Miroslav Krleža

Miroslav Krleža

Miroslav Krleža (born July 7, 1893 in Agram, today Zagreb , at the time Austria-Hungary ; † December 29, 1981 ibid) was an important Yugoslav and Croatian writer . In the course of 66 years of creative work he wrote over 50 monographs in many genres, from poetry and polemics to novels and dramas to travel stories and political journalism.

Life

Krleža attended elementary school in Zagreb and the first four classes of grammar school until 1908. Then he graduated from 1908 to 1911 the cadet school in Pécs . As a particularly good student, he received an imperial scholarship, after which he attended the Ludoviceum Military Academy in Budapest for the next two years . In 1913 he left the institute and traveled via France to Skopje , where he wanted to join the Serbian army as a volunteer with youthful enthusiasm . Soon he was suspected of being an Austrian spy and transferred to Belgrade for examination . He then wanted to make his way back into the Austro-Hungarian monarchy , but was now arrested by the Austrian border police. Then he went to Zagreb, where his first literary works were created.

During the First World War , Krleža was drafted into the Austro-Hungarian army in 1915 . After a stay in the military hospital , he was briefed in 1916 on the front in Galicia . Soon he was able to return to Zagreb, where he served in the stage until the end of the war.

In 1919 he founded and directed the literary magazine Plamen (German Die Flamme ). In the same year he married Leposava Kangrga. From 1923 to 1927 he headed the magazine Književna republika (German The Literature Republic ). In 1924 he traveled to the Soviet Union, whereupon his passport was confiscated in his homeland. In 1932 he toured Czechoslovakia and Poland. Together with Milan Bogdanović he founded the magazine Danas (German today ) in 1934 . 1939-1940 he headed the magazine Pečat (German Das Siegel ). The Gestapo arrested him in 1941 . On the intervention of the writer and high Ustaša politician Mile Budak , Krleža was released a few days later, after which he spent the war years in Zagreb, withdrawn.

After the Second World War he was initially editor of the magazine Republika . Since 1947 he was a member of the Yugoslav Academy and its long-term vice-president. In 1950, Krleža organized an exhibition in Paris on medieval art from Yugoslavia. In that year he also became director of the newly founded Yugoslav Lexicographical Institute in Zagreb. In this function he was responsible for the publication of various dictionaries and encyclopedias. In 1962 he was a co-founder of Forum magazine . In 1968 he received the Herder Prize from the University of Vienna . After his death in 1982, Krleža was buried in the Mirogoj cemetery in Zagreb.

Important works

After Krleža's experience in World War I , war in its various forms is one of his most important themes. Even if he often used biblical symbolism in war poetry (1918–1919), the communist influence on his ideas is already noticeable here.

One of the most important works is the collection of short stories The Croatian God Mars ( Hrvatski bog Mars ) 1922 (extended edition 1933). In a series of seemingly incoherent fragments that take place at different times and in different wars, this work describes the tragedy of the common people who are sent to their death for the goals of the mighty, and strangers at that. Both the intention and in parts of the stylistic view, it is the last days of humanity from Karl Kraus ' comparable with the Krleža else combines a lot.

Another important work is The Return of Filip Latinovicz ( Povratak Filipa Latinovicza ) 1932.

In the interwar period Krleža was active as the editor of several magazines, so among others Plamen ("Flame"), Književna republika ("Literary Republic"), Danas ("Today") and, as the most famous, Pečat ("Stamp"), where he also published his famous essay The Dialektische Antibarbar . In the 1930s , despite his personal friendship with Josip Broz Tito , conflicts arose between him and the political leadership of the Communist Party. During the Second World War , during the so-called Independent State of Croatia , he withdrew into internal emigration , but stayed in Zagreb.

Under the new Yugoslav regime he was soon able to gain a secure position and, among other things, headed the Zagreb Lexographic Institute, where he was involved in the publication of several encyclopedias. His creativity as a writer did not let up either. During the protest movement of the Croatian Spring he was a co-signer of the “Declaration on the Croatian Literary Language ”.

poetry

Krleža's lyrical work is the exception to his own statement: "Those who have failed in any field can still deal with politics or poetry". His debut works Pan and Three Symphonies (1917) were created in the style of pantheistic poetry of Whitman, which is supposed to leave the impression of an irrepressible joie de vivre in which man completely loses himself. With its bizarre associations and limping rhythm, however, Krleža has received bad reviews. The Serbian poet and critic Šime Pandurović scoffed at a stanza in which Krleža grotesquely hyperbolically proclaims the destruction of his own brain, with the following words: "We do not doubt that he will succeed."

