Primerjalna književnost (Ljubljana) 43.2 (2020) Članek je uvod v širše zasnovano raziskavo o artikulaciji in konfiguraciji subjektov v najsodobnejši slovenski poeziji. Po kratkem povzetku vrst dialoškosti pri Bahtinu in sklepih iz ponovnega branja Bahtinovih tez o monološkosti poezije sledi predstavitev njegove tipologije dialoških odnosov v prozi z vidika prenovljenega pojma lirskega subjekta. Drugi del periodizira krepitev dialoškosti v sodobni slovenski poeziji pri avtoricah in avtorjih različnih generacij. Razlika je med dialoškimi strategijami v strukturaciji pesemskega diskurza in subjekta oziroma subjektov na različnih pesemskih ravneh (t j. govorne strategije in pozicioniranja izjavnih subjektov) in, na drugi strani, uprizarjanjem razpada trdnih pojmovanj (filozofske kategorije) subjekta ali (sociološke kategorije) individuuma znotraj monoloških pesniških postopkov. Z vidika pesniških strategij in vidika rekonceptualiziranega lirskega subjekta se novejši pojavi dialoškosti na ravni pesmi v večji meri pogosto vgrajujejo v navidezni monološki model subjektne konfiguracije: mnoštvenost pesemskega subjekta se uveljavlja predvsem na ravni sistema pesniške knjige, manj pa na ravni mikrosistema pesmi ali celo same izjave. Zato je mogoče govoriti o močnem toku zunanje dialoškosti. Sklepna analiza petih zbirk predstavi pojav, ki bi ga glede na Bahtinovo tipologijo lahko uvrstili v zunanji tip dvoglasne besede: vpeljavo pesmi s persono oziroma pesemskih knjig s persono (Oblak in gora Iva Svetine, Opus quinque dierum Taje Kramberger, Izganjalci smisla Milana Dekleve, Trpljenje mlade Hane Katje Gorečan, Hemingwayeve ustnice Krištofa Dovjaka).
{"title":"Dialoškost v sodobni slovenski poeziji: vpeljava persone kot vidik zunanje dialoškosti","authors":"Varja Balžalorsky Antić","doi":"10.3986/pkn.v43.i2.06","DOIUrl":"https://doi.org/10.3986/pkn.v43.i2.06","url":null,"abstract":"Primerjalna književnost (Ljubljana) 43.2 (2020) Članek je uvod v širše zasnovano raziskavo o artikulaciji in konfiguraciji subjektov v najsodobnejši slovenski poeziji. Po kratkem povzetku vrst dialoškosti pri Bahtinu in sklepih iz ponovnega branja Bahtinovih tez o monološkosti poezije sledi predstavitev njegove tipologije dialoških odnosov v prozi z vidika prenovljenega pojma lirskega subjekta. Drugi del periodizira krepitev dialoškosti v sodobni slovenski poeziji pri avtoricah in avtorjih različnih generacij. Razlika je med dialoškimi strategijami v strukturaciji pesemskega diskurza in subjekta oziroma subjektov na različnih pesemskih ravneh (t j. govorne strategije in pozicioniranja izjavnih subjektov) in, na drugi strani, uprizarjanjem razpada trdnih pojmovanj (filozofske kategorije) subjekta ali (sociološke kategorije) individuuma znotraj monoloških pesniških postopkov. Z vidika pesniških strategij in vidika rekonceptualiziranega lirskega subjekta se novejši pojavi dialoškosti na ravni pesmi v večji meri pogosto vgrajujejo v navidezni monološki model subjektne konfiguracije: mnoštvenost pesemskega subjekta se uveljavlja predvsem na ravni sistema pesniške knjige, manj pa na ravni mikrosistema pesmi ali celo same izjave. Zato je mogoče govoriti o močnem toku zunanje dialoškosti. Sklepna analiza petih zbirk predstavi pojav, ki bi ga glede na Bahtinovo tipologijo lahko uvrstili v zunanji tip dvoglasne besede: vpeljavo pesmi s persono oziroma pesemskih knjig s persono (Oblak in gora Iva Svetine, Opus quinque dierum Taje Kramberger, Izganjalci smisla Milana Dekleve, Trpljenje mlade Hane Katje Gorečan, Hemingwayeve ustnice Krištofa Dovjaka).","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83779812","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}
Primerjalna književnost (Ljubljana) 43.2 (2020) This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century.
