Pub Date : 2020-12-16DOI: 10.22210/ur.2020.064.1_2/06
{"title":"Književne revolucije: naslijeđe avangarde u hrvatskoj književnosti","authors":"","doi":"10.22210/ur.2020.064.1_2/06","DOIUrl":"https://doi.org/10.22210/ur.2020.064.1_2/06","url":null,"abstract":"","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"192 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126960913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-16DOI: 10.22210/UR.2020.064.1_2/02
Živa Benčić
EUGENE VODOLAZKIN’S LAURUS AS A NOVELA ABOUT ETERNAL LOVE Even though in Eugene Vodolazkin’s hybrid novel Laurus, the hagiographic and love storylines are inseparable, this paper focuses mainly on the topic of love, or more precisely, on the concept of eternal love. The paper seeks to demonstrate that in his understanding of love, Vodolazkin is inspired, on the one hand, by Vladimir Solovyov and Nikolai Berdyaev’s Christian-Platonist rendering of Eros, and, on the other, by the Orthodox-theological interpretation of passion as sin. In any case, the semantic field of “love”, as seen by Vodolazkin in his novel, includes passion and compassion and unquestionable permanence. The meaning of the adjective “eternal” in “eternal love” first points to the meaning of the Christian concept of eternity. The meaning of the adjective is further discussed and clarified in the framework of Vodolazkin’s metaphysical assumptions about the irrelevance or absence of time.
{"title":"Lavr Evgenija Vodolazkina kao roman o vječnoj ljubavi","authors":"Živa Benčić","doi":"10.22210/UR.2020.064.1_2/02","DOIUrl":"https://doi.org/10.22210/UR.2020.064.1_2/02","url":null,"abstract":"EUGENE VODOLAZKIN’S LAURUS AS A NOVELA ABOUT ETERNAL LOVE\u0000\u0000Even though in Eugene Vodolazkin’s hybrid novel Laurus, the hagiographic and love storylines are inseparable, this paper focuses mainly on the topic of love, or more precisely, on the concept of eternal love. The paper seeks to demonstrate that in his understanding of love, Vodolazkin is inspired, on the one hand, by Vladimir Solovyov and Nikolai Berdyaev’s Christian-Platonist rendering of Eros, and, on the other, by the Orthodox-theological interpretation of passion as sin. In any case, the semantic field of “love”, as seen by Vodolazkin in his novel, includes passion and compassion and unquestionable permanence. The meaning of the adjective “eternal” in “eternal love” first points to the meaning of the Christian concept of eternity. The meaning of the adjective is further discussed and clarified in the framework of Vodolazkin’s metaphysical assumptions about the irrelevance or absence of time.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122382884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-16DOI: 10.22210/UR.2020.064.1_2/08
Tihomir Brajović
Prikaz knjige: Varja Balžalorsky Antić, Lirski subjekt: rekonceptualizacija. Ljubljana: ZRC SAZU, Inštitut za slovensko literaturo in literarne vede. 2019. 304 str.
{"title":"Diskurzivni povratak subjekta","authors":"Tihomir Brajović","doi":"10.22210/UR.2020.064.1_2/08","DOIUrl":"https://doi.org/10.22210/UR.2020.064.1_2/08","url":null,"abstract":"Prikaz knjige: Varja Balžalorsky Antić, Lirski subjekt: rekonceptualizacija. Ljubljana: ZRC SAZU, Inštitut za slovensko literaturo in literarne vede. 2019. 304 str.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132380336","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-16DOI: 10.22210/UR.2020.064.1_2/04
Tomislav Čanković
ANTIQUE AND MYTHOLOGICAL MOTIFS IN CARMINA BURANA This paper discusses the function, purpose, place and formal characteristics of the Greek and Roman mythological motifs in the poems that are part of Carmina Burana, a medieval collection of poetry dating from the first half of the 13th century. Different relations established between the aforementioned motifs and lyrical subjects are also examined, as well as how these motifs fit into the context of the individual poem and the entirety of Carmina Burana. The paper focuses exclusively on the motifs which belong to the ancient Greek and Roman traditions, and not on those of the Judeo-Christian provenance, although the latter are numerous in their own right. Also, as Publius Ovidius Naso is often regarded as the main influence on the goliards, traces of his works and militaristic concepts of love visible in the poems of Carmina Burana are also highlighted and examined. The focus of this paper is on those poems which belong to the basic thematic elements usually attributed to the goliards, including tavern, wine, gambling, physical love and satirical and anticlerical overtones.
