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Primerjalna književnost PKn, letnik 23, št.2, Ljubljana, november 2000 Srečko Kosovel pri Italijanih 1Vid Snoj:
Smisli hrepenenja:
literatura Ivana Cankarja Sabina Mihelj: Izrekanje numinozega pri utemeljiteljih simbolistične lirike 59 Uroš Mozetič:
Predstavljanje govora
in mišljenja v luči pripovednega Nike Kocijančič Pokorn:
Prevod kot
interpretacija: PREGLEDI Marijan Dović: Literarna aksiologija v osemdesetih Branka Kalenić Ramšak: Dobrodošli v M(a)cOndu 140
Zoltan Jan : SREČKO KOSOVEL PRI ITALIJANIHUniverza v Trstu, Tehniški šolski center v Novi Gorici Pesnik Srečko Kosovel je v italijanskem kulturnem prostoru dosegel zanimivo recepcijo, ki razkriva vrsto posebnosti, med katerimi izstopa dejstvo, da je zanimanje zanj nastalo na ožjem krajevnem območju in precej časa ostalo omejeno na tržaško in deloma goriško okolje. Šele novejši podatki kažejo, da se uveljavljanje širi tudi v ostali Italiji. Pomembno je, da so ga nekateri vidni italijanski ustvarjalci sprejeli v svoje duhovno obzorje, ga spontano upoštevajo ob različnih priložnostih in cenijo kot pomembnega pesnika.The reception of Srečko Kosovel in Italy. The reception of the Slovene poet Srečko Kosovel in Italy is rather interesting, as it reveals a number of curious facts, one of which is that interest in Kosovel as a poet was restricted to a small, local area and has for a while been confined mainly to the regions around Trieste and partly Gorizia. More recently recognition and appreciation of his writing has been spreading to the rest of Italy. It is important that he has been accepted in the intellectual sphere of some prominent Italian authors, who spontaneously pay regard to Srečko Kosovel on various occasions and respect him as an important poet. Summary: A number of differing efforts have finally contributed to the recognition and appreciation of Srečko Kosovel, in a nationally mixed area, as a high quality poet, although his intercessors and translators are most often also of Slovene origin. These efforts provide an insight into the Trieste situation, where the Slovene minority is struggling to maintain its existence and cultural identity. Initial recognition was based on the success of his poetry in France. Although it has taken a long time for the echo of his success to overcome local boundaries, Srečko Kosovel is a Slovene poet who has appeared in some textbooks, numerous studies, papers at different conferences, and monographs. His poetry has therefore crossed the threshold to a permanent presence in Italy. He was spontaneously recognised by some prominent Italian authors (Claudio Magris, Angelo Ara, Elvio Guanini, Susanna Tamaro, Gino Brazzoduro Ferruccio Fölkel, Carolus L. Cergoly, and so on) who we can assume have accepted the poet into their intellectual sphere; this dictates further specific research, although so far no distinguishing features can be found in their understanding of Kosovel. In the treatment of such phenomena and processes certain realisations seem to be at hand that reveal interesting conventions in the evaluation of a foreign literary work in an Italian environment and the dubiousness of literary criteria, which need support in an incontestable determination of generally acknowledged foreign, rather than Italian, authorities. The attention of the general public in central Italy has been drawn to the poet a few times, mainly in daily newspapers with a large circulation, with interpreters most often being those Slovenes or Italians who appreciate Slovene literature and come from the above-mentioned area. It is definitely of decisive importance for the fate of Kosovel’s poetry that efforts for his recognition did not end after the first success and have continued to the present.
