Katarina Bogataj-Gradisnik
Izrocilo grozljivega romana v uvodni zgodbi slovenskega mescanskega pripovednistva
The Tradition of the Tale of Terror in the Introductory Story of Slovene Middle-class Story-telling
Slovenski sinopsis
English synopsis
English summary
Slovenski sinopsis
Avtorica uvodoma primerja nemsko, anglesko in slovensko terminologijo za posamezne dele analiticne zgradbe in se odloci za termin uvodna zgodba. Potem ko podrobno pregleda gotski roman in osvetli njegove znacilnosti, se posveti slovenskemu gradivu, predvsem trem delom: Erjavcevim Huzarjem na Polici, Jurcicevemu Desetemu bratu in Kersnikovemu Na Zerinjah. Primerja jih se z nekaterimi drugimi deli, opozori na njihove znacilnosti in ob tem ugotovi, da v dvodelni zgradbi, ki je znacilna za pripovednistvo 19. stol., uvodna zgodba pripada drugi tradiciji --- da ima na zacetku se razpoznaven izvir v grozljivem predromanticnem izrocilu, vendar pa je lahko le novelisticni vrinek (pri Erjavcu), zdruzena z glavno zgodbo v postromanticno kombinacijo (pri Jurcicu) ali pa se grozljivost izgublja, uvodna zgodba pa se ohranja, se modernizira in posodobi (pri Kersniku).
English synopsis
The author at the beginning compares German, English and Slovene terminology for the individual parts of the analytical structure and decides on the term introductory story. After a detailed survey of the tale of terror and the description of its characteristics, she concentrates on Slovene material, especially on the following three works: Erjavec's Huzarji na Polici, Jurcic's Deseti brat and Kersnik's Na Zerinjah. She further compares them with a few other works, points to their characteristics and establishes that in the two-part structure, which is typical of the 19th century story-telling, the introductory story belongs to another tradition: at the beginning it still has a discernible source in the Gothic pre-Romantic tradition, although it can only be a novelistic insertion (with Erjavec), joined with the main story in a post-Romantic combination (with Jurcic), or its Gothic character fades away, with the introductory story preserved, although modernized and updated (with Kersnik).
English summary
In Slovene literary science the terminology for individual constituent parts of the analytical structure and also for other interventions into the narrative past has not been elaborated in detail, neither consistently established. The labels for the introductory story (pre-story) are likewise several and more or less equivalent, although none of them seems to be entirely satisfactory.
The analytical technique and introductory story as its constituent part was adopted by the Slovene middle-class novel through the intermediary of Romanticism, trivial literature and certain genres of the 19th century, although the source of this structural element remains older; it goes back to the pre-Romantic type of the novel, i. e. the tale of terror. This element was introduced into Slovene middle-class story-telling as far as the techniques and composition as well as the themes and motives were concerned, and more precisely, in a characteristic post-Romantic combination: the terrifying and mysterious introductory story of a pre-Romantic origin is combined with the verist narrative from contemporary middle-class life. In its less developed form the introductory story can merely be considered a sort of insertion, loosely connected with the main story, and in its more developed form there is a causal connection between the two. Gradually, however, the motives of terror are disappearing from the introductory story, while it is preserved as a building element, even becoming the bearer of more contemporary narrative patterns.
