Car je gol Milanko, Andrea
FLUMINENSIA,
07/2017, Letnik:
29, Številka:
1
Journal Article, Paper
Recenzirano
Odprti dostop
Cilj je rada uputiti na jezične i figuralne mogućnosti koje je iskoristio Ivan Slamnig u pisanju pjesama, s posebnim osvrtom na manipulacije lirskim subjektom. Umjesto da se lirski subjekt proglašava ...maskom pjesnika Slamniga, kakvim jedinstvenim fikcionalnim humanoidnim govornikom koji u sebi objedinjuje sve manifestacije lirskog subjekta ili pak kodiranim lirskim govorim o izvanjezičnoj (autorovoj, političkoj, kulturnoj itd.) zbilji, ta se analitička kategorija promatra
kao figura, učinak jezika. Na podlozi duge lirske tradicije iskazivanja
iz pozicije ja, Slamnigovi razni tipovi lirskoga govora i/ili gledanja izazivaju humorističan učinak, potvrđujući takvim „upadom” u pravilan niz Slamnigovih pjesničkih prethodnika da je sâmi niz poredak s pukotinama. Potonja se tvrdnja oslanja na psihoanalitičku argumentaciju Alenke Zupančič, dok teza o dezintegraciji iskazivačkog jastva kod Slamniga ima dva argumentacijska uporišta: s jedne strane, citatna teorija performativa Judith Butler naglasak stavlja na ponovljivost i kontingenciju svakoga govornog čina; s druge strane, polifonijska teorija iskazivanja Oswalda Ducrota luči empirijskog autora, govornika i
iskazivača, sugerirajući da je svakom jezičnom iskazu imanentna polifonija.
In this paper, the lyric subject of the Croatian poet Ivan Slamnig is analyzed with an underlining idea that his modernist poetics is characterized by disintegration of the enunciating self. This premise goes agianst the grain of dominant and/or more traditional approaches to
Slamnig’s poetry, which have shared the assumption that the enounced of
the poem has more value or authority in determining the meaning of the poem. This reductionist view has taken two distinct forms (albeit not different in kind): the lyric subject is either a human-like fictional speaker or a mask taken on by the author. Relying on the performative citational theory of Judith Butler and polyphonic theory of enunciation of Oswald Ducrot, the author demonstrates how the lyric subject is being
subverted both on the levels of enunciation and the enounced. The enounced is always-already framed or produced by its enunciation. The split within the lyric subject itself, in most cases achieved by humor, reveals the purported anthropomorphic enunciating instance to be an effect of the poem, rather than the mask of its poet, or a single unique
fictional character, or a secret codified speech on contextual reality.
Psychoanalytic perspective of Alenka Zupančič is in this sense particularly instructive since it explains how humor breaks the illusion
of wholeness and uniqness of the Symbolic order. By inserting an “odd-one” in the tradition of lyric subjects, i.e. a volatile subject with crazy-making or drunken behaviour, or an infantile observer and/or an invalidated speaking subject in any other way, shape or form – Slamnig demonstrated how this analytical category is being speech-produced, rather than speech-producing. The latter corresponds to
Austin’s speech act theory main idea – that language is performative, rather than constative, which is crucial for understanding how Slamnig’s
poetry performs within what has received from without.
In this paper, the lyric subject of the Croatian poet Ivan Slamnig is analyzed with an underlining idea that his modernist poetics is characterized by disintegration of the enunciating self. This ...premise goes agianst the grain of dominant and/or more traditional approaches to Slamnig’s poetry, which have shared the assumption that the enounced of the poem has more value or authority in determining the meaning of the poem. This reductionist view has taken two distinct forms (albeit not different in kind): the lyric subject is either a human-like fictional speaker or a mask taken on by the author. Relying on the performative citational theory of Judith Butler and polyphonic theory of enunciation of Oswald Ducrot, the author demonstrates how the lyric subject is being subverted both on the levels of enunciation and the enounced. The enounced is always-already framed or produced by its enunciation. The split within the lyric subject itself, in most cases achieved by humor, reveals the purported anthropomorphic enunciating instance to be an effect of the poem, rather than the mask of its poet, or a single unique fictional character, or a secret codified speech on contextual reality. Psychoanalytic perspective of Alenka Zupančič is in this sense particularly instructive since it explains how humor breaks the illusion of wholeness and uniqness of the Symbolic order. By inserting an “odd-one” in the tradition of lyric subjects, i.e. a volatile subject with crazy-making or drunken behaviour, or an infantile observer and/or an invalidated speaking subject in any other way, shape or form – Slamnig demonstrated how this analytical category is being speech-produced, rather than speech-producing. The latter corresponds to Austin’s speech act theory main idea – that language is performative, rather than constative, which is crucial for understanding how Slamnig’s poetry performs within what has received from without.
