RAZPRAVE -- ARTICLES
Miran Hladnik, Temeljni problemi zgodovinskega romana (1. del) -- Basic Issues of the Historical Novel (Part 1)
Jože Toporišič, Besedilna skladnja -- Text Syntax Grammar
Franc Zadravec, Petika in stil Kovičevega romana Pot v Trento -- The Poetics and Style of Kovič's Novel Pot v Trento
Marija Petrov-Slodnjak, Duhovna atmosfera v Salzburgu v času Trubarjevega šolanja -- The Spiritual Atmosphere in Salzburg at the Time of Trubar's Schooling
Helga Glušič, Poezija Milene Šoukal -- The Poetry of Milena Šoukal
Miran Štuhec, Pomen aktantske ravni v pripovedni prozi Petra Božiča -- The Meaning of the Actant Level in the Narrative Prose of Peter Božič
Franc Jakopin, František Václav Mareš (20. 12. 1922 -- 3. 12. 1994) -- František Václav Mareš (12/22/1922-12/3/1994)
Ivo Frangeš, F. Bernik: Slowenische Literatur im Europäischen Kontext
Alenka Logar-Pleško, Anka Sollner-Perdih, Bibliografija Helge Glušič ob šestdesetletnici -- The Bibliography of Helga Glušič on the Occasion of her 60th Birthday
Alenka Logar-Pleško, Anka Sollner-Perdih, Dodatek k bibliografiji Matjaža Kmecla -- Addendum to M. Kmecl's Bibliography
UDK 82-311.6
Miran Hladnik
Razprava povzema temeljne probleme zgodovinskega romana: v prvem delu debato o žanrskih mejah (tj. začetku in koncu) in razumevanju časa, v drugem delu pa o odnosu do zgodovinopisnega fakta, razmerju med sedanjostjo in preteklostjo, tipologiji, periodizaciji in nacionalni funkcionalnosti žanra.
The article summarizes the basic issues of the historical novel: the first part deals with the debate on the borders (i.e., the beginning and end) of the genre and the perception of time; the second part treats the relationship to the historiographical fact, the relationship between present and past, typology, periodization and the national functionality of the genre.
Celotno razpravo lahko preberete tukaj. -- You can read the entire paper here.
UDK 808.63-56
Jože Toporišič
Naš začetnik besedilne skladnje je A. Breznik; ta je členitev po aktualnosti obravnaval ob besedilu obsega odstavka. On je tako reševal besedni red propozicijskih stavčnih členov, mi pa to njegovo besedilo lahko porabimo še za opazovanje koherence na podlagi sledij in besedilnih/besedovalnih tipov (opisovanje, pripovedovanje, razpostavljanje, utemeljevanje, navajanje), ki se dajo ločiti tvarinsko, stavčnozgradbeno ob tipičnih povedjih, časovnostno in glede na človekove duševnostne funkcije. Seveda poleg tega še na marsikaj, npr. glede gledišča in drugega, kar pa je tu samo delno nakazano.
The first Slovene text grammarian was A. Breznik, who treated functional sentence perspective in a paragraph-long text. He thus worked out the word order of propositional sentence elements. Today we can use his text as a way of observing coherence on the basis of different types of referentiality and text (description, narration, explanation, argumentation, quotation), which can be differentiated with respect to theme, syntactic structure with typical predications, temporal frame, and human psychological functions. Of course, in addition there are other criteria, i.e., perspective, which is only partially indicated here.
Summary
Slovene text grammar appeared on the scene in 1908 with the publication of Breznik's study "Word order in speech." In order to account for word order he introduced the concept of functional sentence perspective (although he did not use this term). He dealt with the question of sentence constituents, which we would call propositionally given, using a paragraph as an example. In this example the unit of analysis was not the simple independent clause, but the link between the main and subordinate clauses (now called "stavčje", subordination), while in coordination the unit of analysis was each coordinative sentence element.
