scholarly journals The vocal cycle “Facelia”: the experience of “sound existence” in Sofia Gubaidulina’s early creativity

2019 ◽  
Vol 17 (17) ◽  
pp. 280-303
Author(s):  
S.V. Klebanova
Keyword(s):  
20Th Century ◽  
Semantic Analysis ◽  
Emotional Experience ◽  
Literary Work ◽  
Sound Symbolism ◽  
Existential Philosophy ◽  
Binary Opposition ◽  
Symbolic Form ◽  
End To End ◽  
Instrumental Accompaniment

The basis for the topic. S. Gubaidulina’s appeal to the poem “Phacelia” by M. Prishvin in 1956 was not accidental. Literary scholars interpret this work as an example of lyrical and philosophical prose of the middle of the 20th century. The composer’s perception of the “break” of the two worlds – “macrocosm” (the nature) and “microcosm” (subjective illusions and human hopes) developed organically and immediately that was reflected in the early vocal cycle called “Phacelia”. For her, the musical and sound symbolism turned out to be consonant with the philosophy of a human’s “inclusion” into the nature, merging with it: the middle parts of the vocal cycle (3–5) are imbued with this idea. The method of comparing two figurative spheres as an existential problem was intensively discussing in the work of not only composers, but also writers of the generation of the 60s of the 20th century, and this discourse stays an actual today. The object of this study is S. Gubaidulina’s vocal cycle “Phacelia” (based on the literary work by M. Prishvin) as a reflection of the philosophy of existentialism in the music of the 60s of the 20th century; the subject is a genre-semantic analysis of the composer concept of the cycle as “sound existence” – the characteristic feature of the early vocal style of S. Gubaidulina. The vocal cycle “Phacelia” is among the discoveries made by the young S. Gubaidulina, which are least discussed in musicology. Hovewer, the composer repeatedly emphasized the absence of a radical transformation, a “breakdown” of style in her creative work: “From the very beginning I go along approximately the same path What I am creating now is approximately the same to what I created when I was young. I wrote then the composition called “Phacelia”, and now everything is about the same.” (Gubaidulina, as cited in Munipov, 2016). The purpose of the article is to consider the concept of this vocal cycle in terms of understanding the artistic tasks of the performing embodiment of the early style of S. Gubaidulina (the Kharkov premiere of this work was held in 2012 in the National University of Arts named after I. P. Kotlyarevsky, in performing by the author of this article as pianist together with soprano Marina Chernoshtan). The methodological basis of the work is the theory of expression parameters by V. Kholopova (1999, p. 155), from which the genre-semantic and stylistic analysis of the work of S. Gubaidulina proposed in the article is pushed. The presentation of the main material. As the analysis demonstrated, the binary nature determines the structure and dramaturgy of the cycle, organizes its semantic space at two levels: the philosophical concept of the composition and the sound-like semantics of the musical language. The essence of the principle of binary opposition in the analysed vocal cycle is to create a set of musical expression means, the semantics of which is fixed as an “expression parameter” and stably characterize one of the two semantic fields of dramaturgy of the vocal cycle: Macrocosm and Microcosm. The main methods of the sound existence of literary images are revealed: the genre-style re-semantization, the creation of the author’s musical lexemes; the tonal-harmonic openness of structures; the polymodality; the combination of the principles of end-to-end, parallel and editing dramaturgy; the stratification of time when showing two plans of the being of the consciousness of a hero. The features of the manifestation of binary oppositions from the point of view of means of expression have been considered: melos, meter and rhythm, texture, articulation, which is very important for the performers of this complex composition. According to existential philosophy, the path of a human is an emotional experience and existential truth must be experienced. Therefore, the “directorial dramaturgy” by S. Gubaidulina creates its own configuration of meanings as the existential answer of the author: – the distance of “I” from the external world, memories (the 1–2 parts of the cycle: tension, despair); – the “contact” of “I” with Macroworld, its involvement in the Microcosm (the 3–5 parts: contemplation, enthusiasm, surprise); – the rethinking of the existential experience of “I” (the 6 part: humility, anxiety, followed by insight). On the whole, the idea of the duality of the being in the consciousness of a suffering person is embodied in music by S. Gubaidulina as a binary system that goes back to the foundations of existential philosophy. Hence the choice of parallel dramaturgy, which is associated with the re-creation of different time layers in music (lasting time, present time, accomplished time, time elapsed from the position of the present). Conclusions. Based on the results of the genre-semantic analysis of the vocal cycle, the conclusions are drawn about the nature of the early style, the principles of the dramatic organization of the artistic whole, and the sound symbolism of the instrumental accompaniment. “Phacelia” is one of the brightest examples of the composer “stage directing” of primary text as the experience of translating a literary work into a sound symbolic form. In it, the composer’s early-style methods were formed (binariness, creation of author’s lexemes, genre-style re-semantization, tonal-harmonic openness of individual structures, sound symbolism, and the sound depiction elements), which will go through as end-to-end ones into her later compositions.

