Tomo Virk – prejemnik priznanja Antona Ocvirka za najboljšo izvirno komparativistično monografijo zadnjih dveh let, ki ga je Slovensko društvo za primerjalno književnost lani podelilo tretjič – je eden izmed vodilnih slovenskih literarnih teoretikov in zgodovinarjev, pa tudi esejist, prevajalec in redni profesor na Oddelku za primerjalno književnost in literarno teorijo Filozofske fakultete Univerze v Ljubljani. Njegove prve monografije – npr. Duhovno zgodovino (1989) in Kratko zgodovino večnosti (1993) – zaznamuje svojevrsten preplet literarnih, filozofskih in religioznih vprašanj. Posebej intenzivno se je ukvarjal s postmodernizmom v (tuji in slovenski) literaturi, mdr. že v doktorski disertaciji, v kateri je obravnaval »usodo slovenskega romana v dobi postmodernizma«. V eni od svojih najodmevnejših monografij iz devetdesetih, Beli dami v labirintu (1994) – zanjo je prejel nagrado zlata ptica –, je tematiziral »idejni svet J. L. Borgesa«. V kontekstu slovenske literarne in idejne zgodovine pa je še posebej natančno preučeval Bartola in Juga. Že v devetdesetih se je uveljavil kot eden največjih slovenskih poznavalcev metodologije literarnih ved. Leta 2007 je izšlo eno izmed njegovih najambicioznejših del, Primerjalna književnost na prelomu tisočletja, v katerem je predstavil in ovrednotil temeljne smernice sodobne svetovne in slovenske primerjalne književnosti ter obenem podal svojo vizijo njene prihodnosti. Za svoje delo je prejel številne nagrade in priznanja, mdr. nagrado Marjana Rožanca za Ujetnike bolečine (1995) in zlati znak ZRC SAZU za znanstveno monografijo Strah pred naivnostjo: poetika postmodernistične proze (2000). – Komisija priznanja Antona Ocvirka za leto 2020, ki so jo sestavljali Anja Mrak, Marcello Potocco in Igor Žunkovič (predsednik), je v obrazložitvi svoje odločitve, da nagrado podeli Virkovi monografiji Etični obrat v literarni vedi (2018), zapisala: »Gre za prvo slovensko znanstveno monografijo, ki obravnava enega od pomembnejših pojavov v literarni vedi ob koncu tisočletja, to je zvezo med literaturo in etiko. […] Etični obrat v literarni vedi je napisan jasno, natančno in premišljeno, obenem pa z velikim občutkom za jezik in bralca. Virk nam z značilno duhovitostjo nazorno posreduje literarno teoretske probleme, ki se v besedilih številnih drugih avtorjev zdijo nedoumljiva zagonetka. Prav zato gre za besedilo, ki je ob strokovni dostopno še širši javnosti, s čimer prispeva k najsodobnejšim premislekom o etiki tudi onstran literature in literarne vede, s tem pa nenazadnje k pomenu in ugledu primerjalne književnosti na Slovenskem ter slovenske literarne vede v svetu.« – S Tomom Virkom sva se pogovarjala na slavnostnem dogodku SDPK ob podelitvi nagrade, 7. oktobra 2020 v Prešernovi dvorani SAZU.
