Kort, knapp eller kantig? Gunilla Hermansson
Tidskrift för Litteraturvetenskap,
01/2013, Letnik:
43, Številka:
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Journal Article
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Short, Terse or Angular? Notes on Expressionism and Prose in the Nordic Countries 1910–1930 With Pär Lagerkvist’s earliest collections of short prose, Motiv (1914) and Järn och människor (1915) as a ...point of reference, the article discusses ”shortness” in relation to the problems of defining expressionist prose. Most researchers agree that expressionist prose is, first and foremost, short, with the argument that the expressionist intensity or tendency towards abstraction works against a narrative pace. However, in examining how authors critically concerned with expressionism in Germany, as well as in the Nordic countries, create and imagine an expressionist or modern prose, it becomes obvious that shortness is not a dominant requirement or idea. It is at least equally important to note that authors often strive to achieve inter-medial effects: aspiring, for instance, to the angularity, hardness and abstraction of cubist art, or to the tempo and technique of modern film. It also becomes evident that the term ”expressionist” needs to be more carefully applied in the Nordic than in the German context, in order to be meaningful. In the end, the concept of ”shortness” per se, does not aid in the definition of expressionist prose. Moreover, it cannot be concluded that Nordic authors utilize short forms in their literary experiments more consistently than they use longer forms. However, it is apparent that Lagerkvist is extremely attentive to the different effects of reducing or expanding his texts, particularly in order to let his readers see and see beyond the ”angularity” of his art.
Анализируется система персонажей первой и наиболее известной повести Н. Н. Берберовой, отражающей идеи автора о множестве путей жизнестроительства в эмиграции. По мнению автора статьи, система ...персонажей повести «Аккомпаниаторша» основывается на принципе бинарных оппозиций: творческий – нетворческий, приспособленный – неприспособленный к жизни, понимающий Другого – непонимающий. Именно отношение к творчеству определяет выбор жизненного пути персонажем. Однако концепция символистского жизнетворчества переосмысливается Берберовой в соответствии с идеей самоопределения эмигрантов. Персонажи воплощают в себе различные стратегии выживания в эмиграции. Отдавая предпочтение пути творческих личностей (Травина и Бер), Берберова критически оценивает другие варианты эмигрантского «выживания». Внеэтичным представлено приносящее материальные выгоды сотрудничество с коммунистическим режимом (Сеня), тупиковым изображен путь «продолжать делать все, как в старой России» (Павел Федорович, гости дома Травиных в Париже). Саморазрушительным изображается путь ненависти и зависти лишенной творческого и человеческого дара аккомпаниаторши Сони.
Анализируются повествовательные эксперименты Н. Берберовой в рассказах 1930-х гг., связанные с театрализацией как способом саморефлексии героев и представления автором эмигрантского существования. ...Подчеркивается, что интерес Берберовой к театру (пьеса «Мадам») обусловлен диалогическими возможностями драмы. Персонажи-актеры Берберовой ощущают себя участниками глобального спектакля: неведомая и непонятная сила, а вовсе не революция большевиков перенесла их из России во Францию. Театральный код в повествовании Берберовой о жизни русской эмиграции является средством изображения невозможности определять свою судьбу: актеры не пишут пьесу, а лишь исполняют роли. Другой функцией театральности является сознательное бегство героя от неблагополучной реальности в мир искусства, где все подчиняется определенным законам и предсказуемо.
La narrativa breve y otras formas de literatura imaginativa desempeñan un papel importante en las misceláneas españolas del siglo XVII, lo que diferencia estas obras de las misceláneas tempranas. Las ...funciones de estas composiciones son múltiples, y las novelas cortas presentan un notable interés: pueden ocupar un espacio ajeno a los contenidos eruditos que forman la médula de la miscelánea, o pueden interactuar con ellos de varias maneras. La novela corta evoluciona en la Península durante las primeras décadas del Seiscientos y la erudición va presentándose como atributo fundamental del novelista; la miscelánea puede ser por tanto un ámbito particularmente fecundo donde explorar esta forma literaria. En este estudio se investiga esta proposición a través de un análisis de las Noches de invierno (1609) de Eslava, El filósofo del aldea (1625) de Velázquez, y el Para todos (1632) de Pérez de Montalbán.
