Malo v živo in bolj skozi knjige Novak Popov, Irena
Jezik in slovstvo (Tiskana izd.),
04/2024, Letnik:
69, Številka:
1-2
Journal Article
Recenzirano
This article deals with four books by Matjaž Kmecl, which belong to the early period of his writing academic and student manuals (Mala literarna teorija / Little Literary Theory, Od pridige do ...kriminalke / From Sermon to Criminal Story, Rojstvo slovenskega romana / The Birth of the Slovenian Novel) and a collection of essays (Slovenska postna premišljevanja / Slovenian Lenten Meditations). I present them in a way that summarizes Kmecl’s innovations in literary-historical writing, while at the same time recreating the experiences of a student on the path of becoming a professional reader. The discussions on the rise of the Slovenian bourgeoisie and fictional storytelling in the second half of the 19th century, as well as the reflections based on personal experiences from the times of crisis just before the dissolution of the Yugoslav federation, are permeated by the same attitude from the author: a witty discovery of the natural primordiality and integrity of existence, a tireless gathering of evidence for perseverance, defiance, vitality and faithfulness in the face of despondency, fear, and inhibition. This attitude is rooted in Kmecl’s insightful analyses of the literary past and evolves into a sympathetic assessment of contemporary anomies. In the former, in particular, he recognizes the rich cultural capital that generations of creators have accumulated, despite weak political and economic power, and passed on to their contemporaries and successors with the hope for a self-confident survival of the Slovenian people.
Prispevek obravnava štiri knjige Matjaža Kmecla, ki sodijo v zgodnje obdobje njegovega strokovnega in priročniškega pisanja (Mala literarna teorija, Od pridige do kriminalke, Rojstvo slovenskega romana) in zbirko esejev (Slovenska postna premišljevanja). Predstavljam jih tako, da povzemam Kmeclove novosti v literarnozgodovinskem pisanju in ob tem hkrati obnavljam doživljanje študentke na poti preobrazbe v strokovno bralko. Razprave o vzponu slovenskega meščanstva in proznega pripovedništva druge polovice 19. stoletja ter premišljevanja na podlagi osebnih izkušenj iz kriznih časov tik pred razpadom jugoslovanske federacije preveva enaka avtorjeva drža: duhovito odkrivanje elementarnosti in celovitosti življenja, neutrudno zbiranje dokazov za vztrajnost, kljubovalnost, vitalnost in zvestobo nasproti malodušju, strahu in nesproščenosti. Taka drža izvira iz Kmeclovih pronicljivih razčlenjevanj literarne preteklosti in se razvija v prizanesljivo ocenjevanje sodobnih anomij. Predvsem v prvi prepoznava bogat kulturni kapital, ki so ga kljub šibki politični in gospodarski moči nakopičile generacije ustvarjalcev ter ga z upanjem v samozavestni obstanek slovenstva predajale sodobnikom in naslednikom.
Ker sodobni pesniki se nekaj casa ne bodo uvrsceni v najelitnejso izdajo klasikov, Zbrana dela slovenskih pesnikov in pisateljev (izjeme so Karel Vladimir Truhlar, Kocbek in Udovic), in ker zgodnjih ...zbirk ze dolgo ni na trziscu, se je podjetna Studentska zalozba lotila izdajanja zbranih pesmi klasikov modernizma. Zaceli so s tistimi, brez katerih je sodobna poezija nezamisljiva: Strnisa (Zbrane pesmi, 2007), Dane Zajc (V belo, 2008), Kovic (Vse poti so, 2009), Salamun (Kdaj, 2010), Niko Grafenauer (Diham, da ne zaide zrak, 2010), Jesih (Zbrane zbirke, 2012). Levji delez pri urejanju in pisanju spremnih studij ima pesnik in esejist Ales Ales Steger. S pretanjenim dialogom je opremil Strniso (dokoncno utrdil pomen pesniske kozmogonije, ki z vesoljsko zavestjo izstopa iz antropocentricnega racionalizma); D. Zajca (prebral skozi negativno teologijo, horizont absolutnega, derridajevsko vecglasno izrekanje, sevanje misticne beline skozi temo, izbranost samana); sfingicno skrivnostnega in resnobnega Grafenauerja (skozi Rilkeja, Mallarméja, Celana ter skozi pesnikove avtopoetoloske eseje o neizrekljivi biti, izmuzljivosti absolutnega, palimpsestni in labirinticni teksturi). Boris A. Novak je v prezentaciji Kovica poudaril simbolisticne postopke in zvestobo klasicnim verzno-kiticnim oblikam v poeticnem jeziku, ki deluje naravno, in ob tem v skladu s splosnim obratom k tradiciji izrazil skepso do apologije prostega verza. Vrednost spremnih besed je povzemanje in poglabljanje vednosti, odkrivanje neopazenih razseznosti zaradi vpletanja novih primerjav in premikanje vrednostnih poudarkov. Najdebelejsa je