Članek o ekfrazi pri Romanu Melodu se opira na pojmovanje ekfraze v kontekstu bizantinske retorike in literature. V skladu s takšnim pojmovanjem, ki je v temelju enako starogrški retoriški teoriji in ...praksi, kakor jo najdemo v retoriških učbenikih, imenovanih Progymnasmata, je najpreprostejša opredelitev ekfraze takšna, da gre za govor, ki prinaša svoj predmet živo pred oči. Tako je jasno, da je sedanja opredelitev ekfraze kot pesniškega opisa slikovne, kiparske ali arhitekturne umetnine izrazito moderna. Po uvodnem razčiščenju glede terminologije članek obravnava ekfrazo pri Romanu Melodu, slavnem bizantinskem himnografu iz 6. stoletja, ki je avtor številnih kondakijev. Tu gre za nekakšno liturgično himno, ki je znana po številnih pesniških strategijah in velja za vrhunec bizantinske poezije. Romanova raba ekfraze v bibličnem kontekstu je vendarle na neki način zadržana. Toda z naturalističnim opisom pokola nedolžnih otrok, ki presega poročilo iz Matejevega evangelija, in zlasti s tematizacijo na novo zgrajene Hagie Sofie, ki jo plastično imenuje tudi Božji prestol, Roman vendarle postavi vodilni ton bizantinski ekfrazi.Druga arhitekturna ekfraza prihaja od nekega drugega bizantinskega pesnika iz 6. stoletja, Pavla Silentiarija. Njegovo najslovitejše delo je Descriptio ecclesiae Sanctae Sophiae. Še posebno ob opisu kupole Hagie Sofie, nekdaj največje cerkve krščanstva, ki se opira na antitetiko svetlobe in teme, spoznamo, da svetloba rabi za epifanično izkušnjo: Hagia Sofia postane snovno izkazovanje Božjega razodetja. Ekfraza tako pri Romanu kot pri Pavlu Silentiariju postane retoriško sredstvo za izrekanje neizrekljivega.
Nakon što je Heinrich Wölfflin uveo pojam baroka u povijest umjetnosti, taj se izraz brzo proširio na sva područja humanistike, nalazeći svoje mjesto i u znanosti o književnosti. Usporedno s takvim, ...u osnovi historijskim razumijevanjem, od Nietzscheova se doba razvijalo i transhistorijsko shvaćanje baroka kao dekadentnog stila koji se može javiti u svakoj epohi. U posljednjih nekoliko desetljeća književna teorija izrodila je i pojam „neobaroka“, kako bi razjasnila konstrukciju alternativnih povijesti modernosti, imunih na esencijalističku logiku suvremenog kapitalizma. U članku se, nadalje, oslanjam na „heterološku“ interpretaciju modernosti kakvu je razvio francuski teoretičar Michel de Certeau. On je u djelu
La Fable mystique
(1982) ustvrdio da u baroknoj mističkoj književnosti odlučujuća uloga ne pripada radikalnom prijelomu sa srednjim vijekom, već da je riječ o novom načinu uporabe (
re-employment
) postojećih diskursa, koji izbjegavaju svako zatvaranje u okvire institucije. Uvjet mogućnosti takvih diskurzivnih strategija je poseban odnos prema radikalnoj drugosti. Iz takvog odnosa ne nastaje stabilni kartezijanski subjektivitet, već subjekt koji biva za drugog/Drugoga. Pretpostavka da je mistična književnost simptom modernosti kao takve utire put uvidu u izvorni, „atopični“ prostor, koji nadilazi puke društvene i političke projekte emancipacije. Tu je riječ o svojevrsnom transcendentalnom razumijevanju modernosti kao uvjeta mogućnosti onog modela subjektivnosti, diskurzivnosti i prakse koji je svagda usmjeren ka jednoj heterološkoj etici.
