The large group of heterogeneous poetics and enormous opuses is chronologically divided into seven units: 1. "Povojna lirika med revolucionarnim zanosom in osebno stisko (1950-1953)" (Post-WW II ...lyric poetry, from revolutionary excess to personal anxiety, distress 1950-53) covers sixteen poets (including Karel Vladimir Truhlar's first collection of 1958); 2. "V navzkrizju pomenskih struktur (1953-1960)" (At the crossroads of semantic structures" 1953-60) treats twelve poets (including Makarovic's first collection of 1964); 3. In "Polifonija estetskih in idejnih pesniskih izrazov in oblik (1960-1966)" (A polyphony of aesthetic and intellectual poetic expression and forms 1960-66), three of the fourteen poets' first collections came out in 1968-69 (Vogel, Kravos, and Kokot), and one each in 1974 (Pregarc) and 1978 (Janus); 4. "Vprasanje lingvizma, ludizma, karnizma (1966-75)" (The problem of linguism, ludism, and carnalism 1966-75) focuses on six poets; 5. "Sedemdeseta leta (1970-1977)" (The 1970s 1970-77) considers two poets' (Ivan Volaric-Feo and Matjaz Hanzek) concrete poetry, and seven others as relates to "the end of modernism or the beginning of postmodernism"; 6. "Leta 1977-1980" (The years 1977-80) treats nine poets as "new formalism and the advent of postmodernism," although Vincetic, Oswald, Jurij Kovic, Alojz Ihan, Maja Vidmar, and Haderlap published their first collections only in the mid-1980s; 7. "Postmodernizem se uveljavi (1985-)" (The prevalence of postmodernism 1985-) contains four of the youngest poets, although early on Ales Steger and Hudolin sharpen the images of dark modernism. Since contemporary poets will not soon be published in the most elite editions of the classics, Zbrana dela slovenskih pesnikov in pisateljev (The collected works of Slovene poets and prose writers)-Truhlar, Kocbek, and Joze Udovic have been exceptions- and since the earliest collections haven't been for sale for a long time, the enterprising publishing house Studentska zalozba undertook the collected poems of the classics of modernism. They began with those without whom contemporary poetry as it is would be inconceivable: Strnisa (Zbrane pesmi, 2007), Zajc (V belo, 2008), Kovic (Vse poti so, 2009), Salamun (Kdaj, 2010), Niko Grafenauer (Diham, da ne zaide zrak, 2010), and Jesih (Zbrane zbirke, 2012). The poet and essayist Ales Steger does the lion's share of editorial work and writing commentaries. He provided a sophisticated colloquy on Strnisa (convincingly establishing the meaning of the poet's cosmology, which departs in universal consciousness from anthropocentric rationalism), Zajc (whom he read from the standpoint of a negative theology, a horizon of the absolute, Derridaean polyphonic utterances, the shining of mystical light in darkness, and a shamanic calling), and the Sphinx-like, reticent, and serious Grafenauer (from the perspective of Rilke, Mallarmé, Celan, and the poet's autopoetic essays on inexpressible being, the ineffability of the absolute, his palimpsest and labyrinthine texture). In portraying Kovic, B. A. Novak underlined the symbolic techniques and loyalty to traditional verse and stanza forms in his poetic language, which functions naturally and in harmony with a general return to the tradition of pronounced skepticism towards apologies for free verse. A virtue of the commentaries are the ways they summarize and advance knowledge, reveal unnoticed dimensions by introducing new comparisons, and reset evaluative emphases. The largest book is on Tomaz Salamun. The selection is taken from forty collections, early texts not included in the first collection, and recent poems. A unique feature is the six (re-issued) recordings of Salamun's poetry, three by Slovene and three by foreign speakers. Ivo Svetnina recollects the atmosphere surrounding the appearance of the poems in the periodical Nasi razgledi and notes the subversive effect of the collection Poker, employing Marija Pirjevec's maxim of the end of the 'Preseren structure': "Salamun... jolted the sleepy and rigid Slovene poesis, which transformed all the non-occurring and non-existent into occurring and existing" (Svetina 2010: 912). Taras Kermauner questions the poet's faith (metaphysics with a Logos), nihilism (a non-essential code of substitutable signs), and personal identity as regards the paradoxes in the Maske collection. In the view of Salamun's coeval, the art historian Tomaz Brejc, in the second edition of Poker (1989), the poet features elegantly dresses the shocking, employs mobility, speed, erudition, word purification, and metonymy; conveys the immediacy of life and speech; and juxtaposes imaginary and real freedom, which is a model for contemporary human survival. The external views are especially interesting-the testimony of translators, critics, and poets. The American poet Joshua Beckman, with no knowledge of Slovene, felt fortunate to enter the other's place and then, instead of witnessing history experienced the art of presence, "and presence is, in and of itself, the greatest affirmation of life" (Beckman 2010: 1970). The Macedonian poet Katica K?julavkova summarizes the poetic features with the formulation: "evincing a strong will and power of presence in the poet's world/picture of the world here and now" (K?julavkova 2010: 978). She explains mobility as the drive to creative difference, which can easily be situated in international systems of poetic values and function in them as recognizable identity with a strong individual stamp. The American critic Kevin Hart expresses a view different from the Slovenes'. In the poems of Praznik (Feast) and Balada za Metko Krasevec he sees variety, childlike enjoyment, poetic expansion of experience, a journey of discovery and expectation of the unforeseen, and a quest for discoveries that disorient our experiences.