scholarly journals About the reception of Sorana Gurian’s literary work in Romania

Slovo ◽  
2020 ◽  
Vol How to think of literary... (Varia) ◽  
Author(s):  
Tomasz Krupa
Keyword(s):  
20Th Century ◽  
Jewish Woman ◽  
Literary Work ◽  
Ethnic Origin ◽  
Woman Writer ◽  
Literary Canon ◽  
Main Culprit ◽  
History Of ◽  
International Audience ◽  
The Way

International audience The case of Sorana Gurian (1913‑1956) allows to examine the situation of multiple exclusion in the 20th century European society: she is a Jewish woman, a stranger accused of espionage and collaboration and her body, disabled and affected by cancer, becomes the main culprit of this plural banishment. The author is a tragic figure: not only because of her life, but also due to the oblivion that her oeuvre fell into – yet original and contemporarily recognized – counting six volumes in French and Romanian and dozens of press publications. In the paper, I propose to read chosen literary chronicles commenting on two Gurian’s editions published in Romania in 1945‑1946 – Zilele nu se întorc niciodată [Days that never return] and Întâmplări între amurg și noapte [Adventures between twilight and night]. These chronicles show the way in which the Other was perceived, in this case – a woman writer, a disabled woman or a Jewish woman in the 20th century. Such perspective aims to show the non‑ aesthetic conditions (gender, corporality, social class, political convictions, ethnic origin, etc.) which have determined Gurian’s appearance and disappearance in the literary scene, and which still influence the way of perceiving her texts in Romania. At the end of this study, I reflect on the possibility of rehabilitating this figure in the history of European literature, that could renew the Romanian literary canon of the 20th century, in which women writers haven’t still found their place. Le cas de Sorana Gurian (1913-1956) permet d’examiner la situation d’une multiple exclusion au sein de la société européenne du xxe siècle : elle est à la fois femme, juive et étrangère, accusée d’espionnage et de collaboration, et son corps, handicapé et touché par le cancer, devient le principal coupable de ce bannissement pluriel. L’auteure est une figure tragique : non seulement par sa vie, mais aussi par l’oubli dans lequel est tombée son œuvre – pourtant originale et reconnue à l’époque –, comptant six volumes en roumain et en français et des dizaines de publications dans la presse. Dans le présent article, je propose une lecture de quelques chroniques littéraires portant sur deux éditions de Gurian parues en Roumanie en 1945-1946 : Zilele nu se întorc niciodată [Les jours ne reviennent jamais] et Întâmplări între amurg și noapte [Aventures entre crépuscule et nuit], qui témoignent de la manière dont on percevait l’Autre, en l’occurrence une femme écrivain, une femme infirme ou bien une femme d’origine juive au xxe siècle. Cette perspective a pour but de montrer les conditionnements autres qu’esthétiques (genre, corporalité, classe sociale, convictions politiques, origine ethnique, etc.) qui ont déterminé l’apparition et la disparition de Gurian sur la scène littéraire, et qui influencent toujours la manière de percevoir ses textes en Roumanie. À la fin de cette