The expression "barbarically primitive artist-genius" that Srecko Kosovel used in his diaries of early 1924 followed the idea of the zenithist barbarogenius because he used it together with other ...zenithist syntagms and refers to broken-down European art and its revival with the help of the elementary and wild Balkans. This was a destructive poetic phase in Kosovel's life. However, from April 1925 onwards Kosovel accepted the concept of barbarianism outside the futuristic, zenithist, and other contexts; he thus renounced definitions of this concept based in poetry studies and nationalism, and began applying a distinctly political understanding of the concept of barbarianism connected with the threat that fascism posed to Slovenians living in the Littoral region. PUBLICATION ABSTRACT
Kosovel in nadrealizem Vrecko, Janez
Primerjalna književnost,
12/2011, Volume:
34, Issue:
3
Journal Article
This article takes issue with the hypotheses that tried to connect Kosovel only to Italian futurism or with surrealism, and shows that their authors were not familiar with constructivist poetics. ...This means they consciously ignore the numerous places in Kosovel's work that reflect his thorough knowledge of Russian and Berlin constructivism. PUBLICATION ABSTRACT
Since the beginning of the twentieth century, reality has increasingly attacked man in the process of continuous transformation, becoming his contextual partner. Reality, by entering art, has ...modified the viewpoint of the artist, his attitude towards the material, the function of art, and the author's place in it. In the act of establishing an alternative world in language, now a poet cannot omit such phenomena as motion, speed, visuality, simultaneity, diversity, pragmatism, and the effects triggered by indirect communication, in which poetry competes with other media. The fascination and a feeling of danger that were directed towards the technical possibilities and the new lifestyle intensified the anthropological awareness in art in the context of communication, formed by various kinds of perception. The poetry of Julian Preybos and Srecko Kosovel presents a crucial moment for the subsequent discussion and artistic transformations, although the two poets perceived the participation of poetry in the social dialogue differently. To Preybos, a poet was a revealer, an expert within the domain of new sensitivity to and perception of the world. Kosovel emphasized his ethical duty, not only with regard to poetry but also toward other people. The phenomenon of motion that dominated the mental processes of the time was an aesthetic challenge for both poets; an ethical and anthropological challenge that resulted in two models of committed poetry: the autonomous, aesthetically perfect, and revelatory (Preybos), and the critical, emphatic, and partnering (Kosovel). PUBLICATION ABSTRACT
This article deals with contemporary interpretations of Slovenian poetry that emerged after the independence of Slovenia. Reference is made to the basic theses of Dusan Pirjevec in his article ..."Vprasanje poe2ije" (The Issue of Poetry). Pirjevec wrote about the social role of poetry in the preservation of Slovenian national identity and he referred to this type of poetry as the "Preseren structure." In his opinion, this stateless nation exercised its creativity in culture, in which literature in particular - and, within it, poetry - is essential. When Slovenia became part of the Kingdom of the Serbs, Croats, and Slovenes, poetry was able to be developed as an autonomous art, representing a rejection of the Preseren structure. According to Peter Kolsek, contemporary interpretations establish two megastructures, those of Preseren and Murn, which represent two types of poetic production: poetry in the service of the nation, a certain idea, or class, and poetry that focuses on language in its autonomous aesthetic function. The poetry of Srecko Kosovel seems to have been the most radical departure from the Preseren structure in the early twentieth century. However, Jane2 Vrecko argues that Kosovel's work contains an active Preseren structure, which established the discursive extent to which this poet could undermine the traditional lyric paradigm. Other researchers, including Denis Poniz, Peter Kolsek, and Matevz Kos, believe that the most radical rejection of the Preseren structure occurred in ultramodernist and neo-avant garde poetry. The visual and concrete poets of the 1960s rejected the national poetic tradition. Given the open socialist Yugoslav society of the time, one could say that neo-avant garde poetry attained its most radical forms in Yugoslavia, especially in Slovenia. There seems to be no agreement on the issue of postmodern poetry and its social function or social indifference. When Slovenia attained independence, culture and especially poetry lost their importance under the new political and economic conditions. In the poetry of the new poets - referring to those born in the 1 960s and 1 970s - radical poetic moves are not possible. It is as though the Preseren structure is still active but concealed under the new circumstances: it is still operating and, as always, setting the discursive boundaries of poetry. PUBLICATION ABSTRACT
The paper examinates the concept of political poetry from the perspective of an American Poet focusing on Slovene poetry, especially that of Sreâko Kosovel, and with comparisons to American and other ...poets. PUBLICATION ABSTRACT
This essay tooks at the political truth of the poetry of two Slovenian poets, Srecko Kosovel and Taja Kramberger. It proceeds from the concepts of the politics of literature and literary tendencies ...elaborated by Jacques Rancière, Walter Benjamin, andin part Srecko Kosovel himself, signifying the difference between "literature as political propaganda" and "literature that acts politically by being literature. "Kosovel wrote in both ways, butin order to understand the political truth of his poetry his avant-garde "konses" are more important. The structural model he worked out in them is also applied to the most recent poetry by Taja Kramberger, demonstrating its aesthetic and structural political appropriateness. PUBLICATION ABSTRACT
The essay draws on the comparison between the interpretations of proletarian art provided by the Russian philosopher Alexander A. Bogdanov and by the Slovenian communist ideologue Dragotin Gustincic ...in the letter that Srecko Kosovel wrote to Josip Ribicic on 11 November 1922, as well as on the reverberant polemics that opposed Gustincic to Srecko's elder brother Stano in early spring 1922 on the spiritual crisis which grieved young Slovenian intellectuals after WWI and led Srecko to overcome his merely sentimental commitment to socialism and engage in a mature and informed siding of his communist comrades, as well as to replace his "velvet poetry" with a constructivistic one. PUBLICATION ABSTRACT
Srečko Kosovel (1904–1926) died too young to publish a collection of poetry. He left only a wealth of manuscripts, most of which are hardly legible. Therefore Anton Ocvirk needed decades to decipher ...Kosovel's manuscripts and collect and publish his collected work. But after a thorough review of Kosovel manuscripts it became clear that some poems were missing in Ocvirk's edition. They are now critically presented in this book.
V treh poglavjih se ukvarjamo s Podbevškom, Kosovelom in Delakom pri ustvarjanju slovenske zgodovinske avantgarde in raziskujemo njihov odnos do sočasne evropske avantgarde. Posebej je poudarjena ...Podbevškova estetska provokacija, Kosovelov konstruktivizem, vezan na poznavanje ruskega literarnega konstruktivizma, in Delakova ustanovitev revije Tank.
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