As the nucleus of each unit of analysis he took the last sentence constituent of a simpleindependent clause or subordination (i.e. grof; Gorjance na lov; družba prijateljev in lovcev; zmanjka; da se nahaja v neznanem kraju); the attribute (i.e. imeniten in NP imeniten grof) as well as attributive clause (i.e. (po katerem še nikoli ni hodil) were not considered part of a nominal phrase. In a nucleus consisting of more than a word he did not distinguish the center of nucleus from the remainder. The contextuality (circumstance) of functional sentence perspective was also disussed by S. Škrabec, who also pointed out the emphasized nucleus.
The paragraph from "Rajska ptica" by J. Trdina, which Breznik's used as an example, demonstrates the transition of a word phrase from the nuclear position into starting-point position in each following unit of analysis, as well as different types of reference with typical forms of referentiality (i.e., the unit grof): the transition from indefinitness to definitness (/en/ ... grof -- ta grof, a fact noticed by Škrabec), pronominalization (ga), zero form (grof ugleda ... in skoči), reintroduction of the nominal form for various reasons of identification etc. The semantic relationships in these forms of referentiality are identity, equivalence, intersection, inclusion (as the including or included element).
The temporal frame of the text to certain degree depends on the text type (i.e. past tense in narration, present/past tense in description, atemporal use of the present in explanation, etc.). The types of generation of meaning --> text also differ with respect to predicate types (i.e., variable vs. invarable), which are characterized by a typical syntactic structure as the main building framework, as well as the typical thematic framework (description or naration about manifestations and changes in time and space based on the appropriate perception), decomposition and composition of cognitive notions in explanations based on understanding; the relationship between the notions and sentences in argumentation based on judgement and instructions in quotations based on intention. These sentences can be characterized as: 1. sentences of perception; 2. sentences describing acts or indicating changes; 3. identifying or connecting sentences; 4. sentences assigning characteristics; 5. sentences demanding certain acts or characteristics.
In the framework of so called perspective the text grammar also deals with the personal frame of the text (i.e., use of first person), presentation (objective vs. subjective), focus (temporal and spatial dynamics), temporal frame, aspect, voice, and modality. There are also other categories, which are not discussed in this paper.
UDK 886.3.09-32:929 Kovič K.
Franc Zadravec
Roman Pot v Trento okvirjata poetiška in estetiška teoretska misel. Prva ga umešča v romaneskno prozo ter ugotavlja razkorak med rodbinskim romanom, ki je bil avtorjev zaželeni cilj, in med sedanjim besedilom, ki je romaneskna zgodba predvsem ene osebe. Druga misel je zgoščena v izjavo, da so "vse osebe v tej knjigi, z avtorjem vred, zgolj plod domišljije", zadeva pa bistvo umetnosti in romana, namreč razmerje med modeliranjem resničnosti in med umetniško resničnostjo kot "plodom domišljije". Z oblikovnega presečišča obeh prihaja epski lik Franc M., ki je skupaj z avtorjem malo bohemska "dušica", rodbinski samorastnik, in se učinkovito prebija in šali skozi elementarne življenjske moči, družbene razmere in vrednote ter skozi viharje časa v Srednji Evropi od konca 19. do šestdesetih let 20. stoletja.
The novel Pot v Trento is framed by a poetic and an aesthetically theoretical idea. The first idea places the work in Romanesque prose and reveals the discontinuity between the family saga, which was the author's goal, and the text at hand, which is a Romanesque story, primarily in first-person narrative. The second idea is concentrated in the statement that "all characters in this book, including the author, are purely the product of imagination"; the idea touches upon the essence of art and the novel, in particular, the relationship between modelling reality and artistic reality as "the product of imagination." From the formal intersection of these two ideas comes the epic image of Franc M., who, together with the author, is a bohemian "soul," a black sheep, who effectively makes his way, joking, through life's tribulations, social circumstances and values and the turmoil of the times in Central Europe at the end of the 19th century to the 1960's.