Avtorji z literarnovrstnimi oznakami lastnih besedil vplivajo na literarno sprejemanje in vsaj deloma tudi na literarno obdelovanje. Članek presoja razloge za poimenovanje pesnitev, ki sta ga za ...svoja besedila uporabila sodobna slovenska pesnika Gregor Strniša in Boris A. Novak. Strniša je s poimenovanji "pesnitev", 'petdelna pesem" oziroma "balada" naknadno polemiziral z že ustaljenim kritiškim in literarnozgodovinskim označevanjem njegovih besedil kot lirskih ciklov. Novak pa je za pesnitev opredelil Kamnito Afrodito, ki je eno od treh besedil v knjigi Hči spomina (1981), prav tako pa tudi knjigo Tisoč in en stih (1982), kar je spodbudilo literarnovedno opredelitev še dveh besedil iz knjige Hči spomina.
Namen tega prispevka o 'veselem' Ketteju ni podrobnejša analiza, temveč opozorilo na njegovo distinkcijo, drugačnost v pesniškem svetu moderne; na to, kako sta z Župančičem stopila na njeno drugo, ...svetlo, svobodno poloblo; kako ob vsej svoji nesporni veličini Cankar ni njena edina 'blagovna znamka'.
Prva mnenja o recepcijski zahtevnosti Prešernovih pesmi so se pojavila že v času njegovega življenja, obsežne razlage pesmi in opozorila na napake v razumevanju pa dokazujejo, da imajo težave s ...Prešernovo poezijo tudi izobraženci. Raziskava Bože Krakar Vogel je potrdila, da slab kognitivni odziv celo pri študentih slovenistike, s tem da le-ti Prešernove pesmi vseeno visoko vrednotijo, kar lahko pojasnimo z mitičnimi razsežnostmi nacionalnega pesniškega prvaka. Primerjava Krsta pri Savici z Jenkovim Ognjeplamtičem razkriva, zakaj je Prešernova romantična pesnitev recepcijsko bolj zahtevna, to spoznanje pa potrjuje empirična raziskava v prvem letniku ekonomske gimnazije, ki je izpričala izjemno slabo razumevanje Krsta pri Savici.
Kako brati »Krst pri Savici Boris PATERNU
Slavistična revija,
03/2006, Letnik:
54, Številka:
3
Journal Article
Recenzirano
Odprti dostop
Prešernova pesnitev Krst pri Savici sodi med temeljna dela slovenske književnosti. Pričujoča študija poskuša predstaviti nekaj temeljno različnih branj Prešernove poeme in neenakih orientacij v ...njenem notranjem dogajanju. Gre za štiri izhodiščno drugačna dojemanja pesnitve.
The paper attempts to point out Kosovel's connection with the Russian Literary Center of the Constructivists. Kosovel established critical relationship towards Černigoj, Zenithism, Futurism, he ...introduced kartvelianization in his kons's, "focusization", and meaning. He also defined constructivism and delineated it from constructiveness. Eventual publication of the kons's in the never realized journals Konstrukter and KONS would have had a very provocative effect. Since he could not coordinate this kind of poetry with the political responsibilities that were expected of him by the political left, which he became very close to in mid-1925, he started, simultaneously with writing kons's, "new work": integrals, which triggered an immediate response with their social and political orientation. Kons's do not belong to integrals, as has been incorrectly stated by literary criticism. If Kosovel's strategizing with his environment required that he hid his radical poetic orientation, his political position forced the government to forbid his public appearances, which so unfortunately coincided with his untimely death.
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