2262 KB52 KB197820252020Balžalorsky Antić, Varjaštevilka:1letnik:43str. 189-208ISSN:0351-1189COBISSID_HOST:18093827URN:URN:NBN:SI:doc-TE0RXVB7slSlovensko društvo za primerjalno književnostPrimerjalna književnostfocalizationfokalizacijalirski diskurzlirski subjektlyrical discourselyrical subjectperspectiveperspektivapoetrypoezijapostclassical narratologypostklasična naratologijateorija liriketheory of the lyrictransnaratologijatransnarratologyFokalizacija v lirskem diskurzu|Until recently, focalization has been a neglected topic in the theory of the lyric. The apparent lack of research interest results from the fact that the lyric was traditionally understood as a fundamentally monologic discourse. In the last two decades, cross-genre narratological studies of poetry began to include focalization as their subject of research (Hühn, Kiefer and Schönert, Rodriguez). Nevertheless, the concept remains theoretically and analytically poorly discussed. In my paper, I attempt to widen the conclusions proposed by these researchers. A fruitful start of the investigation is the application of referential contributions by classical narratologists to the category of the lyric. Recent approaches, especially cognitive ones, should also be taken into account. Jahn's reconceptualization in terms of "windows of focalization" and "screen" as well as Herman's understanding of focalization as specific models of world understanding and epistemic modalities seem important arguments for broadening the concept of focalization in the study of the lyric discourse. After proposing a definition based on the authors mentioned above, I discuss potential objections that could be raised by analysts, interprets, and readers when thinking about focalization in the lyric. Short analyses of poems allow me to define levels where focalization potentially takes place. The paper concludes with an established basic taxonomy for the focalization types of the lyric, citing examples from World and Slovenian poetry, and suggests some topics for further investigationS fokalizacijo se teorija lirike do nedavnega skorajda ni ukvarjala, kar je mogoče pojasniti z dejstvom, da je bila lirika navadno razumljena kot temeljno monološka vrsta. Čezžanrske naratološke obravnave (Hühn, Kiefer in Schönert, Rodriguez) so v preteklih dveh desetletjih pojavu posvetile več pozornosti. V članku poskušam razširiti dognanja, ki jih jedrnato predlagajo ti raziskovalci. Ugotavljam, da se pri tem mogoče opreti na referenčne definicije klasičnih naratologov, hkrati pa je smiselno upoštevati najnovejša spoznanja postnaratologije: Jahnova razširitev pojma v smeri podobe "okna" in "zaslona" in Hermanovo pojmovanje fokalizacije kot izrazitve specifičnih modelov razumevanja sveta in epistemičnih modalitet sta pomembna argumenta za vpeljavo razširjenega pojmovanja fokalizacije v liriko. V osrednjem delu članek poda opredelitev pojma ter razgrne morebitne teoretske, kritiške in bralske zadržke glede uvedbe kategorije v poezijo, ki jih ovrže na podlagi kratkih analiz, s čimer tudi opredeli ravnine, na katerih se fokalizacija potencialno izrazi. V sklepnem delu zasnuje osnovno tipologijo fokalizacije v lirskem diskurzu z navedbo primerov iz svetovne in slovenske poezije in navrže problemske točke za nadaljnje razmišljanjeTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost