The course is a monographic study on Croatian renaissance playwright Marin Držić with references to all of his non-literary and literary texts. Course is divided into sections concentrated on the most important points of Držić s life, all of his dramas will be studied in according to the knowledge of normative poetic and than in relation to the situation that reigned in their own time in visual arts, in music, sciences and this will be connected with the state of spiritual and ideological consciousness. Special attention will be paid to the erudite strata with regard to the possible parallels between experiences of Siena humanistic circle and Držić s results in his Sheppard dramas. During the course will be studied the forms of political consciousness in the Renaissance and their reflection on the reality of Dubrovnik and Držić attempts to change the rules of the game with the power. Students will investigate the impulses that Držić could receive from his predecessors at the scenes of Dubrovnik and his parody of their models and scenic languages. Special attention will be given to the multi-layered Držić s messages. During the course will be studied the circumstances and the iconographic consciousness during the performances. Insight will be taken to the concept of Renaissance from Burckhardt book on Culture of the Renaissance in Italy to the latest views on this epoch produced in the studies of new historicism. Attention will be given to the concept of mannerism in Držić s plays, as well as intertextual relations in his plays to the most important authors of his time Pietro Aretino, Thomas Morus, Niccolo Machiavelli and Baldasare Castiglione. The generic system of renaissance drama will b studied due to the standardization of comedy and tragedy, and the so-called. middle genre, pastoral drama. There will be described and studied numerous thematic domain in Držić texts emphasizing the glossary in which will dominate fortune, conspiracy, utopia, love and beauty. Držić s place in the Croatian literary canon and cultural history will be established during this course and the students will become aware of the canonization process of Držić that was specially intensive in the last hundred years and was subject of various ideological strategies.
1. Establishing Držić s place in the Croatian and European literary canon. Contributions of Đuro Matijašević, Ignjat Đurđević, Saro Crijević, Sabo Dolci, F. M. Appendini, Šime Ljubić and Franjo Petračić s edition of Držić s dramas in 1875. Rešetar s contribution in the fixing of Držić s opus. Questions of authorship and their resolution. Partially preserved texts. Lost literature of Croatia.
2. Writer s biography is analyzed on the basis of all known sources. The assumption about the year of the writer s birth. The lacunae in the documents from author s maturity to the unclear circumstances of his death in Venice after the conspiracy against the rulers of Dubrovnik. Analysis of some key documents: the election at the position of the rector of the Church of All Saints in 1526. Travel and stay in Siena and election for student rector. Travels with Count Rogendorf to Vienna and to Constantinople; attacks on Držić in Dubrovnik after return and after the performance of his first play Tirena. The document about the death of Držić s friends Pero Primović in Venice. Political memorandum from the 1566.
3. Theater and dramatic literature before Marin Držić in Dubrovnik: Plays by Džore Držić, Mavro Vetranović and Nikola Nalješković and their opus. The circumstances of early theatrical presentation in Renaissance Dubrovnik as well as outline of cultural and spiritual life of the city since the arrival of Ivan from Ravenna to the birth of Marin Držić. Filippo Diversis book as an important source for the cultural history of the Dubrovnik Republic. Book of Benedict Kortruljević as a source for mentality history in the time before Marin Držić.
4. Marin Držić in Siena. The development of the Italian Renaissance theater. The experience of Elijah Crijević with Plaut and his study on the prologues written for the Roman Academy of Pomponius Leto. The outlines of the Italian Renaissance dramaturgy: Poliziano, Ariosto, Machiavelli, Aretino, Dolce, Grotto. The term Renaissance from Burckhard to today and the causes of its metamorphosis.
5. Držić s comedy Pomet. The secret of its lost text. Modern reconstruction of Pomet. Tirena and accusation of plagiarism. Views of various literary historians on the affair with accusation and the interpretation based on Držić s and Vetranović s statements. The performance of Tirene and its first and second Prologue. About the pastoral genre in the Renaissance. Excursus: Tirena as th source of Gundulić s Dubravka
6. Novel od Stanca. The interpretation of the text with special regard to the attitude towards the III.th Comedy by Nikola Nalješković. Linking of this texts with Hektorović prose letter to doctor Vanetti. Motif of the beard cutting from the ancient tragedy to the Renaissance comedy. Topic of syphilis in literary and non-literary texts, of the early modern period. Aretino s Imaginations. Amataus Luzitanus in Dubrovnik and his text about the treatment of Sabo Bobaljević.
7. Theater within the theater in Držić s Venus and Adonis. Analysis of mannerist style in this drama. Mythology in the Renaissance and its iconography. Pictures from Bagnocavallo with the theatrical scene in Dubrovnik from 1519. Držić s poetry. What is the collection and about its place in Croatian literature. Petrarch and his followers in Croatia. The reasons and results of antipetrarchism. 8. Comedy Uncle Maroje as Držić s most successful drama. The circumstances of its performance 1551.and the problem of chronology. About the realization of Držić s dramas during performances in the private houses, public spaces and in the main square. Držić stages and their relation to related experiences in the renaissance theaters of Europe at that time. Analysis of Negromant speech as utopian text. Different interpretations of Uncle Maroje by: Živko Jeličić, Leo Košuta , Frano Čale, Slobodan Prosperov Novak.
9. City and cities in Uncle Maroje. Držić s cities. Connections of Držić with Machiavelli s Il Principe. Female figures in comedy Uncle Maroje. Amendments to the end scenes of Uncle Maroje: Mihovil Kombol, Ranko Marinković, Antun, Šoljan.
10. Theme of twin brothers in theater history: Menaechmi and Amphitryon of Plaut .Držić s Pjerin. Damaged play Đuho Krpeta as an example of the mixture of the pastoral and the comic genre.
11. Analysis of two Držić s smaller comedies: Arkulin and Mande. Comic theories from Plato and Aristotle to the surrealist, Bakhtin and Frye.
12. Marin Držić and his interpreters. Views of literary historians who have interpreted Držić s place in national history of literature from Vatroslava Jagića to our time. Problems of plot in the renaissance comedy. Analysis of Držić s relations to Plaut comedies. The description of Dubrovnik oligarchs rule in Držić s conspiratorial letters.
13. Mannerism in Pastoral drama Grižula. Parody and the play with the words in this drama. Marin Držić William Shakespeare s predecessor. Direct parallels among their works. Shakespeare connection with Croatian literature. The premiere of Falstaff in Zadar, Romeo and Juliet theme in Gučetić s tragedy Dalida, the same sources in Palmotić s Pavlimir and in Shakespeare s The Tempest. 14. The tragedy Hecuba from 1559. and her relations with Euripides and Italian writer Lodovico Dolce.. Hecuba read in mannerist key. Prohibition of two Hecuba s performances and reasons for that practice. Manuscripts of Hekuba. Nikola Gučetić as an actor in Hecuba. Nikola Gučetić and his circle Figure of woman slave as the former queen. Comparison with Posvetilište Abramovo by Mavro Vetranović.
15. Držić s conspiratorial letters to Cosimo I de Medici 1666. Jean Dayre. The conspirators in the Renaissance. Utopia by Thomas Morus. Death in Venice as a literary theme and as a part of Držić s biography. Držić s death as a literary theme of the playwrights in 20th century.
- Vinko Foretić; O Marinu Držiću, u: Rad JAZU, knj. 338, Zagreb 1965.; JAZU (1965)
- urednici: S. P. Novak et alia; Leksikon Marina Držića, ur. S. P. Novak et alia, Zagreb, 2009.; Leksikografski zavod Miroslav Krleža (2009)
- Slobodan Prosperov Novak; Planeta Držić, Zagreb, 1984.; Cekade (1984)
- Nikola Batušić; Držićeva redateljsko-inscenatorska načela, u: Mogućnosti, god. 23, br.3-4, Split, 1976.; Književni krug Split (1976)
- Rafo Bogišić; Tragom Držićeva groba, u: Forum, god. 6, knj. 14, br. 11-12, Zagreb, 1967.; HAZU (1967)
- Pero Budmani; Pjerin Marina Držića, u. Rad JAZU, knj. 148, Zagreb, 1902.; JAZU (1902)
- Wendell Cole; Scenografija u doba Marina Držića, u: Forum, br. 9-10, Zagreb, 1967.; Forum (1967)
- Marin Držić; Djela Marina Držića, prir. M. Rešetar, Stari pisci hrvatski, VII /2/, Zagreb, 1930.; JAZU (1930)
- Cvito Fisković; Pozornica Držićevih igara, u: Dubrovnik, 3, 1967.; Matica hrvatska (1967)
- Marko Fotez; Putovanja s Dundom Marojem, Dubrovnik, 1974.; Matica hrvatska (1974)
- Gustav Rene Hocke; Manirizam u književnosti: alkemija jezika i ezoterično umijeće kombiniranja, prev. A. Stamać, Zagreb, 1984.; Cekade (1984)
- Živko Jeličić; Marin Držić Vidra, Zagreb, 1961.; Naprijed (1961)
- Radoslav Katičić; O Držićevu jeziku pedeset godina nakon Rešetara, u. Forum, 28, 9-10, Zagreb, 1989.; Forum (1989)