2213 KB39 KB197820252019Kernev-Štrajn, Jelkaštevilka:3letnik:42str. 39-53ISSN:0351-1189COBISSID:70688098URN:URN:NBN:SI:doc-25WD21IFslSlovensko društvo za primerjalno književnostPrimerjalna književnostameriška poezijaknjiževnostliterarne študijepesem-kot-okoljepoezija naraveslovenska poezijaWhitman, WaltŽupančič, OtonPesem-kot-okolje pri Waltu Whitmanu in Otonu Župančiču|The relationship between Whitman's and Župančič's poetry is more complex than it might appear at first sight. Thus, in addition to directly demonstrable influence, the article focuses on affinities that are not necessarily the result of direct influence. Of particular interest are the differences and similarities in the authors' attitudes, revealed by a comparative reception of both oeuvres in the light of concepts such as environment-poem, introduced by the literary theorist Angus Fletcher in relation to Whitman's poetry, and the untimely, as conceived by Gilles Deleuze on the basis of Nietzsche's notions of the will to power and eternal return. The article observes the manifestations of this concepts and their relations with the conceptual metaphor of wave motion which further links the two poets and supports their comparative reading. This reading proceeds from the premise that every original creative act involves an element that no interpretation can exhaust. This is an element common to each modernity, but at the same time it can be excluded from and turned against this modernity in the hope of a time to come; it is what makes the artwork a unique experiment. The parallel reading of the two poets in light of the concept of environment-poem leads to the conclusion that neither Whitman's nor Župančič's oeuvre, despite the latter's diversity, can be reasonably divided into distinct categories of ideologically marked or engaged poems, and those belonging to a "pure lyricism"Razmerja med Whitmanovo in Župančičevo poezijo so kompleksnejša, kot se zdi na prvi pogled. Zato članek ne raziskuje samo neposredno dokazljivih vplivov, ampak se posveča tudi afinitetam, ki niso nujno posledica neposrednega vpliva. Zanimive so predvsem razlike in podobnosti njunih naravnanosti, opazovane v luči koncepta pesem-kot-okolje (ang. environment-poem), kakor ga je prav na podlagi Whitmanove poezije uvedel ameriški literarni teoretik Angus Fletcher, in koncepta času neprimerno (fr. intempestif), kakor ga je na podlagi Nietzschejevih pojmov volje do moči in večnega vračanja oblikoval Gilles Deleuze. Članek opazuje in ugotavlja manifestiranje teh konceptov in njihovo povezavo s konceptualno metaforo valovanja, ki pesnika tesno povezuje in upravičuje primerjalno branje. Pri tem članek izhaja iz teze, da vsak izvirni ustvarjalni akt vsebuje določen element, ki ga nobena interpretacija ne more izčrpati. To je moment, ki sodi v vsakokratno sodobnost, a ga je hkrati mogoče izločiti iz te sodobnosti in ga obrniti zoper njo v upanju na čas, ki še pride; je tisto, kar iz umetniškega dela naredi enkraten eksperiment. Vzporedno branje obeh pesniških opusov z vidika pesmi-kot-okolja privede do spoznanja, da ne le Whitmanovega, ampak tudi Župančičevega pesniškega opusa, kljub njegovi raznolikosti, ni smiselno deliti na izrazito ideološko obarvane ali angažirane pesmi in na tiste, ki sodijo v "čisto liriko"TEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost