The genesis of this study lies in Elizabeth Bishop’s famous poem, “One Art.” A villanelle, it stands out luminously against the background of contemporary poetics, the lingering legacy of modernist free verse and the many branches of experimental post-modernist poetry in the United States. It stands apart, with Theodore Roethke among the few precursors, claiming a traditional fixed poetic form—the 6-stanza villanelle—as a valid medium for expressing the late-twentieth-century concerns of a scholarly, peripatetic, lesbian poet. Formally, it is an anachronistic appropriation; aesthetically, it is a triumph. The questions triggered by Bishop’s poem and explored by this paper are three-fold: first, the adequacy of existing terminology for defining the refrain, where we propose the need for a new term: polysemic repetend. Our second question addresses the perceived global influence of “One Art.” We then turn to the presence of the villanelle in Slovenian poetics and consider how Bishop has been translated, since we assume that the formal complexity of the metrical and rhyme arrangement will present a challenge for the translator (Veno Taufer). The study thus works towards a modest appreciation of parallel New Formalist aesthetics between American and Slovenian poetry.
{"title":"Elizabeth Bishop and the Villanelle: One Art, an Ocean, and Two Languages","authors":"M. Gadpaille, Tomaz Onic","doi":"10.3986/pkn.v42.i3.05","DOIUrl":"https://doi.org/10.3986/pkn.v42.i3.05","url":null,"abstract":"The genesis of this study lies in Elizabeth Bishop’s famous poem, “One Art.” A villanelle, it stands out luminously against the background of contemporary poetics, the lingering legacy of modernist free verse and the many branches of experimental post-modernist poetry in the United States. It stands apart, with Theodore Roethke among the few precursors, claiming a traditional fixed poetic form—the 6-stanza villanelle—as a valid medium for expressing the late-twentieth-century concerns of a scholarly, peripatetic, lesbian poet. Formally, it is an anachronistic appropriation; aesthetically, it is a triumph. The questions triggered by Bishop’s poem and explored by this paper are three-fold: first, the adequacy of existing terminology for defining the refrain, where we propose the need for a new term: polysemic repetend. Our second question addresses the perceived global influence of “One Art.” We then turn to the presence of the villanelle in Slovenian poetics and consider how Bishop has been translated, since we assume that the formal complexity of the metrical and rhyme arrangement will present a challenge for the translator (Veno Taufer). The study thus works towards a modest appreciation of parallel New Formalist aesthetics between American and Slovenian poetry.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77152802","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 epigraph in poet Jean Valentine’s book Break the Glass: “A pencil / for a wing bone” (by Lorine Neidecker) leads us to consider the way writing allows for transcendence. Similarly, in her work, Meta Kusar brushes out stars with a comb and then finds “an accomplice / combed / in this hollowed-out place…” From the two countries US and Slovenia of such vastly different sizes, these poets, both influenced by such luminaries as Emily Dickinson and Marina Tsvetaeva, have carved out intimate spiritually enriching spaces where consciousness meets the sublime. Focusing on Kusar’s view of Heraclitus as a teacher who “understood invisible strings are stronger than visible ones,” I will explore the thematic, literary and stylistic connections between these two literary stars, as well as some of their differences in how they cultivate a poetics of the invisible that illuminates the mysterious underworld of the human soul as it negotiates the political, philosophical and ethical realms of contemporary existence.