Vid Snoj: SMISLI HREPENENJA: LITERATURA IVANA CANKARJA IN NOVOZAVEZNO KRŠČANSTVO Filozofska fakulteta, Ljubljana Hrepenenje je v Cankarjevem pisanju, predvsem literarnem, dobilo lik, ki je postal paradigmatičen za slovensko literaturo v celoti. Razprava preiskuje, kako se ta lik razločuje od tistega v novozaveznem krščanstvu, pa tudi, kako se smisel hrepenenja v pozni Cankarjevi literaturi obrne in približa novozaveznemu. Senses of yearning: Ivan Cankar's literature and the New Testament's Christianity. In Ivan Cankar's writings, particulary literary ones, yearning has assumed the shape which was to become paradigmatic for Slovene literature as a whole. The discussion traces the way in which this shape differs from the one in New Testament's Christianity, as well as the turn of sense of the yearning in Ivan Cankar's late literature by which it comes close to its New Testament's sense. Summary: The main topic of Ivan Cankar's literature is that of human yearning. The discussion, however, starts with the definition of the sense of the yearning in the New Testament. As God, according to St. Paul, “raises the dead” and “calls into existence non-beings as beings”, yearning follows this call, ignoring the division between the living and the dead which the world respects, and has a para-ontological sense. In Cankar's work this para-ontological or, even more, meta-ontological determination of yearning which was developed in subsequent Christian literature is lost, and yearning is identified with the basic feeling of the schöne Seele, as Hegel put it, i.e. of the empty subject which does not enter into the reality. It is this very kind of yearning that, similarly to Prešeren's glorification of a woman, has become the paradigm of Slovene literature. However, this concept of yearning in Cankar's late works is redefined and filled with the sense of New Testament yearning for new life after death.
Sabina Mihelj: IZREKANJE NUMINOZNEGA PRI UTEMELJITELJIH SIMBOLISTIČNE LIRIKE Fakulteta za podiplomski humanistični študij, Ljubljana Izhodiščna teza pričujoče razprave je, da je specifični pesniški jezik, kakršnega so razvili simbolistični pesniki, omogočil poeziji postati privilegirano sredstvo izrekanja modernega religioznega (natančneje, numinoznega) doživetja. Analiza interakcije med vsebino in formo pesniških tekstov štirih avtorjev – Charlesa Baudelaira, Paula Verlaina, Arthurja Rimbauda in Stéphana Mallarméja – pokaže, da mednje sodita v prvi vrsti (simbolistična) raba simbola in približevanje poezije glasbi, poleg njiju pa sta v članku obravnavani še t.i. čutna irealnost (značilna za Rimbaudovo poezijo) in čista poezija (značilna za Mallarmejevo poezijo). The voicing of numinous experience in the founders of symbolic lyricism. The starting thesis of this article is that a specific language of poetry, as developed by symbolist poets, enabled poetry to become a privileged means of uttering modern religious (numinous, to be more precise) experience. An analysis of the interaction between the content and form of poems by four authors – Charles Baudelaire, Paul Verlaine, Arthur Rimbaud and Stéphane Mallarmé – shows that especially a (symbolist) use of a symbol, and the approach of poetry to music are important for the ability to express a numinous experience or object. In addition, the article deals with so-called sensual unreality (typical of Rimbaud’s poetry) and pure poetry (typical of Mallarmé’s poetry) and establishes how and why the symbolist poetry, which at first made an attempt to put into words numinous objects, was transformed into a radical reflection on the nature of human realisation and utterance. Summary: The focus of this article is on the relation between religion and literature in 19th century French symbolist poetry. Contrary to the main approaches taken hitherto, which treat the above-mentioned relation in terms of content, following the appearance of the originally religious motifs, themes and ideas in the texts, this article offers an alternative by dealing with the relation between religion and literature primarily from a formal aspect. The starting point is not a strict division between content and form, but the specific interaction between the two. The basic thesis of this article is that it was the specific language of poetry, as developed by the symbolist poets, which enabled this poetry to become a privileged means of expressing modern religious (or numinous, to be more precise) experience. A detailed analysis of poems by Charles Baudelaire, Paul Verlaine, Arthur Rimbaud and Stéphane Mallarmé, which are widely accepted as having outlined the basic shape of literary symbolism, is made. Through an analysis and comparison of their literary texts, essays and correspondence, the principal features of symbolist writing are extracted from the aspect of their ability to express a numinous experience or object. These include first of all a (symbolist) use of a symbol and the approach of poetry to music. The article also deals with so-called sensual unreality (typical of Rimbaud’s poetry) and pure poetry (typical of Mallarmé’s poetry). With the help of the last two features it can be shown how and why the symbolist poetry, which at first made an attempt to put into words numinous objects, was transformed into a radical reflection on the nature of human realisation and utterance, which is why it remains of interest in linguistic and cognitive theory or epistemology.
Uroš Mozetič: PREDSTAVLJANJE GOVORA IN MIŠLJENJA V LUČI PRIPOVEDNEGA GLEDIŠČ(ENJ)A IN ŽARIŠČ(ENJ)A: LJUDJE IZ DUBLINA JAMESA JOYCEA Filozofska fakulteta, Ljubljana Razprava se osredinja na poglavitne pripovedne tehnike v zbirki kratkih zgodb Ljudje iz Dublina Jamesa Joycea z vidika posredovanja govora in mišljenja v pripovednem besedilu. V ospredju je problem pripovednega gledišča in žariščenja ter dinamika njunih premikov, ki jih povzroča avtorjevo preigravanje med različnimi pripovednimi ravninami, zlasti prepletanje prostega odvisnega diskurza z drugimi oblikami pripovedovanja. Izvajanja se opirajo na model M. Shorta in njegovo šestčlensko paradigmatiko predstavljanja govora oziroma mišljenja, definirano glede na stopnjo (vsevednega) pripovedovalčevega nadzora nad pripovedovanjem. Sklepna ugotovitev razprave je, da se gledišč(enj)e odvija na tisti točki ravnine diskurza, s katere pripovedovalec motri, pojasnjuje in vrednoti pripovedovano, medtem ko žariščenje poteka na ravnini zgodbe. Speech and thought representation as constitutive elements of
narrative perspective and focalization: James Joyce’s Dubliners.
The paper examines the principal constitutive elements of narrative
perspective (point-of-view) and focalization in fictional texts through the
system of speech and thought presentation, as conceptualised by M. Short (Leech
& Short 1981). The author’s clines of speech and thought presentation
introduce a variety of categories such as narrative report of action (NRA),
narrative report of speech/thought act (NRS/TA), indirect speech/thought (IS/T),
free indirect speech/thought (FIS/T), direct speech/thought (DS/T), and free
direct speech/thought (FDS/T). The central part of the paper deals with the
shifting of narrative pespective and focalization through the interplay of free
(in)direct discourse and other forms of speech/ Summary: The paper examines the principal constitutive elements of narrative perspective (point-of-view) and focalization in fictional texts through the system of speech and thought presentation, as conceptualised by M. Short (Leech & Short 1981). The author’s clines of speech and thought presentation introduce a variety of categories such as narrative report of action (NRA), narrative report of speech/thought act (NRS/TA), indirect speech/thought (IS/T), free indirect speech/thought (FIS/T), direct speech/thought (DS/T), and free direct speech/thought (FDS/T). In spite of certain and undeniable differences between the way(s) in which a given speech or thought act(ivity) is presented in a narrative text (most notably the difference in the so-called norm), the two clines have been fused into one by replacing the terms speech and thought with the common term discourse. Such economization has proved particularly useful and efficient in exploring shifts in narrative perspective and focalization because neither of them can be significantly affected by whether a stretch of text is presented, for instance, in free indirect speech or free indirect thought. Consequently, the current Slovene terminology as well as the entire system of speech/thought presentation has had to be redressed and expanded, especially by the category free direct discourse. The central part of the paper deals with the shifting of narrative pespective and focalization through the interplay of free (in)direct discourse and other forms of speech/thought presentation. The basic theoretical postulations are illustrated with excerpts from James Joyce’s collection of short stories, Dubliners. Combining the characteristic features of both traditional realist and modernist modes of writing, the Joyce text draws on a wide range of narrative techniques, which creates such a manipulation of the narrator and character that it becomes at times virtually impossible for the reader to determine the observer and/or the speaker in the narrative. In an attempt to resolve the old paradigm of the narrative mood and voice, that is the problem of who “sees” and “speaks” in a narrative text (Genette 1983), a number of pertinent concepts have been brought into play and analysed in relation to, especially, free (in)direct discourse: represented