It is well known that the Lacan–Derrida strife begins with the Seminar on the “Purloined Letter”, but a more thorough genealogy of dispute over valid interpretations of Freud’s legacy has widely been ...neglected. Freud’s speculative text Beyond the Pleasure Principle (1920) is ambivalent in that radical new terms (death drive, repetition compulsion, economic principle in psychic apparatus) are introduced while being contradicted in Freud’s elaboration. This interpretative dissonance is reconciled by Lacan’s interventions, i.e. either by new distinctions into old terms (Trieb vs. Instinkt), or by entirely new terms (l’automatisme de répétition, symbolic and imaginary order). Derrida makes a claim to be responding to the Beyond the Pleasure Principle without imprisoning it in a single and unified interpretation. His reading renders Freud’s text close to fiction and deconstruction, which also represents a form of resistance to Lacanian institutionalisation of Freud.
Pjesništvo Anke Žagar prebiva u domaćem književnom prostoru četiri desetljeća, a da se pritom nije značajnije mijenjalo. Njegov je kanonski status neupitan zahvaljujući pjesnikinjinoj stilskoj ...razvedenosti. Pridane mu oznake postmodernizma i ženskog pisma nadopunile su stilističku perspektivu, ali pod cijenu da su revolucionarnost lirskog izraza svele na književnopovijesne termine, onemogućujući time čitanje Žagaričine lirike koje ne bi robovalo naraštajnoj poetici prethodnika i suvremenika, riječju – previđajući njegovu modernost. U radu se stoga prate dva problema kao dva simptoma iz istog izvora: s jedne strane kritički se analizira recepcija Žagaričina opusa od prve zbirke "Išla i... sve zaboravila" (1983) do zbirke "Stvarnice, nemirna površina" (2008), dok se s druge strane upućuje na manifestacije modernosti u Žagaričinoj poetici. Modernost pritom nije shvaćena kao književnopovijesna kategorija, nego kao dijalektički produkt književne evolucije. Naime, modernost je relativan pojam i određen je suodnošenjem sadašnjega povijesnog trenutka i prošlosti, težeći nadići prošlost uvijek iznova novim rješenjima, a da pritom i dalje zadrži inteligibilnost.
This paper discusses a highly debatable and problematic, yet a key psychoanalytic concept, the Real, and its relation to the Symbolic order. After examing principally two major approaches to the Real ...(from the perspective of subject and from the perspective of the Symbolic order), the influence of structuralism on Lacan’s later work is being analysed. Lacan’s later work is taken up by Žižek, who introduces an operative dimension of the Real and its political and ethical potential. The Real is finally taken as an empty void.
U radu se analizira pripovjedni dio opusa Slobodana Novaka s aspekta autobiografije shvaćene kao figure čitanja, koja svojim tropološkim radom destabilizira granice između privatnog i javnog te ...zbilje i fikcije. Umjesto da se Novakovi romani i novele promatraju kroz prizmu autorove biografije, dajući time prednost životu nad tekstom, autorica se osvrće na Novakovu ranu novelu Dalje treba misliti te njegov posljednji roman Pristajanje, demonstrirajući kako zatvaraju interpretacijski lûk složenim motivom šutnje. Šutnja kao komunikacijski znak ostvaruje se na fabularnoj, sižejnoj i recepcijskoj razini, zahtijevajući time prinošenje usložnjenih interpretativnih okvira. Naime, Novakova kvaziautobiografska proza problematizira unutar teksta mehanizme tumačenja izvan njega, a koji mu se prinose radi pripitomljavanja bujanja značenja i zauzdavanja potencijalnih implikacija kvaziautobiografskog pisma: da nemogućnost autobiografske totalizacije uvodi neizvjesnost u svako čitanje fikcije koje bi se oslanjalo na (auto)biografiju.
This paper analyzes the novel Three Journeys (Izvanbrodski dnevnik) by Slobodan Novak, in terms of its narrative structure and literary devices that are being used to disfigure the speech produced by ...centres of power in both everyday and official communication. As opposed to political allegory, to which the novel has been linked so far, it is argued that a complex narrative structure and stylistically carefully crafted storytelling point to self-referentiality of the novel. The story of Magistar is framed by Magistar’s writing of manipulative techniques used by other characters against him. Writing is a successful resistance practice to manipulation of perception because it exposes the unspoken assumptions of the latter, as well as it reveals mechanisms of emotional abuse. The novel is read as a place of freedom from a one-sided interpretation referencing the political state in former Yugoslavia, demonstrating by its structure that freedom in literature is in fact entitlement of literature to be free of any type of instrumentalization.
PDF
