Key words: Borislav Pekić, Expressionism, the destruction of reality, the form in . in Pekić’s trilogy: Besnilo, Atlantida, and (Rabies, Atlantis, and ). Borislav Pekić (Serbian Cyrillic: Борислав Пекић, pronounced [bǒrislaʋ pěkitɕ]; 4 February .. , novel, Ljublijana, Zagreb: Cankarjeva založba and Belgrade: Književni glasnik, NIN, Godine koje su pojeli skakavci [“The Years the. Metaproza–čitanje žanra: Borislav Pekić i postmoderna poetika. _> ; #

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Skip to main content. Log In Sign Up. Such an approach is warranted by the author himself quite explicitly in what I shall call his “essay-manifesto” of”The Myth of Literature and the Myth of Reality.

However, he recognizes the interaction between life and art. During these twenty-seven years, he published his major novels, works that immediately and consistently attracted the attention of literary critics. Uspenje i sunovrat i Odbrana i poslednji dani Belgrade: Pekkc, Citatnost i intertekstualnost u negativnim utopijama Belgrade: O prozie Borislava Pekicia Opole: Zbornik radova 3 Podgorica: A Legacy Upheld,” Serbian Studies 15, no.

Besnilo, Atlantida, and Rabies, Atlantis, and The Destruction of Profession, or the Myth of the Writer; 2. The Destruction of Reality, or the Borisalv of Man; 3.

The Destruction of Civilization, or the Myth of Progress; 4.

Metaproza–čitanje žanra : Borislav Pekić i postmoderna poetika

The Destruction of Memory, or the Myth of Self; 5. The Destruction of Literature, or the Myth of Art; 6. The Destruction of the Future, or the Myth of Hope. Therefore, I shall begin with a brief survey of borislsv other six principles of his programmatic writings. As is clear from the titles, each section treats a particular type of destruction: Razaranje profesije mita o piscu ; 2. Razaranje civilizacije mita o napretku ; 4.

Razaranje memorije mita o sebi ; 5. Razaranje morala mita o slobodi volje ; 6. Spengler does not foresee any future for mankind, predicting, rather, that the global economy will eventually collapse as part of the grand process of civilizational decline.

As a consequence of the ppekic me- chanical and technological advances, the “Faustian” culture of Europe and the West would be threatened.

Of course, any given text can have multiple interpretations depending on many factors. Louisiana State University Press, pekoc I acquired the idea about the unavoidable alienation of the species, from which all individual alienations and misfortunes derive, including also misunderstanding and unacceptability of death.

I acquired the idea of the unavoidability of the complete materialization of life [which will last] until its total deadening, in the same way as this cycle of the cosmos will perish by the overaccu- mulated density of one and the same basic element [original emphasis]. Nietzsche, of course, in- fluenced Spengler and the entire generation of intellectuals in the first half of the twentieth century.


However, Goethe boris,av even stronger influence upon Spengler than Nietzsche.

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Accordingly, Spengler views the progression of societies from an organic to an inorganic way of life, from the biological to the mechanical. According to Spengler, the Faustian soul is the Satanic soul—based on the abso- lute necessity of free will, and seeking to know the infinite.

As already pointed out, and as the citation above clearly reveals, he attacks reason and logic severely. I 1999 touch upon this aspect in the last section of the study, “Literature and Society.

Vorislav je igra koja se igra kroz cio ovaj vijek, rekli bismo mi. BIGZ, and vols.

Borislav Pekić

The Destruction Of Reality, Or The Myth Of Man 77 first of all be pointed out that it constitutes the underlying idea of the title of the essay-manifesto: Expressionism encompassed all the arts painting, sculpture, music, film, theater, architecture, and botislav and is considered to be a revolt against re- alism and naturalism. The movement began between andspanning World War I, the post-war “frozen” revolution and civil war in Germany, and the Bolshevik revolution of in Russia.

