This paper draws on the poetic concept of the oneness of the self and the world, as elaborated through Coleridge's reading of German romantic philosophers by the poet William Wordsworth. In hispoem ..."Prelude"he rejects simple materialism and simple spiritualism, just as Schelling rejected the extreme views that the spiritual self creates the world or that the material world is created by the self. Wordsworth claims that things are half created and halfperceived, and that there are ennobling interchanges between the world and the self. The notion of oneness, of the merging of inner and outer, perceived and theperceiver, has been influential on numerous and diverse poets. In the paper, I compare various modes of vision that attempt to reveal this oneness in Slovenian poets such as Prešeren, Kosovel, Detela and Osojnik on the one hand, and Wright, Oliver, Murray, Stevens and Strand among American writers. The question of influence is at least ambiguous, but what I am suggesting is some likenesses that seem to emerge from the act searching the world through writing.
Razvoj slovenske poezije po letu 1950 se da razumeti kot prozaizacijo in estetsko inverzijo, pisanje poezije v prostem verzu pa kot poezijo v prozi. Ker mnogi literarni zgodovinarji izumprostega ...verzapripisujejo ameriškemu pesniku Waltu Whitmanu, razprava uvodomapojasni, napodlagi kakšnih ustvarjalnih načel je ta zasnovalsvojo zbirko Travne bilke. Številni sodobni ameriški pesniki se imajo za Whitmanove naslednike, podrobneje pa je predstavljeno, kako to razume bitnik Lawrence Ferlinghetti. Walt Whitman je v prvi polovici 20. stoletja vplival na Otona Župančiča in Antona Podbevška, v drugi polovici in do danes pa neposredno prek prevodov njegove poezije v slovenščino in posredno prek bitniških pesnikov na mnoge slovenske ustvarjalce. Zato lahko v določeni meri in ob upoštevanju drugih vplivov tudi na razvoj prostega verza pri nas gledamo kot na nadaljevanje Whitmanove tradicije. Razprava prikaže, kakšne ustvarjalne rešitve so v prostem verzu našli Andrej Brvar, EsadBabačić in UrošZupan.
I discuss early Tomaž Šalamun's poetry with the focus on book Poker published in 1966 as a Cold War product realized within the geopolitical andgeocultural context of socialist Yugoslavia. The study ...shows how transnational flows shape the work of this important Slovenian poet specially under the hegemonically influential poetry field of American poetry and its counterpoetic streams well known by the title of now iconic Donald Allen's anthology New American Poetry from 1960. At the beginning of this paper, I outline the different contexts in which Šalamun's poetry and American experimental poetry is written, contrasting the Cold War socialist and capitalist poetry cultures. This is a moment in which the fields of art and poetry went through dramatic transformations that involved questioning the traditional approach to art and poetry. I explain the importance of T. S. Eliot for poetry production at that time. Then I focus on Šalamun's early poetry of Poker. In my discussion I compare reism in Slovenian poetry and the objectivist impulse in American poetry. Finally, I compare Šalamun's writing procedures with the procedures engaged in by the Beat poets and the New York school, as well as by the early language poetry.
Working within a postmodern style, this rhythmic and melodious collection of poems originally written in Slovenian by Cvetka Lipuš and translated here by Tom Priestly, blends the real with the ...surreal, dull urban lives with dreams. Lipuš, known for the lexical beauty of her work, dwells on topics of time and space which she handles in an almost revolving, irreverent manner. Priestly captures the maze-like characteristic of her verse and carefully reconstructs the sonoric beauty of the work in its original language.
