The paper thematizes cognitive narratology as a direction developed within postclassical and new narratologies by observing it in a series of related concepts such as cognitive poetics, cognitive ...linguistics, cognitivism, and evolutionary literary theory. It delineates its scope and reach within cognitive science, and discusses concepts such as schemata, frames, narrativity, parables, and others, which can influence the development and transformation within cognitive narratology.
Rad obrađuje načine književne artikulacije Podgorja u pripovjednoj prozi
Vjenceslava Novaka (Pavao Šegota, Pod Nehajem, Posljednji Stipančići, Tito Dorčić, Dva
svijeta). Podgorje nije ubilježeno kao ...idealizirani zavičajni prostor na rubu Austrijskoga
Carstva, već je prometnuto u poetičko sredstvo propitkivanja osobnog i kolektivnog
identiteta dionika toga prostora, čiji se marginalni položaj promišlja i kao posljedica
konfliktnih i nepostojanih dijelova hrvatske samobitnosti. Pomak u obradi mjesta priče
iz središta na rub kao i prijelazi između semantičkih polja velegrada i provincije čine
pripovjednu izvedbu kojom Novak obogaćuje svoju realističku poetiku, slikajući razmjere
političke i klasne tranzicije u razdijeljenomu, zakutnomu hrvatskomu prostoru, predmetu
izvanmatične europske književne proizvodnje. Podjelu na središte i periferiju proisteklu
iz razdiobe političke i gospodarske moći devetnaestostoljetne Europe Novak svojom
fikcionalnom konfiguracijom prostora poravnava i kao vrijednosnu razdjelnicu. Dvojbe
oko pripadnosti izvornome krajoliku čine narativnu strukturu europskoga realističkoga
romana na prijelomu devetnaestog i dvadesetoga stoljeća. Pripovjedna topografija
Vjenceslava Novaka proširuje hrvatski okoliš krajolikom manjega primorskoga grada i
Podvelebitskoga priobalja čijoj izvornoj protežnosti i raznolikosti pridaje značenja izrasla
iz napetosti u tumačenju odnosa središta i provincije. Novakovi pripovjedni eskursi o
posebnosti Podgorja prepleću se s općim referencijama geopolitičkoga pojma europske
provincije što se podjeljuju tomu rubnomu prostoru.
The author's point of departure is the observation that both Andrić and Kiš use historical documents in the process of their writing, although they achieve that in different ways. This difference is ...examined in the context of a monumental challenge to which both authors had to respond, i.e., the dominance of information over the story. The poetological reaction to this challenge is different for each author, but a certain position is common to both of them: they both differentiate between the officially accepted history, which they equate with fiction, and non-accepted knowledge about the past. They believe that literature has the power to gather elements of this non-accepted knowledge about the past and confront the official history with them.
This article discusses the problem of proverbial textual internet memes. These can be compared with proverbs in their form and content, and with literary oral poetics in their means of transmission. ...All described memes are from the Instagram profile Mudrolije sa Twittera and they can be divided into two separate groups. In the first group are memes that paraphrase already existing proverbs, and in the second are memes that imitate the genre of proverbs in their structure and stylistics, and which can be considered their surrogates in online communication. It has been noted that these memes behave like short literary forms in internet communication and that they generate new online proverbial messages that can be compared with proverbs. These memes are created by imitating a proverbial form (shortness, truthfulness, experience) and transmitted in the same way as the short oral forms, but via different forms of communication – instead of verbal communication they are transmitted online, i.e. through virtual communication.
The article analyses the question of cinematic visual violence and the case of M. Haneke’s “Funny Games”. Serial products of contemporary visual culture are constructed in accordance with the rules ...of the so-called “applied Aristotelianism”. How the industry of visual entertainment redevelops Aristotle’s “Poetics” is especially evident in the films of entertaining visual violence. Aristotle’s theory is treated not only as the principle that provides legitimate basis to depiction of violence, but also as a rule that allows to achieve “an institutionalized catharsis”.The strong links between cinematic visual violence and “applied Aristotelianism” allow us to understand why the criticism of entertaining visual culture quite often coincides with the desire to deconstruct the laws of classical narration. It is precisely the strategy undertaken by Haneke in “Funny Games”. Haneke negates the two basic principles of Aristotelian poetics. Firstly, he deconstructs the experience of visual pleasure and, therefore, prevents the viewer from experiencing catharsis as reward. Secondly, by twice rewinding the same violent act, Haneke refocuses attention from the narration to the viewer, and turns the latter into the main “character” of the film. Both modifications transform “Funny Games” into the field of polemics with the industry of entertaining visual violence.