It lasted officially until the Nazi re- gime was established in Germany in s. Expressionism encompasses the post-im- pressionist or anti-impressionist movement in art. It was subjective, emotional, based on “inner feeling;” an anti-intellectual, anti-scientific art opposed to the Renaissance tradition.

Borislav Pekić (Author of Besnilo)

Thomas Anz, Literatur des Expressionismus Stuttgart: Metzler, ; Neil H. Camden House, Gunter Martens, Vitalismus und Expressionismus Stuttgart: Peter Lang, ; Bruno Hillebrand, Nietzsche: The transformation of reality via language, or within language, was the most impor- tant feature of this literary and artistic revolution. Since on my manuscript there is an invisible warning: The para- dox is alleged. In my efforts to make it more artificial through reflection and through estrangement, in order to separate it from reality as resolutely as possible, I intend, in fact, to raise it in that way to a new, paradoxical and independent from nature—naturalness.

A Companion to the Literature of German Expressionism, Sprachliche und thematische Quellen Stuttgart: Kohlhammer, ; Otto F. The Expressionist Heritage South Hadley: Bergin, the other articles in the volume are useful as well. For a list of articles and books published in Germany in the first decades of the expressionist movement cf.

Ratych, Ralph Ley and Robert C. Camden House, ; Richard Brinkmann, Expressionismus: Thomas Anz and Michael Stark Stuttgart: Metzler, ; Expressionistische Prosa, ed. Dierick gives a brief summary of the German expressionist manifestos that date from the formative years of the movement saying, among other things: Nor does it see its goals as that of imitating nature it considers this neither possible nor desir- able [my emphasis].

Not even the expression of the most individual emotions suffices for it, since this would go against its aim of reaching a more universal level. Theory and Practice Toronto: University of Toronto Press, In order to avoid mimetic representations of reality, the aesthetic object is distorted, disfigured and ex- aggerated.


The subject reconstructed in a deformed or transfigured context is made to appear alien, and this alienated confrontation reveals what has been obscured and desensitized by institution- alized patterns of repetition. In this way, the work creates its own symbolic, and not pdkic, reality.

Paradoks je tek prividan. Fischer, quoted from Der Aktivismused. Deutscher Taschenbuch Verlag, Certainly, Benn has in mind the genealogy of the movement. In fact, we see Expressionist principles being continued in vorislav mid- 1999 century as an integral part of the poetic language of the works of Neo-Expressionists. Expressionists feel free to create their own sub- jective universe. Their hallucinatory, dreamy, hyperbolic, and morbid visions are attempts to project unmediated subjectivity onto externalized forms and thereby transcend the conventional uniformity imposed upon sense percep- tion.

Thus Expressionist visions of chaos, violent contradictions, and irrepa- rable catastrophes predominate over everyday reality. While most expressionists were pacifists, in his manifesto, Marinetti glorified war and violence, and celebrated the machine.

Limes Verlag, How to Quiet a Vampire: A Sotie, Translated by Stephen M. The Destruction Of Reality, Or The Myth Of Man 81 phantasmagoria Golden Fleece Zlatno runo,in particular his tril- ogy Rabies Besnilo,and Atlantis Atlantida—are permeated with violent spectacles, inflammatory hyperbole, and apocalyptic declarations; they communicate a condition of chronic catastrophe and ubiquitous panic.

As Theodor Adorno astutely describes: He describes such techniques as creating vampire existences in his broislav Every successful work creates its own reality [original peklc.

Thetford Press, Svako uspelo delo ostvaruje svoju stvarnost. The Expressionist does not see, he beholds. He does not describe, he experiences. He does not reproduce, he creates. He does not accept, he seeks. There is no bprislav the chain of facts: Now borislaav is the vision of these things. Facts have importance only because the artist reaches through them to what is beyond. He recognizes what is divine in factories, what is human in whores. He incorporates the accident of individuality into the totality that constitutes the world.

Instead, he produces something abstracted from reality, that is, a bare minimum representation of reality, or something abstract- ed in borislsv sense that the norms of time, place and individuation of characters have been completely abandoned.