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7/26/2019 Pavlovic Zbornik

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Radovan Vukovi

THE POETIC-CRITICAL INNOVATIONSOF MIODRAG PAVLOVI

Summary

Miodrag Pavlovis poetry and criticism are tightly in-terconnected. Having published his first two collections ofpoetry, Pavlovitook a turn in his creation of poetry. Heabandoned the viewpoint contained in them, namely, that

only the present and the future should be valued, whereas


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one should take an essentially negative attitude towardsthe past. He turned to traditional values. This was an inno-

vation in his poetry, as well as the Serbian literature of thatperiod, just as he had introduced innovations in his firsttwo collections of poems. In this way, Pavloviproved thatone can be an innovator in poetry even when one adoptsvalues of the past. Pavloviprovided a justification for thisin his critical and essayistic texts, wherein he continuouslydealt with Serbian poetry ranging from mediaeval and folk

poetry to the most recent poetry. The ideas contained inthose texts, as well as those that he expressed in the pref-ace toAn Anthology of Serbian Poetryfrom the 13th to the20th Century, represent an innovation in Serbian literarycriticism and values that must be respected.


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48/599

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Jovan Deli

ALONGSIDE THE POETICS

OF MIODRAG PAVLOVI

Summary

This paper calls into question Hugo Friedrichs ideathat modern poetry, as a rule, is poetry of empty ideality.The author investigates Pavlovis attitude towards tradi-


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tion and points out the innovations that he introduced intothe mediaeval poetic genres, first of all, those of weeping

and prayer. The ideal of the temple becomes the expres-sion of yearning for a whole and the poets poetic ideal.The author points to Pavlovis continued obsession withhistory and apocalypse, drawing attention to the neglectedaspect of his satirical-parodic singing.


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, dramatis personae, ,, .

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Ajdacic/ajd01_hronotopi.htm

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XX , : Slavica ierosolymitana, vol. l, Jerusalem

1977., . . (.), , . .

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Kossman, Nina (editor), Gods and Mortals, Modern

Poems on Classical Myths, New York 2001.

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, . ., (TheRussian avant-garde), Stockholm 1976.

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1996.

, , -

, Toronto Slavic Quarterly,

University of Toronto Academic ElectronicJournal in Slavic Studies, www.utoronto.ca/tsq/17/

schwarzband17.shtml.

Aleksandar Petrov

CHRONOTOPES IN THE POETRY OF MIODRAGPAVLOVI(19521962)

Summary

Michael Bakhtin based his theory of chronotopes onthe research of the novel and the majority of subsequentstudies of chronotopes have focused on narrative genres.Our study highlights rare examples of chronotope analy-ses in poetic works and is dedicated to the interpretation

of Miodrag Pavlovis poetry in this framework. The firstfour books of Miodrag Pavlovi, published between 1952and 1962, feature a diversity of temporal and spatial con-cepts united in chronotopes, facilitating the possibility ofconsidering the issue of chronotopes in poetry from vari-ous perspectives. In poetry the chronotope does not playthe same role as in narrative genres: it is not the organiza-tional center of narration, it does not control the weaving


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and unweaving of narrative nodes, it does not involve spa-tial concretization of time and its embodiment in spaces in

which events evolve, all of which were defined by Bakhtinas aspects of the fundamental function of the chronotopein the novel. However, when Bakhtin underlined that mo-tifs, literary characters, including the character of the au-thor could, in principle, become chronotopes, and whenhe wrote, citing Cassirer, that the language of a work ofart, especially the inner form of words, is chronotopical,

Bakhtin was actually opening the door to the transfer ofchronotope analysis from narrative genres to the realmof poetry. In poetry, motifs, mythologemes, concepts, es-pecially of space and time, could be embodied in chrono-topes (such as a door, pillar, room, city, a vast geographicalspace, nature, the underground world, the subconscious).

Therefore, the interpretation of smaller and bigger poeticunits (poems, cycles, books of poems) in terms of chrono-topes seems both justified and innovative.


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Tihomir Brajovi

MIODRAG PAVLOVIANDMODERN POETIC SELF-CONSCIOUSNESS

Summary

Proceeding from the observation about the poets pro-lific discursive practice and specific understanding of po-etry, the author of this paper reviews Miodrag Pavlovisattitude towards the modern understanding of poetic self-

consciousness in two phases. In his early collections of po-etry, it is manifested immanently and in an automimeticmanner, through the method of the so-called happeningin language, and also through the effect of what the poethimself refers to as the anti-image. Pavlovis poeticallymature works, however, contain an increasing proportion

of those discursive elements that become an expression ofsecond-degree lyricism and integralist ambitions of sing-ing. Viewing poetry as an activity wherein one searches fora definition of modern subjectivity, the mature Pavlovievokes ritualistic, mythic-archetypal and manic-orgiasticmodels as an expression of contemporary anonymisationand the inevitable predominance of the originally modern-

ist individualism of human activity and thinking.


