Iz svih djela sv. Hildegarde iz Bingena proviru nadahnuće i upute iz Pravila sv. Benedikta. Za života cijenjena, dugo je vremena njezino djelo bilo zastrto pomanjkanjem zanimanja, da bi u 20. ...stoljeću bila “ponovno otkrivena” kao autorica čija djela - književnost (proza, stihovi, dramsko prikazanje), teologija, glazba, prirodna filozofija - i današnjim primateljima progovaraju kao jedinstven spoj poetskoga nadahnuća i nabožne književnosti. Ona uvijek promatra sve stvorenje kao jedno, kao Božje djelo pa stoga traži veze između povijesti svijeta i povijesti spasenja, te između stvorenoga, materijalnoga svijeta i Stvoritelja, tj. one stvarnosti koja je neprolazna. A u središte stvorenja Bog je bio postavio upravo čovjeka koji jest creatura, ali ima i dostojanstvo da bude operarius Dei. Taj panoramski pogled najjasnije dolazi do izražaja u Hildegardinim vizijama, napose u djelu “Scivias” (nastalom između 1142. i 1151. god.) koje obuhvaća različite žanrove i diskurse, od stihova preko (kraćih) teoloških traktata, do prirodnofilozofijskih razmatranja. Uz to u vizijama kombinira različite moduse (pitanja i odgovori, pripovijedanje, opis, tumačenje, komentar), a takav se postupak može nazvati specifičnim višeglasjem ili suzvučjem različitih žanrova i modusa.
All of Hildegard's works derive inspiration from the Rule of St Benedict. Throughout a large part of her adult life Hildegard was well respected, but after her death interest in her opus diminished. She was "rediscovered" in the 20th century as an author whose work - literature (prose, verse, morality-play), theology, music, natural philosophy - tends to touch the modern reader as a very individual, creative fusion of poetic inspiration and theological depth. She views the created universe as one, as the work of God in which man (homo) has a special place. He is God's "plenum opus", body, soul, spirit and senses and is called upon to be God's "operarius", i.e. His helper in shaping the history of the created world. She forges ever new connections and relations between the material world and the transcendent, immortal spheres. Perhaps the most poignant works in which this interplay is thematised are her visions, particularly the book "Scivias" (written between the years 1141 and 1151). It is a very complex work, comprising genres such as vision, contrast/debate, questions and answers, tract and sermon, as well as different discourses (narration, description, dialogue, edification, exegesis, commentary, even verse). Literature and theology coexist in all Hildegard's visions, perhaps most prominently in "Scivias", one stems from the other and they cannot be separated. Therefore, her visions are characterized by a specific polyphony or consonance (symphonia) of various genres and modes. That is arguably the most unique feature of "Scivias", the mixture of poetry, (literary) vision and theological treatise. In that respect "Scivias" is particular among the preserved medieval texts: no vision is so profoundly theological, nor is any treatise so poetic and aesthetically imaginative. The interplay of different modes, discourses and subject-matter has great appeal to the modern recipient, but at times proves to be demanding and somewhat unusual reading.The simile is one of the most commonly used stylistic features, as well as antithesis. Her theology is pictorial, since she uses images from everyday life, nature and the Holy Scriptures to convey the message pertaining to the Truth, which is revealed to her in visions by the voice of the Living Light, i.e. by God himself. And since human language is limited, just as is the human mind and reason, Hildegard is compelled to use comparisons and similes (she often uses expressions such as quasi, velut, imago, forma, apparebant) that function as a bridge between the physical reality and the transcendental.