Salamunova knjiga z izborom iz 40 zbirk, zgodnjimi besedili zunaj prvenca in novimi pesmimi. Njena posebnost je sest (ponatisnjenih) zapisov o Salamunovi poeziji; treh slovenskih in treh tujih avtorjev. Ivo Svetina spominsko obnavlja ozracje ob izidu pesmi v Nasih razgledih in belezi subverzivni ucinek zbirke Poker s pomocjo Pirjevceve maksime o koncu »presernovske strukture«: »Tomaz Salamun je ... obudil uspavani in omrtviceni slovenski poesis, ki je vse nebivajoce in neobstojece spreminjal v bivajoce in obstojece« (Svetina 2010: 912). Taras Kermauner se ob paradoksih iz zbirke Maske sprasuje o pesnikov veri (metafiziki z Logosom), nihilizmu (neesencialnemu kodu zamenljivih znakov) in osebni identiteti. V premisleku vrstnika, umetnostnega zgodovinarja Tomaza Brejca, iz druge izdaje Pokra (1989) je pesnik oznacen z izrazi eleganca, mobilnost, hitrost, elitno znanje, ociscevalno delo z besedami, metonimicna kontigviteta, zivljenje in govor zdaj, imaginarna in realna svoboda, ki je vzorec za prezivetje modernega cloveka. Se posebej zanimivi so pogledi od zunaj, pricevanja prevajalcev, kritikov in pesnikov. Ameriski pesnik Joshua Beckman, se je brez znanja slovenscine srecen preselil v drugega in ob tem namesto zgodovine dozivel umetnost prisotnosti, ki »je na sebi in po sebi najvecja potrditev zivljenja.« (Beckman 2010: 970). Makedonska pesnica Katica K?julavkova strne lastnosti v podobno formulacijo: »kaze silno voljo in moc po prisotnosti v pesniskem svetu/sliki sveta tukaj in zdaj« (K?julavkova 2010: 978). Mobilnost razlaga kot stremljenje k ustvarjalni drugacnosti, ki se z lahkoto umesca v mednarodne sisteme pesniskih vrednot in v njih deluje kot prepoznavna identiteta s silnim individualnim pecatom. Drugacen pogled od slovenskih izraza ameriski kritik Kevin Hart, ki v poeziji Praznika in Balade za Metko Krasevec vidi mnogoterost, prisotnost otroskega ugodja, poeticno razsirjanje izkusnje, raziskovalno potovanje in tveganje nepredvidljivega, iskanje nacinov uresnicevanja presezka, ki naso izkusnjo zbega. Kritisko presojo in popularizacijo druzbeno vse manj relevantne poezije11 dopolnjujejo antologije, ki razsirjajo kanon in v spremnih besedah prinasajo pomembne uvide o celoti, ceprav ne izhajajo pri osrednjih nacionalnih zalozbah. Najobseznejsa je antologija slovenske poezije 20. stoletja Nevihta sladkih roz (2006) s 103 pesniki in 371 besedili, ki jih urednik Peter Kolsek zajame v dve megastrukturi: nacionalno in socialno vezano presernovsko ter avtonomno, subjektivisticno, eksistencialisticno, metafizicno in jezikovno odprto murnovsko strukturo, ki dominira v sodobnosti. Antologijo mlade slovenske poezije 1990-2003 Mi se vrnemo zvecer (2004) je uredil, s podatki o 19 avtorjih in spremno besedo opremil Matevz Kos. Samo prezrtim, pozabljenim pesnicam, ki ostajajo na obrobju literarne zgodovine, je posvecena obsezna Antologija slovenskih pesnic Irene Novak Popov, ki v drugi (1941-1980) in tretji knjigi (1981-2000) predstavi reprezentativne dosezke stotih pesnic. Praznino, ki je posledica cenzurno-ideoloske zamolcanosti, je izpolnila antologija slovenske zdomske poezije Beseda cez ocean (2002). Izbral, uredil, s podatki o 25 avtorjih in tehtno presojo zdomskih usod in z zgodovino ustvarjalnosti preseljenih jo je opremil France Pibernik. Tematsko specialna je antologija slovenske eroticne poezije V tebi se razrascam (2008) Alojzije Zupan Sosic. Njeno tezisce je v sodobnosti: »pravi razcvet je dozivela ... po letu 1966« in je »v zadnjih dveh desetletjih postala celo osrednja os sodobne slovenske poezije« (Zupan Sosic 2008: 169). Teoretski model iz spremne besede omogoca razlikovanje med pornografijo in erotizirano ter eroticno pesmijo. Odlocilen je nacin ubeseditve: vrste lirskih situacij, nabor eroticnih izrazov, zgradba stopnjevanja in odlasanja, intenziteta, ki tezi v senzualnost. Integralno podobo sodobnosti dopolnjuje antologija sodobne poezije Slovencev v Italiji Rod Lepe Vide (2009), izbral, uredil in spremno besedo napisal David Bandelj. Njeni avtorji so pogosto izkljuceni iz literarnega sistema, ker »se le malo raziskovalcev celostno zanima za ta ... pesniski korpus« (Bandelj 2009: 373). Na podlagi tipologije, ki jo je po Mariji Pirjevec dopolnil Miran Kosuta, se piscu spremne besede opusi 42 pesnikov kazejo v razpetosti med domacijsko in svetovljansko naravnanostjo, ekistencialno jih doloca prostor/meja, nekateri se navezujejo na ljudsko in literarno izrocilo, drugi z imaginacijo lastnih svetov premagujejo mucno zaznamovanost s preteklostjo.