{"title":"Literatura je neskončna zakladnica edinstvenih situacij. Tomo Virk, dobitnik Priznanja Antona Ocvirka 2020","authors":"Tomo Virk, Matic Kocijančič","doi":"10.3986/PKN.V44.I1.11","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.11","url":null,"abstract":"Tomo Virk – prejemnik priznanja Antona Ocvirka za najboljšo izvirno komparativistično monografijo zadnjih dveh let, ki ga je Slovensko društvo za primerjalno književnost lani podelilo tretjič – je eden izmed vodilnih slovenskih literarnih teoretikov in zgodovinarjev, pa tudi esejist, prevajalec in redni profesor na Oddelku za primerjalno književnost in literarno teorijo Filozofske fakultete Univerze v Ljubljani. Njegove prve monografije – npr. Duhovno zgodovino (1989) in Kratko zgodovino večnosti (1993) – zaznamuje svojevrsten preplet literarnih, filozofskih in religioznih vprašanj. Posebej intenzivno se je ukvarjal s postmodernizmom v (tuji in slovenski) literaturi, mdr. že v doktorski disertaciji, v kateri je obravnaval »usodo slovenskega romana v dobi postmodernizma«. V eni od svojih najodmevnejših monografij iz devetdesetih, Beli dami v labirintu (1994) – zanjo je prejel nagrado zlata ptica –, je tematiziral »idejni svet J. L. Borgesa«. V kontekstu slovenske literarne in idejne zgodovine pa je še posebej natančno preučeval Bartola in Juga. Že v devetdesetih se je uveljavil kot eden največjih slovenskih poznavalcev metodologije literarnih ved. Leta 2007 je izšlo eno izmed njegovih najambicioznejših del, Primerjalna književnost na prelomu tisočletja, v katerem je predstavil in ovrednotil temeljne smernice sodobne svetovne in slovenske primerjalne književnosti ter obenem podal svojo vizijo njene prihodnosti. Za svoje delo je prejel številne nagrade in priznanja, mdr. nagrado Marjana Rožanca za Ujetnike bolečine (1995) in zlati znak ZRC SAZU za znanstveno monografijo Strah pred naivnostjo: poetika postmodernistične proze (2000). – Komisija priznanja Antona Ocvirka za leto 2020, ki so jo sestavljali Anja Mrak, Marcello Potocco in Igor Žunkovič (predsednik), je v obrazložitvi svoje odločitve, da nagrado podeli Virkovi monografiji Etični obrat v literarni vedi (2018), zapisala: »Gre za prvo slovensko znanstveno monografijo, ki obravnava enega od pomembnejših pojavov v literarni vedi ob koncu tisočletja, to je zvezo med literaturo in etiko. […] Etični obrat v literarni vedi je napisan jasno, natančno in premišljeno, obenem pa z velikim občutkom za jezik in bralca. Virk nam z značilno duhovitostjo nazorno posreduje literarno teoretske probleme, ki se v besedilih številnih drugih avtorjev zdijo nedoumljiva zagonetka. Prav zato gre za besedilo, ki je ob strokovni dostopno še širši javnosti, s čimer prispeva k najsodobnejšim premislekom o etiki tudi onstran literature in literarne vede, s tem pa nenazadnje k pomenu in ugledu primerjalne književnosti na Slovenskem ter slovenske literarne vede v svetu.« – S Tomom Virkom sva se pogovarjala na slavnostnem dogodku SDPK ob podelitvi nagrade, 7. oktobra 2020 v Prešernovi dvorani SAZU.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91333253","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sophocles was the ancient Shakespeare. Not only is he a link between the ancient and the new Greek theater, but with the clarity of his style, the precise verse, and the perfectly refined tragedy, he was for centuries the model of a writer for the ancient Greeks and their heirs. Yet almost three times less tragedies has survived from Sophocles than from Euripides. Why is this so? Textual analysis indicates that this is precisely because Sophocles was canonized and his plays in manuscripts were preserved in a small number of special places. Today, seven plays survive and one that is still uncertainly attributed to Sophocles. Antigone is among the tragedies that have formed the backbone of understanding Sophocles for centuries. Less well known is that a kind of proto-Antigone exists in Sophocles’s last written play: Oedipus at Colonus.