Primerjalna književnost(卢布尔雅那)43.2(2020)这篇文章是在20世纪到21世纪之交的几部代表性塞尔维亚小说中讨论过去20世纪两个时代的主题。这是南斯拉夫的80年代和新浪潮时代，一个接近过去的时代，仍然可以从一个直接的目击者的角度来写，以及前卫时代，即两次世界大战之间的时期，在艺术上以不同的历史前卫运动为标志。弗拉基米尔•Pištalo的《贝尔格莱德的千年》(2000年)、米莱塔•普罗达诺维奇的《威尼斯花园》(2002年)、弗拉基米尔•塔西奇的《雨与纸》(2004年)等小说《Kiša i hartija》正在被解读。在这些小说中，特别值得注意的是，前面提到的两个时代通常被联系在一起，作为20世纪同样的创作和思想潮流的一部分。
{"title":"The Memory of the Avant-Garde and the New Wave in the Contemporary Serbian Novel","authors":"M. Avramović","doi":"10.3986/pkn.v43.i2.03","DOIUrl":"https://doi.org/10.3986/pkn.v43.i2.03","url":null,"abstract":"Primerjalna književnost (Ljubljana) 43.2 (2020) This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87216277","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}
Primerjalna književnost (Ljubljana) 43.2 (2020) Članek je posvečen zgodovini Sarajevskih zvezkov, pogumnega, umetniško in intelektualno ambicioznega projekta ponovne graditve komunikacijskih mostov med pisatelji različnih narodov nekdanje Jugoslavije, ki so se po tragičnih vojnah znašli ločeni z visokimi mejami novonastalih držav. Avtor, slovenski pesnik, prevajalec in profesor primerjalne književnosti, je bil eden izmed ustanovnih članov uredništva te publikacije. Ustanovitelji Sarajevskih zvezkov, ki sodijo med najboljše pisatelje in intelektualce svojih jezikov in kultur, niso imeli nikakršnega namena oživljati propadlo Jugoslavijo ali pa ustanoviti novo, tretjo Jugoslavijo (po kraljevini in socialistični federativni republiki). Njihova ambicija je bila v političnem smislu neprimerno skromnejša, v umetniškem, intelektualnem in etičnem smislu pa kar najvišja – literarno artikulirati stanje sveta ter eksistencialno počutje posameznika po koncu velikih utopičnih zgodb, razpadu jugoslovanskega projekta »bratstva in enotnosti« ter padcu socializma, velikega političnega projekta 20. stoletja, ki je najprej ideološko skrepenel v totalitaristično strahovlado, spričo spodletele demokratizacije pa se je v obdobju jugoslovanskih vojn še zadnjič vrnil kot vampir krvoločnega nacionalizma.