Vladimir Bartol se je v svojih dnevniskih zapiskih, pa tudi nekaterih objavljenih spisih, pred temi ocitki branil, ces, da ne kaze zamenjavati realnega avtorja z njegovimi liki (ceprav so to ...prvoosebni pripovedovalci) in pripisovati teh nazorov tudi samemu avtorju. Pojasnjeval je, da je prikazoval in slikal pojave svoje dobe, in ne svojih lastnih pogledov in izkusenj. Ob ocitkih glede dr. Forcesina je denimo zapisal: »Vprasali so me na primer, ko so brali Izpoved dr. Forcesina: ti si sovraznik zensk? Odgovoril sem: ne, nisem jaz, dr. Forcesin je imel take izkusnje« (Bartol 2006: 311). Toda Bartol je celo tiste - oziroma se posebej ravno tiste -, ki so ga dobro poznali, tezko preprical o tem. Njegovi zasebni pogledi denimo na zenske niso tistim, ki so bili prikazani v nekaterih kritiziranih novelah, ustrezali nic manj, kot to velja za v njih ubesedno nihilisticno, makiavelisticno cinicno filozofijo. Ne nazadnje je v svojih dnevniskih zapiskih veckrat celo sam potrdil, da je na primer Forcesinov lik v marsicem izdelan po vzoru njega samega (Bartol 2012: 648 sl.). Tudi Donat sicer - ce se omejim le na razvpito novelo o dr. Forcesinu in njegove poglede na drugi spol - nazori realnega Bartola v precejsnji meri ustrezajo problematicnim nazorom njegovega lika. Naj navedem le nekaj znacilnih primerov iz Bartolovih dnevniskih zapiskov. Zagarju je denimo mimogrede navrgel, da so moski »v duhovnem oziru veliko popolnejsi« od zensk (Bartol 1982: 518-19). Preprican je bil, da je moski primeren za duhovno ustvarjalnost, zenska pa ne, in to je poskusal uveljaviti tudi v svojem osebnem zivljenju. Rad je belezil ginofobne domislice in izreke, na primer: »V Rusiji: ,Kura ni ptica, zenska ni clovek'« (RM 25; 6. 4. 1936), ali: za Ruse »utegne zares v polni meri veljati Macchiavellijev izrek: Mnozica je kakor zenska, ce je ne tepes ti, te tepe ona« (B2; 20. 9. 1948). Dnevniski zapisek 7. 3. 1950 prinasa tole modrost: »O 'histerikah' se nekaj. To so zenske, ki niso bile zadoscene ali v seksusu ali v drugih ambicijah, kar se izvede pri zenski lahko na eno« (B3), tisti z dne 13. 6. 1947 pa tole jasno priznanje glede lastne nekdanje ljubezni: »Ce prebiram danes tipe zensk v svojih novelah, potem se moram cuditi, kako pravilno sem jo bil v bistvu pogodil. Verjame samo tistemu, kar ji je prijetno. Do resnice same na sebi ji ni nic. Laze sebi, drugim ...« (B4) Povedna je tudi tale karakterizacija Edvarda Kocbeka: Polno ginofobije je poleg tega najti se v osnutkih za roman o Borisu Varjanku, ki ga je Bartol snoval v Trstu po vojni, in v mnogih drugih dnevniskih zapiskih iz petdesetih let. Na primer: »Kot zenska je Mira Mihelic; op. T. V. kljub inteligenci brez najmanjse zgodovinske fantazije« (B6; 5. 9. 53); ali: »zenske so v bistvu brez zgod. cuta ali, v kolikor ga imajo, imajo okrnjenega (o tem imam se veliko beleziti)« (B7; 9. 11. 54). Zgovoren je tudi zapisek z dne 22. 4. 1956: »Alamut 1.) Najvisji in najgloblji custveni, moralni in filozofski problem nase dobe, ki se je zakljucila z dnem Stalinove smrti, je problem varanja: tistega, ki vara, in tistega, ki je varan. / Jaz sem prisel do njega preko individualne trpke izkusnje: videl sem, s kako lahkoto vara zenska (ne vsaka!), prav zaradi tega, ker je zanjo resnica sama na sebi brez pomena. ('Nic ni resnicno, torej je vse dovoljeno.')« (B8). Naj ta seznam sklenem z dvoumno samokriticnim (v njem je nekaksno priznanje neprimernega mladostnega odnosa do zenskega spola) zapiskom z dne 4. 6. 