V pričujočem prispevku skušam strniti nekaj misli o specifičnih elementih erotičnega imaginarija epizode o Moreju in Halkomedeji v Nonosovem Epu o Dionizu, to sta motiv kače, varuhinje devištva, in ...motiv nekrofilije. Najprej podajam shematičen prikaz zgradbe obeh motivov z ozirom na proleptično Nonosovo poetiko. Pri motivu kače gre predpostaviti tročleno zgradbo (prefiguracija v 15. knjigi, prerokba v 33. knjigi in osrednji prizor v 35. knjigi), pri nekrofiliji pa dvočleno (prefiguracija in osrednji prizor v 35. knjigi). Že v poprejšnjih raziskavah izrečena predpostavka, da gre tudi pri prizoru nekrofilije v resnici za prefiguracijo (Moreja) ocenjujem za smiselno zaradi podobnosti likov (anonimni vojščak, anonimnost kot značilnost »tipa«) in v kompozicijskem oziru. V pragmatičnem oziru je, če želimo ta prizor razumeti kot prefiguracijo, nujno predpostaviti bralčevo poznavanje epizode o Kalimahu in Druzijani iz Janezovih del, ki, kot je bilo ugotovljeno že v drugih raziskavah, gotovo predstavlja intertekst k Nonosovi epizodi. Motiv kače v vsebinskem in simbolnem smislu berem kot značilen primer Nonosove literarne sinteze krščanskega in klasičnega elementa, pri čemer je funkcija kače (varuhinja vhoda v sveti okraj) del klasičnega izročila, idejno ozadje epizode pa izvira iz krščanskega konteksta (idealizacija devištva in čistosti). Implicitne metafore v tem branju so eni strani razumevanje ženskega telesa kot svetega (okraja) in spolovila kot vhoda, ki ga varuje kača, ter na drugi strani – z ozirom na htonično naravo kače – razumevanje človeškega telesa kot zemeljskega elementa (v nasprotju z dušo, ki se povezuje z nebeškim).
Cilj je rada prikazati filozofsko porijeklo i opravdanje teorije socrealizma. Socrealizam je reprezentativni primjer književno-povijesnoga razdoblja u kojemu je autonomija književnosti u smislu, ...primjerice, estetske vrijednosti književnoga djela dovedena na zanemarivu razinu s obzirom na zadane radikalne zahtjeve režimske poetike pisanja u skladu s danim odnosima proizvodnje. Socrealistička poetika u kojoj primarnost imaju partijsko pisanje i odgajanje naroda u vidu socijalističkoga napretka i bez kakve posebne brige za književno stvaranje pronalazi svoje postulate u teoriji poetike socrealizma, proizašle iz Saveza ruskih proleterskih pisaca (»RAPP«) i proleterskih kulturno-prosvjetnih organizacija (»Proletkult«) koji datiraju u dvadesete i tridesete godine prošloga stoljeća. Na temelju analize može se zaključiti opravdanost posezanja teorije socrealizma za temeljnim postulatima klasične marksističke estetike s obzirom na materijalne uvjete koji determiniraju umjetnost, ali ne i njenu potpunu determiniranost negirajući tako autonomiju umjetničkoga djela.
The paper aims to present the philosophical background and justification of the theory of social realism. Social realism is a representative example of a literary period in which the autonomy of literature in terms of, for example, the aesthetic value of a literary work, was brought to a negligible level given the radical demands of regime poetics of writing in accordance with politics and ideology. Socialist-realism, poetics in which party writing and educating people in the form of socialist progress and without any concern about literary creation are paramount, finds its postulates in theories of the Union of Russian Proletarian Writers (RAPP) and proletarian cultural and educational organization (Proletkult). Theorists of socialist realism poetics claim that their postulates find philosophical justification in Marx’s and Engels’ texts about art. The primary subject of analysis in the article will, therefore, be the connection between the theory of social realism and the classical Marxist conception of art. Based on the analysis, it can be concluded that the theory of social realism is justified by classical Marxist aesthetics regarding historical materialism which determines art, but not in the sense of denying the autonomy of the art.
Susreti sa ksenotkivom Ryle, Simon
Umjetnost riječi,
12/2023, Letnik:
67, Številka:
2
Journal Article, Paper
Recenzirano
Odprti dostop
Ovaj rad uvodi pojam “ksenotkiva” analizirajući tri poznata romana koja se bave konzumacijom mesa: Meso (Meat) Josepha D’Laceyja (2008), Elizabeth Costello J. M. Coetzeeja (2003) i Vegetarijanku (The ...Vegetarian) Han Kang (2007) te pokazuje kako ksenotkivo u tim romanima predstavlja problematičan susret s abjektnom tjelesnom materijom. Propitujući klasičnu razliku između biosa i zoē (“politički” i “goli” život) kako ju je opisao Giorgio Agamben, u radu se analizira ksenotkivo kao neizreciv i pogledu nepristupačan oblik tjelesnosti koji je nasilno isključen iz diskursa infrastrukturama i epistemama konzumiranja mesa u smislu Foucaultovih kulturoloških struktura znanja (épistémè). U radu se isto tako pokazuje kako su industrijska poljoprivreda i meso temeljni način nametanja te podjele tkiva u raznim ekonomskim i kulturnim sferama te kako čak i u novijoj materijalističkoj filozofiji meso funkcionira kao jedan od najdublje upisanih načina ušutkivanja jezovitog (engl. uncanny) zova ksenotkiva. Polazeći od Deleuzeova koncepta “estetske senzacije”, ovaj rad pokazuje kako su dezorijentacijski susreti sa ksenotkivom u romanima D’Laceyja, Coetzeeja i Han primjer političke i etičke poetike tijela u nastajanju.