{"title":"Listanje Sarajevskih zvezkov v spominskem zrcalu","authors":"Boris A. Novak","doi":"10.3986/pkn.v43.i2.01","DOIUrl":"https://doi.org/10.3986/pkn.v43.i2.01","url":null,"abstract":"Primerjalna književnost (Ljubljana) 43.2 (2020) Članek je posvečen zgodovini Sarajevskih zvezkov, pogumnega, umetniško in intelektualno ambicioznega projekta ponovne graditve komunikacijskih mostov med pisatelji različnih narodov nekdanje Jugoslavije, ki so se po tragičnih vojnah znašli ločeni z visokimi mejami novonastalih držav. Avtor, slovenski pesnik, prevajalec in profesor primerjalne književnosti, je bil eden izmed ustanovnih članov uredništva te publikacije. Ustanovitelji Sarajevskih zvezkov, ki sodijo med najboljše pisatelje in intelektualce svojih jezikov in kultur, niso imeli nikakršnega namena oživljati propadlo Jugoslavijo ali pa ustanoviti novo, tretjo Jugoslavijo (po kraljevini in socialistični federativni republiki). Njihova ambicija je bila v političnem smislu neprimerno skromnejša, v umetniškem, intelektualnem in etičnem smislu pa kar najvišja – literarno artikulirati stanje sveta ter eksistencialno počutje posameznika po koncu velikih utopičnih zgodb, razpadu jugoslovanskega projekta »bratstva in enotnosti« ter padcu socializma, velikega političnega projekta 20. stoletja, ki je najprej ideološko skrepenel v totalitaristično strahovlado, spričo spodletele demokratizacije pa se je v obdobju jugoslovanskih vojn še zadnjič vrnil kot vampir krvoločnega nacionalizma.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76583686","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}
Primerjalna književnost (Ljubljana) 43.2 (2020) A Serbian-born American poet, Charles Simic (1938) has been a staple of both American and Serbian poetic scenes for decades, though for different reasons. The paper examines the reception of Simic’s work in Serbian criticism, offering commentary on the translation of his poetry and its critical interpretation. Though Simic is undoubtedly part of American literary canon, and his work is informed by Modernist and Postmodernist American authors such as Williams, Stevens, or Ashbery, Serbian criticism has until very recently focused only on his origin and on the influence of his birth country on his work. By giving an overview of Simic’s major thematic and tonal elements placed within an American context, supported by numerous examples from his poems, we position him firmly within the American poetic tradition, while at the same time pointing out some elements of Serbian poetry relevant for his poetic development, like the influence of Popa, Tadić and Ristović. Shining a historical light on the reception of Simic’s poetry in Serbia, we uncover both the political and poetic reasons for the confusing inclusion of this American poet within Serbian culture.
{"title":"Charles Simic, American Poetry, and Serbian Critical Reception","authors":"B. Vujin, Sonja Veselinović","doi":"10.3986/pkn.v43.i2.12","DOIUrl":"https://doi.org/10.3986/pkn.v43.i2.12","url":null,"abstract":"Primerjalna književnost (Ljubljana) 43.2 (2020) A Serbian-born American poet, Charles Simic (1938) has been a staple of both American and Serbian poetic scenes for decades, though for different reasons. The paper examines the reception of Simic’s work in Serbian criticism, offering commentary on the translation of his poetry and its critical interpretation. Though Simic is undoubtedly part of American literary canon, and his work is informed by Modernist and Postmodernist American authors such as Williams, Stevens, or Ashbery, Serbian criticism has until very recently focused only on his origin and on the influence of his birth country on his work. By giving an overview of Simic’s major thematic and tonal elements placed within an American context, supported by numerous examples from his poems, we position him firmly within the American poetic tradition, while at the same time pointing out some elements of Serbian poetry relevant for his poetic development, like the influence of Popa, Tadić and Ristović. Shining a historical light on the reception of Simic’s poetry in Serbia, we uncover both the political and poetic reasons for the confusing inclusion of this American poet within Serbian culture.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73309095","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}
Članek analizira prevajanje ideoloških referenc v treh številkah italijanskega stripa Alan Ford. Strip je v hrvaščino prevedel Nenad Brixy, prevajalec, pisec in urednik pri zagrebškem časopisu Vjesnik, ki je tudi predlagal njegovo objavo v hrvaščini. Brixyjev prevod, ki je v nekdanji Jugoslaviji postal legendaren predvsem zaradi humorja, je relativno svoboden in prej kulturna priredba kot zvest prevod. Analiza treh izbranih epizod kaže, da so vse ideološke reference v dveh epizodah, ki so bile objavljene v istem zaporedju kot v italijanskem izhajanju, prirejene, medtem ko je prevod tretje analizirane številke, Formule, ki je bila objavljena šele kasneje, znatno bolj dobeseden, zato ga ne moremo pripisati Brixyju, četudi je v kolofonu tudi pri tej številki naveden kot njegov prevajalec.