1953, v katerem Bartol fantazira, kaj bi se zgodilo, ce bi mu v Ljubljanskem zvonu ze leta 1927 natisnili Don Lorenza: »Nabral bi si bil takrat okrog sebe cel harem zensk, kar bi po vsej verjetnosti izpremenilo tok mojih izkusenj. Morda bi na Nado sploh ne bil naletel, manjkalo bi mi s tem nekaj dragocenih izkusenj, izognil pa bi se bil tudi gotovim pretiranostim v sodbi do zensk, pretiranostim, ki ne lezijo v moji naturi« (B1). Bartolova proza upraviceno velja za filozofsko in idejno. Ni veliko slovenskih pisateljev, ki bi v svoje delo tako izrecno, v takem obsegu in tako poudarjeno vnasali (svoje lastne in druge) filozofske in zivljenjske nazore. Junaki mnogih Bartolovih zlasti zgodnjih krajsih pripovedi ne delujejo zares, temvec najveckrat »filozofirajo«, razgrinjajo svoje - se posebej za tedanji cas precej nekonvencionalne - poglede na zivljenje in svet. Ideje, ki jih izrekajo, se pogosto gibljejo v obmocju nihilizma, makiavelizma, cinicnega odnosa do zivljenja, podcenjevalnega odnosa do zenskega spola in podobno. Vse te ideje je mogoce zlasti v zgodnjem obdobju zaslediti tudi pri samem Bartolu kot realni osebi. Vendar to se ne pomeni, da so njegove »filozofske« krajse pripovedi preprost zrcalni odsev njegove lastne miselnosti. Bartol z razlicnimi pripovednimi postopki (najpogosteje z ironijo, vecstopenjskostjo, vecperspektivicnostjo ali z nenadnim koncnim preobratom) taksno ujemanje izpodbija, in sporocilnost njegovih krajsih proz v svoji kompleksnosti ni identicna s filozofijo in nazori samega avtorja. Ceprav je - naj dam le en primer - realni Bartol glede pogledov na alpinizem na strani svojega dragega prijatelja Juga in ne na strani svojega profesorja botanike Franca Jesenka (z njim dejansko ni bil v najboljsih odnosih), v njunem fiktivnem dialogu v pripovedi Razgovor pod Grintovcem prepricljiveje argumentira zadnji. Odnos avtorja do lastnega literarnega lika v estetsko uspeli literaturi pac praviloma ni premocrten in tezen. Ponavadi gre, kot povzame Bahtinovo pojmovanje v opombi k njegovemu Problemu avtorjevega razmerja do junaka Aleksander Skaza, za paleto »mnogovrstnih monoloskih in dialoskih odnosov avtorske besede/avtorskega glasu do junakove besede/junakovega glasu oziroma t. i. tujega govora« (Skaza v Bahtin 1999: 11, op. 2). Bartol sam se je tega kljub vcasih nasprotujocim argumentacijam vendarle zavedal. Don Lorenzo se mu je, kot je opazil, posrecil sele tedaj, ko se je otresel faktografske avtobiografske navlake, ko se je njegova podoba »odlepila od avtorja« (Bartol 2003: 331) in je junak pred pisateljem vstal kot druga oseba. Podobno je ugotavljal tudi ob Trzaskih humoreskah, da so te zazivele umetnisko polno sele tedaj, ko je glavni lik »pretrgal svojo popkovino z avtorjem« (B2; 24. 11. 1948).
Distinctively anti-women views are typical of Bartol's prewar short prose (especially in his narratives from the first half of the 1930s). They were already noticed by contemporary criticism, and ...also by later researchers of Bartol's oeuvre. These types of observations often motivated the judgments that Bartol's writing was gynophobic, misogynistic, and even anti-feminist. An overview of Bartol's diary notes shows that in many ways his personal views on women indeed matched the views of his literary characters. The writer drew his anti-women views from various sources: partly from his personal experience and mainly from the works of authors that were typical in this regard and that he read and often used as a reference (e.g., Machiavelli, Strindberg, Schopenhauer, Nietzsche, and Weininger). Within this context, his friend from his youth and role model Klement Jug was especially important for Bartol. Jug's anti-women positions are somewhat less known, but they were extremely relevant for Bartol. Both Bartol's anti-women views and their main sources can be extensively documented. However, these types of views by the author do not necessarily prejudice the expressiveness of his texts. Based on a detailed reading of the novella Ljubezen Sergeja Mihajlovica (Sergej Mihajlovic's Love), this article shows that Bartol's short prose cannot be understood as a thesis propagation of the anti-women doctrine. True, misogyny is one of the informative components of this text, but it does not appear in isolation; it appears in combination with other components that de-monologize, stratify, and relativize the "message." Through the innovative use of specific narrative procedures, Bartol achieved a problematization of the unambiguous reference of his early short prose, which ultimately also relativizes the power of the anti-women views in it.