étude, je réfléchis à la possibilité de réhabiliter cette figure dans l’histoire de la littérature européenne, ce qui pourrait permettre de rediscuter le canon littéraire roumain du xxe siècle, où les femmes écrivains ne trouvent toujours pas leur place. Przypadek Sorany Gurian (1913‑1956) pozwala zbadać sytuację wielokrotnego wykluczenia w xx‑wiecznym społeczeństwie europejskim: jest ona jednocześnie kobietą, Żydówką, obcą, oskarżoną o szpiegostwo i kolaborację, zaś jej ciało, niepełnosprawne i chore na raka, staje się głównym winowajcą tego mnogiego wygnania. Autorka jest postacią tragiczną nie tylko ze względu na jej życie, lecz również ze względu na zapomnienie, w jakie popadła jej oryginalna i uznana przez współczesnych twórczość, na którą składają się sześć wydań w językach francuskim i rumuńskim oraz dziesiątki publikacji w prasie. W niniejszym artykule odczytuję wybrane kroniki literackie komentujące dwa teksty opublikowane przez Gurian w Rumunii w latach 1945‑1946 – Zilele nu se întorc niciodată [Dni nigdy nie powracają] oraz Întâmplări între amurg și noapte [Zdarzenia między zmierzchem a nocą]. Kroniki te pokazują bowiem, w jaki sposób postrzegano Innego, w tym przypadku – pisarkę, niepełnosprawną kobietę czy Żydówkę w xx wieku. Ta perspektywa ma na celu wskazać uwarunkowania nie‑ estetyczne (płeć, cielesność, klasa społeczna, poglądy polityczne, pochodzenie etniczne itd.), które zdecydowały o pojawieniu i zniknięciu Gurian na scenie literackiej, a które ciągle określają postrzeganie jej tekstów w Rumunii. Na końcu tego studium zastanawiam się nad możliwością rehabilitacji tej postaci w historii literatury europejskiej, co mogłoby z kolei przyczynić się do odnowienia rumuńskiego kanonu literackiego xx wieku, w którym nadal nie ma miejsca dla pisarek. Cazul Soranei Gurian (1913‑1956) ilustrează situația unei excluderi din considerențe multiple în societatea europeană din secolul xx‑lea. Fiind femeie, evreică și străină, acuzată de spionaj și de colaborare, trupul său, cu handicap și atins de cancer, devine principalul vinovat al acestei exilări plurale. Autorea este un personaj tragic: nu numai din cauza vieții sale, ci și din cauza uitării în care a căzut opera sa, totuși originală și recunoscută de către contemporanii ei, compusă din șase volume în limba franceză și în română, precum și de zeci de publicații în presă. În acest articol, propun o lectură a unor cronici literare privind cele două ediții ale Soranei Gurian publicate în România în anii 1945‑1946 – Zilele nu se întorc niciodată și Aventuri între amurg și noapte. Aceste cronici reflectă modul în care se percepe Celălalt, în acest caz – o scriitoare, o femeie cu handicap, o evreică în contextul secolului xx. Această perspectivă are să identifice diferite condiționări (gen, corporalitate, clasă socială, convingeri politice, etnie șamd), care au determinat atît apariția, cît și dispariția lui Gurian de pe scenă literară și care încă înfluențează modul de percepere al textelor sale în România. La sfîrșitul acestui studiu, propun o reflecție asupra posibilității de reabilitare a acestei figuri în istoria literaturii europene, ceea ce ar putea conduce la rediscutarea canonului literar românesc al secolului xx, unde scriitoarele încă nu‑și găsesc locul.

