UNDERGRADUATE PROGRAMME IN COMPARATIVE LITERATURE

1. INTRODUCTION

Ever since its inception five decades ago, the Programme in Comparative Literature has been among the most highly rated and popular programmes of study offered by the Faculty of Philosophy at the University of Zagreb. For every student admitted in the Programme in Comparative Literature there are on average 9 to 10 applicants. In the 1990s the ratio was over 300 applicants for the total of 30 students admitted. Since the new admission procedure has been introduced at the Faculty in 2002, the Programme in Comparative Literature is one of the five or six programmes offered by the Faculty that has had its admission quota filled on the first day. The quality of the Programme in Comparative Literature is further confirmed by the fact that each semester some 30 students who are majoring in some other programme choose the courses offered by the Department of Comparative Literature, as well as the fact that every year a dozen students apply for the Programme in Comparative Literature as their third major. The Programme in Comparative Literature at the Faculty of Philosophy at the University of Zagreb is the only such programme in Croatia.
The Department of Comparative Literature has always been distinguished by keeping up to date with the methods and issues in literary scholarship, constantly implementing new approaches and introducing new courses in the curriculum. The Programme covers all subjects and issues generally understood as relevant for the study of literature and culture. The Department of Comparative Literature in Zagreb remains the most advanced department in the region. Moreover, already in the early 1970s, the Department of Comparative Literature has implemented the principles underlying the current reform of the university programmes.
The Programme in Comparative Literature has a lot to offer both in terms of high quality university education, and in terms of career options, in public and private sectors alike. The Programme has an almost perfect placement record, which testifies to the fact that the students acquire not only specialist knowledge, but a range of skills useful in the current job market. The Programme in Comparative Literature is comprised of courses in world literature, comparative history of Croatian literature, literary theory, methods in literary scholarship, theatre and film studies, and other relevant subjects in the field of the humanities, such as feminism and psychoanalysis. The degree in comparative literature presents students with a wide range of career options, including various jobs in the media, publishing, film, theatre, as well as jobs in the area of translation or lexicography.
People with a degree in comparative literature are today heads of media corporations or public and commercial television networks; editors and journalists in the leading Croatian dailies and magazines; and hold important positions in marketing agencies, civil service and diplomacy. Cultural policy, education, public libraries, research institutes, NGOs, academia – these are the sectors of society in which a degree in comparative literature enables efficiency and excellence. It is therefore reasonable to expect that the various programmes offered by the Department should be competitive in attracting the interest of the business community in possible co-operation and additional funding. Among the members of the Department of Comparative Literature there are recipients of life achievement awards and various annual awards for excellence, and members of the Croatian Academy of Arts and Sciences. Members of the Department faculty have started new programmes of study at the Faculty of Philosophy and the University of Zagreb. Most have an outstanding international experience and reputation, are engaged on several international research projects and teach at various post-graduate programmes at other universities.
The Programme in Comparative Literature is compatible with similar programmes offered by various European and American universities, such as: Centro interdipartimentale di teoria e storia comparata della letteratura (Università degli studi di Bologna),  Komparatistik   (Universität Tübingen), Institut für Vergleichende Literaturwissenschaft (Universität Wien), Institut für Vergleichende Literaturwissenschaft (Universität Innsbruck), Centrum komparatistiky (Univerzita Karlova, Prague), Department of Comparative Literature (Stanford University), Program in Literature (Duke University),  Curriculum of Comparative Literature (University of North Carolina at Chapel Hill), Department of Comparative Literature (University of Wisconsin, Madison), Comparative Literature Department (Indiana University), etc. 
Further information about the study of comparative literature around the world, and the links to relevant web-sites of the institutions offering such programmes are available on the web-site: http://www.swan.ac.uk/german/bcla/clww.htm.
The Programme in Comparative Literature is, in its content and structure, designed to enable student mobility, both in national and international contexts. The students of comparative literature have as a rule performed very well when applying for various international scholarships and grants. It is therefore to be expected that this trend should continue under the new conditions created by the Bologna process. The Department of Comparative Literature has already made preliminary arrangements for exchange of faculty and students with the similar programme at the University of Ljubljana, and considers establishing similar exchange programmes with other European, American or Australian universities, i.e. their respective departments, programmes and institutes, as well.

2. GENERAL
2.1. Programme of study: comparative literature
2.2. Offered by the Department of Comparative Literature, Faculty of Philosophy, University of Zagreb
2.3. Length of study: 3 years (6 semesters)
2.4. Admission requirements: high school diploma and a required score in the admission procedure 
2.5. The undergraduate programme in comparative literature is offered as a single major and a double major programme, as well as a minor course for the students majoring in some other programme at the University of Zagreb. The programme consists of courses in history of world literature, comparative history of Croatian literature, literary theory, methods in literary scholarship, theatre and film studies, and other relevant subjects in the humanities, such as gender studies, psychoanalysis, cultural studies, semiotics, sociology of culture, aesthetics, media studies, etc. The students gain knowledge and skills that enable them to pursue a career in various cultural institutions and the media, while also providing a solid foundation for all those graduate programmes in the humanities and social sciences offered by the University of Zagreb or any other university, which are based on the tradition of liberal arts education. According to the current admission quota, the number of students admitted in the undergraduate programme in comparative literature averages 25 (i.e. 50 students in a double major option), plus about 25 students majoring in other programmes offered by the Faculty of Philosophy or changing their major. The total is thus 75 (double major) students on average for each year. Since the Bologna process makes possible for the student to choose a single major in comparative literature, the proposed quota would be: 10 single major and 30 (15 x 2) double major students.
The Deputy-Head of the Department is the Director of the undergraduate programme.
2.7. The undergraduate and graduate programme are not conceived as a single programme cycle, but the students who receive a BA in comparative literature (with a grade average of at least 3.5) would, of course, be the best candidates for the MA programme. The undergraduate programme offers basic knowledge necessary for the continuation of study, as well as a general survey of all the areas of study. The courses are more general in nature, the students write less, and the work the students do on their own – mentored through the weekly meetings with supervisors – is directed toward achieving competence in the more general issues in literary history, literary theory, theatre and film studies. There is a final examination (test + essay) where the students are expected to demonstrate to have mastered the more general issues in the field of study. 
The graduate programme offers various areas for in depth study. A more varied selection of courses, emphasis on the interdisciplinary approach, the required second foreign language, participation in small scale projects, and the research and the writing of the diploma essay are all designed to prepare the students for post-graduate study and/or for a competent and professional work in various jobs requiring the skills and knowledge they acquire in the programme.
2.8. Degree awarded: BA in the humanities (programme: comparative literature) 
The students who choose the minor programme in comparative literature do not receive any degree in either undergraduate or graduate programme.

3. PROGRAMME DESCRIPTION
3.1 Students enrolled in the Programme in Comparative Literature take courses in the comparative literature core curriculum and electives outside the department. The core curriculum comprises the following areas of study: a) world literature, b) theory of literature, c) comparative history of Croatian literature, d) theatre and film studies. All courses are single semester courses. Course format is a mixed one, combining lecture and seminar formats as modes of instruction, as well as tutorials for smaller groups (from 3 to 5 students). The focus is not on general surveys and the quantity of information relayed, but on the mastering of methods of scholarship and the quality of analysis produced.
The core curriculum consists of courses in world literature, theory of literature, comparative history of Croatian literature, and theatre and film studies. In order to be awarded the degree in comparative literature, the student has to complete a required number of courses in world literature (WL), theory of literature (T), comparative history of Croatian literature (C), and theatre and/or film studies (TH/F), respectively. Upon admission, the students are given course descriptions for the core curriculum for the next three years in order to structure their syllabus, relying on their teachers' guidance. 
All courses are elective. The courses on offer change each semester. The syllabus, course description, and reading requirements are available (www.ffzg.hr/kompk and on the notice board) in advance: in July for the winter semester, in December for the summer semester. The students apply for courses during the first week in September and the last week in January, respectively. The application form, available from the Department web-site or from the Department secretary, is handed in to the teacher.
All courses are organised in 3 hours per week, 2 hours in the lecture/seminar format, and 1 hour tutorials for smaller groups (from 3 to 5 students). No more than 20 students per course are allowed. Each course is worth 6 credits in the ECTS. The credits reflect the schedule, format, and student work-load. 
Grading system in the undergraduate programme: 
1. continuous assessment, 
2. 80% attendance record (12 out of 15 classes), 
3. participation in class, 
4. fulfilment of weekly demands (reading assigned texts, writing short reports on the material read, general interest in the problems discussed), 
5. 2 short papers (18000 to 27000 characters in total),
 6. individual or group presentation of a problem or a text, 
7. exam (test + essay). 
The actual ratio of the elemenats depend on the design of the course.
All courses include a final exam, taken in the last week. The exam consists of a test and a paper on a given topic. The results are announced the week after. The students who have not been able to take the exam, or have failed it, can re-take it the week after. The student can take the exam as many times as the applicable laws allow. The teacher is free to devise an alternative form of examination. Students must complete all course requirements within the current semester. Depending on the programme they are in, the students of comparative literature have from at least one to a maximum of three exams per semester. Students typically take two exams per semester.
Students are required to keep all their papers in print and/or digital form, as a student portfolio, enabling teachers to follow their progress and interests. 

undergraduate programme

MODEL I

Comparative Literature Single Major:

semester 	programme in comparative literature
	credits per course	credits total	credits in elective courses outside the department	credits total per semester (6 x 30 = 180)	
I	3 courses	6 + 6 + 6	20
	10
	30	
	foreign language	2				
II	3 courses	6 + 6 + 6	20
	10
	30	
	foreign language
	2
				
III	3 courses or
2 courses + aesthetics	6 + 6 + 6	 18 (20)
	12 (10)

	30	
	foreign language	2				
IV	3 courses or
2 courses + aesthetics	6 + 6 + 6	18 (20)	12 (10)

	30	
	foreign language	2				
V	3 courses 
	6 + 6+ 6
	18	12
	30	
VI	1  course, incl. 5000 word paper (9 credits)
	6 +  9
	24	6
	30	
	final exam (test + paper)	9				

MODEL II

Comparative Literature Double Major:

semester 	programme in comparative literature	credits per course	credits total	credits in elective courses outside the department	credits  per semester
(total 90)	
I	2 courses	6 + 6	12 or 14
	3 (English, German, French, Italian, Spanish, Russian majors)
1 (other students)	15	
	foreign language	2				
II	2 courses	6 + 6	12  or 14
	3 (English, German, French, Italian, Spanish, Russian majors)
1 (other students)	15	
	foreign language	2				
III	2 courses	6 + 6	12	3	15	
IV	2 courses	6 + 6	12	3	15	
V	2 courses or 1 course + aesthetics	6 + 6	12	3	15	
VI	1 course or aesthetics 	6
	15	0	15	
	final exam (test + paper)	9				

BA  (180  credits for single or 90 credits for double major)	* * *	
undergraduate programme: 6 semesters	
Comparative Literature Single Major
(Hauptfach)

180 credits

Comparative Literature Double Major 
(Hauptfach)
                      
90 credits	
Comparative Literature Minor Programme(Nebenfach)
                   
30 credits	
	●  9 credits final exam (5 test + 4 paper) in semester VI
● 62 or 58 credits in elective courses outside the department (e.g. minor programme in modern languages, sociology, philosophy, linguistics, history, art history, etc.)
	● 9 credits final exam (5 test + 4 paper) in semester VI
● 11 or 15 credits: in elective courses outside the department (semester I-V)
	                 no final exam	
	total 109 (or 113) credits	total 70 (66) credits	
 30 credits

                               total 17 courses:
 
●          15 courses (6 credits each): 9 core curriculum:  4 WL /2 pre-Romantic (WL1), 2 post-Romantic (WL2), 2T, 1 C, 1 TH, 1 F and 6 free choice (90 credits)
●         9 credits final paper in semester VI (5000 words)
●         1 course in aesthetics (6 credits)
●        2 foreign language courses (4 semesters, 4 credits in semester I and II or if possible 8 credits in semesters I-IV)  or a minor programe in English, German, French, Italian, Spanish and Russian, if offered.
	
                           total 12  courses:

●    10 courses (6 credits each): 4 WL (2 pre-Romantic/WL1/,  2 post-Romantic /WL2/) 2 T, 1 C, 1 (TH/F) i 2  free choice (60 credits)
●       1 course in aesthetics (6 credits)
●     1 foreign language course (2 semesters, 4 credits): for English, German, French, Italian, Spanish and Russian double majors use foreign language credits for elective courses outside the department
	
           total 5 courses:

 ●      (1 course per semester, 1 semester free): 2 WL, 1 T, 1 C, 1 TH/F

3.2.  Main areas of study
3.2.1. World Literature
Courses in world literature comprise the subjects from the entire history of world literature. The courses focus on periods relevant to world and/or national literatures (the antiquity, the Middle Ages, the Renaissance, the Baroque, classicism, romanticism, realism, modernism and post-modernism; Greek and Roman literature, Latin mediaeval literature, the Italian renaissance, French classicism, German romanticism, Russian and French realism, German expressionism, Russian and Italian futurism, etc.), development of modes, forms and genres (epic, lyric, dramatic; epic, tragedy, sonnet, novel, etc.) and the works of major authors (from Homer to contemporary writers), i.e. 
a) problem-oriented: periods, styles and movements; oriental origins of European literature: the Gilgamesh, the Bible; the classics: the epics of Homer, Greek tragedy and comedy, early lyric poetry; Hellenistic literature; general features of Roman literature; mediaeval literature: general features and dominant forms (the epic, the saga); literature in Latin and the origin of national literatures; the Renaissance: general features and the spirit of the age; Renaissance epic in Italy, lyric poetry, prose, novel of chivalry, the picaresque novel; French Renaissance, the Elizabethan Age in England, the Golden Age in Spain; French classicism: the poetics of classicist tragedy; comedy; enlightenment, the Encyclopaedia, early romanticism; romanticism: general features, English, French and German romanticism, romanticism in Slavic literatures; realism: the poetics and practice in France and Russia; Baudelaire, symbolism; naturalism; 20th century movements; general features and major works of modern poetry, prose and theatre; post-modern literature and literatures after the book; 
b) major authors: Homer, Aeschylus, Sophocles, Euripides, Aristophanes, Plautus, Virgil, Horace, Ovid, Petronius, Apuleius, Dante, Petrarch, Boccaccio, Chaucer, Ariosto, Rabelais, Tasso, Cervantes, Góngora, Lope de Vega, Shakespeare, Quevedo, Milton, Calderón de la Barca, Corneille, Molière, Racine, Defoe, Swift, Richardson, Voltaire, Prevost, Fielding, Goldoni, Rousseau, Sterne, Diderot, Goethe, Schiller, Hölderlin, Wordsworth, Novalis, Scott, Manzoni, Byron, Shelley, Keats, Heine, Mickiewicz, Leopardi, Pushkin, Hugo, Poe, Lermontov, Stendhal, Balzac, Gogol, Thackeray, Dickens, Turgenev, Keller, Flaubert, Dostoyevsky, Tolstoy, Zola, Verga, Maupassant, Whitman, Baudelaire, Mallarmè, Rimbaud, Ibsen, Twain, James, Strindberg, Wilde, Conrad, Chekhov, Proust, Rilke, Pirandello, Thomas Mann, Blok, Apollinaire, Musil, Joyce, Virginia Woolf, Gide, Kafka, Broch, T.S.Eliot, Pessoa, Ungaretti, Pasternak, Bulgakov, Mayakovsky, Faulkner, García Lorca, Brecht, Malraux, Hemingway, Borges, Yourcenar, Sartre, Camus, Beckett, Gombrowitz, Ionesco, Simon, Celan, Calvino, Grass, García Márquez, Fuentes, Cortázar, Vargas Llosa, Eco, etc.

