The author gives his systematic, critical and all- comprehensive consideration of moral intuitionism and outlines his advocacy. Two core aspects of intuitionism are depicted here. The first one is a cognitive aspect of moral intuition as the source of moral justification. The second aspect is moral pluralism as a normative structure of moral theory. His advocacy is based on newer discourses and view-points in contemporary moral theory and metaethics. The author introduces and discloses the concept of moral intuition, i.e. moral insight. The chapters that follow process and analyse historical variants of moral intuitionism, especially by authors such as Henry Sidgwick, G.E. Moore, H.A. Prichard, W.D. Ross and C.D. Broad. The second part of the book outlines particularistic challenge to the moral theory that questions the role of moral principles and rules in moral thought and practice. The author advocates for a new and interesting thesis that moral particularism is above the thesis on moral generalities, not the nature of reasoning. Answers are given to two central challenges opposing the moral intuitionism as moral pluralism. Firstly, the concession is given that the existence of moral conflict and moral dilemmas has no fatal consequences for the moral theory. Quite to the contrary – if we turn around the perspective and put the phenomenology accompanying the moral conflict as the starting point, then the moral theory allowing for the conflict, or rather being able to adapt, seems to have the advantage. The author favours the attitude that the moral conflict and dilemmas are properly adaptable within the intuitionistic model prima facie duty. Secondly, the original image of moral reasons, moral principle and moral judgements is given. The image was built on the concept of prima facie duty as one of the central terms of ethics. The characteristics of actions such as honesty, veracity, righteousness, devotion, graciousness, harmlessness, etc, are fundamental and morally pertinent characteristics, and – as prima facie duty – fundamental moral reasons.
A book by Dean Komel titled „Conteporarities“ is featured by the overlap of different scopes of philosophical speeches and discourses: scientific, non-fictional, dialogical and artistic. The basic purpose is to determine multi-aspectual experience of the contemporariness of nowadays where the philosophy itself becomes non-contemporary. The feature of non-contemporariness needs to be interpreted from the very modes of world actualisation today. It is exactly the multitude of worldlinesses of the world that brings forward the moment of the contemporariness in its draft and depreciation. The dual perception of the draft and the depreciation is the fundamental mode of author’s approach when it comes to phenomenological description or hermeneutical interpretation that are, thus, non one-directional but often occurring into different directions. The author refers to it in the introduction by drafting the self, and also in the epilogue which he dedicates to the philosophical discourse on the topics he outlines in this book. The philosophy must not disregard opposites for they are the key of comprehension – not to fully decipher it but to consider its mystery. The manner in which the contemporariness is spread between the historical and the future expresses a significantly different touch in terms of what it is today, incorporating other options, or in other words, not only what is now but also what will is to be in the meantime, thus providing the time and space for comprehension. The contemporariness is not the touch with the time only in terms what follows and what in that respect is simultaneous and time-appropriate. If the contemporariness gives a name to that what is today on the turning point of the past and the upcoming, it does not solely create a single time mode but only its horizontal touching point in time that just is. The contemporariness means comprehensive acquiring of battles and time.
Ksenija Premur’s poetry is intimistic, and critics list the features of her poetry as clarity, precision, impressiveness of straightforward images intertwining in poetic reflection, while the poems are being described as permeated with erotic and reflexive character. However the collection of poems titled „The Lighthouse“ brings forward poems leaning more towards metaphysical subjects than intimism and inner life of a lyric heroine. We might even say the fundamental dichotomy is what questions the relationship between the time and the eternal, the heavenly and the earthly. The choice of a lighthouse as a symbol of verticality is not random – it is a sign-post but also a connector between the heaven and earth. Ms Premur purifies her expression by removing all redundant images, turns to philosophemes, and her poems resemble short poetic disputes on the relation between the eternity and mortality, on the immortality of the soul. After reading the work it is clear the main subject of the collection is the Time. The poem “Celestial Clock” is what gives the main clue. As a basic opposition there are earthy and heavenly clocks: “tick-tock / tick-tock / beats the terrestrial clock / the death hour; / the hands of the celestial clock / slide around into a perpetuum mobile”. The eternity is beyond human’s reach; it is being revered in poems, and the elapse of the time shows the relentlessness of the mortality, with the constant reminders of death, memento mori.
The book titled „Moral Theory. On the Nature of Morality“ by prof.dr. Vojko Strahovnik features a comprehensive outline and analysis of the theory of morality, i.e. metaethics as it developed during 20th century. After the introductory chapter, setting up fundamental questions within the framework of morality theory, the author commences with his own encounter with the philosophical challenge thorough the philosophy of G.E.Moore. He sees Moore as the one who clearly separated metaethical issues (primarily those of defining the concept of good), from substantial, or rather normative, questions – first we need to answer the questions of the meaning of moral expressions in order to properly tackle the issues of ethics in terms of the content. This is how he established fundamental trails for the development of the theory in 20th century devoted to primarily to moral semantics and moral ontology (Hare, Ayer, Stevenson, Mackie) and to moral knowledge (Pritchard, Ross), while the final chapters deal with moral psychology and moral phenomenology (Blackburn, Gibbard, Horgan, Timmons). One of the consequences turned out to be a rather strict distinction between theoretical, i.e. metaethical questions, and essential, i.e. normative, questions of ethics. The author suggests in his work that both levels are, nevertheless, significantly interconnected. The book encompasses twelve chapters and outlines viewpoints within the moral theory in both historical and topical terms. Hence the book comprises also some of newer discourses as well. The author juxtaposes his views and reasonings with a wide range of authors. In terms of the content we can recognize several common red threads stitching individual chapters together. One of them is the question of moral judgement and therewith connected challenges, such as Frege-Geach problem. An immensely important place is taken by the question of moral knowledge. The very extraction of the moral theory by the author is original in itself, as well as the synthesis of the fundamental questions and individual arguments linked with the decades of moral theory development. The index of essential viewpoints and arguments is also quite practical thus enabling readers going through individual chapters only. This monography is therefore an original and important work in the field of the theory of morality.
In the monography Anton Ocvirk from the edition Famous Slovenians, its authors, prof.dr. Tone Smolej and prof. Majda Stanovnik, primarily give an account of Ocvirk’s youth and his life in Vienna (1907 – 1928), along with his university studies at the Faculty of Philosophy in Ljubljana (1928 – 1931). A comprehensive chapter is devoted to Ocvirk’s master studies in Paris where he met some of most prominent writers (A.Gide) and comparative literature professors (F. Baldensperger, P. Hazard) who influenced his horizons. A comprehensive account of Ocvirk’s editorial work in Ljubljansko zvono magazine (The Bell of Ljubljana) is also given (1933 – 1935). The authors paid a special attention to Ocvirk’s work The Theory of History of Comparative Literature (1936) that was the third work on the comparative literature in the world. The first part is concluded by Ocvirk’s employment at the Faculty of Philosophy in Ljubljana and his pre-war activities with the Resistance.
In post-war decades Ocvirk’s intensive individual and team work was simultaneously rolling out in various areas so the book is divided into topical chapters. His lectures at the World Literature Department, and later after his return to Comparative Literature and Literature Theory Department (1949 – 1971) were described based on real-life data and testimonials of his carefully chosen listeners who later became prominent authors and editors. Founding and editing of Collective Works of Slovenian Poetry and Prose Writers (1946 – 1980) comprises a more exhaustive presentation of Ocvirk’s gradual issuing of the opus by Srečko Kosovel that achieved great success. This was followed by an arduous collecting and editing of Slavic Magazine (1948 – 1963), a successful creation and finishing the work A Hundred Novels (1964 – 1977) with a hundred of original secondary studies, A Collection of Works for the occasion of the 80th birthday of Josip Vidmar (1975), originally founded Literary Lexicon and finally a topical collection of work under the programmatic name of Literary Art Between the History and Theory (1978 – 1980).
The Seven is a philosophical book by the author, prof.dr. Marko Uršič, written in four literary genres (dialogues, glossa, essays, sonnets) and following the seven-fold rhythm of days in a week and the four-fold rhythm of lunar phases. The composition of this book is mathematically based on a harmonic sequence of four parts, with seven meditations each, and it takes the reader into a restored philosophical guiding principle of eternal thought- and art-forms of the spirit. The main topical concepts of The Seven are Platonism (Plato) in seven discourses of the main characters – a “countryside cosmopolitan” – a handyman Bruno, a secretive Angel – his nocturnal guest – and renaissance humanism by Michele de Montaigne where the author, through seven essays, correlates to Montaigne’s ideas and further develops them both in personal and contemporary contemplative spirit. He claims Plato and Montaigne have much more in common, specially the philosophy as love for wisdom, the search for the eternal and the unceasing in the “river of time”. Such open and “polyphonic” thinking – philosophy as the path to comprehension and as the “patron of questions” to which there is never the ultimate answer, is author’s philosophical credo.
In this work titled The Disclosure of Being. On the differentiation between hermeneutical phenomenology and philosophical anthropology, which was first published in Slovenian language some twenty years ago, the author Dean Komel contemplates over issues of hermeneutically based critics of philosophical anthropology which greatly determined the development of the school of phenomenology. Generally speaking philosophical treatise of the humanity is nowadays prevented by the realisation of its techno-scientific manipulation having no regards for the purpose of its being. The issue of the idea of philosophical anthropology, having seen it from that point of view, is not only one of many contemporary philosophical problems, but it also depicts the critical position of the philosophy today and a human “in” today. Recognizing the disclosure of being as a riddle of ourselves, Dean Komel sets the question of the boundaries of the philosophical anthropology. In what sense do we talk about the boundaries of a philosophical discipline dealing with the essence of a human? Are there more than one or does it come eventually to a single one remaining unrecognized as such, thus inducing limitless anthropodicy of the whole being? And what if a today’s human is no more capable of enduring the disclosure of being, and gradually keeps caring less for one’s own relationship with the Whole?
A translation of the Austrian historian and philosopher Wilhelm Baum. The book is devoted to the research of a life path and philosophy by Ludwig Wittgenstein, one of the most prominent philosophers of the 20th century, in which a completely new interpretation of Wittgenstein’s philosophy is given – something between mysticism and logic. The book was published with the support of Austrian Federal Ministry of Science and Education.
The translation of this master work on Karl R. Popper, the founder of a philosophical course which marked the 20th century, not only with a thorough criticism of science, but also with a social philosophy and economic theory, brings a comprehensive study of the biography and work one of the most prominent thinkers whose influence is still felt and fruitful in contemporary times. The book was published with the support of Croatian Ministry of Science, Education and Sports and Austrian Federal Ministry of Science and Education.
The European Union – History and Future is a book comprising two essays on the European Union. The first one, titled Liberal Understanding of Individual Freedom and its Impact to the Status of Human Rights – Historical, Philosophical and Political Dimensions is a comprehensive study into liberalism as one of political options in the contemporary political streams in the European Union and, apart from liberalism as a political direction, it examines liberalism as an idea, ideal and ideology from historical and political points of view. The other essay, titled European Union and the Republic of Kazakhstan deals with contemporary issues of the involvement of the European Union in the Republic of Kazakhstan from political, economic and legal aspects thus questioning the range of EU expansion into areas left out from the current discussions of the matter. Yet the scope of expansion clearly indicates the activities of legal institutions and economic engagement have penetrated very actively and efficiently into the region, although they have been pushed out of the focal issues on the future of the European Union.
In the monography Law is »The Trial«. On Kafka’s Legal Philosophy, Janko Ferk deals with a topic not yet scientifically worked out in details; he contemplates about legal-philosophical and legal-theoretical contents of The Trial, along with other novels by the Austrian author Franz Kafka.
The author had to transcribe legal connotations of a work of literature into the language and jargon of the theory of law, simultaneously following the logic of a literary work given by Kafka’s Trial, which he excelled at as he mastered both sciences in their particular methodologies; he also connected both fields in a very creditable way in his monography. Janko Ferk debates about the creation of the novel, biographical and historical backgrounds and the reception that has gone worldwide by now. In that context Ferk speaks of Kafka’s “academic industry”. In the main part of the book Janko Ferk deals with legal terminology of The Trial and author’s other prose works, and pays a special attention to the concepts of the “right” and “wrong” (“guilt”) and “justice”, “judiciary” and “court”. Thus for the first time in the history of literature we encounter legal-lingual analysis of Kafka’s works. A special chapter is dedicated to the roles of judges and lawyers. This chapter is particularly interesting as the author himself is a judge, with a background of a practicing lawyer. In this book the author successfully contemplates about the essential questions of Kafka’s writing and interconnects great scientific topics of the “philosophy of law” and the “theory of law”. Law is “The Trial” is the first detailed study into Kafka’s works from a legal perspective.
Andrej Ule is probably the most famous name of the theory and philosophy in Slovenia. In the book “Science, Society, Values”, apart from general theoretical and even epistemological insights and issues about the relationships between the science and the world, he pushes science into two fresh and in this region still less travelled paths. The author primarily puts up questions about the transmissions of scientific knowledge into the practice and the reality, about social and economical effects of science onto the society, about a so-called scientification of the society, but also on the socialisation of the science. On the other hand the author also discusses the ethical responsibility of the science and scientists and critical reflections, immanent to them. This way, along with the arising development of biotechnology, for example, or terrifying examples of ideological and political occupation of science as we are taught by the dark historical experience, they keep warning us and requiring cautious and thoughtful usage. Even more so, respecting the fact that Ula is well-recognized for, that valuable and impartial usage of science, even if it were possible, because this leads to its bureaucratic instrumentalisation.
The book “Dynamic Philosophy” by professor Matjaž Potrč, PhD, in an appealing way features significant topics from the philosophy of the language and the thought relating to human environment and human activities. Philosophical themes are intertwined with the topics from the psychology and artificial intelligence, with the focus being on the epistemology, including the psychology of knowledge, and the computer models of spirituality in its classical form and connectivity. The language and the thought are outlined as the fundamental in human activity focusing on the objects as given by the environment. The object is determined as something within the reach of human activity and therefore within human comprehension. The thought focuses on objects and covers a scope ranging from middle-dimensional goods to abstract images of objects. Objects are not given as static but as emerging in the active environment of actions. The dynamics leads to comprehending them. The book features topics of memorising, errors, information, modularity, cognition, causal theory, scarcity and ampleness of stimuli, inner states, functionality, realism, syntax, wholeness, content and relations.
The philosophy is trying to explain human reality. What deserves the most prominent place in such a reality is what is so typically human – the language and the thought. That road was leading towards anti-naturalistic philosophical viewpoints. This book by Prof.Matjaž Potrč is trying to upgrade these viewpoints in a naturalistic way. How far can an inclination towards the preference of objects help interpret the language and the thought? The initial thesis claims the language and the thought are dependent on the objects. Supporting evidences and materials have been gathered to argue for the cause, leading to peculiar viewpoints in the philosophy of the spirit, perception and action. The stress is on the perceptive action. This goes about the intention, the modularity, the distinction and collaboration between the perception and the cognition, the scarcity and profusion of stimuli, the information and deception, the functionalism, the realism and the content. The thought was given the priority before the language, while the associated acting perceived objects were given priority before the thought.
Phenomenological heritage is close to the philosophy of mind and to the cognitive science. Brentano’s conception of phenomena is the beginning of phenomenology, and it provides a tool for its understanding, all the way to the ecological intentionality of Heidegger’s being-in-the-world. Husserl’s work is a transition from the descriptive towards an ecological and dynamic intentionality. Analytical philosophy and phenomenology are compatible. Naturalism is close to both schools of thought. Phenomenology is concerned with an account of phenomena as intentional entities. Organic unity characterizes both phenomenology and cognitive science. Organic unity may be externalized and it needs to be ecologized. The basic distinction is between higher cognitive level including perception and thoughts, and a lower cognitive level involving sensations. Both these levels are joined in organisms. An additional thesis claims that organisms are the only entities. Sensations are assigned an autonomous cognitive level, besides to the level of higher cognition. Concepts and sensations harbor similar mechanisms of individuation. In his reistic phase Brentano subverted the Aristotelian understanding of substance and accident, by looking at phenomena as accidental wholes with substance as their proper part. Such understanding of intentionality allows to look at organic unity as characteristic for various breeds of phenomenology. Husserl’s work on thing and space is analysed as a careful description of perception beginning with the static and ending with the dynamic ecological model. The resulting ecologism shows Husserl’s vicinity to Heidegger’s concept of an organism’s being-in-the-world. Key for Heidegger’s understanding of intentionality in his early work is found in the ecological Gibsonian model that looks at intentionality as a skilful practical involvement of the organism. This again keeps Husserl close to the structure of the Brentanian reistic phenomenon. Two levels of Heidegger’s intentionality involve first teleological intentionality which sees the basic involvement to be in the organism’s handling of its surrounding world. Putting the practical skill into a wider setting allows rationality to come through. This is followed by review about how the research in connectionism is inspired by Heidegger. The relation between being-in-the-world and artificial intelligence is a topic important for the artificial intelligence itself at the time the shortcomings of the traditional symbol crunching model of mind become evident. The need to include surroundings of an intelligent system into an appropriate account of cognition becomes obvious. Matjaz Potrc, born 1948 in Maribor, is full professor of analytic philosophy at University of Ljubljana, was elected as professor in Zagreb and was teaching in Zadar. Grant of french government in Paris with Julia Kristeva and Jacques Lacan, Alexander von Humboldt Stiftung in Muenchen with Wolfgang Stegmueller, Fulbright grant in Memphis with Terry Horgan. Among several books: Austere Realism (with Terry Horgan, MIT Press), Practical Contexts (with Vojko Strahovnik, Ontos Verlag), Phenomenology and Cognitive Science (Roell Verlag). Origins, the Common Sources of the Analytic and Phenomenological Traditions (edited with Terry Horgan and John Tienson, Southern Journal of Philosophy), Challenging Moral Particularism (edited with Mark Lance and Vojko Strahovnik, Routledge). Hundreds of papers and book chapters. Works in metaphysics, ethics, philosophy of mind, philosophy of language. Actively attended symposia in Pecs, IUC Dubrovnik, Rocky Mountain Ethics, Bonn, Second Renaissance Milano conferences. Established Bled international philosophy conferences, journal Acta Analytica (now Springer). Member of Southern Society for Philosophy and Psychology, alumni Wuerzburg University, former president of Association of philosophical societies of Yugoslavia.
On the Renaissance Beauty, the first book of Summer in the tetralogy Four Seasons takes us to the journey to Florence by two village people and life partners, Bruno and Marija, a village wiseman and an artistic soul. Having arrived in Florence they set out on a journey through Renaissance paintings, literature, theology and historiography through a potpourri of monologues and dialogues, through essays, philosophical treatises and even mathematical calculations of golden ratio. Before our eyes a kaleidoscope is spinning – a kaleidoscope of interconnected sequences of a vision and contemplation over renaissance through various genres, from the excerpts from the novel on Sandro Botticelli, a fiction on Bruno and Marija’s perspectives on renaissance beauty and the relationship between beauty and love, to philosophical essays and treatises devoted to Marsilio Ficino, the most prominent renaissance philosopher during the period of Lorenzo De’ Medici, along with the polyhistor Pico della Mirandola and the religious reformer Girolamo Savanarola. While the listed essays are dedicated to spiritual subjects of love and beauty, of ephemerality and immortality, of the essence of human existence, the excerpts from the novel on Sandro Bitticelli bring a breath of the olden quotidian life into the book, so the story of Bruno and Marija, half a millennia later set in the same streets and shops, is faced with the loads of renaissance beauty of the times gone-by and re-contemplation of that era in the history of western culture.
A crucial determinant of our times are not only phenomena of globalisation and “informatologisation”. In nuce, in the dimension of spiritual existence our time has entered nexuality of the third millennia spirituality components, ex fundamentis terramorfing earthly existence in the context of spiritual evolution/involution and preparation of Devine life on the Earth.
Spiritual components occur, interms of development, through multicomplexification of planetarisation, processes which manifest through polylogisation (multi-voicing/poly-voicing) of spiritual traditions, religions, philosophies, cultures in their perennial heritage/values. Planetarisation as polylogisation is a basic feature of our times, complementing and concordant with material/mundane processes of globalisation.
Polymodality of polylogisation, as a spiritual matrix of the third millennia, represents a framework where suppositions of supramentalisation of the Earth, as the next stage in spiritual evolution/involution of earthly existence, begin to emerge.
Modes of philosophical, religious and cultural openness and ambiguities of all discourses of contrasts/comparisons, of all ecumenical and other participations and utopisations – they all find their place within polylogisation. And every theoretical ex course into a certain area strives for the reality of polylogy. So does this immensely important work by Ksenija Premur, articulating issues and problems of the Zen-Buddhism.
Zen-Buddhism is the crown, the very peak of the development of Buddhist traditions, an inner telos of totality of Buddhist experiences and values.
We can track down historically developmental stages as well, we can conceptualise features of those traditions in philosophical and theoretical terms, we can, ad finitum, rely on comparison/contrasting just as we do with any other tradition. The work by Ksenija Premur deserves the highest regards and duly respect from the readers by its expert articulation and the presentation of the important.
In modo of “soft thinking” with her work “Lao Tse” Ksenija Premur slides into the circle of perennial thinking and through it she gives an overview of Chinese philosophical contemplation in fragments, but also accesses the “opposing field” feeling deeply the “futility” of such approach and quite rightly turns to taking the original texts. In this work on spiritual tradition of Daoism, she, in absolutely brilliant way, philosophically hermeneutisises basic elements of Dao-spirituality and spreads out a new and fresh approach which articulates the possibility of not only re-reading and re-comprehending but also a conjecture of life. With her work on Daoism and translations of the ancient texts Ksenija Premur has excellently brought the topic closer to the readers. In the comment section of this masterly translated work Dao De Jing, whose publication was critically created through a comparison of a number of previous translations of this fundamental piece of Chinese spirituality, the author is attempting to widen and deepen the insight into Dao – an ultimate cosmic principle – and compare it to other Far Eastern philosophical traditions in the axial stage of philosophy. The author is among the rare ones in our academic environment who, while continuously and scientifically correctly dealing with the topic, has been publishing works with the translations of the original texts. The book Lao Tse was published with the support of the Ministry of Science, Education and Sports.
A short-stories collection offers selected chapters of author’s research which began in 1982 with the publication of the work by Čedomil Veljačić, “Ethos of Cognition in European and Indian Philosophy”, and continued by analysing philosophical issues of cognitive heritage of India, China and Japan. In a way a reader is presented with a summary of a 25-year research, in selected fragments of the most prominent sections of Asian thinking, analysis of methodological issues of dialogues of borderline philosophies, as well as the outline of most recent attempts of the two cultures meeting, e.g. western and eastern. The book was published with the support of Croatian Ministry of Culture.
The book “Fragments of Ancient India” comprises one of the most complex approach to eastern philosophies – it is the issue of most adequate reception of philosophical heritage of India. This matter had a focal position in all previous pursuits of methodological questions of approach, reception and comparison of philosophical circles of the West and the East by the author. Therefore this book, titled “Fragments of Ancient India”, outlines author’s focusing on bringing this issues face to face who then reached for comprehensive studies into Vedic and Upanishadic contemplative heritage and displayed it, interpreted and commented on it from the point of a western philosophy subject, a subject provided, in the very studies, as well as in Anthology of selected texts from Vedas and Upanishads, with this particular, appropriate reception of this contemplative heritage. Among numerous studies into the reception issues, the author reached in this book into the reception, interpretation and proper bringing a western reader closer to Indian philosophical heritage, at the very roots of its origin. The book was published with the support of the Croatian Ministry of Culture.
The book is dedicated to comparative philospohy of universal assumptions of philosophiae perennis by a distinguished Croatian philosopher Čedomil Veljačić and contains two main chapters: “Ethos of Cognition in the Philosophy of Čedomil Veljačić” comprising an outline, interpretation and evaluation of sources of universalism in the philosophy of Veljačić, whereas the other is “Buddhist studies” giving the summary of Buddhist researches performed by Veljačić. The book was published with the support of Croatian Ministry of Culture.
This book brings comprehensive studies from the areas of philosophy, culture and art of India, China and Japan. The book was published with the support of Croatian Ministry of Culture and Croatian Ministry of Science, Education and Sports.
By promoting personal spiritual path the author insists on the necessity of learning about and experiencing different spiritual options of our time. It is wrong for one’s spiritual being to be founded solely in one’s own or in any single spiritual tradition. It leads to narrowing of spirituality and easily translates into unidimensionality, narrow-mindedness, unfreedom and intolerance. Planetarization is poliloguization and man as a spiritual being is a free explorer of different spiritual traditions and is called upon, as planetary inheritor, to live those traditions according to the deepest determination of his/her humanity and divinity. The evil of this world results from the monadization of spirituality, shallow monologuization and incarceration in only one mode of spirituality. This implies primarily the lack of knowledge and recognition of other and different modes of spiritual existence. Therefore, it is necessary to introduce spiritual education into the school system with the purpose of building a “polilogue” character of a young being for his/her life in the polidimensionality of spiritual life of the future.
Without polilogue openess and freedom of spirituality there is also no true humanisation of society. In his thematically diverse texts Jadran Zalokar strives both to provide arguments and thoroughly articulate this. The texts have a slightly epistolary overtone and contain the meaning of the message to the contemporary spiritual seeker who must be not only a thinker but also a dedicated spiritual aspirer.
Only a genuine spiritual seeker can also be a critical observer of what is very often disguised by pseudo-spirituality. Pseudo-spirituality is not only a consequence of ignorance or half-knowledge but also of underdeveloped spiritual character. That is why these texts also have a “paidagogic” component, but not in the form of mere “advice” or “instructions”.
Jadran Zalokar, philosophical author and explorer of spiritual traditions of the East and the West, has endeavoured for over twenty years to articulate the fundamental traits of spiritual phenomena of our time. In the context of considerations of a planetary polilogue, through series of lectures since 1990, he has been systematically deliberating diverse spiritual topics. In a very complex area of contemporary spiritual directions, he primarily discusses the issues related to spiritual upbringing, zen and tantra. What is significant is that the theoretical discourse stems from practical spiritual experience and sheds light on the hidden components of those spiritual realms of existence.
In polilogue openness, Jadran Zalokar tries to harmonize the philosophical modus of understanding with the life of a spiritual practitioner. Philosophical mind is incorporated into the dimension of spiritual perfecting and serves for the revival/living of the perennial in real life. Spiritual aspirations and intentions towards higher life also carry a philosophical pars with them. Spiritual “themes” are very current today and are very differently discussed from different levels of consciousness and degrees of spirituality. Appreciation of plurimodality and complexity of spiritual worldviews and modes of spirituality, according to the author, is the sign of the very spirituality of the new age.
Psalms and Cycles by prof.dr. Janko Ferk is a peculiar collection of poems, bringing, like biblical psalms and their eternal wisdom, profoundly vivid and impressing poetic images of eternal concepts of life, love and death. Their straightforwardness, with no redundant verbalisation and poetic patina, is their most impressive feature piercing directly into the transparency of poetic figures which plainly and directly address the eternal issues of human existence. And like the Bible, that infinite and unceasing source of inspiration and comfort, it sends an invitation to the readers: embrace the life, which is also the final verse of this above all valuable and spiritual collection of poems, inspiring and inducing any reader who reaches for this book to contemplate. Not only do we find the inspiration of Ferk’s opus in perennial philosophy where the author finds his source of traditional poetry at a universal level, but he also impresses us with the ease and wisdom he weaves into every verse, every stanza, and every poem. This is author’s poetic credo, and in this book he unfolds in a multilayered fan of deep meanings and everlasting questions about the human existence, as well as the eternal pursuit of the purpose and meaning of existence.
A bilingual publication (Slovenian and Croatian) of a post-modernism prose by Fabjan Hafner, a Slovenian minority member in Austria. The book was published with the support of Austrian Federal Ministry of Culture and Education and Trubar’s Foundation of the Society of Slovenian Writers.
Take me, water – the newest collection of poems by Fabjan Hafner, a stream of poetic images pouring out of a pen, in whirls of reflections and images, transforming from inspiring and opulent expression of the perception of the world and the fine, thin thread which unites the poet and the world, then separates them again from everything surrounding him, then back into the intimate world in which the poet reflects the reality through the prism of his own spirited dreams. This collection brings an extraordinary valuable, inspiring, experienced and reflected poetic perception of the world. With its streams it is going to inspire and carry away every reader who takes up reading this incredible poetic achievement. The book was published with the support of Austrian Prime Minister’s Office in Vienna and Trubar’s Foundation of the Society of Slovenian Writers.
The collection of poems, “Notes onto the Wall of the Earth”, comprises a compilation of the work by Janko Ferk which he produced between 1975 and 1984. During that period Janko Ferk remained true to his poetic mission which is interwoven with impressive and eloquent guiding principle of eternal and unavoidable questions of every man – questions of a life and death, of love and hate, of beauty and destructive urge to bring havoc. The book was published with the support of Austrian Prime Minister’s Office in Vienna and Trubar’s Foundation of the Society of Slovenian Writers.
“Winged Hum” is a collection of selected poems by Barbara Korun, not yet published in Slovenia, but prepared specially for the first publication in Croatia. This is a selection of poems from three poem collections by this author – a collection of poems “The Sharpness of Mildness” (Ljubljana, 1999), a collection of prose poems “Notes below the Table” (Ljubljana, 2003) and poems “Cracks” (Ljubljana 2004). A collection of poems “Sharpness of Mildness” has an erotic overtone, while the uniqueness of this poetic lettering lies in interweaving of powerful metaphors, sensitive directness and reflexive sharpness. A collection “Notes below the Table” comprises prose-poetic records drawing readers’ attention with unexpected turning points and luscious weaving of poetic reflections. A collection called “Cracks” has on the same traits of sensitive shrewdness, abundant metaphors and lyric hues. “Winged Hum” thus represents a selection consistent with lyric, erotic and metaphoric guiding of the whole poetic performance of Barbara Korun, a prominent representative of contemporary Slovenian poetry. The book was published with the support by Trubar’s Foundation of the Society of Slovenian Writers.
The century in which the feeling of jeopardy and anxiety of man grew even stronger is closing behind us. If we consider the heritage of the past poets, their yearning for the unusual, the perverted and the abnormal seems like child play. And it is understandably so. The reality has transformed the world into physical and metaphysical graveyard, and people into refugees who, in the hostile foreign parts, have had to relinquish their memories of homeland, language, rituals and dreams. It is no wonder that in the world of refugees artificial worlds have taken over, worlds to which we headed recklessly assisted by drugs or information networks. The feeling of jeopardy and anxiety in human hearts inspires the need for salvation. The past century has offered up a whole series of saviours and heralds of good fortune. Those who were genuine were pushed to the edge of social consciousness and power, while the others, the false prophets, have wholeheartedly maimed the souls, minds and bodies of individuals, tribes, nations. The foretelling of the end lingers on – as well as the salvation game, which is the main topic of this extraordinary poetry collection.
10 × 7 is a collection of selected poems by Janko Ferk he wrote in Slovenian and German languages. For his collection the author created a critical selection from a range of poetic collections he had received acclaimed literary awards. In Ferk’s verses wide horizons of experience and contemplation over fundamental issues intertwine and overlap, under the halo of a fine fabric of poetry “Death / you are / the fairest hue / of a black colour / to the ecstasy” in seemingly trivial, small things where he finds a well-thought purpose of living.
Translations of these and other poems from the opus by Janko Ferk have been published worldwide, predominantly in languages appearing in this collection – Croatian, English, Italian, Spanish and French. Some of the translators are renowned authors themselves, such as Ksenija Premur, Hans Kitzmüller and Leon Rinaldetti. An assortment of Janko Ferk’s collections of poems has been translated and published in Italy, America and Croatia which have been met with success. What makes this collection special is its multilingual quality which enables opening of wide horizons of reception all over Europe.
Čučnik’s fundamental poetic position is summed up in the following verse: “Of myself I give the most I can”. In each particle of space and time in a breath of his speech, labyrinths can split open. The poet sees the present more and more as an elusive minute “when someone appeared and left noiselessly” – so the poet, in order to be able to come closer to it at all, must cover long time spans which in this book are represented by voices from old photographs. This poetic articulation is capable of taking over any textual material that the poet happens upon (“casino of words, which flocked here before a thought happened to break them”) – from a message that he finds written in pen on the edge of a banknote (as for myself, I admit that, unlike Čučnik, I superstitiously copy such a note onto other banknotes – and Čučnik has copied it too: into a book), or a series of text messages sent to him by someone “as blessed as Dostoyevsky in the period of “The Possessed”, to verses by John Ashbery and Elizabeth Bishop. With this textual material the poet’s work establishes ever subtler structures where simultaneous depiction of different speeds of time seems significant.
Collections of poetry Poems of the Nothingness and A Gentleman Today are two books of poems that have been united in a single book where Poems of Nothingness precede A Gentleman Today in chronological terms. This is only a small bit from a substantial opus of poetry, essays, philosophy and literary theory by Iztok Osojnik. All Osojnik’s work are characterized by clear layout, straightforwardness and lucidity of images intertwining in the inner logos – a voice of the truth and clarity in experiences that are immediate, palpable and clear, while the fundamental tone is brightness and extroversion towards the world in everything comprising it. The basic guiding principle of Osojnik’s poetry is te truth, deeply permeated truth about oneself and the world which Osojnik experienced in various parts of the world. His master’s thesis, for example, was written while studying in Japan. He managed not to fall under the influence of Japanese tradition, but unconsciously the work, in the colours and straightforwardness, resembles a fabric of cultural boundaries and doors constantly swinging in and out thus letting in bright colours at the expense of the dark ones.
A collection of poems by Ksenija Premur From Coast to Coast is reflexive poetry that, in its visions of the world and nature, brings profound insights and experiences transforming them into short poetic images thus revealing intricate meanings of the seen and experienced in short verses which contributes to even deeper impressions on the readers, and so inviting them to a deep, comprehensive dialogue. There is no triviality or kitsch in this poetry, nothing is irrelevant or deprived of sense; it is a pure invitation to a spiritual union of a man and essence.
“A Madrigal For The Summer”, poetry collection by Ksenija Premur, is inspired by the new intimate considerations in the contemporary poetic production, and is marked by clarity, lucidity and impressiveness of clear images that intertwine in poetic reflection thus creating a strong aesthetic impression. The poems are of erotic and reflective character, and they bring author’s intimate relation towards powerfully experienced impressions which, in addition, imitate the melodic structure of the Renaissance madrigal harmony, as suggested in the title of the collection.
Čučnik’s fundamental poetry can be abstracted in a single line: “I do my best”. In every corner of space and time, in a breath of his speech labyrinths can spread out. The present comes to the author ever more as an illusive minute “when somebody came and left soundlessly” – therefore the poet, striving to get as close as possible, has to thematise other time spans using voices from old photographs, as rendered in this book. This poetic talk is capable of taking over any textual discourse a poet encounters (“a casino of words nested here before any thought may have broken them”) – from a message written in pen on the rim of a banknote (I do admit, unlike Čučnik, in my own superstition I really tend to copy such message on other notes – though Čučnik also copied it – in his book) or a cycle of text messages he is being sent (“blessed like Dostoevsky at the time of Demons”), all the way to verses by John Ashbery and Elizabeth Bishop. Using this textual material the poet establishes even more subtle structures in which simultaneous thematising of different speed of time is what I find important.