This phase was followed by more mature works that were published in several volumes of poetry. The works were created under the influence of Expressionism and European anti-war poetry. A mixture of alienation and compassion dominates his works. His poems are shaped by images of poverty and social injustice. The most important characteristic of this stage is the poet's maturity. The overwrought, sensitive young artist has become a strong and impressive lyric poet who has integrated and assimilated many influences in his body, such as the elements of Dadaism , surrealism , formalism , expressionism , and intellectual movements of French and German origin.

The most important poetic work of Krleža is Balade Petrice Kerempuha (1936). With these balades he created his own language, a hybrid instrument with elements of the Latin, Hungarian, German and Italian languages ​​as well as Kajkavian , Croatian , štokavian n and Italian n lexemes and various other stylistic means. This work is about the plebeian "prophet" Petrica Kerempuh, who symbolizes the socially and nationally oppressed Croatian people. The subject is varied and bloody images of destruction and torture, betrayal, deception and alienation predominate.

Dramas

In his enormous creative energy he also turned to drama , which he was already fascinated by as a young man, especially by the Scandinavian playwrights. Thanks to his wife, a well-known theater actress, he also had a good insight into the theater environment.

“The lyrical, Wilde symbolism of my first works Saloma , Legenda , Sodoma was followed by works with the scenery of burning trains, masses of corpses, the gallows and ghosts as well as dynamics of all kinds: the ships sank, the churches and cathedrals collapsed, the plot played on ironclad ships of thirty thousand tons, all regiments fired and people died en masse (Hrvatska Rapsodija, Galicija, Michelangelo, Kolumbo, Golgota etc.) "

The dramas Kraljevo , Kristofor Kolumbo and Michelangelo Buonarrotti , which emerged in his early phase, are shaped by Promethean and titanic worldviews with heroic figures, but also grotesque carnival farces .

In the second phase, Krleža writes dramatic dramas. The last days of the Austro-Hungarian Empire with its social and nationalistic turmoil are portrayed realistically. The dramas Galicija , Golgota and Vučjak (1922, 1923) date from this period .

The third phase of his work is also his strongest. Now Gospoda Glembajevi , U agoniji and Leda (1928, 1932) are created. In this phase the writer returns to his earlier ideal, the Scandinavian, naturalistic-symbolistic drama.

In Gospoda Glembajevi ( The Lords Glembaj ) he describes the decline and fall of a family from a higher social class. “On the one hand, the critics say that I am an expressionist and a futurist, and today I am writing psychological dialogues of the Swedish school with a 40-50 year delay compared to similar experiments in Western literature, I, in the eyes of our critics, the most extreme Playwright…"

His post-war opus contains several dramas, the best known being Aretej and Saloma . They are dramatic fantasies that take place outside the real world, but always include his favorite themes of history, war and politics. In these dramas he tries to fathom the meaning of life in repetitive patterns. Even if Aretej is very demanding in terms of performance, this drama has been a must for the Summer Games in Dubrovnik for years.

Novellas and short stories

Krleža's novellas and short stories, along with the works of the authors Ranko Marinković and Ivo Andrić , are outstanding in Croatian literature. Their expressiveness and universality come close to the works of Thomas Mann or Albert Camus . Hrvatski bog Mars comes from the first cycle . The main theme is the senseless death of the Croatian Home Guard soldiers who were sent to fight in eastern Galicia during the First World War. The style is typical for Krleža - a mixture of impressionism and expressionism , sophisticated rhetoric and melancholy meditations, naturalistic descriptions of the life and death of soldiers, marked by anger and irreconcilability. Krleža relies on the communist revolution, which would permanently solve the problems of oppression and imperialist conquests. This way of thinking, however, separated him from the war and post-war literature of other contemporary authors such as B. Hemingway, whose works are characterized by hopelessness and senselessness.

The second cycle consists of the so-called petty-bourgeois novellas In extremis , Veliki meštar sviju hulja and Smrt bludnice Marije . In these novels, the plot revolves mainly around the conflict of the neurotic Croatian intellectual with his idealistic revolutionary ideology in a staid bourgeois setting.

The third cycle of his novellist work comprises 11 novellas that are related to his drama work Die Herren Glembaj . The material rise and the simultaneous moral decline of the honest bourgeoisie are discussed. The commonality with other European naturalists of the turn of the century is obvious.

