavije, Transilvanije, Dobruđe i dr.) zajednički i romanu i Dnevniku pa su i razni Slaveni i vidovi njihova života prikazani u obama djelima. No na tome se u članku ne ostaje, već se pretpostavlja da je građu za svoj roman taj irski pisac fantastike mogao uzimati, ne samo iz beletrističke i iz znanstvene, etnološke, povijesne i slične literature, već i iz putopisa po balkanskim zemljama, po Karpatima itd. Točnije, pretpostavlja se da Bram Stoker jest poznavao Boškovićev putopis i koristio se nekim podatcima iz njega. Tu pretpostavku omogućuju sljedeća polazišta: 1) Stoker je opis Drakulina lika preuzeo od jednoga hrvatskog pisca, biskupa Nikole Modruškoga. 2) Stokerovo je pripovijedanje o putu prema Drakulinu zamku moglo biti u stanovitu odnosu s romanom Srce tame engleskoga pisca slavenskoga porijekla, Josepha Conrada. 3) I Bošković i Conrad djelovali su u Londonu kao i Stoker. 4) Vlad Ţepeş Drakulea vojevao je po Bosni zajedno s hrvatskim članovima Reda Zmaja. 5) Vampir je mitski lik i termin, vjeruje se, slavenskoga porijekla. 6) Vlad Ţepeş Draculea bio je u raznovrsnim odnosima sa slavenskim jezicima i kulturama, što Bram Stoker zna.
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2

Drezgic, Rada, and Dubravka Zarkov. "Feminist troubles with the Balkans." Sociologija 47, no. 4 (2005): 289–306. http://dx.doi.org/10.2298/soc0504289d.

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The paper analyses writings of Slavenka Drakulic and certain number of other feminist writers from ex-Yugoslavia aiming to answer to the following questions: first, how much and in what way the discourses on ex-Yugoslavia Balkans, (post)socialism, nationalism and war have been produced by local feminists and/or imported from the West; second, have these discourses been overlapping with local feminist discourses about masculinity and femininity and how.
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Editorial, E. "Erratum." Journal of the Serbian Chemical Society 64, no. 7-8 (1999): 495. http://dx.doi.org/10.2298/jsc9908495e.

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Reactivity of b-aroylacrylic acids with diazodiphenylmethane Lj. S. STEVOVIC 1, B. J. DRAKULIC 2, I.O. JURANIC 3, S.Z. DRMANIC 4 and B.Z. JOVANOVIC 4 1 INOTEH-Belgrade, 2 Center for Chemistry IChTM, Belgrade, 3 Faculty of Chemistry, University of Belgrade, 4 Faculty of Technology and Metallurgy, University of Belgrade, Yugoslavia {Published in JSCS 63 (1998) 359-365} The first item in Table III is erroneously reported. The correct version is: TABLE III. Crystallisation solvent, melting points and yields* of compounds (1-10)
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4

Latinovic, Goran, and Nikola Ozegovic. "“St. Bartholomew’s night” of Banja Luka the Ustasha crime against the Serbs in the Banja Luka area on 7 february 1942." Balcanica, no. 51 (2020): 207–34. http://dx.doi.org/10.2298/balc2051207l.

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Based on the preserved and accessible sources from seven archives and from the relevant literature, the authors seek to reconstruct the causes, course and consequences of the crime committed by the Ustashas against the Serbs of the villages of Drakulic, Sargovac and Motike, and in the Rakovac mine, near Banja Luka on 7 February 1942. The authors attempt to point to the main instigators and perpetrators of the crime and to estimate the number of victims. For understanding the broader context of the events, they point out the ideological roots and main features of the genocidal policy pursued by the Independent State of Croatia (NDH) against the Serbs from 1941 to 1945. Special attention is paid to the events in the area of Banja Luka during 1941, because they provided the chronological and spatial context for the crime that followed in February 1942.
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Berdahl, Daphne. "The Spirit of Capitalism and the Boundaries of Citizenship in Post-Wall Germany." Comparative Studies in Society and History 47, no. 2 (April 2005): 235–51. http://dx.doi.org/10.1017/s0010417505000125.

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Immediately after the fall of the Berlin Wall in November 1989, one of the most pervasive media images consisted of East Germans on a frenetic, collective shopping spree. For many western Germans, as well as for much of the world, the “triumph” of capitalism and democracy seemed to be reflected and confirmed in the “consuming frenzy” (Konsumrausch) of the “Ossis” (East Germans). Although these images of consumption following the collapse of socialism were new, they were structured by and contributed to a dominant narrative of “democratization” and national legitimacy in which access to consumer goods and consumer choice are defined as fundamental rights and democratic expressions of individualism. Indeed, many observers have since suggested that the transitions of 1989 were not about demands for political or human rights, but for consumer rights (e.g., Bauman 1992; Borneman 1992; Drakulic 1991). They were also, I would add, about consumerrites—about the making of citizen-consumers.
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6

Zarkov, Dubravka. "Book Reviews : Slavenka Drakulic Balkan Express: Fragments from the Other Side of War London: Hutchinson, 1993, 146 pp., ISBN 0-09-177527-2." European Journal of Women's Studies 1, no. 1 (May 1994): 130–32. http://dx.doi.org/10.1177/135050689400100120.

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7

Todesco, Serena. "Maternal Troubling Bodies in Slavenka Drakulić and Elena Ferrante." MLN 136, no. 1 (2021): 164–85. http://dx.doi.org/10.1353/mln.2021.0009.

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8

Ahmetagić, Jasmina. "The case study by Slavenka Drakulić: Whose victim is Mileva Einstein?" Зборник радова Филозофског факултета у Приштини 50, no. 4 (2020): 3–17. http://dx.doi.org/10.5937/zrffp50-29483.

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By embedding the "theory of sadness" phrase in the novel's title (Mileva Einstein, a theory of sadness), Slavenka Drakulić suggests that she sees her heroine's life as a paradigm of melancholy and depression. By diving into the psychology of a woman who has been portrayed during the two decades as wilingless and gloomy, always lacking the sense of self-fulfillment, the author is trying to reveal the key drivers which are responsible for Mileva's humiliating life circumstances-non-assertiveness, suppression, adjustment, feeling of inferiority, inability to tolerate separation and addiction, as well as a tendency to deny the facts. The protagonist illuminates her own feelings of inferiority due to her birth physical defects which pushed her into the science. She compensates her low self-esteem by school achievements and by nurturing the love relationship towards the symbiosis and removal of self-boundaries. Therefore, the love loss is a personal impoverishment and an identity issue. The novel is told by the omniscient narrator influenced by the influx of Mileva's stream of consciousness (still unreliable, since it is a testimony of "melancholy effect" and distortion of reality). The heroine faces the deepest truth about herself and at the same time turns away from it. Intertwined contradictions and ambivalences are revealing that the main cause of Mileva's tragedy is her pathological sadness. Using the psychoanalytical repertoire of object relations, we point out that, following the loss of the object, the heroine transferred her libido to herself and became self-obsessed in a destructive manner. By suggesting to the reader why Mileva Marić Einstein's response to the circumstances was depression (amidst all other psychological possibilities), Slavenka Drakulić's work is breaking the journalistic boundaries and emerges as a psychological novel.
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9

Marin, Noemi. "Slavenka Drakulić: Dissidence and Rhetorical Voice in Postcommunist Eastern Europe." East European Politics & Societies 15, no. 3 (September 1, 2001): 678–97. http://dx.doi.org/10.1177/088832501766276317.

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Marin, Noemi. "Slavenka Drakulić: Dissidence and Rhetorical Voice in Postcommunist Eastern Europe." East European Politics and Societies: and Cultures 15, no. 3 (September 2001): 678–97. http://dx.doi.org/10.1177/0888325401015003008.

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Dissertations / Theses on the topic "Drakulic"

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Vasiljevičová, Dajana. "Proměna obrazu ženy v chorvatské próze od realismu dodnes." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-324426.

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The thesis deals with the picture of woman in the Croatian prose and its transformations from realism to present times. The main aim of the thesis is to map out characteristics of the female subject primarily within discourses of feminist critique in the context of social aspects of the Croatian milieu. Thesis focuses on analysis of female characters that firstly embodies the social hierarchy, secondly represents the mythological concept of femininity and thirdly works towards confrontation of feminine identity with the patriachal phallogocentric discourse. It also focuses on the analysis of femininity, sensibility and sexuality. The main part of the thesis comprises the analyses of nine selected texts written by Croatian authors, namely Goldsmith's gold by August Šenoa, In the Registrar's Office by Antun Kovačić, Diary by Dragojla Jarnević, Melita by J. E. Tomić, The Last of the Stipančićs by Vjenceslav Novak, The Return of Philip Latinowicz by Miroslav Krleža, Marina; or, About Biography by Irena Vrkljan, Divine Hunger by Slavenka Drakulić and Ministry of Pain by Dubravka Ugrešić. The thesis shows the transformation of female characters by the influence of intellectual concepts and specific cultural situation in patriarchal society. Texts are chosen for typological diversity, which aims to cover...
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Books on the topic "Drakulic"

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Drakulići: Uzkrsle drakule : mrtve priče. Banja Luka: Zadužbina Petar Kočić, 1998.

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2

Дракула. Sankt-Peterburg, RU: Azbuka, 2000.

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3

László, Bogdán. Drakula megjelenik. Marosvásárhely: Mentor, 2002.

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4

Drakula. Tirana, AL: OMSCA-1, 1999.

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5

Doherty, P. C. The Prince Drakulya. London: Hale, 1986.

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6

Farkas, Jenő Sz. Drakula vajda históriája. Budapest: Akadémiai Kiadó, 1989.

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7

Doherty, P. C. The Lord Count Drakulya. London: Hale, 1986.

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8

Perić, Boris. Na večeri s Drakulom. Zagreb: Meandar media, 2009.

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9

Aleksandrova, N. Vstavnai︠a︡ cheli︠u︡stʹ grafa Drakuly. Sankt-Peterburg: Neva, 2004.

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10

Pinkwart, Magdalena. Drakulcio ma kłopoty. Mecz stulecia. Łódź, Poland: Akapit Press, 2015.

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Book chapters on the topic "Drakulic"

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Striedter, Jurij. "Erzählformen als Antwort auf den Schrecken in der Geschichte. Oder: Wie Drakula überlebte." In Geschichte als Literatur, 104–27. Stuttgart: J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-03341-3_10.

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2

Flaake, Karin. "Adoleszentes Begehren zwischen homo- und heterosexueller Leidenschaft: Die Sehnsucht nach dem Körper der Mutter und die Verführung durch den Mann in Slavenka Drakulic´ Roman »Marmorhaut«." In Körper, Sexualität und Geschlecht, 131–35. Psychosozial-Verlag, 2011. http://dx.doi.org/10.30820/9783837969917-131.

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3

"Skazanie o Drakule voevode (Fyodor Kuritsyn, 1486)." In Dracula, 357–63. BRILL, 2017. http://dx.doi.org/10.1163/9789004349216_016.

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Müllner, András. "Drakula beágyazva. A vérvád fantazmatikus képei Erdély Miklós Verzió című filmjében." In Megformált beszéd, elfojtott hang: A reprezentáció politikai, művészeti és etikai kérdései, 183–211. ELTE Média és Kommunikáció Tanszék, 2017. http://dx.doi.org/10.30866/megform_2017.183.

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5

Brokoff, Jürgen. "»Nichts als Schmerz« oder mediale »Leidenspose«? Visuelle und textuelle Darstellung von Kriegsopfern im Bosnienkrieg (Handke, Suljagić, Drakulić)." In Repräsentationen des Krieges, 161–80. Wallstein Verlag, 2012. http://dx.doi.org/10.5771/9783835322462-161.

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Smith, Iain Robert. "‘For the Dead Travel Fast’: The Transnational Afterlives of Dracula." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0005.

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Since the publication of Bram Stoker’s novel Dracula in 1897, the character of Count Dracula has proven to be eminently adaptable, appearing in various guises in over 300 feature films – from FW Murnau’s Nosferatu (1922) through to Dario Argento’s Dracula 3D (2012). As with other iconic characters such as Sherlock Holmes and Batman, Dracula has been freed from his roots in a source text and entered what Will Brooker describes as ‘the realm of the icon’. Yet, while there has been a considerable amount of scholarship on the canonical adaptations of Dracula produced in Hollywood, the UK and Germany, very little has been written on the numerous adaptations of the Count Dracula character that have appeared in other film industries. This chapter considers examples of transnational film remakes, including the 1953 Turkish film Drakula İstanbul'da (Dracula in Istanbul), the 1957 Mexican film El Vampiro (The Vampire), and the 1967 Pakistani film Zinda Laash (The Living Corpse). Paying close attention to the variety of ways in which the character is utilised across different cultural contexts, this chapter interrogates the complex issues that this raises in relation to the dynamic interplay of global and local within international popular cinema.
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