U radu se problematizira pučko s posebnim osvrtom na recipijenta pučke književnosti. Polazi se od teze da pučkost kao svojstvo nije nužno upisana u sam tekst, nego se realizira u dinamici ...čitanja/slušanja teksta, odnosno u dijalogu između teksta i njegova recipijenta koji pripada tzv. nepovlaštenim čitateljima. Promatra se društvena struktura pučkoga čitatelja/slušatelja i razina estetske kondicioniranosti s kojom raspolaže, a koja definira strukturu pučkoga književnoga teksta i njegovu estetiku. Pristup pučkoj književnosti promatra se unutar dosadašnjih istraživanja hrvatske pučke književnosti s osobitim osvrtom na radove Divne Zečević u kojima su postavljeni temelji za daljnja istraživanja pučkoga književnoga fenomena.
MEHMED ÂKİF’İN POETİKASI ŞİMŞEK, Tacettin
Atatürk Üniversitesi Türkiyat Araştırmaları Enstitüsü Dergisi; Sayı 53 (2015): TÜRKİYAT ARAŞTIRMALARI ENSTİTÜSÜ DERGİSİ,
01/2015
Journal Article
Tarihî olaylar, felsefi yaklaşımlar ve sosyal değişmeler poetikaları etkiler. Türkiye’de millî edebiyat döneminde poetika yazanlar, millet kavramından yola çıkarlar. Şiir bireysel duyuşları ifade ...etmekten çok toplumu uyandırma görevi üstlenir.Mehmed Âkif millî edebiyat duyarlığına sahip bir şairdir. O, idealleri uğruna şiir söylemeyi erteler. Bu, onun şairlik gücünün az oluşuyla değil, şiire yüklediği misyonla ilgilidir. Âkif’in söylenecek sözü, verilecek mesajı, anlatılacak derdi vardır. Millî edebiyat anlayışının gereği olarak kişisel duygularını geri plana atar, milletinin derdini dile getirir. Muhtevayı öne çıkarırken şiiriyeti bilerek arka plana iter. Ancak kalemini özgür bıraktığı zamanlarda bütünüyle lirik bir şairdir. Âkif gerçekçi edebiyatın temsilcisi olduğu kadar idealist bir tavrın da takipçisidir. Durum tespiti yapar, öneriler ve önermeler sunar. Elinde değerler manzumesi çevresinde toplumu yeniden inşa edecek sağlam bir reçete vardır.Safahat’taki manzumelerden ve Sebilürreşad dergisinde yayımlanan makalelerden Âkif’in poetikasını saptamak mümkündür. Buna göre Âkif, poetikasını Şuara suresine ve hadislere dayandırır. Dolayısıyla poetikasının temel kaynağı ayet ve hadislerdir. O, ayet ve hadislerin makbul saydığı şiirin peşindedir. Şairin görevini de bu çerçevede tanımlar. Edebiyattan ahlaki ve sosyal fayda bekler. Makalede Safahat’tan ve şiir üzerine yazdığı metinlerden örneklerle Mehmed Âkif’in poetikası tespit edilecektir.
Historical events, philosophical approaches and social changes influence poetics. In Turkey the writers who write poetics in national literature period start the term nation. Poetry takes on the task of wakening the society rather than expressing individual perceptions. He is the supporter of an idealist attitude as realist literature. He does assessment and offers suggestion and statement. He has a strong prescription to rebuild the society in terms of values. It is possible to determine Akif’s poetics looking the poems in Safahat and the articles published in the journal Sebilürreşad. Thus, Akif builds his poetics on The Poets (Ash –Shuaraa) and hadiths. Consequently the main source of his poetics is verses of Koran and hadiths. He goes after the poetry which includes verses and hadiths. He expects moral and social benefit. In the study Mehmed Akif’s poetics is going to be determined through the examples from Safahat and essays on poetry
Die uitgangspunt van hierdie ondersoek is dat die poësie van T.T. Cloete benader kan word as 'n voortdurende spel - 'n spel wat outeur, teks en leser in die literêre diskoers betrek, maar wat ook ...gelees kan word as 'n bepaalde poëtikale opvatting. Hierdie digterlike en talige spel mond onder andere uit as 'n verwysingspel wat as skryfmodus ooreenkom met Cloete se poëtikale opvatting dat poësie 'n spel is van die dromende denke. Huizinga (1952) se tese dat poësie in spel en as spel gebore is, word in talle gedigte bevestig, want die nosie van spel het betrekking op die ontstaan van die gedig, sowel as op die bestaande gedig. Aan die hand van enkele geselekteerde gedigte en gediganalises word verskillende fasette van spel in Cloete se digterskap verken: die speelse karakter as lewenshouding; spel as digterlike strategie wat dikwels setel in 'n spel van magsverhoudings; die verhouding: spel, erotiek en taal, of die verband tussen die liggaam, die gedig en spel; en die talige besweringsmoontlikheid wat die-gedig-as-spel inhou waar dit gerig is op tydelike opheffing van die mens se eksistensiële lewens- en doodsangs, terwyl dit terselfdertyd ook