My poetry is open / to natural occurrences. This sentence, in a way appearing unintentionally in the poem A Pocket in the Heart written by Ana Pepelnik sounds rather ironic, although it is really true for the most of the readers of her first book as they know her as a poet who is a kind of naively open for the substance of mundane experience and consequently for all kinds of lingual stains and inaccuracies brought by the very experience. The readers will surely be surprised by the density and precision of the poems from the second book where she rejects her (undoubtedly curious) concept of the first book to – along all of the skills she acquired in the meantime – deal with writing no longer counting on a discount whatsoever but quite contrary she gets involved in active dialogues and arguments with movements predominant in contemporary Slovenian poetry or gaining on importance nowadays. Ana’s poetry is attentive to what is within reach, but also casually brings in what is out of that range. This is what her poems are like – Ana like any other girl eagerly writes about flowers, sweets and clothes, yet she is no stranger to cosmic perspective, seemingly taken over from Kocbek, but perfected in an original way: All that is / unforgettable and gloomy. Just like the universe.
A collection of poetry titled Fragments of Chinese Porcelain by Ksenija Premur nurtures her roots in the best groves of modernism and new intimism as witnessed in her earlier published works – collections of poetry From Coast to Coast and Madrigal for the Summer. In the collection Fragments of Chinese Porcelain Ksenija Premur introduces a poetic world existing simultaneously at the levels of dreams and reality, a favourite motif the author used in some of her prose, particularly in short stories. This collection of poems was inspired by a movement of new intimism in conteporary poetic production, and is characterised by clarity, lucidity and impressiveness of clear images intertwining in poetic reflections thus creating a powerful aesthetic impression. Poems have erotic and reflexive character, bringing intimate relationship of the author towards deeply experienced impressions of quotidian reality and her broken “fragments”. Subconscious flows in profound self-reflection mirror a double world of “me” and “un-me”, inner and outer, subjective and objective, and all that, as the title of the collection implies, in “fragments”, random observations, lightly implied suggestions, irrelevant trifles and mundane images melting into a colourful mosaic that sustain and unite deeply experienced moment of poetic reflections. This collection undoubtedly comprises melting of author’s profound philosophical contemplations of fundamental questions of existence that cannot be expressed in any other way but in “fragments”, cut-outs and reflections of the reality in a cunning poetic subject of experience and expression. The author uses Chinese porcelain in the very title which implies her long-term studies of Eastern philosophical traditions she reaches for even in her poetic inspirations.
The latest poetic collection by Uroš Zupan, one of the most prominent poets of a younger generation in Slovenia, titled “Slow Sailing”, unlike weary melancholic atmosphere of contemporary poetry, brings concrete hands-on, life experience – immediate, clear and deeply felt – of a poetic self that brings life and in its peculiar and affluent individual letter transforms an imminent, life-experiencing cognition into an open dialogue with the world surrounding the poet. Thus Uroš Zupan uses banal trifles of a quotidian life – television commercial programmes, short journalistic reports, unwashed coffee cups – to create his own unique world where he spreads out a specific poetic landscape which the poet paints with vivid, extrovert, communicative, sometimes provocative, but always, remaining true to himself, explicitly lyrical language in which every item in the objective world can become an object of subtle, poetic reflections thus enabling a world where the object world reflects in the mirror of metaphors and hidden, encrypted meanings a poets reveals by close inspection and then turns into a language through lyrical passages and an abundance of polysemantics at various levels of poetic expression.
In poems by Barbara Korun. cracks, apart from the mundane senses (I am burning, burning / at the stake of emotions), have completely opposite connotations as well – a crack in the sky. In the ambivalent co-existence of eros and bios the two poles refer to the crack between sexes. The crack is, in a nutshell, an empirically-lucid notion of the “entrance” that has opened up for stepping into the lyricism and its experience. Through it the author reaches for the core of real life realities, bringing them up from the stupor and turning them into poetry. The result of this poetic procedure is that, for example, a landscape as a domineering frame of author’s feelings and contemplative comprehensions turns inside out and enables the author, at her will, to choose unknown, completely poetically inner relations – most emotional objects take over their reflections as abstract changes, and vice versa, pure abstractions become real.
A lyrical collection “Black Swan” by the highly extinguished Slovenian poet Tomaž Šalamun, a worldly renowned and acknowledged poet whose work has been translated into almost every European language, brings some novelty to poet’s creative work. In enumerating a plethora of words in a nimble, brisk and skilful gesture there emerge separate words which then are read in themselves as if in a mirror, reinstating a discourse, but never falling into a trap of turning into romantic, symbolistic metaphoric expressions. A word is being read, put next to another, entangled into a metonymic sequence, and a brisk judgement of their effects is being replaced by futile and desperate self-searching, expressions of poetic subjects, quite a frequent wavering when it comes to big categories such as life and death that mostly melt in pardoning of those using them and only rarely in poetry. Unlike previous Šalamun’s poetry in which things were self evident, in “Black Swan” they reappear in their perfect monolithic, metonymic beauty, in its reality where authentic usage of poetic material unburdens the speech which keeps stumbling against self-pardoned poetic subject of this poetic collection by Tomaž Šalamun.
Tone Škrjanec is certainly one of the most interesting poets nowadays in Slovenia, both from literary and sociological aspects, despite the fact he belongs to the generation of the 1970s, and from poetical aspect. Like his generational counterparts Iztok Osojnik and Jere Detela, Škrjanec was predominantly influenced by American Beat poetry and through it by the poetry of the Far East. Far Eastern influences on Škrjanec can be traced on the formal level and on the substantial plane. It is exactly this experience we can draw from his renowned focus on details and ethical and poetical orientation. Unlike most of Slovenian (for that matter, European) poets of the twentieth century who, in their works, strive to become lords of the world or even distort it in accordance with the rule of so called dictatorship phantasy, Škrjanec depicts the world thus we may state that his poetical credo is not “to have” but “let it be”. Tone Škrjanec is surely one of the leading poets of his generation.
Jakob’s fundamental poetic procedure of assembling or collage should be interpreted in accordance with poetic credo of absorbing and reflecting the world in poetical, impressionist images. Jakob does not resort to assembling technique in order to manipulate the world or the readers but in order to capture trifling moments and occurrences so that he can render them in their uniqueness and thus differentiate them from everything else in a poem of opposing moments and occurrences. Jakob’s poetry is therefore a poetry of an attentive beholder, though simultaneously a beholder capable of abstracting anything that is, both for his poetry and his readers, a bounding realisation. Therefore in his poetry we find lines such as “The life goes by as if we are / Gone / And we comply”, or “Sometimes the night shrinks back / And there are lips, moist and pure”. Ethics, a feel for details and atmosphere of a poem, as well as a subtle usage of assembling technique, all feature Jakob’s poetry.
The book A Panicking Man by Milan Dekleva is an attempt to dive into a poetic soul of Anaximader, into his panoramic look reaching the truth and reality of our moment. Karl Jaspers said the following about Anaximader: “An immense impression Anaximander leaves on everybody springs up from a wholeness of his thinking. It is similar to awakening of western mind, dissipation of a foggy cloud. It is getting brighter. Through a new way of thinking, Anaximander immediately realizes the simplest, something no one dared to think before him. The very beginning is exciting. There a man distances from himself and the world. A sovereignty of thought grows – daring, limitless, and as opposed to mundane, traditional and transparent, it ventures awelessly to imagine what is initial and seemingly the most absurd. “A Panicking Man is a poetic entrance into the labyrinth of the beginning. A look of wondering in infant’s eyes, wise for its naiveté and naïve for its wisdom. A search for the general, reviving individual and wholesome, is a categorical imperative of poetry that has never subdued. A panicking man, already in its title, unifies both meanings of a Greek word: pan and panic were born from the same restlessness. Panic overwhelming a man with nihilism of search for power is everything (pantos) what we have.
Slovenian writer Vinko Ošlak (1947) started his literary journey as a poet. In 1970s his collection of poetry A Seizmograph of Emotions was published by Horizons publishers. Within the series Poetic Leaves featuring paintings by Jože Tisnikar Mladinska knjiga published Ošlak’s cycle of poems. At a certain stage of his creation, Ošlak shifted his interest towards prose, essays and philosophical and theological writing. A collection of poems Come and Search was written in a classical sonnet form, and Ošlak’s poems are not merely a playfulness of words but also an emotional and contemplative message addressed to the readers. Ošlak’s poem is true to a minor, more fragile being suffering from the injustice and for whom the nature is not inclined to. Ošlak’s collection is permeated with Christian ethos and stand views through Gospels, just like his other works, both in prose and poetry.
Pasadena, a tri-lingual collection of poems – in Slovenian, German and Croatian languages – is a melting pot of the three most intertwined yet most opposing elements of human essence: life, Eros and Thanatos. In this collection of poems the Austrian author Janko Ferk philosophically deals with issues we are troubled or enraptured by on a daily basis… or not touched by at all. We all respond to these issues in our own ways, while the author does it through most subtle verses he completes through an inspiration by a Californian city he had never seen. The poetic credo of this particular poetry is a relentless and steady pursuit of the beautiful and elated, or of quotidian and unmemorable things we find in the poem about a prison cell where a life is fading away “on a piece of a musty bread / and stale water / where the punishment is the ultimate seal of a human life”. From the existentialist view of the purpose life, the longing turns out to be a distant echo of the collection. The collection was translated into Croatian by Ksenija Premur.
The collection of poems titled “Dreams of a Naked Body” belongs to the movement of new intimism that the author, Ksenija Premur, has nourished throughout her whole poetic work, in particular in her two collections of poetry “From Coast to Coast” and “A Madrigal for a Summer”, published with the support of the Ministry of Culture. In this collection the author subtly engages an erotic relation in the reflection towards the whole reality, starting with the most banal quotidian trifles to essential questions of existence thus opening up horizons of new experiences and self-reflections. Thus the author re-examines the horizons of contemporary poetic expression, occasionally introducing direct and profound narrative which contributes to the dynamics of this collection, creating a particular and unique poetic world. This dynamics of flowing, ranging from subtle states of mind and self-reflecting to almost realistic reflections of reality, is most certainly an exceptional feature of this collection of poetry which tingles your attention and draws you into the world of author’s peculiar experiencing.
The collection Stars, Traps is featured by a casual subtitle in a single word – Poems. It has an “outward” orientation into a wider global and social space, enlightening it with cosmic and ironically critical “cold objectivity” between the first (The First Star – “caught into a solemn universe”, quote) and the final poem (Snowworld – “no hope is left / for the lost world”, quote). The core of his winter verticality is the poem The Sevenheaded in multiple parts where Detela, in exalted, expressive sequencing and repetition of syntagmas of free verses, develops a kind of a memorial service (“when is the service to be held”, quote, Chapter 2) for a chopped down yet indestructible seven-headed tree (“The tree is eternal”, quote for The Tree). Already in the introduction of the poem he asserts individualistic isolation of the my(s)t(h)ical tree erecting “itself on the self / in the middle of spaces” (quote). The verified and concrete (visual-auditory) value of the concept of a tree has been “vividly” experienced – as words in various languages (it particularly corresponds in German with the prose narrative Ein Baum, ein Traum from Detela’s book Die Merkmale der Nose, 2005).
In a row of collections of poems by Lev Detela “twin” collections were published in the same year – Stars, Traps and A Light on a Crimson Shore which despite their basic apocalyptic visions are simultaneously the peak of author’s so-to-say “vitalist brightness”. The Brightening, as already implied by the very title A Light on a Crimson Shore, is a striking conceptual innovation in a sequence of the titles of his previous collections, mostly gloomily coordinated (e.g. What the Night Said; Café Noir); here, of course, there is no naïve or populist cheap optimism whatsoever. A reference to an anonymous star in the first poem of the first collection is the initial poem A Light on a Crimson Shore comprising a thematically oriented and a kind of a baroque subtitle Ballad Elegies and Romance SMS Epics, determined by the introductory dedication of Love (in a Single Sentence). The poem with a musical vocabulary in its title and twelve lines announces the subsequent cycle A Short Potamology yet in Twelve Études. It is quite obvious from the inner, intertwined connotations of the both titles that the author, although his collections might somewhat seem “spontaneously chaotic” at the first superficial glance, builds up his literary-textual cycles with the precision of a composer. From a thematical point of view potamology (a scientific study of rivers) refers to author’s environment-conscientious dedication to water (in Stars, Traps it is the tree), in other words to the rivers as archetypal symbols of arrivals and departures. Therein the author speaks up in the first person narrative about the interwoven net of the phenomenon of a river and human love (river reference converts into a human narrative: “There by the river I shall put my arms around you”, 6; quote)
Tone Škrjanec is certainly one of the most interesting poets nowadays in Slovenia, both from literary and sociological aspects, despite the fact he belongs to the generation of the 1970s while his first collections of poems were published in the 1990s, and from poetical aspect. Like his generational counterparts Iztok Osojnik and Jure Detela, Škrjanec was predominantly influenced by American Beat poetry and through it by the poetry of the Far East whose influences on Škrjanec can be traced on the formal level and on the substantial plane. It is exactly this experience we can draw from his renowned focus on tiny details and events. Influence of the East in Škrjanec’s works is evident at the fundamental level – the level of ethical and poetical orientation. Unlike most of Slovenian (for that matter, European as well) poets of the twentieth century who in their works strive to become lords of the world or even distort it in accordance with the rule of so called dictatorship fantasy, Škrjanec primarily depicts the world. Or rather, his poetic credo is not “having” but “letting be”. Tone Škrjanec is surely one of the leading poets of his generation. In accordance with the above credo what we also need is to understand his basic poetical procedure – montage. Škrjanec does not reach for this particular technique in order to manipulate the world or the reader but in order to show tiny excerpts of time and occurrences and display them in their uniqueness, thus simultaneously in their distinctiveness from the rest, rendered in a poem of opposing moments and instances. Škrjanec’s poetry is thus a poetry of a vigilant observer, but also an observer capable of abstracting an obliging cognition from the observed both for himself, his poetry and his audience. Therefore it is not a surprise we find declarative verses in Škrjanec’s poetry – e.g. a verse from the poem A Hole in the Sky: “it needs to be written down for what comes today / is valid for tomorrow.” Ethics, sense for details and atmosphere in his poems and subtle application of montage technique are essential features of Škrjanec’s poetry.
Many pieces of work from Detela’s opus comprise his so called avant-garde literature – mostly experimental, with a touch of symbolical, grotesque, fictional, Luddite and occasionally almost hermetic expressionist elements he uses to transform human existential and fundamental dilemmas into words, in his particular ways. These structures feature most of Detela’s poetry. In all of these stages, so different and in many ways utterly opposed levels of Detela’s poetic development, the author has experienced a whole range of discernible individual characteristics of his whole opus up to the present. In terms of topics they substantially exhibit a critical strip down of a society and an individual, whereas in terms of structure and style they feature the shocking and the provocative that keep turning into new extreme images in each stimulating and aesthetic stage of author’s creational process. It is exactly these most prominent features of Detela’s poetic creation that, in some of his works comprising for example Greek Poems, turn to more intimate, somewhat subdued and more sophisticated shades of his very colourful polyphony of his poetry. Greek Poems witness to author’s new poetic procedures as in 2008 Detela published four books in Slovenian language – a novel in two volumes and two books of poetry. This collection of poetry is a kind of a sequel (mostly in terms of the content, not so much in terms of the expression) of his previous collection The Light on the Crimson Shore as it was similarly created on a journey and partly in Vienna in later stages as a reflection of poet’s experiences while vacationing in Greece. Most of the poems in the collection are of ambient and reflexive nature, whereas some border onto miniature essays shaped into poems (The Donkey), while others pour over author’s emotional and reflexive impressions to visual stimuli from his immediate environment into poems.
Worldwide literature, whether it is folk literature, i.e. legends, tales or narratives, or fiction by an individual author, is loaded with motifs of abducted women where mostly the forces of light are victorious, as it is the case with the collection of poems A Night Concert with the Hardheaded and Marjeta. Or rather – a prince on a white horse who, using his artfulness or shrewdness, only rarely his force, overcomes the creature that persecuted the maiden. The victory of light over darkness had, of course, educational, moral and ethic importance, even elements of catharsis, usually supported by the divine intervention. These motifs are usually wrapped up in a romance, or rather a grotesque-balladic package inciting fear and anxiety with the audience. Dynamic tales, created or concocted according to the laws of a classical drama usually culminate in a predictable ending, simultaneously rendering a profusion of twists, deviations or even reservations. A drama, based on Hamletian principles, is being played before the audience – here I refer to the spectacle on Elsinore fortress when actors act and simultaneously uncover the death of Hamlet’s father. A Night Concert, a dramatic verse poem by Lev Dekleva, is a performance or “an artistic display at the museum” with a lively concert of “surfers and rockers”, symbolically called Paranoia Band that paraphrase the legend of The Hardheaded and Marjeta in a contemporary environment. The whole event, as expected, is set in the night which, according to the folk tradition, has “its own might”, therefore we are not surprised by dreamy and phantasmagoric scenes filled with absurd “debauchery recklessly crawling up the marble steps”. Everything is embodied in “the remnants of an impossible / shifted into perilous forms” resembling an Ernst Bosch rhizomatic puzzle in an image of temptation. From the cacophony of sarcastic scenes and twists there emerges an allegoric vignette in the form of a chorus performed by the abovementioned band where “the forehead is hissing, the music screaming, the drum banging sharply”, while the voice is repeating “Marjetica, Marjetica, the queen of our hearts!”.
In Šalamun’s poetry, featured by its determined presence here and now, and simultaneously omnipresence and everpresence, fixation and doubtfulness imply a massive quake. The voice of Šalamun’s poetry is suddenly no longer acousmatic for it is, more than ever, marked by everything too human, i.e. by time and its dedication to the course of history: We shall be rejected like cats in the crates into the arms of God. Even though he is completely aware of his predestined presence (I shall grow tired and neglect myself. Save yourself.), there is something elegiac and elated in the way he accepts his responsibility. We may have been inclined to think of taking and depriving in his poetic creations, but the turn has come for giving and returning: Doing it in the city? Returning. Neither hurting nor killing. Returning. With time the lines of Šalamun’s speakers get clearer and brought into the world inhabited by other selves. With some of them, specially with those whose feelings or memories – they do not allow choosing – take them to privileged places, he establishes sincere relationships, filled with vulnerability. The world no longer rules over a timeless moment (I had (…) everything in the nature, yet timeless). Every moment is being re-established as a random point in a sequence where self in a polyphony silently brushes against the past. What is replacing former self-sufficient destruction and seizing, for their exemption from time they are not considered responsible, is the strength – withering away, yet necessary for laborious construction. Šalamun’s rejected self sees its former existence as a form of repetition resulting in (there are hints thereof) blazing love: Nights were strange. You stirred up my lungs. The repetition of beginnings transforms into the acceptance of the inevitable ending that is really worth efforts: Yes. Whales shall end up my life. I am giving it up for what I have tried out. I am giving it up for what I am trying out now.
The politeness and the cordiality are the features that attracted and inspired everybody who knew Milena Merlak Detela. In the letter dated 12 July 1967 Milena put down her thoughts: “What makes an artist? This side belongs to the one playing with art. It also belongs to the opposite one – a realist taking the known path… and finally there is an artist, a child, thinking and brooding to death over things others find self-comprehensive.” The contemplations of Teilhard de Chardin are close to Milena’s sensibility. In the early 1960s they spread all over Europe and inspired Lev and Milena Detela with the most exhilarated euphoria. Teilhard saw the future of the mankind in the cohabitation of science, sustainable development and Christian orientation. He believed it was possible to achieve the ultimate integrative point he called Omega. In terms of perception the greatest and the most decisive occurrences in Milena Merlak Detela’s poetry were the landscapes and the universe of Inner Slovenia (Notranjska County). Close by are Kras and the Cerknik Lake which dries out and floods, changing with the changes of the seasons, surrounded by the secrecy of the woodlands, the horizon above the fields, an undisturbed view of the sun and the moon. Milena was longing for those homeland fields her whole life. She knows the religious beliefs and traditions of her homeland well, both in quotidian and festive times. Prayers and traditional rites are ever present and led her to contemplations of death and what it turns into. Contrary to that, the world was boiling in the bloodshed of the war during German occupation. It brought death to Milena’s family and broke her father who lost his willingness to live anymore. The marriage to Lev Detela and the emigration of the couple to Austria denotes a journey into new insights expecting them there. In this new atmosphere, new elements emerge in Milena’s poems – mountains and valleys, water and fire, darkness and light, birth and death. Words and metaphors in Milena’s poetry often express judgement: let the solitude be punished, Cain’s age has elapsed, may the scorching sun disappear. In modern times the fundamentals elapse – the light, the breath, the space – while the trivial imposes and overwhelms.
A collection of poems „Palimpsests“ was called after a cycle of the same name Niko Grafenauer published in 1978 in „Troubles“. The poems from the Palimpsests have been written in the period from the mid-1970s, simultaneously with the development of the post-modernism in Slovenia. Prior to that, in 1975, Grafenauer published “Stuccos”, a poetic pinnacle and as the same time the ending of Slovenian modernism. A techno-poetic clinamen in “Palimpsests” is graded down, all the way until the deflection has grown so huge it has completely opened up with the poetic content pouring through a sonnet form. Firstly both sonnet tercets grow into quatrains, then the metric plan continues to grow wider or – through another method – in terms of the number of verses it shrinks and re-establishes the space for free poetry verses. Consequently “Palimpsests” are a way livelier in terms of the metrics. This lively quality reflects at rhythmical, semantic, emotional, existential and thematic levels. In a seeming opposition with the liveliness, the balancing of “Palimpsests” lies in the one-ness. The opposition is only illusional as the one-ness in Grafenauer’s poetry does not imply the usual contents – the one-ness of the world within which there is no rift between the truth and the illusion but between the appearances and the invisible, the reality and the secrecy.
Existentialist source, defining the experiencing scope of his poetry in the collection “Fading out”, is the best construed in several Grafenauer’s thoughts when he contemplates the inevitable loneliness and the focus, the only places where he can test out himself as the one comprising a plethora of experiences, perceptions, impressions, traumas,… At the same time he needs both the words and the language to build up the organic wholeness out of life experiences in order to vocalize his poetic voice. All of these would be impossible if the author did not speak from the very edge of himself where liveliness of his poetic expression settles down in the shadows that life casts upon the eternity. The other extreme, opening up in the notion of beginninglessness, is very closely related to what the expressions “Einsweh” or “nostalgia for the gone-by” try to interpret. It is quite obvious that Grafenauer’s existentialism, despite us being prone to “forget” the beginning and the ending, i.e. despite the dictature of the moment, neither can be avoided, which basically means that no matter what our own individuality cannot be surpassed and generalized into a condensed human “eternity”. Therefore that reality as “nostalgia for the gone-by” evokes true beginninglessness belonging to the origins without a man, who merely invented word for it, thus revealing the whole deception of an illusion of the universality of life. God, eternity, endlessness on one hand, and the individuality on the other thus meet with the beginninglessness in time.
Milena Merlak Detela, a poetess who died in Vienna in 2006, managed to create verses of intensive narrative power. The author who was born on 9 November 1935 in Ljubljana wrote her poetry in Slovenian and German languages. She mastered an incredible repertoire of various hues of poetic expressions. Her poetry harbours images of oppressive austerity and images of surreal logic of dreams (such as the poem Underground Dungeon). In some of her lyrics the author indicates to negative political and environmental reality. This goes mostly about difficult, sombre poems. They reflect the trauma over her father’s tragic death, her mother’s suffering over the loss of her murdered sons and the events occurring during and after the World War Two. The nature and the inner spiritual images, the myth and the history melt into a new world. The poetess creates persuasive verses whether she draws her work from the history (Carnuntum or The death of the Emperor Abroad; Alchemists in the Golden City) or whether she is extensively drawn by the world of visual arts (Otto Dix = Danse macabre / The Countess; Paul Klee = Bastard) or the heritage of ancient myths.
Detela’s poems and prose are sneering and terrifying accounts of the violent world. His prose is closely connected to his poetic work. Many of his poems are prose poetry. Detela is a master of short works of literature, comprising of short, efficiently and skilfully interwoven sketches. This collection features poems and short works, as well as a short story “Fear and Dreams”. A young boy is living with his uncle at his uncle’s place, which is turning into a true nightmare. His uncle, ever drunk and living in Slovenian turbulent past, is a scary figure. Boy’s aunt is a passive creature always obeying and pleasing his uncle. These are typical absurd and frightening accounts Detela’s prose is fraught with. This book contains carefully chosen topics of this kind which Detela gives in abundance – they quite transparently and relentlessly open up the abyss of violence, absurdity and nothingness of the modern times.
Dekleva’s poetic (and essayistic) opus is undoubtedly one of the philosophy-based opuses in contemporary Slovenian lyric poetry. But it is exactly the predictions and the sound and rhythmical abilities of avoiding traps of traditional metaphysics that his alluringly open poetry has is what makes Dekleva Slovenian poetic flag-bearer of the paradox – whether it is the poetic prose form of writing with free-verses lining up into stanzas, or in the strictest rhyming form. Dekleva’s synthesis of fatal inevitability, fine irony, emotional suggestiveness, “sharp-tongued ultimate bi-mindedness” and jazzy sequences keeps narrating a tale on “how long it takes a man to adapt to the miraculous”. The other name for the miraculous is “the will to be”. Astutely, right in his non-conformist paradoxical manner, Dekleva adds: “the will to be here forever and never again”.
When reading any poem from the newest collection by Ivan Dobnik, a reader gets that feeling of a stone falling down into a secret well. And even though the falling into the depth is far below, somewhere out there in the intangible part of the poetry and its essence, the holler from the depth, the splash from within is way more powerful than a reader may have expected at first. These splashes are, naturally, the closing verses – a real treat of poetic depth, bringing forward some pieces of wisdom and cognition which on numerous occasions rise above poetic sphere. Every verse seems as subtle as a cobweb, yet completely rounded up. Like a gentle touch, a breath is short and fragile like a subtle splash of original poetry. What is immensely important here is the fact that the author boldly decided to stick to classical lingual calm – he is not interested in lingual experimenting. Although this is how Dobnik treats his words, quite frequent in his love and erotic lyric poetry, he is successful in tranquil upgrading, incredible lingual accomplishments and numerous expressive eclipsing.
Ivan Dobnik has been long creating in Slovenian poetry; however he has remained in the background, unobtrusive and quiet, but relentlessly polishing up his poetry in the peace and quiet of his workshop in solitude, somewhere beyond. As if he were a landscape painter who has withdrawn from the city into the countryside and while conversing with his own painting art he creates purified yet strictly controlled landscapes in a rich palette of the white. The power of his poetry lies not in his eruptive creativity or plethora of shapes but in the simplicity of form as a demanding inner dialogue of vivid words and clear attention. In his latest book called “A Rhapsody in Freezing Winter” he does not dodge from these prerequisites he has been faithful to ever since his first collection of poems. Clear, sharp feeling for the lyricism intertwines in his poems that are short yet packed with contemplative meditation. The resulting poems are substantial and restrained; their power lies in a sequence of precisely directed insights. This is not about understanding outside conditions or images but about pure poetry at the crossroads of skills, awareness of the functions of a language and intensive ontological states. With these in mind, Dobnik’s poetry induces us to think about intimate landscapes, shelled down to crystal clearness, yet emerging out in blurred stories like tainted premonitions. They have been so skilfully rendered so a reader can fathom their comprehensive drama.
Like any symbolic point in space and time, the abyss has a double-sided quality – it unifies the height and the depth, the skies and the underground, the random chaos of the original big bang and the hell fire of the apocalypse. If we ignore the ambivalent nature of the abyss we easily lose sight of its fundamental cosmogenic importance. This is exactly what is happening in the present. When we stand on the rim of an abyss we are consumed by the overwhelming fear of falling down. The abyss is only a point of final dive and nothingness. Ever since we lost the gift of soaring up to the places where the very origin of freedom is nested, we have been left with only the abyss, a vertical drop into the death. This has devastating consequences for human speech as it brings out the fear of the speech of others. The cracks in the world that have brought the word are being brought to a halt at the edge of the abyss we tend to call noise. Nobody listens to anybody unless it is useful to us. We are cautious with other people’s voices and looking for what is beneficial to us. We are cautious and awaiting nouns circulating through the bloodstream of our own language making them thus familiar and known to us. We refuse to listen to unknown layers of a stranger’s speech drawing gibberish from the abyss of diversity. Barbara Korun’s poems witness to the above – through subtle weaving of depths and heights of poetic expressions and messages she brings into the world of paradox and abyss, rendering it through the sensuality of words and thoughts.
A collection of short stories in which reality turns into a paradox while phenomena arising from both subjective, intrapersonal world of subconscious, and objective reality are being questioned. The book was published with the support of Croatian Ministry of Culture.
The book comprises two stories – «A Journal of a Disturbed Mind» and «A Man Who Loved Women». While the former story is permeated with intimate atmosphere, the latter has a very realistic, almost naturiralistic way of depicting phichological and personal features of a man obsessed with women. The book was published with the support of Croatian Ministry of Culture.
A collection of short stories with two reversed mirrors – a male and a female. The stories are trying to point to the nuances of male and female psychology and the relationship towards the world – with everything melting into a picturesque mosaic deceiving the world with its separateness, and saturation and merge at the same time. The book was published with the support of Croatian Ministry of Culture.
The world we live in is only one, yet the variety of experiences gives us thrills with their uniqueness, singularities and non-repetitiveness. This book brings two short stories – Bistro Gala and Letters to Milan – both witnesses to this profound individuality and non-repetitive versatility of human destinies and life paths. While Bistro Gala features a certain dose of irony and humour and introduces us to a small coastal town life and its inhabitants, the story Letters to Milan brings existential fate of life stories of two characters – a woman and a man, both middle-aged, who reveal most intimate details of their difficult daily lives. This work by the author Ksenija Premur is a masterly creation, lucidly and vividly witnessing to the world and times we live in, we all share and where we are distinguished in the myriad of destinies. This work is an excellent immersion into two worlds – one featuring a closed world of a small-town living where everybody knows everybody, where Bistro Gala is the meeting point of all the inhabitants, from the early morning coffee to the late night binge, while the other, Letters to Milan, features a complete opposite, an intimate world of a discourse on the deepest questions of life, and points to the existential and intimate environment the story was set into.
A collection of short stories grouped under three thematic headings where especially gripping are Buddhist Stories and Stories of a Boy which revisit the fundamental issues of every man through the prism of one boy’s search for answers. The book was published with the support of the Croatian Ministry of Culture.
The Content of Hour Glasses is a collection of a master-piece short prose, featured with reduced, packed and elliptic language. The plots of these short stories emerge from autobiographic elements and they also bring poetic and pragmatic statements in order to reach for metaphoric notes that apodictic stories produce starting from a single sentence. The book was published with the support of Austrian Federal Ministry of Education, Art and Culture in Vienna and the Society of Slovenian Writers.
This book is the first topic short story collection by Branko Pihač containing stories of classical SF subjects as emerged with SF genre in the literature. Although these stories are mostly from author’s earlier stages, they are already showing his signature style he has kept in his stories of other SF sub-genres; it is a classical balance between structural elements of a story, strong polarisation of characters, detailing significantly contributing to the general atmosphere and skilful plot outlining thus keeping readers’ attention in upward curve and leading towards a non-frivolous resolution. Along with explanations of scientific elements which in the form of technical discoveries are frequently the carriers of his stories, the author goes beyond into psychological analyses and philosophical speculations bordering onto scientific essays. Adding the predictions of some technological achievements almost becoming a reality today, accomplished dialogues of his characters and almost inevitable moralities particularly characterising this part of author’s work, this collection is deservedly part of Croatian SF anthology.
This collection is a second topic short story collection by Branko Pihač comprising philosophical, paraphychological and metaphysical subjects, along with the subject of artificial intelligence. Stories from this part of author’s oeuvre contain ever intriguing blend of technical elements of hardcore SF, lucid atmosphere and particular social relationships, almost regularly including crime elements and appropriate levels of humour. Skilfully woven plot keeps readers’ attention and tension throughout, until the resolution no reader shall find disappointing is reached.
This book is the third short story collection by Branko Pihač. In his futuristic stories the author analyses and contemplates existing social phenomena, extrapolates them and pushed his characters into situations so similar to the current reality they induce us to thinking but also worrying. The collection of stories on androids is an excellent foundation for setting up a platform for communication with robots in the future; there are also several horror SF stories for the fans of the genre. These stories naturally comprise comprehensive storytelling features of the author – there are elements of humour, crime and master rendering of hardcore SF technology, while almost film-like direction of the storyline and often double-twists of the plot guarantee the excitement to the very end. Although the stories feature SF, a deflection from the reality, their lifelike quality makes the stories stick in your mind.
A book Confessions of a Stranger is an impressive novel about a stranger coming to Croatia during the civil war where he meets numerous people who were greatly affected by war atrocities. Amongst them is Ana, a woman who suffered her father’s and her husband’s deaths and who came to Zagreb in a refugee convoy with her mother and son. She is suffering from a serious depression, and a stranger, whose name is not mentioned and who is having a dialogue with his other Self – which is his life story – invites her to move in with him. With no consideration for Ana’s condition, her boy’s growing up and her sick mother, the stranger is playing a diabolical game, as back home he is married with two children. This novel is dedicated to fates of war affected people.
In the network of contemporary communications, behind the computer screens, people all over the world are seeking for a myriad of things, some, or maybe even many of them, are trying to fulfil their secret, most profound and most intimate wishes, desires and failed life dreams. Thus the novel «Obsession» introduces the reader into such a world, existing in a chat-room, with invisible, virtual threads connecting people hundreds, even thousands of kilometres apart in real lives. The virtual world is enchanting with the illusion of intimacy and almost tangible connection between the two main characters, Lidija from Croatia and Menelik from the Netherlands, which in real life eventually has a tragic, fatal ending. This novel discloses a virtual dialogue and the world of fiction and illusion dramatically shattering relentless borders of reality where it reaches its utter breakdown. The book was published with the support of Croatian Ministry of Culture.
After years of academic career in the research of oriental philosophies, an area in which the author published several philosophical studies and books, in this novel titled “A Cherry Blossom. A Japanese Tale” the author decided to transform her knowledge of Japanese culture into a Romanesque creation in a form of a novel. The story is situated in a Zen monastery near Kyoto in 12 century, with main characters who are historical individuals, recorded throughout the development of Zen Buddhism. The author attempted to bring them to life in a Romanesque manner as to transform fundamental categories of Zen Buddhism such as “koan”, “impassable passage” and “enlightenment” into a vivid story through a tale of Japanese culture and a love story that was imbedded into it. A tale of three historical characters – Enrika, a Buddhist disciple, Hakuinen, a Zen teacher, and Emsho, a Buddhist disciple – carries a vivacity and dynamics in the very story and all aspects of Japanese culture, from the tea ceremony to interpreting and studying in a Zen monastery rendering thus a firm structure of culture and particularly valued personal experience of reality.
