Koncept kulturnih svetnikov, kot ga razumemo v okviru projekta Kulturni svetniki evropskih nacionalnih drzav (CSENS), je vezan predvsem na raziskave kulturnih nacionalizmov na evropski celini v ...obdobju »dolgega« devetnajstega stoletja, tj. nekje od konca 18. stoletja pa do prve svetovne vojne.2 Primerjalno preucevanje kulturnih nacionalizmov je med drugim pokazalo, da so si vzorci in modeli, po katerih so se oblikovale nacionalne kulture, presenetljivo podobni. Kljub poudarjeni samopercepciji lastne singularnosti so tako rekoc vse literarne kulture, tako tiste z dolgo tradicijo kot tiste, ki so bile prakticno sele v nastajanju, v tem casu operirale z identicnimi razvojnimi matricami »kultiviranja nacionalne kulture«: od jezikovnega kodificiranja (pisanja slovnic in slovarjev), zbiranja ljudskih gradiv, obujanja zgodovinskih tradicij, kostumov in ljudskih festivalov, do spodbujanja nove ustvarjalnosti in zivahnih dejavnosti sportnih drustev (Leerssen 2006: 570-573). Temelj taksnih dejavnosti, za katerimi so stala prizadevanja intelektualnih elit, ki so scasoma sirile svoje zaledje, je bilo v resnici razsvetljensko kultiviranje, sistematicno »preroditeljsko « delo. Toda taksno racionalno jedro je imelo tudi svoj nekoliko manj racionalni, zato pa toliko bolj custveno nabiti protipol, ki je brzkone odlocilno prispeval k temu, da so nacionalna gibanja mogla prestopiti v tisto fazo, kjer so se intelektualnim elitam pridruzile sirse mnozice (Hroch 1993: 6-8). Ta protipol predstavljajo »kulturni svetniki«, narodni izbranci iz umetniskih vrst, ki so postali predmet intenzivnega cescenja, kulta in kanonizacije.3 Opozoriti seveda velja, da golo prestevanje obelezij utegne voditi v nekatere metodoloske stranpoti ali celo napake, ki bi se jim bilo treba na vsak nacin izogniti. Prva taksna napaka je ignoriranje casovnice nastajanja spomenikov. Ce namrec opazujemo le aktualno (geografsko) razpostavitev spomenikov, iz nje ni razviden zgodovinski potek nastajanja mreze, ki je pravzaprav kljuc do vsake smiselne interpretacije. Druga napaka, deloma povezana s prvo, bi utegnila biti »uravnilovka«. Poudariti je treba, da niso vsa obelezja enako pomembna. Kot ena izmed moznosti za njihovo rangiranje se kaze ocena vloge, ki so jo odigrali v komemorativnem kultu. Med kategorijami, pomembnimi z vidika reprodukcije kanonicnega statusa in njegove transmisije v prostoru in casu (cultus), so s prostorskega vidika nedvomno najbolj zanimivi rituali.9 Predvsem v drugi polovici 19. stoletja se je po Evropi v zvezi s kulturnimi svetniki razvila izredno pestra paleta ritualnih dejavnosti. Podobno kot v krscanskih kultih svetnikov so bili rituali pogosto povezani z dnevom smrti, ki je seveda hkrati tudi dies natalis, dan prerojenja v nebesko obcestvo svetnikov; se posebej mnozicne slovesnosti pa so predvsem po letu 1850 nastajale v zvezi s »kultom stoletnice « (Quinault 1998). Ze povrsen pogled pokaze, da so sredisca najvecjih ritualov ostajali grobovi oz. nagrobni spomeniki, rojstne hise ter novi veliki spomeniki na odprtih prostorih (na trgih, parkih) v metropolah. Poleg teh osrednjih zariscnih tock so bile tudi tiste manj pomembne pogosto integrirane v kaksen sirsi sklop, na primer ritualno romanje »po sledeh« - pogosto tudi kot del obvezne solske indoktrinacije v obliki komentiranih ekskurzij -, vsekakor pa kot dejavnik semanticnega kultiviranja (lokalnih) prostorov, njihove soudelezbe pri nacionalnem korpusu simbolnega kapitala, in na koncu seveda tudi turizma.10 Kot je bilo nakazano ze uvodoma, pogled na celoto spominskih obelezij neke literarne kulture pokaze precej raznovrstnejso sliko, kot bi jo dobili, ce bi se osredotocili le na tiste njene predstavnike, ki veljajo za kanonicne oz. najbolj reprezentativne. Nedvomno »kulturni svetniki« prednjacijo pri gostoti obelezij, pa vendar se jim pridruzuje tudi mnozica manj uveljavljenih zastopnikov literarne kulture, ki imajo svoje spomenike, svoje lokacije in