Novels

His novels are written in a "baroque" style, with a richly decorated language, but also with many new formations and compositions. As in the intellectual works of other contemporary artists ( Robert Musil , Rainer Maria Rilke ), Krleža's novels also contain abundant plots, dramatic scenes, but also contemplative passages, which are repeatedly interrupted with essayistic insertions about human existence, art , Politics and history act, as was also characteristic of Dostoyevsky's novels. The existentialist vision of human destiny is dominant. The novels are characterized by elaborate rhetoric, dialogues, a sea of ​​images, sounds and associations and an interweaving of different voices, including those of the author. The dramatic action takes place in the huge vortex of political events and does not offer an opportunity for separate intellectual analyzes. Krleža's most important novels are: The Return of Filip Latinovicz / Povratak Filipa Latinovicz (1938), Without Me. A lonely revolution. / Na rubu pameti (1938), Banquet in Blitwien / Banket u Blitvi (1938, 1939, 1962) and Die Fahnen / Zastave (1967).

The return of Filip Latinovicz

This novel, an artist biography, has become the author's most representative work. Filip Latinovicz is just one of the many hypersensitive, intellectual figures of Krleža who are looking for their identity. Krleža chose the odysseic and biblical motif of the return of the prodigal son as the main theme. After 23 years, Filip returns home. There were several reasons for his return. For a while, life abroad was stimulating for his art, but soon the feeling of strangeness, isolation and insecurity grew. Filip wandered around, found nowhere a new home, and everywhere he remained a stranger, a déraciné .

Artistic impotence and resignation join this situation. As a once successful Fauvist painter, he admits that he has not painted anything for a long time. Alienation, identity crisis, collapse of values, disappointment with European culture and civilization, artistic exhaustion - these are the intellectual baggage with which he returns to his home country in the hope of drawing new strength from his former surroundings.

His second reason to return is the question of fatherhood. Filip is the illegitimate son of the kiosk owner Regina, a morally problematic woman who was always very cold towards her son and who never told him the truth about his father. According to rumors, he is even said to be a child of the bishop. The secret of the “unclean blood” haunted him all his young life, and at 40 Filip finally wanted an answer to it.

The Return of Filip Latinovicz is an existentialist novel published before Sartre's Disgust and Camus' The Stranger . But besides the existentialist view of the characteristic problems such as fatherhood, identity crisis, alienation, uprooting, loneliness, feelings of disgust and the inability to communicate with other people, Freud's psychoanalysis was another important aspect. Her influence can be seen in the representation of the relationship between Filip and his mother, in the processing of childhood experiences, the analysis of unconscious reactions, the problematization of sexuality as well as the adoption of Freud's anthropological views (represented in the novel as Kyriales). How the past is recalled into the present also brings to mind Marcel Proust or the epistemologist Ernst Mach.

The Return of Filip Latinovicz is a key work both in the development of the Croatian psychological novel and in the process of intellectualizing Croatian prose.

reception

Miroslav Krleža

Nothing is funnier than a married philosopher - Miroslav Krleža

Miroslav Krleža is a very rough writer; people with so-called fine nerves shouldn't read him. - Ivo Goldstein

“What an essayist is there to discover! What linguistic power, what truly impressive foresight and perspective beyond the boundaries of your own language, culture, ideology and epoch, what ability to see the remote, the apparently incoherent together as a matter of course! A scholar and yet passionate about praising and rejecting writers, Krleža wanted Croatian artists and intellectuals if he wanted to show Croatian culture the way to Europe - and to provide the immune system against European fashion diseases of the mind for the recommended exploratory trips. Nothing should be forgotten about literature, nobody should forget it - in Miroslav Krleža's mighty work the names of the nameless and centuries of Croatian history in bondage and rebellion are recorded. But since this Croatia, as Krleža shaped it with affection and criticism, has always been a historical crisis area, in which the earthquakes of Europe shook and future collapses were announced with a grating and cracking sound, European history is also saved in Krleža's memory of the Croatian people. "Karl -Markus Gauss

Krleža was one of the most important authors in the former Yugoslavia . He possessed great language power and was extremely productive, making use of various writing styles, from naturalism to symbolism and realism to expressionism . Political topics were very high on his list, he reacted verbatim and irritable when it came to God and clergy, his love-hate relationship with Kakania , the petty bourgeoisie , the degenerate aristocracy or unscrupulous businessmen, whom he saw through wherever they were draped themselves in Croatian. He was a passionate storyteller. He deeply abhorred the cold.

Krležas Monument, Zagreb

His left-wing political stance has had a negative impact on the evaluation of his literary performance in Croatia over the past 20 years. The literary opus remained in the shadow of politicization, and only in the last few years has a cautious renaissance been noticeable. He was an artist who abhorred stupidity and doctrinal ignorance, he never missed an opportunity to attack them in his works. From the beginning he was against everything orthodox, including the orthodox-Marxist view of literature. In the thirties he polemicized against writers who wanted to adopt the Soviet doctrine of socialist realism . He was committed to ensuring that art retains its individuality. He emphasized the responsibility of the artist and that it is not part of his job to be in the service of the state and its ideology. He announced the final departure from the doctrine of socialist realism at the 1952 Writers' Congress in Ljubljana . It was an important contribution to the development of Slavic literature. In 1948 Yugoslavia broke politically with the Soviet Union .

“… At that time, the Hungarian journalist François Fejtő was traveling through Croatia and asked a teacher who was her greatest novelist. ... I wrote down his complicated name: Miroslav Krleža. Who is your greatest playwright? The teacher hesitated, then replied: 'Miroslav Krleža'. Who is your greatest essayist, your greatest poet? Maybe Miroslav Krleža too? 'Yes, if you think about it carefully, Miroslav Krleža again. Unfortunately, 'added the teacher melancholy. 'Unfortunately, why?' I asked. 'Unfortunately - because Krleža is an impossible person, a Marxist.' He called his works the 'bulwark against the disgust of life'. He was the first to use this term in his novel 'The Return of Filip Latinovic', he said to Jean Paul Sartre when he visited Belgrade in the 1960s . Sartre is said to have nodded at that, ”says Bora Čosić

But that wasn't art that Josef Stalin and his comrades wanted to see, the art had to be a weapon against fascism . When Krleža turns against it, he gets into conflict with his party. He was expelled from the party in the 1930s, although Josip Broz Tito tried to influence him in long discussions. When the political break with the Soviet Union was completed in 1948, Krleža suddenly found itself on the right side without having moved. The Croatian studies professor Krešimir Nemec regretfully stated: “He never expressed himself critically about Yugoslavia. Not about the mass executions after 1945, not about Tito or his prison island Goli Otok . "

And yet he was committed. He worked to ensure that Danilo Kiš could publish his novel Grabmal für Boris Dawidowitsch , about a revolution that sends their children to the Gulag. In 1967, Krleža signed the declaration on the name and location of the Croatian literary language, protesting against the dominance of Serbian, which led to many people signing with it without fear - says Velimir Visković . For the second time, Tito is angry about Krleža. He resigned from the Union of Communists of Croatia and remained silent from then on, even during the Croatian spring of 1970/71. Velimir Visković said he was silent during the repression, but intervened with Tito to get the partisan general Franjo Tudjman , who suffered from heart disease, to have his prison term reduced. The fact that the first volume of the Krležiana was published on the 100th birthday of Krleža in 1993, says Velimir Visković, is thanks to none other than Prime Minister Tudjman. “He wanted to show Europe that the supposedly nationalist state honors its great left-wing intellectuals. No, he has celebrated colleagues of the highest authority, famous admirers even outside his home country, he has never lacked in Italy, Austria, France, in almost all European countries - and yet it has stayed that way: Miroslav Krleža, more Croatian Poet of European standing, is still an undiscovered, hardly noticed writer ”.

Krleža was an atheist, in all of his works God and the Church are always an issue, the Church predominantly negative whereby he lets his hero think antithetically and antinomically, in the spirit of baroque poetry, so that they also question atheism. In Krleža's works there is not one positively marked clergyman. The subjective, predominantly negative experiences make the church and all clergy appear negative, which in the eyes of some critics is tendentious and pamphletic and reduces the artistic value of his works.

But Krleža also admits in a conversation with the journalist Enes Čengić: “… I tried to do something, but I didn't want to delve deeper into the truth, I worked far too one-sidedly, anti-Catholic to put it simply . "

You'd think he wrote left-wing, but he was an undogmatic socialist and wrote socially critical, but not partisan. The European Criticism does not see him as a small-Croatian homeland and state author, but as a socio-critical and journalistic pioneer of European spirituality.

Honors

In 1993 the Croatian Post issued a stamp on the occasion of the 100th birthday of Miroslav Krleža.