3.2.1.1. World Literature Reading List
A Companion to Romanticism, ed. Duncan Wu, Blackwell Publishers, Malden
(MA) etc, 1999.
“Afrička književnost”, Književna smotra, br. 59-60, 1985.
“Beckett”, Quorum, br. 2-3, br. 4, 1990.
“Dostojevski”, Književna smotra, br. 43-44, 1981.
“James Joyce & Virginia Woolf”, Književna smotra, br. 45, 1982.
“Novi srednji vijek”, prir. A. Zlatar, Treći program Hrvatskoga radija, br. 37, 1992.
“Postmodernizam”, Republika, br. 10-11-12, 1985.
“Proust s onu stranu ogledala”, prir. A. Zlatar, Gordogan, br. 17-18, 1985.
Anders, G. Kafka – za i protiv, Narodna prosvjeta, Sarajevo 1955.
Auerbach, E. Mimeza, Hena com, Zagreb 2004.
Averincev, S. Poetika ranovizantijske književnosti, SKZ, Beograd 1952.
Bahtin, M. O romanu, Nolit, Beograd 1989.
Bahtin, M. Problemi poetike Dostojevskog, Nolit, Beograd 1967.
Bahtin, M. Stvaralaštvo F. Rabelaisa, Nolit, Beograd 1978.
Benčić, Ž. Barok i avangarda, Zavod za znanost o književnosti, Zagreb 1991.
Bialostocki, J. Povijest umjetnosti i humanističke znanosti, Grafički zavod Hrvatske, Zagreb, 1986.
Brannigan, J. New Historicism and Cultural Materialism, Palgrave Macmillan, Hampshire & New York 1998.
Burke, P. Junaci, nitkovi, lude, Školska knjiga, Zagreb 1991.
Čale, F. & Zorić, M. Uvod u Boccaccia & Boccaccio u Hrvata, u: Boccaccio, Djela, Liber & Nakladni zavod Matice hrvatske, Zagreb 1981.
Čale, F. Petrarca i petrarkizam, Školska knjiga, Zagreb 1971.
Čale, F. Uvod u Dantea & Dante u hrvatskoj književnosti, u: Dante, Djela, Liber & Nakladni zavod Matice hrvatske, Zagreb 1976.
Calinescu, M. Lica moderniteta, Stvarnost, Zagreb 1988.
Curtius, E. R. Eseji iz evropske književnosti, Veselin Masleša, Sarajevo 1964.
Curtius, E. R. Europska književnost i latinsko srednjovjekovlje, Matica hrvatska, Zagreb 1971. (2. izd. Naprijed, Zagreb 1998.)
Davis, N. Z. Povratak Martina Guerrea, Konzor, Zagreb 2001.
De Sanctis, F. Povijest talijanske književnosti, Matica hrvatska, Zagreb 1955.
Duby, G. Vitez, žena i svećenik, Logos, Split 1987.
Dukat, Z. Homersko pitanje, Globus, Zagreb 1988.
Flaker, A. & Škreb, Z. Stilovi i razdoblja, Matica hrvatska, Zagreb 1964.
Flaker, A. Poetika osporavanja, Školska knjiga, Zagreb 21984.
Flaker, A. Stilske formacije, Liber, Zagreb 21986.
Flaker. A. Ruska avangarda, Liber, Zagreb 1984.
Frejdenberg, O. Slika i pojam, Nakladni zavod Matice hrvatske, Zagreb 1986.
Friedrich, H. Struktura moderne lirike, Stvarnost, Zagreb 21989.
Frye, N. Veliki kod(eks), Prosveta, Beograd 1985.
Gasparov,  M. L. A History of European Versification, Oxford University
Press, Oxford 1996.
Ginzburg, C. Sir i crvi, Grafički zavod Hrvatske, Zagreb 1989.
Guillén, C. Književnost kao sistem, Nolit, Beograd b. g. i.
Gurevič, A. Kategorii srednevekovoj kul'tury, Iskusstvo, Moskva 1984.
Gurevič, A. Problemi narodne kulture u srednjem veku, Grafos, Beograd 1987.
Hägg, T. The Novel in Antiquity, Basil Blackwell, Oxford 1983.
Harrington, W. Uvod u Bibliju, Kršćanska sadašnjost, Zagreb 31991.
Hassan, I. Komadanje Orfeja, Globus, Zagreb 1992.
Hauser, A. Socijalna istorija umetnosti iknjiževnosti I-II, Kultura, Beograd 1962-1966.
Hergešić, I. Književni portreti, Stvarnost, Zagreb 1967.
Hergešić, I. Shakespeare,  Molière, Goethe, Znanje, Zagreb 1978.
Hocke, G. R. Manirizam u književnosti, Cekade, Zagreb 1984.
Huizinga, J. Homo ludens, Naprijed, Zagreb 1992. 
Huizinga, J. Jesen srednjeg vijeka, Naprijed, Zagreb 21991.
Hunt, L. Nova kulturna historija, Naklada Ljevak, Zagreb 2001.
Ivić, N. Domišljanje prošlosti, Zavod za znanost o literaturei, Zagreb 1992.
Janković, M. Novela u američkoj književnosti, Filozofski fakultet, Zadar 1977.
Kettle, A. Engleski roman, Svjetlost, Sarajevo 1962.
Književni barok, prir. Ž. Benčić & D. Fališevac, Zavod za znanost o književnosti, Zagreb 1988.
Kravar, Z. “Književnost 17. stoljeća i pojam ‘barok’”, u: Književni barok, prir. Ž. Benčić & D. Fališevac, Zavod za znanost o književnosti, Zagreb 1988.
Le Goff, J. Civilizacija srednjovjekovnog Zapada, Golden marketing, Zagreb 1998.
Le Goff, J. Intelektualci u srednjem vijeku, Grafički zavod Hrvatske, Zagreb 1982.
Le Goff, J. Srednjovjekovni imaginarij, Antibarbarus, Zagreb 1993.
Lesky, A. Povijest grčke književnosti, Golden marketing, Zagreb 2001.
Lihačov, D. Poetika stare ruske književnosti, Srpska književna zadruga, Beograd 1982.
Lodge, D. Načini modernog pisanja, Globus & Stvarnost, Zagreb 1988.
Lukács, G. Roman i povijesna zbilja, Globus, Zagreb 1986.
Modernism, ed. M. Bradbury & J. McFarlane, Penguin, London 1991.
Pavličić, P. Poetika manirizma, August Cesarec, Zagreb 1988.
Peleš, G. Iščitavanje značenja, Izdavački centar Rijeka, Rijeka 1982.
Postmoderna ili borba za budućnost, August Cesarec, Zagreb 1993.
Poulet, G. Čovek, vreme, književnost, Nolit, Beograd 1975.
Povijest svjetske književnosti, I-VII, Mladost, Zagreb 1974-1982.
Praz, M. Agonija romantizma, Nolit, Beograd 1974.
Pristup Faulkneru, Globus, Zagreb 1977.
Raymond, M. Od Baudelairea do nadrealizma, Veselin Masleša, Sarajevo 1958.
Šafranek, I. & Donat, B. Temelji modernog romana, Školska knjiga, Zagreb 197l.
Šafranek, I. & Polanščak, A. Francuski realistički romani XIX. stoljeća, Školska knjiga, Zagreb 1972.
Schein, S. Smrtni junak: uvod u Homerovu Ilijadu, Globus, Zagreb 1989.
Silver, Brenda. Virginia Woolf Icon, University of Chicago Press, Chicago & London, 1999.
Šklovski, V. Građa i stil u Tolstojevom romanu Rat i mir, Nolit, Beograd 1984.
Slamnig, I. Svjetska književnost zapadnoga kruga, Školska knjiga, Zagreb 21999.
Solar, M. Mit o avangardi i mit o dekadenciji, Nolit, Beograd 1985.
Solar, M. Povijest svjetske književnosti, Golden Marketing, Zagreb 2003.
Solar, M. Suvremena svjetska književnost, Školska knjiga, Zagreb 31997.
The New Historicism, ed. H. A. Veeser, Routledge, London & New York 1989.
Tronski, I. Povijest antičke književnosti, Matica hrvatska, Zagreb 1951.
Vidan, I. Nepouzdani pripovjedač, Matica hrvatska, Zagreb 1970.
Vidan, I. Roman struje svijesti, Školska knjiga, Zagreb 1971.
Vidan, I. Tekstovi u kontekstu, Liber, Zagreb 1975.
Wellek, R. Kritički pojmovi, Vuk Karadžić, Beograd 1966.
Wilson, E. Axelov zamak ili o simbolizmu, Kultura, Beograd 1964.
Zlatar, A. Ispovijest i životopis: srednjovjekovna autobiografija, Antibarbarus, Zagreb 2000.
Žmegač, V, Istina fikcije, Znanje, Zagreb 1982.
Žmegač, V. Bečka moderna, Matica hrvatska, Zagreb 1998.
Žmegač, V. Povijesna poetika romana, Matica hrvatska, Zagreb 32004.
Žmegač, V. Težišta modernizma, Liber, Zagreb 1986.

3.2.2. Theory of Literature
Courses in theory of literature focus on three main problem areas: 
a) key terms and concepts in theory of literature - theory of literature, history of literature, criticism; literary scholarship; stylistics, poetics and rhetoric; key terms in versification; major verse forms; tropes and figures; classification: genres, forms, poetry and prose, oral and written, trivial; features of various forms; key terms and concepts in literary analysis: motif, subject, plot, composition, narrator, character, idea; poetics and rhetoric from Aristotle to romanticism: major texts and approaches; stylistic and structural analysis of the literary text; 
b) major trends in literary scholarship; main issues in contemporary scholarship; the positivist approach (Scherer, Taine); Russian formalism (Shklovsky, Jakobson, Tynyanov, Tomashevsky, etc.), the Prague structuralists (Mukařovský, Vodička), new criticism in England and America (T. S. Eliot, Richards, the new critics, theory of the novel), interpretation (Staiger, Kayser); psychoanalysis and archetypal criticism (Freud, Jung, Frye, Lacan); phenomenology and existentialism (Ingarden, Sartre, Heidegger); Marxist and sociological approaches (Escarpit, Lukács, Adorno, Williams, Bourdieu and recent authors); aesthetics of reception and reader-response criticism; the influence of linguistics and information theory (de Saussure, Jakobson); structuralism and semiotics (Barthes, Lotman, Eco, etc.); deconstruction (Derrida and the Yale school), post-structuralism; new historicism and cultural materialism; cultural studies, feminist and post-colonial criticism;
c) key terms and concepts in comparative study of literature – key terms and concepts in comparative study of literature; world literature and comparative literature; issues in comparative history of literature: thematics, literary exchange, literary morphology; theory of translation; comparative literature around the world.

