В настоящем исследовании впервые вводятся в научный обиход сведе- ния о переводах на русский язык словенской детской поэзии, которая до настоящего момента находилась вне поля зрения русскоязычных ...славистов. Рассматриваются стихотворения словенских авторов и сло- венская народная поэзия, опубликованные на русском языке в изда- ниях, предназначенных детям, в период с 1955 г. по настоящее время. Переводы словенского детского фольклора на русский язык берут на- чало в 1971 г. Они представлены в основном народными песенками, выполнены поэтом и переводчиком Леонидом Яхниным (1937–2018) и адресованы дошкольникам. Авторская словенская поэзия в переводах для детей появляется на русском языке уже в 1955 г., вскоре после пре- кращения антиюгославской информационной войны. Она представле- на классическими произведениями детской и «взрослой» литературы и адресована детям всех возрастов. Над переводом поэзии для старшего школьного возраста работали «взрослые» переводчики, а нишу пере- водов для дошкольного и младшего школьного возраста с 1984 г. занял Л. Яхнин. Сейчас переводами словенской детской литературы зани- мается Ж. В. Перковская. Наибольшее количество публикаций словен- ской поэзии для детей пришлось на 1980-е гг. После 1991 г. наступило долгое затишье. В последние годы, в связи с интересом российских издательств к словенской детской литературе, успешной на родине, и значительным спросом на книги для дошкольников, возобновилось издание поэзии словенских авторов для самых маленьких. Ключевые слова: Словенская литература, художественный перевод, переводоведение, детская поэзия, словенская поэзия, Леонид Ях- нин,Жанна Перковская, Отон Жупанчич, Тоне Павчек, Каетан Кович, Звездана Майхен, Сречко Косовел
This article analyses the gendered censorship of male writers towards the poetics and writing of Vida Jeraj (1875–1932), the most prominent Slovenian female lyrical poet of the late nineteenth and ...early twentieth centuries and a member of the new wave of Slovenian women writers associated with the Trieste-based publication Slovenka. This case study demonstrates the immense difficulty, if not impossibility, for a woman from a small, conservative patriarchal society on the outskirts of the Austro-Hungarian Empire to become a poet and introduce new poetics and new imagination. This was due not only to patriarchal society in general, but also to the gendered censorship of Jeraj’s male colleagues and friends. We aim to analyse the gendered discourse with its misogynistic characteristics evident in the correspondence between the poet and male authors during her early period of writing, which had a profound impact on her poetic strategies. Two male critics in particular had a great influence on her style and shaped her poetic career: her friend Josip Murn-Aleksandrov (1879–1901), the impressionist poet of the Slovenian “moderna” literary movement; and Anton Aškerc (1856–1912), the most important and celebrated Slovenian poet of the older generation and the editor of the Slovenian newspaper Ljubljanski zvon. This male censorship also meant that the young poet was forced to self-censor, as her writer’s identity was very fragile. This was one of the reasons why her voice eventually fell silent.
Razprava obravnava zbirko Senca v srcu Ade Škerl. Leta 2019 mineva sedemdeset let od izida te v marsičemprelomne zbirke, ki do danes ni doživelaponatisa, in deset let od smrti zamolčane avtorice, ...kije bila dolga leta marginalizirana inje rehabilitacijo doživela šele ob koncu svojega življenja. Na primeru zbirke razprava pokaže nekaj tenzij med različnimi oblikami ideologije in ženskim pesemskim diskurzom v času po drugisvetovni vojni. Najprejskicira položaj ženske v tedanji družbi na podlagi medijske podobe, nato predstavi sočasno ideološko narekovanopesniškoprodukcijo in obrat k intimizmu. Sledi zgoščena tematsko-motivna in transnaratološka analiza knjige spoudarkom na analizi družbenospolnih reprezentacij, pri čemer se izkaže, da ta pesemski diskurz ostaja znotraj patriarhalno zasnovanih struktur tako vpoetološkem kakor družbenospolnem smislu. Vdrugem delu članek obravnava negativno recepcijo knjige in njene daljnosežne posledice (ustvarjalno avtocenzuro, dolgotrajno stigmatizacijo inpostavljenost na obrobjepesniškega kanona). V zadnjem delu so navedeni razlogi, zakaj Senci v srcu literarna zgodovina ni pripisala prelomne vlogezačetnice intimističnegapesniškega toka.
When the Slovenian poet Veno Taufer endeavors in his ekphrastic book of poetry Vodenjaki (1986; Waterlings, 2000) to explore the work of Neolithic sculptors along the Danube River in Lepenski Vir, he ...excavates and animates for his readership the crucial figure of the Waterling. Carved artfully from stone some9,000years ago, these statues, termed " Waterlings " by Taufer, represent hybrid humanoid figures. This hybridity is fundamentally important to the statues because it imbues them with their aesthetic vitality. That is, their affective energy as made material objects derives from the tension between the distinct figurative forms combining to comprise each statue. More deeply, that carefully crafted hybridity also signals the makers' understanding of the importance of art to mind. These physical renderings of hybridity inspire metaphysical reflection on it. They compel the audience to consider the limits ofform(s) and the power of artifice, with each statue encouraging its viewer to reckon how she, too, is a hybrid creature in and of a hybrid world. In other words, the Waterling becomes a metonym for a phenomenology, which this article explores.