Na tragu pojma "centripetalnih sila" Zdenka Lešića, te njegove nadogradnje u teorijskoj misli Envera Kazaza, ovaj rad je pokušaj daljnjeg izvođenja teza o mogućnosti prepoznavanja konkretnih točaka u ...povijesti bosanskohercegovačke književnosti kao trenutaka prevladavanja spomenutih sila. Metodologija se sastoji od analize znanstvenih i kritičkih tekstova na prvoj razini, te njihovog kontekstualiziranja unutar kulturnih, ali i društveno-političkih prilika. Takav pristup nam omogućava da ovu sinkretičku kulturu visokog stupnja heterogenosti sagledamo o dijakronijskoj perspektivi i učimo izmjene faza spajanja i razdvajanja. Pokazuje se kako su te točke također u velikoj mjeri determinirane političkim i društvenim kretanjima, kao i da su oko tih faza suglasni različiti znanstvenici i kritičari. Stoga je cilj rada najprije detektirati i izdvojiti faze književnog stvaranja koje bi mogle predstavljati čvrste točke spajanja, a zatim stečene uvide koristiti u proučavanju specifičnog suvremenog trenutka bosanskohercegovačke književnosti. U njemu, naime, nailazimo na mogućnosti uspostavljanja novih točaka čiju punu realizaciju priječi kontekst društveno-kulturnog razjedinjenja.
Following the term “centripetal forces” created by Zdenko Lešić, which was further theoretically developed by Enver Kazaz, this paper is an attempt at a further derivation of the thesis on the possibility of recognizing specific points in the history of Bosnian-Herzegovinian literature as moments of overcoming these forces. The employed methodology combines the analysis of scientific and critical texts and their contextualization within cultural, but also social-political, conditions. This is what enabled us to identify that in the diachronic perspective of this syncretic culture with a high level of heterogeneity stages of connecting and separating alternate. It was also noticed that these points are largely determined by political and social trends, and that there is a consensus among scientists and critics about these stages. Therefore, the goal is to first detect and separate the stages of literary production that could represent firm connection points, and then to use those insights to analyze specific contemporary Bosnian-Herzegovinian literary moments in which we find possibilities of establishing new connection points. However, their full realization is prevented by the context of social-cultural disunion.
Dva se latinska neologizma, prilozi tunicaliter i flammanter, zapisani u
Liber vitae meritorum
svete Hildegarde iz Bingena, promatraju kao stilogeni elementi, naglašena mjesta u odlomku iz vizije, te ...kao svojevrstan nadomjestak za definirane teološke pojmove. Hildegarda se izražava slikovito kako bi potaknula osjećaje, maštu, ali i razmišljanje u primatelja. Pritom ti prilozi stvaraju poveznice s poznatim sadržajima (osobito sa Svetim pismom), te se istodobno otvaraju novi vidici za promišljanje izloženoga teksta. Razumijevanje leksičkih inovacija dijelom je otežano jer je riječ o
hapax legomena
, pa interpretacija treba uključiti simboliku tunike i plamena (imenica od kojih su prilozi izvedeni) u Hildegardinu vizionarskom opusu uopće. Uz njih zanimljiva je i sintagma
officiale opus
kojom Hildegarda neizravno određuje čovjeka i njegovu ulogu u spasenjskoj povijesti svijeta.