{"title":"Sofokles: življenje in delo, zbrano v samo sedmih dramah","authors":"Aleksandar Gatalica","doi":"10.3986/PKN.V44.I1.01","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.01","url":null,"abstract":"Sophocles was the ancient Shakespeare. Not only is he a link between the ancient and the new Greek theater, but with the clarity of his style, the precise verse, and the perfectly refined tragedy, he was for centuries the model of a writer for the ancient Greeks and their heirs. Yet almost three times less tragedies has survived from Sophocles than from Euripides. Why is this so? Textual analysis indicates that this is precisely because Sophocles was canonized and his plays in manuscripts were preserved in a small number of special places. Today, seven plays survive and one that is still uncertainly attributed to Sophocles. Antigone is among the tragedies that have formed the backbone of understanding Sophocles for centuries. Less well known is that a kind of proto-Antigone exists in Sophocles’s last written play: Oedipus at Colonus.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90488715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the figure of Antigone in European literature from antiquity to the end of the Middle Ages. After the period of classical Greek tragedy (Aeschylus, Sophocles, Euripides), Antigone as a literary figure undergoes the most significant adaptation in the Roman era, in Seneca’s tragedy The Phoenician Women and Statius’s epic Thebaid. In both works, Antigone is marked by Stoic determinism despite her rather active role. In the Middle Ages Antigone was a rather marginal literary figure. She is encountered mainly in the more or less free adaptations of Statius’s Thebaid, such as the medieval Irish prose work Togail na Tebe (The Destruction of Thebes) and the French epic Roman de Thebes. Sporadic mentions of Antigone are also found in Dante, Boccaccio, and Christine de Pizan. The article notes that in medieval literature the thematization of Antigone is often characterized by an interweaving of two mythological figures (and traditions), the Theban and the (much less well-known) Trojan Antigone. Such literary contaminatio (contamination) of the two Antigones is most prominent in Chaucer’s epic Troilus and Criseyde. Finally, the discussion touches on the humanist reception of Antigone and draws attention to the hermeneutical problem of the literary reception of Antigone in general.
{"title":"Lik Antigone v predmoderni literaturi","authors":"Alen Širca","doi":"10.3986/PKN.V44.I1.05","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.05","url":null,"abstract":"The article examines the figure of Antigone in European literature from antiquity to the end of the Middle Ages. After the period of classical Greek tragedy (Aeschylus, Sophocles, Euripides), Antigone as a literary figure undergoes the most significant adaptation in the Roman era, in Seneca’s tragedy The Phoenician Women and Statius’s epic Thebaid. In both works, Antigone is marked by Stoic determinism despite her rather active role. In the Middle Ages Antigone was a rather marginal literary figure. She is encountered mainly in the more or less free adaptations of Statius’s Thebaid, such as the medieval Irish prose work Togail na Tebe (The Destruction of Thebes) and the French epic Roman de Thebes. Sporadic mentions of Antigone are also found in Dante, Boccaccio, and Christine de Pizan. The article notes that in medieval literature the thematization of Antigone is often characterized by an interweaving of two mythological figures (and traditions), the Theban and the (much less well-known) Trojan Antigone. Such literary contaminatio (contamination) of the two Antigones is most prominent in Chaucer’s epic Troilus and Criseyde. Finally, the discussion touches on the humanist reception of Antigone and draws attention to the hermeneutical problem of the literary reception of Antigone in general.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91208786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The topic of the article is the comparison of two plays concerning the figure of King Creon: the paper focuses on the Slovenian poetic-philosophical play Antigona by Dominik Smole (1929–1992), which was produced by the Oder 57 in 1960, and the satirical-absurd play Děvka z města Theby (Prostitute from the City of Thebes) written in 1967 by the Czech playwright Milan Uhde (b. 1936). The latter was performed only for a short time in Czech National Theatre in Prague and Brno and was banned after 1968 because of the Soviet occupation and the new regime. Both plays were written in the same period. There is no real connection or possible influence between them, but still we can observe the same intertextual connections and philosophical ideas. Both follow Sophocles’s play, and both were deeply influenced by Anouilh’s Antigone. Both plays ground their philosophical perspectives in existentialism and absurdist theatre (these labels also appear in later analyses). This paper focuses on the figure of Creon, who in both plays becomes the main antagonist in the dramatic events revealing the discourse between the individual and the collective. His figure appears in the realm of evil and he puts Antigone’s action in question. His personality is marked by opposites and his actions express his inner conflict between obligations to the state and human choices. The figure of Creon is also interesting because of the political connotations in both dramas: his problem can be interpreted as the typical problem of a socialist ruler.