Zusammenfassung
Nachdem Kajetan Kovič auf seinem Stammbaum keine repräsentativen Figuren für ein Familienepos hat finden können, erzählt er im Roman Pot v Trento (Der Weg ins Trentatal) die Lebens- und Liebesabenteuer seines Onkels Franc M. dergestalt, daß die "Biographie" des Helden mit der Sippe im Hintergrund als Geschichte eines jeden dienen könnte, der mit Humor, Ironie und ohne moralische Vorbehalte durch das Leben und die gesellschaftlichen Kataklysmen wandelt. Die ästhetische Gestaltung verwischt die Grenzen zwischen der objektiven Person und der romanhaften Erzählung über sie, zwischen dem Familienhistorisch -- Dokumentarischen und der subjektiven künstlerischen Schöpfung. Der cholerische Franc M. ist in allen seinen Berufen vom Kaufmannsgehilfen und Schür zenjäger bis zum Frontsoldaten, Gastwirt, Enteigneten und Heiratsver mittler in erster Linie ein unzerstörbarer Vitalist inmitten der pannonischen Voralpenmelancholie. Der Autor ist sein Bruder im Geiste, seinen "Onkel" stellt er vorurteilslos dar, bis er ihn im letzten Kapitel mit einer gänzlich evidenten epischen Figur ersetzt. Franc M. und der Autor sind mit ihrem urheiteren Stil der geistige und moralische Reim auf die Onkeln in Miško Kranjc'Roman Strici so mi povedali (Die Onkel haben mir erzählt); die beiden Romane sind ein künstlerisches Duett des "Unschlechten"/"Unguten", der Heiterkeit, der Melancholie, des Humors und der Tragikomödie, wie sie an den beiden Murufern gedeihen.
Kovič ist ein Fachmann für verdichtete Gedichtformen, für den Stil kurzer Sätze und dichterischer Metaphern. Der Roman Der Weg ins Trentatal beweist, daß er Ausdrucksdichte erfolgreich auch auf den epischen Satz zu pfropfen weiß. Auf der Ebene des poetischen Ausdrucks bleibt der Steinmetz im Gedicht auch Steinmetz in der Erzählung; überdies setzt Kovič -- mit Ausnahme der Satzmelodie -- die Tradition der Cankarschen Satzpoetik fort. Erzählt wird im anspruchsvollen intellektuellen Stil, was jedoch nicht Kovičs Sinn für die einfachere, niedrigere Rede sowie für dialektale Wortformen, für Dialektismen verbirgt. Das lebenslustige und das schwermütige Lied, die sich durch die Erzählung schlängeln, stehen im Einklang mit der heiteren Seele des Franc M. und stellen die originäre künstlerische Einstellung seines Autors unter Beweis.
UDK 930.85(436.8):929 Trubar P.
Marija Petrov-Slodnjak
Razprava predstavlja na osnovi novejšega nemškega in avstrijskega zgodovinopisja in neupoštevanega gradiva salzburško okolje, v katerem se je šolal mladi Primož Trubar. Upoštevane ugotovitve novejšega zgodovinopisja in obravnava gradiva ugotavljajo, da je to okolje bilo nemirno, humanizmu naklonjeno in za nove religiozne poglede dovzetno, vendar ne takšno, da bi Primož Trubar že v Salzburgu dobil odločilne pobude za pristop k protestantizmu.
The paper uses newer German and Austrian historical writings and previously neglected materials on the Salzburg environment to characterize the milieu in which Primož Trubar was educated. These sources indicated that the milieu was turbulent, positively disposed to humanism and ripe for new religious views; however, it was not such that it would have motivated Trubar to convert to Protestantism during his Salzburg days.
Zusammenfassung
Die in der slowenischen Literatur gebotene Charakterisierung der geistigen Atmophäre in Salzburg in den ersten Jahrzehnten des 16. Jhs. wird den historischen Gegebenheiten nicht ganz gerecht, weil die Rolle der diese Atmosphäre prägenden Persönlichkeiten verkannt, ihre humanistischen Bestrebungen sowie inner -- kirchliche Reformansätze nicht beachtet und außerkirchliches Geschehen, das den kulturellen Aufstieg hemmte, nicht entspreched in die Behandlung einbezogen wird.
