Somewhat of an Independent scholar relying on and dependant of current Academic trendsCreative author at the crossroad of a current Theory and classical Stylistic upbringing Phone: 0626160128 Address: Paris, Île-de-France, France
One of the smartest American women-writers has left us: she moved into another dimension probably... more One of the smartest American women-writers has left us: she moved into another dimension probably only to chat A.Ginsberg and W.Burroughs up with her wit there, in Bardo.They shared here, among us, the most privileged Olympus of American letters entwined with philosophy and social engagement for years.I have met many Sade's biographers, indirectly, through their texts such as Bataille, Barthes, Klossowski, Annie le Brun, and more directly, in person-Gilbert Lely and his wife Marie-Francoise. However, among them Acker was one of the best in that respect that she never told any difference between the act of writing and the one of living one's life.And just like Sade himself, she took writing for life as much as she took literature for the means of escaping from prison-house of language, as the means to evade saturation and entropy, as the only way to avoid the refraction of mirrors and get out of the Cartesian maze into the land of absolute freedom.
Књижевне и културне интерференције између књижевности на српском и на енглеском језику = Literary and Cultural Interconnections Between Serbian and Anglophone Literature, 2022
A couple of years ago I was contemplating the possibilities of the particular problem which I had... more A couple of years ago I was contemplating the possibilities of the particular problem which I had entitled at that time "Use and Abuse of Translations": there were several aspects to my line of thinking but I chose to develop and gather my musings on particular topic (Use and Abuse of the translated works of art)under two specific themes. The first theme would embody the criteria of choice(eg.how do we choose to translate specific literary works, under what special and temporal circumstances)and the second one deals with the possible
Although terms such as "postmodern" and postpost modern or "an open work of art" have been with u... more Although terms such as "postmodern" and postpost modern or "an open work of art" have been with us for a while, and theorists and the public have been comfortable at using them for a couple of decades, their adequate comprehension requires us to return to a patient examination of the essential core of the problem represented by the very possibility of such a work of art. We should consequently ask what can it really be? What is truly a contemporary, or an "open" work of art in process? Then, we would like to pose a question such as: how is this old analytical theme related to that of the role of the artist in difficult, dark or any other sort of times, indeed? As the possible answers involve the entire history of civilization and culture, from Paleolithic and Neolithic times onwards, we would like to offer at least one of them; perhaps, an answer which would enable even the most innocent and simple observer or reader to interpret such a work of art. In order to somewhat explain our approach to the so called "open" work of art, it would be perhaps useful to go back to its origin and then ask oneself what is its precise meaning at this extremely complex moment of human history which is the beginning of the twenty-first century? The latest atonal music (Bill Laswell, Steve Reich, Philip Glass), the monochromatic paintings, or books without a story or a plot which the reader/spectator helplessly tries to decipher-what do they really mean? Is it something that one could use as the latest cheese spread (the participants of 'rave' parties), or something he would never understand regardless of the volume of the spent effort but someone else would die for (as was the case of the Russian artist, Kasimir Malevich who paid for his art by his mental health)? In order to draw the line between the form and the opening in a work of art-and establish the notion of axiological ambiguity as a hermeneutically legitimate category in analyzing a work of art, we should first try to comprehend how and why at such notions as chance, the unformal, chaos and indeterminacy in a work of art. Art is nothing but a part of everyday life experience although it often precedes 'life' in an avant-garde, precognitive manner. Art also 'follows' life in the sense that the 21 st century art is a part of the 21 st century life as it has been developing since its inception. And if our century appears to us chaotic and life in it fragmented, often senseless and hazardous, the art which follows it appears just as chaotic and senseless. Thus, the emergence of such artistic figures as Pierre Boulez, Luciano Berio, John Cage, Philip Glass and earlier Stockhausen was not incidental. Their repetitive and fragmented scores are added to the previous musical tonal elements or subtracted from them in a way that has been far from incidental. Here we mention music since it is the most harmonious and direct form of art which is then followed by literature and visually decisive images and preceded, as usual, by philosophy or any prophetic intellectual development or sensibility and artistic style that may lead us to the threshold of contemporary art. However, new works of art and new consciousness about them have not emerged "out of nowhere". Things happen historically and in continuity and ideas repeat themselves and return in cycles. So, in order to arrive at Boulez, we were bound to have an open score by J.S. Bach, and in order to be able to comprehend the work of James Joyce and Proust, we had to have the "open" manuscript of Sterns and Cervantes which did not insist on the plot and the classical narrative structure. Umberto Eco who devoted a greater part of his studies to this problem claims that the category of "opening" or an open work of art could have been found in all the arts and in all their forms, but that it is generally best applied to all "post-Weberian" compositions in art starting from the Baroque era through Symbolism. All these compositions were based on the spiritual and theoretical collaboration of the spectator and the author/artist where the spectator and the reader have not
MEMORY OF THE RECENT “AVANGARDA” , DOES IT SPELL ‘MIGRATIONS’ or ‘RESISTENCE’?
As I’m walking ... more MEMORY OF THE RECENT “AVANGARDA” , DOES IT SPELL ‘MIGRATIONS’ or ‘RESISTENCE’?
As I’m walking among the sleepy bodies of the Syrian refugees at Belgrade’s bus station park, trying to address all my human and performative efforts towards the Other, my whole life appears suddenly in front of me as “ on a stretcher” : have I ever left this place where my grandmother founded the Serbian branch of the Red Cross, and where my grandfather was hiding the Bakuninists under his roof, on their way from Russia to the United States ? Here, the questions such as “Is art still possible?” and “what is its current, dying form?” have never occurred to me, nor the questions about the true meaning of resistance, the migrating power of people and its dying absence or presence in everyone’s life. Here I remember a specific procedure of combining the “already-made” elements which a sculptor, Zoran Joksimović, gathered in his work which uses abjectness as a self-reflective act of a traumatic memory exploring its effects in a material and metaphorical image of a fragmented body. Hal Foster with his notion of “abject art” was also discussing the “vulnerability of our borders, the fragility of the spatial distinction between our exterior and the interior,” bringing the concept of self into a crisis through the cut of the dismantled body whose chopped off members now independently follow their own ‘game of chess’, towards the path of disappearance instead of the subject. However, may we assume that a traumatic cut is also productive, because it evacuates and raises the subject, showing us that the totality (be it a body, a country , a nation) is often a temporary illusion which cannot hold in practice and that it confirms its existence only in multiplicity, in a dynamic interaction of the whole and its segments (be it migrating people, habits, performing acts). The term migration immediately invokes one of the central political, social, humanitarian and cultural issues of our time. It conjures images of people on cramped boats approaching the Italian island of Lampedusa and of people trying to jump on board lorries to cross the English Channel; images of dead bodies floating in the sea and of places left behind, turned to rubble; images of refugee camps from Dadaab in Kenya
" Professionnels du désordre " ou l'Art d'Abject " Les étudiants doivent comprendre, s'ils veulen... more " Professionnels du désordre " ou l'Art d'Abject " Les étudiants doivent comprendre, s'ils veulent leurs examens, qu'ils doivent les réviser, car il n'y aura pas d'examen en chocolat dans la République " , a répondu Nataniel Macaron. Le chef de l'Etat a aussi fustigé les " professionnels du désordre ". (le 12 avril 2018) Le 20 mars-9 avril 2018 Le dirigeant qui se moque de cette façon cynique de tous les structures professionnelles et humaines n'a jamais mentionné-jusqu'à aujourdhui, dans les Media publics qui sont les professionnels du désordre et ce qui se passe dans les universités en ce moment. Le mouvement politique? L'insurgence socialique? Aprés presque 50 ans depuis Mai 1968, une nouvelle effraction s'est produite, la réponse à sa politique odieux du Loi " ORE " qui, si elle passe, permettra seulement aux enfants des riches d'accéder à luniversité, afin qu'ils deviennent encore plus riches et que le reste du monde tombe, comme Atlantis, au fond de l'ocean humain. Quand tout cela a il commencé? Un jour je suis allée, conformément à mon rôle de " professionnel du désordre " asur le site St Charles de la Sorbonne 1, un cours tôt, matinal, à l'heure où les éboueurs dorment encore, et j'ai trouvé le centre bloqué par mes étudiants, mécontents, protestant et organisant une manifestation contre la bête de la bureaucratie, le méchant dirigeant Macaron et la dite proposition de la loi. Dans mon sac j'avais préparé un leçon contre la bureaucracie, le gouvernement et le Brexit. Juste!Bon nombre de manifestations, blocades de tous sites de la Sorbonne ont suivi, nottament le sité Pierre Mendes à Tolbiac ou les étudiants ont formés les vrais barricades, les meubles erigés sur les portes et ascenseurs bloquant l'acces au batiment; au même temps on organisait les longues Assemble Generales, au meme temps on restait là à dormir, pendent deux semaines, on l'assumait activisme, jusqu'ua bout. Au même temps, pas de cours, pas de renseigment du president de la Sorbonne QUE EST CE qui se passe dedan, eh oui, une petite lettre pleurnicharde qui parle " des forces mechantes qui ont cassé notre meuble dans les amphiteatres de Pantheon " , mais pas une invitation de prendren les choses dans leurs mains , de reinsegner les medias ou prendre la situation au serieux. jusqu'ua le 5 avril. Cher.e.s collègues, Vous trouverez joint à ce message le compte rendu synthétique de l'AG Etudiante qui s'est tenue hier matin au centre PMF ainsi qu'un compte rendu détaillé de l'AG des personnels qui s'était tenue plus tôt dans la matinée. Ils ont été rédigés par des collègues ayant assisté à ces deux réunions. Merci à eux. La prochaine AG des personnels se tiendra le 5 avril à 9h, amphi K, à Tolbiac.
Some of the most pertinent questions were raised in this short interview, questions that are pert... more Some of the most pertinent questions were raised in this short interview, questions that are pertinent both to the readers and spectators in the realm of the so called reception of Anne Van der Linden's work, as well as the questions concerning the content of her work which is important, fresh and seductive as far as the general contemporary ‚history' of art goes. She spoke of different traditional genres such as painting versus drawing or sculpture vs. film, how do these influence the eye of the beholder and also how they influence the mind and the heart of the artist who decides to use them. Van der Linden was called , with the German artist, Gloria Friedman, one of the first and foremost feminists in art. Her subject matter has never denied this title; however, in this interview she does not call herself a feminist as she thinks that this word and title lead to acertain ghettoization of an artist. She sees herself rather as a neo-nuclear "transgender" creature, coming out of that very long and extenuated tradition in art called " the French scene ". NZ:1. What made you draw and paint in your life to begin with? Do you Remember your earliest stages of interest?