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Milan Radulovi

THE CULTUROLOGICAL-PHILOSOPHICAL IDEAS OFMIODRAG PAVLOVI

Summary

On the basis of Miodrag Pavlovis essays, in particularthe works The Poetics of the Sacrificial Riteand Celebrationsin the Plateau, this paper identifies and sheds light on hisbasic and original culturological and philosophical ideas,

and then goes on to elaborate on the following thesis: thatphilosophy understood as a vision, aesthetic experienceand spiritual meditation, not as a doctrinary intellectualdiscipline forms the basis of all the flows and forms ofPavlovis creative output, and also that the specific indi-

vidual philosophical-meditative and poetic-cultural (self-

)awareness of this poet is the natural spiritual context in


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which his poetic thought and practice are self-realised, ar-ticulated and self-enlightened. The author reconstructed

Pavlovis theurgic view of creation, presented his under-standing of culture as a special form of natural creationand evoked his feeling of the sacral spirit of art, whosereflexes are felt in modern poetry as well. Hence a poet ofthe modern era according to the necessarily applied lawsof history and civilisation is primarily a poet and phi-losopher of culture. Miodrag Pavloviis such a poet-think-

er. He includes within his spiritual world, irrespective ofwhether that world announces itself and objectivises itselfas singing or as thought, reflexes of essential spiritual ex-periences and echoes of the existential experiences of allthe preceding epochs. In other words, in his poetry and hisliterary philosophy and aesthetics alike, Pavlovisearches

for universal anthropological experiences, elevating mansspiritual basis to the status of an individual anthropo-logical axis that establishes a higher cultural synthesis ofdifferent epochs. Through the awareness of history as acultural whole, a modern poet rises to an experience ofthe universe as a whole and intuitively arrives at the expe-rience and awareness of the ontological all-encompassing

unity of everything that exists.


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Aleksandar Jerkov

NATURE, CULTURE AND THE APOCALYPSE INTHE POETRY OF MIODRAG PAVLOVI

Summary

In this text, the author investigates how MiodragPavlovi, after fifty years of creative work, organised hisselected poems into a unified, coherent whole. The firstvolume of this whole is dedicated to nature and to shapingthe elation that leads to a phenomenology of the orgy, thesecond is dedicated to history and leads to The Apocalypseof Serbia Proper. This concluding poetic act, insufficient-

ly evaluated, is analysed in some detail in order to show


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that in it, as opposed to the Kantian notion of naturallybeautiful, and in accordance with the opposing Hegelian

position of art, Pavlovireaches a point wherein modern-ism and the postmodern age are differentiated.


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THEOLOGIA PETICA

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2 ,III, 1978, 258.

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(), 2001, 37.4 , . .


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6 : 1.-, 2. , 3. , 4. -, 5. , 6. , 7. , 8., 9., 10., 11. , 12. .

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Vladimir Vukainovi

MIODRAG PAVLOVIS THEOLOGIA POETICA

Summary

This paper explains the theological aspects of Miodrag

Pavlovis poetry, mostly based on his works Knjiga sta-roslovna and S Hristom netremice. In this paper, theauthor presents Pavlovis poetic experience of overcom-ing and widening the limitations of a created mode of be-ing (created nature) through the ascetic and liturgical lifewithin the Church of Christ. Pavlovis poetic theology isreviewed here in the light of his relationship with the con-

temporary and patristic theological ideas. Also, the paperpresents the particular ways in which Pavlovis poetry isadjusted and similar to these theological ways of thinking.


245/599

245

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.

,

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,-, --. , -,, ,

87 ,-, , -

, -

UDC 821.163.41.09 . 82.0:2


246/599

246

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, . [...]

, -, -. -, , .1

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, -, . -. , ,2-

: , . , --

, ,, .

1 ,, 1983,641642.

2 , , 1986, 15.


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3 , 63.


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: . , ,1996,XLVIII.


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,


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. . . . -;

. .

