Iz proznih Cankarevih i Andrićevih dela izdvojeni su primeri upotrebe imenice »senka« u ulozi etalona poreðenja u kao (kakor)-konstrukcijama. Težeći potpunom obuhvatu naðen je 71 takav primer u ...Cankarevom delu i 47 u Andrićevom. Primenjena su dva načina klasifikacije primera. Prema prvom načinu primeri su rasporeðeni u četiri klase imajući u vidu osobine senke na kojim poreðenje počiva. Prema dugom načinu klasifikacije izdvojeni su primeri u kojim su pisci uz imenicu »senka« postavljali pridev, zamenicu ili broj podešavajući tako etalon poreðenja. Izabrani načini klasifikacije odrazili su sličnost upotrebe etalona senka u poreðenjima u proznim delima dva pisca.
Romana Ivana Cankarja Hiša Marije Pomočnice in Križ na gori (oba 1904) sem raziskala z analizo pripovedne empatije, in sicer bralčeve in avtorjeve empatije, z novim pristopom k pripovednim besedilom ...v postklasični teoriji pripovedi. Zanimalo me je, zakaj je prvi roman ob svojem izidu presegel bralčev horizont pričakovanja in s tem dosegel tudi manjšo pripovedno empatijo pri bralcih, drugi pa je izpolnil horizont pričakovanja in s tem tudi večjo stopnjo pripovedne empatije na ravni recepcije. Pri avtorjevi empatiji sem upoštevala vse tri poti, tj. avtobiografičnost, visoko stopnjo avtorjeve empatičnosti in estetiko produkcije, pri bralčevi empatiji dve možnosti – identifikacijo z likom in pripovedno situacijo –, medtem ko sem v analizi primerjala tehnike empatiziranja. Neskladje med bralčevo in avtorjevo empatijo je namreč pokazalo, da je roman Hiša Marije Pomočnice ob izidu doživel manj pripovedne empatije zaradi manjše bralčeve empatije, ker slovenski bralci ob začetku 20. stoletja niso zmogli deliti čustev in perspektiv ob tem Cankarjevem inovativnem romanu, in so se od njega odvrnili. Tudi razlika med literarno in trivialno empatijo je dokazala, da je Križ na gori zaradi svoje tradicionalnosti in manjše literarne kvalitete bolj ustrezal povprečnemu bralcu, odprtemu za trivialno empatijo, Hiša Marije Pomočnice pa zahtevnejšemu (literarnemu) bralcu in njegovi usmerjenosti k literarni empatiji.
The established interpretations of Ivan Cankar's short story The Servant Jernej and his Justice often read it as a symbolic vision of the socialist revolution, an affirmative announcement of the ...subsequent revolutionary events in the writer's homeland and abroad. The first part of the article presents - with a close reading of the central narrative and its fragmented retrospective elements - the fundamental problems of such interpretations. The second part of the article examines the religious aspects of the story that reflect Cankar's ambivalent attitude towards Christianity, while also revealing Cankar's intuition that modern revolutionary phenomena are based on a specific transformation of Christian eschatology.
Prispevek predstavlja kriticni odnos pisatelja IvanaCankaija(1876-1918) do politikeAvstroOgrske in njegova javna prizadevanja za enakopravno skupnostjugoslovanskihnarodov v letih pred izbruhom vélike ...vojne, ko so napredne intelektualce, tudi Cankarja, preganjali zaradi njihovih stalisc. Opisuje pisateljevo sluzenje vojske v Judenburgu leta 1915, predvsem pa njegovo umetnisko besedo v letih vojne. V zbirki crtic Podobe iz sanj (1917), napisani v okoliscinah stroge drzavne cenzure, Cankar zavraca vojno in nasilje ter izrazi vizijo svetlejse prihodnosti slovenskeganaroda. Odmev grozot vojne v dozivljanju vojakov in civilistov je velika tema v delih stevilnih evropskih, pa tudi ameriskih pisateljev, pesnikov in zgodovinaijev, med katerimi so bili nekateri tudi sami vojaki. Clanek ugotavlja podobnosti in razlike v njihovi rabi ironije, spiritualizaciji vojne, pogovorih z mrtvimi in apokalipticni motiviki ter isce odgovor na vprasanje, ali obstajajo razlike in podobnosti v pisanju in v recepciji literature pesnikov, ki so o vojni pisali kot civilisti ah kot vojaki na fronti. / The contribution presents Ivan Cankar's (1876-1918) critical stance on Austria-Hungary's policy and his public efforts for a community of equal Yugoslav peoples prior to the outbreak of the Great War, when progressive intellectuals, including Cankar, were persecuted because of their views. It depicts author's military service in Judenburg in 1915 and, in particular, his artistic word during wartime. In his collection of short stories Podobe iz sanj (Dream Visions, 1917), which was penned under strict state censorship, he renounces war and violence, and expresses his vision of a brighter future for the Slovene people. Echoes of war atrocities experienced by soldiers and civilians is also an important subject matter in works by many European, and also American authors, poets and historians, some of whom were soldiers themselves. The paper establishes similarities and differences in their use of irony, spiritualisation of war, conversations with the dead, apocalyptic motifs, and seeks to answer the question whether there are differences and similarities in the writing and reception of literature authored by poets who wrote about war as civilians or soldiers on the front.