Works (selection)

Original editions

• Legend. 1914.
• Masquerades. 1914.
• Zarathustra i mladić. 1914.
• Pan . 1917.
• Tri symphony. 1917.
• Lirika. 1918.
• Saloma. 1918.
• Pjesme. 1918-19 (3 ​​vol.).
• Michelangelo Buonarroti . 1919.
• Eppur si muove. 1919.
• Tri kavalira frajle Melanije. 1920.
• Magyar kiralyi honvéd novela-Kraljevsko-ugarska domobranska novela. 1921.
• Golgotha. 1922.
• Adam i Eve. 1922.
• Novels. 1923.
• Vražji otok. 1923.
• Izlet u Rusiju. 1926.
• Glembajevi. 1929 (first performance, Zagreb).
• Knjiga pjesama. 1931.
• Moj obračun s njima. 1932.
• Knjiga Lirike. 1932.
• Deset krvavih godina. 1937.
• Dijalektički antibarbarus. 1939.
• Davni dani. 1956.
• Aretej. 1959.
• Zastave. Novel. 1967. (Filmed for Yugoslav television in 1967 under the direction of Mario Fanelli).
• Izabrana djela. 1969.
• 99 varijacija. 1972.
• Djetinjstvo i drugi spisi. 1972.
• Put u raj. 1973.
• Miroslav Krleža. Jubilarno izdanje. 1973.
• Dnevnik. 1977 (5 vol.).

Petrica Kerempuh, the main character in the ballads of Petrica Kerempuh , depicted as part of the monumental memorial to the peasant uprising of 1573 in Gornja Stubica

German translations

• The Glembays. Translation by Barbara Sparing , Volk und Welt Verlag, Berlin 1972.
• Essays. Translation by Barbara Sparing. Volk und Welt publishing house, Berlin 1974.
• Burial in Theresienburg. ( Sprovod u Teresienburgu. ) Story. Translation by Barbara Sparing. Insel-Verlag, Leipzig 1977.
• Childhood. Memories. Translated from Serbo-Croatian by Barbara Antkowiak . Verlag Volk und Welt, Berlin 1981.
• Royal fair. ("Kraljevo"). Edition Ersamus, Zagreb 1993, ISBN 953-613200-1 (translated by Ksenija Cvetković).
• The Croatian god Mars. War novels. ("Hrvatski turned Mars"). Wieser Verlag, Klagenfurt 2009, ISBN 978-3-85129-843-7 (translated by Milica Sacher-Masoch).
• Galicia. Dramas. Athenäum Verlag, Königstein / T. 1985, ISBN 3-7610-8385-8 (translated by Milo Dor ; content: Die Wolfsschlucht. Play in 3 acts , The Glembays. A Drama , Leda. Comedy of a Carnival Night and In Agony. A Drama ).
• The return of the Filip Latinovics. Novel. ("Povratak Filipa Latinovicza"). New edition Wieser Verlag, Klagenfurt 2008, ISBN 978-3-85129-653-2 (dramatization 1970)
• The ballads of Petrica Kerempuh. Ballad cycle. ("Balade Petrice Kerempuha"). Translation by Boris Perić, Croatian Writers' Union / The Bridge, Zagreb 2016.
• Without me. A lonely revolution. Novel. ("Na rubu pameti"). New edition Athenäum Verlag, Frankfurt / M. 1984, ISBN 3-7610-8343-2 (dramatization 1963).
• Banquet in Blitwien. (“Banket u Blitvi”). Athenäum Verlag, Frankfurt / M. 1984, ISBN 3-7610-8342-4 .
• A childhood in Agram. Memories. ("Djetinjstvo u Agramu godine 1902-1903"). Translated from Serbo-Croatian by Barbara Antkowiak. With an introduction by Reinhard Lauer , Athenäum Verlag, Frankfurt / M. 1986, ISBN 3-7610-8407-2 .
• Essays. About literature and art. ("Eseji, 1961-67"). Athenäum Verlag, Frankfurt / M. 1987, ISBN 3-610-08457-X .
• The grand master of all villains. In extremis. Stories. Insel-Verlag, Frankfurt / M. 1963 ( Insel-Bücherei ; 786).
• Burial in Teresienburg. Narrative. ("Spovod u Teresienburgu"). Rowohlt, Reinbek 1981, ISBN 3-499-40083-9 .
• A thousand and one deaths. Stories. ("Hiljadu i jedna smrt"). Fischer-Taschenbuchverlag, Frankfurt / M. 1987, ISBN 3-596-25494-9 .
• Requiem for Habsburg. Stories. Piper, Munich 1968 ( Books of the Nineteen ; 166).
• Zadar's gold and silver . Translated by Gero Fischer. 135 pages. Wieser Verlag, Klagenfurt 2007, ISBN 978-3-85129-657-0 .
• Illyricum sacrum. Fragments from late autumn 1944 (“Illyricum sacrum”). Wieser Verlag, Klagenfurt 2008, ISBN 978-3-85129-754-6 .
• The flags . Novel in five volumes. ("Zastave"). Translated from Croatian by Gero Fischer and Silvija Hinzmann. 2170 pages. Wieser, Klagenfurt 2016. ISBN 978-3-99029-201-3 .

