Ko sem se vpisala na primerjalno knjizevnost, je bil strukturalizem pri nas moderen, pa tudi ruski formalizem so pogosto omenjali, v literarni vedi pa je bila visoko cenjena interpretacija ...literarnega besedila, tako da se mi je verjetno, ce rekonstruiram za nazaj, zdelo prepricljivo, kar sta formalizem in strukturalizem imela racionalnega povedati o analizi pripovednistva, predvsem romana, ki je bil tedaj moj najljubsi literarni zanr. Ali nic od tega? K avtobiografiji me je res pripeljal Lojze Kovacic, saj sem se navdusila nad njim ze ob Prislekih, ki so izsli leta 1984 in 1985 in bili velik uspeh. Gre tudi tu, podobno kot pri avtobiografiji, za problematicno razmerje med »fikcijo« in »fakcijo« ali faktografskostjo, katerega preprosta binarnost je z izsledki poststrukturalizma postavljena na laz? S cim te je pritegnilo historiografsko pisanje? Kontaminiranost faktov s fikcijo in fikcije s fakti, na katero sta pokazala postmodernizem in dekonstrukcionizem, je nekatere teoretike zapeljala v doktrino panfikcionalizma, ki je zaradi saussurovsko pojmovane zgolj diferencialne utemeljenosti znaka razglasila vse (pripovedne) tekste, med katere sodijo tudi zgodovinopisni in literarnozgodovinopisni, za fikcijske.
The paper focuses on the different narrative techniques used to approach historical subject-matter (the Russia of the 1920s and 1930s) in the collection of stories A Tomb for Boris Davidovich by ...Danilo Kis (1978), the novel The Old Man, written just a year later by Yury Trifonov, and the novel When Making an Omelette, written in 2014 by Lado Kralj. Its starting point is Danilo Kis, who - in all of his works - thematises the seamless merging of fiction and truth. Emphasising the elusive relation between them, he makes abundant use of (pseudo)documentary sources which intertwine real and fictional characters, names, events and testimonies, thus ultimately blurring the line between these two spheres if there ever had been one. On the basis of his autopoetics as laid down in The Anatomy Lesson, his answer to the polemics following the publication of the Tomb, the paper proceeds to the other two novels, which also 'support' their fiction with documentary sources but share, in contrast to Kis, a more traceable biographical element, since both represent a kind of roman à clef. The differences in their approach (Trifonov bases his narration on fragments of memory which inevitably reveal their Rashomonic aspects, Kralj undermines the narrative course of the Bildungsroman by supernatural and fantastic elements) arouse questions about the so called 'objective reality': can we ever detect how things 'really were'? Or do they exist as such - again, just as in Kis - only in the literary work, so that the historical truth (or should we say: historical justice?) can only be achieved through literary mystification?
Te obveznosti so se podvojile, ko se mu je pridruzil Pirjevec. ? izpiti sta bila varcna: poleg tako imenovanega preskusnega po prvem letniku smo jih morali opravljati le pri dopolnilnih predmetih, ki ...smo jih poslusali na drugih oddelkih, pri glavnih smo bili prosti vse do diplomskega izpita pod ? in cisto na koncu studij a pod A. Zato pa je bilo od vsega zacetka kristalno jasno, da je uspeh odvisen predvsem od individualnega delà in da predavanja lahko postrezejo le ? majhnim drobcem snovi, ki jo bo treba obvladati pri diplomi. Kaj se vam zdi pri tej metodoloski usmeritvi se danés zanimivo in plodno za literarno vedo? »Klasicni« pozitivizem 19. stoletja kot kompleksna metoda ali celo sola, od katere bi lahko pricakovali definitivno znanstveno razlago literature, je seveda nepreklicno mrtev; po njem posegamo le takrat, kadar poskusamo razumeti in razloziti nekatera spoznanja, ki so bua opravi) ena ? njegovem imenu. Nato je sodeloval ? programu podiplomskega studija, pri katerem je bil moj mentor profesor Kos. (? njim se nisva po2nala prej, ker je prisel na univer2o sele nekaj let po mojem odhodu.) Po doseèenem ma- gisteriju sem predlagal Pirjevcu, ki je bil takrat predstojnik oddelka, krajso pot do doktorata, pri kateri sem nameraval samo dopolniti in nadgraditi magistrsko nalogo; on pa se ni strinjal s tem, ampak mi je predlagal daljso in 2ahtevnejso ver2Îjo, po kateri naj bi celovito obdelal problemski kom- pleks hermenevtike, ki je bil ? magisteriju samo naka2an. Oddelek 2a primerjalno knjièevnost ljubljanske Filo2ofske fakultete kot maticna institucija, potem Institut 2a slovensko literaturo in literarne vede ZRC SAZU, kjer sta primerjalna knjièevnost in literarna teorija med glavnimi nosilnimi stebri programa, pa fakultete in visoke sole, kjer se predava nasa stroka kot posame2en predmet, in se Slovensko drustvo 2a primerjalno knjièevnost in revija Primerjalna knjièevnost, to vse so institucije, od katerih je odvisen obstoj nase stroke in jim 2ato moramo biti lojalni.
To je bil ? sedemdesetih letih 2a vse nas velik problem, ker sta prav takrat nasa avantgarda, nas ultramodernÌ2em sia ? boj 20per mimeticnost, ees, 2daj bomo delali nemimeticno umetnost, nemimeticno ...literaturo; in ? nekem smislu jih je Pirjevec podprl s teoretienimi i2hodisci. Ce zdaj preskocim se na drugo asociacijo, na postmodernizem, s katerim ste se dolgo ukvarjali: ali se vam zdi - po petnajstíh letíh, kar jih je minilo od tega leksikona -, da bi danés rekli kaj drugega o tem pojmu, ki ga je mogoce kot prikladno oznako nadeti cisto vsemu, pac ? skladu ? znano Feyerabendovo krilatico anything goes? Eno je postmodernizem, ki pomeni literarno smer, celo program, ? druge strani je postmoderno, ki je nekaj sirsega, bolj epohalnega; ocitno gre za postmoderno epoho ali postmoderno dobo, kar so znameniti sociologi, Daniel Bell in drugi, razlozili ? razvojem postindustrijske civilizacije, informacijske druzbe itd. Drugace kot danes, ko studentje takoj po diplomi studirajo naprej, gredo na magisterij, doktorat itd., je bilo za vami ze precej let delovnih izkusenj - se kot student (diplomirali ste leta 1956) ste se posvecali literarni kritiki, tu so bile Beseda, pa Revija 57, kasneje Perspektive; nekaj let ste bili tudi ? lutkovnem gledaliscu, potem pa profesor na viski gimnaziji - slovenscine in filozofije.
With Oswald Spengler and his epochal work The Decline of the West the hero of Goethe's canonical poem ultimately crossed the borders of the literary character and became the personification of the ...Western (European) man, characterized by insatiable striving, ceaseless activity and dynamic orientation towards the infinitely open space and time. Spengler conceived his »Morphology of world literature« as a cyclical history of cultures which, like living organisms, go through the periods of growth, blossom, exhaustion and finally decay, when we no longer speak of culture, but of civilization. Faust is for Spengler »the portrait of the whole culture« - in his character we can trace the transition from the living culture to dead civilization: the passionate dreamer from the first part of the poem, written in 1808, turns in the second part, written a quarter of a century later, into a Saint-Simonistic engineer and organizer (as well as colonizer) and becomes the modern homo faber. Faustian culture is for Spengler first of all the culture of will; it is the culture of incessant activity driven by the imperative »you must«, and is as such in polar opposition to the Apollonian culture of the ancient Greeks, which shows little interest for constant changing of the world. Spengler thus substitutes the Nietzschean couple Apollonian/Dionysian with the couple Apollonian/Faustian, directly referring to Faust's translation of the ancient Greek expression logos with the word der Tat. The time of civilization is the time of technical sciences, the time of materialism, mechanicism and faith in experiments, atoms and numbers. The Faustian will reaches its perfection in the symbol of machine, by the help of which it wants to master and enslave the nature; but it turns out that by doing this the Faustian man has also enslaved himself. In accordance to Hegelian dialectics of master and slave (or Adorno's and Horkheimer's dialectics of enlightenment) his victory over nature turns into its opposition, for he has become the slave of his own creativity. The machine pushed him on the way from which there is no return; it works without stopping and forces him to work with it. In this ambiguity the »reactionary modernist« Spengler (who is also ironically depicted in Thomas Mann's Doktor Faustus in the character of dr. Breisacher) seems to be less optimistic than Goethe, on whose hero he has build his Faustian man. With Spengler Faust became the character who embodies the contradictions of modern age; his insatiable striving for knowledge is not only something »positive« which is supposed to bring benefit to the mankind, but can also - implemented in reality - display its »negative«, destructive side. PUBLICATION ABSTRACT
Zato je vse njegovo filozofsko prizadevanje težilo k temu, da razkrinka to prepričanje - prepričanje, ki sprejema identiteto bivajočega in niča -, pri tem pa je razkrinkalo smisel celotnega Zahoda, ...katerega izražanje, ne glede na to, ali je teološke, znanstvene, ekonomske ali pa politične narave, samo potrjuje metafizično prepričanje o identiteti bivajočega in niča, torej najradikalnejši nihilizem. Zahod je ladja, ki se potaplja, na kateri se nihče ne meni za luknj o in kj er si vsi vneto prizadevaj o za to, da bi bila plovba čim bolj prij etna; na njej se jim ljubi razpravljati le o neposrednih problemih, problemom pa priznavajo smisel samo, če je mogoče že slutiti posebne postopke reševanja teh problemov. ...like this insubstantial pageant faded, / Leave not a rack behind.