David Bergelson

2019 ◽  
Author(s):  
Harriet Lisa Murav
Keyword(s):  
Short Stories ◽  
20Th Century ◽  
Turning Point ◽  
Literary Work ◽  
Soviet Period ◽  
Overall Evaluation

David Bergelson (b. 1884–d. 1952) was the most important Yiddish modernist prose writer of the 20th century. His innovations in style, character, and especially atmospherics, or “mood,” earned him immediate praise from literary critics, who saw him as the first Yiddish modernist. The fates and feelings of his characters, the settings, and his elliptical, decentered style reflect a unified artistic emotion, the highlight of his fiction. Bergelson wrote short stories, novels, essays, plays, and articles for newspapers and journals, including Eygns, Milgroym, and In shpan, which he founded and edited. Bergelson’s oeuvre can be divided into his Kiev period (until 1919), during which he wrote the novels The End of Everything and Departure, his self-imposed exile in Berlin (1921–1933), and the Soviet period (1934–1952). The Berlin exile was a time of great creativity, as well as a political turning point. Bergelson rather ambiguously proclaimed his turn to communism in 1926. This ideological turn, and the tragedy of his death (he was one of the prominent Soviet Yiddish writers killed on Stalin’s orders on August 12, 1952), has until recently overshadowed engagement with his literary work. Reappraisals of his literary creativity as a whole, and especially after his self-proclaimed turn to communism after 1926, are changing the overall evaluation.

scholarly journals Study on the Administrative Divisions in China’s Border Areas from the Perspective of Nation-state Building --- Changes to the Administrative Divisions in Inner Mongolia in the 20th Century

2018 ◽  
Vol 14 (6) ◽  
pp. 98
Author(s):  
Sun Jing
Keyword(s):  
20Th Century ◽  
Inner Mongolia ◽  
National Development ◽  
Nation State ◽  
Binary Opposition ◽  
Qing Empire ◽  
Central Plains ◽  
Republic Of China ◽  
Border Areas ◽  
The Yuan Dynasty

From the end of the Yuan Dynasty to the early Qing Dynasty, when Inner Mongolia was still a special administrative region of the Qing Empire, the Mongolian nomad's territory went through numerous significant changes. Since the beginning of the 20th century, the administrative divisions in Inner Mongolia underwent three major changes and after continuous integration they were incorporated into the administrative territory of the People's Republic of China in a manner that was compatible with the behavior of a modern nation-state. Such changes can neither be ascribed to the natural process of national development and it’s accompanying fissions nor to the sinocization of Inner Mongolian initiated by Han migrants. Instead, it is derived from the game of power played in the region by various forces, from the Manchu and Han peoples, to the Mongolians, Russians and Japanese, and the Kuomintang and the Chinese Communist Party in the period of surging modern nationalism. This is evidenced by the changes of division in Hulunbuir in particular. This case is enough to demonstrate that the issues of China’s border and nations are not simply equivalent to the binary opposition between Central Plains and border areas, between Han and ethnic minorities, but a process teeming with complex and diverse points of contention, political wrestling matches and other interactions.

Alexander Chak’s Correspondence – historical and artistic value of the Latvian cultural heritage

2013 ◽  
pp. 63
Author(s):  
Antra Medne
Keyword(s):  
Cultural Heritage ◽  
20Th Century ◽  
Literary Work ◽  
Main Question ◽  
Source Information ◽  
Annual Increment ◽  
Material World ◽  
The World ◽  
History Of ◽  
Literature History