Chat rooms were part of a virtual world. That virtual world, however, revealed a lot about the true reality although it was, as the main character Nela realised over a period of time, completely fictional and fake and everything opposing the true image of the world. Nela started wondering what virtual reality really was – was it a mixture of each and every part there was, as she rendered them in her arabesques and mosaics, of all pieces and bits of human experience shaping up from various perspectives into a single, unique image. Nela thought the virtual world was probably made of such pieces of realty flowing from the real into the virtual, but never really able to completely disguise the virtual. Therefore virtual reality did not really exist itself. There was only a transformation of reality into virtuality through the filter of the untouchable. That was what deeply interested Nela, the virtual reality where we only, regardless what true reality is, what we feel it like, what we touch or smell or observe it like – these being also present – hypostatized into the world that isn’t, yet very much is, regarding everything that takes place right in that virtual world which, if it were merged with the reality, sometimes reflects true images, sometimes however the reverse side thereof, an image between the reality and virtuality.
“The Chinese Orchid Bud. An Incredible Tale” is a kind of an outline of the era from 1980 onwards, when the beginning of artistic painting started, as influenced by the philosophies of life, the art and the literature of the East and Eastern traditions. This is when fine art students Lidija, the main character, and her best boy friend, Ognjen, started discovering new dimensions of expressions in painting, new painting techniques and new forms of the conscious and lifestyles. It was the time when avant-garde blossomed, along with experimenting in all types of arts and philosophies of life. Lidija and Ognjen’s personal development and evolving are set in those college times of uncovering one’s own views; hippie movement and the avant-garde were the concoction defining the life paths of the main characters. The generation of 1980s painters grew up in times allowing freedom for all kinds of artistic expressions. Lidija and Ognjen, having broken up with their love partners, found employment in the secondary school for fine arts, which was the ultimate failure for both artists as independent creators, which they both had always dreamt of. Today, in their 50s, forgotten and pushed away to the cultural margins of Zagreb, they have come to terms with never reaching again what they had in their youth. Yet, they remained true to their artistic freedom ever since they were students. Lidija kept painting, whereas Ognjen settled down as a book and magazine designer, which he found comforting after his works being misunderstood and rejected ever since his studies. The treadmill sustained until Lidija started having the same dream all over again; two people kept coming to her dreams – Zhuang and Enrike, the two Chinese characters who showed her various scenes of living from all over the world. The dream was fraught with images and the following morning Lidija would put down these images on her canvas. She decided to look for an explanation in various new-age lines of readings, went through the whole new-age subculture shebang, until she finally found an answer in Chinese wisdom books. These dreams were the incentive to both Lidija and Ognjen to finally realise their dreams they had in their youths.
In the near future the life happens in separated environments defined by people’s numbers. A short novel “Lami” depicts grim lost world where science and technology are not used to humanity’s benefit but only to the advantage of the privileged who use all scientific achievements to reinforce their own rule by introducing mysterious sets of values upon the undereducated population and by limiting any freedom. In the far future a crew from a terrestrial spaceship finds an unusual planet where the ruling class maintains their supremacy by implementing a bizarre mixture of para-logic, meta-science and fantasy – all concentrated in a familiar atmosphere of belief and fear the Earth itself was not immune to. The behaviour of the indigenous population is a test of the integrity and morality of the crew. The book was written in Canada and is an extension of previous author’s work.
In this book of essays by Vinko Ošlak deals with very complex issues we are facing today. The impression is that Ošlak verbalised what we are, if at all, barely aware of in searching for our own and mutual way into the future. Ošlak’s essays therefore deserve our full attention. If ever, then today is the day when we are supposed, when utopian energies have expired, as written by Jørgen Habermas, to sharpen our mind. Ošlak is directing his thoughts right that way when he says we shall truly respect the nature provided we, with the help of culture and ethics, i.e. being deeply rooted and ethically comprehended, experience its deepest nature, the very spirit that represents “the true nature of the nature”. Similarly Ošlak deduces the thought on the people, i.e. the nation. Ošlak’s conclusion is that only by culture and ethics overwhelmed members of a nation shall see beyond their own family and parentage, i.e. their deepest, elemental, human nature, their godly humanity. With issues of a nation, Ošlak is particularly concrete and critical when talking about possibilities and perils of one nation rising to the level of universal humanity and then, as Ošlak puts it, degenerating, focusing on itself and dealing with only itself. Ošlak comes up with that important thought at the moment when in our own homes, we start to notice growing provincialism and national patriotism, on one side, and “pure”, but consequently rather void cosmopolitanism, on the other. What are the chances of solving issues of the future? It would be deceitful to claim possibilities are numerous or at least as big as several generations earlier. Oswald Spengler believed that our culture, like Faust, sold its soul to the Devil inevitably taking the culture to its ruin. But with Goethe a miracle emerged, exactly the one that Ošlak finds our only possibility – Faust is successful in his rise, prompted not by his cosmic curiosity any more but a strive to understand men’s world, a need to participate in wider life, in the declaration of power in the mankind and for the mankind which eventually brought him God’s forgiveness because, despite all of his delusions and sins, he did not go astray from his origins. Will our civilisation be saved with of help of that miracle? We do not know it, but our task is to make it as truthful as possible. With the essays lying before us Ošlak has made his contribution to the cause.
Essays in the book by Milana Dekleva titled Nests and Cathedrals are an attempt to contemplate the way which has brought us from looking up at the skies to cloning. In short reflections various questions keep emerging – about transcendence with which a transcendented man talks about a world beyond humanism and metaphysics. An embrace of poetry and science, where contemporariness has found itself, is in the reality a love quarrel of nature and culture, of intuition and sensibility. That embrace can bring an ecstasy of a new birth or destruction of everything a man rules over. Nests may be the most perfect homes in the universe. Cathedrals may be the most intricate temples in the universe. Dekleva is convinced that the idea of a nest and the idea of a cathedral lay in the same plane that remains unfathomable to men. We can wonder about it for as long as the birds keep nesting on the walls of cathedrals. Transcendenting of a man is achieved, though, beyond his volition and it comes from beyond the horizon. In the syntagma “a transcendented man” the transcendence is permanent, and a man is a mortal category. We keep talking only because the silence is yet awaiting.
Essays by Aleš Berger were written over the period from 1989 to 2010 when the author was a grantee as a translator for the French language in Arles, France. On several occasions the author worked at the International Centre for Literary Translators where he translated works of acclaimed French authors into Slavonic languages. “Croquis from Arles” are multi-layered essays encompassing three thematic collections. The first one covers the period when the Berlin Wall fell down and the subsequent political events, including the time of Yugoslavia breaking up and Slovenia becoming an independent country and later joining the EU. The second collection is dedicated to translating and comprises a comprehensive study into the theory and practice of translating, whereas the third one is dedicated to literary reflections fraught with intimate atmosphere. The book comprises a selection from two other books by Aleš Berger – “Notes from Arles” and “A Cupboard in the Cellar” – which the author compiled especially for Croatian edition and where he gathered all of his reflections tied to Arles.
Matevž Kos started publishing his works in the early 1990s. Soon he established himself as one of the shrewdest Slovenian literary critics. He has already published several literary selections from his critics. This selection is limited to 50 critics, i.e. reflections, referring to non-fiction works published in the period between 1993 and 2013. What is special about this book, apart from its rather provocative title, is the fact it covers writings of various authors whose works belong to a wide range of approaches. The book, from one example to another, really tells a history of the 20th century Slovenia, and even a little longer, whereas its author does not fancy himself as standing way above this world but as being very much inside and involved although he does keep his distance when commenting. Therefore this is a book about various contributions to more recent Slovenian cultural history as it has been uncovered by its classics such as Josip Vidmar, Edvard Kocbek and Božo Vodušek, then by authors like Jože Pučnik, Taras Kermauner, Tine Hribar, Drago Jančar or Slavoj Žižek, and all the way to author’s contemporaries. Kos writes about lead figures of Slovenia in the 20th (and 21st) centuries, while simultaneously he is writing the very history himself through his dialogue, critical and/or polemic discourses in the name of democratic criticism. Most likely because we have no other. This is also a tale told in the book “On the Mishap of Being Slovenian”, telling us about mishaps and hardships not necessarily being exclusively Slovenian.
On “The Etymology of Forgetfulness” the author, Milan Dekleva, said that a century, where the feeling of endangerment and anxiety were ever increasing, was closing up behind. If we look at the heritage of earlier poets, their yearning for the bizarre, twisted and aberrant seems like a child’s play. No surprise there. The reality has transformed the world into a corporal and metaphysical graveyard, people into refugees who in new, unsympathetic lands had to give up the memories of their homeland, their languages, their rites and dreams. It is no surprise that in the world of seeking refuge, the rule has switched to the artificial worlds we so recklessly embraced with a help of drugs or IT networking. The feelings of endangerment and anxiety induce the need for salvation in humans. The past century offered a whole bunch of Messiahs and bliss-missionaries. Those who were honest were pushed away onto the edges of social consciousness and power, whereas the others, false prophets, eagerly mutilated souls, thoughts and bodies of individuals, tribes and peoples alike. The sense of the ending remains in full force – as well as the salvation game. At the ultimate point it seems almost blasphemous to re-iterate Hölderlin’s cry „What’s the point of poets in pitiful times?“ The times we are living in are no longer pitiful but numbed and deadened. As if a man had been taken over by light-headedness, as if he were lying dizzy on a surgical table. This is not about turning poetry into awakening tools, into gathering people around certain ideas and making them act – not in the least! The poetry itself did not manage to gain „freedom“, not before romanticism, to fancifully create in playful wording its own worlds that, prior to that, were simply non-existent. But what it kept whispering to us – in obscure, elliptical, mysterious, secretive language – we never even gave it a serious thought. Can we do it now after the elation had long abandoned us? (excerpt from the essay On the Thorn and the Rose)
The book before you, Arrogance and Bias, by the author prof. Matevž Kos is divided into three major topical ranges. The first brings five comprehensive interpretations of the most famous books, or rather poetic opuses, by Slovenian poets who put a significant stamp onto the 1990s. The first one, Sonnet as a Form of Recuperation from the Contemporary, is devoted to the breakthrough collection of more recent Slovenian poetry – Sonnets by Milan Jesih. Today this book has a reputation of being the pinnacle of post-modernism in contemporary Slovenian poetry. The second essay, Cracked Words, is a comprehensive contemplation on the poetry by Veno Taufer, one of the central authors of so-called Slovenian “dark modernism”. The next text – Genealogy of Loneliness – is dedicated to the book of poetry by Jure Porokar, Objects in the Void, while the essay A Woman, a Light and a Scorpion is dedicated to the poetry by Uroš Zupan, the leading author among young Slovenian poets. Essays Imperfective Verb To Be is contemplation on another breakthrough collection of contemporary Slovenian poetry – Limping Sonnets by Milan Dekleva. The second part of the book is mainly of theoretical and literary-historical nature. This is a comprehensive treatise titled Contemporary Slovenian Poetry and the Issue of Postmodernism which analyses and sets the question of the direction of the issue of postmodernism phenomenon in poetry (especially Slovenian poetry), if it exists at all, as by worldly standards the discussion on postmodernism usually revolves around prose and drama.
The third part of the book is (slightly provocatively) called Troubles with the Programme. By its primary intonation the text is critical and polemical, while the central question it sets is the relationship between the literature and ideology, between the culture and politics, as risen during the critical age of Slovenian process of becoming independent and democratized. Among others, the author pleads for a rigid differentiation of various levels – above all the state interference and immanent poetic practice, author and text. Hence the critical attitude to various theoretical and ideological “discourses” which have been seen as something conservative or ethical and morally non-binding over the past decade in young Slovenian poetry.