{"title":"Prevajanje ideoloških referenc: primer Alana Forda","authors":"Ana Beguš","doi":"10.3986/pkn.v43.i2.09","DOIUrl":"https://doi.org/10.3986/pkn.v43.i2.09","url":null,"abstract":"Članek analizira prevajanje ideoloških referenc v treh številkah italijanskega stripa Alan Ford. Strip je v hrvaščino prevedel Nenad Brixy, prevajalec, pisec in urednik pri zagrebškem časopisu Vjesnik, ki je tudi predlagal njegovo objavo v hrvaščini. Brixyjev prevod, ki je v nekdanji Jugoslaviji postal legendaren predvsem zaradi humorja, je relativno svoboden in prej kulturna priredba kot zvest prevod. Analiza treh izbranih epizod kaže, da so vse ideološke reference v dveh epizodah, ki so bile objavljene v istem zaporedju kot v italijanskem izhajanju, prirejene, medtem ko je prevod tretje analizirane številke, Formule, ki je bila objavljena šele kasneje, znatno bolj dobeseden, zato ga ne moremo pripisati Brixyju, četudi je v kolofonu tudi pri tej številki naveden kot njegov prevajalec.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81586105","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}
Across the postimperial East Central Europe, whose geopolitical space was reconfigured on the model of West European nation-states, unprocessed human residues proliferated as the collateral effects of politically guided national homogenizations. These positional outsiders, who were prevented from becoming legible within the newly established political spaces, take center stage in Kafka’s narratives, not only in the form of their characters but also their narrators and ultimate authority. They passionately attach themselves to the zones of indistinction, which the modern societies’ “egalitarian discrimination” has doomed them to, thus trying to turn their enforced dispossession into a chosen self-dispossession. I argue that Kafka’s narratives owe their elusive ultimate authority precisely to this persistent translation of the political state of exception of his agencies into their literary state of exemption. They are at constant pains to transfigure the imposed state of exception through its peculiar fictional adoption, but Kafka’s ultimate narrative authority nevertheless takes care to keep an edge over their efforts. It is precisely this never-ending gradation of subversive mimicry in Kafka’s works that his postcolonial successor J. M. Coetzee most admired.
在后帝国时代的东中欧，其地缘政治空间按照西欧民族国家的模式被重新配置，未经处理的人类残留物作为政治引导的民族同质化的附带影响激增。这些在新建立的政治空间中无法被解读的位置局外人，在卡夫卡的叙事中占据了中心位置，不仅以他们的角色的形式，而且以他们的叙述者和最终权威的形式。他们热情地依附于现代社会的“平等主义歧视”所注定的无区别地带，从而试图将他们的强制剥夺变成一种选择的自我剥夺。我认为，卡夫卡的叙事之所以具有难以捉摸的终极权威，正是因为他坚持不懈地将他的代理人的政治例外状态转化为他们的文学豁免状态。他们一直在努力通过独特的虚构来美化被强加的例外状态，但卡夫卡的终极叙事权威仍然小心翼翼地保持着对他们努力的优势。卡夫卡的后殖民继承者j·m·库切(J. M. Coetzee)最欣赏的，正是卡夫卡作品中这种永无止境的颠覆性模仿。
{"title":"State of Exception: The Birthplace of Kafka’s Narrative Authority","authors":"Vladimir Biti","doi":"10.3986/PKN.V43.I1.06","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.06","url":null,"abstract":"Across the postimperial East Central Europe, whose geopolitical space was reconfigured on the model of West European nation-states, unprocessed human residues proliferated as the collateral effects of politically guided national homogenizations. These positional outsiders, who were prevented from becoming legible within the newly established political spaces, take center stage in Kafka’s narratives, not only in the form of their characters but also their narrators and ultimate authority. They passionately attach themselves to the zones of indistinction, which the modern societies’ “egalitarian discrimination” has doomed them to, thus trying to turn their enforced dispossession into a chosen self-dispossession. I argue that Kafka’s narratives owe their elusive ultimate authority precisely to this persistent translation of the political state of exception of his agencies into their literary state of exemption. They are at constant pains to transfigure the imposed state of exception through its peculiar fictional adoption, but Kafka’s ultimate narrative authority nevertheless takes care to keep an edge over their efforts. It is precisely this never-ending gradation of subversive mimicry in Kafka’s works that his postcolonial successor J. M. Coetzee most admired.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84344601","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}
With the help of Peirce and Cassirer, this article embeds storyworld theory in a broader phenomenology of narrative imagination. A first step is the semiotic description of narrative imagination; storyworld elements come about through the laws that Peirce attributes to all semiotic processes (section 1). Besides, Peirce’s insights are used to show that those elements significantly differ according to their phenomenological or epistemological nature. From this description of semiotic processes, a matrix of nine different signs will be derived (section 2) that correspond to nine distinct operations of imagination. The hypothesis is that it suffices to attribute a distinct function to each of the nine signs to adequately describe the experience of a storyworld.
