552 KB45 KB200720252017Šegota Lah, Natašaštevilka:1letnik:11str. 118-133ISSN:1854-9632COBISSID:64830050URN:URN:NBN:SI:doc-V9YAS93NenZnanstvena založba Filozofske fakulteteArs et humanitasekfrazahrvaška književnostKrleža, Miroslavleposlovni kriptogramiHidden ekphrasis in the works of Miroslav Krleža|Throughout the entire literary oeuvre of Miroslav Krleža we are faced with a great number of credible descriptions, describing real historic events, or real artists and artworks belonging to the rich resources of European art history. By applying a cryptographic method of incorporating descriptions into his texts, Krleža on the one hand hid his sources, while on the other also revealed them. He hid them in the tissue of fictional texts, and unmasked them using a key work only those familiar with the source could identify. We term this method the use of "belletristic cryptograms", and can further categorise it into thematic subgroups of concealed artwork descriptions, naming this whole method the use of hidden ekphrasis. The choice of artworks Krleža describes in his work is comprehensive, diverse and each described differently. Since we are dealing with literary texts, descriptions are often used in the function of a wide array of interpretative strategies of depiction; in some aspects, they are used as a mere glimpse into a piece of art with the goal of visually associating, evoking or minutely symbolizing the incorporeal frame of an artist's mind or of the wider social context. In other aspects, the artworks are richly and meticulously presented with regard to their importance and credibility as they, according to Krleža, possess an "ethical intelligence" and "ethical conscience". Only Krleža's prose is researched here, and this is done on two levels. We take a look at examples where real art is incorporated into fictional texts in order to determine the significance and meaning of a certain dialogue, mise-en-scene or situation. This is most commonly found in the author's plays, novels and novellas. On the other hand, we can trace a completely opposite method by which artworks enter these texts, where, due to their historic determination and already established worth/ status, they thus re-enter reality, as seen from the perspective of Krleža's life and work, so as to yet again test art history's credibility through the matrix of contemporaneity. This approach is most often found in Krleža's essays, critiques and diary entriesV celotnem opusu Miroslava Krleže lahko najdemo številne verodostojne opise, ne oziraje se na to, ali opisujejo resnične zgodovinske dogodke ali resnične umetnike in umetnine, ki so bogat vir evropske umetnostne zgodovine. S tem ko je opise s kriptografsko metodo vključil v besedilo, je Krleža na eni strani zakril svoje vire, na drugi pa jih je razkril. Potajil jih je v preplet fikcijskih besedil in jih razkril prek ključne stvaritve, kar je bilo jasno le tistim, ki so lahko povezali besedilo in umetnino. Sklop take metode smo poimenovali leposlovni kriptogrami, ki jih lahko v nadaljevanju razčlenimo v tematske podskupine prikritih umetnostnih opisov, tako da smo celoto označili za skrito ekfrazo. Izbor umetnin, ki jih Krleža opisuje v svojih delih, je obsežen in raznolik, vsako delo pa je opisano drugače. Ker pa gre za literarna besedila, so opisi pogosto uporabljeni v širokem razponu interpretativnih upodobitvenih strategij. Do določene mere so bili zgolj pogled na umetnino z namenom, da bi vizualno povezali, obudili ali postali natančen simbol nesnovnega okvira umetnikove misli oziroma celotnega družbenega konteksta. Drugikrat je umetnina polno in natančno predstavljena zaradi svojega pomena in verodostojnosti, ker ima po Krležu "etično inteligenco" in "etično zavest". V tem prispevku so bila obravnavana samo Krleževa prozna dela, in sicer na dveh ravneh. Ogledali smo si primere, kjer je resnično umetniško delo v leposlovno besedilo vključeno z namenom, da bi podčrtalo pomen in smisel nekega dialoga, mise-en-scene ali situacije. Tega je mogoče največ najti v odrskih delih, romanih in novelah. Po drugi strani pa lahko prepoznamo popolnoma nasprotno metodo, ko umetniško delo vstopi v besedilo, kjer zaradi svoje zgodovinske vloge in nesporne veljave oziroma statusa ponovno vstopi v resničnost. Kakor je videti s stališča Krleževega življenja in dela, je umetnina postavila na preskušnjo verodostojnost umetnostne zgodovine skozi matrico sodobnosti. To povečini najdemo v Krleževih esejih, kritikah in dnevniških zapisihTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete