Papers by Blaž Kavšek
Slavisticna Revija, 2019
V organizaciji Centra za slovenščino kot drugi in tuji jezik so se odvila 37. Obdobja. Predsedova... more V organizaciji Centra za slovenščino kot drugi in tuji jezik so se odvila 37. Obdobja. Predsedovala sta jim Urška Perenič in Aleksander Bjelčevič. Simpozij je s temo, artikulirano z naslovom Starejši mediji slovenske književnosti: Rokopisi in tiski, vsebinsko nadaljeval in sveže dopolnjeval 36. Obdobja, ki so bila posvečena rokopisom slovenskega slovstva od srednjega veka do moderne in so potekala v soorganizaciji z Inštitutom za slovensko literaturo in literarne vede ZRC SAZU. Na 37. srečanju je bilo predstavljenih 28 referatov, zbornik pa prinaša 30 referatov 31 avtorjev. Referati so bili razdeljeni v deset skupin, med seboj ločenih z diskusijskimi intervencijami, skupine pa so bile razporejene v šest tematskih sekcij. Referenti so zaradi učinkovite organizacijske strukture simpozija imeli dovolj časa za temeljito predstavitev svoje teme, ker pa se je simpozij izognil tudi vzporednim sekcijam, so lahko prisostvovali vsem predstavitvam. To je omogočilo plodovitejše diskusije.
Umjetnost riječi, 2020
Bernikova (1956) i Kmeclova (1973) interpretacija pripovjedne proze Simona Jenka oprečne su i teš... more Bernikova (1956) i Kmeclova (1973) interpretacija pripovjedne proze Simona Jenka oprečne su i teško ih je produktivno suočiti jer njihove (implicitne) definicije romantičnosti i realističnosti ne proizlaze iz istoga epistemološkog temelja. To vrijedi prije svega za pripovijest Spomini, koju je France Bernik razumio kao kulminaciju Jenkove realističke, od-nosno čak "proturomantičke" misaonosti, a Matjaž Kmecl kao produkt slovenske romantičke građanske ideologije koja je rezultat upoznavanja s europskom romantikom. Ovaj rad traži izvore obiju implicitnih definicija u slovenskoj književnopovijesnoj raspravljačkoj tradiciji te im pridodaje i eksplicitnu, kontekstualiziranu definiciju romantičnosti i realističnosti.
Slavistična revija, 2020
This article analyses writers’ correspondence from the second half of the nineteenth century on t... more This article analyses writers’ correspondence from the second half of the nineteenth century on the territory of what is now Slovenia, identifying a tension between two imperatives. One the one hand, the discourse of this correspondence is firmly embedded in the collectivist ideological matrix of cultural nationalism; on the other, the authors of these letters present themselves as completely individualised authorial subjects. I focus on the correspondence from the personal archive of Josip Cimperman, in which I observe these interweaving aspirations and search for an ideological element that made their coexistence possible.
Slavistična revija, 2019
In 1936, Anton Primožič donated his correspondence with Josip Stritar to Maribor’s Study Library.... more In 1936, Anton Primožič donated his correspondence with Josip Stritar to Maribor’s Study Library. Apart from the letters, it contains the transcript of three poems that Stritar carved into birch bark. A few days before the donation, one of them (the first one) was published by the newspaper Slovenec. Janko Glaser drew attention to these poems in 1939, but did not publish any of them. The editor of Stritar’s Zbrana dela (Complete works), France Koblar, published the first and the third poem in the second volume (1953), but mentioned in a footnote that the second poem had been lost. In this article, I publish the second poem and consider how and why Koblar omitted it. Above all, I analyze the specifics of the treatment of the Primožič-Stritar correspondence in Slovenec and try to place it in the process of Stitar’s (re)evaluation in the literary processing segment of the literary system.
