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Slavia Orientalis
tom 54
nr 2
The author presents the main trends in Russian post-modernist literature from the late 1960s to this day. He emphasises the distinctness of the ideas of Russian postmodernism from Western ones, making reference to the works of the most eminent representatives of the movement in Russia, both poets: Timur Kibirov, Dmitri Prigov, Lev Rubinstein and prose-writers: Pavel Krusanov, Viktor Pelevin, Vladimir Sorokin, and Tatiana Tolstoi.
The paper brings detailed remarks on Stefan Strazay's collection Palina (1979). The collection can be understood as a break in the poet´s development: the author definitively moved from the prevailing lyrical record to his own way of writing and language. The first part of the paper deals mainly with reception of the collection in the journal Romboid (Meridan from 1981). The second part of the paper focuses on the differences between book and magazines imprint of three selected poems. There are evident shifts even in the meaning between the texts in those two forms. The comparison of them helps to understand more deeply the poet´s work in process.
The paper traces both the trajectory of and possible reasons for the survival of the destructive foreign bride stereotype in Serbian literature. The authors focus on two prominent epic narratives, that of Irene Kantakouzene, the wife of Serbian Despot Đurađ Branković and that of Venetian born wife to Đurađ Crnojević, the ruler of Zeta, in different renditions, both folk and authorial. In the (pre)Romantic narratives foreign women are power-hungry lawful wives to Serbian princes and the imminent fall of the dissolved Empire is wrongly attributed to them. The popular (re)construction of the traumatic was unquestioningly transferred into authorial narratives by Romantic Serbian poets: foreign ladies ruined their Serbian royal husbands and, consequently, the people. Born and raised in this tradition, Slobodan Selenić’s Stevan Medaković disregards the patriarchal code and marries his English sweetheart. However, despite her spirited character, both Elisabeth’s actual otherness and her husband’s notions of it will prove an insurmountable obstacle to domestic happiness of the daring young couple. The authors touched upon complex discursive mechanisms which (re-)produce otherness and tried to identify textual chronotopes and elements of cultural anthropology that govern the symbolical characterization of the foreign woman.
The article concentrates on the intertextuality of Celan, Rilke and Ryszard Krynicki (a Polish poet of the “New Wave” generation and translator of Celan´s poetry). Eugeniusz Tkaczyszyn-Dycki entitled one of his poetry books Poezja jako miejsce na ziemi (Poetry as a place on Earth). For the authors who she mentions in the article poetry is indeed a place to dwell. The reflections concentrate on biographical signals (chronotopic) encrypted in a poem (geo-poetry), also read out from a connected with (new) biographism – geo-poetic prospect (hermeneutics of the place and situation). To Paul de Man´s question, included in the article Autobiography as Defacemet whether an autobiography can be written in the form of a poem, it is fitting to answer that, indeed, it can. In the article the author associates geo-poetics with biographical orientation.
The main objective of the paper is the analysis of the views of Plato's Socrates on poetry and rhetoric in 'Ion' and 'Gorgias'. Its first part aims at an examination of the subjects of poetry and rhetoric. In the second part the author gives the definition of Plato's methodical criteria of recognizing of a discipline as (...). In its the last part the paper tries to decide, whether poetry and rhetoric, according to the founder of the Academy, meet the criteria for their acknowledgement as (...).
The paper deals with the intergenerational arguments between the authors of Surrealism (along with their generation critics) and the representatives of the older generation, Ján Poničan in particular. An attention is paid especially to the issue of anti-fascist attitudes of the Surrealists as regards the almanac “Áno a nie” and their relationship with Janko Kráľ as a source of inspiration. Particular extracts of the contemporary polemics were used to trace the ambivalent attitudes of the both sides involved in the intergenerational argument, which shows that the problem in question is not black and white and can be viewed in different ways. What is important is the explicit declaration of youth by the Surrealist poets, which can directly be linked to the emblematic motif of youth and desire in Surrealism as well as the opposition stance typical of all the Avantgarde movements.
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