After Heinrich Wölfflin introduced the notion of Baroque in the history of art, the term rapidly expanded to all areas of humanities, including the realm of literary studies. In parallel with this historical understanding, the transhistorical understanding of Baroque as a decadent style that can occur in every epoch was developing, at least from Nietzsche’s era on. In the last decades, literary theory has developed the term “Neo-Baroque” in order to clarify the construction of alternative histories of modernity that would be immune to the essentialist logic of modern capitalism. In the article, I draw on the “heterologic” interpretation of modernity developed by the French theoretician Michel de Certeau. In his work
La Fable mystique
(1982), he argues that Baroque mystical literature does not establish the radical rupture from the Middle Ages, but rather a new mode of uses (
re-employment
) of existing discourses, which avoids any closure within the frames of institutions. The precondition of such discursive strategies is a special relationship to radical alterity. Such a relationship does not foster stable Cartesian subjectivity, but rather a subject that is for the other/Other. The assumption that mystical literature functions as a symptom of modernity in general paves the way to an insight into the originary, “atopic” space that goes beyond the mere social and political projects of emancipation. What is at stake here is a kind of transcendental understanding of modernity as a condition of the possibility of the subjectivity, discursiveness and practice, which are focused on a heterological ethics.
The relationship between literature and painting is addressed by Milovan Novako vić who discusses D. H. Lawrence's understanding of painting and his role as an art historian. ...in its purest form, ...poetry must become an expression and imprint of this unfathomable through the literary language. According to the author, Brane Senegačnik, this form of poetry is facing challenges in contemporary culture due to the so-called anthropological reduction, resulting in decreased understanding and marginalization of poetry.
Če je Origen v okviru tedanje helenistične filozofije vedno govoril o zvezdah kot o zunanjih kozmičnih bitnostih, ki so precej podobne angelom, le da imajo snovna telesa, pa so njegov poznejši učenec ...Evagrij Pontski in za njim nestorijanski sirski mistiki 7. in 8. stoletja takšna kozmološka razglabljanja v okviru svoje mistike izrazito radikalizirali. Zvezde zanje niso več objekti zunanjega sveta, ampak brezoblični liki na firmamentu uma oziroma duše. In ultima analysi pa je zvezda »šifra« za dušo samo, ki se zedinja s primordialno svetlobo Sonca, se pravi Boga. Takšna do skrajnosti »interiorizirana« astronomija oziroma astro-logija je edinstven pojav na poligonu poznoantične religioznosti, ki doslej v strokovni literaturi še ni bil obravnavan.
Razprava se ukvarja s poezijo Tomaža Šalamuna, in sicer skuša ovrednotiti njegov izjemno obsežen pesniški korpus v celoti. Najprej ponuja kratek (nepopoln) pregled pomembnejših kritiških in ...literarnozgodovinskih ocen Šalamunove poezije, potem pa analizira njegovo afiniteto do religioznega diskurza, ki ga ustvarjalno vpleta v svoje pogosto disjunktivne pesniške kompozicije. Vprašanje, ki se ob tem postavlja, je, ali gre tu v temelju za izrekanje neke religiozne izkušnje oziroma hrepenenja po njej in s tem za poezijo, ki izreka neki »metafizični« smisel, ali pa gre samo za simulacijo religioznega jezika in tako za »poezijo površine« v neoavantgardnem ključu? Ob pomoči Derridajevega koncepta »neodločljivosti« članek pokaže, da je Šalamunova poezija strukturirana tako, da se je nemogoče odločiti tako za eno kot za drugo opcijo. Na koncu članek opozarja na to, da je Šalamun pomembno vplival tudi na srbsko pesništvo od sedemdesetih let 20. stoletja naprej. Kratka analiza pesmi »Šalamun« Nenada Jovanovića ponuja spodbudo za ta slabo raziskani literarni vpliv slovenske literaturo na srbsko.