Slavistična revija, 2017
This article analyses 19th-century literary histories and their perceptions of a literary dispute... more This article analyses 19th-century literary histories and their perceptions of a literary dispute between Leipzig and Zürich from a century before in order to outline the process of formation and the mechanisms working out a stance towards didactic poetry, which was articulated during the period of Romanticism. The main characteristics of this stance are extrapolated from the way in which literary history has handled the didactic poem of Matija Antun Relković " Satir iliti divji čovik. " The poem is compared with Johann Christoph Gottsched's manifesto of normative poetics, Versuch einer critischen Dichtkunst vor die Deutschen to show that the didactic poem belongs to a period whose understanding of literature is incompatible with the epistemological demands of modern readings of didactic poetry.
Keywords: normative poetics, neoclassicism, epistemology, Romanticism, 19th century
Essays by Blaž Kavšek
Gledališki list SLG Celje, 2024
Razpotja 11/39, 2019
Priznati, čemu pisati (prvotno objavljeno v Razpotja 11/39) George Orwell je leta 1946 za revijo ... more Priznati, čemu pisati (prvotno objavljeno v Razpotja 11/39) George Orwell je leta 1946 za revijo Gangrel napisal esej o tem, zakaj in čemu je postal pisatelj. Miniaturna avtobiografija z naslovom Why I Write? je del dolge tradicije pisateljskih avtomitizacij, med katere bi v britanskem kontekstu spadala npr. An Autobiography Anthonya Trollopa (1883) in The Truth about the Author Arnolda Bennetta (1903), če navedem samo tisti, ki sta obenem prijetno zanimivi in prijetno nepoznani. Orwell je v eseju naštel štiri motive, ki ga ženejo k pisanju: »Čisti egoizem«, »estetski entuziazem«, »zgodovinski impulz« in »politični namen«. Predlagal je, da jih lahko najdemo pri vseh pisateljih in da vrstni red, v katerem jih je naštel, podobno kot pri sedmih smrtnih grehih, nikakor ni naključen. Čeprav imamo avtorja Poklona Kataloniji za izrazito političnega pisatelja, v Why I Write? lahko zaznamo mučno napetost med, če poenostavim, sebičnimi in altruističnimi spodbudami za pisanje. »Čisti egoizem« -po Orwellu definiran kot želja, da bi izpadel pameten, da bi se o njem govorilo in se ga zapomnilo po smrti -predpostavlja sekundarni, javnosti namenjen vrstni red pomembnosti motivov za ustvarjanje literature. Če pisatelj želi, da bi ga jemali resno, mora poznati pravila igre literarnega vrednotenja, ki jih gojita njegovo okolje in čas, na kratko, njegova scena. Vsaka literarna scena razvije svoje preference vrstnega reda motivacij za pisanje in če se mladi nadebudni literat želi zavihteti na višje mesto v njeni hierarhiji spoštovanja in občudovanja, mu bo »čisti egoizem« predlagal, da se v javnosti od sugeriranega vrstnega reda ne oddalji preveč.
Radio Študent, 2017
Judovski pes (Mini teater, 2017)
Radio Študent, 2019
Beatin dnevnik: Roman: Prvi slovenski družinski roman v obliki dnevnika (FF, 2019)
Radio Študent, 2016
Ferfikbarica v peklu (Sophia, 2015)
Edited Volume by Blaž Kavšek
The volume deals with the traumatic experiences of the Yugoslav wars in the 1990s and focuses on ... more The volume deals with the traumatic experiences of the Yugoslav wars in the 1990s and focuses on artistic, and especially theatrical, responses to them. The authors consider the role of art in both the acute processing and the long-term formation of political and personal memory of the trauma of war and exile. Although the primary subject of the monograph is the relationship between art and trauma on the backdrop of Yugoslav wars, it also features a special section dedicated to the war in Ukraine and the genocide in Gaza.
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Papers by Blaž Kavšek
Keywords: normative poetics, neoclassicism, epistemology, Romanticism, 19th century
Essays by Blaž Kavšek
Edited Volume by Blaž Kavšek
Keywords: normative poetics, neoclassicism, epistemology, Romanticism, 19th century