This article contains a genre specificity of short prose by Vsevolod Solovyov, whose work is devoted to the Russian history between the 18th and 19th centuries. According to professor N.L. ...Vershinina, the author distinguishes the difference between the description of morality and manners. The main difference is in the presence of author’s point of view on the describing occurrences. In this case, such works are considered to be a kind of morality, which characterizes Solovyov’s works. Showing every-day life, he examined the process of turning barbarism into a civilizing society.
The article follows the course of translations of Edgar Allan Poe's short stories in Slovenia. It is chronologically divided into three periods, separated from each other by the two world wars. The ...first period began with the Slovenian translation of "The Black Cat" in 1872. Even though subsequent translations were sporadic and restricted to newspapers and popular magazines, at least thirteen stories appeared in Slovenian before WWI. Over the same period, no scholarly articles about Poe were published; instead, Poe's name was mentioned only in passing in articles about culture for general readers. The situation changed in the period between the world wars. New translations and retranslations of Poe's shorts stories became more common and their quality improved. Unlike before, when most were probably translated into Slovenian via a third language, new translations were based on the original English versions. The emphasis was on Poe's horror stories. At the same time, the first book editions of Poe in Slovenian appeared. In addition, literary-critical articles about Poe and his prose became common. Most of them were written for the general reader; however, they also included a few scholarly articles. The most influential one was the work of a well-known Slovenian prose writer Vladimir Bartol, who held Poe's prose in high esteem and in particular emphasized his unique style and modernity. Bartol's article later had an influence on the reception of Poe in Slovenia in general. After the Second World War, Poe once again gained in popularity in the 1950s with several new translations and various articles about Poe. The peak followed in the 1960s with the publication of 20 new translations of Poe's short stories by Joze Udovic and with Andrej Arko's selection of Poe's works published under the title Krokar (The Raven, 1985). Udovic's translations not only set new standards in terms of quality but also introduced Slovenian readers to the previously less known part of Poe's oeuvre, most notably so the detective story and the stories of ratiocination. Udovic also contributed to the volume a substantial and influential Afterword, which later reverberated in many other critical texts on Poe in Slovenia. Even though almost no new translations appeared in subsequent decades, old ones nevertheless were reprinted several times. At the same time, Poe's works became subject of several academic papers after the 1990s, including Slavoj Zizek's in the collection of essays Ukradeni Poe (The Purloined Poe, 1990).
The article analyzes the short prose of Gaito Gazdanov, the stories Transformation, Error, The Fate of Salome, Princess Mary, reveals the meaning and function of the motive of transformation. One of ...the central questions in the writer’s work is the existential question “man in the face of fate”, which is being implemented in the writer’s texts in the system of motives: happiness and misery, transformation and death, homelessness and roads, etc. The fate of Gazdanov’s characters is formed in such a way that as they pass through the test of death, they fi nd themselves in a situation of “ontological threshold”. After experiencing the initiation, they return to life as different people: the hero of the story Transformation feels a death attraction and regrets that he survived, the female character of another story, The Fate of Salome, after experiencing horror abandons her past and begins a new life in another country. The transformation also occurs with the female character of the story Error, who, having come into contact with the death of her beloved person, realizes the error of her past life and radically changes it. The motive of transformation allows us to reveal the drama of a person (“Another”), deprived of his native home and homeland, in the story of Princess Mary, whose fate is predetermined by the fate of an emigrant, forced to lead a double life.
This article focuses on the issue of the "nationalist" interpretation of Vladimir Bartol's 1935 collection of short stories Al Araf. Relying extensively on the manuscripts from his estate and ...published documentation, it seeks to prove that this issue does not have any unilateral answers. The commonly held impression is that while writing his collection Bartol treated the ethnic issue solely as one of the many ideas he experimented with in his stories. This was also how his contemporaries understood him at that time. However, more recent, "nationalist" interpretations can nonetheless find firm support in Bartol's postwar self-explanation and especially in the fact that the writer's novellas thematized the type of subjectivity that Slovenians needed to carry out great historical changes and in some way predicted these changes. PUBLICATION ABSTRACT
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