3.2.2.1. Theory of Literature Reading List
Adorno, T. Filozofsko-sociološki eseji o književnosti, Školska knjiga, Zagreb 1985.
Agamben, G. Ideja proze, AGM, Zagreb 2004.
Ambrogio, I. Formalizam i avangarda u Rusiji, Stvarnost, Zagreb 1977.
Aristotel, O pjesničkom umijeću, August Cesarec, Zagreb 1983.
Ashcroft, B. [et al.] Key Concepts in Post-Colonial Studies, Routledge, London & New York 1998.
Attridge, D. Poetic Rhythm: an Introduction, Cambridge University Press, Cambridge 1995.
Bahtin i drugi, prir. V. Biti, Naklada MD, Zagreb 1992.
Bahtin, M. Marksizam i filozofija jezika, Nolit, Beograd 1980.
Bahtin, M. O romanu, Nolit, Beograd 1989.
Barker, C. Cultural Studies: Theory and Practice, Sage, London 2000.
Barthes, R. Književnost, mitologija, semiologija, Nolit, Beograd 21979.
Barthes, R, Svijetla komora, Antibarbarus, Zagreb 2003.
Barthes, R. Užitak u tekstu; Varijacije o pismu, Meandar, Zagreb 2004.
Baudrillard, J. Simulacija i zbilja, Jesenski i Turk, Zagreb 2001.
Baudrillard, J. Simulakrumi i simulacija, Naklada društva arhitekata, Karlovac 2001.
Beker, M. Moderna kritika u Engleskoj i Americi, Liber, Zagreb 1973.
Beker, M. Povijest književnih teorija, Liber, Zagreb 1979.
Beker, M. Semiotika književnosti, Zavod za znanost o literaturei, Zagreb 1991.
Beker, M. Suvremene književne teorije, Matica hrvatska, Zagreb 21999.
Beker, M. Uvod u komparativnu književnost, Školska knjiga, Zagreb 1995.
Benjamin, W. Estetički ogledi, Školska knjiga, Zagreb 1986.
Biti, V. Pojmovnik suvremene književne i kulturalne teorije, Matica hrvatska, Zagreb 22000.
Biti, V. Strano tijelo pri/povijesti, Hrvatska sveučilišna naklada, Zagreb 2000.
Boileau-Despreaux, N. Pjesničko umijeće, Matica hrvatska, Zagreb 1999. 
Bourdieu, P. Distinction. A Social Critique of the Judgement of Taste, Harvard University Press, Cambridge, MA 1984.
Bourdieu, P. Les règles de l'art, Seuil, Paris 21998. (The Rules of Art, Cambridge, Polity Press, 1996)
Bourdieu, P. Što znači govoriti?, Naprijed, Zagreb 1992.
Burke, P. Junaci, nitkovi, lude. Narodna kultura predindustrijske Evrope, Školska knjiga, Zagreb 1991.
Butler, J. Nevolje s rodom, Ženska infoteka, Zagreb 2000.
Butler, J. Tela koja nešto znače, Samizdat B92, Beograd 2001.
Chatman, S. Story and Discourse, Cornell University Press, Ithaca & London 1978.
Cohn, D. Transparent Minds, Princeton University Press, Princeton 1978.
Coward R. & Ellis, J. Jezik i materijalizam, Školska knjiga, Zagreb 1985.
Culler, J. Književna teorija: vrlo kratak uvod, AGM, Zagreb, 2001. 
Culler, J. O dekonstrukciji, Globus, Zagreb 1991.
Culler, J. Structuralist Poetics, Cornell University Press, Ithaca & London 1975.
Cultural Theory and Popular Culture. A Reader, ed. J. Storey, University of Georgia Press, Athens 21998.
Čale Feldman, L. Euridikini osvrti, Naklada MD & Centar za ženske studije, Zagreb 2001.
De Certeau, M. Invencija svakodnevice, Naklada MD, Zagreb 2002.
De Saussure, F. Tečaj opće lingvistike, ArtTresor & Institut za hrvatski jezik i jezikoslovlje, Zagreb 2001.
Debord, G. Društvo spektakla, Arkzin, Zagreb 1996.
Derrida, J. O gramatologiji, Veselin Masleša, Sarajevo 1976.
Derrida, J. Sablasti Marxa, Hrvatska sveučilišna naklada, Zagreb 2002.
Doležel, L. Poetike Zapada,  Svjetlost, Sarajevo 1991.
Dollimore, J. Radical Tragedy: Religion, Ideology and Power in the drama of Shakespeare and his contemporaries, Duke University Press, Durham 21993.
Duda, D. Kulturalni studiji: ishodišta i problemi, AGM, Zagreb 2002.
Duda, D. Priča i putovanje, Matica hrvatska, Zagreb 1998.
Eagleton, T. Ideja kulture, Jesenski i Turk, Zagreb 2002.
Eagleton, T. Iluzije postmodernizma, Svetovi, Novi Sad 1997.
Eagleton, T. Književna teorija, Liber, Zagreb 1987.
Eagleton, T. After Theory, Basic Books, New York 2003.
Easthope, A. Literary into Cultural Studies, Routledge, London & New York 1991.
Eco, U. Kultura, informacija, komunikacija, Nolit, Beograd 1973.
Eco, U. Otvoreno djelo, Veselin Masleša, Sarajevo 1965.
Eco, U. U potrazi za savršenim jezikom, Hena com, Zagreb 2004.
Ejhenbaum, B. Književnost, Nolit, Beograd 1972.
Eliot, T. S. Tradicija, vrijednosti i književna kritika, Matica hrvatska, Zagreb 1999.
Encyclopedia of Contemporary Literary Theory, ed. Irena R. Makaryk et al, University of Toronto Press, Toronto 1993.
Felman, S. Skandal tijela u govoru, Naklada MD, Zagreb 1993.
Felski, R. Beyond Feminist Aesthetics, Harvard University Press, Cambridge, MA 1989.
Feministička likovna kritika i teorija likovnih umjetnosti, prir. Lj. Kolešnik, Centar za ženske studije, Zagreb 1999.
Feminizam / postmodernizam,  prir. L. J. Nicholson, Liberata & Centar za ženske studije, Zagreb 1999.
Fiske, J. & Hartley, J. Čitanje televizije, Barbat & Prova, Zagreb 1992.
Fiske, J. Popularna kultura, Clio, Beograd, 2001.
Forster, E. M. Aspects of the Novel, Penguin, Harmondsworth 1985.
Foucault, M. Riječi i stvari, Golden Marketing, Zagreb 2002.
Foucault, M. Znanje i moć, Globus, Zagreb 1994.
Frank, M. Kazivo i nekazivo, Naklada MD, Zagreb 1994.
Frank, M. Was ist Neostrukturalismus?, Suhrkamp, Frankfurt am Main 1984.
Frye, N. Anatomija kritike, Golden marketing, Zagreb 22000.
Gadamer, H. G. Istina i metoda, Veselin Masleša, Sarajevo 1978.
Ginzburg, C. Sir i crvi. Kozmos jednog mlinara iz 16. stoljeća, Grafički zavod Hrvatske, Zagreb 1989.
Greenblatt, S. Renaissance Self-Fashioning: >From More to Shakespeare, The University of Chicago Press, Chicago & London 1980.
Hansen-Löve, A. Der russische Formalismus, Verl. d. Österr. Akad. d. Wiss., Wien 1978.
Havelock, E. Muza uči pisati, AGM, Zagreb 2003.
Hebdige, D. Potkultura: značenje stila, Rad, Beograd 1980.
Hirsch, E. D. Načela tumačenja, Nolit, Beograd 1983.
Inglis, F. Teorija medija, Barbat & AGM, Zagreb 1997.
Intertekstualnost & autoreferencijalnost; ur. D. Oraić Tolić & V. Žmegač, Zavod za znanost o literaturei, Zagreb 1993.
Intertekstualnost & intermedijalnost, ur. Z. Maković i dr., Zavod za znanost o literaturei, Zagreb 1988.
Irigaray, L. Ja, ti, mi: za kulturu razlike, Ženska infoteka, Zagreb 1999. 
“Izabrani eseji i rasprave o Aristotelovoj Poetici”, Književna smotra, br. 31-32, 1978
Jakobson, R. & Halle, M. Temelji jezika, Globus, Zagreb 1988.
Jakobson, R. Lingvistika i poetika, Nolit, Beograd 1966.
Jakobson, R. Ogledi iz poetike, Prosveta, Beograd 1978.
Jameson, F. U tamnici jezika, Stvarnost, Zagreb, 1978.
Jauss, E. R. Estetika recepcije, Nolit, Beograd 1978.
Johansen, J. D. & Larsen, S. E. Uvod u semiotiku, Croatialiber, Zagreb 2000.
Jolles, A. Jednostavni oblici, Matica hrvatska, Zagreb 22000.
Jung, C. G. Čovjek i njegovi simboli, Mladost, Zagreb 1987.
Kayser, W. Jezičko umetničko delo, Srpska književna zadruga, Beograd 1973.
Kiberprostor, kibertijela, cyberpunk, ur. M. Featherstone & Roger Burrows, Jesenski i Turk, Zagreb 2001.
Kogoj - Kapetanić, B. Comparativea istraživanja u Hrvatskoj, “Rad JAZU”, br. 350, Zagreb 1968.
Kontekst i značenje, prir. N. Miščević & M. Potrč, Izdavački centar Rijeka, Rijeka 1987.
Kravar, Z. Antimodernizam, AGM, Zagreb 2003.
Kravar, Z. Stih i kontekst, Književni krug, Split 1999.
Kravar, Z. Tema “stih”, Zavod za znanost o literaturei, Zagreb 1993.
"Kulturalni studiji" (I-IV.), prir. D. Duda, Quorum, br. 1-4, 2001.
Kuhn, T. Struktura znanstvenih revolucija, Jesenski i Turk & Hrvatsko sociološko društvo, Zagreb 1999.
Lacan, Četiri temeljna pojma psihoanalize, Naprijed, Zagreb 1986.
Lachmann, R. Phantasia – Memoria – Rhetorica, Matica hrvatska, Zagreb 2002.
Lasić, S. Poetika kriminalističkog romana, Liber & Mladost, Zagreb 1973.
Lasić, S. Problemi narativne strukture, Liber, Zagreb 1977.
Leach, E. & Aycock, D. A. Strukturalističke interpretacije biblijskog mita, August Cesarec, Zagreb 1988.
Lešić, Z. Jezik i književno djelo, Zavod za izdavanje udžbenika, Sarajevo 1971.
Lévi-Strauss, C. Divlja misao, Golden marketing, Zagreb 2001.
Lévi-Strauss, C. Strukturalna antropologija 2, Školska knjiga, Zagreb 1988.
Lévi-Strauss, C. Strukturalna antropologija, Stvarnost, Zagreb 21989.
Levy, J. Umjetnost prevođenja, Zavod za udžbenike i nastavna sredstva, Sarajevo 1982.
Lodge, D. Načini modernog pisanja, Globus, Stvarnost, Zagreb 1988.
Loomba, A. Colonialism/Postcolonialism, Routledge, London & New York 1998.
Lotman, J. Predavanja iz strukturalne poetike, Zavod za izdavanje udžbenika, Sarajevo 1970.
Lotman, Kultura i eksplozija, Alfa, Zagreb 1998.
Lotman, Struktura umjetničkog teksta, Alfa, Zagreb 2001.
Lukács, G. Roman i povijesna zbilja, Globus, Zagreb 1986.
Lyotard, J-F. Postmoderna protumačena djeci, August Cesarec, Zagreb 1990.
Lyotard, J-F. Postmoderno stanje, Bratstvo-jedinstvo, Novi Sad 1988.
Markiewicz, H. Nauka o književnosti, Nolit, Beograd 1974.
Martin, W. Recent Theories of Narrative, Cornell University Press, Ithaca & London 1986.
Mayer, H. Autsajderi, Grafički zavod Hrvatske, Zagreb 1981.
Meletinski, E. Poetika mita, Nolit, Beograd 1983.
Miščević, N. Filozofija jezika, Jesenski i Turk, Zagreb 22003.
Moderna teorija romana, prir. M Solar, Nolit, Beograd 1979.
“Mogućnosti prepjeva”, Književna smotra, br. 91, 1994.
Moi, T. Sexual/Textual Politics. Feminist Literary Theory, Routledge, London & New York 22002.
Mongia, P. Contemporary Postcolonial Theory: A Reader, Arnold, London & New York 1996.
Mukařovský, J. Književne strukture, norme i vrijednosti, Matica hrvatska, Zagreb 1999.
Mukařovský, J. Struktura, funkcija, znak, vrednost, Nolit, Beograd 1987.
Nöth, W. Priručnik semiotike, Ceres, Zagreb 2004.
Nova evropska kritika, I-III, prir. A. Stamać i V. Zuppa, Općinska konferencija Saveza omladine, Marko Marulić, Split 1968-1972.
Oraić, D. Teorija citatnosti, Grafički zavod Hrvatske, Zagreb 1990.
Paglia, C. Seksualna lica, Ženska infoteka, Zagreb 2001. 
Pavličić, P. Književna genologija, Liber, Zagreb 1983.
Pavličić, P. Stih i značenje, Zavod za znanost o literaturei, Zagreb 1993.
Peleš, G. Priča i značenje, Naprijed, Zagreb 1989.
Peleš, G. Tumačenje romana, ArtTresor, Zagreb 1999.
Petrović, S. Oblik i smisao, Matica srpska, Novi Sad 1986.
Petrović, S. Priroda kritike, Liber, Zagreb 1972.
Poetika ruskog formalizma, Prosveta, prir. A. Petrov, Beograd 1970.
Political Shakespeare: Essays in Cultural Materialism, ed. J. Dollimore & A. Sinfield, Cornell University Press, Ithaca & London 21994.
Politika i etika pripovijedanja, prir. V. Biti, Hrvatska sveučilišna naklada, Zagreb 2002.
“Poststrukturalizam”, prir. M. Beker, Republika, od br. 3-4/1986. do br. 1-2/1987.
Pranjić, K. Jezik i književno djelo, Školska knjiga, Zagreb 1968. (3. izd. Nova prosveta, Beograd 1985.)
Propp, V. Historijski korijeni bajke, Svjetlost, Sarajevo 1990.
Propp, V. Morfologija bajke, Prosveta, Beograd 1982.
Reader-Response Criticism, prir. J. Tompkins, Johns Hopkins University Press, Baltimore 1980.
Rezeptionsästhetik, prir. R. Warning, Wilhelm Fink Verlag, München 21979.
Ricoeur, P. Vreme i priča, Izdavačka knjižarnica Zorana Stojanovića, Novi Sad 1993.
Ricoeur, P. Živa metafora, Grafički zavod Hrvatske, Zagreb 1981.
Rimmon-Kenan, S. Narrative Fiction, Routledge, London & New York 22002.
Rorty, R. Konsekvence pragmatizma, Nolit, Beograd 1992.
Rorty, R. Kontingencija, ironija i solidarnost, Naprijed, Zagreb 1995.
Said, E. Orijentalizam, Konzor, Zagreb 1999.
Schwanitz, D. Teorija sistema i književnost, Naklada MD, Zagreb 2000.
Solar, M. Edipova braća i sinovi, Naprijed, Zagreb 1998.
Solar, M. Eseji o fragmentima, Prosveta, Beograd 1985.
Solar, M. Filozofija književnosti, Liber, Zagreb 1985.
Solar, M. Ideja i priča, Golden marketing & Tehnička knjiga, Zagreb 32004.
Solar, M. Pitanja poetike, Školska knjiga, Zagreb 1971.
Solar, M. Predavanja o lošem ukusu, Politička kultura, Zagreb 2004.
Solar, M. Roman i mit, August Cesarec, Zagreb 1988.
Solar, M. Smrt Sancha Panze, Nakladni zavod Matice hrvatske, Zagreb 1981.
Solar, M. Teorija književnosti, Školska knjiga, Zagreb 192001.
Solar, M. Teorija proze, Liber, Zagreb 1989.
Solar, M. Uvod u filozofiju književnosti, Golden marketing & Tehnička knjiga, Zagreb 22004.
Staiger, E. Temeljni pojmovi poetike, Ceres, Zagreb 1996.
Stamać, A. Teorija metafore, Cekade, Zagreb 21983.
Storey, J. An Introduction to Cultural Theory and Popular Culture, University of Georgia Press, Athens 21998.
Strinati, D. An Introduction to Theories of Popular Culture, Routledge, London & New York 1995.
Strukturalizam, “Kritika”, br. 4, 1970.
Stuart Hall: Critical Dialogues in Cultural Studies, ed. D. Morley & K-H. Chen,, Routledge, London & New York 1996.
Studying Culture. An Introductory Reader, ed. A . Gray & J. McGuigan, Arnold, London 21997. 
Suvremena teorija pripovijedanja, prir. V. Biti, Globus, Zagreb 1992.
Škiljan, D. U pozadini znaka, Školska knjiga, Zagreb 1985.
Šklovski, V. Uskrsnuće riječi, Stvarnost, Zagreb 1969.
Škreb, Z. & Stamać, A. Uvod u književnost, Globus, Zagreb 51998.
Škreb, Z. Književnost i povijesni svijet, Školska knjiga, Zagreb 1981.
Škreb, Z. Studij književnosti, Školska knjiga, Zagreb 1976.
The Cultural Studies Reader, ed. S. During, Routledge, London & New York 1999.
The Johns Hopkins Guide to Literary Theory & Criticism, ed. M. Groden, Johns Hopkins University Press, Baltimore 1994.
Tinjanov, J. Pitanja književne povijesti, Matica hrvatska, Zagreb 1998.
Todorov, T. Poetika, Filip Višnjić, Beograd 1986.
Tomaševski, B. Teorija književnosti, Matica hrvatska, Zagreb 1998.
Tomaševski, B. Teorija književnosti, Srpska književna zadruga, Beograd 1972.
Usmena književnost, prir. M. Bošković-Stulli, Školska knjiga, Zagreb 1971.
Uvod u naratologiju, prir. Z. Kramarić, Izdavački centar Revija, Osijek 1989.
Užarević, J. Kompozicija lirske pjesme, Zavod za znanost o literaturei, Zagreb 1991.
Velčić, M. Otisak priče. Intertekstualno proučavanje autobiografije, August Cesarec, Zagreb 1991.
Vodička, F. Problemi književne istorije, KZ Novog Sada, Novi Sad 1987.
Wellek, R. A History of Modern Criticism, I-IV, Yale University Press, New Haven & London 1955.
What is Cultural Studies? A Reader, prir. J. Storey, Arnold, London 1996.
Williams, R. Keywords: a Vocabulary of Culture and Society, Fontana Press, London 1983.
Zima, L. Figure u našem narodnom pjesništvu, Globus, Zagreb 21988.
Zlatar, A. Istinito, lažno izmišljeno, Hrvatsko filozofsko društvo, Zagreb 1989.
Žmegač, V. Književno stvaralaštvo i povijest društva, Liber, Zagreb 1976.
Žmegač, V. Književnost i glazba, Matica hrvatska, Zagreb 2003.
Žmegač, V. Književnost i zbilja, Školska knjiga, Zagreb 1982.

