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
The large group of heterogeneous poetics and enormous opuses is chronologically divided into seven units: 1. "Povojna lirika med revolucionarnim zanosom in osebno stisko (1950-1953)" (Post-WW II ...lyric poetry, from revolutionary excess to personal anxiety, distress 1950-53) covers sixteen poets (including Karel Vladimir Truhlar's first collection of 1958); 2. "V navzkrizju pomenskih struktur (1953-1960)" (At the crossroads of semantic structures" 1953-60) treats twelve poets (including Makarovic's first collection of 1964); 3. In "Polifonija estetskih in idejnih pesniskih izrazov in oblik (1960-1966)" (A polyphony of aesthetic and intellectual poetic expression and forms 1960-66), three of the fourteen poets' first collections came out in 1968-69 (Vogel, Kravos, and Kokot), and one each in 1974 (Pregarc) and 1978 (Janus); 4. "Vprasanje lingvizma, ludizma, karnizma (1966-75)" (The problem of linguism, ludism, and carnalism 1966-75) focuses on six poets; 5. "Sedemdeseta leta (1970-1977)" (The 1970s 1970-77) considers two poets' (Ivan Volaric-Feo and Matjaz Hanzek) concrete poetry, and seven others as relates to "the end of modernism or the beginning of postmodernism"; 6. "Leta 1977-1980" (The years 1977-80) treats nine poets as "new formalism and the advent of postmodernism," although Vincetic, Oswald, Jurij Kovic, Alojz Ihan, Maja Vidmar, and Haderlap published their first collections only in the mid-1980s; 7. "Postmodernizem se uveljavi (1985-)" (The prevalence of postmodernism 1985-) contains four of the youngest poets, although early on Ales Steger and Hudolin sharpen the images of dark modernism. Since contemporary poets will not soon be published in the most elite editions of the classics, Zbrana dela slovenskih pesnikov in pisateljev (The collected works of Slovene poets and prose writers)-Truhlar, Kocbek, and Joze Udovic have been exceptions- and since the earliest collections haven't been for sale for a long time, the enterprising publishing house Studentska zalozba undertook the collected poems of the classics of modernism. They began with those without whom contemporary poetry as it is would be inconceivable: Strnisa (Zbrane pesmi, 2007), Zajc (V belo, 2008), Kovic (Vse poti so, 2009), Salamun (Kdaj, 2010), Niko Grafenauer (Diham, da ne zaide zrak, 2010), and Jesih (Zbrane zbirke, 2012). The poet and essayist Ales Steger does the lion's share of editorial work and writing commentaries. He provided a sophisticated colloquy on Strnisa (convincingly establishing the meaning of the poet's cosmology, which departs in universal consciousness from anthropocentric rationalism), Zajc (whom he read from the standpoint of a negative theology, a horizon of the absolute, Derridaean polyphonic utterances, the shining of mystical light in darkness, and a shamanic calling), and the Sphinx-like, reticent, and serious Grafenauer (from the perspective of Rilke, Mallarmé, Celan, and the poet's autopoetic essays on inexpressible being, the ineffability of the absolute, his palimpsest and labyrinthine texture). In portraying Kovic, B. A. Novak underlined the symbolic techniques and loyalty to traditional verse and stanza forms in his poetic language, which functions naturally and in harmony with a general return to the tradition of pronounced skepticism towards apologies for free verse. A virtue of the commentaries are the ways they summarize and advance knowledge, reveal unnoticed dimensions by introducing new comparisons, and reset evaluative emphases. The largest book is on Tomaz Salamun. The selection is taken from forty collections, early texts not included in the first collection, and recent poems. A unique feature is the six (re-issued) recordings of Salamun's poetry, three by Slovene and three by foreign speakers. Ivo Svetnina recollects the atmosphere surrounding the appearance of the poems in the periodical Nasi razgledi and notes the subversive effect of the collection Poker, employing Marija Pirjevec's maxim of the end of the 'Preseren structure': "Salamun... jolted the sleepy and rigid Slovene poesis, which transformed all the non-occurring and non-existent into occurring and existing" (Svetina 2010: 912). Taras Kermauner questions the poet's faith (metaphysics with a Logos), nihilism (a non-essential code of substitutable signs), and personal identity as regards the paradoxes in the Maske collection. In the view of Salamun's coeval, the art historian Tomaz Brejc, in the second edition of Poker (1989), the poet features elegantly dresses the shocking, employs mobility, speed, erudition, word purification, and metonymy; conveys the immediacy of life and speech; and juxtaposes imaginary and real freedom, which is a model for contemporary human survival. The external views are especially interesting-the testimony of translators, critics, and poets. The American poet Joshua Beckman, with no knowledge of Slovene, felt fortunate to enter the other's place and then, instead of witnessing history experienced the art of presence, "and presence is, in and of itself, the greatest affirmation of life" (Beckman 2010: 1970). The Macedonian poet Katica K?julavkova summarizes the poetic features with the formulation: "evincing a strong will and power of presence in the poet's world/picture of the world here and now" (K?julavkova 2010: 978). She explains mobility as the drive to creative difference, which can easily be situated in international systems of poetic values and function in them as recognizable identity with a strong individual stamp. The American critic Kevin Hart expresses a view different from the Slovenes'. In the poems of Praznik (Feast) and Balada za Metko Krasevec he sees variety, childlike enjoyment, poetic expansion of experience, a journey of discovery and expectation of the unforeseen, and a quest for discoveries that disorient our experiences.