dié moontlikheid ondermyn. "The poem is play" - aspects of play in a number of TT Cloete's poems The rationale of this investigation is that the poetry of TT Cloete can be approached as continuous play - play that involves the author, text and reader in the literary discourse, but that can also be read as a specific poetic conception. Cloete raised explicit verse-external opinions with regard to play, for example: "The poem is play, even body-play." (Freely translated.) Although Cloete made the statement within the context of the creation of a specific poem, it is, however, a poetic perception that could be applied to his complete oeuvre. This poetic and word game feeds among others into reference play and especially intertextual play. Johan Huizinga's thesis (in Homo Ludens. A study of the Play-Element of Culture) that poetry is play and born in play, is also confirmed in numerous poems, because the notion of play relates to the creation of a poem, as well as the existing poem. In this article different facets of play are explored with regard to a number of selected poems and poem analyses in the poetry of Cloete. A characteristic of play in poetry is the playful character as attitude to life. It is, however, important to note that this playful attitude to life frequently can be typecast as "play-play in all seriousness" (freely translated from "Oordag" in Driepas). The origin of the playful attitude to life is with Cloete, partially theological in nature. God plays with man and also allows man to play with Him as is obvious from the poem "job die tweede" (Cloete 1985:47) in which the narrator identifies with Job and in which he argues with God. As a consequence of the playful attitude to life, Cloete's poetic prowess is indeed situated as dynamic play, but often not an ideological innocent play. Play, poetical prowess and power relations are explicitly verbalised in the poem, "balspel" (Cloete 2007:110). The key idea, which is put forward as a thesis in this poem, is "the poet is always a batsman". Being a poet is, therefore, equated to a ball game and the poet as the defendant in this game finds himself in a tussle with the dynamics and the wilfulness of language. In this poem the whole poetic procede is in the light of the poetic play - a play of words, of repetition and of sound and echoes. There are furthermore two aspects of play and the playful attitude to life that are explored in the article: the fulfilled person in his love play (which can once again be equated to poetic play), and the possibility of an incantation or the liberating function of play that is aimed at the temporary abolishment of man's existential fear of life or his fear of death. Both these facets illustrate the ambiguous essential nature of play, as well as its underlying seriousness, in spite of its playful attitude to life.
Desetletje po Morettijevem predlogu oddaljenega branja svetovne literature kritike tega kulminirajo denimo v Holquistovi zavrnitvi oddaljenega branja v imenu jakobsonovske filologije. Oddaljeno ...branje se resda odpove natančnemu branju, ne pa tudi Jakobsonu. Formalni "skoki", ki jih Franco Moretti rekonstruira s pomočjo kvantitativnih analiz dolgega trajanja form, aktivirajo prav to, čemur Roman Jakobson pravi "poetska funkcija jezika". Še več, Jakobsona zanemarja ravno tisto zgodovinopisje, ki Morettijevo teorijo svetovne literature sooča z lokalnimi literarnimi dejstvi, ki naj bi zaslužila kanonizacijo. Te kritike prezrejo, da lahko teorijo ovrže le močnejša teorija, ne pa dejstva, in da utegne biti dobro izhodišče za to prav Morettijeva umestitev lokalnih dejstev v periferije, ki jih izkoriščajo kanonizirani centri, ne pa v sam kanon.
Rad je podsjetnik na Jelčićev prinos u predstavljanju, opisu i analizi života i djela Josipa Kosora. Tema Kosor zaglavna je Jelčićeva tema, mjesto u njegovu stručnom opusu koje pokazuje najbolje od ...njegova filološkog, istraživačkog i analitičkog značaja. Monografijom o Kosoru iz 1988. Jelčić je utjecao na mnoge istraživače Kosorova literarnog opusa, ali i ne samo na njih: uzorno napisanom studijom ponudio je model sustavnog filološkog rada, što su kasnije nasljedovali i unaprijedili književni povjesničari mlađih naraštaja. Na osobnom primjeru i sam će autor ovoga rada pokazati kako se Jelčićeva strast za proučavanjem Josipa Kosora nastavila u nizu novih znanstvenih i stručnih tekstova, u objavljivanju nepoznatih Kosorovih djela i otkrićima novih rukopisa u inozemnim arhivima.
PDF