{"title":"Kralj v kraljestvu zla: lik Kreonta v dramah Dominika Smoleta in Milana Uhdeta","authors":"Alenka Jensterle Doležal","doi":"10.3986/PKN.V44.I1.02","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.02","url":null,"abstract":"The topic of the article is the comparison of two plays concerning the figure of King Creon: the paper focuses on the Slovenian poetic-philosophical play Antigona by Dominik Smole (1929–1992), which was produced by the Oder 57 in 1960, and the satirical-absurd play Děvka z města Theby (Prostitute from the City of Thebes) written in 1967 by the Czech playwright Milan Uhde (b. 1936). The latter was performed only for a short time in Czech National Theatre in Prague and Brno and was banned after 1968 because of the Soviet occupation and the new regime. Both plays were written in the same period. There is no real connection or possible influence between them, but still we can observe the same intertextual connections and philosophical ideas. Both follow Sophocles’s play, and both were deeply influenced by Anouilh’s Antigone. Both plays ground their philosophical perspectives in existentialism and absurdist theatre (these labels also appear in later analyses). This paper focuses on the figure of Creon, who in both plays becomes the main antagonist in the dramatic events revealing the discourse between the individual and the collective. His figure appears in the realm of evil and he puts Antigone’s action in question. His personality is marked by opposites and his actions express his inner conflict between obligations to the state and human choices. The figure of Creon is also interesting because of the political connotations in both dramas: his problem can be interpreted as the typical problem of a socialist ruler.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84722938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The German writer Walter Moers uses two main ways to play with literary canon in his work Ensel und Krete: on the one hand, by intertextually referring to older texts, and on the other, by ironically parodying the image of the canonised poet as an important person. The paper uses Genette’s theory of intertextuality to analyse the intertextual relationships that define the novel, identifying the main works that the text refers to. The source for Ensel und Krete is the fairy tale Hansel und Gretel by Grimm brothers. However, it serves only as the source for the main plot, which is then transformed in order to self-referentially play with literary conventions as well as to quote and allude to other works of German and world literature. The other main element of playing with the literary canon is playing with the image of the artist. To analyse the latter, the paper uses the model of canonisation advocated by Dovic in order to outline the representation of the fictional author of the novel, who presents an ironic reflection of the classical poet. The classical poet is supposed to convey aesthetic values to his readers through his text and represent the basis for a cult which brings together a community. In Moers’s text, however, the fictional author is presented as an arrogant, conceited person, and his cultural activity is represented as banal. The intertextual references as well as the play with the writer’s image are the basis for the ironic humour that permeates the text.
{"title":"Poigravanje s kanonom v Ensel und Krete Walterja Moersa","authors":"Ajda Gabrič","doi":"10.3986/PKN.V44.I1.10","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.10","url":null,"abstract":"The German writer Walter Moers uses two main ways to play with literary canon in his work Ensel und Krete: on the one hand, by intertextually referring to older texts, and on the other, by ironically parodying the image of the canonised poet as an important person. The paper uses Genette’s theory of intertextuality to analyse the intertextual relationships that define the novel, identifying the main works that the text refers to. The source for Ensel und Krete is the fairy tale Hansel und Gretel by Grimm brothers. However, it serves only as the source for the main plot, which is then transformed in order to self-referentially play with literary conventions as well as to quote and allude to other works of German and world literature. The other main element of playing with the literary canon is playing with the image of the artist. To analyse the latter, the paper uses the model of canonisation advocated by Dovic in order to outline the representation of the fictional author of the novel, who presents an ironic reflection of the classical poet. The classical poet is supposed to convey aesthetic values to his readers through his text and represent the basis for a cult which brings together a community. In Moers’s text, however, the fictional author is presented as an arrogant, conceited person, and his cultural activity is represented as banal. The intertextual references as well as the play with the writer’s image are the basis for the ironic humour that permeates the text.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84244055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article deals with usage of the pedagogical genre in the novels Oliver Twist by Victorian writer Charles Dickens and the story “The Gemini” by Ukrainian writer Taras Shevchenko. It demonstrates that in the novel Oliver Twist by Dickens and the story “The Gemini” by Shevchenko there are some distinct genre features of the pedagogical novel: in both works, one can observe the development of authors’ experiments—the main heroes are placed in specific pedagogical circumstances. Unlike Shevchenko, Dickens promotes the idea of “noble” heredity, which is important for further formation of personality with high moral and ethical principles of the character that is able to resist the negative impact. Despite the external similarities with biblical motifs and themes, the plot of the novels is based on archaic components: the motif of the amazing rescue of the infant and dual organization of the myth about brothers (twins), where the first represents consistency of Good and the other Evil. In both works, antagonists are infantile individuals who revolt against their loving mothers. The writers construct images of wise mentors without whom ideal characters would not form successfully.