Ranko Popovi

THE RITUAL DISCOURSE IN THE POETRY

OF MIODRAG PAVLOVI

Summary

The subject of this paper is Pavlovis view of poeticlanguage. The author proceeded from the belief that un-derstanding his poetry is inseparable from what he for-mulated in his essays as an interpreter of poetry. Pavloviperceives the inseparability of the act of discourse and theritual act, that is to say, he views the mystery of poetryin the light of the sacrificial rite, as the source of culture


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in its entirety. Since a rite is based on the religious urge,mans immanent need for mystical communion with di-

vine forces, Pavlovi believes that poetry is always cre-ated in the mythical religious depths of being. Searchingfor his own form of a poetic overview of ancient civilisa-tions and cultures, Miodrag Pavloviarrived at the modernepic form, as well as a function of poetic discourse thatcan be referred to as a ritual function. It is recognisable inPavlovis poetry through metaphors and poetic images,

and is particularly memorably manifested in his collec-tions of poetry Great Scythia, The Wonderful Miracle, A Feastof Centuries and Light and Dark Holidays.


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-,

.

UDC 821.163.41.09 . 82.0:2


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262

-

, . - . ,, .

(-)., -, , , -,

, .1

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-.2

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, ., . ,

1 . , , 1984, 67.2 , 69.


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. , , - -(


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3 . , , 2000, 78.


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4 , 80.


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5 . , ,67.


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20 , 44.21 . ,, 1964, 124.


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je

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quinta essentia.24, .

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.

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24 . , 1985, 29.


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-.

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.26

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26. ,, 1972, 10.


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.()

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. , , . .

, - ,

. , .

.

Modern mans originality, his newness incomparison with traditional societies, lies percisely

in his determination to regard himself as a purelyhistorical being, in his wish to live in a basicallydesacralized cosmos.27

II , , . --, , , .

27 M. Eliade, Rites and symbols of initiation, New York 1958,introduction.


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.,

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(II)

,

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(1941)

. , -. -, -

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., , ,

.

Marija Petrovi

AN ANTHROPOLOGICAL VIEW OF THE EARLY

DEVELOPMENT OF RELIGION IN THE POETRYOF MIODRAG PAVLOVI

Summary

This paper deals with the general issue of spirituality

and spiritual poetry within the framework of socio-cultur-al heritage and anthropological review.

It points to the fact that Pavloviis the only poet whofinds spirituality in archaeology, which is later projectedinto religion. Spirituality is also dealt with in the sense ofan elusive ideal.

What emerges is an attempt at searching and the pri-meval tendency towards form as a trace of a particular pe-riod of time, and tracing human life in relation to natureand culture.

Symbolism has a central role in the interweaving ofthe conscious and the unconscious, and also when it comes

to pointing out the significance of spirituality in humanevolution. In all of this, thought goes back to the Begin-ning, reviewing the essential in being.

Researching into and searching for cultures of highspirituality, the poet maintains that it is possible to estab-lish continuity, and that history is merely the trigger for

his refusal to become reconciled with the world order andfor the promulgation of the Truth.


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297/599

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299

-

87

: , , -, , ,, , , , , , -

.

, ,1 , , -, ,. - , . .. 87 -, --. , , , , , . -, ,87 .

1 : , , , 2003, 1333.

UDC 821.163.41.08 .


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-,

., , -, , ,

.2

87.,87 , .

1. 87

87 .-

87

, . -

2 , :

, . 184, 2008, . 482, .3, 468.


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301

, ;

. : .3

1953. , 87 , :

--

. , , -; , , . - ...

, ,, . , 87,, , - , ,

, -, .4

3 -, : ,

87 ,1963, 9.

4 , : -,1996, 7981.


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302

, -, , -

/. , , -. , -.

, ,, , . :

, ,, -, - ; ,,, -

, , : . , , , -.-

. , .5

-.

5 , 82.


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303

,6 --

,1955. :

, -, : , -, . .. .7

: 87 , -

6 : , , - , . , , , -

. , ,. , -, , , , ,, , ,,, -

, ... , ,, -, , 87 ,: -,1971, 165.

7 , : : ,195.


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304

., , ,

, , , , , -, , ,-, -,, -

. 8-, -, ., , -

, , -, .

8 -

-: , , -87 , , -

. , ,,..., ,, , ,

, , ., . : , ... , ,, , . -, ,. ,. ,

, ., , 198.


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-,

, -, -:

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.9

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-, , ,

9 ,

,: , ,1983,148149.


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.10

. -11.

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.

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. , 87

10 , 155.

11 : -,-, . , -,

, , -, , , - . , -

, : , ,156.


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307

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: -.12

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. -, 20..

--.

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13 , -, -

. [...] : , ,. ; -, , . , : -

.