{"title":"Antički i mitološki motivi u zbirci Carmina Burana","authors":"Tomislav Čanković","doi":"10.22210/UR.2020.064.1_2/04","DOIUrl":"https://doi.org/10.22210/UR.2020.064.1_2/04","url":null,"abstract":"ANTIQUE AND MYTHOLOGICAL MOTIFS IN CARMINA BURANA\u0000\u0000This paper discusses the function, purpose, place and formal characteristics of the\u0000Greek and Roman mythological motifs in the poems that are part of Carmina Burana,\u0000a medieval collection of poetry dating from the first half of the 13th century. Different relations established between the aforementioned motifs and lyrical subjects\u0000are also examined, as well as how these motifs fit into the context of the individual\u0000poem and the entirety of Carmina Burana. The paper focuses exclusively on the\u0000motifs which belong to the ancient Greek and Roman traditions, and not on those\u0000of the Judeo-Christian provenance, although the latter are numerous in their own\u0000right. Also, as Publius Ovidius Naso is often regarded as the main influence on the\u0000goliards, traces of his works and militaristic concepts of love visible in the poems\u0000of Carmina Burana are also highlighted and examined. The focus of this paper is\u0000on those poems which belong to the basic thematic elements usually attributed\u0000to the goliards, including tavern, wine, gambling, physical love and satirical and\u0000anticlerical overtones.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115570926","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-16DOI: 10.22210/UR.2020.064.1_2/03
Natalija Iva Stepanović
“OUT OF THE CLOSET, ONTO THE BOOKSHELF”: ON GROWING UP AND COMING OUT IN CROATIAN QUEER LITERATURE In the contemporary Croatian queer prose, growing up is represented as a process with uncertain outcomes. Contemporary writers do not describe gay and lesbian identities as already shaped, finalized, and unquestionably different from heterosexuality. Their poetics have many predecessors, Bildungsroman, the 19th-century genre that, despite conventional epilogues, depicts youth as a period of the adventure and overturn, being the oldest one. The second important influence are foreign coming out novels (texts that describe the articulation of gay and lesbian identities in the family and community) or narratives of affirmation, and the third Yugoslav young adult prose. The publication of the Croatian queer prose has increased dramatically since the first Gay Pride in Zagreb (2002) and the Queer Zagreb festival the following year. In the short story collection Poqureene priče [The queered stories] (2004) growing up is one of the prevailing topics with eventually popularized motifs such as coming out, moving away / traveling, cultural signifiers of gay identity, and crossings of sexual orientation with gender and class. Writing in the first person is also very popular. Vladimir Stojsavljević’s oeuvre is important because the author depicts growing up in three contexts, during Yugoslavia, in the war-time, and in post-transition, and texts by Nora Verde are a novelty because she writes about queer women as belonging to lesbian community. Young authors Mirta Maslać and Viktorija Božina reveal an interesting autobiographical discourse and share a tendency towards using diverse cultural references. This paper aims to show how the encounter of local gay and lesbian culture, foreign fiction, and already present genres has shaped the current texts about queer identity that manage to avoid writing about sexuality within simplistic, binary oppositions.