Umfangreiche wissenschaftliche Untersuchungen der letzten Jahre, die Kaiser Maximilian I, den Salzburger Bischöfen und Äbten sowie den Strömungen der Zeit allgemein gewidmet sind, bieten nun ein vollständigeres und objektiveres Bild der Zeit und ihrer Menschen, auch jener zwei Jahre von 1522--1524, in welchen Primož Trubar in einer der Salzburger Schulen Latein, Deutsch und Gesang studierte.
An der Spitze der Salzburger Kirche standen Anfang des 16. Jhs. keineswegs kulturell indifferente Bischöfe und Äbte, sondern hochgebildete Absolventen inn -- und ausländischer Universitäten, die als Förderer der Künste und der Wissen -- schaften galten. Unter den Mitarbeitern gab es Gelehrte, die internationalen Ruf genossen. Der Einfluß der Salzburger Kirchenfürsten und ihrer Mitarbeiter reichte weit über die Grenzen ihres Landes und ihrer Kirchenprovinz hinaus, besonders jener des Kardinals Matthäus Lang, der kaiserlicher Sekretär und Gesandter der Habsburger in wichtigen Missionen war und auf Sitzungen des Reichstages eine grosse Rolle spielte. Eine nicht weniger hervorragende Persönlichkeit war Johann von Staupitz, Professor der Bibelwissenschaften an der Universität Wittenberg, der seinexxx Schüler und Mitbruder Martin Luther den theologischen Lehrstuhl überließ, Vorsteher der deutschen reformierten (vorübergehend auch der nichtreformierten) Augustiner Eremiten war, sich zurückzog und ein Jahrzehnt in Salzburg als Prediger wirkte, ehe ihn Matthäus Lang zu seinem Mitarbeiter und zum Abt des Klosters St. Peter machte.
Türkengefahr, politische Unsicherheit nach dem Tod Maximilians I, Pest und Spannungen zwischen dem Kardinal und dem Bürgertum machten es unmöglich, daß der Humanismus in Salzburg jenen Aufschwung genommen hätte, den seine Anhänger unter dem aufgeschlossenen, weltgewandten Matthäus Lang erwartet hatten. Trotz Verpflichtung des Bischofs zur guten Ausbildung des Klerus und der Existenz von Schulen seit Ruperts und Virgils Zeit (7., 8. Jh.) konnte das hohe Niveau der Kloster- und der Domschule nicht immer gehalten werden.
Reformatorische Gedanken verbreiteten sich im Salzburger Raum früh und auf mehreren Wegen. Maßnahmen dagegen ergriff der Bischof erst auf Druck der bayrischer Herzöge und der Habsburger. P. Trubar kann in Salzburg wohl etwas von der religiösen Gärung verspürt, nicht aber entscheidende Impulse für den Protestantismus erhalten haben, weil es zu der Zeit -- wie noch lange danach, keine Konfessionalisierung gab.
UDK 886.3.09:929 Šoukal M.
Helga Glušič
Pesnica Milena Šoukal (1922) živi v Združenih državah Amerike (v državi Kentucky) in piše poezijo v slovenskem in angleškem jeziku. Z objavami v reviji Meddobje (Buenos Aires) in s samostojno pesniško zbirko Pesmi (1969 pri SKA, B. A.) sodi med ustvarjalce slovenske književnosti v argentinskem krogu. Njene pesmi predstavljajo ponotranjeni izraz človekove disonančne usode v sodobnem svetu, posebej v zvezi s trpljenjem razseljenih oseb.