3.2.3. Comparative History of Croatian Literature  
Courses in comparative history of Croatian literature include the following issues and problem areas: Latin, Greek and Old-Slavic influences in Croatian literature; Latin writers of the 14th and 15th century; the followers of Petrarch; renaissance epics (Marulić and tradition), Hektorović and Zoranić; Marin Držić and European renaissance theatre; 16th-century lyric poetry; the baroque epic, comic poetry, religious poetry, melodrama (authors, sources, topics); metaphors and verse forms in the work of Ivan Bunić Vučić, mannerism, Katančić's quantitative verse; Protestantism in Croatian literature, Croatian Latin writers of the XVIII century, Abe Fortis and morlachism; the national movement and Slavic, German and Romanic literatures, the national movement and Croatian literary tradition, European romanticism; Šenoa's literary education and predilection; attempts at naturalism (Kumičić and Zola); Russian influences in Croatian realist narrative; Croatian and English literature in the XIX century; Matoš and contemporary European literature; cosmopolitanism and aestheticism: echoes of expressionism; literature between the world wars; Krleža; Croatian literature after WWII; contemporary Croatian literature and tendencies in world literature.

3.2.3.1. Comparative History of Croatian Literature Reading List
Batušić, Kravar & Žmegač, Književni protusvjetovi, Matica hrvatska, Zagreb 2001.
Batušić, N. Narav od fortune, August Cesarec & Matica hrvatska, Zagreb 1991.
Bogdan, T. Lica ljubavi: status lirskog subjekta u kanconijeru Džore Držića, Zavod za znanost o književnosti, Zagreb 2003.
Bogišić, R. Hrvatska pastorala, Zavod za znanost o književnosti, Zagreb 1989.
Čale, F. “Predgovor”, u knjizi M. Držić, Djela, Liber, Zagreb 1979.
Čale, F. Usporebe i tumačenja, Matica hrvatska, Dubrovnik 1991.
Čale, M. Sam svoj dvojnik: eseji o hrvatskom književnom modernizmu, Hrvatska sveučilišna naklada, Zagreb 2004.
Čale, M. Volja za riječ: eseji o djelu Ranka Marinkovića, Zavod za znanost literaturei, Zagreb 2001.
Dukić, D. Figura protivnika u hrvatskoj povijesnoj epici, Hrvatska sveučilišna naklada, Zagreb 1998.
Dukić, D. Sultanova djeca, Thema, Zadar 2004.
“Ekspresionizam i hrvatska literature”, Kritika, br. 3, 1969.
Fališevac, D. Ivan Bunić Vučić, Zavod za znanost o književnosti, Zagreb 1987.
Fališevac, D. Kaliopin vrt, Književni krug, Split 1997.
Fališevac, D. Stari pisci hrvatski i njihove poetike, Liber, Zagreb 1989.
Filipović, R. Hrvatsko-engleske književne veze, Liber & Mladost, Zagreb 1972.
Flaker, A, Poetika osporavanja, Školska knjiga, Zagreb 21984.
Flaker, A. Književne poredbe, Naprijed, Zagreb 1968.
Frangeš, I. Matoš - Vidrić - Krleža, Liber, Zagreb 1974.
Frangeš, I. Povijest hrvatske književnosti, Nakladni zavod Matice hrvatske, Zagreb 1987.
Hrvatska literature prema evropskim književnostima, prir. A. Flaker & K. Pranjić, Liber, Zagreb 1970.
Hrvatska književnost u evropskom kontekstu, A. Flaker & K. Pranjić, Zavod za znanost o književnosti & Liber, Zagreb 1978.
Hrvatski književni barok, prir. D. Fališevac, Zavod za znanost o književnosti, Zagreb 1991.
Kolumbić, N. Hrvatska književnost do humanizma do manirizma, Nakladni zavod Matice hrvatske, Zagreb 1980.
Kombol, M. Povijest hrvatske književnosti do narodnoga preporoda, Matica hrvatska, Zagreb 21961. 
Kravar, Z. Barock in der kroatischen Literatur, Böhlau, Köln – Weimar – Wien 1991.
Kravar, Z. Barokni opis, Liber, Zagreb 1980.
Kravar, Z. Nakon godine MCD, Matica hrvatska, Dubrovnik 1993.
Kravar, Z. Studije o hrvatskom književnom baroku, Nakladni zavod Matice hrvatske, Zagreb 1975.
Nemec, K. Povijest hrvatskog romana, Znanje, Školska knjiga, Zagreb 1994-2003.
Novak, S. P. Planeta Držić, Cekade, Zagreb 1984.
Novak, S. P. Povijest hrvatske književnosti od Baščanske ploče do danas, Golden marketing, Zagreb 2003.
Novak, S. P. Povijest hrvatske književnosti, Antibarbarus, Zagreb 1996-1999.
Novaković, D. “Latinsko pjesništvo hrvatskoga humanizma”, u M. Tomasović & D. Novaković, Marko Marulić/Hrvatski latinisti, Školska knjiga, Zagreb 1994.
Pavličić, P. Barokni pakao, Naklada Pavičić, Zagreb 2003.
Pavličić, P. Barokni stih u Dubrovniku, Matica hrvatska, Dubrovnik 1995.
Pavličić, P. Moderna hrvatska lirika, Matica hrvatska, Zagreb 1999.
Pavličić, P. Stih u drami & drama u stihu, Zavod za znanost o književnosti, Zagreb 1985.
Pavličić, P. Studije o Osmanu, Zavod za znanost o književnosti, Zagreb 1996.
Petrović, S. Oblik i smisao, Matica srpska, Novi Sad 1986.
Petrović, S. Problem soneta u starijoj hrvatskoj književnosti,  “Rad JAZU”, br. 350, Zagreb 1968.
Povijest hrvatske književnosti, I-IV, Liber & Mladost, Zagreb 1974-1978.
Rapacka, J. Zaljubljeni u vilu, Književni krug, Split 1998.
Senker, B. Hrestomatija novije hrvatske drame, Disput, Zagreb 2000-2001.
Senker, B. Kazališne razmjene, Hrvatsko filološko društvo, Zagreb 2002.
Senker, B. Pogled u kazalište, Hrvatsko društvo kazališnih kritičara i teatrologa, Zagreb 1990.
Senker, B. Sjene i odjeci, Znanje, Zagreb, 1984.
Slabinac, G. Hrvatska književna avangarda, August Cesarec, Zagreb 1988.
Slamnig, I. Disciplina mašte, Matica hrvatska, Zagreb 1965.
Slamnig, I. Hrvatska versifikacija, Liber, Zagreb 1981.
Slamnig, I. Sedam pristupa pjesmi, Izdavački centar Rijeka, Rijeka 1986.
Šavličić, P. Hrvatski dramski stih, Književni krug, Split 2000.
Tomasović, M. Komparatističke i romanističke teme, Književni krug, Split 1993.
Tomasović, M. Marko Marulić Marul, Erasmus naklada, Zavod za znanost o književnosti & Književni krug, Zagreb & Split 1999.
Tomasović, M. Tradicija i kontekst, August Cesarec, Zagreb 1988.
Tomasović, M. Traduktološke rasprave, Zavod za znanost o književnosti, Zagreb 1996.
Tomasović, M. Vila Lovorka: studije o hrvatskom petrarkizmu, Književni krug, Split 2004.
Torbarina, J. Kroatističke rasprave, Matica hrvatska, Zagreb 1997.
Vončina, J. Jezičnopovijesne rasprave, Liber, Zagreb 1979.
“Zbornik radova o Petru Hektoroviću”, prir. J. Ravlić, Kritika, br. 6, 1970.
Zlatar, A. Autobiografija u Hrvatskoj, Matica hrvatska, Zagreb 1998.
Zlatar, A. Marulićeva Davidijada, Latina et Graeca, Zagreb 1991.
Zlatar, A. Tekst, tijelo, trauma, Naklada Ljevak, Zagreb 2004.
Žmegač, V. Duh impresionizma i secesije, Zavod za znanost o književnosti, Zagreb 21997.
Žmegač, V. Krležini evropski obzori, Znanje, Zagreb 22001.

3.2.4. Theatre Studies / Film Studies
Courses in theatre and film studies focus on the following issues:
a) theatre studies
origin and development of theatre studies; theatre studies as a discipline and as an academic subject (stage design, costume design, history of the theatre, theory of acting, directing); analysis of play as text and as performance process: plot, character, dialogue, feeling, thinking, acting, play; dramatic and anti-dramatic forms: tragedy, comedy, tragi-comedy, farce, melodrama, mixed forms; research methods in theatre studies; contemporary attempts at defining theatre; systematic approaches to theatre studies; origin of the theatre; history of theatre and drama; theory of drama from Aristotle to present day; history of Croatian theatre; theatre today
b) film studies
introduction to film theory; film and other arts; film poetics, rhetoric and style; film studies and related disciplines: semiotics, communication theory, comparative aesthetics, psychology; film history, features and development; major authors and works, movements, styles, national cinemas; the age of TV and video
3.2.4.1. Theatre Studies / Film Studies Reading List
a) theatre studies
A Sourcebook of Feminist Theatre and Performance, ed. C. Martin, Routledge, London & New York 1996.
Apollonio, M. Povijest komedije dell'arte, Cekade, Zagreb 1985.
Artaud, A. Kazalište i njegov Dvojnik, Hrvatski centar ITI, Zagreb 2000.
Balme, Ch. Einführung in die Theaterwissenschaft, Erich Schmidt Verlag, Berlin 2001.
Batušić, N. Gavella, Grafički zavod Hrvatske, Zagreb 1983.
Batušić, N. Hrvatska kazališna kritika, Matica hrvatska, Zagreb 1971.
Batušić, N. Povijest hrvatskog kazališta, Školska knjiga, Zagreb 1978.
Batušić, N. Teatrološka čitanka, Slovo M, Zagreb 2004.
Batušić, N. Uvod u teatrologiju, Grafički zavod Hrvatske, Zagreb 1991.
Batušić, S. Hrvatska pozornica, Mladost, Zagreb 1978.
Bentley, E. The Life of Drama, Atheneum, New York 1964.
Bentley, E. The Theory of Modern Stage, Penguin, Harmondsworth 1968.
Bergson, H. Smijeh, Znanje, Zagreb 1987.
Bogner-Šaban, A. Povrat u nepovrat, Hrvatski centar ITI, Zagreb 2001.
Brecht, Dijalektika u teatru, Nolit, Beograd 1966.
Brook, P. Prazni prostor, Marko Marulić, Split 1972.
Carlson, M. Kazališne teorije, I-III, Hrvatski centar ITI, Zagreb 1996-1997.
Car-Mihec, A. Dnevnik triju žanrova, Hrtavski centar ITI, Zagreb 2003.
Cohen, S. J. Ples kao kazališna umjetnost, Cekade, Zagreb 1988.
Craig, E. G. O umjetnosti kazališta, Centar za kulturnu djelatnost SSO, Zagreb 1980.
Čale, F. O književnim i kazališnim dodirima hrvatsko-talijanskim, Matica hrvatska, Dubrovnik 1968.
Čale Feldman, L. Teatar u teatru u hrvatskom teatru, Naklada MD & Matica hrvatska, Zagreb 1997.
D'Amico, S. Povijest dramskog teatra, Nakladni zavod Matice hrvatske, Zagreb 1972.
Duvignaud, J. Sociologija pozorišta, BIGZ, Beograd 1978.
Elam, K. The Semiotics of Drama and Theatre, Routledge, London & New York 22002.
Esslin, M. The Theatre of the Absurd, Penguin, Harmondsworth 1968.
Estetika modernog teatra, prir. R. Mazić i D. Rnjak, Vuk Karadžić, Beograd 1976.
Fergusson, F. Pojam pozorišta, Nolit, Beograd 1979.
Filozofija pozorišta, prir. R. Lazić, Foto Futura, Zagreb 2004.
Fischer-Lichte, E. History of European Drama and Theatre, Routledge, London & New York 2004.
Fischer-Lichte, E. The Semiotics of Theater, Indiana University Press, Bloomington & Indianapolis 1992.
Fortier, M. Theory/Theatre. An Introduction, Routledge, London & New York 2002.
Fuchs, E. The Death of Character: Perspectives on Theater after Modernism, Indiana University Press, Bloomington & Indianapolis 1996.
Gavella, B. Hrvatsko glumište, Grafički zavod Hrvatske, Zagreb 21982.
Gavella, B. Književnsot i kazalište, Matica hrvatska, Zagreb 1970.
Goldberg, R.L. Performans: od futurizma do danas, Test! & URK, Zagreb 2004.
Hartnoll, Ph. A Concise History of the Theatre, Thames & Hudson London 1968.
Hećimović, B. Trinaest hrvatskih dramatičara, Znanje, Zagreb 1976.
Hećimović, B. U zagrljaju kazališta, Hrvatski centar ITI, Zagreb 2004.
Hribar-Ožegović, M. Kazališni glosarij, Globus, Zagreb 1984.
Inkert, A. Drama in gledališče, Drđavna založba Slovenije, Ljubljana 71986.
Innes, Ch. Avant Garde Theatre 1892-1992, Routledge, London & New York 1993.
Ionesco, E. Pozorišno iskustvo, Vuk Karadžić, Beograd 1965.
Kindermann, H. Theatergeschichte Europas, I-X, O. Müller, Salzburg 1957 - 1974.
Kott, J. Jedenje bogova, Nolit, Beograd 1974.
Kott, J. Rozalindin spol, Znanje, Zagreb 1997.
Kott, J. Shakespeare naš savremenik, Srpska književna zadruga, Beograd 1963.
Lederer, A. Redatelj Tito Strozzi, Meandar, zagreb 2003.
Lehmann, H-T. Postdramsko kazalište, CDU & ThK, Zagreb & Beograd 2004.
Marinković, R. Geste i grimase, Globus, Zagreb 41988.
Mejerhol'd, V. O pozorištu, Nolit, Beograd 1976.
Melchinger, S. Povijest političkog kazališta, Grafički zavod hrvatske, Zagreb 1989.
Miletić, S. Hrvatsko glumište, Centar za kulturnu djelatnost SSO, Zagreb 21978.
Moderna teorija drame, prir. M. Miočinović, Nolit, Beograd 1981.
Nikčević, S. Američka afirmativna drama, Hrvatski centar ITI, Zagreb 2003.
Nikčević, S. Subverzivna američka drama, Centar društvenih djelatnosti mladih, Rijeka 1995.
Paprašarovski, M. Semiotičko brušenje teksta, Hrvatsko filološko društvo, Zagreb 2003.
Performance Analysis: An Introductory Coursebook, ed. C. Counsell & L. Wolf, Routledge, London & New York 2001.
Performance Training, ed. I. Watson, Harwood Academic Publishers, Amsterdam 2001.
Petlevski, S. Kazališne suigre, Antibarbarus, Zagreb 2001.
Pfister, M. Drama, Hrvatski centar ITI, Zagreb 1998.
Pignarre, R. Povijest kazališta, Matica hrvatska, Zagreb 1970.
Piscator, E. Političko kazalište, Cekade, Zagreb 1985.
Postcolonial Drama, ed. H. Gilbert & J. Tompkins, Routledge, London & New York 1996.
Rađanje moderne literaturei: drama, prir. M. Miočinović, Nolit, Beograd 1975.
Schechner, R. Performance Theory, Routledge, London & New York 2003.
Selenić, S. Dramski pravci XX. veka, Umetnička akademija, Beograd 1971.
Senker, B. Pogled u kazalište, Hrvatsko društvo kazališnih kritičara i teatrologa, Zagreb 1990.
Senker, B. Redateljsko kazalište, Centar za kulturnu djelatnost, Zagreb 21984.
Steiner, G. Smrt tragedije, Centar za kulturnu djelatnost SSO, Zagreb 1979.
Storia del teatro moderno e contemporaneo, I-IV, ed. R. Alonge & G. D. Bonino, Einaudi, Torino 2000-2004.
Styan, J. L. The Dark Comedy, Cambridge University Press, Cambridge 1962.
Szondi, P. Teorija moderne drame: 1880 –1950, Hrvatski centar ITI, Zagreb 2001.
Švacov, V. Temelji dramaturgije, Školska knjiga, Zagreb 1976.
Teorija drame: renesansa i klasicizam, prir. J. Hristić, Univerzitet umetnosti, Beograd 1976.
The Intercultural Performance Reader, ed. P. Pavis, Routledge, London & New York 2002.
The Oxford Illustrated History of Theatre, ed. J. Russell Brown, Oxford University Press, Oxford & New York 1997.
The Routledge Reader in Gender and Performance, ed. E. Goodman, Routledge, London & New York 1998.
The Routledge Reader in Politics and Performance, ed. L. Goodman & J. de Gay, Routledge, London & New York 2002
Theatre World sin Motion, ed. H. van Maanen & S. E. Wilmer, Rodopi, Amsterdam & Atlanta 1998.
Turner, V. Od rituala do teatra, August Cesarec, Zagreb 1989.
Twentieth Century Actor Training, ed. A. Hodge, Routledge, London & New York 2000.
Ubersfeld, A. Čitanje pozorišta, Vuk Karadžić, Beograd 1982.
Ubersfeld, A. L'ecole du spectateur. Lire le théâtre 2, Editions sociales, Paris 1981.
Vučković, R. Moderna drama, Veselin Masleša, Sarajevo 1982.
Williams, R. Drama od Ibsena do Brechta, Nolit, Beograd 1978.
Zuppa, V. Uvod u dramatologiju, Antibarbarus, Zagreb 1995.