Evaluating and grouping the literature historical relics, including the correspondences by letters between famous people, for a ground (base) we could take categories which demonstrate the qualities which have elements from the material world in an anent with a human. The cultural historian Fridrich Waidacher by researching the interconnection and selective values between material and spiritual world classified the evidences of material world in several chapters which are not strictly caged in permanent schemes (patterns). The division was made by taking F. Waidacher conception as a base and researching the correspondence by letters of Latvian poets and cultural workers: The potential value of the memory, the meaning which we ascribe to a concrete object (epistle). The historical value (a reference to a concrete period of time). The value of variability (a reference to the changes in the world). Rarity (singularity). The valueofarts. The correspondence in the Latvian literature – history is not a rarity. There are published several letters, for an example, between Mirdza Kempe and Eric Adamson; collected and are waiting for publishing – Raina and Aspazijas letters in the time from 1894 to 1929. This correspondence is made from 2499 letters in Latvian, Russian and German: 1154 letters are from Aspazija to Rainis and 1345 – from Rainis to Aspazija. The correspondence by letters for Alexandrs Chaks is more modest. There are just some letters, which were written by the poet. In collections in the Museum of Alexandr Chak and in the Museum of Literature and Music are approximately 40 letters written by other persons, which written to Alexandr Chak. For reasons of clearliness, they can be devided in: Letters of friends and greeting cards, which were sent to the poet in annual increment and also on birthdays. The letters from colleagues in which are analyzed the creative literature works. Official letters and reports which were sent from the State authorities and public organizations. Invitations and encouragements to start a literary work. This part refers to the period of time after the war when poets were „propelled“ to write more and appropriate to the leading instructions. Requests of help and money loans were always an issue, because A. Chak was not closefisted and gave the money to many suppliants. Letters from admirers. The most pleasant part of the correspondence. The correspondence by letters in nowadays is a rarity. It is a unique evidence of the beginning of 20th century which supplemented and enriched the history of Latvian literature and culture, by marking a very personal lines in lives of writers and poets. In this research are included just the main thoughts and waypoints in the diversity in A. Chak’s correspondence. The left written message by the poet – correspondence is deliberate and easy to access for researcher. The aim of the research: the evaluating the cultural heritage of the correspondence of Alexander Chak. The method of the research: the used method includes life stories, historical content and researching of the letters and personal documents from people who are involved in this research. In the history of literature are used not only such nomenclatures like biographical method, but also the method of oral history. The exploratory material – correspondence – is acquired during the biographical research and interviews. The biographical access, in general, is typical accent on a life of a person and also on the most significant stages and expression of it. Also, if the goal of a research is to analyze various life aspects or life stages of a person, these are looked up in a biographical context. The main question in those biographical researches is about interrelations between individual and the World. Material: the exploratory material is the correspondence of Alexander Chak which is collected and summed up from various museum holdings of Latvia, publications in books and private collections. Outcome: Are collected all written letters by Alexander Chak which are extant. Are collected and grouped all letters which Alexander Chak has received from other addressees. These letters are grouped and analyzed, by considering the topical principle. Conclusions: The culture of letter writing disappears. In the 20th century people wrote letters to each other which are extant and usable for the basis of source information in the exploratory work. Nowadays it is an exclusive thing, letters to be written in paper form, which helps to form and strengthen people relationship. The lifespan of an electronically letters are just so long, till they are moved to the recycle bin and completely deleted from the computer. The researchers of the next century will face the lack of documental material. The researchers of literature history in next hundred years will face the lack of documental material which will partly disturb to trace the development of a poets or a story writers character.

scholarly journals The Famous Poet in Harpur’s Poem

ATAVISME ◽  
2009 ◽  
Vol 12 (1) ◽  
pp. 23-30
Author(s):  
Henriono Nugroho
Keyword(s):  
Subject Matter ◽  
Semantic Analysis ◽  
Research Result ◽  
Literary Work ◽  
Linguistic Meaning ◽  
Stylistic Analysis ◽  
Semiotic System ◽  
Literary Meaning ◽  
The Subject ◽  
Descriptive Method

