V članku s primerjalno analizo recepcij dveh nacionalnih pesnitev, Prešernovega Krsta pri Savici in Máchovega Maja, ugotavljamo, v čem sta si bila podobna in kako sta se razlikovala procesa ...kanonizacije teh dveh del, ki sta v obdobju narodnih preporodov v 19. stoletju zasedli podobni mesti v češki in slovenski nacionalni literaturi. Primerjamo, kako so se skozi pisemsko, kritiško in literarno recepcijo spreminjali pogledi na deli od prve objave (1836) do tedaj, ko sta bili sprejeti v nacionalni literarni kanon.
Poetic self-reflection in poetry presents reflections on questions related to poetic art, occurring within the poetic discourse. Poetry responds to poetological questions parallel with theoretical ...discourse. The concept of poetic self-reflection is synonymous with the term metapoetry and, with respect to the elements of literary communication, consists of four basic thematic fields, which experience extensions and specifications in their literary realizations. These are the poet, the work of poetry or poetic art, the reception of poetry, and the context. Poetic self-reflection has been significantly present in poems from antiquity on, and has become a particularly important element in modern 20th-century poetry. In the 20th century, theoretical discourse, the question of the author, the author’s subjectivity and autonomy have received special attention. Breakthrough considerations largely happened in relation to the Romantic concept of autonomous divinely inspired genius. Accordingly, this doctoral thesis focuses on the question of the author or poet, as one among the central thematic fields of poetic self-reflection or metapoetry.The thesis first defines the concept of poetic self-reflection. Taking into account theoretical studies carried out to date, it considers the limitations of the concept, the form, the strategy and the functions of poetic self-reflection. An overview of the formation of the concept of the author follows, with an emphasis on the formation of the Romantic notion of genius, and breakthroughs that happened to it in the 20th century. Theoretical definitions serve as the basis for the interpretative analysis of contemporary Slovenian poetry after the Second World War. Case studies are presented regarding poetic self-reflection as it was realized in the poetry of eight female and male poets: Kajetan Kovič, Dane Zajc, Tomaž Šalamun, Niko Grafenauer, Milan Jesih, Taja Kramberger, Barbara Korun, and Primož Čučnik. As the thesis seeks to show changes in the semantic-aesthetic effect of poetic self-reflection strategies, the research includes poets of different poetic generations and literary-aesthetic movements. The selection is based on their representativeness and the inclusion of poetic self-reflection in the poems. Moreover, the thesis articulately analyses these poets’ metadiscourse, which presents the comparative framework.The analysis shows that poetic self-reflection in contemporary Slovenian poetry takes place both at the level of thematization and the level of other strategies (autoreference to the poem and poetic subject, implicit strategies, etc.). Various strategies most often appear in combinations with one another. The performative ability of poetry to simultaneously perform what it puts into words appears as an essential characteristic. Through a diachronic view of case studies of the poetry of various poets it becomes evident that through poetic self-reflection in poetry, certain common thematic points are maintained (poetological metaphors). At the same time it is evident that comparable strategies of poetic self-reflection trigger different aesthetic and meaningful effects in reference to spiritual-aesthetic context. Through the poetic self-reflection in contemporary Slovenian poetry, the consolidation of aesthetic currents and a reconsideration of the attitude towards literary tradition thus takes place, together with the poet’s self-positioning in the literary context and society, a reflection on language and poetic discourse, disillusion of a poem, etc. Among the thematic areas of poetic self-reflection, the poetic self-reflection of the authorial role proves to be crucial. Allusions to the Romantic concept of the poet can be observed in all poets included in the study. Moreover, the poetry of poets who started writing poems after 1990 is notable for their autoreferential strategies, which have the effect of distancing from the conventional conceptions.This doctoral thesis brings a theoretical definition of the concept of poetic self-reflection and presents the ways in which it is realized in the poetry of contemporary Slovenian poets, as well as the effects of metapoetic consciousness as it is established. Poetic self-reflection represents an important element in modern poetic discourse, which in Slovenian contemporary poetry acquires special meaning, since poetic discourse is becoming increasingly marginalized in society. At the level of content, the analysis of poetic self-reflection contributes to theoretical considerations on poetry, at the same time indicating its specific power in wording and illustrating poetic concepts. It proves to be productive in considering the authorial role: on the one hand of the poet’s social role, on the other hand in replaying various levels of the poet in reference to the text.
Prešernovi rokopisi so predmet literarnozgodovinskega, zbirateljskega in splošnega slovenskega kulturnega interesa. Prispevek povzema zgodovino njihovih najdb in selitev, s čimer se navezuje na ...starejše prešernoslovje in evidentira doslej manj znane in nepoznan!e udeležence pri prometu z rokopisi.