Martin Kačur Cankar, Ivan; Cox, John K
03/2009
eBook
The novel Martin Kačur, which dates from 1907, tells the engrossing story of a young schoolteacher who moves from one provincial Slovene town to the next, trying to enlighten his countrymen and ...countrywomen but instead receiving only the mistrust and scorn of the traditional-minded and petty population. The novel is ruthless in its analysis and self-analysis of the failure of this abstract idealist.
This brief essay presents, in the light of textual material, some of the strategies and procedures implemented by individual translators to bring the best-known work by Ivan Cankar, Hlapec Jernej in ...njegovapravica (1907), to the Italian reading public. The three versions available to date cover the period ranging from 1925 to 1978 and bear witness to the interest this story has aroused at home and abroad since its publication, but at the same time a more detailed analysis of the texts only serves to highlight how the efforts by Italian translators, albeit creditable, do not render full justice to a short story that has a special place in the literary and cultural history of Slovenia.
A city can be read as a "projection of cultural values and beliefs" (Mullaney) maintained by marking its space in forms of visual artifacts, ceremonies, and rituals. This article addresses how (a ...national) literature transforms the urban space of a national capital into a "text" of a (national) community. This question also highlights the role of the interpreter that reads these textual/spatial signs; that is, inscriptions in urban space (such as names of streets and squares, monuments and statues, material traces of literary-referential ceremonies and rituals, etc.). Examining these two questions, the article refers to Charles Sanders Peirce's "semantic"! trichotomy that, with respect to the relation between the sign and its object, differentiates three kinds of signs (icon, index, and symbol). This trichotomy serves to emphasize Steven Mullaney's new-historicist reading of urban public places as "sites of potential meaning"; that is, rhetorical topoi that are (also) capable of very different "antithetical or ambivalent significance." Therefore, their semiosis depends on the interpreter, who more or less shares his or her collective memory with the cultural community that writes inscriptions in the urban space it inhabits. However, in case of the literary cultures of central, eastern, and southeast Europe, in the course of the nineteenth and twentieth centuries this new-historicist contribution to the spatial turn in literary studies narrowed its focus above all to those inscriptions that refer to the transnational ideological repertory of "separatistic nationalism" (Leerssen), in which the privileged role acts a national literature. In these cases, literature contributes literary-cultural suggestions (understood in a collective memory) as well as its rhetorical principles of inscribing and re-employing these suggestions in culturally mapping the space of a national capital. The article explains Foucault's concept of (national-ideological) power that performatively re-presented itself in the case of Ljubljana in 1918 by referring to Ruda Jurcec's literary report on the funeral ceremony organized in honor of Ivan Cankar, who was conceived of as the greatest Slovenian writer. According to this report, the funeral ceremony used theater-like performance links to transform the selected public places into a network of national rhetorical topoi. Although they may suggest different, ambivalent, or even contradictory meanings, in case of the capitals of the future nation states, their predominant interpre- tation seems to derive from the national collective memory supported by national literature. Moreover, in the Slovenian case it seems that inscriptions/interpretations of national literature in the capital's space maintained the status of the most historically resistant rhetorical topoi even in periods when national ideology split itself into various and complex mixes with the rival universalist political ideologies of the twentieth century. PUBLICATION ABSTRACT
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