Two Latin neologisms, the adverbs
tunicaliter
and
flammanter
, written in the
Liber vitae meritorum
of Saint Hildegard of Bingen, are viewed as stylistic elements, highlighted places in the passage from the vision and as a kind of substitute for defined theological terms. Hildegard expresses herself pictorially to stimulate feelings, imagination, and thinking in the recipient. In so doing, these adverbs create links with known contents (especially with the Holy Scriptures), and at the same time, this opens new viewpoints for reflection on the presented text. Understanding the lexical innovations is partly made difficult because they are
hapax legomena
, so their interpretation should include the symbolism of the tunic and flame (nouns from which the adverbs are derived) in Hildegard’s visionary work in general. In addition, also interesting is the phrase
officiale opus
, with which Hildegard indirectly defines man and his role in the salvation history of the world.
U radu se interpretiraju narativne strategije romana Vesne Krmpotić, Troočica s planete Svjetlosti, radi određenja njegove poetike duhovnosti te (re)pozicioniranja statusa autorice i romana u ...kontekst poetike suvremenog hrvatskog dječjeg romana. Riječ je o tipološki složenom filozofsko-poetskom romanu fantastičnog pripovjednog modusa, duhovne poetike s nizom religioznih interdiskurzivnih i intertekstualnih aluzija, razlomljene romaneskne strukture, nelinearne kompozicije te vrlo kompleksnih (ne)dječjih likova. Pripovjedna strategija, obilježena informativno-scenskim početkom, krhkom fabulom s umetnutim pričama, čiji se lirizam i funkcionalnost iščitava kroz prizmu univerzalne duhovnosti, usložnjava subordinirani odnos pripovjednih razina i pripovjedača. Na takav način konstruirane, složene narativne figure, uklopljene u romaneskni narativ lelujavog odnosa između fikcije i fakcije, u okvirima predodžbe intuitivnog djeteta upućenog na popravljanje svijeta, sukreiraju poetiku duhovnosti suvremenog hrvatskog dječjeg romana. Pripovjedno poigravanje konstrukcijom vremena i prostora, autoreferencijalno potvrđivanje knjiškog identiteta junakinje neke su od narativnih strategija kojima se potvrđuje postmodernost oblikovnih postupaka ovog neprimijećenog romana u povijesti hrvatske dječje književnosti.
This paper interprets narrative strategies of the novel »Troočica s planete svjetlosti « (»Three-eyed from the Planet of Light«) by Vesna Krmpotić with the aim of its poetic spirituality and (re)positioning the status of the author and the novel in the context of the history and poetics of the contemporary Croatian children’s novel. It is a typologically complex philosophical-poetic novel with a fantastic narrative mode, spiritual poetics with a series of religious interdiscursive and intertextual allusions, a broken novelistic structure, non-linear composition, and with very complex (non)childish characters. The narrative strategy, characterized by an informational-scenic beginning, a fragile plot with inserted stories, whose lyricism and functionality can be read through the prism of universal spirituality, complicates the subordinate relationship between the narrative levels and the narrator. Constructed in such a way, complex narrative figures, integrated into the novelistic narrative of the fluctuating relationship between fiction and fact, within the framework of the idea of an intuitive child directed to fix the world, co-create the poetics of spirituality of the contemporary Croatian children’s novel. Narrative play with the construction of time and space, self-referential confirmation of the heroine’s identity in the book are some of the narrative strategies that confirm the postmodernity of the novel’s formal procedures of this unnoticed novel in Croatian children’s literature.
Promatrajući ju u nizu srodnih koncepata ‒ među kojima su kognitivna poetika, kognitivna lingvistika, kognitivizam, evolucijska književna teorija ‒ rad tematizira kognitivnu naratologiju kao smjer ...razvijen unutar postklasične i novih naratologija. Naznačuje se njezin opseg i doseg unutar kognitivne znanosti, ali se također tematiziraju koncepti poput sheme, okvira, pripovjednosti, parabole i drugi što mogu utjecati na razvoj i preoblike unutar kognitivne naratologije.
This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his ...lifetime, starting with the writer’s first short story collections and finishing with his Obrazy z dějin národa českého (‘Images from the history of the Czech nation’). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the ‘name of the author’ in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura’s literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura’s reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura’s persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author’s image in this context all through his life as it assumed countless ‘faces’, subverting the traditional assumption of coherence in Vančura’s literary output that the concept of the author was meant to guarantee, and thus demonstrating — given the failure of this concept to bring about such coherence — how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura’s reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined.