b) film studies
Altman, R. Film/Genre, British Film Institute, London 1999.
Andrew, J. D. Glavne filmske teorije, Institut za film, Beograd 1980
Arnheim, R. Film kao umjetnost, Narodna knjiga, Beograd 1962
Barnouw, E. Documentary. A History of Non-fiction film, Oxford UP, New York, & Oxford 1993.
Bordwell, D. O povijesti filmskog stila, HFS, Zagreb 2005.
Bordwell, D. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Harvard UP, Cambridge & London, 1989.
Buckland, W. The Cognitive Semiotics of Film, Cambridge UP, Cambridge 2000.
Burch, N. Praksa filma, Institut za film, Beograd 1972.
Carroll, N. Theorizing the Moving Image, Cambridge UP, Cambridge 1996.
Chatman, S. Coming to Terms, The Rhetoric of Narrative in Fiction and Film, Ithaca & London: Cornell UP 1990.
Chion, M. La voix au cinema, Cahiers du cinéma livres, Paris 1982.
A Companion to Film Theory, ed. T. Miller & R. Stam, Blackwell, Oxford 1999.
Cook, D. A. A History of Narrative Film, W.W.Norton & Company, New York & London 1999. 
Filmska enciklopedija 1-2, JLZ «Miroslav Krleža», gl. ur. Ante Peterlić, Zagreb 1986-1990.
Filmski leksikon LZ «Miroslav Krleža», ur. B. Kragić i N. Gilić, Zagreb 2003.
Fuery, P. New Developments in Film Theory, Macmillan, London 2000.
Gregor, U. & Patalas, E. Istorija filmske umetnosti, Institut za film, Beograd 1977.
Gunning, T. The Films of Fritz Lang, BFI, London 2000. 
Lotman, J. Semiotika filma, Institut za film, Beograd 1976.
Metz, Ch. Ogledi o značenju u filmu, Institut za film, Beograd 1976.
Metz, Ch. Jezik i kinematografski medij, Institut za film, Beograd 1975.
Peterlić, A. Studije o devet filmova, HFS, Zagreb 2002.
Peterlić, A. Ogledi o devet autora, CKD, Zagreb 1983.
Peterlić, A. Osnove teorije filma, HSN, Zagreb 2001.
Salt, B. Film Style and Technology: History and Analysis, Starword, London 1992.
Singer, I. Reality Transformed: Film as Meaning,  MIT, Cambridge 1998.
Stam, R. Theory of Film: An Introduction, Blackwell, Oxford 2000.
Škrabalo, I. 101 godina filma u Hrvatskoj, Globus, Zagreb 1999.
Tanhofer, N. O boji, Novi liber, Zagreb 2000.
Teorija filma,  ur. D. Stojanović, Nolit, Beograd 1978.
Tudor, A. Teorije filma, Institut za film, Beograd 1979.
Turković, H. Film: zabava, žanr, stil. HFS, Zagreb 2005.
Turković, H. Umijeće filma. Esejistički uvod u film i filmologiju, HFS, Zagreb 1996.
Turković, H. Teorija filma, Meandar, Zagreb 1994.
Wollen, P. Znaci i značenje u filmu, Institut za film, Beograd 1972.

 
3.2..5  COURSES DESCRIPTION
Courses 2005/06, 2006/7 and 2007/8. 
(first,  second  and third generation)

COURSES 2005/2006

1st year, winter semester (I)

Solar
PERIODS OF WORLD LITERATURE 
The notion of national, comparative, and world literature. Histories of literature. Methodological problems in the history of world literature: unity and diversity of world literature, cultural spheres, the issues of selection and description. Periods in the history of world literature. The notion of period and the key features of the main periods: the classical age, the Middle Ages, the Renaissance, the baroque, classicism and enlightenment, romanticism, realism, modernism. The problem of oral literature and the importance of mythologies. Analysis of examples.

Pavlović
CLASSICISM
Classicism is the last conventional stylistic system of European literature. The course focuses on the styles of the XVII and XVII century in their national complexity, with particular attention being paid to stylistic, generic and ideological features contributing to supranational classicism. The key words are la préciosité, libertinage, Jansenism, rationalism and enlightenment. A chronological survey of national literatures placing classicism in relation to the baroque and rococo. Corneille, Racine, Molière, Boileau, Pascal, Pope, Dryden, Defoe, Swift, Sterne, Klopstock, Lessing, Goethe, Schiller, Le Sage, Marivaux, Montesquieu, Voltaire, Beaumarchais, Laclos, Alfieri, Goldoni, Stulli, Katančić.

Duda
TERMS IN LITERARY THEORY
Survey, definition and uses of the most frequent terms in literary theory. Following the initial description of the field of literary theorye, the focus will be on traditional and new categories such as text, sign, structure, discourse, genre, poetics, verse, prose, rhetoric, style, etc. The origin and relevance of particular terms introduced by varoius critical approaches for the respective approaches discussed. The use and interpretation demonstrated using select texts in literary theory. 

Grdešić
INTRODUCTION TO NARRATOLOGY 
The course offers a set of basic “tools” for analysing narrative texts. Following the explanation of the key terms narratology takes over form Russian formalism, strucuralism and semiotics, various trends in narratology discerned, depending on whether the emphasis is on the what of the narrative (story), or on the how (text/discourse, narration), or on the synthesis of these two views. Critical narratology, aimed at overcoming the limitations of the method will also be discussed. Since narratology foregrounds “the story” regardless of the medium, examples are taken form Croatian and world literature, film, comics, etc.

Pavličić
CRAOATIAN PETRARCHISM 
Croatian lyric poetry of the 16th and 17th century and its European context. Discussion of the poetics and the ideology of Petrarchism; survey of Croatian Petrarchist schools with their main authors; interpretation of representative poems and analysis of the implied and explicit poetics. The influence of Petrarchism on genres other than the lyric poem. The legacy of Petrarchism in later periods, e.g. romanticism and the 20th century.

Senker
INTRODUCTION TO THEATRE STUDIES 
Introductory outline of theatre studies and its object of study. The problems of collecting and analysing materials. Main disciplines in theatre studies, and related fields of study. Issues in he history of the theatre, dramaturgy, theory, aesthetics, and criticism. 

Gilić 
INTRODUCTION TO FILM STUDIES
The course is conceived as a survey of the basic notions of the film medium, introducing theoretical models of film analysis, by means of comparison with other audio-visual media. The aim of the course is to present the students with main issues and approaches in film studies, as well as with the key notions in the aesthetics of film, enabling them to analyse the film form. Key terms: film, silent film, television, video, similarity factors, difference factors, forms of film, discourse time, editing, the visual power of film.

1st year, summer semester (II)

Zlatar
CLASSICAL LITERATURE
The course introduces the heritage of Greek and Roman literature. Introductory discussion of the problems of periods in classical literature. The relation of oral and written literature. Aristotle's Poetics analysed. Review of classical literary forms, with special emphasis on the processes of incorporation of Greek forms in Roman literature.

Matijašević
THE REALIST NOVEL 
The course offers a range of readings of the realist novel. The following works will be analysed: Middlemarch by G. Eliot, Le père Goriot by H. de Balzac, The Red and the Black by Stendhal, Villette by C. Bronte, Anna Karenina by L.N. Tolstoy, Oliver Twist by C. Dickens. Psychoanalytic, feminist, marxist and post-colonial readings will be included.   

Slabinac
ITALIAN AND RUSSIAN FUTURISM 
The peculiarities of Italian and Russian futurism within the European avant-garde. Marinetti's manifestoes and views on poetic language (»words in freedom«). Mayakovsky and the poetics of contestation. The theoretical utopianism of the futurist movements and the optimal projections of the avant-garde into the future.

Kravar
THEORIES OF LITERARY GENRES
The aim of the course is to introduce the methods of genre criticism and the theoretical tenets on which they are based. Following a brief surves of the main theories, the focus will be on the 20th century.

Jurić
ANATOMY OF THE LYRIC
The course is theoretical in nature, aiming at a definition of the lyric poem in the light of recent scholarship as a verbal message and a literary form. The focus will be on  the compopnents of the lyrical enunciation: line, strophe, rhyme, the lyric subject, the addressee, the referential sphere, as well as the wholes formed by them. Composition of the lyric poem. Space and time in the lyric poem. Functions of the lyric poem. The role of the reader. Larger wholes incoprporating lyric poems (cycles, collections, oeuvre).

Brlek
FORMALISM
The course introduces the main issues in formalist literary theory, as developed in the work of Shklovsky, Jakobson, Tynyanov, Eichenbaum and Tomashevsky. The shift of focus onto the text, the critique of positivism, the key terms (defamiliarisation, automatisation, device, the dominant, syuzhet, fabula, etc.), theory of literary history, theory of the poetic language, theory of the novel and the short story, the relationship with the avant-garde and the influence on structuralism, will be discussed, with extensive readings from the critical and theoretical writings.

Čale Feldman
LIFE AND DEATH OF TRAGEDY
The course is conceived as a survey of the history of the genre of tragedy, with a cursory review of the main theories. The classical tragedy and its definition in Aristotle. The subsequent interpretations of it in the philosophical, political, psychoanalytic, literary-anthropological and feminist key. Tragedy in the Renaissance, the baroque and classicism. Attempts at revival in the history plays of the 19th century. Reinterpretation of classical models in the 20th century. One work by Aeschyllus, Sophocles, Euripides, Shakespeare, Calderon, Corneille, Racine, Schiller, Musset and Anouilh read and analysed.

Peterlić
THE HISTORY OF FILM STYLES
The historical approach to film (methods and problems) and the development of film history. Issues in the history of film: legacy of other art forms, elements of autonomous development, imapct of the development of film technology and other media, social and political context of film. The problem of film periods (forerunners of film, silent film, sound film, the new age /film and the new media/). Review of film history, focusing on major stylistic periods, movements and trends, national cinemas, genres, their evolution and contribution. The relation of film theory and criticism to film authorship. Croatian film – its history in the context of general development of film as a form.

Courses 2006/2007

1st year, winter semester (I)

Zlatar
METHODS IN LITERARY HISTORY
The course introduces the issues in and surveys the methods of the historiographic approaches to literary study. Introductory outline of the scientific field of literary history. Major theoretical models in 20th century historiography analysed using the examples of national histories of literature. Special focus on the issues of classification of literature into periods.

