Publikacija SEP 2011 - Vilenica

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VI. Sklep: posredno poznavanje literature vs pesniški nastop – dodana vrednost poezije Poleg avratičnosti pa ima literarni nastop še eno pomembno razsežnost: nastop avtorja je upor proti posrednemu srečevanju z literaturo. V svetu informacij (v tem primeru o knjigah in s tem o nekem literarnem delu) in hiperprodukcije knjig smo obsojeni na posredno poznavanje literature, ki sicer ni nek nov pojav v zgodovini. Roger Chartier v nekem pogovoru omenja, da je bil Don Kihot tisto prvo literarno besedilo, ki so ga ljudje poznali, ne da bi ga brali. Danes, nadaljuje Chartier, se je posredno poznavanje okrepilo z razvojem priložnosti za posredovanje. 6 Nastop avtorja ima zato prav nasproten učinek: je neposredno spoznavanje literature preko primarnega (s tem mislim oralne tradicije poezije) in edinstvenega načina posredovanja in je tako nekakšna borba za obstoj literature kot literature in njenega poslanstva. Izvajanje lastne poezije je, če sklenem, sporočanje bistva pesništva: v glasnem branju po eni strani bolj pristno zaživijo »tehnične« plati poezije, kot so ritem, rima in podobno, po drugi strani pa avtorjev glas, ki je tudi glas pesmi, govori, govori, da spregovori pesniškost: 7 bistvo pesmi se podaljšuje. 6 Pierre Bourdieu, Roger Chartier, Louis Ginzberg: Sociologija, zgodovina, književnost, prevedli Varja Balžalorsky, Ignac Fock, Tomaž Jurca, Studia humanitatis, Ljubljana <strong>2011</strong>, str. 122. 7 Kdor je poslušal recitale Daneta Zajca, ve, kaj mislim. 12
Poetry Performance and Its Value Today Gregor Podlogar I. Introduction In recent years, any performance related to literature is most commonly equated with the promotion of literature. This promotion, of course, goes hand in hand with the current broader perception of literature, more precisely, the book and its position in the market. Hence, every single literary performance is seen by the general public as the promotion of a usually recently published book. Behind all this lies a secret aspiration for the highest possible sales of a book, the public notice of the author (including media exposure) etc. This practice exists – it is much more widespread in, for example, the Anglo-Saxon world than in Eastern Europe and is important for the publisher, author and, last but not least, the (potential) readers. Live contact with the author is something which places literature among the things of this world, if we leave the aforementioned market economic value of the book aside. A real poetry performance has nothing much to do with the promotion of literature. Let me then put forward my thesis: a real poetry performance is itself literature 1 . Not always. There are terrific poems which can be read quietly and it is best that way. It depends on several factors – from the author and the text, to the quality and purpose of the performance. I would also like to point out that observing prose performances is more complex, as reading from a novel does not represent a complete whole, unlike performing poetry, where every poem is a world of its own. The case is somewhat different with reading short stories (in this case, we are talking about a literary work as a whole), which has become quite popular and has developed in many literary 1 It is interesting to observe how reading aloud has changed literature; for instance, it has resulted in writers adding new chapters to their novels and, in the poets' case, performing has also influenced the works' content. A substantial part of sound poetry is written to be recited, performed, which means that the act of creating is already oriented towards the performance. 13
Page 1 and 2: Okrogla miza SEP na Vilenici / CEI
Page 3 and 4: Kazalo / Table of Contents Koncept
Page 5 and 6: Koncept Concept 5
Page 7 and 8: Kot že rečeno, pesniški nastop a
Page 9 and 10: Blooma, da je slem smrt umetnosti.
Page 11: ko rečemo, da ima danes neko liter
Page 15 and 16: II. A Prioris of Literary Performan
Page 17 and 18: hand, as well as Gertrude Stein and
Page 19 and 20: (which is a rather wide field of di
Page 21 and 22: Udeleženci Panellists 21
Page 23 and 24: Gregor Podlogar was born in 1974 in
Page 25 and 26: Pavel Brycz was born in 1968 in Rou
Page 27 and 28: Ljiljana Jokić Kaspar was born in
Page 29 and 30: Alberto Manguel was born in 1948 in
Page 31 and 32: Dati ali ne dati svoj glas poeziji
Page 33 and 34: dnemu nebu nad glavo in nravnim zak
Page 35 and 36: Prihodnji dolgi dnevi Kaj bova poč
Page 37 and 38: In the middle of my life after the
Page 39 and 40: Does a literary gathering with fans
Page 41 and 42: Pomen branja poezije danes Ljiljana
Page 43 and 44: instrumenti za analizo in razlaganj
Page 45 and 46: kjer so bile človeške svoboščin
Page 47 and 48: Present-day Value of Poetry Reading
Page 49 and 50: and the interests that guide him or
Page 51 and 52: the streets, shops, parks, librarie
Page 53 and 54: advocacy of poetry, while the said
Page 55 and 56: Žal (ali na srečo) pa ta parafraz
Page 57 and 58: vse knjige, ki se jim nikoli ni usp
Page 59 and 60: znanstvene eseje in detektivke (ter
Page 61 and 62: knjige, za katere vemo, da bi moral
Page 63 and 64:
Knjižničarji se danes vse pogoste
Page 65 and 66:
zgodbe, iz česar cenzorski župnik
Page 67 and 68:
heaven, the gift of numberless tong
Page 69 and 70:
Following this pendular motion that
Page 71 and 72:
and detective novels (too cerebral:
Page 73 and 74:
obvious and now forgotten truths, b
Page 75 and 76:
power that reading grants the reade
Page 77:
here, and there’s always one who
Page 80 and 81:
Foto © Andrej Hočevar Maja Hrgovi
Page 82 and 83:
Pranje Maja Hrgović Nije bilo lako
Page 84 and 85:
trebala okupati, nervozno je odmahi
Page 86 and 87:
Umivanje Maja Hrgović Ni bilo lahk
Page 88 and 89:
Babica je po hiši vlekla svoj smra
Page 90 and 91:
The Bathing Maja Hrgović It was no
Page 92 and 93:
Around the time of the Assumption,
Page 94 and 95:
Foto © Andrej Hočevar Dragan Rado
Page 96 and 97:
Iz Nase s ljubavlju Dragan Radovan
Page 98 and 99:
Prasnu u dugo prostačko kikotanje.
Page 100 and 101:
„Kaže mama - sto kilometara od n
Page 102 and 103:
Spet si je objel kolena in obmolkni
Page 104 and 105:
II. Pozno ponoči Ozanov telefonski
Page 106 and 107:
From “NASA” with Love Dragan Ra
Page 108 and 109:
I put my hands back in my lap. “W
Page 110 and 111:
“They say: you go back to your ho
Page 112 and 113:
Foto © Andrej Hočevar Goce Smilev
Page 114 and 115:
СЕСТРАТА НА ЗИГМУН
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lu|e podnesuvaa barawa, a samo po n
Page 118 and 119:
Idniot den otidov kaj Zigmund. Be{e
Page 120 and 121:
Sestra Sigmunda Freuda Goce Smilevs
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novanje in vsi predmeti v njem. »Z
Page 124 and 125:
»Prisilili so otroke, da so tekli
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of martial music - just as they are
Page 128 and 129:
so she couldn’t reach out and tou
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Publikacija SEP 2011 - Vilenica

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