Koncepcija žene u drami Gospoda Glembajevi Miroslava Krleže

Soldo, Dolores. (2013). Koncepcija žene u drami Gospoda Glembajevi Miroslava Krleže. Diploma Thesis. Filozofski fakultet u Zagrebu, Department of Croatian Language and Literature. [mentor Matanović, Julijana].

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Abstract

The subject matter of male and female relationships and the subject of a woman in general, are recognisable Krleža's literary modes. Therefore, they constantly require rereading and awaken denoting of different meanings (Hirsch). In our graduation thesis we will concentrate on the description of a woman in the play The Glembay's. We start with an interpretatively verified mark that stereotypically colours the female roles – the plot protagonists. Starting with the poetry of the entire Glembay drama cycle, we will analyse the characters of Charlotte Castelli-Glembay and baroness Zygmuntowicz Beatrix, or sister Angelica. Reading will be based on the description of Krleža's dramatic techniques and on the individal characterisations of the above mentioned female characters. The past critical studies will be introduced in the research and they are mostly based on psychoanalytical thesis of Sigmund Freud and phylosophical considerations of a woman in the spirit of Friedrich Nietzsche, Otto Weininger and Arthur Schopenhauer. Undoubtedly the biggest Krleža's inspiration for such an outlook on women is Weininger's thesis about a mother woman and a harlot woman described in his big study Gender and character. The interpretation will confirm again that the baroness Castelli and sister Angelica are two completely opposite characters; the first one is a harlot, the other one is a saint (taking the position of Leon's mother). The central character of the play, Leone Glembay, was made on the basis of this opposition. While Charlotte was made as a type of femme fatale, who completely destroys the male world, no matter if it is connected with Leone or his father Ignjat, Angelica becomes his patroness, and at her best a mother and a nurse who re-builds the same world. On the one hand, Charlotte was described in the spirit of Weininger's harlot woman, completely established with her body. On the other hand, in the character of sister Angelica, Krleža described one of those female characters who function as women mothers, or versions of Virgin Mary.

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