'Faculty of Humanities and Social Sciences, University of Zagreb'
Doi
Abstract
Rad se bavi odnosom žudnje za transcendencijom i jezika lirike Vesne Krmpotić kao medija te žudnje. U okviru rada promišlja se utjecaj žudnje za transcendencijom na sam pjesnički jezik te se postavlja pitanje što je, u konačnici, (ozbiljivi) objekt pjesničke žudnje. U osnovi je autoričin lirski svijet oblikovan tako da lirsko ja žudi da mu se otkrije Tajna, da Tajna postane Znanje. Tajna se u radu tumači kao Drugo pjesme, (prisna) tuđost, kao ono što jest, ali se ne zna što jest. Tajna je izvan jezika, ali djeluje na jezik, jezik je uprizoruje, ali je ne može razriješiti, ona je i učinak jezika, u uskoj je vezi s pjesmom. Tajna se pritom ne veže uz znanje, već uz slutnju. Za razliku od navedenog shvaćanja toga pojma, u autoričinoj lirici Tajna je izjednačena s Glasom koji diktira Istinu. U radu se propituju posljedice takvog pristupa Tajni na lirski opus Vesne Krmpotić i uopće na razumijevanje i interpretaciju lirike. Dovodeći u vezu žudnju za transcendencijom i pjesmu, na tragu autoričine ideje o tuđosti izvora pjesme, u rad se uvode misli zapadne filozofije (Platon, Heidegger), što je novina u odnosu na dosadašnje kritičke tekstove koji su se uglavnom osvrtali na istočnu filozofiju. Pritom se ne izostavljaju ni suvremeni teorijski pristupi lirici i književnosti (Clark, Culler, Furniss, Bath), kao svojevrsna antiteza kulturnoj tradiciji koja pjesničko stvaranje povezuje s pseudobožanskom djelatnošću.This dissertation analyses the relationship between desire for transcendence and the poetic language of Vesna Krmpotić as the medium of that desire. The influence of desire for transcendence on the poetic language itself ultimately leads to the question of what the (real) object of poetic desire is. In essence, the author’s poetic world is shaped around the lyrical subject’s desire to reveal the Secret, and for the Secret to become Knowledge. In this work the Secret is interpreted as the poem’s Other, (familiar) unfamiliarity, as something that is, but does not know what it is. The Secret is outside of language, but influences the language, the language represents it, but cannot uncover it. The Secret is also the result of language and it is closely related to the poem. The Secret is not related to knowledge, but to premonition. As opposed to such conception, in the poetry of Vesna Krmpotić the Secret is equal to the Voice imposing the Truth. The dissertation examines the implications of such an approach to the Secret in the poetry of Vesna Krmpotić, as well as to the understanding and interpretation of poetry as such. In this work Vesna Krmpotić’s poetry has been divided into two stages: before and after 1990. In the first stage the lyrical subject addresses the voiceless Other, while in the second stage the Other gains its voice. By relating the desire for transcendence to poems and encouraged by Krmpotić’s idea of unfamiliarity of the source of a poem, this dissertation refers to Western philosophy (Plato, Heidegger), which is a completely new approach with regard to the former critical evaluations which mostly relied on Eastern philosophy. The reading of Vesna Krmpotić’s poetry is also analysed within the framework of contemporary theoretical approaches to poetry and literature (Clark, Culler, Furniss, Bath), opposing them to the cultural tradition that connects poetry with pseudo-divine acts
