The central theme of this article is hybridization in the field of American and post-Yugoslav poetry. Hybridization raises the question of the status of experimentation in the field of poetry ...production, and with that in mind, I juxtapose American and post-Yugoslav poetry. I posit that a strong anti-lyrical paradigm was established in post-World War II American poetry, especially in the 1970s. This was possible thanks to the activity of the Language poets who simultaneously emerged as theorists, which coincided with the turn toward theory. The hybrid poem was the result of the response of mainstream poets who took up the procedures of Language poetry and hybridized them with the lyric paradigm. On the other hand, I argue that in post-Yugoslav cultures, where the lyric paradigm has reigned almost continuously since World War II (with a brief interruption in the 1960s) elements of the experiment have returned in an amalgam of hybrid poetic procedures. Therefore, I discuss here four books by post-Yugoslav women writers Snežana Žabić, Ana Seferović, Ivana Sajko, and Nina Dragičević, highlighting the constitutive elements in their hybrid structures. Since their books are socially and politically engaged and contain documentary material, and since an important source of their hybridity is the stimulus coming from the performing arts, I place their work in the broader context of these contemporary trends.
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
In order to explain the popularity of Instagram poetry, and of the Instapoet Rupi Kaur in particular, we have positioned it within the contemporary context of the changing poetic field, the context ...of popular media culture and the consumer society of late neoliberal capitalism. From a complex language construction requiring in its reception an educated reader, poetry has become simple, communicative and accessible to all. At a time when neoliberal capitalism appropriates, absorbs and alters every marginal practice, adjusting it to its needs, poetry has acquired a utilitarian value. The most interesting example of this utilitarian value can be found in the poems of Rupi Kaur, a Canadian poet with a South Asian background. Her poetry functions as self-help literature. Kaur defines herself as a feminist, which we have positioned within the context of neoliberal feminism, which has features in common with postfeminism and celebrity feminism. Postfeminism is a blend of feminist and antifeminist world views, and has contributed to the construction of new femininity. In the contemporary late neoliberal age it acquires a significant form in hyperfemininity as an unquestionable ideal omnipresent in the media, which all women must aspire to in order to be accepted by society. Kaur’s Instapoetry has appropriated feminist (intersectional) ideas for its (neoliberal) objectives. She provides advice on how to overcome painful relationship breakups, violence, racism, misogyny, the patriarchy and classism. This is realized through the use of formulas offered by New Age alternative spirituality. It is this spirituality that has been absorbed by neoliberal capitalism and incorporated into all aspects of services, in order to make the ruthless exploitation of workers in precarious jobs more bearable. Remediation is characteristic of Instapoetry. Poets use old and new media: drawings, handwriting or typewriting, photography, which is mediated by the digital technology of Instagram. In addition, they perform live in front of an audience, and an analysis of Rupi Kaur’s performances clearly shows that these are mass media events; thus Instapoetry can be understood as a specific form of popular media culture intended for a mass audience.
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.
U radu se bavimo nekonvencionalnim odnosom prema religiji i duhovnošću dvojice autora – Pjera Paola Pazolinija, italijanskog levičara, esejiste, književnika i reditelja, kao i američkog ...pesnika-antropologa, antologičara i performera Džeroma Rotenberga. Oni su delovali u različitim kulturnim kontekstima (katoličkoj Italiji i multikulturalnoj Americi) i u različitim umetnostima, ali su u svom radu razvijali ambivalentne i subverzivne taktike pokazujući neortodoksno shvatanje religije i duhovnih tradicija. Pazolini se u filmovima bavio ranim hrišćanstvom, kritkujući crkvu kao instituciju. Rotenberg se bavio različitim duhovnim tradicijama u rasponu od američkih starosedelačkih, hrišćanskih, budističkih i jevrejskih tradicija. Obojica implicitno i eksplicitno kritikuju religiozne ortodoksije i zalažu se za transformaciju religioznih i duhovnih praksi u skladu sa savremenošću. U radu ćemo se usredsrediti na različite subverzivne taktike koje su razvili.