Včlanku izhajam iz razumevanja lirike kot subjektivne literarne vrste, ki omogočapredstavljanje osebnih izkustev, tj. čustev, misli in čutnih doživljajev. Primerjava med slovensko in ameriško poezijo ...po drugi svetovni vojni pokaže, da je izpovedni način v obeh ostal stalnica do današnjega časa, pri čemer je lirski jaz v ameriškemprostoru deležen ostrejših in stalnih kritik. Delitev na konvencionalno (mainstreamovsko) in eksperimentalno poezijo, vse do pred kratkim značilna za ameriške literarnozgodovinske preglede, se v Sloveniji ni uveljavila, saj eksperimentalna poezija tu ni razvila svojega literarnega sistema. Pojem hibridna poezija, ameriški poskus preseganja binarnega modela, paje mogoče vseeno uporabiti tudi za nekatere slovenskepesmi. Kot primer pesmi, ki sledi romantičnemu ali lirskemu modelu, analiziram pesem ?Lakota? Jureta Jakoba. Kot ameriški zgled hibridnosti predstavljam pesem ?Exercise 34 (1/3/02 PM)? Catherine Wagner in jo primerjam s pesmijo ?Tehno? Ane Pepelnik. V obeh gre za spoj izpovedovanja in nekonvencionalnega sloga. Na vprašanje, zakaj ima izpovedovanje osebnega izkustva v sodobni slovenski in ameriški poeziji osrednjo vlogo, odgovorim spredlogom, da ga prepoznamo kot univerzalen in hkrati zgodovinsko pogojen pesniški postopek.
This article provides an analysis of the background, processes, and functions of mythological transformations found in the poem “The Tyger” by William Blake and the cycle of poems “There Was a Tiger ...Here” (“Tu je bil tiger”) by Gregor Strniša. It elaborates on the various levels of analogies between the poetic and semantic aspects on the creation of mythopoetic world, along with the specificities revealed in the relations between Blake’s romantic visions and Strniša’s modern perspectives, in the domains for the following aspects: 1. General poetic features; 2. The analysis of symbolic systems; 3. The nature and functions of spatio-temporal relations; 4. The significance of an image of a tiger in the quest for gaining knowledge of divine thought, eternity, transience and death. Therefore, apart from placing emphasis on the significance of Blake’s mystical tendencies, the purpose of this work is to demonstrate that the poetry of Gregor Strniša is ranked among the world’s greatest literature, considering the fact that it is perceived as an original poetic vision which has contributed to the creation of innovations in the context of modern mythological transformations.
The historical timeframe of the present monograph ('Five Centuries of Writing Poetry in a Military Uniform and Against it 1515-1918')begins at around 1500, the period in which most of the Slovenian ...ethnic territory was taken over by the Habsburgs and ends with the defeat of Austro-Hungary during the First World War between 1914–1918. This stretch of time is particularly marked by the first printed lines of the Slovenian rebel poem written during the pan-Slovenian peasant uprising of 1515, which is even older than Trubar's Abecedary and Catechism (1550), and the poem depicting the tragic Judenburg mutiny of 1917 for which the leader of the revolt, Anton Hafner, paid with his life.
This paper presents an introduction to a broader project that deals with the articulation and configuration of subjects in contemporary Slovenian poetry. In the theoretical introduction, I provide a ...brief outline of the different aspects and forms of dialogism defined by Mikhail Bakhtin and put forward some conclusions reached after my re-reading of Bakhtin's thoughts on the monological nature of poetry. In the empirical section, I situate the chronological landmarks of the increased use of dialogism in recent Slovenian poetry and list the key authors involved. An introductory difference is made between the dialogic strategies that concern the structuration of the poetic discourse and its subjects on different levels of discourse (the speaking positions and the position of the enunciative subject) on the one hand, and representations of the decomposition of the "hard" conceptions of the (philosophical) category of the subject and/or the (sociological) category of the individual by using monological procedures in the structuration of the poem on the other. From the standpoint of poetic strategies, recent phenomena of dialogism on the level of the poem is often incorporated into the apparent monologic model of the subject configuration: the plurality of the poetic subject is introduced above all in the macro-system of the book and less in the micro-system of the poem or even the utterance. From the standpoint of the difference between external dialogism as the emergence of polyphony through the introduction of speaking characters, and internal dialogism where different strategies of the multiplication of point of views and voices occur within an apparently single, but decentered, speaking position, the former prevails in recent Slovenian poetry to the extent that we can speak of a strong current of polyphony. The remainder of the paper presents some examples of external dialogism that, according to Bakhtin's typology, would be considered the external type of the two-voiced word: the introduction of the persona poem and the dramatic monologue (especially prevalent in women's writing). It seems that the emergence of external dialogism is often a strategy used in the engaged thematic exploration of the intimate and social habitus that were kept in silence, while the very gesture of acquiring voice undertaken by until now "fragile" subjects --women, animals and even plants--is endowed with the symbolic value of subversive and transformative impulse. Key Words Slovenian poetry; Bakhtin; dialogism; persona; dramatic monologue; ecriture feminine
This paper draws on the poetic concept of the oneness of the self and the world, as elaborated through Coleridge's reading of German romantic philosophers by the poet William Wordsworth. In hispoem ..."Prelude"he rejects simple materialism and simple spiritualism, just as Schelling rejected the extreme views that the spiritual self creates the world or that the material world is created by the self. Wordsworth claims that things are half created and halfperceived, and that there are ennobling interchanges between the world and the self. The notion of oneness, of the merging of inner and outer, perceived and theperceiver, has been influential on numerous and diverse poets. In the paper, I compare various modes of vision that attempt to reveal this oneness in Slovenian poets such as Prešeren, Kosovel, Detela and Osojnik on the one hand, and Wright, Oliver, Murray, Stevens and Strand among American writers. The question of influence is at least ambiguous, but what I am suggesting is some likenesses that seem to emerge from the act searching the world through writing.
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