{"title":"\"Iz ormara na police\": O odrastanju i izlasku iz ormara u hrvatskoj queer književnosti","authors":"Natalija Iva Stepanović","doi":"10.22210/UR.2020.064.1_2/03","DOIUrl":"https://doi.org/10.22210/UR.2020.064.1_2/03","url":null,"abstract":"“OUT OF THE CLOSET, ONTO THE BOOKSHELF”: ON GROWING UP\u0000AND COMING OUT IN CROATIAN QUEER LITERATURE\u0000\u0000In the contemporary Croatian queer prose, growing up is represented as a process\u0000with uncertain outcomes. Contemporary writers do not describe gay and lesbian\u0000identities as already shaped, finalized, and unquestionably different from heterosexuality. Their poetics have many predecessors, Bildungsroman, the 19th-century genre\u0000that, despite conventional epilogues, depicts youth as a period of the adventure and\u0000overturn, being the oldest one. The second important influence are foreign coming\u0000out novels (texts that describe the articulation of gay and lesbian identities in the\u0000family and community) or narratives of affirmation, and the third Yugoslav young\u0000adult prose. The publication of the Croatian queer prose has increased dramatically since the first Gay Pride in Zagreb (2002) and the Queer Zagreb festival the\u0000following year. In the short story collection Poqureene priče [The queered stories]\u0000(2004) growing up is one of the prevailing topics with eventually popularized motifs\u0000such as coming out, moving away / traveling, cultural signifiers of gay identity, and\u0000crossings of sexual orientation with gender and class. Writing in the first person is\u0000also very popular. Vladimir Stojsavljević’s oeuvre is important because the author\u0000depicts growing up in three contexts, during Yugoslavia, in the war-time, and in\u0000post-transition, and texts by Nora Verde are a novelty because she writes about\u0000queer women as belonging to lesbian community. Young authors Mirta Maslać\u0000and Viktorija Božina reveal an interesting autobiographical discourse and share a\u0000tendency towards using diverse cultural references. This paper aims to show how\u0000the encounter of local gay and lesbian culture, foreign fiction, and already present\u0000genres has shaped the current texts about queer identity that manage to avoid writing\u0000about sexuality within simplistic, binary oppositions.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"211 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115634462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-16DOI: 10.22210/UR.2020.064.1_2/10
Dubravka Dulibić-Paljar
Prikaz knjige: Francesca Maria Gabrielli, Evine kćeri: žene o biblijskim ženama u talijanskoj renesansi. Zagreb: Disput. 2019. 217. str.
{"title":"“Femine erranti”: biblijske žene u djelima talijanskih renesansnih umjetnica","authors":"Dubravka Dulibić-Paljar","doi":"10.22210/UR.2020.064.1_2/10","DOIUrl":"https://doi.org/10.22210/UR.2020.064.1_2/10","url":null,"abstract":"Prikaz knjige: Francesca Maria Gabrielli, Evine kćeri: žene o biblijskim ženama u talijanskoj renesansi. Zagreb: Disput. 2019. 217. str.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123478978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-16DOI: 10.22210/ur.2020.064.1_2/01
Vjeran Katunarić
SOCIAL REPRESENTATIONS, TEMPORAL LAYERS AND ANTICIPATION IN THREE FAMOUS WORKS OF ART The paper starts with the conceptual/theoretical approaches to social representations, structures of time, and vision of the future (anticipation) in three works of art. Don Quixote by Miguel Cervantes is a model example for illustrating the stated approaches. The concept of social representations (Durkheim, Moscovici, Abric) can be illustrated by the protagonist in Cervantes’ novel. Cervantes’ implicit vision of the future, except a turnover at the end of the novel, is closer to Sancho’s realism and pessimism than Don Quixote’s idealism and optimism. Such a shift in the central field of social awareness has a double impact on the way of understanding social reality. First, complementarity between the central (visionary) and the peripheral area (of everyday experience) of social consciousness is reduced, and contradiction is enhanced. Second, this contradiction exacerbates reversal in the relation between the sublime and banal for the sake of the unfettered market. The conclusive remarks offer a new research field concerning the impact of the subsequent epoch of the Enlightenment on the levelling of the values in the name of both the scientific disenchantments of the world and the expansion of the centrifugal forces of the marketplace. The concept of anticipation is further discussed with two works of art from the Renaissance: Jan van Eyck’s “Portrait of Arnolfini” and Leonardo da Vinci’s “The Last Supper”. Both works anticipate the coming of capitalism. The first painting points out the function of marriage as the institution of inheritance and accumulation of private property, as a part of the new alliance of power between the new middle class and the old upper (feudal) class. In the second painting, Jesus’ announcement of his death results in the emptying of the moral centre-stage of Christianity. This moment opens the space for the penetration and eventual hegemony of capitalism in society. The morality of the Church is rather provisory and fluctuates between two contrasts: One is the illusion of the return of Jesus, and the other is the rise of the new secular power, the totalitarian capitalism, which does not permit any alternative, as if wanting to replace the “only one God”.