The book Experimenting with Nietzsche, subtitled “Nietzsche and Nietzscheanism in Slovenian Literature”, is divided into three parts. The first part, “Nietzsche”, is an introductory survey complemented with occasional philosophical interpretation. It attempts to follow the inner logic of Nietzsche´s philosophy by examining its focal points constantly underlining the open and ambiguous structure of his work. The second part of the book, “Nietzsche after Nietzsche”, begins by addressing the historical reception of Nietzsche´s philosophy and the different, often opposing, interpretations and “readings”. Using the methods of literary history, it goes on to discuss the impact of Nietzsche´s philosophy on the formation of literary movements at the turn of the century and later, concentrating on the German Expressionism. The third and central part is entitled “Nietzsche and Slovenian Literature”. It presents and analyses the first responses to Nietzsche´s Philosophy in the late 19th century Slovenian press and in the subsequent period until World War I. The central chapters are dedicated to the “dialogue” of Slovenian literature with Nietzsche´s philosophy in two historical settings: in the years between 1890 and 1914, and the period between the two wars. The author concludes that Nietzsche was viewed in Slovenia primarily from an ideological perspective and, more often than not, rejected by booth leading Slovenian political powers of the time, the Catholics and the Liberals. One of the reasons for such reception was that Slovenia had no developed philosophy in the true sense of the word at the time, and thus Nietzsche could not be met on an dequate, i.e. philosophical, ground. The reception of his philosophy through the decades until the Second World War was primarily reflected in literature and base on ideological considerations. The most important Slovenian writers discussed are Ivan Cankar (1876-1918) and Oton Župančič (1878-1949), both belonging to the Slovenian “Modernism [moderna], as well as Ivo Šorli (1877-1958), Fran Albreht (1889-1963), an Anton Novačan (1887-1951), who inherited the Modernist traditions from the years preceding, and partly following, World War I. The next period is represented by poet Srečko Kosovel (1904-1926), avant-garde artis Anton Podbevešek (1898-1981), critic Josip Vidmar (1895-1992), and writer Vladimir Bartol (1903-1967). Each formed an individual response to Nietzsche´s philosophy, the most radical ones being Vidmar and Bartol, who were with out doubt geavily influenced by the philosopher in the twenties and thirties. Bartol´s novel Alamut, which bears a quotation from Nietzsche as its motto, is considered to be the most radical embodiment of “metaphysical nihilism” in pre-war Slovenian literature. The period after World War II was not in favour on Nietzsche´s philosophy, primarily for ideological reasons, and it was not until the sixties that a renewed interest in his philosophy emerged. This phenomenon took place not only in literature, but also in literary theory and philosophy, being influenced to some degree by the philosophy of Martin Heidegger and his analyses of Nietzsche and the “European nihilism”.
A book by Dr Metevž Kos titled Fragments on the Wholeness: Attempts with Slovenian Poetry comprises seven essays dedicated to (post)modern Slovenian poetry of the 20th and the beginning of the 21st centuries. The first two are contemplations on the initiators of modernism in poetry, i.e. members of the historical Slovenian avantgarde – Srečko Kosovel (1904-1926) and Anton Podbevšek (1898-1981). In the third essay the author contemplates about the opus of Veno Taufer (1933), one of the most prominent Slovenian modernist poets in the post-war era. The next essay is devoted to the collection of poems called Sonets (1989) by Milan Jesih (1950) who is renowned as a paradigmatic example of post-modernism in Slovenian poetry. The book was called after an essay about poetry by Milan Dekleva (1946). Dekleva, along with Milan Jesih, is one of the most important contemporary Slovenian poets, while both are considered representatives of the second “modernist generation” that witnessed “the crisis of modernism”. In the essay Dekleva’s opus is settled in the context of rebellious student generation of ’68, Heidegger’s post-metaphysical philosophy and eastern-oriented system of thinking – all of that left trace on Dekleva’s poetry. The essay How do we Speak When We Dare to Speak? is dedicated to the poetry by Uroš Zupan (1963), the most respectable Slovenian poet of middle generation. The last text in the book The Last Crossroad to Parnas is a synthetic rendering of the “young Slovenian poetry” from the period 1990-2005.
A White Lady in the Labyrinth: a Conceptual World of J.L.Borges is a monography about the eminent Argentinean author having a reputation of the father of post-modernism and who largely marked the worldwide literature over the last several decades of the past century. No wonder he greatly influenced both Slovenian and Croatian literary production as well. The extent to which Borges was a break-through author is nicely conveyed by his “disciple” Danilo Kiš who distinguishes between literature before Borges and literature after Borges. In his works Borges, as a father of modern intertextuality, gets playful with various philosophical, psychological and sociological theories and that is the foundation for his creation of a completely independent aesthetic entity, with a background hint of a comprehensive system of thinking. This is exactly what Virk’s book deals with – through a precise analysis of Borges’ prose, poetry and essays he is attempting to penetrate into this system of minds and ideas. There he particularly focuses on thematical systems of time, dreams, labyrinths and mirrors and he reaches the conclusion that these systems are closely intertwined with the idea of repetition. This idea is a general paradigm of Borges’ work which not only permeates fundamental thematical systems as their common core but also incorporates into a separate and therefore particularly influential Borges’ writing technique which is intertextuality – no more than a certain from of repetition. In the final synthesis Virk gives concrete examples with a comparison of Borges’s world of ideas with the analysis of ontology of pre-modern societies.
„The fear of Naiveté: the Poetry of the Postmodernist Prose“ is a monograph about Postmodernism, the last globally spread literary movement. The concepts of postmodernism and postmodern in the 1970s and especially in the 1980s penetrated into certain social sciences at the light speed – into philosophy, sociology, history of art, literary science and others – but because of their overly broad and contemporary use they soon faced their own inflation. Due to the inflation they are still used in enumerate meanings and in accordance with a famous postmodern motto anything goes. Virk’s book wants to define postmodernism in a different and more mandatory way, although the author is aware of the necessary plurality of how postmodernism is seen. Plurality however does not imply randomness; therefore Virk is attempting to outline his understanding of postmodernism as one of the possibilities of understanding postmodernism with as many arguments as possible and in accordance with the leading world theories. For that purpose Virk firstly outlines an overview of those theories, and then, based on accurate readings of separate postmodern texts and in a dialogue with other theories, he gives his view of postmodernism. The basic thesis of the book lies in the concept that postmodernism, from a spiritual-historic point of view, is the ultimate stage of metaphysical nihilism. At a formal level this standpoint is reflected in postmodern metafiction and inter-textuality that shake readers’ trust into the credibility of the world as rendered by the literature.
Excursions abroad gives a selection of interpretations, essays and comparative studies on several significant authors from the world literature. This book comprises a selection of prose writers its author, Prof.Virk, for various reasons finds particularly attached to and whom he intensively studied. The chosen authors come from three distinctive worlds in terms of literature and culture – thus the book is aptly, and a bit Hegelianly, divided into three parts, each bringing three authors. The first chapter features treatises from the Spanish language-based literature and the authors who are either historically (Cervantes) or culturally and geographically (Borges, Márquez) remote from contemporary Slovenian and Croatian readers. The second chapter is devoted to the authors comprising modernist Middle European environment, thus making them more familiar in terms of both culture and geography (Muschg, Kafka, Eco). The third chapter deals with the Russian literature (Dostoevsky, Bulgakov, Akunin) we may consider rather close, but at the same time very distant as well. Each of the three parts – thematically as well as in terms of the author selections – depicts an archway from canonised classics to postmodernism.
The book titled Jewish Sextets by Prof. Vid Snoj, PhD, comprises essays on six modern Jewish authors: Gershom Scholem, Erich Auerbach, Franz Werfl, Lev Shestov and Franz Kafka. The modernist literature, broadly speaking, from the Enlightenment onwards, has been featured by the „Jewish emersion“ in the areas of science and spiritual teachings, art, music and literature. The common interpretation of the exceptional achievements of Jewish people in all these areas is attributed to the opening of ghettos, simultaneously leading to the cessesion of the fixation on the holy scriptures and the banishment of depicting the image of the God, and so on. For example, it is obvious that, from the point of Christianity, the choseness of the Jews ended in the area of religion. The choseness then extended into the art which, on the other hand, resurfaces as a realm of epiphany of what is – or as a space of a-phany, un-utterencing, obliteration, nothingness, replacing thus the religion. The creative work by the Jews in the real world almost throughout their history, not only in the modernist literature, has been emerging from the deep and spiritual experiencing of the chosen ones and the exile, the chosenness on earth and the exile from the worldly places. This experience brings Jewish people into a particular position – being countryless in a country; being chosen for the world but homeless.
The book Theory of Translation is a master’s thesis by the author Ksenija Premur, a degree she received in 1997 from the Faculty of Philosophy in Zagreb, Department for Slavic Languages. This work is a thorough and multi-layered study into the fundamental problems of the theory of translation. Starting with the treatise about the relationship between general and individual approaches of the theory of translation resulting in deductive (general, universal) and inductive (individual, empirical) approaches, the author introduces the debate on the types and forms, along with the models of translation. This work elaborates oral and written translations, as well as translation of fiction and scientific texts, which covers the whole range of practices. The problems of translation are given a thorough break-down of the main categories of translation at a level of a general theory, and a worked-out comprehensive overview of the relationship between theoretical and empirical, down to practical, communication, stylistic and textual models of translation. Furthermore, special principles of oral and written translation were elaborated and given individual chapter in the thesis about the theory of translation. The treatise is immersed into an interdisciplinary grid spreading the discussion on the theory of translation from sociological, psychological, linguistic and literary aspects.
The Aspects of the Theory of Translation is a comprehensive and exhaustive theoretical and empirical study of the problems of translation based on the concrete analysis of translation solutions from English into Croatian, and from Croatian into Russian languages, with the material coming from various genres, from philosophical texts to essays and fiction. This profoundly valuable piece of work is a result of a personal prolific translating experience, but also a theoretical research into problems of translating; this book represents the third published work, coming after The Theory of Translation (1997) and Models of Translating (2005). A deep analysis of translation patterns connects general theoretical issues with the concrete translation practice thus representing a valuable contribution and material both theoreticians and translators will reach for. The unwritten rule is that poets should translate works of other poets, while scientific and technical texts require special skill sets only experts who mastered fundamental specialized terminology possess. This is a division between two chapters on the theory and practice of translation – fiction and scientific materials setting up particular requirements before translators. When translating fiction, the reality of space and time of the literary set-up, either prose or poetry, is fundamental. When it comes to scientific and technical translating, what matters is the core of the translation, adequate transfers of concepts and their environment. While textual translating model is mostly preferred method with scientific translation, in literary translation it is the genre-stylistic model that provides best results.
The book titled Models of Translation is a theoretical treatise of the three fundamental translation models – textual, genre-stylistic and communication – lying at the borderline between general and special theories of translation. While the basic guideline of the general theory of translation is performing two main types of translating activities – adequacy and equivalency, from which main principles of translations arise – individual and special theories elaborate these categories from the point of empirical translation activities. Models of translation lie at the crossroads of general and special theories of translation. The main premises of the theory thus remain both within special theories and in genres of all translating activities, while the models turn into main link between various empirical translation rules. The textual model, for example, focuses on the text and context as its general and individual principle within which empirical analysis of the word-by-word, all the way to graphological translation is required. Genre-stylistic model is more inclined towards the interpretation as the main principle of translation, while the starting point of the communication model is the informative character of the text, leading up to the formation of the message addressed to the recipient of the translation creation. The work is applicable for translators in both theoretical and practical aspects and as such simultaneously draws attention of theoreticians of translation and the very translators. The book was published with the support of the Ministry of Science, Education and Sports.