{"title":"The Ideas of Dangerous Education: Modification of the Pedagogical Novel in Oliver Twist by Charles Dickens and “The Gemini” by Taras Shevchenko","authors":"D. Chyk, T. Semehyn","doi":"10.3986/PKN.V44.I1.09","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.09","url":null,"abstract":"The article deals with usage of the pedagogical genre in the novels Oliver Twist by Victorian writer Charles Dickens and the story “The Gemini” by Ukrainian writer Taras Shevchenko. It demonstrates that in the novel Oliver Twist by Dickens and the story “The Gemini” by Shevchenko there are some distinct genre features of the pedagogical novel: in both works, one can observe the development of authors’ experiments—the main heroes are placed in specific pedagogical circumstances. Unlike Shevchenko, Dickens promotes the idea of “noble” heredity, which is important for further formation of personality with high moral and ethical principles of the character that is able to resist the negative impact. Despite the external similarities with biblical motifs and themes, the plot of the novels is based on archaic components: the motif of the amazing rescue of the infant and dual organization of the myth about brothers (twins), where the first represents consistency of Good and the other Evil. In both works, antagonists are infantile individuals who revolt against their loving mothers. The writers construct images of wise mentors without whom ideal characters would not form successfully.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79134335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article deals with the ending of Sophocles’s Antigone, the ingenious portrayal of Creon’s breakdown, remorse and withdrawal, which is too often overlooked in modern interpretations of this fundamental work of tragedy, focusing as they do above all on the central conflict between Antigone and Creon. A careful analysis of the concluding lines spoken by Creon and the Chorus, both in the original and in the rich tradition of Slovenian translations, and of their broader intellectual-historical context (particularly the Attic understanding of the relationship between divine and state law), reveals a challenging theopolitical point that traces the horizon of meaning of Sophocles’s entire work. In connection with this finding, the article develops the concept of negative politics, which provides a framework for understanding the two antagonistic theopolitical paradigms in Antigone and how the particular dynamics of the clash between them also foreshadows some recognizable spiritual and social upheavals of modernity.
{"title":"»Nič drugega kot nič«: negativna teopolitika Sofoklove Antigone","authors":"Matic Kocijančič","doi":"10.3986/PKN.V44.I1.06","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.06","url":null,"abstract":"This article deals with the ending of Sophocles’s Antigone, the ingenious portrayal of Creon’s breakdown, remorse and withdrawal, which is too often overlooked in modern interpretations of this fundamental work of tragedy, focusing as they do above all on the central conflict between Antigone and Creon. A careful analysis of the concluding lines spoken by Creon and the Chorus, both in the original and in the rich tradition of Slovenian translations, and of their broader intellectual-historical context (particularly the Attic understanding of the relationship between divine and state law), reveals a challenging theopolitical point that traces the horizon of meaning of Sophocles’s entire work. In connection with this finding, the article develops the concept of negative politics, which provides a framework for understanding the two antagonistic theopolitical paradigms in Antigone and how the particular dynamics of the clash between them also foreshadows some recognizable spiritual and social upheavals of modernity.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76625597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sophocles’s Antigone famously never introduces gods on stage (even in the form of prophecy), and yet everything happens through their agency. The authority of the gods is never called into question; their absence, however, makes their will elusive and unclear, which enables Antigone and Creon to interpret it in completely different ways and causes their fatal conflict. When Teiresias reveals that Creon is wrong, it is too late for Antigone, who dies because she remains true to her (correct) understanding of the divine will (law), although unsupported by any, either divine or human, external authority. In Dominik Smole’s Antigone, by contrast, it is the heroine herself who is absent until the very end of the play, when, after her death, the Pageboy takes over her role. Smole’s radical innovation persistently draws the reader’s (audience’s) attention to the background of the dramatic action, to the invisible reality beyond the stage: to the forbidden region outside society where the key questions of historical truth and of the quintessence of human existence arise. There is a striking analogy between the two Antigones, both in terms of dramaturgy and representation of reality: both plays present the ultimate reality (gods in Sophocles, true human identity in Smole) as hidden yet effective. This ultimate reality reveals itself as a dark horizon and keeps the reality of human existence open. In addition to the central theme, the paper discusses a number of questions about the motivation for reinterpreting canonical texts.
