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Journal articles on the topic 'Drakulic'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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3

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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5

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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10

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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11

Rhodes, Gary D. "Drakula halála(1921): The Cinema's First Dracula." Horror Studies 1, no. 1 (January 2010): 25–47. http://dx.doi.org/10.1386/host.1.1.25/1.

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12

Ambler, Tim. "DraKula?: Medieval Value Chain Analysis Lives OK?" Business Strategy Review 7, no. 3 (September 1996): 40–42. http://dx.doi.org/10.1111/j.1467-8616.1996.tb00130.x.

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13

Sabljić, Jakov, and Tina Varga Oswald. "Genre differentiation in A guided Tour through the Museum of Communismby Slavenka Drakulić." Journal of Education Culture and Society 4, no. 1 (January 12, 2020): 243–56. http://dx.doi.org/10.15503/jecs20131.243.256.

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On the 20th anniversary of the fall of the Berlin Wall, a Croatian novelist Slavenka Dra-kulić simultaneously in several countries published a collection of essays titled A Guided Tour through the Museum of Communism.The collection consists of eight stories narrated by ani-mals: a mole, a mouse, a dog, a cat, a raven, a parrot, a pig and a bear. The animals talk about neuralgic issues of Communism in former Eastern European countries (Eastern Germany, Czechoslovakia, Poland, Rumania, Albania, Yugoslavia, Hungary and Bulgaria). The genre differentiation is based on determining postmodern variations of basic genre conventions in the process of creating a piece of literature. Fable variations are determined by analyzing the relationship between a fable and other genre forms, such as, an essay, a novella, a legend, a myth. Next to genre differentiation of a literary structure, one can also observe the differen-tiation of its role that has been conditioned by today’s cultural memory. In that manner, my-thologized persons, objects and features of Communism are analyzed as universal symbols of a message, as well as elements of a satiric play. This paper will determine in which ways the above mentioned variations enrich the existent genre forms.

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14

Matek, Ljubica, and Sabahudin Međedović. "Drakula u zrcalu: Upisivanje ideologije u gotički roman." Anafora 4, no. 1 (June 30, 2017): 143–62. http://dx.doi.org/10.29162/anafora.v4i1.8.

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15

Ela ÖZDEMİR, Dilara. "Türk Korku Sinemasında Vampir Filmleri: Drakula İstanbul'da Filmi Örneği." Social Sciences Studies Journal 6, no. 54 (January 1, 2020): 62–75. http://dx.doi.org/10.26449/sssj.2059.

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16

Berber, Neval. "Writing the Rape in Post-Conflict Societies of the 1990s: John M. Coetzee and Slavenka Drakulić." Critique: Studies in Contemporary Fiction 59, no. 1 (August 4, 2017): 103–14. http://dx.doi.org/10.1080/00111619.2017.1354811.

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17

Bahun, Sanja. "There Was Once A Country An impossible chronotope in the writings of Slavenka Drakulić and Dubravka Ugrešić." European Journal of English Studies 14, no. 1 (April 2010): 63–74. http://dx.doi.org/10.1080/13825571003588486.

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18

Korljan, Josipa. "Ka(k)o da me nema? Silovanje kao dokumentaristička i književna tema." Croatica et Slavica Iadertina 2, no. 7 (February 9, 2017): 413. http://dx.doi.org/10.15291/csi.410.

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U ovom radu propituje se obrada motiva traume nastale silovanjem kao sredstvom genocida u dokumentarističkom djelu Seade Vranić Pred zidom šutnje i romanu Kao da me nema Slavenke Drakulić. Zajednički zadatak umjetnosti/književnosti i povijesti/dokumentarnosti, u čemu pomaže i psihoanaliza, jest pokrenuti dugotrajni i bolni proces "prorade" traume preživjelih, što ova dva djela nastoje postići. U radu se analizira pristup traumi u dvama različitim diskursima s osloncem u psihoanalitičkoj teoriji; propituje se prikaz ambivalentne pozicije između "kako" i "kao da me nema" u sklopu postupnoga rasapa identiteta uzrokovanog traumom, identiteta osobnog, ali i kolektivnog; traži se odgovor na pitanje koje su specifičnosti ženskog svjedočenja u oba diskursa, s posebnim osvrtom na temu zaljubljivanja i maskiranja prisutnu u književnom tekstu. La Capra navodi nužnost prolaženja kroz traumu i njezino ponovno odigravanje na putu k zalječenju; Dori Laub ističe imperativ pričanja; pričanje u psihoanalizi jest pripovijedanje u književnosti, što nas vodi do Cathy Caruth, koja tvrdi da se psihoanaliza i književnost spajaju. Vođeni ovim teoretskim postavkama, tražimo odgovor na pitanje kako nastaviti živjeti s proživljenom traumom, kako je to prikazano u ovim dvama djelima te koja je uloga društva i kulture u proradi traume.

