The expression "barbarically primitive artist-genius" that Srecko Kosovel used in his diaries of early 1924 followed the idea of the zenithist barbarogenius because he used it together with other ...zenithist syntagms and refers to broken-down European art and its revival with the help of the elementary and wild Balkans. This was a destructive poetic phase in Kosovel's life. However, from April 1925 onwards Kosovel accepted the concept of barbarianism outside the futuristic, zenithist, and other contexts; he thus renounced definitions of this concept based in poetry studies and nationalism, and began applying a distinctly political understanding of the concept of barbarianism connected with the threat that fascism posed to Slovenians living in the Littoral region. PUBLICATION ABSTRACT
Kosovel in nadrealizem Vrecko, Janez
Primerjalna književnost,
12/2011, Letnik:
34, Številka:
3
Journal Article
This article takes issue with the hypotheses that tried to connect Kosovel only to Italian futurism or with surrealism, and shows that their authors were not familiar with constructivist poetics. ...This means they consciously ignore the numerous places in Kosovel's work that reflect his thorough knowledge of Russian and Berlin constructivism. PUBLICATION ABSTRACT
Oedipus and Joseph K Vrecko, Janez
Forum for world literature studies,
08/2011, Letnik:
3, Številka:
2
Journal Article
We could be forgiven for asking why Joseph K. was one of those modern heroes who took root, to the point of us identifying with him. We see our own fate in his, our own life's "trial". This same ...question however applies equally well to Hamlet and Oedipus. These, too, are our "alter egos" ; the latter in particular still stands for "the most versatile work of world literature" (Lesky 48). This work not only influenced Shakespeare but no doubt others as well. We shall argue that Franz Kafka was one of those. Philosophical questions about guilt and punishment, liberty, decision making, agency and death have the same weight in Kafka as they do in Sophocles. The similarities between the two are astounding, even though it might be difficult to perceive them at first sight according to Dont. A comparison of the two texts is therefore bound to open up new layers of understanding of Oedipus Rex by Sophocles. Key words Sophocles; Kafka; Oedipus; Josef K., hamartia; anagnorisis; theophany
This article deals with the time and space issues of Srecko Kosovel's conses and shows that Kosovel used them to accomplish literary constructivism in Europe. This is evident from a "geometric," ...engineering, physics, and Einsteinian analysis of Sfericno zrcalo (The Spherical Mirror). In the mirror, words are floating in space and are no longer geocentric. In other words, mirrors change the spatial dimension of the Euclidian object, which in this way "grows into space." Kosovel's engineer-like sketch of the letter K is final and two-dimensional, and is thus a part of the picture. As such, it simultaneously reaches across the edge because it creates an infinite space through mirroring. The poem's white background alternates with the space of the letter K. The pictorial effect of the K is actually an effect of the construction lines used by the poet to achieve the depth of space. It is here, but at the same time also part of the continuum outside the poem. The poem thus has no end; it reaches out into infinity or space. Through this, Kosovel achieved a Bauhausian synthesis of art within architecture. The construction of new spatial structures was accompanied by several basic principles, the interaction of planes, and the tension of space obtained by using the right angle and the diagonal, which resist closed surfaces, volumes, and the laws of static matter. This involved a process of structuring space using the principles of a dynamic interaction of elements. Velimir Khlebnikov's bidirectional poems, as a unique poetic pictorial model of a non-Euclidian conception of space, were also like this. They defied the logical categories and manner of thinking inherited from the Greeks. In his Spherical Mirror, Kosovel tells a story of what happened outside the mirror--or in reality--thus confirming the basic constructivist fact that the conses are built from real "facts" that chase away art. This also confirms the authorship in cases in which the lyric subject is banished from the poem but enters it as a constructor. In Kosovel, K as konstruktor 'constructor' and K as Kosovel the poet happen to overlap in an ideal way. PUBLICATION ABSTRACT
Kons IKARUS, TIGER in fašizem Janez Vrečko
Keria: Studia Latina et Graeca,
12/2010, Letnik:
12, Številka:
2-3
Journal Article
Recenzirano
Odprti dostop
Kosovelov postgravitacijski kons Ikarus in drugi konsi z ikarsko tematiko in načrtovana pesniška zbirkaIkarov senso ne le časovno, prostorsko, ampak tudi politično obarvani in dokazujejo pesnikovo ...intenzivno vmeščenost v osrčje konstruktivističnega avantgardizma, potrjujejo pa tudi, da je Kosovel v evropskem prostoru uspešno uveljavil literarni konstruktivizem. Z ikarsko tematiko sta dva izjemna ustvarjalca, Tatlin z Letatlinom in Kosovel z »Ikarovim snom«, sanjala »sanje, stare kot človeštvo«, da bi se z njihovo pomočjo osvobodila dveh strahotnih režimov tedanjega časa, fašizma in stalinizma. Kosovelu so bili pritem uporu zgled prav homunkuli, ki so se počlovečili tako, da so se dokopali do čustev in strasti in s tem presegli načrte svojega stvaritelja, fašistične diktature, ki jih je želela brez duše in čustev, v celoti podrejene mehaničnemu suženjskemu delu.
V razpravi primerjamo Ojdipa in Josefa K. s stališča hamartije, najpoprej kot usodne zmote in pozneje kot osebne junakove odzivnosti. Ojdipova samoanaliza in Josefov način življenja, v katerega je ...neupravičeno posegal »Z dvajsetimi rokami«, vodita v kazen, pri Ojdipu v samokazovanje, pri Josefu v brutalno usmrtitev. Pomembno vlogo na poti k anagnorisi imajo pri obeh junakih ženske, prerok Tejrezij in duhovnik v stolnici; primerjava Ojdipove smrti na Kolonu in Josefove v kamnolomu pa pokaže na obredno čistost in na razkroj obreda, hkrati pa se Ojdipova usodnost premakne v območje židovsko-krščanskega upanja.
One could hardly agree that Kosovel’s konses anticipate visual poetry; that is, that they should serve as an obvious example of avantgarde poetry that synthesizes the semantic and visual dimension. ...Kosovel’s konses belong to constructivism. The apex of the constructivist’s scale of values is occupied by architecture, which is considered a synthesis of artistic, social, and technical practice and as such is also capable of reconstructing the world more rapidly than any other artistic current. In this synthesis, the limits between “spatial” arts such as architecture or sculpture and “temporal” arts such as music, dance, and poetry, as well as the limits between spiritual disciplines and technical engineering, disappear. There was no longer any chance of speaking about either Horace’s syntagm ut pictura poesis or Lessing’s theorem developed in his essay Laocoön An Essay on the Limits of Painting and Poetry. Kosovel magnificently summarized this avantgarde tendency in Kons Z, and he recognized the synthesis of culture, politics, and arts in the domain of “new architecture for a man,” binding it with “a man with a red shirt”. Kons Sivo (Grey) articulates the basic tension of constructivism; that is, the dynamization and kinetization of poetry, and this is why the artist must act “with a sounding line in his hand, with eyes as precise as a ruler, with the soul as stretched as compasses” (Rodchenko). In this kons, sketches and letters also broke through the plane, growing into the space without losing their semantic dominating feature.
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