The paper addresses experimental poetry in the US and in post- Yugoslavian cultures. I will discuss the possibilities of contemporary experimental practice and the phenomenon of hybrid poetry.
In this paper I will develop a gender critique of scientific and medical idealizations of the human body and its health, which was performed out of gender and feminist studies, pointing also to ...women’s art. In the discourses of medicine, healthy and beautiful human – and especially the female human – body is revealed as an ideological construction, an affective agent and a biopolitical ideal that controls and regulates gender differences. My intention is to demonstrate that the discourses of medicine, feminism, and art are in a dialogue historically in relation to these topics. Following Tasha N. Dubriwny’s discussion of medical discourse and practice, I will map three phases in the development of Western medical discourses and point to the fact that they are in dialogue with feminist discourses and with the way how art treats and represents beautiful bodies, and/or sick bodies, with particular focus on female bodies. Discussion of the first phase of medical development points to the fact that visual art and photography were used to performatively help doctors to construct the female body as sick and deviant, as Didi Huberman showed. The second phase was the medicalization era, in which human bodies are expected to adhere to a standardized norm. In this period, within the framework of second wave feminism, feminist health activists appeared, forming the women's movement for health. Special attention will be directed to the third phase, the biomedicalization era or inclusion-and-difference paradigm, in which postfeminist discourses appeared and in relation to which I will discuss artworks by Hannah Wilke, Katarzyna Kozyra, and Orlan.
In this article, I will discuss the appearance and meaning of the terms feminist avantgarde and feminaissance. I will point to the differences in the mediums of these two fields of cultural ...production (verbal art and visual art). I am interested in the way these terms help us to construe histories but also impact the contemporary production of radical feminist practices. The notion of the feminist avant-garde was introduced by the American critic Elizabeth A. Frost in 2003 in order to point to the feminist avant-garde poetry tradition. In 2016, the curator Gabrielle Schor introduced the same term, using it for the international exhibition of performance artists from the 1970s. In both fields, the term avant-garde had been used to refer to male artistic and poetry practices. By applying it to radical women’s poetry and performance practices, these practices became visible, valued and recognizable. Feminaissance was introduced in the US in 2007 and referred to the several exhibitions dedicated to female art. The term expressed the optimistic re-actualization of female art, but at the same time, it provoked polemics regarding the contemporary construction of feminist art history. In the field of experimental poetry, feminaissance was used with the same meaning in 2007, at a conference dedicated to feminist experimentation. Within the visual arts, the term feminaissance foregrounded the problematics of the historization of female art, while in experimental poetry this discussion took place around the feminist positions of essentialism and anti-essentialism.
Performans poezija pripada radikalnim umetničkim ili, uže, pesničkim praksama. možemo upotrebiti i termin avangardne prakse u smislu označavanja radikalnih pristupa umetničkoj pa i pesničkoj ...proizvodnji u rasponu od istorijskih do savremenih. Avangardne prakse odlikuju pre svega performativni činovi. Kako bi se prešlo preko uspostavljenih granica koje odvajaju različite umetnosti u zapadnom sistemu umetnosti, performans je delovao kao forma u zapadnjačkom čime dovodi u pitanje granice. Pojavio se tokom 50‑ih i 60‑ih, a u 70‑im godinama 20. stoleća postao je dominantan u eksperimentalnoj umetnosti. Pojam performansa je ukazivao na to novo transdisciplinarno polje. U ovoj dinamičnoj revoluciji, nestabilan je postao odnos između disciplinarnosti polja definisanih umetnosti i ovog novog polja koje se pojavilo. Pa ipak, performans se najčešće vezivao za vizuelne umetnosti jer su se one potpuno transformisale napustivši tradicionalne medije slikarstva i skulpture, prigrlivši tada nove medije. Danas primećujemo kako se polje studija performans poezije globalno formira u brojnim teoretizacijama, koje pokazuju da je performans poezija za razumevanje problematično mesto kulturalne proizvodnja iz bar tri razloga i da se mora jasno definisati.
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