{"title":"Storyworlds and the Semiotic Rules of Narrative Imagination: Peirce and Cassirer as a Starting Point for the Study of Literary World Experience","authors":"B. Keunen","doi":"10.3986/PKN.V43.I1.01","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.01","url":null,"abstract":"With the help of Peirce and Cassirer, this article embeds storyworld theory in a broader phenomenology of narrative imagination. A first step is the semiotic description of narrative imagination; storyworld elements come about through the laws that Peirce attributes to all semiotic processes (section 1). Besides, Peirce’s insights are used to show that those elements significantly differ according to their phenomenological or epistemological nature. From this description of semiotic processes, a matrix of nine different signs will be derived (section 2) that correspond to nine distinct operations of imagination. The hypothesis is that it suffices to attribute a distinct function to each of the nine signs to adequately describe the experience of a storyworld.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73716732","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}
In its first part, the article compares various theoretical insights into the topic, beginning with Balazs’s claim that the magnification and proximity of the face in close-up replace narrative movement, i.e. action, with micromovement that represents subjectivity. For Deleuze, the face in close-up is deterritorialized into the “feeling-thing,” the entity as the set-up of the affect. For Deleuze, the close-up abstracts the face from its bearer. Furthermore, the film face as a mask is presented (Barthes). Besides the metaphor of the cinema as a mirror within psychoanalytical film theory, the insights of the cognitive film theory are analyzed, particularly the function of the face in the “scenes of empathy” (Plantinga). The second part examines the role of the face in Rok Bicek’s first feature film Razredni sovražnik (Class Enemy, 2013), which presents the revolt of a class against an authoritative teacher following the suicide of their classmate Sabina. This film exposes the opaqueness of the face most notably in the representation of Sabina’s face, particularly as it is presented within the context of her friend’s mental images, memories. But the mysteriousness of her face is most prominent in the masks created from the photography of Sabina’s face that her classmates put on in an act of rebellion against their teacher. Sabina’s face is the film’s blind spot: although completely exposed to our gaze, its meaning remains ambiguous, even unattainable. Such representation seems to reject the face as “an instrument of signification” (Eleftheriotis).