V zadnjih štirih desetletjih seje interes za ameriško poezijo zelo povečal: prevajamo klasike sodobne ameriške poezije, začenši z W. Whitmanom in W. C. Williamsom, nato W. Stevensa, pesnike beat ...generacije in newyorške šole, vse do mlajših, še ne kanoniziranih, pri čemer so prevajalci večinoma sami pesniki in pogosto tudi pisci uvodnih predstavitev. Pesniki, ki so v 90. letih 20. stoletja slovensko poezijo usmerili v postmodernizem in jo sproščali disidentske dediščine elitnega modernizma, so si prisvajali in na domače razmere prilagajali subjektove drže, pesniške postopke, motivno-tematske, žanrske in jezikovne izbire (odprtost, pogovorni jezik, pripovedovanje osebne zgodbe, vključevanje popularne kulture, medijev in glasbe, urbana resničnost), ki jih je uveljavila določena ameriška poezija, terz njimiprenavljali domačo tradicijo. Namesto raziskave ?vplivov? je s teorijo intertekstualnosti predstavljen način odzivanja, individualnega presnavljanja in preoblikovanja impulzov iz ameriške poezije v prijateljsko povezanem krogu ljubljanskihpesnikov Toneta Škrjanca, Primoža Čučnika, Gregorja Podlogarja in AnePepelnik. Njihove dinamične podobe izhajajo iz subjektivnega doživljanja urbane resničnosti, kipreplavlja govorca, do sodobnih družbenihpojavov imajo kritičen in ironičen odnos, igrivo eksperimentirajo z jezikom, posnemajo govorjeni jezik ter duhovitopreoblikujejoprevzete modele. Prisvajanje tujegapoteka skozi filter avantgardnihpostopkov (kolažiranje), filozofijo nedoločenosti, časovno odvijanje glasbe ali pa ga spreminjajo v gradivo recikliranja (remakea).
Dane Zajc, one of the most prominent Slovenian poets of the twentieth century, repeatedly thematized man's solitude, desperation, and other states of mind. This paper analyzes three selected poems by ...Zajc. In "The Giant Black Bull" he combined two types of speech, which could be ascribed to one or two different speakers. The main character, the bull, is characterized with a single act that invites different interpretations. In the fourth poem from the cycle "Two'" narration is combined with direct speech; again, characters and their dispositions, revealed by actions, speech, and figurative descriptions, are essential for understanding the poem. The poem "The Ear of the Mountain" diverges because the speaker's consciousness tries to merge with some mysterious force that surrounds and transcends it. This article applies some narratological findings about the presentation of the mind in novels to lyric poetry through the study of Dane Zajc's poetry. Traditionally, interpreting lyric poems includes (re)construction of the speaker, and narratology can provide useful tools to broaden the analysis. I propose that studying the presentation of the mind in lyric poetry raises two questions: 1) Who attributes states of mind to whom? and 2) What techniques are used to attribute states of mind? In lyric poetry, (implied) authors, speakers, and (implied) readers usually attribute states of mind to speakers; compared with narrative fiction, characters' consciousness seems to be represented less often in lyric poetry (most obviously in dramatic monologues), and it is not usual for characters to attribute states of mind to other characters. Regarding techniques, one should observe categories for discourse presentation and the use of figurative or literal expressions. Key words lyric poetry? narratology? mind? Slovenian poetry? Dane Zajc
In the article I shall, on the example of the European poet and translator Alojz Gradnik (1882–1967), shed light on the impact of multiculturalism, multilingualism and ideological dichotomy on ...literary production and literary reception. Gradnik himself was in fact multicultural and multilingual, which was, however, unacceptable in his lifetime due to the specific social and political context. Gradnik thus gave up the multicultural and multilingual dimension. But due to this very element that he had denied himself, he was split within himself, which was reflected in his literary production; that is, in his poetry as well as in his translations of literary works. On the other hand, the image of Gradnik as a multicultural and multilingual author was exploited by the European totalitarianisms, therefore Gradnik as an author suffered a paradoxical fate.
This article discusses the development of the lyric subject in the first five poetry collections by Gregor Strnisa, in which the interpretation is based on Strnisa's own poetry, the sources that he ...knew and used (especially Weizsäcker's explanation of quantum mechanics from a comparative perspective with Kant's transcendentalism), and of course his poetological text Relativnostnapesnitev (The Relativity Poem).
Following the convening of Hong Kong International Poetry Nights 2011, The World of Words is a collection of selected works by some of the most internationally acclaimed poets today. The poem of "To ...Read: To Love" by Tomaž Šalamun (Slovenia) is finest contemporary poetry in trilingual or bilingual presentation.
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