Analiza je posvećena zgodovini in značilnostim prostega verza, najbolj značilnega izraznega sredstva moderne poezije. Avtor poudarja, da pri prostem verzu ne gre za odsotnost oblike, temveč za ...radikalno spremenjeno razmerje med obliko in pesniškim besedilom: v nasprotju s tradicionalnimi pesniškimi oblikami, zgrajenih na vnarej danih metričnih pravilih, prosti verz omogoča in zahteva enkratno obliko za sleherno pesem v prostem verzu. V tradicionalnih oblikah se mora sintaksa podrejati metričnim omejitvam - v prostem verzu pa sama sintaksa prevzame ritmično vlogo. V tem smislu je prosti verz paradoksalno podoben najstarejšemu znanemu načinu organizacije verza - t. i. paralelizmu členov (značilnem za svetopisemske psalme). Verz, ki bi bil povsem prost ritma, ne obstaja. Termin prosti (svobodni) verz je torej zavajajoč. Natančna oznaka bi se torej morala glasiti nemetrični verz. A prosti verz zveni lepše.
Članek je posvečen zgodovini Sarajevskih zvezkov, pogumnega, umetniško in intelektualno ambicioznega projekta ponovne graditve komunikacijskih mostov med pisatelji različnih narodov nekdanje ...Jugoslavije, ki so se po tragičnih vojnah znašli ločeni z visokimi mejami novonastalih držav. Avtor, slovenski pesnik, prevajalec in profesor primerjalne književnosti, je bil eden izmed ustanovnih članov uredništva te publikacije. Ustanovitelji Sarajevskih zvezkov, ki sodijo med najboljše pisatelje in intelektualce svojih jezikov in kultur, niso imeli nikakršnega namena oživljati propadlo Jugoslavijo ali pa ustanoviti novo, tretjo Jugoslavijo (po kraljevini in socialistični federativni republiki). Njihova ambicija je bila v političnem smislu neprimerno skromnejša, v umetniškem, intelektualnem in etičnem smislu pa kar najvišja – literarno artikulirati stanje sveta ter eksistencialno počutje posameznika po koncu velikih utopičnih zgodb, razpadu jugoslovanskega projekta »bratstva in enotnosti« ter padcu socializma, velikega političnega projekta 20. stoletja, ki je najprej ideološko skrepenel v totalitaristično strahovlado, spričo spodletele demokratizacije pa se je v obdobju jugoslovanskih vojn še zadnjič vrnil kot vampir krvoločnega nacionalizma.
The author, otherwise a translator of Troubadours, analyses dance forms, the complete isomorphism between the stanza and the melody, the development of complex rhyming procedures and problems of ...different rhythmic interpretations of the medieval notations.
Filozofska fakulteta Univerze v Ljubljani in Komisija za slovenski jezik v javnosti pri Slovenski akademiji znanosti in umetnosti sta v torek, 23. oktobra 2018, organizirali okroglo mizo »Jezik in ...spol«, ki je potekala na Filozofski fakulteti v Ljubljani. Izhodišče razprave je bil sklep Senata Filozofske fakultete o izmenični rabi moške in ženske slovnične oblike za vse spole v pravilnikih Filozofske fakultete, s sogovornicami in sogovorniki pa sta organizatorja želela razpravo razširiti na vprašanja, kakšne možnosti ponuja slovenski jezik za uporabo spolno občutljivega jezika in kako v slovenskem jeziku zagotavljati vključujoč jezik v različnih družbenih situacijah. Objavljamo zapis je po posnetku dogodka, ki je na voljo na YouTubu.
This article treats the development of rhyme from its origins in medieval Latin "rhythmic" prose to various forms in European languages. Just like meter at the level of verse rhythm, rhyme exhausted ...its artistic possibilities in the second half of the nineteenth century, yielding its place to free verse. The author examines various reasons for the rhyme crisis in the contemporary poetry of some languages: the small number of pure rhymes in English, the danger of rhythmic monotony due to the oxytonic nature of French, which resulted in a complicated set of versification rules, the long and rich history of rhymed Italian poetry that ended with clichés, and so on. The fact that rhyme can still be fruitfully used in contemporary Slovenian poetry shows that - despite the existence of thousand-year-old documents written in Slovenian - it isa relatively young poetic language. That is also why contemporary Slovenian translators of classic poetry mostly still use rhymes that have disappeared from the repertory of procedures used by translators in many other languages. This paper views rhyme not only as an acoustic device, but also as a rhythmic and semantic procedure that helps maintain the "memory of the language": repeating rhythmic and sound patterns (including alliteration and assonance in addition to rhyme) and their echoes establish a time-memory vertical that surpasses the linear flow of words into silence and oblivion. Whenever we hear the same rhythmic pattern or rhyme, the words that have already sunk into the past are brought back to the present. PUBLICATION ABSTRACT
The comparative analysis of the versification of the poetry of South Slavsshows an interesting „diversification“: the accentual-syllabic principle prevailed in the Slovenian poetry at the end of the ...18th century due to Alexandrine verses published by Janez Damascen Dev in three almanachs Pisanice which advocated the Enlightment reforms. In other South Slav languages this versification was embraced (too) late, only at the end of the 19th century, in the epoch of the emergence of the modern poetry when metrical principles already dissolved; therefore, the accentual syllabic versification has never become a firm structure, it has been coexisting ever since with the traditional, weakened syllabic versification.The accentual-syllabic versification is a common denominator between two geographically most distanced Slav languages, Slovenian and Russian where this reform took place already at the beginning of the 18th century, equally in the framework of the Enlightment programme. The fact that the verse rhythm in the South Slav lan- guages follows such different principles means that the versification does not depend on lingustic (primarily phonetic) laws only, but on cultural and historical dimensionsas well.
This article examines a body of literature between Slovenia and Italy in the early Twentieth century. This literature will emerge as particularly modern due to the paradigm of its regional ...peripherality. Srecko Kosovel and Scipio Slataper, however, were not to realize transcultural projects at the regional level, notwithstanding their pro-European agendas. PUBLICATION ABSTRACT
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