Matošʼs Cvijet sa raskršća [Flower from the Crossroads] – Through Allegory to the Configuration of Self

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Published: Jan 1, 2014
DOI: https://doi.org/10.14746/pss.2014.7.14
Keywords:
Antun Gustav Matoš, Cvijet sa raskršća, self, allegory, flaneur’s subjectivity

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Ružica Pšihistal

Abstract

Flower from the Crossroads (1902) belongs to the group of Matoš’s symbolistic novellas, rendered by the symbolically coded title, teleogenetic plot, characters as personified abstractions, motive topography (path, crossroads, garden) and especially the name of the protagonist (Solus). The name Solus, as an autofictional figure, contains its own glossary and reading instructions towards the solipsistic narrative matrix, which is supported by the diegetic level of the story through unusual events bordering dream and reality. With the help of the basic guidelines of Paul Ricoeur on storytelling as a hermeneutical mediation of the self and narrative analysis of the story, the main question of the allegorical interpretation in this study is: which model of self is offered by the narrative identity of Solus?

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How to Cite
Pšihistal, R. (2014). Matošʼs Cvijet sa raskršća [Flower from the Crossroads] – Through Allegory to the Configuration of Self. Poznańskie Studia Slawistyczne, (7), 185–196. https://doi.org/10.14746/pss.2014.7.14
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No. 7 (2014): Antun Gustav Matoš
Section
Antun Gustav Matoš

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