{"title":"Invisible Strings: Exploring Connections Between the Poetries of Jean Valentine and Meta Kušar","authors":"B. Carlson","doi":"10.3986/pkn.v42.i3.08","DOIUrl":"https://doi.org/10.3986/pkn.v42.i3.08","url":null,"abstract":"The epigraph in poet Jean Valentine’s book Break the Glass: “A pencil / for a wing bone” (by Lorine Neidecker) leads us to consider the way writing allows for transcendence. Similarly, in her work, Meta Kusar brushes out stars with a comb and then finds “an accomplice / combed / in this hollowed-out place…” From the two countries US and Slovenia of such vastly different sizes, these poets, both influenced by such luminaries as Emily Dickinson and Marina Tsvetaeva, have carved out intimate spiritually enriching spaces where consciousness meets the sublime. Focusing on Kusar’s view of Heraclitus as a teacher who “understood invisible strings are stronger than visible ones,” I will explore the thematic, literary and stylistic connections between these two literary stars, as well as some of their differences in how they cultivate a poetics of the invisible that illuminates the mysterious underworld of the human soul as it negotiates the political, philosophical and ethical realms of contemporary existence.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84159741","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}
{"title":"The Poem “String Theory” by Richard Jackson and the Interpretation of a Poem as the Unconsciousness Machine","authors":"Iztok Osojnik","doi":"10.3986/pkn.v42.i3.06","DOIUrl":"https://doi.org/10.3986/pkn.v42.i3.06","url":null,"abstract":"","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":"144 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73364030","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}
{"title":"Environment-Poem in the Poetry of Walt Whitman and Oton Župančič","authors":"Jelka Kernev Štrajn","doi":"10.3986/pkn.v42.i3.03","DOIUrl":"https://doi.org/10.3986/pkn.v42.i3.03","url":null,"abstract":"","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78138392","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 paper examines intertextual relations between two dystopian novels – Borislav Pekic’s anthropological account entitled 1999 and George Orwell’s 1984. In postmodernism, the literary movement which Pekic’s oeuvre belongs to in terms of poetic principles, intertextual dialogue is very active and dominant. I argue that Orwell’s novel serves as a proto-text or an inspiration for Pekic in constructing his own narrative. This is particularly reflected in the conceptual organization of key elements of the narrative structure such as chronotope and characters. The dominant spatial structure taken over from Orwell is the Golden Country, a pasture where all important events in the novel take place. Similarly, the prominent temporal determinant, i.e. the year 1999, becomes a symbol just as it is the case with 1984. As regards the constructs of the plot, i.e. the characters, it is proposed that Pekic’s Arno and the mole emerge as counterparts to Orwell’s Winston and O’Brien. The chronotope of meeting, along with the resonant sentences “We shall meet in the place where there is no darkness” and “We shall meet when flowers bloom again,” is a constant in both narrative structures. Regarding personality traits, Pekic’s last man in the world, i.e. Arno, is well-matched with Winston, Orwell’s last man. Both are modelled as aloof, lonely in their lives and ideas, and as individuals juxtaposed with the group. Furthermore, Pekic treats the motifs of love, history and rats similarly to the way Orwell does. Love fails to ensure the survival of humankind, historical facts are misrepresented, while the motif of rats metaphorically represents danger inboth texts.
{"title":"Orwell’s 1984 in Pekić’s 1999: Intertextual Relations","authors":"Maja Sekulović","doi":"10.3986/pkn.v42.i3.14","DOIUrl":"https://doi.org/10.3986/pkn.v42.i3.14","url":null,"abstract":"This paper examines intertextual relations between two dystopian novels – Borislav Pekic’s anthropological account entitled 1999 and George Orwell’s 1984. In postmodernism, the literary movement which Pekic’s oeuvre belongs to in terms of poetic principles, intertextual dialogue is very active and dominant. I argue that Orwell’s novel serves as a proto-text or an inspiration for Pekic in constructing his own narrative. This is particularly reflected in the conceptual organization of key elements of the narrative structure such as chronotope and characters. The dominant spatial structure taken over from Orwell is the Golden Country, a pasture where all important events in the novel take place. Similarly, the prominent temporal determinant, i.e. the year 1999, becomes a symbol just as it is the case with 1984. As regards the constructs of the plot, i.e. the characters, it is proposed that Pekic’s Arno and the mole emerge as counterparts to Orwell’s Winston and O’Brien. The chronotope of meeting, along with the resonant sentences “We shall meet in the place where there is no darkness” and “We shall meet when flowers bloom again,” is a constant in both narrative structures. Regarding personality traits, Pekic’s last man in the world, i.e. Arno, is well-matched with Winston, Orwell’s last man. Both are modelled as aloof, lonely in their lives and ideas, and as individuals juxtaposed with the group. Furthermore, Pekic treats the motifs of love, history and rats similarly to the way Orwell does. Love fails to ensure the survival of humankind, historical facts are misrepresented, while the motif of rats metaphorically represents danger inboth texts.","PeriodicalId":52032,"journal":{"name":"Primerjalna Knjizevnost","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84263338","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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