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EMOCIJE, IDENTITET(I) I TIJELO U SNOVLJEMU JEZIKU PJESNIKA RADOVANA IVŠIĆA. (Croatian)
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- Author(s): BALIĆ, SANJA; SCHREIBER, TEA-TEREZA VIDOVIĆ
- Source:
Croatica et Slavica Iadertina; 2023, Vol. 19 Issue 2, p403-429, 27p - Source:
- Additional Information
- Alternate Title: EMOTIONS, IDENTITY AND BODY IN RADOVAN IVŠIĆ’S LANGUAGE OF DREAMS. (English)
- Abstract: This paper explores selected work of the marginalized Croatian-French author Radovan Ivšić (1921–2009) centred around the dream motif which allows the poet to question (sur)reality, abandon mimesis, and create unusual associative relations typical for dream process(es). His poems Trideset i šest njenih čuda (1940) and Narcis (1942), as well as the collections of poems Bunar u kuli (1967) and Tanke (1954), republished in Pet stoljeća hrvatske književnosti (1985), U nepovrat (1990), Crno i crno (2003) and San na javi (2016) are read, extrapolated, and interpreted through signifiers of emotions, identity, and body. Due to the author’s stylistic contextualisation within Surrealism, the poet’s discourse will be categorised as so called Ivšić’s dream language, characterised by a specific syntax and morphology as well as remarkable combinations of poetic imagery which allow the author to: (1) express emotions authentically, (2) self-identify, and (3) demonstrate physical metamorphosis and relations to the body in general. In this context, the term Ivšić’s dream language is used instead of the general term oneiric, which is present in all literary periods and genres, to precisely identify his poetics and linguistic capital. Furthermore, as a bilingual author, the surrealist poetics allows him to go beyond the established stylistic framework and to realise his ideological attitudes about freedom which have legitimised him in the geographical, cultural, and political environment. Although his early and later work will be in contrast in both form and motifs, the dream matrix of the specific dream language will remain his fundamental poetic paradigm. [ABSTRACT FROM AUTHOR]
- Abstract: U radu se promatra izdvojeno pjesničko stvaralaštvo marginaliziranoga hrvatsko-francuskog autora Radovana Ivšića (1921. – 2009.) i u središte se stavlja motiv sna koji pjesniku osigurava propitkivanje (i)realnosti, napuštanje mimeze i stvaranje neobičnih asocijativnih odnosa karakterističnih za proces(e) sanjanja. Istraživački korpus u radu čine poeme Trideset i šest njenih čuda (1940.) i Narcis (1942.), zbirke pjesama Bunar u kuli (1967.), Tanke (1954.) i Crno (1974.), koje su objavljene u nekoliko izbora djela, točnije u Pet stoljeća hrvatske književnosti (1985.), U nepovrat (1990.), Crno i crno (2003.) i San na javi (2016.), iz kojih se iščitavaju, potom izdvajaju i interpretiraju označitelji emocija, identiteta i tijela. Stilskim kontekstualiziranjem autora unutar nadrealizma kategorizirat će se pjesnikov diskurs kao tzv. Ivšićev snovlji jezik. Karakterizira ga specifična sintaksa i morfologija te začudne pjesničke slike, a autoru omogućava: (1) autentično izražavanje emocija, (2) definiranje njegova fluidnog identiteta i (3) prikazivanje tjelesne metamorfoze i odnosa prema tijelu uopće. U tom kontekstu umjesto pojma oniričko, koji se pojavljuje u svim razdobljima i žanrovima književnosti, koristit će se pojam Ivšićev snovlji jezik kako bi se preciznije identificirala njegova poetika i njegov lingvistički kapital. Također, kao bilingvistu nadrealistička poetika omogućava mu izlazak izvan prethodno postavljenih stilskih okvira te njome ostvaruje ideološke stavove slobode koji su ga legitimirali u geografskom, kulturološkom i političkom okruženju. Iako će kasnija faza Ivšićeva stvaralaštva biti u opreci s njegovim ranijim književnim ostvarenjima (i u formalnome i u motivskome smislu), matrica će (is)korištenoga specifičnog snovljeg jezika ostati i dalje njegova temeljna pjesnička paradigma. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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