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This paper analyzes similarities between Vladan Desnica’s novel Proljeća Ivana Galeba and Camus’ works, especially his lyrical essays (Nuptials) and the novel A Happy Death. The author tries to single out the last two chapters of Desnica’s novel as the key to un derstanding his existentialist philosophy (this in turn is interpreted by referring to Camus’s The Myth of Sisyphus). Structural problems are analyzed as an expression of deep semantic and philosophical determinants. The relationship between Desnica and Camus is not established with the aim of proving borrowing or imitation of some lite rary concepts, but in order to emphasize the sources of common preoccupations that refer to the Mediterranean idioms, especially the so-called sunny thought. U radu se analiziraju srodnosti između romana Vladana Desnice Proljeća Ivana Galeba i Camusovih djela, napose lirskih eseja (Pirovanje, Ljeto) te romana Sretna smrt. Autor izdvaja dva zadnja poglavlja Desničina romana kao ključ za razumijevanje njegove egzistencijalističke filozofije (to se pak tumači referirajući se na Camusov Mit o Sizifu). Strukturni se problemi analiziraju kao izraz dubinskih semantičkih i filozofskih odrednica. Odnos Desnice i Camusa nije postavljen s ciljem da se dokaže posuđivanje ili imitacija nekih literarnih koncepata, nego da se naglase izvori zajedničkih preokupacija koje se referiraju na mediteranske idiome, napose na tzv. sunčanu misao.

Osnovni je cilj ovoga rada usporedba ratnog romana Ivana Supeka, koji je 1959. godine objavljen kao Dvoje između ratnih linija, a 1995. godine doživio je novo izdanje - Između ratnih linija. Usporedba se vrši na trima razinama jezične zbilje: (1) odnos prema jezičnim elementima koje se smatra hrvatskim/nehrvatskim; (2) uloga narječja; (3) stilske i tekstualne modifikacije. Analiza pokazuje na koji je način modificirano jezično tkivo Supekova romana na tim trima razinama i koji su razlozi za njihovu interpretaciju. One su sve ideološki uvjetovane, no razlikuju se po tome što se referiraju na drukčije kulturne preokupacije. Istraživanje prve razine pokazuje da je Supek u pedesetima bio sklon uporabi hrvatskih elemenata, ali da je u drugom izdanju svoj jezik još više kroatizirao. Što se tiče upotrebe narječja, u prvom izdanju likovi gotovo govore jezikom pripovjedača, dok u drugom jedan od likova govori zagrebačkim idiomom (ovo se interpretira kao u vizuri odnosa standarda prema kajkavskom idiomu od narodnog preporoda, preko Krležinih literarnih intervencija, pa sve do proze u trapericama). Stilistička razina pokazuje da je autor intencionalno intervenirao u tekst kako bi drukčije modelirao svoj odnos prema Drugome svjetskom ratu, drukčije kodirajući ulogu Hrvata i Srba u njemu te mijenjajući u predmetnom svijetu poziciju Hrvatske seljačke stranke., The principal aim of this paper is to compare two editions of the war novel written by Ivan Supek in 1959 under the title The two between the frontlines which was re-edited in 1995 and published under the title Between the frontlines. The comparison deals with three aspects of linguistic reality: (1) the attitude towards the linguistic items perceived as Croatian/non-Croatian; (2) the absence/presence of dialects; (3) the stylistic and textual modifications. The inquiry reveals to what extent Supek’s idiolect was modified at these levels and which reasons could be given for the possible interpretations of these levels. The investigation of the first level demonstrates that, in the ‘50s, Supek tended to use items considered as Croatian, but the new edition is even more Croatianized. As far as the second level is concerned, whereas in the first edition dialects are omitted, and characters speak the same way as the narrator, in the second, one of the characters speaks in the Kajkavian dialect (this is interpreted as a consequence of the role that the dialect in question has had in Croatian culture since the National Revival, over Miroslav Krleža’s literary interventions until the literary movement called after Aleksandar Flaker – the jeans prose). The stylistic level reveals that the author intentionally modified his attitude towards World War Two by encoding different roles for the Croats and Serbs within the universe of the novel, and by rewriting the position of the Croatian Peasant Party during the war. All shifts are ideological in character, but they differ in terms of making various intra-cultural references.