literature

• Karl Markus Gauß : Miroslav Krleža. In: Ink is bitter. Eleven literary portraits from Barbaropa. Wieser Verlag, Klagenfurt, 1988, ISBN 978-3-85129-003-5 .
• Ivanka Graffikus: Possibilities and limits of translatability of Serbo-Croatian literary prose. Shown in German translations by Ivo Andrić and Miroslav Krleža. Sagner, Munich 1985, ISBN 3-87690-299-1 (also dissertation, University of Marburg 1975).
• Ivan Krolo (ed.) U. a .: Miroslav Krleža 1973 . (Alternative title: Zbornik o Miroslavu Krleži 1973 ). ( Serbo-Croatian ). Jugoslavenska Akademija (JAZIU), Zagreb 1975, OBV .
• Sabine Kukavica: The poetic text in bilingual mediated communication, depicted in the novel “Povratak Filipa Latinovicza” by Miroslav Krleža and its translations into German. Dissertation, Humboldt University Berlin, Berlin 1986, DNB .
• Reinhard Lauer: Who is Miroslav K.?: Life and work of the Croatian classic Miroslav Krleza. Wieser Verlag, Klagenfurt, 2010, ISBN 978-3-85129-867-3 .
• Reinhard Lauer (ed.): Artistic dialectics and the search for identity. Literary studies on Miroslav Krleža. Harrassowitz, Wiesbaden 1990, ISBN 3-447-03089-5 (Opera Slavica / NF; 19).
• Andreas Leitner: The figure of the artist in Miroslav Krleža. Winter, Heidelberg 1986, ISBN 3-533-03889-0 (contributions to modern literary history; volume 3; vol. 76).
• Peter J. Robinson: The plays of Miroslav Krleza. University Press, Santa Barbara 1982 (PhD thesis).

The building of the Miroslav Krleža Lexicographical Institute in Zagreb

Web links

Commons : Miroslav Krleža  - collection of pictures, videos and audio files

• Literature by and about Miroslav Krleža in the catalog of the German National Library
• Works by and about Miroslav Krleža  in the German Digital Library
• Lexicographic Institute Miroslav Krleža in Zagreb
• Google Books: Miroslav Krleža. "The Glembays". (complete edition, German)
• Miroslav Krleža: “Čežnja” original text and audio file

Individual evidence

1. ↑ Milovan Đilas : Years of Power. Play of forces behind the iron curtain. Memoirs 1945–1966. Deutscher Taschenbuch-Verlag, Munich 1983, p. 67.
2. ^ Viktor Žmegač: Krleža u kontekstu evropske dramske kniževnosti.
3. ^ JH:  Agramer Theater. In:  The stage. Magazine for theater, art, film, fashion, society, sport , year 1930, issue 276, March 15, 1930 (year 7), p. 18. (online at ANNO ). .
4. ^ Viktor Žmegač: Krleža u kontekstu evropske dramske kniževnosti.
5. ↑ Krležijana, Leksigrafski zavod Miroslav Krleža
6. ↑ Miroslav Krleža o hrvatskoj historiografiji i hrvatskoj povijesti - IVO GOLDSTEIN
7. ↑ Karl Markus Gauss: Ink is bitter.
8. ↑ Miroslav Krleža o hrvatskoj historiografiji i hrvatskoj povijesti - IVO GOLDSTEIN
9. ↑ Beate Jonschar: The South Slavic literatures in a European context.
10. ^ Jörg Plath: The Croatian author of the century Miroslav Krleža. An unknown planet.
11. ↑ Karl Markus Gauss: A reference to Miroslav Krleža
12. ↑ Reinhard Lauer: Who is Miroslav K.
13. ↑ Miroslav Krleža o hrvatskoj historiografiji i hrvatskoj povijesti - IVO GOLDSTEIN
14. ↑ Fritz Walden : Miroslav Krleža's “ The Glembays ” in the Volkstheater: The old Croatians drove it badly… In: Arbeiter-Zeitung . Vienna December 24, 1974, p. 8 ( berufer-zeitung.at - the open online archive - digitized).