Interpretacija Neiztrohnjenega srca govori za to, da je pesnik uporabil aparat krščanske veroizpovedi, da bi po analogiji s sodnim dnem opozoril na tisto, kar bo po koncu časov najbolj vidnega ostalo ...od človeštva: pesem, predvsem pa njen tvorec. Pri tem je globoko posegel po arzenalih, ki mu jih je nudilo njegovo znanje pesništva. Besedilo je artikuliral v romantični perspektivi, vendar zgolj toliko, da je iz filozofije gibanja potegnil premiso, s katero je pesem postavil v brezčasen prostor poslednje sodbe. Domnevati smemo, da je ob izteku ustvarjalne moči France Prešeren poemo napisal zato, da bi razodel širši smisel bivanja, tudi in predvsem zanamcem. Njeno sporočilo bi bilo, da si ob sodnem dnevu skupina idealiziranih posameznikov, sicer posvečenih v temeljno skrivnost, prizadeva obeležiti pokop mrliča, zadnjega v vrsti mislečega človeka. Pri tem jih vodi načelo, da naj se ta poslednji, k večnemu počitku položeni posameznik pomiri s kozmično celoto, tako da ji prepusti nedoumljivo skrivnost stvarstva: »pesmi večne«. S tem je krog sklenjen in opravilo človeka na Zemlji – ob zadnji sodbi – poveličano prav v tistem, kar si je za življenjski poklic izbral avtor elegične pesnitve. V tem smislu je pesnitev njegova najintimnejša duhovna oporoka in ključno napotilo, kako brati ter razumevati Poezije in zagonetnost njihovega avtorja.
Jameson’s concept of modern third-world literature as national allegory is also pertinent for the 19
-century peripheries of the first-world literature. Aware of their dependence on imperial powers, ...the protagonists of (semi)peripheral national movements longed for the recognition of their nascent collective identity by the lawgiving Other – the symbolic order of ‘universal’ tradition. The figures of “national poets” (Nemoianu) were invented to represent their respective nations to the gaze of the Other, symbolized by the emerging world literature and empowered through the inter-state system dominated by the core countries. In a secular parallel to the canonization of saints in the Catholic Church, “worlding” (Kadir) a national poet was crucial in the (unfulfilled) longing for his/her universal acknowledgment as belonging to the hyper-canon. While several national poets involved in national movements showed a “vernacular” tendency (Terian), Schiller and Goethe represented the more “cosmopolitan” model of a national classic. Such ‘affiliation’ to the universal aesthetic canon is also characteristic of the politics of Slovenian romantic movement and its poet, France Prešeren. Although Prešeren’s poetry, which was exposed to Austrian censorship, only sparsely employs an explicit political discourse, his imaginary worlding and intertextual transfer of universal aesthetic repertoires from the established literatures into a Habsburg periphery fashioned a cosmopolitan strategy of cultural nationalism. Prešeren has been venerated in Slovenia since the late 19
-century as the singular national classic whose oeuvre compensates for the apparent lack of classical and modern traditions in Slovenian and deserves to be recognized worldwide.
Lʼoeuvre du professeur Vladimir Pogačnik présente, outre ses articles scientifiques, un nombre considérable de traductions du slovène vers le français, en prose comme en poésie. Son oeuvre inclut ...aussi des traductions dʼhistoires courtes et un conte pour enfants. Son apport à la traduction vers le français le plus important est sans doute La Couronne des sonnets de F. Prešeren où les stratégies de traduction employées trouvent une explication traductologique. Nous allons analyser sa traduction de la Couronne des sonnets de Prešeren ainsi que sa réception par les lecteurs français en la comparant avec une autre traduction effectuée par Kolja Mičevič. Une analyse stylistique et syntaxique parle en faveur de la traduction de Pogačnik, telles sont aussi les réactions des lecteurs français cultivés qui ont participé à lʼenquête.
The Resolution for a National Language Policy Programme 2014-2018 was adopted by the Slovene parliament in the summer of 2013, and was intended to set a common agenda in the area of state language ...policy. In this thesis, I investigate its trajectory from inception to (attempted) implementation. My study analyses policymaking practices during a time of political, social and economic instability in Slovenia, and investigates how the roles of various actors involved with the policy changed along with the political landscape. It focusses particularly on the traditional role of linguists as authorities on language in Slovenia. To analyse these processes, I develop a comprehensive theoretical framework for language policy analysis, drawing on social field theory, social action theory, state theory, interpretive policy analysis, critical discourse studies, and critical sociolinguistics. The framework analyses policy as a set of practices which occur across different social spaces, such as fields and nexuses of practice. It also takes into account the changeability of such spaces, particularly how transformations in the broader socio-political context open and close opportunities for agency. The thesis includes four case studies, each exploring a different aspect of the policy process, consisting of the media discourse about language policy in Slovenia, the drafting of the policy text, a parliamentary committee meeting about it, and its implementation. The studies draw on a broad data-set comprised of media texts, documentary data, correspondence, interview data and observation data. For my analysis, I combine the discourse historical approach in critical discourse analysis with mediated discourse analysis to develop a methodology which enables analysis of discourse from the perspective of text as well as social action. My analysis of the public discourse surrounding language policy in Slovenia finds an ongoing ideological debate between two groups of linguists. I find that members of both groups were successful in inserting their own ideology in the policy text, but that opportunities to do so occurred at different times. I find that linguists voicing the established language ideology were particularly successful in using their symbolic capital to exert influence on policymaking across different sites.
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
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