Slabinac
MODERNISM/POSTMODERNISM
The poetics of modernism and postmodernism. Various interpretations of the realtionship between the two in recent scholarship: as continuity and as discontinuity. Works by major modernist (Joyce, V. Woolf, Faulkner) and postmodernist  (Borges, Eco, Calvino) authors analysed in the light of respective poetics.

Jurić
THE LITERARY FORMS OF EUROPEAN ROMANTICISM
The course offers a description and analysis of the changes in the genre system introduced by European Romanticism. The realtion of explicit poetics to actual practice. Examples from poetry, prose and drama analysed. Major national literatures and their differences in the Romantic period. The impact of the redefinition of genre system on the development of European literature.

Grdešić
CONTEMPORARY LITERARY THEORY
The course is conceived as an introductory survey of 20th century literary theory. The focus is on the main tenets and terms in formalist, new critical, structuralist and semiotic critisism. Post-structuralism, deconstruction, psychoanalysis, cultural studies, new historicism, feminist criticism and postcolonial theory, also disussed. Required reading: Miroslav Beker (ed.): Contemporary Literary Theory: a Reader, Terry Eagleton: Literary Theory: an Introduction and Jonathan Culler: Literary Theory: a Very Short Introduction.

Šporer
THEORY OF LITERATURE: KEY TERMS
Introductory outline of the main issues, areas, terms and developments in theory of literature. Major areas of literary study: traditional forms of literary study (poetics, review of historical poetics, rhetoric); key issues in the history of literature; classification of literature: genres and kinds; versification; theatre studies; literary theory and related disciplines; the impact of linguistics on the development of contemporary literary theory; methods of literary study; major trends in contemporary theory of literature.

Čale Feldman
THE VOICE AND LETTER OF DRAMA
The course focuses on the verbal features of drama and the written-oral dynamics of the dramatic text. The title, the list of characters, the prologue, the epilogue, the intermezzo, stage directions – their function and style. The dialogue as a source of stage directions, the dialogue as action and characterisation, the dialogue as a menas of conveying information, the dialogical exchange and its sequentionalisation. Gender codes in verbal exchange: ambiguity, performative, quotation. The monologue, direct addressing of the audience, the aside, and syntactic breaks. Verse and prose in drama. Examples mostly drawn from Croatian drama.

Gilić 
INTRODUCTION TO FILM STUDIES
The course is conceived as a survey of the basic notions of the film medium, introducing theoretical models of film analysis, by means of comparison with other audio-visual media. The aim of the course is to present the students with main issues and approaches in film studies, as well as with the key notions in the aesthetics of film, enabling them to analyse the film form. Key terms: film, silent film, television, video, similarity factors, difference factors, forms of film, discourse time, editing, the visual power of film.

1st year, summer semester (II)

Duda
THE ORIGIN OF THE NOVEL
The course is conceived as a survey of the history and analysis of the fictional prose texts usually taken to have come about during the period from the 1st BCE to 4th-5th century CE, i.e. the Greek and Roman »novel before the novel« (Chariton, Xenophon of Ephesus, Longus, Petronius, Apuleius, etc). Description and analysis of genre antecedents (the epic, lyric poetry, drama), recognisable influences and typical features (rhetoric, the New Sophistic), themes, narrators, narrative structure, characterisation, narrative techniques, chronotopes, implied audience, relation to social, cultural and educational context, impact on later European literature.

Pavlović 
SYMBOLISM: POETRY 
Turning away from everyday reality, Symbolism makes lyric poetry the paramount literary form. Renewing the traditional demands and drawing on certain earlier periods, Symbolism reintroduces music into literature, in the form of careful choice of unusual and "musical" language. The Symbolists' experimenting with language, whether in the reworking of traditional verse forms, or through introducing free verse, would have a crucial impact on modernism.

Matijašević
LITERATURE AND ENLIGHTENMENT CULTURE
The foundations of enlightenment and the rationalist paradigm. Main tenets of enlightenment thought – Rousseau, Voltaire, Montesquieu, Diderot. Reading and analysis of the major works of the enlightenment: the stories of Voltaire, Diderot's novels, The Dangerous Liaisons by Choderlos de Laclos, the works of Marquis de Sade and Rousseau. Adorno and Horkheimer's critique of the enlightenment project. The psychoanalytic critique of the rationalist paradigm.

Kravar
THEORY OF FIGURES
The course is conceived as an analysis of the structure and function of figures of speech (metaphor, metonymy, simile, antithesis, etc) in the light of recent scholarship and using literary and non-literary examples. The tradition of the study of figures, from Aristotle and Roman rhetoricians to new theories.

Brlek
LITERARY GENRES 
The course presents the major models of classification with respect to kind and genre. Key issues in normative (ante rem), classificatory (post rem), and historical (in re) approaches. Evolution of genres and forms as an exclusively intra-literary process of change in genre hierarchy (the formalist view), as a sign of aesthetically mediated social reality (the dialectical-structuralist view), a hermeneutics of the horizon of expectations (aesthetics of reception). The history of reception of Aristotle's classification of poetic works as an example of the diachronic transformation of a given model. 

Pavličić
CROATIAN BAROQUE EPIC IN ITS EUROPEAN CONTEXT
Discussion of the typology of Croatian baroque epic – the four major types as defined by recent scholarship – using relevant examples. The issues include the features of the historical epic and religious poetry, with a special emphasis on the prominence of historical reality as the subject matter of so much Croatian baroque literature.

Senker 
ANALYSIS OF DRAMA
Introductory outline of the place of drama in poetics and theory of literature. Drama in realtion to epic and lyric (prose and poetry). Dramatic situation and action; the dialogue; characters; space and time. Examples culled from the history of European drama.

2nd year, winter semester (III)

Brlek
THE NOVEL BEFORE REALISM (1)
The course focuses on the narrative strategies of the European novel before the ascendancy of the realist model, using three representative texts: Don Quixote by Cervantes, La princesse de Clèves by Madame de Lafayette, and Pushkin's Eugene Onegin. The approach is based on the theoretical insights of formalism, structuralism, nartatology and semiotics and the aim of the course is to foreground the tradition of self-referential and anti-mimetic narrative tradition, obscured by the supremacy of the realist novel.

Pavlović
SYMBOLISM: PROSE AND DRAMA 
The Symbolist poetics foregrounds the autonomy and exclusive character of the work of art. Within this autonomy, however, synaesthesia becomes the most pronounced feature of the work. Since the lyric poem is taken as the paradigm of all writing, the poetic prose is born out of experiments in hermetic symbolism and the disintegration of the rules of composition. The playwright subjects the action and characters to the central symbol, occasionally drawing on mysticism and the occult. Maurice Maeterlinck, A.P. Chekhov, August Strindberg, Henrik Ibsen, Oscar Wilde, Ante Tresić Pavičić, Ivo Vojnović, Milan Begović, Edouard Dujardin, Joseph Conrad, Charles Baudelaire, Arthur Rimbaud, etc.

Duda
CAMUS: THE NOVELS
Reading and narratological analysis of two novels by Camus (L'étranger and La peste) in the light of their relation to his essays and philosophical writings (The Myth of Sysiphus, L'homme révolté). The similarities and differences between the cycles of the absurd and revolt. The essential featurtes of Camus' work situated against the background of its intellectual and cultural contexts, especially those of contemporary philosophy and the development of French and European modern novel. Special focus on the definition and use of the basic categories of narratology – the narrator, narrative techniques, plot, characterisation, space and time – in the analysis of the modern novel.

Kravar
IDEOLOGY CRITIQUE AS A METHOD IN LITERARY SCHOLARSHIP 
Literary works are always related to the spheres of discourse, on the thematic level in particular. Positive or negative reactions (moods, attitudes, wishes, intentions) are presented and organised as regards the historical condition of a given society. The reduced and politicised form of these reactions are known as ideologemes and their systems as ideologies. Through the study of relevant scholarship and the several well known examples of ideological reading, the course focuses on the relation between the literary motifs and the ideologemes of modern ideologies.

Matijašević
RACE, CLASS, SYMPTOM, GENDER
The basic issues in feminist (K. Millett, M. Ellmann, Gilbert and Gubar, N. Schor), Marxist (Benjamin, Adorno), psychoanalytic (Freud, S. Felman, R.D. Laing) and postcolonial (E. Said, G.C. Spivak) theory and criticism exemplified using the works of Jane Austen, C. Brontë, Conrad, Dostoyevsky and E.M. Forster. 

Pavličić
THE FANTASTIC IN CROATIAN LITERATURE
After the preliminary discussion of the notion of the fantastic in litearature and its history, the course will focus on the forms and varieties of the fantastic in Croatian  literature from its incepton in Leskovar to the present day. Description of major works, discussion of the fictional situations conducive to the appearance of the fantastic, typology of Croatian fantastic literature. Special emphasis will be given the relation of the traditional forms of the fantastic and the new variants of the genre such as SF and fantasy.

Senker
CHARACTER IN DRAMA
Approaches to character in drama in classical, Renaissance and neo-classicist poetics. Distinguishing of tragic and comic characters. Historical character typologies. Exemplary characters in tragedy and comedy from the classical, Renaissance and neo-classicist works. Individualisation of character in the 19th and 20th century. The terms hero and character. Exemplary characters from realist and modernist plays. Problematisation of identity and individualism in the avant-garde and post-modern drama and theatre. The notion of character in contemporary theory. Character as a dramatic function. Examples from contemporary drama.

2nd year, summer semester (IV)

Zlatar
THE BIBLE AND LITERATURE
The course is conceived as the analysis of Old and New Testament texts as literary forms, and of the formation of tthe literary heritage of European Biblical literature. After the preliminary discussion of the problems of origin of the Biblical texts, a classification of Biblical literary forms is offered,  and their respective poetics and rhetorical features analysed.

Slabinac
DADAISM/SURREALISM 
These two literary/artistic movements mark a new stage in the experimenting and social revolt within the European avant-garde. Discussion of the tenets and achievements of dadaist and surrealist poetics and their manifestation in various national literatures. Particular focus on German dadaism and French surrealism.

Grdešić
ZAGORKA: FEMINISM AND CULTURAL STUDIES
The status of Marija Jurić Zagorka is inseparably linked to the status of popular and women's literature in Croatian literary historiography. The texts analysed in the light of cultural studies and feminist criticism will include critical reception of Zagorka, mostly focused on her life, the author's autobiographical writings, her journalism, »feminist« tracts, and her novels (Kneginja iz Petrinjske ulice, Grička vještica and Kamen na cesti) and will situate her work in the context Croatian and world »women's literature« of the early 20th century. The course will attempt to establish the political relevance of Zagorka's texts as »feminist literature« the subversive potential of which has not diminished. 

Šporer
THE AUTHOR IN LITERARY THEORY 
The course is deigned as a survey of philosophical and theoretical discussions of the notion of »author«. Various conceptual frameworks and uses of the term in the study of literary works will be presented chronologically. From positivism and the »positivist« tradition interpreting the work in the light of the author's biography to various 20th century approaches challenging that tradition.

Jurić
CROATIAN AVANT-GARDE POETRY AND ITS EUROPEAN CONTEXT
After a preliminary theoretical discussion of the relation of the avant-garde to modernism, the development of Croatian poetry in the first decades of the 20th century will be reviewed. The proto-avant-garde (Simfonije by V. Jelovšek, Psovka by J. Polić Kamov, Mora by Matoš). Krleža between decadence and the avant-garde (Simfonije and the war poetry). Futurist intimations. Croatian expressionism (Kosor, Šimić, Donadini, Krklec, Cesarec). Whose zenitism? Outline of Croatian and European cultural space at the time of World War I. Impact of the avant-garde on Croatian poetry.

Čale Feldman
THEATRE AUDIENCE
The course will explore the issue of the extent to which the audience plays the decisive role in theatre performance, focusing on its collective nature, its position in theatre space, the dynamics of its social stratification in history, the »horizon of (knowledge and) expectations«, the ideology of surveillance or subjection with respect to the stage. Theories of (theatre) reception (from Aristotle and »katharsis« to the feminist »resisting gaze«), especially the aesthetic manifestoes, whether these be included in the play (from Shakespeare's A Midsummer Night's Dream to Handke's Publikumsbeschimpfung) or other forms (Artaud, Meyerhold, Piscator, Brecht, Barba).

Gilić
INTRODUCTION TO SILENT FILM
The course is conceived as an introduction to the basic features and poetics of silent film, with a cursory glance at the development of the medium. The heritage of silent film n contemporary audiovisual media. Particular focus on American, German, Soviet and French silent film. The aim of the course is to develop the analytic skills necessary fro the appreciation of silent film. Key terms: silent film, film, editing, difference factors, primitive style, classical style, modernist style.

Courses 2007/2008

1st year, winter semester (I)

Zlatar
LITERARY PERIODS: THE CLASSICAL AGE AND THE MIDDLE AGES
The course is conceived as a survey of the first two periods in Western literary history, which between them span some 2500 years. Preliminary discussion of the issues of period in literary history, especially further problems of subdividing longer periods. The problems of poetical and aesthetic identification; genre systems. Analysis of dominant (the epic, tragedy, lyric poetry) as well as marginal (the novel, short narratives) literary genres. A combination of the classical and mediaeval rhetoric and poetics and contemporary literary theory and historiography will be used to analyse the texts. Establishing of the »institution« of literature, its distribution and social function. Models of transmission of classical literary heritage in the Middle Ages; the issues of continuity and discontinuity of certain literary forms.

Slabinac
GERMAN EXSPRESSIONISM 
The leading German expressionist periodicals (Der Sturm and Die Aktion) and their contribution to making the readership accept and appreciate new art forms. Ideas of new spirituality, new art, new man within the projective art of the avant-garde. Catastrophism, the grotesque, ironic self-awareness directed against the traditional art. 

Matijašević
THE REALIST NOVEL 
The course offers a range of readings of the realist novel. The following works will be analysed: Middlemarch by G. Eliot, Le père Goriot by H. de Balzac, The Red and the Black by Stendhal, Villette by C. Bronte, Anna Karenina by L.N. Tolstoy, Oliver Twist by C. Dickens. Psychoanalytic, feminist, marxist and post-colonial readings will be included.   

Grdešić
INTRODUCTION TO NARRATOLOGY 
The course offers a set of basic “tools” for analysing narrative texts. Following the explanation of the key terms narratology takes over form Russian formalism, strucuralism and semiotics, various trends in narratology discerned, depending on whether the emphasis is on the what of the narrative (story), or on the how (text/discourse, narration), or on the synthesis of these two views. Critical narratology, aimed at overcoming the limitations of the method will also be discussed. Since narratology foregrounds “the story” regardless of the medium, examples are taken form Croatian and world literature, film, comics, etc.

