Croatian Academy of Science and Split Literary Circles and Arts
Abstract
Pojava tzv. »stvarnosnog« pjesništva, uz bok zaokretu prema sličnim proznim koncepcijama u hrvatskoj književnosti krajem prošloga i početkom ovoga stoljeća, izazvala je dosta kritičke pozornosti, ali i podosta nesporazuma, kako u pogledu strategija neuobičajenih u poeziji prethodnih naraštaja, tako i u pogledu odnosa prema poetskom modernitetu općenito. U jednom dijelu kritike takve su tendencije označene kao regresija u popularno, čak i trivijalno, budući da se odustajanjem od jezičnoga eksperimenta i ustrajavanjem na transparentnosti pisma željelo doprijeti do šire publike. U članku se, na temelju suvremenih teorijskih uvida, pokušavaju razjasniti neki aspekti tih odnosa, prije svega razmatranjem referencijalne razine i načinima posredovanja socijalnih i estetičkih normi u tim tekstovima, a potom se i analizom dominantnih retoričkih strategija nastoji ustanoviti dubinski odnos »stvarnosnoga« pjesništva prema popularnom i elitnom polu literarne komunikacije. Pokazuje se da je taj odnos znatno ambivalentniji nego što se čini, s obzirom na to da su se u dosadašnjim kritičkim čitanjima nedistinktivno promatrali učinci referencijalnoga i retoričkoga aparata te se mimetički aspekt te poezije neprestano nametao kao presudni, ako ne i isključivi faktor recepcije.The so-called »realist« poetry – appearing as it did alongside the preference for similar concepts in prose at the turn of the century – incited a substantial critical attention, but also gave rise to a few misconceptions as regards the use of strategies uncommon in the poetry of preceding generations, no less than as regards its rapport with poetic modernity in general. Branded by some critics as a regression into the popular, even into triteness, for the ostensible purpose of reaching a wider audience, it was characterized above all by relinquishing of linguistic experimentation and insistence on transparent meanings. Starting from contemporary theoretical insights, the paper proposes that the situation might be clarified if the referential plane of the text is considered in the light of the modes employed for mediating social and aesthetic norms, and if the deep relations that obtain between »realist« poetry and the popular and elite poles of literary communication respectively are analysed with respect to the dominant rhetorical strategies. The latter in particular are shown to be much more ambivalent than it appears when the effects of the referential and rhetorical apparatus are conflated – as is habitually the case – with the mimetic aspect imposed as the decisive factor in the reception of this kind of poetry
