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1

LYRICISM AND ITS DISCONTENTS: EXPLORING THREE DIMENSIONS OF MODERN CHINESE POETICS

100%
Zhang S.
Asian and African Studies
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2011
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vol. 20
|
issue 1
1-22
EN
Viewed in hindsight, shuqingzhuyi 'Lyricism' as a discursive practice is notorious in modern Chinese poetics. Both romanticists and realists, preachers of chunshi 'Pure Poetry' and advocates of dazhonghua shige 'Popular Poetry' have been obsessed with lyricism. However, from the late 1920s upward, so many dissidents cast doubts on the validity of lyricism that fanshuqingzhuyi 'anti-lyricism' became prevalent. Last but not least, the 1930s - 1940s witnessed the appearance of shendu shuqing 'deep lyrical' in the literary arena, which tended to undermine lyricism from a different hermeneutic framework. So far the scholarship in this field remains scanty although modern Chinese poetics invites a thorough treatment of the three dimensions; this paper is an attempt to investigate the above issues in hopes of expanding the critical horizon for the study of modern Chinese poetics.
2
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In matters of taste, there can be no disputes. Elements of Camp in Fráňa Šrámek’s play »Léto«

100%
Firlej A.
Bohemistyka
|
2013
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vol. 13
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issue 2
85 - 100
EN
In this sketch I am going to focus on the presence of elements of Camp aesthetics in the Fráňa Šrámek's drama Léto, written and staged in 1915. Dandyism became popular at the turn of the 19th and 20th century in Czech culture and it would be the most crucial reference point to the Campy attitude. As a "local text" of the Czech decadentism, it took a place of bohemianism. In this sketch I understand Camp as a type of aesthetic avant-garde sensu largo, based on democratic tendency and on a fight against the given taste, analogues in many regards to the phenomenon it is against.
3

THE POETIC WORLD, TEXT, NAME (ON THE SUBJECT OF SLOVAK POETRY IN THE 1960S) (Basnicky svet, text, pomenovanie (Z problematiky slovenskej poezie sestdesiatych rokov))

86%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 2
118-124
EN
This text, meant as a contribution to the subject of Slovak poetry in the 1960s, focuses on two key collections - Zvony (Bells, 1968) by M. Rufus and Milovanie v husej kozi (Making love with goose pimples, 1965) by M. Valek. It tracks down their motifs such as corporeality, heart, bells in relation to emphatic-historical restoration of man's broken relationship with the others, himself, the world - lyricism then functions as either melancholic (M. Rufus), or farcically sarcastic (M. Valek) incomplete or disillusioned evidence of 'the world condition'. Vitally experienced corporeality changes to remains and traces of a human - in the style of a symbolic relic (M. Rufus), a degraded prop (M. Valek). In order to make contrast within synecdochic interpretations, J. Ondrus's and I. Laucik's texts are also given consideration. The interpretation procedure does not conceal. It is always a paraphrase, synecdoche, ellipsis and amplification of the discussed poem, too. However, what is centrally projected is the world evoked by the text. The present text can be perceived as a partial contribution to the 'thematological poetics' (a term coined by P. Zajac), interconnecting the motifs, tropology and a decently viewed historical context.
4

INTERPRETÁCIA BÁSNICKÉHO TEXTU – MEDZI TEÓRIOU, KRITIKOU A LITERATÚROU

86%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 5
409 – 416
EN
Poetry interpretation, its constitution in Slovak literary theory and criticism is usually associated with the 1960s, namely with M. Hamada, S. Šmatlák, V. Turčány, A. Bagin, F. Miko and his theoretical initiative as well as the circle of the authors involved in Nitra projects and collections devoted to "the interpretation of a piece of writing". The present article reviews briefly the tradition within the current poetry analysis. The fundamental inspiration is considered to be Czech and Slovak structuralism of the 1930s and the 1940 - updated in the 1960s - structure as an analysis tool used on a particular piece of writing as well as a means to understanding changes in literature. A non-standard, however key moment to date, is poetic exposition of liberating imaginative play in the modern, avant-garde and contemporary poetry. The emancipation of poetry and criticism from the guardianship of ideology at the turn of the 1950s and the 1960s accented – in association with the philosophy and literature of existence – the concept and the phenomenon of situation: a contemporary man´s situation, a situation as a premise of a literary work and the art as an appeal to the man in his situation. Writing about poetry was at the same time a politically progressive syncretic reflexion, and so oscillated between structure and situation. The changed 1970s pushed most of the inspirations and outcomes into anonymity or urged their cryptic forms. The present-day productive areas of poetry analysis may be summarized into key words: corporeality as a writing base, tropology and inter-mediality. The substantial part of poetry analysis, interpretational as well as potentially historiographical, is nowadays formed by the dismantling of its preserved image from the times before 1989 and the identification of those „symbolic“ ideological codes, which it was confronted or contaminated with. In conclusion the present article raises a question what can be obtained from the differentiations between the „imaginary“, the „symbolic“ and the „real“ (in J. Lacan´s sense).
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