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Primerjalna književnost PKn, letnik 26, št. 1, Ljubljana, junij 2003
RAZPRAVE Marko
Juvan: FIKCIJA IN ZAKONI (KOMENTARJI K PRIMERU PIKALO) Ana
Vogrinčič: PRIPOVEDNIŠTVO
PRAZNINE: OBSESIVNO POTROŠNIŠTVO AMERIŠKEGA
PSIHA Barbara
Orel: WILDERJEVO GLEDALIŠČE V GLEDALIŠČU Gizela
Polanc - Podpečan: HEIDEGGER,
PROBLEM GOVORICE IN IONESCOVA DRAMA PLEŠASTA
PEVKA Gašper
Troha: PARTIZANSKA DRAMATIKA (1941–1945)
Marko
Juvan: FIKCIJA IN ZAKONI (KOMENTARJI K PRIMERU PIKALO) Tožbe zaradi obrekovanja v fikciji (npr. v romanu M. Pikala) so simptom postmoderne zakonske regulacije javnega diskurza in zamiranja ideologije estetske avtonomije. Zgodovinske podlage konflikta so iz 19. stol. (javnost, literarno polje, realizem, avtonomija subjektov umetnosti in prava). Teoretska podstava je opozicija fikcija – resničnost. Dekonstruirajo jo koncepciji mogočih svetov in preksvetne identitete ter referencialnost osebnih imen/opisov. Fiction
and Laws (Commentaries on the Pikalo case).
Suits for slander brought against literature (e. g. the case of M. Pikalo's
novel) are a symptom of postmodern legal regulations of public discourse and the
fading of the ideology of aesthetic autonomy. The roots of the conflict go back
to the 19th century (the public, literary field, realism, the autonomy of
subjects in art and law). The theoretical basis of the lawsuits is the
opposition between fiction and reality. It is being deconstructed by the
concepts of possible worlds and transworldly identity and by the referentiality
of names/descriptions. Suits
for slander brought against fiction (e.g. the case of Matjaž Pikalo's novel
Modri e, 1998) are a symptom of the fading ideology of aesthetic autonomy and of
the special role of writers in postmodern society. The roots of these legal
disputes go back to the 19th century, when the legal repression of
fiction, once used to secure the ideological monopoly of religious and secular
authorities, begins to be legitimized by public moral and reputation of private
persons or communities, and when literature, organized within an autonomous
social field, paradoxically aims at the “effect of the real” (the trial of
Flaubert for his novel Mme Bovary). Today's literature cannot find its
legitimacy exclusively within its own field, the sense as to its characteristics
is weakening, and so is the sense of what constitutes fiction. In public
discourse, the same ethics holds for journalists as well as writers. In a court
of law there is a confrontation of two equally legitimate interests of two
subjects: of the writer's freedom of artistic expression on the one hand, and of
the individual's right to privacy and good name on the other. An acceptable
legal reasoning is presented by R. Posner, who states that the criminal
liability of writers for slander should be minimized. The justification of
lawsuits brought for slander in fiction is also made relative by the
deconstruction of their theoretical basis, of the opposition fiction/reality.
There is always something fictional in reality, and vice versa; the boundaries
between the two fields are pragmatic and subject to cultural and historical
change. Fiction is one of the possible worlds and is textually and ontologically
homogenous. Besides fictitious characters, it contains versions of persons from
extra-literary reality and intertextuality. Through the reference of names and
descriptions they make or break transworld identity. This play with reality
represents one of the charms, as well as the dangers, of literary discourse. Ana
Vogrinčič: PRIPOVEDNIŠTVO
PRAZNINE OBSESIVNO POTROŠNIŠTVO AMERIŠKEGA
PSIHA Besedilo
se v okviru obravnave segmenta sodobnega ameriškega romanopisja, znanega kot blank
fiction – oznako prevajamo s sintagmo pripovedništvo
praznine – osredotoča na enega najreprezentativnejših romanov tega tipa, Ameriški
psiho Bretta Eastona Ellisa (American
Psycho, 1991). V njem razčlenjuje manifestacije potrošništva,
kot se kažejo predvsem na ravni romaneskne pripovedi, ki junaka vsebinsko in
formalno postavlja v vlogo absolutnega potrošnika. Prispevek ob primerih pokaže
na Ellisove specifične narativne postopke, ki osrednjega akterja reducirajo na
raven retoričnega sredstva, in na tej osnovi razvija tezo o popolni
skonstruiranosti in posledično ne(z)možnosti junakovega tudi zgolj fikcijskega
obstoja. Blank Fiction. The Obsessive
Consumerism of American
Psycho. Within a wider
treatment of a segment of contemporary American fiction, known as blank
fiction, the paper centers on one of its most
representative novels, American Psycho by Brett Easton Ellis (1991),
and examines its manifestations of consumerism, apparent mostly on the level of
the narrative, which puts the main hero in a role of the absolute consumer in
content and in form. Referring to the examples of Ellis’s specific narrative
devices which reduce the main character to a mere rhetorical instrument a thesis
is developed that points to the total constructedness and, consequently, utter
impossibility of even only fictional existence of the central figure. The
paper deals with a group of contemporary American novels, which appears in the
1980s and is today known mostly as blank
fiction. First, it briefly presents the main characteristics of the phenomena
and its temporal and spatial context; then it explores one of its most
representative novels, American Psycho
by Brett Easton Ellis (1991). Within this framework the article focuses on the
dimension of consumption and its manifestations which are apparent in the
commercialization of the novel and the fame of the author, as well as in
narrative, which puts the main hero Patrick Bateman in the role of the absolute
consumer in content and in form. Regarding
the former, the article refers to the moral panic accompanying the publication
of American Psycho, and as for the
latter, it presents different forms of Bateman’s media consumption and shows
his uncanny defective reflex of commodifying everything and everybody. As a
basis for the theory of consumption the cyclic model of lust – purchase (consumption)
– disappointment – (renewed) lust, established by Colin Campbell, is used
and adopted with specific characteristics of postmodern consumption. Referring
to the examples of Ellis’s specific narrative devices which reduce the main
character to a mere rhetorical instrument a thesis is developed that points to
the total constructedness and,
consequently, utter impossibility of even only the fictional existence of the
central figure. As such, Patrick Bateman functions as a messenger of an
inhumanly commercialized and increasingly materialistic society, and that
indirectly explains and justifies the inconceivable evil of American
Psycho. Barbara
Orel: WILDERJEVO GLEDALIŠČE V GLEDALIŠČU Članek
obravnava opus gledališča v gledališču Thorntona Wilderja (Spalnik
Hiawata, Naše mesto in Zaenkrat
smo se izmazali), v katerem avtor postavi dramo v dialog
s pripovedjo. Izpostavi jo zvrstni kritiki, da bi izstopil iz tradicionalnega
recepcijskega modela v gledališču, in obenem pokaže, da struktura gledališča
v gledališču (oziroma igre v igri) predstavlja most med absolutno in epsko
dramo, med njuno zaprto in odprto formo. Wilder's
Theatre within Theatre. The drama in a dialogue with the narrative. The article discusses Thornton Wilder's theatre within theatre (in Pullman
Car Hiawatha, Our Town and The
Skin of Our Teeth), in which the
drama is put into a dialogue with the narrative. The author subjects it to
formal criticism in an attempt to step out of the traditional theatrical model
of reception, while showing that the structure of theatre within theatre (or
rather of a play within a play) represents a bridge between the absolute and
epic dramas, between their closed and open forms. In
his theatre within theatre pieces (or rather plays within plays), Thornton
Wilder put the drama into a dialogue with the narrative. In his plays Pullman
Car Hiawatha (1931), Our Town (1938),
and The Skin of Our Teeth (1942) he
introduced a Director in the role of a narrator to establish the dramatic action
as a play within a play, and used this form to protect the autonomy of the
playwright in relation to the other creators of the theatrical performance. In
the process of its staging, the dramatic piece of art is always subject to
change, even to digressions from the playwright's intentions; and this is what
Wilder was hoping to avoid. His solutions were not unlike
those of his contemporary Bertolt Brecht: he was led to
epic theatre by precisely the opposite tendency, the tendency to autonomize the
stage and return theatre to theatre. By articulating with this form of a play
within a play a way of expressing his own theatrical statement, Wilder stepped
out of the traditional theatrical model of reception where a performance appears
as an absolute, self-contained whole, separated from its audience, as well as
from the playwright himself. He introduced to absolute drama events of epic
proportions (with numerous sets, panoramic landscapes, ductile units of time and
a host of people, most notably in The Skin
of Our Teeth), without undoing its basic stipulations (tendencies towards
succinctness, finality, and direct representation). At the same time he also
deconstructed or rather multiplied the basic dramatic categories (action, space,
time, character) within the Aristotelian ideal of the dramatic unities and
therefore turned a closed dramatic form into an open one. Wilder's plays are an
emblematic and possibly the most obvious example of the coexistence of absolute
(closed form) drama and epic (open form) drama as the two opposite, ideally
typical concepts of structuring dramatic material in the history of the theatre. Gizela Polanc - Podpečan Ionescova
drama Plešasta
pevka, t.i. »drama absurda«, postavlja v izhodišče
dramski govor, ki je v svojem najglobljem pomenu odraz govorice kot prvine človekove
tu-biti. Ionescova drama razkriva tragiko govorice v tisti razsežnosti, ko
govorica izgubi svojo izvorno funkcijo, ki se imenuje nagovor biti, in postane
samo še upovedovanje bivajočega – postane torej govorica absurda. Heidegger,
the problem of speech and Ionesco's Bald
Prima Donna. The Ionesco play The
Bald Prima Donna, the so-called
“drama of the absurd" centres around dramatic speech, which in its
deepest sense is a reflection of speech as an element of human existence. The
Ionesco drama reveals the tragic nature of speech to the extent that the speech
looses its original function, which is called the address of being, and becomes
nothing more than a verbalization of the existent – it becomes the language of
absurdity. This
reflection on the Ionesco play The Bald Prima Donna has tried to capture with a
phenomenological approach the issue of speech, which was, due to its specificity,
named “the language of absurdity”. Absurd language is one of the elements of
“the drama of the absurd”, which dictates the tragic dimension of the play
from its outset. In the Ionesco drama, to talk absurdity means to put into words
the existent in the space and time of the absent being. Therefore an absurd
situation is nothing more than existence emptied to its utmost. The time of this
existence is the time of the absent being, therefore human speech cannot address
it, it cannot call it into presence. What the speech is left with is absurdity
– empty talk that begins and ends in the worn-out phrases of the bourgeois
salon. Since there is no way out of an absurd situation, human language itself
will continue to disintegrate, disintegrate until unrecognisable, into its
meaningless individual phonemes. The role of the counterpart to the void
language of existence is played by the speech of being, which is present in the
play in the language of symbols, in an almost ritual summoning of things into
presence. The only person capable of this kind of speech is the maid Mary, a
unique kind of rebel against the constants of existence. Therefore a majestic
cataclysm is her vision of the ultimate purification of the space of existence,
which would then be able to open up to being and call it into presence. Gašper
Troha: PARTIZANSKA DRAMATIKA (1941–1945) Med
drugo svetovno vojno se je v partizanih razvila presenetljivo obsežna gledališka
dejavnost, ki je vplivala na nastanek številnih dramskih tekstov. V tem članku
skušam opisati njihovo podobo na podlagi analogije s commedio dell'arte, ki se
omejuje na tipičnost oseb in situacij. Stalnost osnovne sheme s sedmimi tipi
sicer napeljuje na domnevo, da je bila ta dramatika ideološko cenzurirana, a
nekateri kompleksnejši teksti, ki se bližajo tradicionalni meščanski drami,
prej dokazujejo, da je šlo za posledico razmer in prepričanj piscev. Partisan
drama (1941–1945).
There was lively theatrical activity in the partisan army during the Second
World War, which also stimulated the production of a number of theatrical texts.
This article deals with the structure of these texts by using an analogy with
the commedia dell'arte, which is limited to fixed characters and situations. The stability of
the structure, having seven characters, at first glance suggests, that this
production was under the strict censorship of the communist ideology; however,
some texts present a more complex form that resembles traditional bourgeois
drama and hence show that we should rather understand this structure as a result
of the genuine beliefs of the authors. During
the Second World War there was lively theatrical activity in the partisan army.
What remains of it, apart from the memoirs of the participants, are numerous
theatrical texts that have been studied by Viktor Smolej and Ferdo Fischer.
However, former analyses seem unable to investigate them without bias and
therefore either take their aesthetic value for granted, simply because they are
a reflection of the nation's struggle for freedom, or deny them any aesthetic
value for ideological reasons. This
can be seen even through the historical development of the terminology of the
genre. Partisan dramatic texts used to be called sketches, as this stresses
their brevity and unpretentiousness. As this term is unsuitable for longer and
more complex texts, that are rare, but nevertheless exist, Matjaž Kmecl in his Mala
literarna teorija (1976), uses the term agitka,
which is taken from the Russian revolutionary and social-realistic theory of
drama. This term seems much more suitable, as it does not specify the length of
the pieces, but conveys the main quality of these texts, being agitation and
propaganda for the partisan movement and communist revolution. It has finally
been adopted by Andrej Inkret in Enciklopedija
Slovenije (1987). This
article tries to approach agitka in an
unprejudiced manner to find its immanent structure. It was most interesting to
discover that it resembles the historical genre of commedia dell'arte, especially in having fixed characters and
situations. This structure consists of seven characters that position themselves
between two extremes, the positive end being the hero, and the negative, the
domestic traitor. When
seeking out reasons for this, it is usually believed that it was the result of
very strict censorship in the partisan army, and that agitka is therefore too ideological to be recognised as an example
of artistic literature. However, what strikes us as odd is that there are some
complex pieces (Žene ob grobu, Težka ura…)
that resemble the structure of bourgeois drama. This is why it is probably more
accurate to think of agitka as a
result of especially harsh historical and political circumstances that required
a genre which could be easily written, staged and, finally, also controlled by
the leadership; but at this point we have to add that this censorship was not
nearly as strict as it was usually believed to have been, which is demonstrated
by the variety of the pieces. Therefore we have to admit that agitka
is more or less the reflection of the genuine beliefs of its authors. |
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