Zan-Pjer Faj je jedan od najpoznatijih savremenih francuskih filozofa i pesnika. Pocetkom sezdese... more Zan-Pjer Faj je jedan od najpoznatijih savremenih francuskih filozofa i pesnika. Pocetkom sezdesetih on osniva sa Filipom Solersom i Morisom Rosom cuveni semioticki casopis « Tel Quel », da bi zauzeo ubrzo radikalniju formu misljenja i osnovao casopis, da kazemo pokret, « Change ». Nedavno je Faj objavio dve znacajne filosofske knjige o Niceu « Pravi Nice » i «Nice i Salomé », a i pesnicku zbirku inspirisanu nasim gradjanskim ratom « Pronadjen i obnovljen rat ». U ovom razgtovoru on razmatra svoj stari stav prema Hajdegeru, a ujedno prezentuje i neke od svojih novih stavova o Niceu i o filozofiji knjizevnosti uopste. Pitanje : Poznat ste kao « anti-hajdegerovac », medjutim, posvetili ste toliko paznje Niceu… gde pocinje vasa animoznost prema Hajdegeru ? Zan-Pjer Faj : Ah, Hajdeger ! To je bio jedan tip toliko izvestacen i pravi nacista, da je tesko shvatiti kako je mogao da bude toliko zaljubljen u Hanu Arent, zaista ju je voleo, a sa druge strane da podrzava pokret , nacisticki, koji je sigurno isao da je unisti. Bas neki prljav tip-jer da je stvarno voleo tu mladu Jevrejku, kako je mogao da pise sve ono u korist nacizma-ideja je potpuno monstruozna. Pitanje : Problem je u tome sto je posedovao inteligenciju i moc savesti, ali ih nije iskoristio. Zan-Pjer Faj : Po mom misljenju bio je to jedan ludak, genijalni ludak sa suludim rukopisima, bila je to jedna impozantna glava, veliki mozak koji je napravio kult. U jednom trenutku je predavao na Sorboni i sta je rekao – zasto voli Hitlera ? Zato sto ima tako divne ruke ! zamislite ! Zatim je otisao u Italiju. A zatim u Sjedinjene Drzave. Ali, nemojmo sada o tome… Pitanje : Poznavali ste mnoge nase knjizevnike, nadrealiste , cesto ste i boravili u Beogradu. Sa kim ste se najcesce i najradje druzili u Srbiji?
Zan Bodrijar je uvrsten u Dzon Lehteovu knjigu kao jedan od « 50 vodecih savremenih mislilaca ». ... more Zan Bodrijar je uvrsten u Dzon Lehteovu knjigu kao jedan od « 50 vodecih savremenih mislilaca ». Njegova razmisljanja o zavodjenju, potrosackom drustvu i potencijalnom razaranju nase civilizacije koje se javlja kao posledica nestanka humanosti i humanizma-vec su odavno postala legendarna. Razgovaramo sa njim nakon otvaranja njegove izlozbe fotografije u La Mezon de la Fotografi u Parizu. Pitanje : Na cemu trenutno radite, sta vas okupira u poslednje vreme ? Odgovor : Pa, tu su jos neki tragovi pisanja koje sam ranije zapoceo, u « Mirnim secanjima », a tu je i knjiga na kojoj radim sa arhitektom Zan Nuvelom ; takodje radim i na scenariju za film « Rec-propusnica », ali to sve nisu ozbiljne knjige. « Nemoguce promene » bila je poslednja stvarna knjiga na kojoj sam radio-pokusao sam da rekonstruisem neki stari materijal iz proslosti, ali nije lako vracati se na stare stvari, narocito ako su to bili seminari sa studentima. Zanima me takodje oblast fotografije ovih dana. Pitanje : kada je pocela Vasa ljubav prema fotografiji ? Odgovor : To interesovanje se razvilo nesto kasnije u mom zivotu-otpocelo je pre nekih 10 ili 15 godina, ali nisam imao sa njim neke precizne projekte u vidu-tj. prvo je postojao Objekat, a ne toliko projekat, a kada mi se nametne neki objekat on gotovo uvek privuce moju paznju. Oduvek su me fascinirale slike… neki Japanac mi je poklonio foto aparat i tako sam krenuo da slikam, ubrzo me je zaokupila ta vrsta igre, ali sam jos uvek daleko of profesionalca. A onda, kad ste vec nesto izlozili , to stvara jednu novi situaciju-pojam spontanosti i zadovoljstva nestaje jer se sprema « velika izlozba » za koju treba da se pripremite, a zatim ste obavezni da nesto i prodate…i, opala, vec ste usli u instituciju ! Znaci, postavlja se pitanje : mogu li da racunam na proizvodnju necega sto je pocetno bilo za mene cisto zadovoljstvo ? U svakom slucaju, fotografija je prestala za mene da biva marginalna aktivnost i postala je nesto vise od toga. Poceo sam njome da se bavim da bih se odmorio od pîsanja, ali, malo po malo, poceo sam da o njoj govorim, cak i da o njoj pisem, a sada vec ove dve aktivnosti paralelno teku. Doziveo sam neku vrstu metamorfoze tako da se sada koristim odredjenom teorijom da bih stvarao slike-ova dva procesa, pravljenje fotografija i pisanje o njima, nemaju nista zajednicko , ali na kraju krajeva, negde se ipak susretnu. Pitanje : Da li je taj proces imao neke veze sa vasim putovanjima u severnu Ameriku i sa uglavnom vizuelnom kulturom te zemlje ? Odgovor : Jeste, itekako. Nedavno sam objavio knjigu , kolaboraciju sa jednim prijateljem i naslovio sam je « Amerika », trebalo je da sadrzi i fotografije osim teksta, ali sam se na kraju odlucio da u njoj zadrzim samo tekst. Ali, tacno je da su moje fotografije usko povezane sa mojim putovanjima, nadasve sa mojim putovanjima u Sjedinjene Drzave : period je kraj 1980ih i pocetak devedesetih Osecam da sam prilicno iscrpeo svo interesovanje da se krecem u tom pravcu i danas vise putujem u pravcu Latinske Amerike, a manje u Sjedinjene Drzave.. Jos uvek nesto belezim u svoj dnevnik, ali mi inspiracija ne dolazi uvek kao nekad ranije, nema onaj nekadasnji dah svezine. Znaci, moje sveske-dnevnici su se promenili, ali su se istovremeno promenile i fotografije. U pocetku to su bile iskljucivo fotografije sa putovanja , ali ako pogledate moju novu izlozbu fotografija koju su upravo postavili, videcete da se njihov subjekat promenio. Nije bas u pitanju cinjenica da su sve ove nove slike intimnog karaktera, ali sve one pripadaju svetu koji je meni blizi-ima tu portreta i slicnih stvari. Pitanje/ Kako ste poceli da komponujete fragmente koji ce se kasnije pojaviti pod naslovom « Mirna secanja » ? Odgovor : Sve ovo je pocelo u trenutku kada sam po prvi put bio u pustinji 1980 e. Krenuo sam iz Nju Orleansa i posetio sve velike pustinje Teksasa, u tom trenutku napisao sam nekih
Jean Baudrillard is in John Lechte’s book of « 50 contemporary key-thinkers ». His analyses of t... more Jean Baudrillard is in John Lechte’s book of « 50 contemporary key-thinkers ». His analyses of the processes of seduction, consumerism in society and potential downfall of our civilization caused by the disappearance of humanism have become legendary. Baudrillard has recently devoted his time to photography and has been successful at it as well. We find him after the opening of his show at La Maison de la Photographie in Paris.
Julia Kristeva is a world famous semiotician, feminist theorist, psychoanalyst and at the same ti... more Julia Kristeva is a world famous semiotician, feminist theorist, psychoanalyst and at the same time an interesting creative writer. She was born in Bulgaria in 1941, but came to Paris in 1965 where she became immersed in Parisian intellectual life. Her acclaimed novel « Les Samouraïs » (1990) analyses the Parisian intellectual avant-garde to which she has belonged ever since. And though psychoanalysis remains one of the major orienting and formative dimensions of her work, especially as regards her reflections upon the nature of the feminine, she has also continued her research on the nature of language and examined the processes leading to the emergence of the work of art. As the theorist John Lechte points out, « because of the intimate link between art and the formation of subjectivity, Kristeva has always found art to be a particularly fruitful basis for analysis. » Since the 1960s, she has been a leading force in the critique of representation and her most recent book is a critical study of Colette’s work and life, that is to say, one of the numerous projects that she has been energetically working on.
Julia Kristeva is a semiotician, feminist theorist, psychoanalyst and at the same time an interes... more Julia Kristeva is a semiotician, feminist theorist, psychoanalyst and at the same time an interesting creative writer. She was born in Bulgaria in 1941, but came to Paris in 1965 where she became immersed in Parisian intellectual life. Her acclaimed novel « Les Samouraïs » (1990) analyses the Parisian intellectual avant-garde to which she has belonged ever since. And though psychoanalysis remains one of the major orienting and formative dimensions of her work, especially as regards her reflections upon the nature of the feminine, she has also continued her research on the nature of language and examined the processes leading to the emergence of the work of art. As the theorist John Lechte points out, « because of the intimate link between art and the formation of subjectivity, Kristeva has always found art to be a particularly fruitful basis for analysis. » Since the 1960s, she has been a leading force in the critique of representation and her most recent book is a critical study of Colette’s work and life, that is to say, one of the numerous projects that she has been energetically working on.