This paper analyses Engel des Vergessens by Maja Haderlap, an autobiographical narrative on formation in a traumatized Slovene family in Carinthia. In the family narrative spanning over three ...generations the political and national conflicts are presented on intimate and emotional level to reveal the supressed cultural memory of the Slovene minority, particularly its original trauma, the resistance to Nazism, by which the sliding into social and cultural second-class status and extinction began. By means of exceptional sensitivity, palpability, and poetic language, a sign of faithfulness and pride of the oppressed ones, the author has succeeded to present the peripheral Slovene culture as central to contemporary intercultural dialogue between the co-existing nations.
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).
Pričujoči pregled ne teži v absolutno izčrpnost, ampak predstavlja žanre strokovnega pisanja za različne naslovnike in rabe. Poleg strogo znanstvenih tekstov zajema tudi bolj esejistične, ...interpretativne in strokovno informativne. Iz monografij, študij in spremnih besed je vidno prizadevanje po razvidu v tem obsežnem, komaj obvladljivem delu literarne ustvarjalnosti. Količina in razvitost pesništva je v obratnem sorazmerju z njenim položajem med literarnimi zvrstmi, ko je iz nekdanjega središča zdrsnilo v neslišno obrobnost in uživanje izbrancev. Ti so profesionalni poznavalci z univerz in inštitutov, kompetentni v literarnovednem diskurzu, ki ga rabijo za specialistični opis izbranih segmentov, ter ljubitelji, med katerimi je največ pesnikov, ki pogosto prevzemajo vloge razlagalcev, urednikov in posredovalcev.
The paper presents the segment of Slovene culture in Venetian Slovenia. Since its incorporation into Italian state in 1866 this region has been affected by the lack of Slovene intellectuals, of ...institutions and of socialization to elite art forms by means of education. The consequence was that culture could only grow as amateur creativity Talented individuals organised in local cultural societies have tried by means of culture to prevent the destructive effects of assimilation, rise people's self-confidence, consolidate its communication in regional dialects and provide for entertainment. An outstanding role in this mission has played the annual Venetian Slovenia Song Festival that has continued to take place from 1971 until today in the village Lese.
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.
Ako bi neko želio predstaviti savremeni presjek kroz slovensku poeziju, moguće je da bi odustao već na prvom koraku: među članovima Društva slovenskih pisaca (DSP) oficijelno je registrovano 119 ...pjesnikinja i pjesnika (spisak navedenih imena, također, sadrži nekoliko već pokojnih), a osim toga stvara najmanje još toliko autora, koji svoje pjesničke knjige izdaju u vlastitoj nakladi ili uz podršku lokalnih zajednica.
ŠTIRI ŽENSKE AVTOBIOGRAFIJE Novak Popov, Irena
Philological studies (Skopje),
2008, Letnik:
6, Številka:
2
Journal Article
Recenzirano
Odprti dostop
The paper presents four Slovene autobiographical novels: Podobe iz mojega življenja (1964) by Ilka Vašte, Ure mojih dni (1985) by Mira Mihelič, Zaznamovana (1992) and Saga o kovčku (2003) by Nedeljka ...Pirjevec. Two decades separate respectively the three women writers by their years ob birth and by the publication years of their last works, which should allow for a comparison of the writers' life stories as well as for a respective autobiographical subject construction. The comparison demonstrates a development of self-consciousness, of acceptance and deconstruction of social roles and of the situation of women in society. The subject has undergone a change from a strong, competitive, rebellious woman, willing to succeed in public sphere, to a softened, yielding, responsive being, eventually ending in an apparent subordination which in fact equals the capability of allowing the other to be and thus overcoming the relation of rivalry between sexes. In this manner essentialist (fatalist) concept of gender is surmounted and a shift into historically variable social constructions of sex roles is achieved. At the same time narrative strategies evolve: a simple dialogue between the narrator and the autobiographical heroine grows into a polyphonic literary structure, the autobiography acquires fictitiousness, and the traditional realistic manner of
narration withdraws before minutely elaborated and disseminated modern writing.
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