Culture - Power - Identity. A comparative study of power structures in culture based on the example of the German-speaking and Croatian-speaking theater in Croatia in the 19th century

这一科学项目涉及19世纪克罗地亚讲克罗地亚语和讲德语的文化与戏剧之间复杂的权力关系，以及它们对克罗地亚集体认同形成的关键影响，这是戏剧研究迄今尚未研究的课题。该项目侧重于剧院的社会、意识形态和政治功能，而不是艺术功能。它分析了戏剧决定和影响集体认同建构的力量和可能性。利用后殖民理论，该项目通过克罗地亚剧院分析克罗地亚语言和文化认同的同质化，作为一种话语和意识形态的建构，以及复杂的社会和政治冲突的结果，这些冲突决定了哈布斯堡君主制的形象，改变了统治者和君主制皇冠土地之间的权力关系。以19世纪克罗地亚的社会和政治特点为基础，特别是多民族和多语言的人口结构，对维也纳和布达佩斯的政治依赖，并以三个克罗地亚城市（萨格勒布，瓦拉兹丁，奥西耶克）为重点，该项目考察了19世纪克罗地亚语言，文化和民族认同的连续变化。它分析了戏剧在民族自信过程中的作用，克罗地亚戏剧如何成为意识形态分化的典范载体，以一种模范的方式展示属于或不属于特定国家，种族群体和文化的媒介，以及克罗地亚戏剧如何系统地限制并最终取代德语戏剧作为文化霸权的象征。

This scientific project deals with the complex power relations between the Croatian-speaking and the German-speaking culture and theatre in Croatia in the 19th century and their crucial influence on the formation of a Croatian collective identity - a subject which was not researched by the Theatre Studies until now. The project focuses on the social, ideological and political function rather than on the artistic function of the theatre. It analyses the power and possibilities of the theatre to determinate and influence the construction of the collective identity. Using post-colonial theory the project is analysing the homogenisation of the Croatian linguistic and cultural identity through the Croatian theatre as a discursive and ideological construction and as a result of a complex social and political conflicts which determined the image of the Habsburg Monarchy and changed the power relations between the ruler and the Crown Lands of the monarchy. Building on the social and political particularities of Croatia in the 19th century, especially the multinational and multilingual population structure, the political dependence on Vienna and Budapest, and focusing on three Croatian cities (Zagreb, Varazdin, Osijek) the project examines the successive changes in the Croatian linguistic, cultural and national identity in the 19th century. It analyses the role of theatre in the process of the national assertiveness, the ways how the Croatian theatre became a paradigmatic vehicle of ideological differentiation, a medium which demonstrated the belonging or not belonging to a particular nation, ethnic group and culture in an exemplary way and how the Croatian theatre systematically restricted and finally displaced the German-speaking theatre as a symbol of a cultural hegemony.