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Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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
The paper compares Kosovel's manuscript »Krvaveci vrelec« with the versions edited by Anton Ocvirk (1974) and Neza Zajc (2013), highlighting discrepancies, blunders and lapsus lecturae. Their ...correction allowed to identify the source of the collage elements of the first stanza in a single number of the Slovenian liberal daily Jutro, released on Thursday, February 11, 1926, a few months before the poet's death. The second stanza is a sarcastic rhetorical question, referred to the government crisis, which loomed because of claims for ethnic autonomy put forward by the head of the Croatian Peasant Party, Stjepan Radic, seconded by Anton Korosec, the head of the Slovenian leading clerical party, against the government headed by the centralist Serb Nikola Pasic. This threat promptly waned because of the submissive capitulation of the promoters themselves, as clearly implied by the poet himself, a staunch supporter of Balkan federalism based on the right of peoples to self-determination. This dating proves that constructivism was the last evolutionary stage in Kosovel's poetry. The image of the bleeding jet solidifying into a radiant »vivid red ruby obelisk« in the third stanza finally echoes the similar image of »eine zuckende Blutsäule«, used by the German expressionist poet Ludwig Rubiner (1881-1920), the author of the anthology »Kameraden der Menschheit / Dichtungen zur Weltrevolution« (1919), a hitherto neglected source of inspiration for Kosovebs poetry. The paper finally proposes a psychoanalytic interpretation of the lapsus lecturae that led Anton Ocvirk to read the word Falzifikatorska in the manuscript as Fabrobikoborska, and identifies its unconscious drives in the early ideological divide that opposed the two young men during the last months of the poet's life. It culminated in 1928 with Ocvirk's letter of overt reactionary and obscurantist denunciation sent to the Catholic daily Slovenec, meant to denigrate Kosovel's memory as well as his closest friends and spiritual heirs who ran the leftist monthly Mladina. This divide was pointed out by Kosovel's friend Ivo Grahor in his two reviews of the collection of Kosovel's poems edited by Ocvirk in 1931.
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
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, Letnik:
34, Številka:
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
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 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
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