Šporer
THEORY OF LITERATURE: KEY TERMS
Introductory outline of the main issues, areas, terms and developments in theory of literature. Major areas of literary study: traditional forms of literary study (poetics, review of historical poetics, rhetoric); key issues in the history of literature; classification of literature: genres and kinds; versification; theatre studies; literary theory and related disciplines; the impact of linguistics on the development of contemporary literary theory; methods of literary study; major trends in contemporary theory of literature.

Senker
INTRODUCTION TO THEATRE STUDIES 
Introductory outline of theatre studies and its object of study. The problems of collecting and analysing materials. Main disciplines in theatre studies, and related fields of study. Issues in he history of the theatre, dramaturgy, theory, aesthetics, and criticism. 

Gilić
FILM STRUCTURE 
Taking editing as the organising principle of film, the course offers a survey of the possibilities of structuring the film work. Basic theoretical assumptions and empirically verified variants discussed. The aim of the course is to enable the students to analyse film as a whole and to appreciate the wide range of structures in the audiovisual media. Key terms: structure, principles, editing, narrative, association, non-fiction, film language.

1st year, summer semester (II)

Pavlović
IL VERISMO
The historical context of Risorgimento; the political and social causes of Italian literature of the late 19th century; the literary tradition and contemporary movements, especially the theory and practice of French naturalism. Luigi Capuana and Giovanni Verga and the ideal of »telling the truth in the least conspicuous way«; relation to fFrench realism (Flaubert). The verismo is not merely the Italian variant of naturalism, but a different and autonomous attempt at objectivity in literature. Impact on the opera. Influence in the Slav countries (Chekhov, Vojnovića).

Duda
A SHORT HISTORY OF THE NOVEL
The course is conceived as a diachronic survey of the history of the novel through the major works of the genre. The origin of the novel, its place and rise in the  genre system, the major poetics, detractors and advocates, the socio-cultural context. Six novels, chosen by the students from a list of fifteen (from Cervantes to Joyce), will be analysed according to their narrative and stylistic features.

Brlek
T. S. ELIOT AND MODERN POETRY
Using the insights of formalism, structuralism, hermeneutics and deconstruction, the critical and poetical work of T.S. Eliot will be read as a model of explicit and implicit modernist poetics. The context of European and American literature of the late 19th and early 20th century will be outlined through readings of works by Mallarmé, Rilke, Mandelstam and Montale.

Kravar
THE THEORY OF LITERARY HISTORY
Using examples of well known literary works, the ideological frameworks and the theoretical assumptions of the study of history of literature will be analysed in the light of recent scholarship. Focus on the issue of the interrelation of historicity of literature, the productive poetics and the literary works with respect to the historicity of other human activities and their products, as well as on the dependence of literary history on the philosophies of history, ranging from the Romantic historicism to the idea of the »multidimensional nature of historical time«.

Jurić
INTRODUCTION TO VERSIFICATION
The course is conceived as a survey of the key terms in the study of verse, most important metres and major contemporary theories. Verse as a form and verse as a sign (the metametrical function). Line of verse as a segment of poetic text. Numerous examples will be analysed to support the theoretical insights.

Pavličić
MODERN CROATIAN NOVEL IN COMPARATIVE CONTEXT
After a preliminary discussion of the modern novel in Europe and elsewhere, the course will offer a survey of the main currents in Croatian 20th century novel, starting with Kamov's Isušena kaljuža. Major authors, main models and typology. The novel between social action and artistic inovation. Examples will include works up until the end of the 20th  century.  

Čale Feldman
PLAY, CUSTOM, RITUAL, THEATRE
Performance as a continuum within the framework of performance theory, which places theatre next to various non-intitutional performances, from festivities to propaganda, including play (Huizinga, Caillois, Sutton-Smith), carnival (Bakhtin) and a host of »liminal« phenomena (Turner), the intimate as well as media-relayed performative modes for the »presentation of the self« (Goffman). Special emphasis on the connection of ritual and festive culture and the repeated and continued »rebirths« of the theatre in antiquity, the European Middle Ages and the Renaissance, as well as in the 20th century thatre (Artaud, Schechner, Barba) in the light of anthropological (Frye, Girard) and feminist performing-theory (Butler) interpretations of theatre and drama.

2nd year, winter semester (III)

Brlek
THE NOVEL BEFORE REALISM (2)
The course focuses on the narrative strategies of the European novel before the ascendancy of the realist model, using three representative texts: Sterne's Tristram Shandy, Diderot's Jacques the Fatalist, and Wuthering Heights by Emily Brontë. The approach is based on the theoretical insights of formalism, structuralism, nartatology and semiotics and the aim of the course is to foreground the tradition of self-referential and anti-mimetic narrative tradition, obscured by the supremacy of the realist novel.

Pavlović
NATURALISM 
Naturalism as a notion and a method in relation to the dominant types of narrativein the 19th century. The change in the concept of hero and author. The experimental method as reflected in the motifs and the structure of mimesis and diegesis. The reliance on medicine, especially physiology. The examples of naturalist poetics from the history of the novel and the short story, but also drama. Major authors: Émile Zola, Guy de Maupassant, Joris-Karl Huysmans, Gerhart Hauptmann, Henrik Ibsen, August Strindberg, Hamlin Garland, Frank Norris, Eugen Kumičić, Ivan Kozarac.

Duda
INTRODUCTION TO CULTURAL STUDIES
The realtion between the cultural forms and power; the changes in contemporary (popular) culture as »conflicts over meaning« predicated upon different »ways of life«, divergent strategies of communication and opposing models of representation. Outline of the field of study and disciplinary overlaps (literary theory, etnography, sociology, media studies, historiography, philosophy). Influence of Marxism, culturalism, semiotics, structuralism, post-structuralism, feminism and post-colonial theory. Key issues of ideology and hegemony. The work of the Centre for Contemporary Cultural Studies at the University of Birmingham and its main representatives (Stuart Hall, Paul Willis, Richard Johnson, Angela McRobbie, Paul Gilroy) in the analysis of popular culture, subculture, working class culture, the media, television, popular magazines, education, gender and race.

Jurić
POEM IN PROSE
Introductory definition of the poem in prose as a hybrid form. Main stages of its development in history. Poetic prose in Romanticism (Novalis and Bertrand). Symbolist poem in prose (Baudelaire, Rimbaud, Mallarmé). Poem in prose in the 20h century, select examples (Georg Trakl, Saint-John Perse, Francis Ponge, Tin Ujević, Danijel Dragojević, etc). Hybrid forms as a problem of literary classification. Poem in prose between lyric poem in verse, the short story and a free-form essay. Poem in prose as form and genre.

Kravar
LIBRETTO AS A FORM OF DRAMA 
Libretto (Italian for small book) is the textual template for the opera. Usually in the form of verse play, it developed from the late Renaissance tradition of drama. In the history of libretto, its relation to various dramatic forms changed, as did its role in the opera as a whole. Preliminary surves of the generic features of libretto, which derive from the fact that it is set to music (succint nature, compositional discontinuity, static action, polymetric versification). Using appropriate examples, an outline of the transformations in the history of the form in the context of the development of opera will be given.

Pavličić
MODERN CROATIAN VERSE
Currents in Croatian metrical practice since 1850s – when the syllabic system was replaced by the accentual system – to the present. The status and use of more important verse forms, and their realtion to the genre and subject of the poem. Free and regular verse in Croatian literature, the importance of particular forms (e.g. the sonnet), the role of metrical categories in the clash of  modernist poetics. 

Čale Feldman
BETWEEN MORALISM AND LIBERTINAGE: MOLIÈRE AND MARIVAUX
Outline of the theatre, ideological and political conditions defining French aristocratic culture after Frond and before the Revolution. Reading and interpretation of select plays by two exemplary plawrights of the period, with a particular emphasis on the echoes of the tradition of commedia dell'arte and comedy in general. The complementary interest in the two writers by contemporary theory, focusing on their rhetorical versatility and multiple levels of theatricality, and the psychoanalytical subtext and the thematic focus on ideologically subversive subjects. Adaptations of Molière in 18th century Dubrovnik will also be mentioned.

2nd year, summer semester (IV)

Zlatar
CROATIAN MEDIAEVAL LITERATURE AND ITS EUROPEAN CONTEXT 
Introduction to the literary heritage of Croatian mediaeval literature. Preliminary discussion of the problem of periods in mediaeval  literature and its long duration. Relationship between popular and artistic literature. Analysis of the poetics and rhetorical features. Typology of mediaeval literary forms, with a special emphasis on European and Byzantine influences.

Šporer
ENGLISH RENAISSANCE THEATRE
The circumstances of early modern age theatre in England. Mutual influence of theatre and culture. The actual social conditions and political circumstances (protestantism and religious conflicts, internal migrations due to economic change, laws sanctioning professional theatres). Technical and aesthetic features (chronology of theatres, owners, companies, working conditions, performances, audience).

Slabinac
RUSSIAN FORMALISM
The theories of Russian formalism (main authors: Shklovsky, Tynyanov, Eichenbaum) in the light of contemporary literary theory. Russian formalists and Russian futurists engaged on the joint project of explaining the de-automatising power of the literary form (defamiliarisation, literariness). Bakhtin and the Russian formalists.

Matijašević
FEMINIST THEORY
The course is conceived as a survey of the current varieties of feminism: liberal, marxsist/socialist, radical, multicultural, psychoanalytic and postmodern. Definition of the feminism of equality and the feminism of difference. Three waves of feminist thought as represented in the works of the major authors of each generation. 

Grdešić
WOMEN'S GENRES IN CROATIAN LITERATURE
The course will attempt an analysis of the ways in which women's genres and female popular culture, especially the »trivial« romances, enter »high« Croatian literature in the 19th and 20th century. Representation of women in Croatian literature of the period. Special focus on the »madame Bovary syndrome« in the texts as varied in terms of genre and style as Posljednji Stipančići by Vjenceslav Novak, Tri kavaljera frajle Melanije by Miroslav Krleža, Pustolov pred vratima by Milan Begović, Štefica Cvek u raljama života by Dubravka Ugrešić etc.

Senker
18th and 19th CENTURY COMEDY
Prelminary discussion of the cahnges in European dramatic literature and theatre in the 18th century (institutionalisation of the theatre, new audiences, innovative theories). The tradition of comedy from the classical age through to neo-classicism. Reading and interpretation of the exemplary texts by Goldoni, Beaumarchais, Gogol, Feydeau, Wilde, etc.

3rd year, winter semester (V)

Kravar
EXEMPLARY LITERARY CHARACTERS: DOCTOR FAUSTUS
Analysis of works about Dr Johann Faust, the Renaissance naturalist, doctor and esotericist, whose life became the stuff of legends and chronicles soon after he died. The narrative and dramatic texts presenting more or less accurately his story, from the pact with the devil to his damnation to Hell (the anonymous History of Doktor Johann Faust; Christopher Marlowe, The Tragic History of Doctor Faustus; the anonymous puppet play Doktor Johannes Faust; Johann Wolfgang von Goethe, Faust; Ferruccio Busoni, Doktor Faust).

Jurić
THE MODERNIST KÜNSTLERROMAN
In the first decades of the 20th century a number of novels and stories has an artist as its protagonist. Thematic analysis of The Portait of the Artist as a Young Man, Doktor Faustus, Der Tod Vergils, and Povratak Filipa Latinovicza will foreground some modernist concerns. The aesthetic of genius separating the artist from the citizen. The artist and the social context. Cultural and aesthetic modernity. Intellectual and aesthetic myths of modernism. The asthetic and the ethical. Metafiction in the novel of the artist. Other works of the period briefly analysed (The Picture of Dorian Gray, Tonio Kröger, Der Tod in Venedig, Les faux-monnayeurs, À la recherche du temps perdu etc).

Pavlović
REALISM IN CROATIAN LITERATURE
The imperative of reflecting everyday life was introduced into Croatian literature already in the Romantic history novels and short stories of August Šenoa. Boundaries and connections between Romanticism, realism and naturalism in European and Croatian literature. The terms such as proto-realism and impassibilité and their role in the poetics of late 19th century Croatian literature. The period extends from Šenoa to the early 20th century. Authors discussed include Šenoa, Tomić, Kovačić, Kumičić, Kozarac, Novak, Gjalski, Vojnović. International context: Balzac, Gogol, Dickens, Keller, Carducci, Verga, Ibsen, G. Elliot, Twain, Hardy, Goncharov, Tolstoy, Dostoyevsky, Flaubert, Zola, Maupassant, Daudet, Scribe, Sardou, Augier.

Pavličić
INTRODUCTION TO THE SEMANTICS OF VERSE
Definition of the terms metametrical meaning and the ethos of verse. Analysis of this function in literary history using examples from Croatian literature. Starting with the sonnet in the early modern period, through the baroque and Romanticism, to the 20th century and the modernist use of traditional verse forms. General conclusions drawn from historical examples. 

Zlatar
THE DISCOURSE OF (AUTO)BIOGRAPHY 
The course is conceived as an analysis of the realtion between autobiography and biography as diskursive strategies combining the rules of literary and historiographical (referential) narrative. The specific features of narrative models and representational practices analysed on examples taken from the history of the genres from the classical to contemporary works.

Šporer
THE HISTORY OF THE BOOK AND THE HISTORY OF LITERATURE
The models of literary history against the background of the history of the book. Various aspecats of the history of the book (manuscript culture, the circulation of  texts before printing, printing, appearance of the book). Examples from Renaissance literature showing different treatment accorded various genres and the varying degree of the author's invovement in the process of publishing. The aim is to demonstrate that the publishing history directly influences the formation of the canon.

Slabinac
LOTMAN'S TYPOLOGY CULTURE
Lotman's notion of culture and his typology of culture (semantic, syntactic, asemantic and asyntactic, semantic-syntactic). The concept of semiosphere, which takes the whole cultural space to be a semiotic continuum outside of which semiosis is impossible. The idea of the space of non-culture as a chaotic, space bordering on the sphere of semiosis. The notions of boundary, core and periphery, metastructural selfdescription, amemory and diachronic depth. Semiosphere as a multilingual space of difference.

Brlek
INTERPRETATION/HERMENEUTICS
The aim of the course is to present the students with the major theoretical contributions and the main problem areas of hermeneutics as the art and theory of interpretation, as regards the interpretation of the literary work. Starting from Schleiermacher's hermeneutic circle, the issues of the conditions of understanding, the constitution of the text in the act of reading, and the boundaries of interpretative freedom will be discussed, against the background of the main traditions and concepts of interpretation.

