Pesem ?Teorija strun? kot prvo nagovarja odnos med poezijo in njenim tolmačenjem (na ozadju teorije, fizike, psihoanalize ali celo filozofije). Včlanku vpeljem nekaj konceptov, ki se osredotočijo na ...?madež?pesmi. Tega sproži jalovost iskanjapomena konvencionalne interpretacije pesmi. Da bi lahkoposegel onkraj uveljavljenega načina tolmačenja, se naslonim na vprašanje notranjega zdaj-časa in nezavednega pesmi. Kako se zgodi pesem? Kdaj pride do njene uresničitve? Interpretativna aktualizacijapesmi mora izbrisati kakršnokoli konkretno individualnost. To, kar velja za nezavedno v Lacanovi psihoanalizi, velja tudi za poezijo: delovanje nezavednega se pokaže v njeni deformaciji, ne pa v vsebini. Torej vsaka subjektivnost (lirični subjekt), ki se ohranja, usmeri pozornost bralca na tako deformacijo, na madež, na krik vpesmi. Kako se madež oblikuje tako, da gre za pesem (jalove ljubezni, melanholije), ne pa na primer za fizikalno teorijo ali za mistično kontemplacijo božanske luči? Pesem ?Teorija strun? vibrira med okruški sanj in potlačenim, ?zapackanim?spominom travmatičnega jedra, kipoganjaponavljanje nelagodja tesnobe in stresa. Upam, da bo moje interpretativno ukvarjanjes pesmijo ?Teorija strun? izzvalo vznik eksistencialne Stvari, ki se nam bo ponudila kot dar v neznosnem izmikanju. In prav toje tisto, kar pripisujemo učinku poetične diskurzivnosti.
The ethics of literature is defined by the imperative not to give up the workings of the unconsciousness. Literature is poiesis, creating, becoming, an event of being (Seyn). "The art belongs into ...the event of being" (Ereignis). On that background it is possible to figure out the incredible importance of the famous saying by Samuel Beckett from Worstward Ho: "Try Again. Fail again. Fail better." (Worstward 81) And with the famous end words of the novel Unnamable: "II don't know, I'll never know: in the silence you don't know. You must go on. I can't go on. I'll go on." (116) Beckett wrestles with the silence, he circles around the silence, which is impossible to catch by words. "The silence is the Real, so far it resists to be symbolized by language, though it is the very it that frames the symbolic before and after." (Chattopadhyaya 51) Lacan coined the neologistic term extimacy to address that inner nature of the Real. The extimacy offers the answer to the hermeneutic question of ethics in literature, of an event (Ereignis) of literature as the generosity (Urbančič, O krizi 11) of being (Seyn), to the question of the unconscious workings of literature not in its aesthetics or morality (neither in its religiosity or the religious jump as Kierkegaard would suggest it), but in its extimity, the silence/abyss of being (Seyn). In a short expose I analyze the poem "Zaupanje" (Trust) by Muanis Sinanovic from his last poetry collection Dvovid (Dual seeing) in the light of the philosophical premises, schematized in the article, and show how the poet the above sketched event does not work out in the view from the outside but from the within as an event in progress, which actualizes the reader herself.
This article is a polemical analysis of the current state of the world and at the same time a manifesto. It considers the difference between the artistic creativity of the "everyday anonymous ...individual" that is artistically active, guided by the "event," and not by the neoliberal market ideology and the struggle for symbolic and material profit on the one hand, and its opposite: institutionalized art as a "capitalistic fetish." The article leans on the philosophy of Martin Heidegger to introduce a new syntagm: "the Iconoclastic Anonymity of Freedom-from-Art".
Experimental poetry highlights the hidden nihilistic essence of the neoliberal paradigm or modern scientific capitalism "after the end of history." By highlighting the structure of the bare signifier ...(without speech, without meaning) as a spatialization of the fundamental cut of (experimental) poetry and the deconstruction of the trace of the ontoteleological signification of the absent presence, god, the truth, and so on, in the structure of the sign that it performs, the signifier is established as the "space" of the truth of the essence-that is, as a live, creative, and essence-based alternative to the aggressive destruction and exploitation of global mercantilism. The author analyzes in great detail a poem by the founder of the OHO movement, Iztok Geister, and a poem by his close colleague Ales Kermauner, pointing to the fatal historical poetic turn produced by the experimental poetry of both poets in light of the deconstruction of the trace in both the narrow sphere of the literary-history re-memorizing of this poetry and the problematic general devaluation of poetry as the primary, suppressed ethical and sociopolitical abyss of the essence in the communication of the global cybernetic civilization. Both suggest a realistic revolutionary essence of experimental poetry, which academic circles have in vain sought to suppress or erase from the literary-history canon; from a wider perspective, the dominant media are also failing in their engagement to effectively eliminate it from the serious sociopolitical and financial-economic dialogue. Experimental poetry reveals a different and more fatal truth or essence of "literature," the world, and the relations in the world than the one sold by modern scientific and technical neoliberalism. However, the reality of the revolutionary utopia is that experimental poetry has already been created.
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
One of the most important international literary meetings has been organized in Vilenica, Slovenia since 1986. The interview with the director of Vilenica International Writers’ Gathering shows the ...history and the perspectives of the program.
Iztok Osojnik, And Things Happen for the First Time: Selected Poems Sonja Kravanja, tr. Peter Milcak, ed. Fero Malik, ill. Mississauga, Ontario Modry Peter. 2001. 75 pages Can$16.95 /US$11.95 ISBN ...0-9688720-1-8
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