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19

Martini, Lorenzo. "Vampirism and drakulism: A both cosmetic and curative syncretic approach to avoid future COVID-19 contacts." Our Dermatology Online 11, Supp.2 (September 19, 2020): 26–28. http://dx.doi.org/10.7241/ourd.2020s2.10.

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20

Кодлюк, Ярослава Петрівна, and Ірина Ігорівна Чекрій. "РОЗРОБКА І СТВОРЕННЯ ЕЛЕКТРОННОГО ПІДРУЧНИКА ДЛЯ ЗАКЛАДІВ ЗАГАЛЬНОЇ СЕРЕДНЬОЇ ОСВІТИ (ЗА МАТЕРІАЛАМИ ЮНЕСКО)." Information Technologies and Learning Tools 81, no. 1 (February 23, 2021): 46–59. http://dx.doi.org/10.33407/itlt.v81i1.3495.

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У статті розкрито педагогічні засади розробки і створення електронних підручників для закладів загальної середньої освіти, представлені у напрацюваннях учених ЮНЕСКО, зокрема: з’ясовано сутність цього поняття (С. Лакета (Laketa S.), Д. Дракуліц (Drakulić D.), Г. Гаролд (Harold H.), М. Вассіліоу (Vassiliou M.), Дж. Паскуіер (Pasquier J.), Дж. Моннард (Monnard J.)); представлено основні підходи до їх класифікації: за функціями (класична модель, дидактична модель, модель цифрової платформи) та ступенем інтерактивності (д-підручники, б-підручники, і-підручники); охарактеризовано основні фактори, які впливають на якість підручника,  ціль, користувачі, ефективність, стандарт, організаційна система; деталізовано критерії оцінювання якості електронних підручників (фокус, сконцентрованість, підтримка, зацікавлення) та відповідні принципи, які конкретизують ці критерії (фокус (сконцентрованість) – доступності, скорочення, об’єкта і фону, повторення, суміжності; підтримки – науковості, генетичний принцип, мультимедіа й мультимодальності, взаємозв’язку, суміжності; зацікавлення – персоналізації, інтерактивності, реальності). Поглиблено розуміння сутності та призначення електронного підручника напрацюваннями вчених ЮНЕСКО, які стосуються переваг використання електронних навчальних книг на уроці (репрезентація навчального матеріалу різними видами і формами, покращення оцінювання навчальних досягнень учнів, автоматизація зворотнього зв’язку, управління освітнім процесом, активізація навчальної діяльності школярів) та певних обмежень (недостатнє забезпечення шкіл комп’ютерами, підготовка та розробка уроку з інтерактивними засобами навчання забирає більше часу, недостатня комп’ютерна грамотність учителів та учнів), а також аргументів на користь електронних підручників стосовно учнів, учителів, батьків. Констатовано наявність нових можливостей, які надають електронні підручники у процесі навчання (забезпечення логічної побудови уроку, чіткість візуальних та графічних елементів, підвищення мотивації та зацікавленості учнів). Сформульовано перспективи використання досвіду вчених ЮНЕСКО для вдосконалення вітчизняних електронних підручників.

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21

Zolkos, M. "The Time That Was Broken, the Home That Was Razed: Deconstructing Slavenka Drakulic's Storytelling About Yugoslav War Crimes." International Journal of Transitional Justice 2, no. 2 (July 1, 2008): 214–26. http://dx.doi.org/10.1093/ijtj/ijn006.

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22

Despalatović, Elinor Murray. "Sterben in Kroatien: Vom Krieg mitten in Europa. By Slavenka Drakulić. Trans. Ulrike Bischoff and Katherina Wolf-Grieβhaber. Hamburg: Rowohlt, 1992. 155 pp. DM 9.90, paper." Slavic Review 53, no. 3 (1994): 927–28. http://dx.doi.org/10.2307/2501582.

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23

Daiber, Thomas. "Textgestalt und Autor der altrussischen Erzählung von Drakula." Zeitschrift für Slawistik 62, no. 1 (January 1, 2017). http://dx.doi.org/10.1515/slaw-2017-0004.

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24

"Align with aliens. About human-alien hybrids in H.G. Wells’ War of the Worlds and B. Stoker’s Dracula." Zagadnienia Rodzajów Literackich 61, no. 4 (2018). http://dx.doi.org/10.26485/zrl/2018/61.4/2.

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25

DİLER, Uğur, and Burcu BAYRAKTAR. "Bram Stoker'in Drakulası ve Drakula'nın Dehşeti film uyarlamalarının Drakula romanı ile karşılaştırılması." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, November 21, 2020. http://dx.doi.org/10.29000/rumelide.825953.

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