Proslo je skoro godinu dana od kada je od nas otisla je jedna od najvisprenijih zena savremenog a... more Proslo je skoro godinu dana od kada je od nas otisla je jedna od najvisprenijih zena savremenog americkog pera,Keti Aker, koja se preselila u drugu dimenziju, verovatno da bi svojim zivim opaskama pravila drustvo onima koji su nedavno otisli pre nje: Alenu Ginzbergu i Vilijamu Barousu. Oni su joj godinama pravili drustvo na najekskluzivnijem postmodernistickom Olimpu lepe knjizevnosti koja se druzila sa angazmanom i filosofijom. Upoznala sam mnoge de Sadove biografe, posredno, putem teksta-Bataja, Barta,Klosovskog, Ani le Bren-i neposredno, Zilbera Lelija i njegovu zenu Mari-Fransoaz, medjutim ,Akerova bese jedan od najboljih-nikada nije pravila razliku izmedju pisanja i zivota, to jest, bas kao i markizu de Sadu, zivot za nju bese pismo, a pisanje izlazak iz zatvora jezika, nacin da se prevazidje prezasicenost i entropija, nacin da se izbegne odraz ogledala i izadje iz kartezijanskog labirinta u potpunu slobodu. U zbirci od nekih dvadesetak eseja sakupljenih u njenu predsmrtnu esejisticku zbirku "Bodies of work" ,koju je izdavac Serpent"s Tail objavio 1997, neposredno pred Ketin odlazak,nalazimo neverovatno neobican i lucidan esej Akerove o de Sadu koji je naslovljen "Reci koje objasnjavaju ono" i koji uveliko objasnjava autorkin sustinski stav prema recima, pisanju, i-nadasve slobodi kao vrhunskom cinu ljudskog postojanja.Stoga smo ovaj esej izabrali za prevod na srpski, iako po svojoj lepoti i zanimljivosti on ne nadmasuje ostale eseje u ovoj knjizi. U jednom delu ovog eseja Akerova pise: "On (de Sad) lomio je ogledalo za ogledalom; a iza svakog ogledala stajalo je neko drugo; iza svih ogledala boravilo je nistavilo. De Sad je pisao da bi nas zaveo, da bi nas proveo kroz labirint ogledala, u nistavilo./ De Sad je zeleo da nas uputi u ono sto jesmo, zeleo je da nas nauci da ne zudimo za egzistencijom. Eto, to je nistavilo." Kada pise o de Sadu Akerova pise o sebi, o zelji pisca da koristi imaginaciju to jest jezik,i da metamorfozira diskurs tela kao i diskurs jezika u irealnu stvarnost. Kako je imaginacija bespolna, Akerova, veliki feminista sustinski ne veruje u feminizam, u dualnu podelu na musko/zensko, telo/diskurs, osecanje/logos. Ona veruje u energiju pisanja i delovanja i energicno pise tokom sedamdesetih, osamdesetih, devedesetih sa obe strane Atlantika. Rodjena u Njujorku, kaze da je morala da proda svoju krv da bi objavila svoj prvi roman "Crnu tarantulu". Ovu knjigu sam drzala pobozno u rukama i citala je tokom celog puta od San Dijega do San Franciska gde su me neki prijatelji slali Keti u goste. Knjiga je puna zivih boja, ogoljenog krika nad egzistencijom i puna neke cudne saljivosti koja sve prasta, na nacin na koji je Else Laske-Siler oprostila sve ludosti nacistima i epohi ranog ekspresionizma na pocetku ovog veka. Bila je to knjiga snaznog neoekspresionistickog krika koja je mnogima, narocito novim generacijama pomerila vidjenje savremene knjizevnosti: govorila je jezikom za koji se verovalo da se ne upotrebljava u knjizevnosti, koji se kretao jos dalje od Dzojsovog i Milerovog eksperimenta, dakle jezik Akerove uradio je tacno ono sto se od njega ocekivalo-pomerio je zonu inovativnog u obliku postmodernog
Nina Zivancevic: Teorija I praksa: ja kao ptica U pocetku sam verovala da pesnik treba da bude mo... more Nina Zivancevic: Teorija I praksa: ja kao ptica U pocetku sam verovala da pesnik treba da bude moderan I da pise u stihu koji je gajio savremeni trenutak, to jest epoha samog kraja dvadesetog veka. Savremeni trenutak, bar u tom trenutku, je gajio takozvani slobodan stih. Dakle, u pocetku sam pisala slobodnim stihom za koji nisam mislila da je preslobodan iako sam bila svesna da cesto prelazi u nesto sto su ljudi nazivali prozom I da se ponekad ne bi mogao nazvati " pravim stihom " vec jedinicom daha (vremenski protok udisaja I izdisaja). Procitala sam jedan Hajdegerov pasus u kome je izjavio " Ono sto je suprotno od poezije nije proza " I cvrsto sam krenula da se drzim te izjave u svojoj stvaralackoj praksi. Bilo je to davno jos, pre nego sto sam citala " otvorenu teoriju " Umberta Eka I prihvatila ideju Arnolda Hauzera o smeni stoleca, odnosno vremenskih ciklusa otvorenog umetnickog dela. Znaci, pocela sam da pisem poeziju ali koja je uvek imala Bodlerovske odjeke I zavrsavala u nekoj vrsti proze. Ipak, ovo sve ne znaci da se nikada nisam zanimala za versifikaciju: u mojoj prvoj knjizi " Pesme " jos uvek sam brinula o strofama, koja bese mozda neka unutrasnja rima ali nikada spoljasnja. Smejala sam se spoljasnjoj ili formalnoj rimi kao I onima koji je koriste, sto se kasnije pokazalo kao greska. Dosta kasnije, na Naropa Institutu dok sam radila sa Alenom Ginzbergom, ili u pesnickom ateljeu Alise Notli u Njujorku, otkrila sam da treba pokusavati stavljati nove sadrzaje u staru formu kakva je, na primer, pesnicka rima, da je takav pokusaj
The particular topic of use and abuse of the translated works of literature, in my case, combines... more The particular topic of use and abuse of the translated works of literature, in my case, combines two themes, that is, both the subject of the criteria of choice (how and when we choose to translate specific literary works which implies the theory of the aesthetic Reception) and the question dealing with the censorship of translations. The question of the censorship is related to the censorship of literary works in general, but then focusing on the censorship of the literary works coming from Eastern Europe in particular.
On mainstream poetry-vs. non-mainstream poetry (N.Zivancevic) Since I have been writing so called... more On mainstream poetry-vs. non-mainstream poetry (N.Zivancevic) Since I have been writing so called non-mainstream poetry for years I guess you or anyone for that matter can use my name in print. Why write mainstream poetry? Why write non-mainstream poetry? Why write poetry? It is like asking the late Dinu Lipatti why he had to play Bach, some form of art which is both bounding and open, something that fits into the canon but is more free, liberating and libertine than the canonical form.I guess the old game of writing...mainstream poetry versus non-mainstream literature goes back to the beginning of this century when the fights of the avantgarde have overthrown the traditional ways of thinking in literature. When the so called Frank O'Hara's "vulgarity, that life-giving force" of the quotidian has entered literature, thus poetry, with the modernists, and perhaps even earlier with Baudelaire, it became for great many poets impossible to write the way they lived or breathed, and voila! The non-mainstream poetry was born. In the street, out of clouds, out of the primal scream, out of nothing. This need to be-live-write non-mainsteam some of us called futurism, some of us called it Dada, some of us, expressionism, some of us called it Surrealism, some of us called it Minimalist, Fluxus, Concrete, Laanguage, Rap or Punk poetry, but the thinking was more expressed in the function of what mainstream poetry was not, rather than what it was all about. It is not bad to start thinking, writing or reciting mainstream poetry. In fact, all of the so-called non-mainstream poets engage in the mainstream poetry activities every day: how to address one's landlord, how to pay the bills, how to buy groceries-we do it somehow mainstream,nonetheless poetically, but there is no one to write such activities down .Or, when it comes down to writing them down they turn into non-mainstream poetry. One of the major Surrealists said it once:"Surrealism is not a lack of realism, by no means, it is just realism on square", being a distorted, cubist or a vorticist vision of an extreme reality, of a mainstream reality which is changed into a certain antipode , into a"non" which is an artistic or an elevated way to deal with the mainstream. 1. The most interesting aspect of contemporary, and/or non-mainstream poetry is its desire to assert itself as a new mainstream. A sort of an incessant "eternal return" in art and poetry which, alas!-always has its ways with us, contemporary readers. Perhaps the most interesting aspect of that poetry is its awkward willingness (all of a sudden, after the 70s and the 80s) to communicate and converse with the reader, if not even the desire to impose its ruthless vision of a non-formal approach to verse. So called "free-verse" has inserted its supremacy so long ago, that its freedom has already become a sort of dungeon for younger poets who started studying "Larousse" dictionary in order to learn how to appear free... The
Pitanje koje formulisemo u ovom trenutku-moze li savremena poezija, nasa a i strana odoleti iskus... more Pitanje koje formulisemo u ovom trenutku-moze li savremena poezija, nasa a i strana odoleti iskusenjima, ili zubu vremena, treba posmatrati u daleko sirem kontekstu. Pitanje koje se postavlja, a odista i dosta legitimno obzirom na trenutak u kome zivimo, jeste sledece-moze li knjizevnost, ona koju stvaraju danas pisci bez obzira na njihovu zanrovsku opredeljenost, opstati u vidu na koji smo navikli da je citamo, tumacimo i vrednujemo i jos sire posmatrano, moze li kultúra u svim njenim vidovima ispoljavanja, opstati na nacin ili nacine na koje je do danas opstajala? Kultúra kao cvet ljudskog duha, a i knjizevnost kao jedna od njenih najsuptilnijih, najiluzornijih latica, u svetu u kome zivimo, s pocetka dvadesetog veka, ozbiljno je ugrozena pred navalom povrsnog, ishitrenog vandalizma industrijske tehnologije. Mnogi tvrde da je celokupno nase ljudsko, pre svega fizicko postojanje, ozbiljno ugrozeno na planeti kojom vladaju bogovi Titana, Uranijuma i Nuklearne energije-kako je moguce verovati na takvom beznadeznom mestu u opstanak ljudskog duha, u kulturu i u knjizevnost kao najiluzorniji trenutak toga duha, istrgnut kosmickom besmislu postojanja? Pa ipak, dok pisem ove redove i dok pisem ili prevodim poslednje pesnicke stihove, svesna sam cinjenice da pisana kao i govorna knjizevnost, odnosno i njen najtezi i najkripticniji zanr-poezija-i dalje traje, prkosi vremenu i javlja se kao njegov izazov, upravo kao reakcija svim zastrasujuce smesnim i tragicnim njegovim izazovima: brzini, tehnologiji, neznanju, zatucanosti, egzistencijalnoj panici, trzisnom egoizmu, dakle pojavama koje nas vode u ratove, u sukobe interesa, u eksploataciju zive i nezive prirode, u ekolosku katastrofu. To je , uostalom bila oduvek jedna od osnovnih uloga poezije, najbuntovnije od svih buntovnickih vidova i ispoljavanja ljudskog duha – da prkosi vremenu ili vremenima u kojima nastaje, mozda zbog njenog izuzetno ostrog, kratkog i kondenzovanog izraza koji je od nje nacinio – ne noz kojim se polako sece zivo meso, kao sto je to slucaj sa nekim uspelim proznim oblikom-vec ubojitu otrovnu strelu, neku otrovnu kuraru koja se zabije u svest, srce ili dusu citaoca/slusaoca i tu ostane. U najboljem slucaju, to jest, ona se u njemu zadrzi i natera ga da razmislja-o problemu ili problemima trenutka u kome nastaje.
Interview, preliminaries to my longer text on contemporary Iranian artists "Contemporary Culture... more Interview, preliminaries to my longer text on contemporary Iranian artists "Contemporary Culture and Litererature in Iran"
Contemporary Serbian Poetry Before and Now: a Bridge Over the Gap-2012
The theme deals with two ... more Contemporary Serbian Poetry Before and Now: a Bridge Over the Gap-2012 The theme deals with two very large but also two very interesting topics : Contemporary Serbian poetry which is in its transitory period today, and the poetry trends which preceded this most recent one. As an Eastern European, more precisely Serbian poet and a scholar living abroad, I feel somewhat privileged to be in a position to follow closely the developments of contemporary and emerging poetry voices in Serbia while maintaining the physical and an objective (critical) distance.
One of the smartest American women-writers has left us: she moved into another dimension probably... more One of the smartest American women-writers has left us: she moved into another dimension probably only to chat A.Ginsberg and W.Burroughs up with her wit there, in Bardo.They shared here, among us, the most privileged Olympus of American letters entwined with philosophy and social engagement for years.I have met many Sade's biographers, indirectly, through their texts such as Bataille, Barthes, Klossowski, Annie le Brun, and more directly, in person-Gilbert Lely and his wife Marie-Francoise. However, among them Acker was one of the best in that respect that she never told any difference between the act of writing and the one of living one's life.And just like Sade himself, she took writing for life as much as she took literature for the means of escaping from prison-house of language, as the means to evade saturation and entropy, as the only way to avoid the refraction of mirrors and get out of the Cartesian maze into the land of absolute freedom.
Књижевне и културне интерференције између књижевности на српском и на енглеском језику = Literary and Cultural Interconnections Between Serbian and Anglophone Literature, 2022
A couple of years ago I was contemplating the possibilities of the particular problem which I had... more A couple of years ago I was contemplating the possibilities of the particular problem which I had entitled at that time "Use and Abuse of Translations": there were several aspects to my line of thinking but I chose to develop and gather my musings on particular topic (Use and Abuse of the translated works of art)under two specific themes. The first theme would embody the criteria of choice(eg.how do we choose to translate specific literary works, under what special and temporal circumstances)and the second one deals with the possible
Although terms such as "postmodern" and postpost modern or "an open work of art" have been with u... more Although terms such as "postmodern" and postpost modern or "an open work of art" have been with us for a while, and theorists and the public have been comfortable at using them for a couple of decades, their adequate comprehension requires us to return to a patient examination of the essential core of the problem represented by the very possibility of such a work of art. We should consequently ask what can it really be? What is truly a contemporary, or an "open" work of art in process? Then, we would like to pose a question such as: how is this old analytical theme related to that of the role of the artist in difficult, dark or any other sort of times, indeed? As the possible answers involve the entire history of civilization and culture, from Paleolithic and Neolithic times onwards, we would like to offer at least one of them; perhaps, an answer which would enable even the most innocent and simple observer or reader to interpret such a work of art. In order to somewhat explain our approach to the so called "open" work of art, it would be perhaps useful to go back to its origin and then ask oneself what is its precise meaning at this extremely complex moment of human history which is the beginning of the twenty-first century? The latest atonal music (Bill Laswell, Steve Reich, Philip Glass), the monochromatic paintings, or books without a story or a plot which the reader/spectator helplessly tries to decipher-what do they really mean? Is it something that one could use as the latest cheese spread (the participants of 'rave' parties), or something he would never understand regardless of the volume of the spent effort but someone else would die for (as was the case of the Russian artist, Kasimir Malevich who paid for his art by his mental health)? In order to draw the line between the form and the opening in a work of art-and establish the notion of axiological ambiguity as a hermeneutically legitimate category in analyzing a work of art, we should first try to comprehend how and why at such notions as chance, the unformal, chaos and indeterminacy in a work of art. Art is nothing but a part of everyday life experience although it often precedes 'life' in an avant-garde, precognitive manner. Art also 'follows' life in the sense that the 21 st century art is a part of the 21 st century life as it has been developing since its inception. And if our century appears to us chaotic and life in it fragmented, often senseless and hazardous, the art which follows it appears just as chaotic and senseless. Thus, the emergence of such artistic figures as Pierre Boulez, Luciano Berio, John Cage, Philip Glass and earlier Stockhausen was not incidental. Their repetitive and fragmented scores are added to the previous musical tonal elements or subtracted from them in a way that has been far from incidental. Here we mention music since it is the most harmonious and direct form of art which is then followed by literature and visually decisive images and preceded, as usual, by philosophy or any prophetic intellectual development or sensibility and artistic style that may lead us to the threshold of contemporary art. However, new works of art and new consciousness about them have not emerged "out of nowhere". Things happen historically and in continuity and ideas repeat themselves and return in cycles. So, in order to arrive at Boulez, we were bound to have an open score by J.S. Bach, and in order to be able to comprehend the work of James Joyce and Proust, we had to have the "open" manuscript of Sterns and Cervantes which did not insist on the plot and the classical narrative structure. Umberto Eco who devoted a greater part of his studies to this problem claims that the category of "opening" or an open work of art could have been found in all the arts and in all their forms, but that it is generally best applied to all "post-Weberian" compositions in art starting from the Baroque era through Symbolism. All these compositions were based on the spiritual and theoretical collaboration of the spectator and the author/artist where the spectator and the reader have not
MEMORY OF THE RECENT “AVANGARDA” , DOES IT SPELL ‘MIGRATIONS’ or ‘RESISTENCE’?
As I’m walking ... more MEMORY OF THE RECENT “AVANGARDA” , DOES IT SPELL ‘MIGRATIONS’ or ‘RESISTENCE’?
As I’m walking among the sleepy bodies of the Syrian refugees at Belgrade’s bus station park, trying to address all my human and performative efforts towards the Other, my whole life appears suddenly in front of me as “ on a stretcher” : have I ever left this place where my grandmother founded the Serbian branch of the Red Cross, and where my grandfather was hiding the Bakuninists under his roof, on their way from Russia to the United States ? Here, the questions such as “Is art still possible?” and “what is its current, dying form?” have never occurred to me, nor the questions about the true meaning of resistance, the migrating power of people and its dying absence or presence in everyone’s life. Here I remember a specific procedure of combining the “already-made” elements which a sculptor, Zoran Joksimović, gathered in his work which uses abjectness as a self-reflective act of a traumatic memory exploring its effects in a material and metaphorical image of a fragmented body. Hal Foster with his notion of “abject art” was also discussing the “vulnerability of our borders, the fragility of the spatial distinction between our exterior and the interior,” bringing the concept of self into a crisis through the cut of the dismantled body whose chopped off members now independently follow their own ‘game of chess’, towards the path of disappearance instead of the subject. However, may we assume that a traumatic cut is also productive, because it evacuates and raises the subject, showing us that the totality (be it a body, a country , a nation) is often a temporary illusion which cannot hold in practice and that it confirms its existence only in multiplicity, in a dynamic interaction of the whole and its segments (be it migrating people, habits, performing acts). The term migration immediately invokes one of the central political, social, humanitarian and cultural issues of our time. It conjures images of people on cramped boats approaching the Italian island of Lampedusa and of people trying to jump on board lorries to cross the English Channel; images of dead bodies floating in the sea and of places left behind, turned to rubble; images of refugee camps from Dadaab in Kenya
" Professionnels du désordre " ou l'Art d'Abject " Les étudiants doivent comprendre, s'ils veulen... more " Professionnels du désordre " ou l'Art d'Abject " Les étudiants doivent comprendre, s'ils veulent leurs examens, qu'ils doivent les réviser, car il n'y aura pas d'examen en chocolat dans la République " , a répondu Nataniel Macaron. Le chef de l'Etat a aussi fustigé les " professionnels du désordre ". (le 12 avril 2018) Le 20 mars-9 avril 2018 Le dirigeant qui se moque de cette façon cynique de tous les structures professionnelles et humaines n'a jamais mentionné-jusqu'à aujourdhui, dans les Media publics qui sont les professionnels du désordre et ce qui se passe dans les universités en ce moment. Le mouvement politique? L'insurgence socialique? Aprés presque 50 ans depuis Mai 1968, une nouvelle effraction s'est produite, la réponse à sa politique odieux du Loi " ORE " qui, si elle passe, permettra seulement aux enfants des riches d'accéder à luniversité, afin qu'ils deviennent encore plus riches et que le reste du monde tombe, comme Atlantis, au fond de l'ocean humain. Quand tout cela a il commencé? Un jour je suis allée, conformément à mon rôle de " professionnel du désordre " asur le site St Charles de la Sorbonne 1, un cours tôt, matinal, à l'heure où les éboueurs dorment encore, et j'ai trouvé le centre bloqué par mes étudiants, mécontents, protestant et organisant une manifestation contre la bête de la bureaucratie, le méchant dirigeant Macaron et la dite proposition de la loi. Dans mon sac j'avais préparé un leçon contre la bureaucracie, le gouvernement et le Brexit. Juste!Bon nombre de manifestations, blocades de tous sites de la Sorbonne ont suivi, nottament le sité Pierre Mendes à Tolbiac ou les étudiants ont formés les vrais barricades, les meubles erigés sur les portes et ascenseurs bloquant l'acces au batiment; au même temps on organisait les longues Assemble Generales, au meme temps on restait là à dormir, pendent deux semaines, on l'assumait activisme, jusqu'ua bout. Au même temps, pas de cours, pas de renseigment du president de la Sorbonne QUE EST CE qui se passe dedan, eh oui, une petite lettre pleurnicharde qui parle " des forces mechantes qui ont cassé notre meuble dans les amphiteatres de Pantheon " , mais pas une invitation de prendren les choses dans leurs mains , de reinsegner les medias ou prendre la situation au serieux. jusqu'ua le 5 avril. Cher.e.s collègues, Vous trouverez joint à ce message le compte rendu synthétique de l'AG Etudiante qui s'est tenue hier matin au centre PMF ainsi qu'un compte rendu détaillé de l'AG des personnels qui s'était tenue plus tôt dans la matinée. Ils ont été rédigés par des collègues ayant assisté à ces deux réunions. Merci à eux. La prochaine AG des personnels se tiendra le 5 avril à 9h, amphi K, à Tolbiac.
Some of the most pertinent questions were raised in this short interview, questions that are pert... more Some of the most pertinent questions were raised in this short interview, questions that are pertinent both to the readers and spectators in the realm of the so called reception of Anne Van der Linden's work, as well as the questions concerning the content of her work which is important, fresh and seductive as far as the general contemporary ‚history' of art goes. She spoke of different traditional genres such as painting versus drawing or sculpture vs. film, how do these influence the eye of the beholder and also how they influence the mind and the heart of the artist who decides to use them. Van der Linden was called , with the German artist, Gloria Friedman, one of the first and foremost feminists in art. Her subject matter has never denied this title; however, in this interview she does not call herself a feminist as she thinks that this word and title lead to acertain ghettoization of an artist. She sees herself rather as a neo-nuclear "transgender" creature, coming out of that very long and extenuated tradition in art called " the French scene ". NZ:1. What made you draw and paint in your life to begin with? Do you Remember your earliest stages of interest?
Zan-Pjer Faj je jedan od najpoznatijih savremenih francuskih filozofa i pesnika. Pocetkom sezdese... more Zan-Pjer Faj je jedan od najpoznatijih savremenih francuskih filozofa i pesnika. Pocetkom sezdesetih on osniva sa Filipom Solersom i Morisom Rosom cuveni semioticki casopis « Tel Quel », da bi zauzeo ubrzo radikalniju formu misljenja i osnovao casopis, da kazemo pokret, « Change ». Nedavno je Faj objavio dve znacajne filosofske knjige o Niceu « Pravi Nice » i «Nice i Salomé », a i pesnicku zbirku inspirisanu nasim gradjanskim ratom « Pronadjen i obnovljen rat ». U ovom razgtovoru on razmatra svoj stari stav prema Hajdegeru, a ujedno prezentuje i neke od svojih novih stavova o Niceu i o filozofiji knjizevnosti uopste. Pitanje : Poznat ste kao « anti-hajdegerovac », medjutim, posvetili ste toliko paznje Niceu… gde pocinje vasa animoznost prema Hajdegeru ? Zan-Pjer Faj : Ah, Hajdeger ! To je bio jedan tip toliko izvestacen i pravi nacista, da je tesko shvatiti kako je mogao da bude toliko zaljubljen u Hanu Arent, zaista ju je voleo, a sa druge strane da podrzava pokret , nacisticki, koji je sigurno isao da je unisti. Bas neki prljav tip-jer da je stvarno voleo tu mladu Jevrejku, kako je mogao da pise sve ono u korist nacizma-ideja je potpuno monstruozna. Pitanje : Problem je u tome sto je posedovao inteligenciju i moc savesti, ali ih nije iskoristio. Zan-Pjer Faj : Po mom misljenju bio je to jedan ludak, genijalni ludak sa suludim rukopisima, bila je to jedna impozantna glava, veliki mozak koji je napravio kult. U jednom trenutku je predavao na Sorboni i sta je rekao – zasto voli Hitlera ? Zato sto ima tako divne ruke ! zamislite ! Zatim je otisao u Italiju. A zatim u Sjedinjene Drzave. Ali, nemojmo sada o tome… Pitanje : Poznavali ste mnoge nase knjizevnike, nadrealiste , cesto ste i boravili u Beogradu. Sa kim ste se najcesce i najradje druzili u Srbiji?
Zan Bodrijar je uvrsten u Dzon Lehteovu knjigu kao jedan od « 50 vodecih savremenih mislilaca ». ... more Zan Bodrijar je uvrsten u Dzon Lehteovu knjigu kao jedan od « 50 vodecih savremenih mislilaca ». Njegova razmisljanja o zavodjenju, potrosackom drustvu i potencijalnom razaranju nase civilizacije koje se javlja kao posledica nestanka humanosti i humanizma-vec su odavno postala legendarna. Razgovaramo sa njim nakon otvaranja njegove izlozbe fotografije u La Mezon de la Fotografi u Parizu. Pitanje : Na cemu trenutno radite, sta vas okupira u poslednje vreme ? Odgovor : Pa, tu su jos neki tragovi pisanja koje sam ranije zapoceo, u « Mirnim secanjima », a tu je i knjiga na kojoj radim sa arhitektom Zan Nuvelom ; takodje radim i na scenariju za film « Rec-propusnica », ali to sve nisu ozbiljne knjige. « Nemoguce promene » bila je poslednja stvarna knjiga na kojoj sam radio-pokusao sam da rekonstruisem neki stari materijal iz proslosti, ali nije lako vracati se na stare stvari, narocito ako su to bili seminari sa studentima. Zanima me takodje oblast fotografije ovih dana. Pitanje : kada je pocela Vasa ljubav prema fotografiji ? Odgovor : To interesovanje se razvilo nesto kasnije u mom zivotu-otpocelo je pre nekih 10 ili 15 godina, ali nisam imao sa njim neke precizne projekte u vidu-tj. prvo je postojao Objekat, a ne toliko projekat, a kada mi se nametne neki objekat on gotovo uvek privuce moju paznju. Oduvek su me fascinirale slike… neki Japanac mi je poklonio foto aparat i tako sam krenuo da slikam, ubrzo me je zaokupila ta vrsta igre, ali sam jos uvek daleko of profesionalca. A onda, kad ste vec nesto izlozili , to stvara jednu novi situaciju-pojam spontanosti i zadovoljstva nestaje jer se sprema « velika izlozba » za koju treba da se pripremite, a zatim ste obavezni da nesto i prodate…i, opala, vec ste usli u instituciju ! Znaci, postavlja se pitanje : mogu li da racunam na proizvodnju necega sto je pocetno bilo za mene cisto zadovoljstvo ? U svakom slucaju, fotografija je prestala za mene da biva marginalna aktivnost i postala je nesto vise od toga. Poceo sam njome da se bavim da bih se odmorio od pîsanja, ali, malo po malo, poceo sam da o njoj govorim, cak i da o njoj pisem, a sada vec ove dve aktivnosti paralelno teku. Doziveo sam neku vrstu metamorfoze tako da se sada koristim odredjenom teorijom da bih stvarao slike-ova dva procesa, pravljenje fotografija i pisanje o njima, nemaju nista zajednicko , ali na kraju krajeva, negde se ipak susretnu. Pitanje : Da li je taj proces imao neke veze sa vasim putovanjima u severnu Ameriku i sa uglavnom vizuelnom kulturom te zemlje ? Odgovor : Jeste, itekako. Nedavno sam objavio knjigu , kolaboraciju sa jednim prijateljem i naslovio sam je « Amerika », trebalo je da sadrzi i fotografije osim teksta, ali sam se na kraju odlucio da u njoj zadrzim samo tekst. Ali, tacno je da su moje fotografije usko povezane sa mojim putovanjima, nadasve sa mojim putovanjima u Sjedinjene Drzave : period je kraj 1980ih i pocetak devedesetih Osecam da sam prilicno iscrpeo svo interesovanje da se krecem u tom pravcu i danas vise putujem u pravcu Latinske Amerike, a manje u Sjedinjene Drzave.. Jos uvek nesto belezim u svoj dnevnik, ali mi inspiracija ne dolazi uvek kao nekad ranije, nema onaj nekadasnji dah svezine. Znaci, moje sveske-dnevnici su se promenili, ali su se istovremeno promenile i fotografije. U pocetku to su bile iskljucivo fotografije sa putovanja , ali ako pogledate moju novu izlozbu fotografija koju su upravo postavili, videcete da se njihov subjekat promenio. Nije bas u pitanju cinjenica da su sve ove nove slike intimnog karaktera, ali sve one pripadaju svetu koji je meni blizi-ima tu portreta i slicnih stvari. Pitanje/ Kako ste poceli da komponujete fragmente koji ce se kasnije pojaviti pod naslovom « Mirna secanja » ? Odgovor : Sve ovo je pocelo u trenutku kada sam po prvi put bio u pustinji 1980 e. Krenuo sam iz Nju Orleansa i posetio sve velike pustinje Teksasa, u tom trenutku napisao sam nekih
Jean Baudrillard is in John Lechte’s book of « 50 contemporary key-thinkers ». His analyses of t... more Jean Baudrillard is in John Lechte’s book of « 50 contemporary key-thinkers ». His analyses of the processes of seduction, consumerism in society and potential downfall of our civilization caused by the disappearance of humanism have become legendary. Baudrillard has recently devoted his time to photography and has been successful at it as well. We find him after the opening of his show at La Maison de la Photographie in Paris.
Julia Kristeva is a world famous semiotician, feminist theorist, psychoanalyst and at the same ti... more Julia Kristeva is a world famous semiotician, feminist theorist, psychoanalyst and at the same time an interesting creative writer. She was born in Bulgaria in 1941, but came to Paris in 1965 where she became immersed in Parisian intellectual life. Her acclaimed novel « Les Samouraïs » (1990) analyses the Parisian intellectual avant-garde to which she has belonged ever since. And though psychoanalysis remains one of the major orienting and formative dimensions of her work, especially as regards her reflections upon the nature of the feminine, she has also continued her research on the nature of language and examined the processes leading to the emergence of the work of art. As the theorist John Lechte points out, « because of the intimate link between art and the formation of subjectivity, Kristeva has always found art to be a particularly fruitful basis for analysis. » Since the 1960s, she has been a leading force in the critique of representation and her most recent book is a critical study of Colette’s work and life, that is to say, one of the numerous projects that she has been energetically working on.
Julia Kristeva is a semiotician, feminist theorist, psychoanalyst and at the same time an interes... more Julia Kristeva is a semiotician, feminist theorist, psychoanalyst and at the same time an interesting creative writer. She was born in Bulgaria in 1941, but came to Paris in 1965 where she became immersed in Parisian intellectual life. Her acclaimed novel « Les Samouraïs » (1990) analyses the Parisian intellectual avant-garde to which she has belonged ever since. And though psychoanalysis remains one of the major orienting and formative dimensions of her work, especially as regards her reflections upon the nature of the feminine, she has also continued her research on the nature of language and examined the processes leading to the emergence of the work of art. As the theorist John Lechte points out, « because of the intimate link between art and the formation of subjectivity, Kristeva has always found art to be a particularly fruitful basis for analysis. » Since the 1960s, she has been a leading force in the critique of representation and her most recent book is a critical study of Colette’s work and life, that is to say, one of the numerous projects that she has been energetically working on.
Proslo je skoro godinu dana od kada je od nas otisla je jedna od najvisprenijih zena savremenog a... more Proslo je skoro godinu dana od kada je od nas otisla je jedna od najvisprenijih zena savremenog americkog pera,Keti Aker, koja se preselila u drugu dimenziju, verovatno da bi svojim zivim opaskama pravila drustvo onima koji su nedavno otisli pre nje: Alenu Ginzbergu i Vilijamu Barousu. Oni su joj godinama pravili drustvo na najekskluzivnijem postmodernistickom Olimpu lepe knjizevnosti koja se druzila sa angazmanom i filosofijom. Upoznala sam mnoge de Sadove biografe, posredno, putem teksta-Bataja, Barta,Klosovskog, Ani le Bren-i neposredno, Zilbera Lelija i njegovu zenu Mari-Fransoaz, medjutim ,Akerova bese jedan od najboljih-nikada nije pravila razliku izmedju pisanja i zivota, to jest, bas kao i markizu de Sadu, zivot za nju bese pismo, a pisanje izlazak iz zatvora jezika, nacin da se prevazidje prezasicenost i entropija, nacin da se izbegne odraz ogledala i izadje iz kartezijanskog labirinta u potpunu slobodu. U zbirci od nekih dvadesetak eseja sakupljenih u njenu predsmrtnu esejisticku zbirku "Bodies of work" ,koju je izdavac Serpent"s Tail objavio 1997, neposredno pred Ketin odlazak,nalazimo neverovatno neobican i lucidan esej Akerove o de Sadu koji je naslovljen "Reci koje objasnjavaju ono" i koji uveliko objasnjava autorkin sustinski stav prema recima, pisanju, i-nadasve slobodi kao vrhunskom cinu ljudskog postojanja.Stoga smo ovaj esej izabrali za prevod na srpski, iako po svojoj lepoti i zanimljivosti on ne nadmasuje ostale eseje u ovoj knjizi. U jednom delu ovog eseja Akerova pise: "On (de Sad) lomio je ogledalo za ogledalom; a iza svakog ogledala stajalo je neko drugo; iza svih ogledala boravilo je nistavilo. De Sad je pisao da bi nas zaveo, da bi nas proveo kroz labirint ogledala, u nistavilo./ De Sad je zeleo da nas uputi u ono sto jesmo, zeleo je da nas nauci da ne zudimo za egzistencijom. Eto, to je nistavilo." Kada pise o de Sadu Akerova pise o sebi, o zelji pisca da koristi imaginaciju to jest jezik,i da metamorfozira diskurs tela kao i diskurs jezika u irealnu stvarnost. Kako je imaginacija bespolna, Akerova, veliki feminista sustinski ne veruje u feminizam, u dualnu podelu na musko/zensko, telo/diskurs, osecanje/logos. Ona veruje u energiju pisanja i delovanja i energicno pise tokom sedamdesetih, osamdesetih, devedesetih sa obe strane Atlantika. Rodjena u Njujorku, kaze da je morala da proda svoju krv da bi objavila svoj prvi roman "Crnu tarantulu". Ovu knjigu sam drzala pobozno u rukama i citala je tokom celog puta od San Dijega do San Franciska gde su me neki prijatelji slali Keti u goste. Knjiga je puna zivih boja, ogoljenog krika nad egzistencijom i puna neke cudne saljivosti koja sve prasta, na nacin na koji je Else Laske-Siler oprostila sve ludosti nacistima i epohi ranog ekspresionizma na pocetku ovog veka. Bila je to knjiga snaznog neoekspresionistickog krika koja je mnogima, narocito novim generacijama pomerila vidjenje savremene knjizevnosti: govorila je jezikom za koji se verovalo da se ne upotrebljava u knjizevnosti, koji se kretao jos dalje od Dzojsovog i Milerovog eksperimenta, dakle jezik Akerove uradio je tacno ono sto se od njega ocekivalo-pomerio je zonu inovativnog u obliku postmodernog
Nina Zivancevic: Teorija I praksa: ja kao ptica U pocetku sam verovala da pesnik treba da bude mo... more Nina Zivancevic: Teorija I praksa: ja kao ptica U pocetku sam verovala da pesnik treba da bude moderan I da pise u stihu koji je gajio savremeni trenutak, to jest epoha samog kraja dvadesetog veka. Savremeni trenutak, bar u tom trenutku, je gajio takozvani slobodan stih. Dakle, u pocetku sam pisala slobodnim stihom za koji nisam mislila da je preslobodan iako sam bila svesna da cesto prelazi u nesto sto su ljudi nazivali prozom I da se ponekad ne bi mogao nazvati " pravim stihom " vec jedinicom daha (vremenski protok udisaja I izdisaja). Procitala sam jedan Hajdegerov pasus u kome je izjavio " Ono sto je suprotno od poezije nije proza " I cvrsto sam krenula da se drzim te izjave u svojoj stvaralackoj praksi. Bilo je to davno jos, pre nego sto sam citala " otvorenu teoriju " Umberta Eka I prihvatila ideju Arnolda Hauzera o smeni stoleca, odnosno vremenskih ciklusa otvorenog umetnickog dela. Znaci, pocela sam da pisem poeziju ali koja je uvek imala Bodlerovske odjeke I zavrsavala u nekoj vrsti proze. Ipak, ovo sve ne znaci da se nikada nisam zanimala za versifikaciju: u mojoj prvoj knjizi " Pesme " jos uvek sam brinula o strofama, koja bese mozda neka unutrasnja rima ali nikada spoljasnja. Smejala sam se spoljasnjoj ili formalnoj rimi kao I onima koji je koriste, sto se kasnije pokazalo kao greska. Dosta kasnije, na Naropa Institutu dok sam radila sa Alenom Ginzbergom, ili u pesnickom ateljeu Alise Notli u Njujorku, otkrila sam da treba pokusavati stavljati nove sadrzaje u staru formu kakva je, na primer, pesnicka rima, da je takav pokusaj
The particular topic of use and abuse of the translated works of literature, in my case, combines... more The particular topic of use and abuse of the translated works of literature, in my case, combines two themes, that is, both the subject of the criteria of choice (how and when we choose to translate specific literary works which implies the theory of the aesthetic Reception) and the question dealing with the censorship of translations. The question of the censorship is related to the censorship of literary works in general, but then focusing on the censorship of the literary works coming from Eastern Europe in particular.
On mainstream poetry-vs. non-mainstream poetry (N.Zivancevic) Since I have been writing so called... more On mainstream poetry-vs. non-mainstream poetry (N.Zivancevic) Since I have been writing so called non-mainstream poetry for years I guess you or anyone for that matter can use my name in print. Why write mainstream poetry? Why write non-mainstream poetry? Why write poetry? It is like asking the late Dinu Lipatti why he had to play Bach, some form of art which is both bounding and open, something that fits into the canon but is more free, liberating and libertine than the canonical form.I guess the old game of writing...mainstream poetry versus non-mainstream literature goes back to the beginning of this century when the fights of the avantgarde have overthrown the traditional ways of thinking in literature. When the so called Frank O'Hara's "vulgarity, that life-giving force" of the quotidian has entered literature, thus poetry, with the modernists, and perhaps even earlier with Baudelaire, it became for great many poets impossible to write the way they lived or breathed, and voila! The non-mainstream poetry was born. In the street, out of clouds, out of the primal scream, out of nothing. This need to be-live-write non-mainsteam some of us called futurism, some of us called it Dada, some of us, expressionism, some of us called it Surrealism, some of us called it Minimalist, Fluxus, Concrete, Laanguage, Rap or Punk poetry, but the thinking was more expressed in the function of what mainstream poetry was not, rather than what it was all about. It is not bad to start thinking, writing or reciting mainstream poetry. In fact, all of the so-called non-mainstream poets engage in the mainstream poetry activities every day: how to address one's landlord, how to pay the bills, how to buy groceries-we do it somehow mainstream,nonetheless poetically, but there is no one to write such activities down .Or, when it comes down to writing them down they turn into non-mainstream poetry. One of the major Surrealists said it once:"Surrealism is not a lack of realism, by no means, it is just realism on square", being a distorted, cubist or a vorticist vision of an extreme reality, of a mainstream reality which is changed into a certain antipode , into a"non" which is an artistic or an elevated way to deal with the mainstream. 1. The most interesting aspect of contemporary, and/or non-mainstream poetry is its desire to assert itself as a new mainstream. A sort of an incessant "eternal return" in art and poetry which, alas!-always has its ways with us, contemporary readers. Perhaps the most interesting aspect of that poetry is its awkward willingness (all of a sudden, after the 70s and the 80s) to communicate and converse with the reader, if not even the desire to impose its ruthless vision of a non-formal approach to verse. So called "free-verse" has inserted its supremacy so long ago, that its freedom has already become a sort of dungeon for younger poets who started studying "Larousse" dictionary in order to learn how to appear free... The
Pitanje koje formulisemo u ovom trenutku-moze li savremena poezija, nasa a i strana odoleti iskus... more Pitanje koje formulisemo u ovom trenutku-moze li savremena poezija, nasa a i strana odoleti iskusenjima, ili zubu vremena, treba posmatrati u daleko sirem kontekstu. Pitanje koje se postavlja, a odista i dosta legitimno obzirom na trenutak u kome zivimo, jeste sledece-moze li knjizevnost, ona koju stvaraju danas pisci bez obzira na njihovu zanrovsku opredeljenost, opstati u vidu na koji smo navikli da je citamo, tumacimo i vrednujemo i jos sire posmatrano, moze li kultúra u svim njenim vidovima ispoljavanja, opstati na nacin ili nacine na koje je do danas opstajala? Kultúra kao cvet ljudskog duha, a i knjizevnost kao jedna od njenih najsuptilnijih, najiluzornijih latica, u svetu u kome zivimo, s pocetka dvadesetog veka, ozbiljno je ugrozena pred navalom povrsnog, ishitrenog vandalizma industrijske tehnologije. Mnogi tvrde da je celokupno nase ljudsko, pre svega fizicko postojanje, ozbiljno ugrozeno na planeti kojom vladaju bogovi Titana, Uranijuma i Nuklearne energije-kako je moguce verovati na takvom beznadeznom mestu u opstanak ljudskog duha, u kulturu i u knjizevnost kao najiluzorniji trenutak toga duha, istrgnut kosmickom besmislu postojanja? Pa ipak, dok pisem ove redove i dok pisem ili prevodim poslednje pesnicke stihove, svesna sam cinjenice da pisana kao i govorna knjizevnost, odnosno i njen najtezi i najkripticniji zanr-poezija-i dalje traje, prkosi vremenu i javlja se kao njegov izazov, upravo kao reakcija svim zastrasujuce smesnim i tragicnim njegovim izazovima: brzini, tehnologiji, neznanju, zatucanosti, egzistencijalnoj panici, trzisnom egoizmu, dakle pojavama koje nas vode u ratove, u sukobe interesa, u eksploataciju zive i nezive prirode, u ekolosku katastrofu. To je , uostalom bila oduvek jedna od osnovnih uloga poezije, najbuntovnije od svih buntovnickih vidova i ispoljavanja ljudskog duha – da prkosi vremenu ili vremenima u kojima nastaje, mozda zbog njenog izuzetno ostrog, kratkog i kondenzovanog izraza koji je od nje nacinio – ne noz kojim se polako sece zivo meso, kao sto je to slucaj sa nekim uspelim proznim oblikom-vec ubojitu otrovnu strelu, neku otrovnu kuraru koja se zabije u svest, srce ili dusu citaoca/slusaoca i tu ostane. U najboljem slucaju, to jest, ona se u njemu zadrzi i natera ga da razmislja-o problemu ili problemima trenutka u kome nastaje.
Interview, preliminaries to my longer text on contemporary Iranian artists "Contemporary Culture... more Interview, preliminaries to my longer text on contemporary Iranian artists "Contemporary Culture and Litererature in Iran"
Contemporary Serbian Poetry Before and Now: a Bridge Over the Gap-2012
The theme deals with two ... more Contemporary Serbian Poetry Before and Now: a Bridge Over the Gap-2012 The theme deals with two very large but also two very interesting topics : Contemporary Serbian poetry which is in its transitory period today, and the poetry trends which preceded this most recent one. As an Eastern European, more precisely Serbian poet and a scholar living abroad, I feel somewhat privileged to be in a position to follow closely the developments of contemporary and emerging poetry voices in Serbia while maintaining the physical and an objective (critical) distance.
1990s had witnessed the disintegration of one of the 20 th century's most ambitious political pro... more 1990s had witnessed the disintegration of one of the 20 th century's most ambitious political projects which represented the multinational and multi-ethnic republic federation Yugoslavia. Some of the eleven women artists whose destinies we follow in this book, or rather their respective families, were born in different republics and territories of former Yugoslavia and some of them had left their homeland much earlier before their country officially and politically collapsed. It is often considered, and rightly so, that an artist is the most fragile and the most sensitive of all beings, but at the same time s/he is also the most resilient, the most politically aware and the most flexible being out of all other human fellows : he is at home everywhere and nowhere and when s/he dislikes the climate, political or social of his homeland, s/he is the first one to take the flight. The women artists here have all undergone specific individual changes and had suffered the consequences of the political regime of their times, but their common destiny perhaps illustrates the best the individual story of Marina Abramovic, a contemporary artist very much recognized in the world who shares, nonetheless, the respective paths of women-artists presented in this show.
It is good to know that this colloquium is taking place in Prague, as the very
word ROBOT is of C... more It is good to know that this colloquium is taking place in Prague, as the very word ROBOT is of Czech origin, invented by Karel Čapek as far back as 1920 & used in his play Rossum’s Universal Robots. It’s 2018 now but it feels as if we are still the characters from that Capek’s play, fighting the robots.
Wrestling with the Sky: Mayakovsky Revolutionary Influence on Frank O’Hara’s Revolutionary Verse
... more Wrestling with the Sky: Mayakovsky Revolutionary Influence on Frank O’Hara’s Revolutionary Verse
“Does a literary work simply chronicle and accompany revolutions or can it change the world? Was each formal revolution which ... ushered in a new phase of literary history just the reflection of a change in the way writers saw the world or did it create new ways of representing this change? What makes a piece of writing revolutionary? Is it its immediate impact?” Some of these pertinent questions I have tried to ask working on my first doctoral disertation”Mayakovsky and his influence on the contemporary American poetry” far back in 1982. Marjorie Perloff warmly supported my research and gave me ‘green light’ to continue my investigation but the ultra-conservative team of professors at the American University in Washington,DC., did not approve of it as my theme was a bit too radical in those times. I’d like to clear some of these incentives at this conference as many pertinent things have changed in poetry for the last 35 years, for the better we hope. Some of these changes touch the very core of poetry writing in itself, a breath unit leading to an open, so called free verse. One of them is the question that Perloff discusses in regards to the American poets who underwent “the Revolution of the Word”, as Jerome Rothenberg would have it . More precisely what happens when the "natural speech" model inherited from the Modernists,comes up against the "natural speech" of the "talk show," or how visual poetics and verse forms are responding to the languages of billboards and sound bytes. These questions had been already raised by the Russian avantgarde writers of the Revolution in 1917.
• As literature is my main and major concern, for a long time I was thinking about my REPULSION t... more • As literature is my main and major concern, for a long time I was thinking about my REPULSION to write texts about war or wars in Yugoslavia • One of the reasons I believe was my distrust in lies and inaccuracies which I've been facing in regards to this topic ever since the civil war started in former Yugoslavia in 1992 • Another reason which for me was much more real and essential than the one I mentioned, was a feeling I've had for a long time but was not able to formulate until recently. A while ago, I ran into a critical text by a French literary critic Laurand Kovacs who was analysing the fragmented texts of certain modernists and their jagged, chopped of sentence-we find that sort of sentence in Joyce, in Cendrars, and in Milosh Crnjanski for instance. On the occasion Laurand said that IT WAS NORMAL for the modernists who have lived during the First World War and the Second World War to write this kind of sentence as well as the texts which were not logical and coherent, because, the very desire to systematize horrible experiences and put them together into coherent memories or text would have meant justifying them. In a way, justifying such a text would imply justifying an experience which in its nature was unjustifiable, or making coherent something which escapes logic and coherence. His intelligent statement I was feeling almost intuitively at a guttural level throughout these recent Balkan wars and I was systematically refusing to accept writing assignments when editors asked me to do so. • However, in 1992, and 1993, at the time when the war in Bosnia was in its full development, one of my American publishers, Semiotexte of the Columbia University, asked me to write a story, just a short story on what was going on there. My position was very delicate-at that time my mother, who was a Bosnian Serb was going crazy-she was remembering the events from the second world war when the Ustashis and the Nazis slaughtered her whole family in Banja Luka.