{"title":"Društvene predodžbe, slojevi vremena i anticipacija u tri poznata umjetnička djela","authors":"Vjeran Katunarić","doi":"10.22210/ur.2020.064.1_2/01","DOIUrl":"https://doi.org/10.22210/ur.2020.064.1_2/01","url":null,"abstract":"SOCIAL REPRESENTATIONS, TEMPORAL LAYERS AND ANTICIPATION IN THREE FAMOUS WORKS OF ART\u0000\u0000The paper starts with the conceptual/theoretical approaches to social representations, structures of time, and vision of the future (anticipation) in three works of\u0000art. Don Quixote by Miguel Cervantes is a model example for illustrating the stated\u0000approaches. The concept of social representations (Durkheim, Moscovici, Abric)\u0000can be illustrated by the protagonist in Cervantes’ novel. Cervantes’ implicit vision of the future, except a turnover at the end of the novel, is closer to Sancho’s\u0000realism and pessimism than Don Quixote’s idealism and optimism. Such a shift\u0000in the central field of social awareness has a double impact on the way of understanding social reality. First, complementarity between the central (visionary) and\u0000the peripheral area (of everyday experience) of social consciousness is reduced,\u0000and contradiction is enhanced. Second, this contradiction exacerbates reversal in\u0000the relation between the sublime and banal for the sake of the unfettered market.\u0000The conclusive remarks offer a new research field concerning the impact of the\u0000subsequent epoch of the Enlightenment on the levelling of the values in the name\u0000of both the scientific disenchantments of the world and the expansion of the centrifugal forces of the marketplace. The concept of anticipation is further discussed\u0000with two works of art from the Renaissance: Jan van Eyck’s “Portrait of Arnolfini”\u0000and Leonardo da Vinci’s “The Last Supper”. Both works anticipate the coming of capitalism. The first painting points out the function of marriage as the institution\u0000of inheritance and accumulation of private property, as a part of the new alliance of\u0000power between the new middle class and the old upper (feudal) class. In the second\u0000painting, Jesus’ announcement of his death results in the emptying of the moral\u0000centre-stage of Christianity. This moment opens the space for the penetration and\u0000eventual hegemony of capitalism in society. The morality of the Church is rather\u0000provisory and fluctuates between two contrasts: One is the illusion of the return of\u0000Jesus, and the other is the rise of the new secular power, the totalitarian capitalism,\u0000which does not permit any alternative, as if wanting to replace the “only one God”.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121247775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-22DOI: 10.22210/ur.2020.064.3_4/05
Miran Hladnik
QUANTITATIVE LITERARY STUDIES AND INTERPRETATION The analysis of the author’s own past research has shown that digital tools do not have a significant role in contributing to new interpretations of the Slovene literary canon. However, when shifting the subject of interpretation from a single work to authorial opera, genre corpora, literary period or the entire national literature, it becomes clear how quantitative methods, stimulated by digitalisation of the cul-tural past, literary databases and digital tools play a vital role. Interpretations that consider the richness of data, generated by digital culture, are more trustworthy than the former ones.The price we pay for that is the refusal of clear encyclopaedic definitions and de-scriptions. Literary past, observed through the digital humanities’ perspective has a fuzzy development because the central phaenomena gradually fade in the multitude of rival or peripheral phenomena. Slovene literature is not represented by prominent authors and their famous works any more, it does not comply with dictation of the great national myth, i.e., the construction of the nation from the spirit of literature. Rather, it is considered as a random fact, a matter of serendipity. It is represented as the entire literary production on the Slovene territory, in Slovene as well as other languages. Due to special circumstances, it is different from the neighbouring literatures and it triggers new, nation-specific definitions of literary phenomena.New interpretations of Slovene literature are not only indebted to the use of digital tools, but also to the consequence of changes within the literary system itself. In its beginnings, Slovene literature was dedicated to the constitution and emancipation of the nation, while now it also legitimately fulfils other human needs and functions: cultural recreation, women and social minorities’ emancipation and mobilisation, escapism, self-reflection, self-therapy, testing of the alternative models of social behaviour, etc.