This article deals with the time and space issues of Srecko Kosovel's conses and shows that Kosovel used them to accomplish literary constructivism in Europe. This is evident from a "geometric," ...engineering, physics, and Einsteinian analysis of Sfericno zrcalo (The Spherical Mirror). In the mirror, words are floating in space and are no longer geocentric. In other words, mirrors change the spatial dimension of the Euclidian object, which in this way "grows into space." Kosovel's engineer-like sketch of the letter K is final and two-dimensional, and is thus a part of the picture. As such, it simultaneously reaches across the edge because it creates an infinite space through mirroring. The poem's white background alternates with the space of the letter K. The pictorial effect of the K is actually an effect of the construction lines used by the poet to achieve the depth of space. It is here, but at the same time also part of the continuum outside the poem. The poem thus has no end; it reaches out into infinity or space. Through this, Kosovel achieved a Bauhausian synthesis of art within architecture. The construction of new spatial structures was accompanied by several basic principles, the interaction of planes, and the tension of space obtained by using the right angle and the diagonal, which resist closed surfaces, volumes, and the laws of static matter. This involved a process of structuring space using the principles of a dynamic interaction of elements. Velimir Khlebnikov's bidirectional poems, as a unique poetic pictorial model of a non-Euclidian conception of space, were also like this. They defied the logical categories and manner of thinking inherited from the Greeks. In his Spherical Mirror, Kosovel tells a story of what happened outside the mirror--or in reality--thus confirming the basic constructivist fact that the conses are built from real "facts" that chase away art. This also confirms the authorship in cases in which the lyric subject is banished from the poem but enters it as a constructor. In Kosovel, K as konstruktor 'constructor' and K as Kosovel the poet happen to overlap in an ideal way. PUBLICATION ABSTRACT
This article compares the poetic means of elevation used by two "national poets," France Preseren and Jónas Hallgrímsson, arguing that the latter elevated both his native country and the vernacular ...language by using aesthetic models. 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
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 paper examinates the concept of political poetry from the perspective of an American Poet focusing on Slovene poetry, especially that of Sreâko Kosovel, and with comparisons to American and other ...poets. PUBLICATION ABSTRACT
This essay tooks at the political truth of the poetry of two Slovenian poets, Srecko Kosovel and Taja Kramberger. It proceeds from the concepts of the politics of literature and literary tendencies ...elaborated by Jacques Rancière, Walter Benjamin, andin part Srecko Kosovel himself, signifying the difference between "literature as political propaganda" and "literature that acts politically by being literature. "Kosovel wrote in both ways, butin order to understand the political truth of his poetry his avant-garde "konses" are more important. The structural model he worked out in them is also applied to the most recent poetry by Taja Kramberger, demonstrating its aesthetic and structural political appropriateness. PUBLICATION ABSTRACT
Avtorji z literarnovrstnimi oznakami lastnih besedil vplivajo na literarno sprejemanje in vsaj deloma tudi na literarno obdelovanje. Članek presoja razloge za poimenovanje pesnitev, ki sta ga za ...svoja besedila uporabila sodobna slovenska pesnika Gregor Strniša in Boris A. Novak. Strniša je s poimenovanji "pesnitev", 'petdelna pesem" oziroma "balada" naknadno polemiziral z že ustaljenim kritiškim in literarnozgodovinskim označevanjem njegovih besedil kot lirskih ciklov. Novak pa je za pesnitev opredelil Kamnito Afrodito, ki je eno od treh besedil v knjigi Hči spomina (1981), prav tako pa tudi knjigo Tisoč in en stih (1982), kar je spodbudilo literarnovedno opredelitev še dveh besedil iz knjige Hči spomina.
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