perception (Brinton 1980), double vision (Fowler 1989a), perceptual/conceptual point of view (Chatman 1978), double imagery (Benstock 1980), character-teller and character-reflector (Stanzel 1984), etc. The final conclusion is that the narrator inevitably has a decisive advantage over the character because he not only sees what the character sees, but he also sees the character himself. In view of this, their perspectives of the world of the narrative ought to be understood in hierarchical order, which means that they occur on separate levels. This calls for a more differentiated and precise denomination of their respective functions. Therefore it seems appropriate to define focalization as the process in which the point of view of a character is realized on the level of story. The term narrative perspective, however, should be reserved for that position on the level of discourse from which the narrator observes, comments on and qualifies the narrative.
Nike Kocijančič Pokorn: PREVOD KOT INTERPRETACIJA: LEEMINGOVA HIŠA MARIJE POMOČNICE Filozofska fakulteta, Ljubljana Članek skuša prikazati, da je vsak prevod prevajalčeva interpretacija izvirnika in ne zgolj brezosebni prenos pomena in oblike izvirnika v ciljni jezik. Ta trditev je ponazorjena s predstavitvijo interpretacije Cankarjeve Hiše Marije Pomočnice, ki se razkriva v prevodu angleškega prevajalca Henryja Leeminga. Analiza prevoda poleg prevajalčevega branja izvirnika prek izpustov in premikov lahko odkrije tudi nove interpretacije izvirnika. Translation as Interpretation: Hiša Marije Pomočnice by Henry Leeming. The article argues that a literary translation is never an impersonal transfer of the meaning and form of the original into the target language, but an active interpretation of the original by the translator. The interpretation to be found in Henry Leeming's translation of Hiša Marije Pomočnice by Ivan Cankar serves to illustrate this. Moreover, analysis of the translation shows not only the translator's reading of the text, but may also reveal, through textual omissions and translational shifts, new interpretations of the original. Summary: Although hermeneutic philosophers argue that every translation is an interpretation, a specific reproduction of the original, translation reviews in Slovenia rarely, if ever, attempt to disclose the translator’s interpretations of the original text. Reviewers usually focus on the translator’s style and neglect all other changes and more radical shifts that occurred during the translation process, not only in translations that claim to be free interpretations or even adaptations, but also in those allegedly faithful to the original text; this is the case in translations both from and into Slovene. A translational interpretation of an original text is exemplified by an analysis of the translation into English by Henry Leeming of one of the classic texts of Slovene literature, Ivan Cankar's Hiša Marije Pomočnice. Leeming's remodelling of the original text was consistent with his reading of Hiša Marije Pomočnice as an essentially naturalistic work. In the original, there exist three worlds: the morally depraved world of the city, the transient world of the hospital, and the much desired and luminous world following death. In Leeming’s translation, the world desired by the girls partially overlaps with the world outside the hospital walls; the translator thus offers a reading which alters and moderates the hostile rejection of the “real” life of the city found in the original text. Another distinctive feature of his translation is omission, especially the omission of five paragraphs in chapter seven, which alters the impressionistic and religious nature of the text. Leeming seemed to have read Hiša Marije Pomočnice primarily as a naturalistic and not as an impressionistic, neo-romantic work with strong religious overtones, and has translated it in line with his interpretation. The translation not only shows his reading of the original; the omissions and translational shifts also reveal the complexity of the original and possible new interpretations of it.
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