{"title":"Obraz v velikem planu in pripovedna transparentnost","authors":"Barbara Zorman","doi":"10.3986/PKN.V43.I1.04","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.04","url":null,"abstract":"In its first part, the article compares various theoretical insights into the topic, beginning with Balazs’s claim that the magnification and proximity of the face in close-up replace narrative movement, i.e. action, with micromovement that represents subjectivity. For Deleuze, the face in close-up is deterritorialized into the “feeling-thing,” the entity as the set-up of the affect. For Deleuze, the close-up abstracts the face from its bearer. Furthermore, the film face as a mask is presented (Barthes). Besides the metaphor of the cinema as a mirror within psychoanalytical film theory, the insights of the cognitive film theory are analyzed, particularly the function of the face in the “scenes of empathy” (Plantinga). The second part examines the role of the face in Rok Bicek’s first feature film Razredni sovražnik (Class Enemy, 2013), which presents the revolt of a class against an authoritative teacher following the suicide of their classmate Sabina. This film exposes the opaqueness of the face most notably in the representation of Sabina’s face, particularly as it is presented within the context of her friend’s mental images, memories. But the mysteriousness of her face is most prominent in the masks created from the photography of Sabina’s face that her classmates put on in an act of rebellion against their teacher. Sabina’s face is the film’s blind spot: although completely exposed to our gaze, its meaning remains ambiguous, even unattainable. Such representation seems to reject the face as “an instrument of signification” (Eleftheriotis).","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89622016","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 composition of lyric cycles is strongly linked to their narratological features. According to Reinhard Ibler’s typology of lyric cycles, these are classified depending on which of the two aspects of composition, paradigmatic (with equivalence between songs) or syntagmatic (with syuzhet), they emphasize. In this analysis, I consider ways in which the methodology designed by scholars from the University of Hamburg under the leadership of Peter Huhn and Jorg Schonert is applied to the narratological analysis of a lyric poem on the level of the syntagmatic cycle. I highlight these issues on the example of the threepoem cycle “Fin de Siecle” by Josip Murn, a poet of the Slovenian moderna. I perform a chronological analysis, drawing on cognitive concepts of schema, script and frame on the level of presentation, also affected by focalization and mediating entities (the empirical/abstract author or the subject of the composition, the speaker/narrator and the protagonists). I focus both on the narratology of individual poems as well as on the cycle as a whole. Based on Huhn’s classification of five structural scheme combination types, I recognize in each of Murn’s poems, as well as in Murn’s cycle as a whole, a combination of two types: consequential changes and contrasting alternatives. The initial frame in which the subject is torn between the idealized spiritual love and the demonized sensuality, typical of decadence, is eventually substituted by the frame of asexual, metaphysical spirituality, typical of symbolism.
{"title":"Naratološki vidiki lirskocikličnega oblikovanja: ob primeru cikla Josipa Murna »Fin de siècle«","authors":"Vita Žerjal Pavlin","doi":"10.3986/PKN.V43.I1.10","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.10","url":null,"abstract":"The composition of lyric cycles is strongly linked to their narratological features. According to Reinhard Ibler’s typology of lyric cycles, these are classified depending on which of the two aspects of composition, paradigmatic (with equivalence between songs) or syntagmatic (with syuzhet), they emphasize. In this analysis, I consider ways in which the methodology designed by scholars from the University of Hamburg under the leadership of Peter Huhn and Jorg Schonert is applied to the narratological analysis of a lyric poem on the level of the syntagmatic cycle. I highlight these issues on the example of the threepoem cycle “Fin de Siecle” by Josip Murn, a poet of the Slovenian moderna. I perform a chronological analysis, drawing on cognitive concepts of schema, script and frame on the level of presentation, also affected by focalization and mediating entities (the empirical/abstract author or the subject of the composition, the speaker/narrator and the protagonists). I focus both on the narratology of individual poems as well as on the cycle as a whole. Based on Huhn’s classification of five structural scheme combination types, I recognize in each of Murn’s poems, as well as in Murn’s cycle as a whole, a combination of two types: consequential changes and contrasting alternatives. The initial frame in which the subject is torn between the idealized spiritual love and the demonized sensuality, typical of decadence, is eventually substituted by the frame of asexual, metaphysical spirituality, typical of symbolism.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81400856","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 change of methodological paradigms, introduced by postclassical narratology and especially its cognitivist orientation, has thus far not reflected on the phenomenon of atmosphere. This is somewhat surprising, if we consider that the contemporary conceptualization of atmosphere and the increased interest in the questions it brings forth arise from new phenomenology and phenomenological aesthetics, fields that have directly initiated the development of postclassical narratology. Starting with the phenomenological concept of atmosphere of M. Merleau-Ponty and H. Schmitz (atmosphere as an ecstasy of experience, a specific modus of presence with a quasi-objective and inter-subjective status fitting into the extra-linguistic framework, atmospheric perception as seizing the surfaceless space) and the aesthetic relevance of the concept (G. Bohme, T. Griffero, E. Fischer-Lichte), this article presents the terminological instability and semantic vagueness of atmosphere and related terms within the narratological discourse of M. Bal, G. Prince, M.L. Ryan and P. Abbott (atmosphere as receptive and narrative disposition, the accompanying factor of morphological categories, the thematic-psychological distinctive characteristic of genre). The primary objective of the paper is to reexamine the methodological legitimacy of the concept of atmosphere, both regarding the limits of narrative understanding and its interpretative potential which might become relevant within cognitive theories of intertextuality (E. Panagiotidy, M. Juvan), while also being a humanistic response to the challenges of new epistemological paradigms and a return to the transcendental essence of literature.
