422 KB45 KB195520252022Zupan Sosič, Alojzijaštevilka:1/2letnik:67str. 183-196ISSN:0021-6933DOI:10.4312/jis.67.1-2.183-196COBISSID_HOST:120011267URN:URN:NBN:SI:doc-VI1C67HZslSlavistično društvo SlovenijeJezik in slovstvocentral symbolschildrenKristusosrednji simboliotrocipathological sexualitypatološka seksualnostsinkretični simbolizemSlovene literatureslovenska književnostsyncretic symbolismOsrednji simboli v Cankarjevem romanu Hiša Marije Pomočnice|The article explores Cankar’s central symbols in the novel The Ward of Our Lady of Mercy, which have not yet been taken into account systematically. The interweaving of several literary directions and styles, i.e., realism, naturalism, decadence and symbolism, is referred to as syncretic symbolism, while the term for symbolistic correspondences of different perceptions and sensory and emotional impressions directed towards the spiritual experience of the world is symbolistic symbols. The following symbols are discussed: a hospital, a children’s collective, a door, white, Christ, eyes. These symbols are polyvalent; for example, in Christ as the entrance symbol to the novel, the large still eyes are exposed as a mirror of the soul, whereas Christ the Reformer at the end of the novel draws attention to the injustice of social conditions. Injustice is also criticised by pathological sexuality in the form of rape, paedophilia, incest and forced voyeurism, which is only characteristic of wealthy citizensRaziskovala sem osrednje simbole v Cankarjevem romanu Hiša Marije Pomočnice, ki v preteklosti še niso bili sistematično analizirani. Preplet več literarnih smeri in stilov v Cankarjevem romanu, tj. realizma, naturalizma, dekadence in simbolizma, sem imenovala sinkretični simbolizem, (simbolistična) ujemanja različnih zaznav ter čutnih in čustvenih vtisov, usmerjenih k duhovnemu doživljanju sveta, pa simbolistični simboli. Obravnavala sem naslednje simbole: bolnica, otroški kolektiv, vrata, bela barva, Kristus, oči. Ti so večpomenski, tako kot na primer Kristus, ki je kot vrata vstopni simbol v roman, v katerem so izpostavljene velike mirne oči kot zrcalo duše, medtem ko Kristus-reformator na koncu romana opozarja na krivičnost družbenih razmer. To uspešno kritizira tudi patološka seksualnost v podobi posilstva, pedofilije, incesta in prisilnega voyerizma, značilna samo za nemoralne bogate meščaneTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlavistično društvo Slovenije