Genre hybridity is a term that has first emerged in literary theory at the turn of the 20th to 21st century and is relatively poorly defined in Slovenian literary studies. The diploma thesis examines two works that were written at the time of Slovenian “Moderna” – the poetic drama of Ivan Cankar, Lepa Vida and the tragedy of Oton Župančič, Veronika Deseniška – in the light of this concept. Since these works are considered to be highly stylistically plural and open to other literary innovations, it makes sense to consider them also from the perspective of genre hybridity, something that has not yet been done in Slovenian literary studies in this way. It is important to acknowledge that the authors themselves do not use the term hybridity, but in our discussion, it is, on the one hand, a retrograde projection of the concept of hybridity onto an older literary phenomenon. On the other hand, it is also true that the elements of genre hybridity can already be found far back in the past, where they were represented by other terms or concepts (stylistic pluralism, genre syncretism, subjectivisation of literature). Our analysis was also motivated by the relatively negative contemporary reception of both works, which criticized the authors for excessive lyricism and other deviations from the expected traditional dramatic form. In Cankar's work, the hybridization of the genre occurs, among other things, due to the introduction of lyrical and symbolist elements into the dramatic form, with the widely known motif of Lepa Vida providing meaning and main guiding principle to the fragmented structure. In Župančič's interpretation of historical material about the Counts of Celje, we perceive it as a reinterpretation of Slovenian historical material that becomes hybridized due to the pronounced lyricism within the dramatic design, according to literary historians, it is a depictionof a lyrical event that occurs within a person.
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