Posto je knjizevnost moja sustinska preokupacija , i to u svim njenim oblicima ispoljavanja , ipa... more Posto je knjizevnost moja sustinska preokupacija , i to u svim njenim oblicima ispoljavanja , ipak cu priznati da vec godinama pokusavam, prilikom drustveno-teorijskog istrazivanja knjizevnosti, da u prvi plan stavim njenu estetsku funkciju. To ne znaci da me njene neke druge uloge i funkcije ne zanimaju, ili da ih u presudnom trenutku potpuno zapostavljam-naprotiv ! Medjutim, nedavno sam se nasla u situaciji u kojoj sam se potrudila da istinski proanaliziram sasvim opipljiva i stvarna osecanja GADJENJA i ODVRATNOSTI koja se u meni, kao piscu, javljaju u trenutku kada se suocavam sa mogucnoscu pisanja teksta o skorasnjem civilnom ratu u Jugoslaviji. Razlozi za ovakva osecanja su brojni i neka njihova porekla u stanju sam sasvim precizno da odredim : da podvucem cinjenicu da ratni tekstovi razlicitih epoha i autora nisu u meni uvek izazivali odbojnost ; neke od mojih najdrazih knjiga koje sam procitala (Hemingvej, Tolstoj, Jinger, itd.) pripadaju zanru ratne literature. Jedan od razloga, pak, koji me sprecava da se sa strascu posvetim fenomenu tragicnog sukoba u mojoj domovini u pisanoj formi koja nadilazi novinarsku tekstualnu dokumentaciju, pociva u neizmernom gomilanju netacnosti i laznih informacija koja uporno prate gradjanske sukobe u zemlji od pocetka devedesetih pa naovamo. Patetika, ostrascenost, izvrtanje osnovnih politickih i drustvenih akcija samo su neki od dodatnih elemenata koji prigusuju mogucnost ozbiljnijeg bavljenja ovim fenomenom u nekom iole estetski-pristupacnom obliku. Drugi razlog, koji je mozda, za pisca jos sustinskiji i legitimniji-u pogledu ne bavljanja ovom vrstom tematike, nametao mi se intuitivno, iako do skora nisam bila u stanju da ga precizno formulisem, tacnije, sve do trenutka kada sam naisla na kriticki tekst francuskog interpretatora knjizevnosti, Laurand-a Kovacs-a koji je analizirao iseckane tekstove modernista i njihovu izlomljenu i izfragmetiranu recenicu. Ovu vrstu meandriranja recenice koja cesto dovodi do utiska da je tekst nekoherentan i nepovezan zaticemo kod svih znacajnih modernista koji su preziveli strahote I svetskog rata, kod Dzojsa i Sandrara, na primer, ali i kod Milosa Crnjanskog, o cijem je delu Kovacs ozbiljnije pisao u Francuskoj. U svom tekstu o romanu « Dnevnik o Carnojevicu » Milosa Crnjanskog, Kovacs je odista smisleno primetio da je za pisce-moderniste koji su preziveli Prvi i Drugi svetski rat bilo sasvim NORMALNO da pisu vrstu recenice i teksta koji su bili po obliku izfragmentirani, nekoherentni i koji su posledicno zvucali nelogicni, jer bi i sama zelja da sistematizuju uzasna ratna iskustva i da ih zabeleze i okupe u vidu koherentnog secanja ili teksta podrazumevala njihovo opravdavanje, dakle, opravdavanje fenomena koji se ne moze opravdati, kao i sto bi
Volela bih u sledećim redovima da razmotrim tri mogućnosti koje se tiču performansa : mogućnost i... more Volela bih u sledećim redovima da razmotrim tri mogućnosti koje se tiču performansa : mogućnost imaginarnog početka samog pojma performans, mogućnost pripadanja bilo kog performativnog čina odredjenoj ideologiji, kao i pojam autobiografije u performansu koji istražuje posebno delo :-Spoldinga Greja-Karen Finli-Peni Arkejd-Etila Ajkelbergera Početak naziva i ideje savremenog performansa , bilo poetskog ili vizuelnog (u današnje vreme jedan od njih scenski ne isključuje drugi) treba tražiti u Ničeovom pojmu Vesela Nauka. Sačuvana u pisanom obliku, kao Homerov ep ili slicno grčkoj muzičkoj tragediji, gaya scienca ima koorelat u tekstualnom fuzionisanju usmenih tradicija-kompozicije, transmisije i performansa koje nalazimo u nekada davno osmišljenim baladama trubadura. Važno je istaći da od ove drevne tradicije epske poezije, Vesela Nauka beleži još starije datume od četrnaestog veka, možemo je naći u tradiciji dvanaestog ili jedanaestog veka, a i još ranije od toga. Ovo staro značenje je istorijski opis gai saber-a, ali pojam kako ga mnogo kasnije opisuje Niče je pojam « srećnog » znanja ili znanja koje nas dobroćudno obogaćuje, a ovaj pojam je u odnosu sa Ničeovim pisanjem o Rihardu Vagneru. Vagner, kada je o njemu, pak, reč, je tvorac pojma gesamkunstwerk (što prevodimo kao totalno umetničko delo , idealnu umetnost, univerzalnu umetnost, sintezu umetnosti, sveobuhvatnu umetnost, umetničku formu koja pokriva sve umetnosti ili svako umetničko delo, znači umetničko delo koje koristi mnoge umetnicke forme, a Vagnera mnogi smatraju pravim ocem ili dedom avangardnog pozorišta i savremenog performansa u najširem značenju te sintagme. Ono o čemu je ovde stvarno reč , potiče iz pera Alana Badijua koji je bogato obradio pojam i značenje ovog Ničeovog teksta-radi se o činjenici da svet , onakav kakav je, nije samo u neprestanom protoku i stalnoj promeni, već se stalno tragično menja nagore (otud i Ničeov nihilizam). Znači možda, jedini način da prevazidjemo nihilističko, tragično vidjanje sveta i stvarnosti kakva jeste – je da u njega uvedemo pojam « gaya scienza »,to jest, da ga vidimo kao veselu pozornicu što svaki performans, i pozorišna predstava pokušavaju da učine čak i kada ga predstavljaju u najtamnijoj, najmračnijoj, najtragičnijoj viziji. Ali savremeni performans koji obitava na kraju nekog bivstvovanja, na ivici fragilnog « DOGADJAJA » kako ga imenuje Badiju, uspeva u tom herojskom pokušaju, možda čak i više od tradicionalno postavljenog pozorišta, a nude nam se i vrlo konkretni razlozi i uslovi da tvrdimo nešto tako. Sama priroda demokratskog i politički orijentisanog performansa sadrži u sebi čin ili akciju koja se, ili bi mogla da se izvodi na « licu mesta » od strane izvodjača koji već kontemplira haos ili stanje sveta u kome se nalazi kao i pravac kojim se taj svet kreće. Savremenom
Rappeur et poète Jamaicain qui habite à Brixton, Londres a dit une fois:« When I first came to Lo... more Rappeur et poète Jamaicain qui habite à Brixton, Londres a dit une fois:« When I first came to London town, I used to work in the Underground, but working in an Underground was not much fun around.. » (De que je suis arrivé Londres, j'ai commencé à travailler dans le Métro, mais le boulot dans le Métro n'était pas trop amusant…) Voilà une expérience de la situation existentielle que toute personne qui vit l'exil peut rencontrer-on vit ailleurs, dans un pays qui n'est pas son pays natal et on subit la marque de l'exil qui est psychologiquement pénible. Les conditions de la survie et celles du travail semblent souvent à la fois difficiles et peu favorables à la personne qui a choisi d'habiter un pays étranger. Cette condition du « vivre ailleurs » ne demande pas d'être analysée en détail pour arriver à la conclusion que la vie d'un exilé peut être extrêmement difficile. Il s'agit donc d'analyser les termes de la condition de l'exil et des problématiques que cela suscite. Profonde et cachée nous allons essayer d'examiner certains aspects de la vie en exil qui peuvent être parfois profonds et cachés. Les aspects les plus signifiants de la vie en exil résident dans le fait que l'exilé accepte de parler la langue étrangère presque tout le temps en se rendant à cette pratique au niveau quotidien et journalier. Cette nouvelle langue qu'un être parle en exil coïncide avec une langue qu'il ou elle avait déjà parlé dans son pays natal. Ici, nous pensons surtout à tous ce gens qui viennent d'Afrique de l'Ouest mais qui étaient censés parler français comme deuxième langue bien avant leur arrivée et séjour permanent en France. Mais il faut remarquer que leur nouveau contexte PAGE 6
Today, after the bombing of the Shiite Mosque in Saudi Arabia by Al Qaida--the questions of mean... more Today, after the bombing of the Shiite Mosque in Saudi Arabia by Al Qaida--the questions of meaning and belonging and faith become ever more pertinent in the Islamic world. Its most cultured and versatile representatives, the Persians, have endured the changes of their civilizations, religions and cultures for more than 3000 years , as attested to in the literary work of their giant, Sadeq Hedayat, contemporary of Joyce and André Breton. Not less interesting is the literary and anthropological, sociological work of a writer, Daryush Shayegan, who after 30 years of absence returns to Tehran and asks again and again the legitimate question, “What is a religious revolution?” which he also explores in his books, “Light comes from the West, “, “Mixed consciousness” and “Hinduism and Sufism.” The philosophical aspect of this quest is pursued by Simon F. Oliai, Iranian philosopher and specialist in Heidegger studies, living in the U.S., whose book “Challenging the Absolute” sheds light on new readings of Heidegger, Nietzsche and the coordination of the world’s struggle against Fundamentalism in Europe and elsewhere . A secular, literary version of this problematics presented by Oliai is found in the literary fiction and biography of a young Iranian woman-writer who has been living in Paris most of her lifetime; she is also interested in the issues of what it means to be a woman, a Moslem woman of Persian background living in the West. Her interests are shared by her compatriots, the visual artists and filmmakers Shirin Neshat and Marjane Satrapi. My work here attempts to clarify some relevant aspects of the Persian contemporary cultural heritage.