This research aims to discuss literary work through stylistic analysis based on sistemic functional linguistics and literature semiotic system. The research methods used are the librarian study, descriptive method and objective intrinsic approach. The research result shows that the semantic analysis has produced the automatized linguistic meaning and foregrounded linguistic meaning. Next, the first meaning produces the subject matter and the secong meaning produces the literary meaning. Later, the literary meaning produces theme. Finally, it is proved that the subject matter tells about harmony; the literary meaning is about Shelley’s fame; and, the theme is about a famous poet. Abstrak: Penelitian ini bertujuan mengkaji karya sastra melalui analisis stilistika berdasarkan ilmu bahasa fungsional sistemik dan sistem semiotik karya sastra. Metode penelitian menggunakan studi pustaka, metode deskriptif, dan pendekatan intrinsik objektif. Hasil penelitian menunjukkan bahwa analisis semantik menghasilkan makna bahasa latar belakang (the automatized linguistic meaning) dan makna bahasa latar depan (the foregrounded linguistic meaning). Makna pertama menghasilkan masalah utama (subject matter) dan makna kedua menghasilkan makna sastra (literary meaning). Makna sastra menghasilkan tema. Masalah utama berkisah tentang harmoni, makna sastra tentang ketenaran Shelley, dan tema tentang seorang penyair terkenal. Kata kunci: makna bahasa latar belakang, makna bahasa latar depan, makna sastra, tema.

scholarly journals Anti-Semitism and Islamophobia: A Comparison of Imposed Group Identities

2010 ◽  
Vol 4 (2) ◽  
pp. 52 ◽  
Author(s):  
Cora Alexa Døving
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Semantic Analysis ◽  
Minority Groups ◽  
Historical Context ◽  
Negative Stereotypes ◽  
Structural Position ◽  
Anti Semitism ◽  
Group Identities

Do similarities exist among stereotypical portrayals of minority groups, regardless of social and historical context? Can some of the linguistic mechanisms that underlay the stereotypical portrayals of ‘the collective Jew’ at the beginning of the 20th century be found in the stereotyping of ‘the Muslim’ at the beginning of 21st? Is it at all relevant to see antiSemitism in line with other forms of intolerance, discrimination and racism? These questions make up part of a comparative analysis of anti-Semitic texts from the beginning of the 20th century and anti-Islamic debates going on in Norway today. While this article argues against a fundamental analogy between anti-Semitism and Islamophobia, and against an analogy between the structural position of Jews in the nineteen century and Muslims today, it argues for the relevance of a comparative semantic analysis of negative stereotypes of “the Muslims” and “the Jews”.

scholarly journals SEMANTIC SHIFT FUNCTIONAL ARCHITECTURE (part 1)

2019 ◽  
pp. 17-20
Author(s):  
O. Y. Pavlova
Keyword(s):  
Semantic Analysis ◽  
Cultural Practices ◽  
Cultural Practice ◽  
Symbolic Order ◽  
Monumental Architecture ◽  
Symbolic Form ◽  
Action Mode ◽  
Semantic Shift ◽  
The Difference ◽  
Cultural Entity

The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analy- sis to the material of G. Hegel’s aesthetics allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of art and aesthetic process in general. Symbolic architecture does not serve anything, in contrast to the functional one. It is self-sufficient in the sense of human self-production as a cultural entity in the process of the signification regime reorganizing of early forms of culture and the implementation of the semantic shift of the Neolithic revolution. Self-sufficient architecture has such irrationally gigantic sizes, since the form of monumentality was designed to "localize the Numinous". The sav- age efforts of the cyclopean clutches were a kind of Potlatch, curbing the evil force of the "The Accursed Share", reducing the conflict potential of the community, whose conditions of survival were changing in the agrarian wave movement. The gift magic could no longer cope with the new situation, and therefore the sacrifice of production time, and just the human sacrifice (René Girard), was the answer to the new civilization challenge. Nevertheless, the monumental architecture remained a signification mod of symbolism. After all, the latter was a non-differentiation of material, cultural and social, as well as production-consumption-pleasure. That was, self-sufficient architecture was a cultural practice of mimetic restoration of itself (without primacy of contemplation). What actually was expressed in the semantic shift of the symbolic order, which did not involve poly-ontology, the presence of the referent. It was not a reflection, but part of the very action mode. The special part that concentrated, localized the scattered sacred in the pre-civilization state of affairs. The semantic shift manifested itself in another way of organizing the very symbol, primarily in another dominant order of signs. After all, symbolic architecture is still syncretic cultural prac- tice, but which itself was the medium of other cultural practices. The development of symbolic architecture became a basic ritual that pro- vided a balance of other cultural practices.