svoje ustanove. To velja tudi za slovensko literarno kulturo. Mogoce je torej sklepati, da bi sistematicen popis in geografsko kartiranje mreze spominskih obelezij - nekaj podobnega trenutno ze poteka na Geopediji12 - ponudila moznosti novih uvidov v nastajanje slovenske literarne kulture, njeno sirjenje po geografskem prostoru pa tudi njen druzbeni pomen. Zato se je med snovanjem interdisciplinarnega projekta Prostor slovenske literarne kulture, ki je ze predvidel GIS kartiranje biografij izbranih 330 ustvarjalcev in drugih veljakov literarnega polja (prim. Marko Juvan 2012; Perenic 2012) uveljavila zamisel, da se ob kartiranju biografij popise tudi mreza spominskih obelezij, povezanih s temi avtorji.13 Presenetljivo malo je doslej evidentiranih spomenikov na literarno temo, le pescica, na primer kranjskogorski Vandotov Kekec, cerkniski Krpan ali skofjeloska Agata in Jurij iz Visoske kronike; nimamo pa na primer vecjih javnih kipov Bogomil ali Crtomirov, Krjavljev ali Tugomerjev, cetudi sicer obstaja bogata tradicija slikarskih in kiparskih upodobitev literarnih predlog.17 Pac pa se je pri urejanju vnosov izkazala zadrega pri klasifikaciji tistih spomenikov, ki so sicer markantno pozicionirani v javni prostor, a niso figuralni. Vzorcni primeri taksnih spomenikov so Presernova piramida-obelisk na Bledu (1883), ki pomeni prvo resno urbanisticno »intervencijo« slovenske literarne kulture, Levstikov spomenik v Velikih Lascah (1889), Zoisova piramida v Ljubljani (1927) ter ljubljanski spomenik Ilirskim provincam (1929), katerega zapletena simbolika med drugim meri na Vodnika. Ti spomeniki so zaenkrat evidentirani kot »spominski objekti«, vendar taksna klasifikacija ni optimalna in bi jih bilo morda bolj smiselno zajeti s kategorijo »nefiguralni spomenik na odprtem prostoru«. Tudi sicer se je kategorija »spominski objekt« izkazala za nekoliko prevec ohlapno. Ni namrec vseeno, ali je npr. rojstna hisa, hisa prebivanja, ali hisa smrti, zgolj oznacena s plosco ali pa je muzealizirana (v celoti ali pa le posamezne »spominske sobe«). V praksi naj bi skusali zajeti vse taksne objekte, ki so oznaceni s tablami, tudi ce niso spremenjeni v muzeje; smiselno pa bi bilo na neki nacin ohraniti omenjeno razlikovanje.18
Razprava raziskuje dinamiko odnosov med protagonisti slovenske zgodovinske avantgarde in protagonisti jugoslovanskega zenitizma. Vezi med bratoma Micić in ljubljanskimi »labodovci« so se vzpostavile ...ob izdaji Svetokreta (1921), predhodnika Zenita (1921-1926), a sodelovanje je sprva ostajalo skromno. Zenitizem s svojimi mednarodnimi ambicijami in povezavami je slovenske avantgardiste informiral in občasno navdihoval, resno sodelovanje pa se je začelo šele s »konstruktivističnim« Tankom (1927).
This paper compares the process of canonization of two Romantic poets, France Preseren (1800-1849) and Jonas Hallgrimsson (1807-1845), both of whom have undoubtedly reached the status of a »national ...poet« in their respective cultures (Slovenian and Icelandic). Despite minor dissimilarities in canonisation, several significant traits point that they can also be understood as »cultural saints«. PUBLICATION ABSTRACT
This article examines the role of the so-called Novo Mesto Spring movement, particularly the role of the poet Anton Podbevšek, on the dynamics of Slovenian avant-garde art in the first decade after ...the World War I. It outlines Podbevšek's controversial rise to celebrity status soon after his arrival in Ljubljana in 1920, his extraordinary influence on contemporary young poets, reflected in the literary contributions to the first issue of the magazine Trije labodje (The Three Swans, 1922), and, finally, analyzes Podbevšek's irrevocable decline after 1925. Podbevšek's (self)destructive behavior in this period proves to be among the important reasons why the attempt to consolidate Slovenian historical avant-garde art, which might have taken place around The Three Swans, failed.