I started this conference with an excerpt from Jean Luc Godard's film La Chinoise which discusses... more I started this conference with an excerpt from Jean Luc Godard's film La Chinoise which discusses, among other things the problem of chopping off the idea of culture from its formal aspect which is its movement or action, culture in movement, which directly also implies teaching of culture and its presentation to people, to the masses. In Godard's film two characters have a short dialogue on a train; one of them, the male figure declares that he would like to enable people to see the world the way it really is; he would not only like to enable them to see the world as such, but he would also like to make them able to act and react in such a world, in other words, he would like to enable the masses to contribute to the building, enlarging and improving the better world, which is , in a nutshell, the purpose of any form of school education. Godard's character is situated in 1968 and he says right away that he would like to get away from his university job, that is, from the old notion of a university job where there is one omniscient teacher and the others are simply the " recipients " of knowledge. During their conversation the student and her philosophy teacher both conclude that there is something essentially wrong with the French university and that " something " is clearly the very system of education itself. (1:09:30, La Chinoise). The girl says that is is disgusted by the university courses as they are always presented in the manner of and following the rules of the ruling class. Thus the entire culture is seen exclusively through the eye-lense of the upper class and as such it is m ade to serve just that particular class. She suggests then to her professor to perform a terrorist action of setting the university on fire; they would bomb ank kill everyone in there, both students and teachers so that they would build a new university, some brave new world. There are few universities in the world which endorsed this Godard's anarcho-Maoist vision of thefuture education , but quite a few had figured out that a lot of things should be changed both in education and in culture. The year was 1967 going to 1968. However, quite recently someone hasd asked me to define culture. And to emphasize the difference between culture and savage behavioral practice. Of course, it is always hard to give answers to such complicated and vast questions, but I tried to give an answer, ad hoc. I said that anything which enlarges our spirit, develops it and improves it, whatever opens up and widens our horizon IS culture, and whatever makes us stupid, pushes us toward the mental straight jacket and into the prison or an enclosure-is savage behavior and a barbaric act. This statement could find its first and foremost application in arts; in the
C’est peut-être le seul auteur légitime du mouvement surréaliste qui était capable de créer le di... more C’est peut-être le seul auteur légitime du mouvement surréaliste qui était capable de créer le dictionnaire de la solidarité surréaliste et de l’art du surréalisme, réalisé en 2009 par les soins de H. Graham, sous le titre peu prétentieux « Les peintres Surréalistes. » Saran non seulement connaissait de près l’aventure surréaliste, mais il l’avait vécue à fond, et si Breton était son archevêque, on peut dire de Saran qu’il était l’un de ses plus grands évêques.
A couple of years ago I was contemplating the possibilities of the particular problem which I had... more A couple of years ago I was contemplating the possibilities of the particular problem which I had entitled at that time "Use and Abuse of Translations": there were several aspects to my line of thinking but I chose to develop and gather my musings on particular topic (Use and Abuse of the translated works of art)under two specific themes. The first theme would embody the criteria of choice(eg.how do we choose to translate specific literary works, under what special and temporal circumstances)and the second one deals with the possible
When I quote Cohen, avant-garde poet-cum-photographer-cum-film-maker, connoisseur of the dark sid... more When I quote Cohen, avant-garde poet-cum-photographer-cum-film-maker, connoisseur of the dark sides of life as much as of Rabelaisian humor – I do it out of my “head”, or my subconscious, raking my dearest and nearest memories: I’ve been trying to liberate the space in my surrealist sub-consciousness invaded by Cohen’s images, light and dark, liquid colors stretched all over the brain’s plane for almost a decade – the artist “was here”, very much present, not so long ago. Photography and the process of taking it used to be for Cohen an act of extreme liberty and an act of liberation, it was able to get us out “of the prison” of our own dwelling, subliminal or real.
A:Idea of a migrant could be incorporated into the saying by Ovid : in this place I AM a barbaria... more A:Idea of a migrant could be incorporated into the saying by Ovid : in this place I AM a barbarian because men do not understand me.
B:As to the idea of theater, any theater...for me, personnally the idea had to be extended (not reduced to) to the idea of the corporal theater, theatre which treats body as such, for what it is. The theater which tends to body and all its aspects, body being the basic unit of any theatrical activity.
Wrestling with the Sky: Mayakovsky Revolutionary Influence on Frank O’Hara’s Revolutionary Verse
... more Wrestling with the Sky: Mayakovsky Revolutionary Influence on Frank O’Hara’s Revolutionary Verse
“Does a literary work simply chronicle and accompany revolutions or can it change the world? Was each formal revolution which ... ushered in a new phase of literary history just the reflection of a change in the way writers saw the world or did it create new ways of representing this change? What makes a piece of writing revolutionary? Is it its immediate impact?” Some of these pertinent questions I have tried to ask working on my first doctoral disertation”Mayakovsky and his influence on the contemporary American poetry” far back in 1982. Marjorie Perloff warmly supported my research and gave me ‘green light’ to continue my investigation but the ultra-conservative team of professors at the American University in Washington,DC., did not approve of it as my theme was a bit too radical in those times. I’d like to clear some of these incentives at this conference as many pertinent things have changed in poetry for the last 35 years, for the better we hope. Some of these changes touch the very core of poetry writing in itself, a breath unit leading to an open, so called free verse. One of them is the question that Perloff discusses in regards to the American poets who underwent “the Revolution of the Word”, as Jerome Rothenberg would have it . More precisely what happens when the "natural speech" model inherited from the Modernists,comes up against the "natural speech" of the "talk show," or how visual poetics and verse forms are responding to the languages of billboards and sound bytes. These questions had been already raised by the Russian avantgarde writers of the Revolution in 1917.
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As I’m walking among the sleepy bodies of the Syrian refugees at Belgrade’s bus station park, trying to address all my human and performative efforts towards the Other, my whole life appears suddenly in front of me as “ on a stretcher” : have I ever left this place where my grandmother founded the Serbian branch of the Red Cross, and where my grandfather was hiding the Bakuninists under his roof, on their way from Russia to the United States ? Here, the questions such as “Is art still possible?” and “what is its current, dying form?” have never occurred to me, nor the questions about the true meaning of resistance, the migrating power of people and its dying absence or presence in everyone’s life.
Here I remember a specific procedure of combining the “already-made” elements which a sculptor, Zoran Joksimović, gathered in his work which uses abjectness as a self-reflective act of a traumatic memory exploring its effects in a material and metaphorical image of a fragmented body. Hal Foster with his notion of “abject art” was also discussing the “vulnerability of our borders, the fragility of the spatial distinction between our exterior and the interior,” bringing the concept of self into a crisis through the cut of the dismantled body whose chopped off members now independently follow their own ‘game of chess’, towards the path of disappearance instead of the subject. However, may we assume that a traumatic cut is also productive, because it evacuates and raises the subject, showing us that the totality (be it a body, a country , a nation) is often a temporary illusion which cannot hold in practice and that it confirms its existence only in multiplicity, in a dynamic interaction of the whole and its segments (be it migrating people, habits, performing acts).
The term migration immediately invokes one of the central political, social, humanitarian and cultural issues of our time. It conjures images of people on cramped boats approaching the Italian island of Lampedusa and of people trying to jump on board lorries to cross the English Channel; images of dead bodies floating in the sea and of places left behind, turned to rubble; images of refugee camps from Dadaab in Kenya
The theme deals with two very large but also two very interesting topics : Contemporary Serbian poetry which is in its transitory period today, and the poetry trends which preceded this most recent one. As an Eastern European, more precisely Serbian poet and a scholar living abroad, I feel somewhat privileged to be in a position to follow closely the developments of contemporary and emerging poetry voices in Serbia while maintaining the physical and an objective (critical) distance.
As I’m walking among the sleepy bodies of the Syrian refugees at Belgrade’s bus station park, trying to address all my human and performative efforts towards the Other, my whole life appears suddenly in front of me as “ on a stretcher” : have I ever left this place where my grandmother founded the Serbian branch of the Red Cross, and where my grandfather was hiding the Bakuninists under his roof, on their way from Russia to the United States ? Here, the questions such as “Is art still possible?” and “what is its current, dying form?” have never occurred to me, nor the questions about the true meaning of resistance, the migrating power of people and its dying absence or presence in everyone’s life.
Here I remember a specific procedure of combining the “already-made” elements which a sculptor, Zoran Joksimović, gathered in his work which uses abjectness as a self-reflective act of a traumatic memory exploring its effects in a material and metaphorical image of a fragmented body. Hal Foster with his notion of “abject art” was also discussing the “vulnerability of our borders, the fragility of the spatial distinction between our exterior and the interior,” bringing the concept of self into a crisis through the cut of the dismantled body whose chopped off members now independently follow their own ‘game of chess’, towards the path of disappearance instead of the subject. However, may we assume that a traumatic cut is also productive, because it evacuates and raises the subject, showing us that the totality (be it a body, a country , a nation) is often a temporary illusion which cannot hold in practice and that it confirms its existence only in multiplicity, in a dynamic interaction of the whole and its segments (be it migrating people, habits, performing acts).
The term migration immediately invokes one of the central political, social, humanitarian and cultural issues of our time. It conjures images of people on cramped boats approaching the Italian island of Lampedusa and of people trying to jump on board lorries to cross the English Channel; images of dead bodies floating in the sea and of places left behind, turned to rubble; images of refugee camps from Dadaab in Kenya
The theme deals with two very large but also two very interesting topics : Contemporary Serbian poetry which is in its transitory period today, and the poetry trends which preceded this most recent one. As an Eastern European, more precisely Serbian poet and a scholar living abroad, I feel somewhat privileged to be in a position to follow closely the developments of contemporary and emerging poetry voices in Serbia while maintaining the physical and an objective (critical) distance.
word ROBOT is of Czech origin, invented by Karel Čapek as far back as 1920
& used in his play Rossum’s Universal Robots.
It’s 2018 now but it feels as if we are still the characters from that Capek’s
play, fighting the robots.
“Does a literary work simply chronicle and accompany revolutions or can it change the world? Was each formal revolution which ... ushered in a new phase of literary history just the reflection of a change in the way writers saw the world or did it create new ways of representing this change? What makes a piece of writing revolutionary? Is it its immediate impact?” Some of these pertinent questions I have tried to ask working on my first doctoral disertation”Mayakovsky and his influence on the contemporary American poetry” far back in 1982.
Marjorie Perloff warmly supported my research and gave me ‘green light’ to continue my investigation but the ultra-conservative team of professors at the American University in Washington,DC., did not approve of it as my theme was a bit too radical in those times. I’d like to clear some of these incentives at this conference as many pertinent things have changed in poetry for the last 35 years, for the better we hope. Some of these changes touch the very core of poetry writing in itself, a breath unit leading to an open, so called free verse. One of them is the question that Perloff discusses in regards to the American poets who underwent “the Revolution of the Word”, as Jerome Rothenberg would have it . More precisely what happens when the "natural speech" model inherited from the Modernists,comes up against the "natural speech" of the "talk show," or how visual poetics and verse forms are responding to the languages of billboards and sound bytes. These questions had been already raised by the Russian avantgarde writers of the Revolution in 1917.
Photography and the process of taking it used to be for Cohen an act of extreme liberty and an act of liberation, it was able to get us out “of the prison” of our own dwelling, subliminal or real.
B:As to the idea of theater, any theater...for me, personnally the idea had to be extended (not reduced to) to the idea of the corporal theater, theatre which treats body as such, for what it is. The theater which tends to body and all its aspects, body being the basic unit of any theatrical activity.
“Does a literary work simply chronicle and accompany revolutions or can it change the world? Was each formal revolution which ... ushered in a new phase of literary history just the reflection of a change in the way writers saw the world or did it create new ways of representing this change? What makes a piece of writing revolutionary? Is it its immediate impact?” Some of these pertinent questions I have tried to ask working on my first doctoral disertation”Mayakovsky and his influence on the contemporary American poetry” far back in 1982.
Marjorie Perloff warmly supported my research and gave me ‘green light’ to continue my investigation but the ultra-conservative team of professors at the American University in Washington,DC., did not approve of it as my theme was a bit too radical in those times. I’d like to clear some of these incentives at this conference as many pertinent things have changed in poetry for the last 35 years, for the better we hope. Some of these changes touch the very core of poetry writing in itself, a breath unit leading to an open, so called free verse. One of them is the question that Perloff discusses in regards to the American poets who underwent “the Revolution of the Word”, as Jerome Rothenberg would have it . More precisely what happens when the "natural speech" model inherited from the Modernists,comes up against the "natural speech" of the "talk show," or how visual poetics and verse forms are responding to the languages of billboards and sound bytes. These questions had been already raised by the Russian avantgarde writers of the Revolution in 1917.