后古典叙事学，尤其是它的认知主义取向所带来的方法论范式的变化，到目前为止还没有反映在气氛现象上。这有点令人惊讶，如果我们考虑到当代对大气的概念化以及对它所带来的问题的日益增长的兴趣，这些问题源于新现象学和现象学美学，这些领域直接启动了后古典叙事学的发展。从梅洛-庞蒂和施米茨的大气现象学概念(大气是一种体验的狂喜，一种特定的存在方式，具有准客观和主体间的地位，适合于语言外框架，大气感知是抓住无表面空间)和概念的美学相关性(G. Bohme, T. Griffero, E. Fischer-Lichte)开始，本文分析了M. Bal、G. Prince、M. l . Ryan和P. Abbott的叙事学话语中气氛及其相关术语的术语不稳定性和语义模糊性(气氛作为接受和叙事倾向、形态范畴的伴随因素、类型的主题心理特征)。本文的主要目的是重新审视气氛概念的方法论合法性，既考虑到叙事理解的局限性，也考虑到它的解释潜力，这可能与互文性的认知理论(E. Panagiotidy, M. Juvan)有关，同时也是对新认识论范式挑战的人文主义回应，并回归文学的先验本质。
{"title":"Notions of Atmosphere: Toward the Limits of Narrative Understanding","authors":"Snežana Milosavljević Milić","doi":"10.3986/PKN.V43.I1.02","DOIUrl":"https://doi.org/10.3986/PKN.V43.I1.02","url":null,"abstract":"The change of methodological paradigms, introduced by postclassical narratology and especially its cognitivist orientation, has thus far not reflected on the phenomenon of atmosphere. This is somewhat surprising, if we consider that the contemporary conceptualization of atmosphere and the increased interest in the questions it brings forth arise from new phenomenology and phenomenological aesthetics, fields that have directly initiated the development of postclassical narratology. Starting with the phenomenological concept of atmosphere of M. Merleau-Ponty and H. Schmitz (atmosphere as an ecstasy of experience, a specific modus of presence with a quasi-objective and inter-subjective status fitting into the extra-linguistic framework, atmospheric perception as seizing the surfaceless space) and the aesthetic relevance of the concept (G. Bohme, T. Griffero, E. Fischer-Lichte), this article presents the terminological instability and semantic vagueness of atmosphere and related terms within the narratological discourse of M. Bal, G. Prince, M.L. Ryan and P. Abbott (atmosphere as receptive and narrative disposition, the accompanying factor of morphological categories, the thematic-psychological distinctive characteristic of genre). The primary objective of the paper is to reexamine the methodological legitimacy of the concept of atmosphere, both regarding the limits of narrative understanding and its interpretative potential which might become relevant within cognitive theories of intertextuality (E. Panagiotidy, M. Juvan), while also being a humanistic response to the challenges of new epistemological paradigms and a return to the transcendental essence of literature.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82511011","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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