{"title":"Moč odsotnega: eluzivnost resničnosti v dveh Antigonah","authors":"Brane Senegačnik","doi":"10.3986/PKN.V44.I1.03","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.03","url":null,"abstract":"Sophocles’s Antigone famously never introduces gods on stage (even in the form of prophecy), and yet everything happens through their agency. The authority of the gods is never called into question; their absence, however, makes their will elusive and unclear, which enables Antigone and Creon to interpret it in completely different ways and causes their fatal conflict. When Teiresias reveals that Creon is wrong, it is too late for Antigone, who dies because she remains true to her (correct) understanding of the divine will (law), although unsupported by any, either divine or human, external authority. In Dominik Smole’s Antigone, by contrast, it is the heroine herself who is absent until the very end of the play, when, after her death, the Pageboy takes over her role. Smole’s radical innovation persistently draws the reader’s (audience’s) attention to the background of the dramatic action, to the invisible reality beyond the stage: to the forbidden region outside society where the key questions of historical truth and of the quintessence of human existence arise. There is a striking analogy between the two Antigones, both in terms of dramaturgy and representation of reality: both plays present the ultimate reality (gods in Sophocles, true human identity in Smole) as hidden yet effective. This ultimate reality reveals itself as a dark horizon and keeps the reality of human existence open. In addition to the central theme, the paper discusses a number of questions about the motivation for reinterpreting canonical texts.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75099606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The notion of concretization introduced by Roman Ingarden in his seminal work The Literary Work of Art makes the reader the one responsible for the creation of the literary work of art as an aesthetic object. Prior to the act of reading, “the work itself,” in Ingarden’s analysis, is a structure of various strata: the stratum of verbal sounds, the stratum of meaning units, the stratum of schematized aspects, and the stratum of represented objectivities. The reader concretizes the work, turning the schematic formation into an accomplished aesthetic object. Concretization is accomplished by adding determinations to the schemata of the text on all strata. By way of their psychic operations readers fill in places of indeterminacy and establish the world of the literary work of art. Wolfgang Iser takes up Ingarden’s concept of places of indeterminacy to develop his own position. Iser recasts the concept of indeterminacy in the form of gaps or “blanks” which allow for more functions and forms than those stated in Ingarden’s analysis. For Ingarden, the process of reading moves in one direction: from the real world to the imaginary (intentional) world. For Iser the process of reading is two-directional: the reader fills in the blanks of the imaginary world using the memory traces collected in his or her mind that derive from the life-world. An attempt to clarify the main points of Ingarden’s phenomenology of reading, may, therefore, elucidate Iser’s contribution. In addition, the notion of concretization has seen many criticisms (R. Wellek, G. Poulet, S. Fish, D. Barnouw among others), and the topic deserves renewed attention.