. -, ; -, . , 17.

14 : -, , :

, ,,1997, 5980.


308/599

308

(. ..-. 87

) , .

, -, .

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, -

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,

,

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15 , , :, 2001, 282.


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, .16

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16 , 322.

17 : , -,: , 2002, 55.

18 , ,2008, 190191.

19 -: , 195198.


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--

, , -, , ---.

2. 87

. - ,

. , , ,

. , -.-87 , ,1952. ,,, ,, -. ,

-.


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,20-, , .

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. , 4. , 1968. , , --. -

, (. .) , , -, -. 87 , ,

20 : . . ,, 2003; -

-, ,, . 136, 2008, 655692.


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312

,.

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II

III

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, , , ,

. . . -21. ,223 10 .

, --. , , , ,

21 . . , . , 25.

22 , ,1991,94.


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.


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314

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23 -, . , 19.


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315

, , -

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316

-: / -

/ ... .

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, (). , , , , .

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.

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24 : -, , , , ,,, ,. , -87 ,

, ,:, 350.


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318

-

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.25 , 334.


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319

.

, , -, :

.-, .

: , , ... , , , , ,

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, .

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.

.


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-, ,

, , . -, , - .

: // -/ / / ,

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, : /.

-, , !: / /// , / , / . -, . , -, ,.


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87 - , , : ,

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, , ,

-, , , -, ; , ,L Amor che muove il Sole e laltre stelle.

, , , . , -

-,, , -. -. 87 ,, -

, , , -


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, .

.,

-,. --, , , . , , , . , -. -

, , ,, --, -,- -. , , , , -

, , ...26

-, 87 , , ,

26 ,,-, 2009, 22.


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,

.

Svetlana eatovi-Dimitrijevi

THE PRINCIPLES OF CYCLISATION IN THECOLLECTION OF POETRY 87 POEMS

Summary

This paper reviews the literary-historical significanceof Miodrag Pavlovis collection 87 Poems, and then goeson to analyse the types of cyclicity and the forms of cycli-sation manifested in this book of poetry. The first principle

of cyclicity is realised through a thematic-motif unity, arepetition of identical or semantically close poetic images.The second principle is realised through the principle ofthe dissonance of formal unity on the level of the entirecollection, but coherence is achieved in individual sectionsof the book, on the thematic, motif and semantic levels, bymeans of creating a poetic world-view. By way of variousforms of contrast, lexical repetitions and disharmony asthe basic integrative principle, the unity of the collectionas a whole is achieved. Through a contrasting sequencingof cycles and subcycles, and also through a diversity offorms of poems, Pavloviachieves the process of unifyingthe cycles into the collection entitled 87 Poems.


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: , 87 ,

, , , -.

87 1952. .1-, ,

, , .2

1 1951. ., . , - -

,- , ., , ukazuje da redakcija nema nekojedinstveno gledite, prema kome bi rigorozno bila vrena selekcija

tekstova (44). 87 , , (1953),

.

2 , ,, ... -87 . -

. (, ...).

UDC 821.163.41.08 .821.163.41.09.


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326

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327

. , , ,

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4

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328

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(15).


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329

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331

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332

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333

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334/599

334

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335

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(1952)

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Hans Biderman, Renik simbola, Beograd 2004.Duan M. Bokovi, Stanovita u sporu, Beograd 1981.

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, , 2008.

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, 1984.Miel Onfre,Mopostojanja, Beograd 2007.

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,, 1983.Figure u pokretu. Savremena zapadna estetika, filozofijai teorija umetnosti, Beograd 2009.

an evalije Alen Gerbran, Renik simbola, Novi Sad2004.

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Bojan olak

THE HYPOSTASES OF THE LYRICAL SUBJECTIN MIODRAG PAVLOVIS THE WOODS

OF DAMNATION

Summary

This paper deals with the introductory subcycle of thePavlovis 1952 collection of poetry 87 Poems (1952), en-titled The Woods of Damnation. It points out that, fromhis very first poems, Miodrag Pavlovi was oriented to-wards certain themes that would prove to be crucial for hislater work, but were almost unnoticed in connection with

his first collection of poetry. First of all, the author pointsout Pavlovis attitude towards historical consciousness,the modern age and social reality. The key categories forthis collection turn out to be those of continuity, memory,oblivion, evil and humanism. A special emphasis is placedon noting the position of the poetic subject, as well as the

organisational principle of the introductory subcycle. Theauthor also points out the connection with the poets es-says written around the same time as the poems in thiscollection.


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