Description
Pluriculturalism of Dalmatia, the coastal area of the Adriatic Sea, was a result of numerous rulers who brought their cultures, customs and music. In the early modern times, Dalmatia was under Venetian, Austrian, French, and again Austrian rule, while the sovereign Repubblica di Ragusa (The Republic of Ragusa, 1358–1808) was a tributary state of the Kingdom of Hungary, the Ottoman Empire, the Austrian Empire, and the French Empire and the Kingdom of Italy. Dalmatia became entirely a part of Croatia, that is, of Yugoslavia in 1947.
Dalmatia demonstrates a special model of nationalism, wherein the linguistic, cultural, and ideological policies embody multiplied self-identification. The microregion belonged to the Italian cultural sphere, even during the Austrian rule. Italian was the main language and the means of communication between the different communities of the area; the Slavic community also expressed their national ideas in this language at the end of the nineteenth century and the beginning of the twentieth.
In this paper I am going to present Dalmatian pluriculturalism through the musical and theatre life, especially in Zara (Zadar), the language policy, and the transformations of the “first” (pre)national opera Ljubav i zloba (Love and malice, 1846) in accordance to Pan-Slavism, Mediterraneanism, and Orientalism.
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