In January 1921, Svetokret, the first radical avant-garde magazine in the newly founded Kingdom of Serbs, Croats, and Slovenes, was launched in Ljubljana by Virgil Poljanski (1898-1947). This unique ...edition was a herald of Zenit (1921-1926), a mouthpiece of the ambitious zenitist movement, embodied by Poljanski's elder brother Ljubomir Micić (1895-1971). This article examines the dynamics of relations between the protagonists of the Slovenian interwar avant-garde and the leading zenitists, as documented in correspondence, newspaper reports, and, above all, in the magazine and publishing production of the avant-garde movements themselves. In the first phase, these relations revolved around Anton Podbevšek and his group, which had gathered around the Trije labodje magazine (The Three Swans, 1922), but cooperation remained limited. In the second, more productive phase, zenitist ideas were partially embraced by the group of Slovenian constructivists led by Avgust Černigoj and Ferdo Delak. Zenitism and its magazine were certainly an important source of information and inspiration for Slovenian avant-garde artists (e.g., the poet Srečko Kosovel) but, despite several attempts, the cooperation did not produce lasting results before Zenit was banned in 1926. In 1927, the Ljubljana-based Tank magazine, edited by the ambitious Delak and supported by Micić, tried to continue the zenitist legacy. Unfortunately, its existence was short-lived.
The paper deals with the role of a book editoras a key mediatory function in the literary system. It strives to outline the complex network of factors and constraints that have an impact on editors' ...mediatory activities and choices. Three categories of such constraints are analyzed in greater detail: economic factors, political (ideological) factors, and networking effects. PUBLICATION ABSTRACT
Here, a wide range of problems can be envisioned, ranging from the quiet exclusion of anti-regime works in the regulated presses of totalitarian systems to contemporary cases of positive ...discrimination in favor of marginal social groups; from expert readers and committees, their structure and methods of nomination, to lists of works that ensure the translating publisher a certain subsidy - all of these are the ways that (cultural) politics are translated into practice in the production of an unstable intra- systemic boundary between "artistic" and "trivial." ...the mediatory role has to be put into a time perspective. ...it is hardly possible to avoid the question of whether the literary mediation in modern literary systems such as we have known since the eighteenth or nineteenth centuries will preserve its typical features in the future, or whether more fundamental modifications are to be expected. By empirically analyzing the "most useful" user reviews at the Ama20n.com internet site, she shows that the strongest impact factor is involvement, followed by author- and topicrelated reasons. ...she concludes, the choices in the internet age still follow certain patterns but, with the change of the mediatory role of readers from the informal towards more "institutional," the traditional mechanisms of mediation are loosing significance.
...it seeks to respond to contemporary trends in the arts, characterized by the fusion of individual artistic practices and extension into the spheres of science, politics, and economics. Because the ...mutual links between literature and music appear particularly strong, we sought to shed light on these junctions and intersections from an interdisciplinan' perspective, combining musicological and comparative analysis. ...the types of linguistic and musical signs, as well as the quality of their meanings, are basically incongruent. ...early amalgams between both art forms were forgotten in the nineteenth century, which was marked by the two very opposite Zeitgeist streams: on the one hand, the development of the sciences (especially Darwin's theory of evolution) was bringing empiricism to the fore, and on the other hand the pronounced cult of the arts was gaining distinct metaphysical features. According to Schumann, this hidden dimension, which opens up the transcendental vastness of the artistic meta-world, can only be revealed to a very sensitive listener.
Great Immortality Helgason, Jón Karl; Dović, Marijan
2019, Letnik:
18
eBook
Winner of the Excellence Award for Collaborative Research granted by the European Society of Comparative Literature (ESCL) In Great Immortality, twenty scholars from considerably different cultural ...backgrounds explore the ways in which certain poets, writers, and artists in Europe have become major figures of cultural memory.
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