scholarly journals The Short Story “I Want My Son to Become a Murderer“ in Deconstructive Analysis

2019 ◽  
Vol 6 (2) ◽  
pp. 45-58
Author(s):  
Siti Hafsah
Keyword(s):  
Short Story ◽  
Literary Work ◽  
Logical Reasoning ◽  
Binary Opposition

Deconstruction in short story "I Want My Son to Become a Murderer" shows a binary opposition which leads into an understanding that there is no hierarchy opposition. Derrida deconstruction in literary work aims to show logical and rhetorical non-equivalence between what explicitly written and what is implicitly hidden in the text. The deconstruction study shows how the contradictions should be uncovered from the text which called dissemination. The result of the analysis shows the opposition found are: (1) opposition between title and story; (2) opposition between the story and the footnote; (3) opposition between intuitive comprehension and logical reasoning; (4) opposition between fact and fiction; (5) opposition between “I lyric” and many people; and (6) opposition between the writer and the reader.

scholarly journals Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu „Deset soneta nerođenoj kćeri" Ivana V. Lalicia

Adeptus ◽  
2015 ◽  
pp. 1-10 ◽  
Author(s):  
Magdalena Maszkiewicz
Keyword(s):  
20Th Century ◽  
Literary Work ◽  
Post War

Hermeneutics and the theory of intertextuality as a method of researching modernism in Serbian poetry of the second half of the 20th century on the example of poetic cycle Deset soneta nerođenoj kćeri by Ivan V. LalićThe aim of this paper is to show that hermeneutics and the theory of intertextuality provide useful tools for the research in post-war Serbian modernism in poetry. The argumentation takes two steps. Firstly, the use of these methods is being legitimized in the context of general characteristics of the literature under consideration. Secondly, the functioning of such tools is presented in the example of a particular text, which in this case is Deset sonata nerođenoj kćeri ['Ten Sonnets for The Unborn Daughter'], a poetic cycle by Ivan V. Lalić. The kind of poetry researched in this paper is strongly influenced by the ideas of T. S. Eliot who said that an original literary work is the result of the author’s awareness of his place in tradition. For this reason such poetry contains numerous cultural and literary references which are an inevitable context of its interpretation. A hermeneutic and intertextual approach helps to expose such references and make them part of the process of understanding the poetry in question. Hermeneutyka i teoria intertekstualności jako metodologia badań modernizmu w poezji serbskiej drugiej połowy XX w. na przykładzie cyklu Deset soneta nerođenoj kćeri Ivana V. LaliciaZadaniem pracy jest wykazanie, że hermeneutyka i teoria intertekstualności dostarczają narzędzi do badania poezji powojennego modernizmu serbskiego. Argumentacja opiera się na uzasadnieniu użycia tych metod najpierw w świetle ogólnej charakterystyki omawianej twórczości, a następnie na podstawie ich funkcjonowania w interpretacji konkretnego tekstu będącego jej typowym przykładem (cykl Ivana V. Lalicia Deset soneta nerođenoj kćeri). Poezja będąca przedmiotem zainteresowania tej pracy pozostaje pod silnym wpływem poglądów Thomasa S. Eliota, według którego oryginalna twórczość powinna wynikać ze zrozumienia przez autora swojego miejsca w tradycji. To powód występowania w omawianych utworach licznych nawiązań kulturowych i literackich, które stanowią kontekst niezbędny do interpretacji tej twórczości. Podejście hermeneutyczne i metody teorii intertekstualności pozwalają te elementy wydobyć i uwzględnić w rozumieniu sensu tekstu.

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