Matijašević
PSYCHOANALYTIC FEMINISM 
An investigation of the realtionship between psychoanalysis and feminism from the rejection of psychoanalysis by the radical feminists of the second wave (Millett, Greer, Firestone), to the revision of Freud's mysoginy (Mitchell/Rose, N. Chodorow). The work of French feminists in dialogue with Lacanom – Cixous, Irigaray, Kristeva. The emphasis on the importance of the mother in the psychoanalysis of Melanie Klein and the feminist theory of Jessica Benjamin. 

Duda
CLASS AND CULTURE
The problem of class and culture in terms of production, distribution and consumption from the point of view of literary theory, sociology and historiograpy. Culturalist studies of working class culture (E.P. Thompson and cultural studies), the problems of popular culture and class identity, the theory of subcultural styles, representation of class in literature and filmu. The sociological critique of taste and the concept of cultural capital (Bourdieu). Applicability to certain aspects of the current Croatian culture.

Čale Feldman
METATHEATRE
Metatheatre is a specific form of self-referentiality and will be analysed using this concept to expound the problem of establishing multiple frames. Different uses to which this device can be put will be explored: to foreground the fictional, representational or performative nature of the theatre event. European as well as Croatain plays, productions, performances, multimedia events, even film versions of metatheatrical texts will be analysed. The problems discussed will include: metatheatre as the ontological, ethical and epistemological metaphor of the »theatre of the world«, as a signal of a particular poetics; metatheatre and the concepat of »romantic irony«; intertextuality and metalepsis; metatheatre and implicit cultural, political, especially feminist and post-colonial critique. 

Senker
THEATRE IN THE AGE OF SHAKESPEARE
Introductory survey of the conditions of the theatre and player companies in the England of Elizabeth and James, and a cursory glance at the tradition of the mystery and morality plays. The defence of theatre in the face of Puritan attacks. Main dramatic genres: tragedy, comedy, history play and romance. Analysis of exemplary plays by Kyd, Marlowe, Shakespeare, Jonson and Ford.

Gilić
AMERICAN FILM
The course introduces the poetics of American (sound) feature film in the context of development, crisis, destruction and attempted revival of the studio and genre system. The aim of the course is to enable the students to recognise and analyse various types of American film. Key terms: feature film, genre, B-movie, the studio system, the star system, modernism, postmodernism, new Hollywood, independent film. Examples will include: The Roaring Twenties (Walsh), Sullivan's Travels (Preston Sturges), Gone With the Wind and The Wizard of Oz (Fleming), The Maltese Falcon and  Prizzi's Honor (Huston), Casablanca (Curtiz), My Darling Clementine, The Man Who Shot Liberty Valance, The Searchers and Donovan's Reef (John Ford), Rio Bravo and Gentlemen Prefer Blondes (Howard Hawks), Singin' in the Rain (S. Donen and G. Kelly), The Wild Bunch (Peckinpah), Nashville and Short Cuts (Altman), The Graduate (Nichols), Rosemary's Baby (Polanski), The Thing (Carpenter) and Batman (Tim Burton).

3rd year, summer semester (VI)

Pavličić
EARLY MODERN CROATIAN WRITERS AND THEIR POETICS 
As they did not write treatises, early modern Croatian writers tended to express their views on poetics in occasional pieces such as dedications and prefaces, sometimes even including them in their literary works. The texts analysed will include such examples as Marulić's dedication of Judita and Kačić's reflection on the role of his Razgovor ugodni naroda slovinskoga. The texts and the views expressed in them will be interpreted and situated in the context of styles they belong to.

Kravar
YOUNG KRLEŽA AND MODERN WORLDVIEWS
In his earliest creative period (from 1914 to 1920), Krleža was under the powerful sway of three worldviews typical of the culture and literature at the time the Great War: the fin de siècle vitalism, symbolisti spiritualism, and eventually Marxism. Analysis of the literary objectification of these worldviews in Krleža's early work (the cycle of poems Simfonije, the play Kraljevo, the poetry collections Pjesme I, II and III, journalism in Plamen).

Slabinac
POSTMODERNIST FICTION AND FACTION
Various contested approaches to the problem of postmodernism will be discussed in the context of the ongoing debate about whether the postmodern period is over, what is (was) its poetics, and what should be included under the notion of postmodernist literature, using the examples of a number of literary works. Postmodernist metafiction turns the very process of writing into its subject matter, while faction in the form of confessions, testimonial literature, autobiography, diaries, and letters foregrounds the referential aspect of the literary work – both are equally accommodated by the current literary system.

Jurić
PROUST AND AESTHETICISM
Marcel Proust's cycle of novels In Search of a Lost Time studied against the background of aestheticist tendencies of late 19th and early 20th century. Proust's idea of beauty and his concepts of art and artwork. Special emphasis on the themes of music, architecture, painting and literature in the cycle as particularly pertinent to this discussion. High society as an aestheticist and anti-aestheticist phenomenon. Art as the content and meaning of life. Artistic existence as authentic existence. Remembrance and memory formation (»found time«) as a creative an redeeming act. Self-creation as a modernist utopia.

Brlek
THE LATIN-AMERICAN BOOM 
The course will attempt to situate one of the most important bodies of contemporary writing within the framework of Bakhtin's theory of the novel, the semiotics of reading and aesthetics of reception. Following a brief introductory survey of literary, historical and social context, in particular with respect to the issue of Latin-American cultural identity, and a cursory glance at the work of the major pre-boom authors (Jorge Luis Borges, Miguel Ángel Asturias, Alejo Carpentier, Juan Rulfo), three key novels will be analysed in more detail: One Hunderd Years of Solitude by Gabriel García Márquez, Terra nostra by Carlos Fuentes and Hopscotch by Julio Cortázar.

Zlatar
THE INSTITUTION OF LITERATURE
The course develops Bourdieu's idea of »the symbolic field of literature,« analysing in the concept of »the institution of literature« various social and cultural practices. The material is drawn from the 19th and 20th century, but the earlier models of the institution of literature and its various functions will also be outlined.

Matijašević
THE FRANKFURT SCHOOL
The course will discuss the theoretical project of the Frankfurt School. Definition of critical theory. Reading and analysis of Dialectics of Enlightenment by Adorno and Horkheimer, Adorno's writings on literature and aesthetics, the work of Walter Benjamin, the psychoanalytical writings of Erich Fromm, and the analysis of capitalism by Neumann and Offe. The second generation as represented by the work of Jürgen Habermas – the completion of the enlightenment project.  

Duda
DERRIDA AND DECONSTRUCTION
The course is conceived as a survey of the main issues in the philosophy of Jacques Derida and their influence on contemporary literary theory. The intellectual context, the influences on and the origin of the deconstruction of Western metaphysics; the problem of sign, text and meaning; logocentrism; the relation between semiology and grammatology; the phenomenological, hermeneutical and structuralist tradition; the debate with the proponents of the speech act theory. The influence of Derrida on the Yale critics will also be analysed. Reading and analysis of Derrida's texts on literature and of his readings of literary texts. 

Šporer
THE HISTORY OF COPYRIGHT
The origin and development of copyright in the period from the late XV and early XIV century to the first legal acts concerning this issue in the XVII century. This is the period when the institution of copyright comes about as a resukt of several of processes: the invention of print and its influence on literature and culture; the changes in the reception of literature due to increased literacy and reading; the changes in the social distribution of information and knowledge in general; the changes in the economic foundation of society in Western Europe. The co-existence of new and old models (such as patronage) will also be discussed.

Pavlović
NATURALISM AND VERISMO IN CROATIAN LITERATURE 
Naturalism and verismo are not autonomous stylistic formations in Croatian literature, but more or less successful uses of European models. Following the precise definition of the two related poetics, their features analysed in the Croatian literature of the late XIX and early XX century, from Eugen Kumičić, Ivo Vojnović, and Ivan Kozarac, to Miroslav Krleža. Plays and prose works by Croatian writers placed in the context of the European models, such as Zola, Verga and Strindberg. The focus will be both on the theoretical writings and on the literary production.

Čale Feldman
THE THEATRE OF PSYCHOANALYSIS
Starting from André Green's idea of the »mysterious link of psychoanalysis and the theatre«, the course focuses on metaphorical feedback between the two cultural phenomena. The focus will be on the »histrionic« symptoms, the latent »scenes« and the cathartic treatment of hysteria, as well as on the relation of acting inspiration to hysterical manifestations (E. Robins) and Stanislavsky's »psycho-technique«. The plays of European fin-de-sièclea (Schnitzler, Ibsen) congenial to psychoanalysis, as well as the archetypal, »exemplary tales« of psychoanalys, Oedipus, Hamlet, Macbeth, King Lear, Don Juan and Antigone, discussed, with special emphasis on the analogies between dream and theatre imaginary (O. Mannoni) and the spectator's position in the »mirror stage« (J. Lacan).

Senker
SHAKESPEARE IN THE 20th CENTURY THEATRE
Pre-Romantic and Romantic (Goethe) reception of Shakespeare. Shakespeare's plays and the technical reform of the theatre in the 19th century; »the Shakespearean stage«. The »archaeological« approach and Shakespeare's history plays and tragedies (English actors-directors, Meiningen). The »psychological« approach and the great tragedies (Italian verismo, Stanislavsky, etc.). Transformations of dramatic space in modernism (Craig, Reinhardt, Copeau; Raić, Gavella, Strozzi). Shakespeare's plays as »poetry«; stylisation. Ideological interpretations of the issues of race and class in Shakespeare. Kott's reading of Shakespeare and the productions in the 1960s and 1970s (Brook, Stein, etc.). »Ambience« and  festival productions (New York, Dubrovnik). The intercultural approach (Mnouchkine), shakespearean themes and motifs in contemporary drama.

Gilić
POSTMODERNISM IN FILM 
The course introduces basic poetic and stylistic features of postmodernism in film. The aim is to enable the students to recognise those features and analyse the postmodernist works. Key terms: postmodernism, the postmodern, revival of classical style, modernist style, intertextuality, irony, parody. Examples taken from the work of J. Milius, J. Carpenter, B. De Palma, T. Burton; Q. Tarantino, W. Allen, P. Almodóvar, P. Verhoeven, L. Besson.

First generation courses (2005/06, 2006/7, 2007/08)

2005/06.	1 ST YEAR	I (WINTER SEMESTER)	Solar: 
PERIODS OF WORLD LITERATURE 
 (WL)	Pavlović:
CLASSICISM
 (WL1)
	Duda: 
TERMS IN LITERARY THEORY
(T)	Grdešić: 
INTRODUCTION TO NARRATOLOGY
(T)	Pavličić:
CROATIAN PETRARCHISM
(C)	Senker
INTRODUCTION TO THEATRE STUDIES
(TH/F)	Gilić: 
INTRODUCTION TO FILM STUDIES
(TE/F)		
		II (SUMMER)	Zlatar: 
CLASSICAL LITERATURE
(WL1)	Matijašević:
THE REALIST NOVEL
(WL)	Slabinac:
ITALIAN AND RUSSIAN FUTURISM
(WL) 	Kravar: 
THEORIES OF LITERARY GENRES
(T)	Jurić:
ANATOMY OF THE LYRIC
(T)	Brlek:
FORMALISM
 (T)	Čale Feldman:
LIFE AND DEATH OF TRAGEDY
(TE/F)	Peterlić:
THE HISTORY OF FILM STYLES
(TE/F)	

2006/07.	2ND YEAR	III (WINTER)	Brlek:
THE NOVEL BEFORE REALISM
(WL1)	Pavlović: 
SYMBOLISM: PROSE AND DRAMA 
(WL)	Duda:
CAMUS: THE NOVELS
(WL)	Kravar: 
IDEPLOGY CRITIQUE AS A METHOD IN LITERARY SCHOLARSHIP
(T)	Matijašević:
RACE, CLASS, SYMPTOM, GENDER
(T)
	Pavličić: 
THE FANTASTIC IN CROATIAN LITERATURE
(C)	Senker:
CHARACTER IN DRAMA
(TH/F)	
		IV (SUMMER)	Zlatar: 
THE BIBLE AND LITERATURE
(WL1)	Slabinac:
DADAISM/
SURREALISM
(WL)	Grdešić:
ZAGORKA: FEMINISM AND CULTURAL STUDIES
(WL)	Šporer: 
THE AUTHOR IN LITERARY THEORY
(T)	Jurić: 
CROATIAN AVANT-GARDE POETRY AND ITS EUROPEAN CONTEXT
(C)	Čale Feldman: 
THEATRE AUDIENCE
(TH/F)	Gilić:
INTRODUCTION TO SILENT FILM
(TE/F)	

2007/08.	3RD YEAR	V (WINTER)	Kravar: 
EXEMPLARY LITERARY CHARACTERS: DOCTOR FAUSTUS
(WL1)	Jurić:
THE MODERNIST KÜNSTLERROMAN
(WL)	Pavlović:
REALISM IN CROATIAN LITERATURE
(C)	Pavličić:
INTRODUCTION TO THE SEMANTICS OF VERSE
(WL/T)	Zlatar: 
THE DISCOURSE OF (AUTO)BIOGRAPHY 
(WL/T)	Šporer: 
THE HISTORY OF THE BOOK AND THE HISTORY OF LITERATURE (WL/T)	Slabinac:
LOTMAN'S TYPOLOGY CULTURE
(T)
	
			Brlek:
INTERPRETATION/ HERMENEUTICS
(T)	Matijašević:
PSYCHOANALYTIC FEMINISM
(T)	Duda: 
CLASS AND CULTURE
(T)	Čale Feldman: 
METATHEATRE 
(TH/F)	Senker: 
THEATRE IN THE AGE OF SHAKESPEARE
(TEHF)	Gilić: 
AMERICAN FILM  (TH/F)		
		VI (SUMMER)	Pavličić: 
EARLY MODERN CROATIAN WRITERS AND THEIR POETICS
(WL1/C)	Kravar: 
YOUNG KRLEŽA AND MODERN WORLDVIEWS
(WL/C)	Slabinac:
POSTMODERNIST FICTION AND FACTION
(WL)	Jurić: 
PROUST AND AESTHETICISM
(WL)	Brlek:
THE LATIN-AMERICAN BOOM
(WL)
	Zlatar: 
THE INSTITUTION OF LITERATURE
(T)	Matijašević:
THE FRANKFURT SCHOOL
(T)	
			Duda: 
DERRIDA AND DECONSTRUCTION
 (T)	Šporer:
THE HISTORY OF COPYRIGHT
(T)	Pavlović:
NATURALISM AND VERISMO IN CROATIAN LITERATURE
(C)	Čale Feldman: 
THE THEATRE OF PSYCHOANALYSIS
(TH/F)	Senker: 
SHAKESPEARE IN THE 20TH  CENTURY THEATRE
(TH/F)	Gilić: 
POSTMODERNISM IN FILM

(TH/F)