The poet Milena Šoukal (1922) lives in the United States (in the state of Kentucky) and writes poetry in Slovene and English. With the publication of her work in the journals Meddobje (Buenos Aires) and a separate collection of her poems, Pesmi (1969, SKA, Buenos Aires), she belongs to the Slovene literary circle in Argentina. Her poems reflect the internalized expression of man's dissonant fate in the modern world, particularly with respect to the suffering of individuals who have emigrated.
Summary
The poetry of Milena Šoukal is intimate, confessional poetry, which, even when conveying elements of objectively observed events in time and space, remains poetically transformed in metaphors that serve to remove the directness of the message from its verses. In her early poetry she is more direct, but becomes with the publication of her poetry collection more abstract and evinces a veiled figure; usually this is accomplished with imagery from nature, which represents the strongest source of her poetic images. Most recently Šoukal's poetry has become tranquil both in content and form: she has become more optimistic and, using new poetic elements close to epic poetry, declares a perception of the path to infinity. Milena Šoukal as a poet is a sensitive and passionate analyst of the human spirit and of feelings in one's most vulnerable position; she is a probing creator of verse and poetic figure in her aesthetic and experiential effectiveness, mysterious dramaticality, and harmonious resonance.
UDK 886.3.09-3:929 Božič P.
Miran Štuhec
Glavne osebe v Božičevih pripovedih so med seboj seveda različne, a njihova strukturna vloga v korpusu je ista: neimenovani, brezposelni in prvoosebni pripovedovalec v Božičevi pripovedni prozi do l. 1972 nam posredujejo problem človekove osamljenosti, (samo)izločenosti, sprtosti z okoljem, razočaranje, prepričanje, da je posameznikovo dejanje že v naprej obsojeno na propad, spoznanje o družbi, ki je moralno slaba, malomeščanska, polaščevalska in nehumana kot o prozi, ki opozarja na nepremagljiv spor med subjektom in objektom.
The main characters in Božič's narratives are, of course, different from each other; nevertheless, their structural role in the corpus is the same: they are nameless, unemployed and serve as the first person narrator. As such they are in a functional sense the element that, in the period of Božič's prose covered here (until 1972), carries in their essence the problem of human alienation, self(ostracization), disappointment, conflict with the world, the conviction that individual action is doomed to failure, the recognition that society is morallycorrupt, bourgeois, greedy and inhumane, in short: an insuperable conflict between a subject and object.
Summary
An extensive part of the narrative opus of Peter Božič is structured insuch a way that the character who experiences an existential dilemma is foregrounded. The existential dilemma, marked by membership in the human race and estrangement, create the motif and thematic level of Božič's narrative prose. The works Beli šal (1954), Človek insenca (1956), Izven (1963), Na robu zemlje (1968) and Jaz sem ubil Anito (1972) were considered. The paper presents the dialectic between Božič's actor and the actant level in the corpus as a whole, especially Božič's organization of the actant level in individual narratives and its influence on the conceptual level of the narrative and the corpus. It encompasses works in which the main character finds in suburban rooms with the smell of a fallen leaf, in suburban barracks (Beli šal), on promontories reaching far into the sea (Človek in senca), the possibility of endurable existence in isolation, to those in which essentially the same character settles among the downtrodden in a psychiatric clinic (Izven) and those where, among outcasts, he finally realizes his fateful error in moral corruption and greed, on the basis of which he judged and evaluated and on the basis of which he desired to remake the world in his own way (Jaz sem ubil Anito). The dialectic of the main actor is directly connected with the arrangement of other actors. This arrangement creates a network of actants' relationships, which form the shape of the actant level.
The main characters in Božič's narratives are different from each other, but their structural role in the corpus is the same: they are nameless, unemployed first-person narrators, who in a functional sense are the element from which the content is taken and also who to a large extent gives it. This is the reason that this study concentrates on Božič's narrative prose up to 1972, as a body of prose that carries in its essence the problem of human alienation, self(ostracization), disappointment, conflict with the world, the conviction that individual action is doomed to failure, the recognition that society is morallycorrupt, bourgeois, greedy and inhumane, in short: insuperable conflict between a subject and object.
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