Razprava tematizira lik Antigone v evropski literaturi, in sicer od antike do konca srednjega veka. Po obdobju klasične grške tragedije (Ajshil, Sofokles, Evripid) je Antigona kot literarna figura ...doživela najizrazitejšo predelavo v rimski dobi, v Senekovi tragediji Feničanke in Stacijevem epu Tebaida. V obeh delih je Antigona kljub dokaj aktivni vlogi zaznamovana s stoiškim determinizmom. V srednjem veku je Antigona precej marginalen literarni lik. Nanjo naletimo predvsem v bolj ali manj svobodnih adaptacijah Stacijeve Tebaide, kot sta srednjeveško irsko prozno delo Togail na Tebe (Uničenje Teb) in francoska epska pesnitev Roman de Thèbes (Roman o Tebah). Na sporadične omembe Antigone pa naletimo tudi pri Danteju, Boccacciu in Christine de Pizan. Razprava ugotavlja, da gre v srednjeveški literaturi pri tematizaciji Antigone pogosto za preplet dveh mitoloških likov (in izročil), tebanske in (veliko manj znane) trojanske Antigone. Takšna literarna contaminatio (kontaminacija) obeh Antigon je najvidnejša v Chaucerjevi epski pesnitvi Troilus and Criseyde (Troil in Kresida). Razprava se na koncu dotakne tudi humanistične recepcije Antigone in opozori na hermenevtični problem literarne recepcije Antigone na splošno.
This article discusses the concept of intermediality, comparing traditional visual poetry and contemporary digital poetry. It shows that today’s somewhat fashionable concept of intermediality can ...actually be traced in the transposition of the classic concept of intertextuality from philosophical discourse, especially as developed by Barthes and Kristeva, to the domain of mediological discourse. The article briefly summarizes the tradition of visual poetry from antiquity to modernism, emphasizing its structure as basically concrete; that is, it implies a material and medial component of language or writing (écriture). This structure calls attention to its self-referential and referential aspect. The digital poetry that continues the line of development of concrete poetry, as it appeared in the 1950s and 1960s, belongs to a broader area of new media poetry that includes any experimental poetry that uses the “new” media. The problematic concept of intermediality can best be explored in a digital environment such as the holographic poetry (or holopoetry) of the noted and versatile contemporary Brazilian artist Eduardo Kac. Kac’s holopoetry is a special space-time event in the context of the holographic projection of the text in order to display its multilinearity, which primarily means breaking with the linearity of classic poetry printed in a book. Based on an examination of Kac’s holopoem “Havoc” from 1992 (in this example, the poem’s graphic integrity is temporarily lost), the paper challenges the simplistic deconstructivist interpretation that is applied to Kac’s poems and often to digital poetry in general: namely, that these poetic events can most persuasively be seen as figures for the unattainability of “pure” presence/absence, materiality/immateriality, reality/virtuality, and so on. The author argues that the “polluted” reading as a reading against metaphysics and tradition in the case of new-media poetry is unconvincing because the visually evident and naïve representation of a (would-be) Derridaean différance is nothing more and nothing less than the Baudrillardean simulacrum: an imaginary representation of the unreal. The author concludes by suggesting that the basic intermedial problems of contemporary digital poetry remain the same as in traditional visual poetry; that is, that they are only reproduced in the new media environment. Their new “materiality” and the extensive possibilities of technical manipulations that they offer should not deceive us that they ipso facto imply completely new ontological dimensions.
Broadly speaking, spirituality is essentially existential phenomenon, yet never being merely a subjective appropriation of religion. ...spirituality has nothing to do with the esoteric, hermetic, the ...intrusion of marvelous, extraordinary. ...there is something that we might call "hori- zontal" notion of tradition that is attuned to the historicist conception of history as successive progression of time, epoch, and periods. (34-35) While we may not have succeeded to give comprehensive picture of European spiritual traditions as they are manifested in literature (that would be too ambitious), yet to a various degree we have attempted to pluralize, as much it was possible, the historical context of European spirituality. Besides Christianity, we have been able to include the influence of Jewish and Muslim mysticism on European literature.
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