{"title":"Kvantitativna znanost o književnosti i interpretacija","authors":"Miran Hladnik","doi":"10.22210/ur.2020.064.3_4/05","DOIUrl":"https://doi.org/10.22210/ur.2020.064.3_4/05","url":null,"abstract":"QUANTITATIVE LITERARY STUDIES AND INTERPRETATION\u0000\u0000The analysis of the author’s own past research has shown that digital tools do not have a significant role in contributing to new interpretations of the Slovene literary canon. However, when shifting the subject of interpretation from a single work to authorial opera, genre corpora, literary period or the entire national literature, it becomes clear how quantitative methods, stimulated by digitalisation of the cul-tural past, literary databases and digital tools play a vital role. Interpretations that consider the richness of data, generated by digital culture, are more trustworthy than the former ones.The price we pay for that is the refusal of clear encyclopaedic definitions and de-scriptions. Literary past, observed through the digital humanities’ perspective has a fuzzy development because the central phaenomena gradually fade in the multitude of rival or peripheral phenomena. Slovene literature is not represented by prominent authors and their famous works any more, it does not comply with dictation of the great national myth, i.e., the construction of the nation from the spirit of literature. Rather, it is considered as a random fact, a matter of serendipity. It is represented as the entire literary production on the Slovene territory, in Slovene as well as other languages. Due to special circumstances, it is different from the neighbouring literatures and it triggers new, nation-specific definitions of literary phenomena.New interpretations of Slovene literature are not only indebted to the use of digital tools, but also to the consequence of changes within the literary system itself. In its beginnings, Slovene literature was dedicated to the constitution and emancipation of the nation, while now it also legitimately fulfils other human needs and functions: cultural recreation, women and social minorities’ emancipation and mobilisation, escapism, self-reflection, self-therapy, testing of the alternative models of social behaviour, etc.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"318 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133807353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-19DOI: 10.22210/UR.2019.063.3_4.02
Martina Domines Veliki
VISUALIZING POVERTY IN WORDSWORTH’S POETRY This paper departs from the assumption that Wordsworth’s poetry is highly visual in its quality and it focuses on his three “great period” poems, “Michael”, “The Old Cumberland Beggar” and “Resolution and Independence” (1798–1805) to show how Wordsworth represents poverty. By taking as its starting point some New Historicist readings of these poems (Simpson, Pfau, Connell, Liu) which highlighted Wordsworth’s blindness to social reality of the poor, it wants to enlarge the scope of historicist readings by introducing the framework of the New Poverty Studies (Korte, Christ). Furthermore, it insists on the assumption that the Romantic need to visualize landscape in the picturesque form becomes an important strategy of “configuring” (Korte) the reality of the poor. In other words, the way in which the poor are represented in Wordsworth’s poetry tells us something about practical engagements with poverty in late eighteenth-century England. Also, Wordsworth’s position of a middle-class observer who builds the tension between the seen and the deliberately unseen aspects of his social surrounding, show us how Wordsworth unconsciously falls under the spell of a larger class-related sensibility and thus fails in his humanitarian project.
{"title":"VISUALIZING POVERTY IN WORDSWORTH’S POETRY","authors":"Martina Domines Veliki","doi":"10.22210/UR.2019.063.3_4.02","DOIUrl":"https://doi.org/10.22210/UR.2019.063.3_4.02","url":null,"abstract":"VISUALIZING POVERTY IN WORDSWORTH’S POETRY\u0000\u0000This paper departs from the assumption that Wordsworth’s poetry is highly visual in its quality and it focuses on his three “great period” poems, “Michael”, “The Old Cumberland Beggar” and “Resolution and Independence” (1798–1805) to show how Wordsworth represents poverty. By taking as its starting point some New Historicist readings of these poems (Simpson, Pfau, Connell, Liu) which highlighted Wordsworth’s blindness to social reality of the poor, it wants to enlarge the scope of historicist readings by introducing the framework of the New Poverty Studies (Korte, Christ). Furthermore, it insists on the assumption that the Romantic need to visualize landscape in the picturesque form becomes an important strategy of “configuring” (Korte) the reality of the poor. In other words, the way in which the poor are represented in Wordsworth’s poetry tells us something about practical engagements with poverty in late eighteenth-century England. Also, Wordsworth’s position of a middle-class observer who builds the tension between the seen and the deliberately unseen aspects of his social surrounding, show us how Wordsworth unconsciously falls under the spell of a larger class-related sensibility and thus fails in his humanitarian project.","PeriodicalId":371506,"journal":{"name":"Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130041776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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