英加登在其开创性著作《文学艺术作品》中提出的具象化概念使读者作为审美对象对文学艺术作品的创作负有责任。在英加登的分析中，在阅读行为之前，“作品本身”是一个由不同层次组成的结构:语音层、意义单位层、图式层面和表征客观层面。读者将作品具体化，将图式的形成变成一个完整的审美对象。具体化是通过在所有层次的文本图式中添加决定来完成的。通过他们的心灵操作，读者填补了不确定的地方，建立了文学艺术作品的世界。沃尔夫冈·伊瑟尔接受了因加登关于不确定的地方的概念来发展他自己的立场。伊瑟尔以间隙或“空白”的形式重塑了不确定性的概念，这些空白允许比英加登的分析中所述的更多的功能和形式。对英加登来说，阅读的过程是朝着一个方向发展的:从现实世界到想象的(有意的)世界。对于伊瑟尔来说，阅读的过程是双向的:读者利用从生活世界中收集到的记忆痕迹来填补想象世界的空白。因此，试图澄清因加登的阅读现象学的要点，可以阐明伊瑟尔的贡献。此外，具体化的概念受到了许多批评(R. Wellek, G. Poulet, S. Fish, D. Barnouw等人)，这个话题值得重新关注。
{"title":"The Concretization of the Literary Work of Art: Elements for a Comparison between Roman Ingarden and Wolfgang Iser","authors":"Sazan Kryeziu","doi":"10.3986/PKN.V44.I1.08","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.08","url":null,"abstract":"The notion of concretization introduced by Roman Ingarden in his seminal work The Literary Work of Art makes the reader the one responsible for the creation of the literary work of art as an aesthetic object. Prior to the act of reading, “the work itself,” in Ingarden’s analysis, is a structure of various strata: the stratum of verbal sounds, the stratum of meaning units, the stratum of schematized aspects, and the stratum of represented objectivities. The reader concretizes the work, turning the schematic formation into an accomplished aesthetic object. Concretization is accomplished by adding determinations to the schemata of the text on all strata. By way of their psychic operations readers fill in places of indeterminacy and establish the world of the literary work of art. Wolfgang Iser takes up Ingarden’s concept of places of indeterminacy to develop his own position. Iser recasts the concept of indeterminacy in the form of gaps or “blanks” which allow for more functions and forms than those stated in Ingarden’s analysis. For Ingarden, the process of reading moves in one direction: from the real world to the imaginary (intentional) world. For Iser the process of reading is two-directional: the reader fills in the blanks of the imaginary world using the memory traces collected in his or her mind that derive from the life-world. An attempt to clarify the main points of Ingarden’s phenomenology of reading, may, therefore, elucidate Iser’s contribution. In addition, the notion of concretization has seen many criticisms (R. Wellek, G. Poulet, S. Fish, D. Barnouw among others), and the topic deserves renewed attention.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78946838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is devoted to the interpretation of certain anthropological aspects in Sophocles’s tragedy Antigone. Starting with the initial verses of the first song of the Theban elders’ chorus, the author examines the semantic fabric of the expression to deinon and the superlative to deinotaton, in which Sophocles condenses his teaching about man. The article also examines the antagonistic attitude of the main heroine, her rebellion against the royal decree forbidding the burial of Polynices, the enemy. Despite the prohibition, Antigone decides to bury her brother and, thus, to defend the sacral order from tyranny. The author takes the position that Antigone’s forbidden burial, the outpouring of sacrifice, and ultimately death itself, are a paradigm of tragic heroism and Sophocles’s understanding of anthropological greatness and non-violent force. In the second part of the article, the author addresses the fundamental opposition between enmity and brotherhood as an internal antagonism that triggers the dramatic action of Antigone. The decision in favor of brotherhood, against enmity, proves to be the first vocation of man and a seminal ethical-anthropological guidepost.
{"title":"O veličini in dostojanstvu žrtve: antropološki nauk Sofoklove Antigone","authors":"Milosav Gudović","doi":"10.3986/PKN.V44.I1.04","DOIUrl":"https://doi.org/10.3986/PKN.V44.I1.04","url":null,"abstract":"This article is devoted to the interpretation of certain anthropological aspects in Sophocles’s tragedy Antigone. Starting with the initial verses of the first song of the Theban elders’ chorus, the author examines the semantic fabric of the expression to deinon and the superlative to deinotaton, in which Sophocles condenses his teaching about man. The article also examines the antagonistic attitude of the main heroine, her rebellion against the royal decree forbidding the burial of Polynices, the enemy. Despite the prohibition, Antigone decides to bury her brother and, thus, to defend the sacral order from tyranny. The author takes the position that Antigone’s forbidden burial, the outpouring of sacrifice, and ultimately death itself, are a paradigm of tragic heroism and Sophocles’s understanding of anthropological greatness and non-violent force. In the second part of the article, the author addresses the fundamental opposition between enmity and brotherhood as an internal antagonism that triggers the dramatic action of Antigone. The decision in favor of brotherhood, against enmity, proves to be the first vocation of man and a seminal ethical-anthropological guidepost.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76759096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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