Image and Word in Postmodern Poetry: Friederike Mayröcker’s BROTWOLKE

This article explores the interplay of visual arts and poetic images in postmodern poetry, focusing on the case of Friederike Mayröcker’s poem BROTWOLKE, nach Karla Woisnitza (1996) [BREADCLOUD, after Karla Woisnitza]. The article shows that BROTWOLKE belongs to a group of texts whose titles indicate an ekphrasis or an intermedial quality, but whose specific point of reference is absent. Rather than referencing to a specific painting, the poem thus showcases different aspects of the visual. Offering a close reading of the poem, the article explores Mayröcker’s special technique of image-writing and its dynamic effect on the reader. The article argues that the poem both “shows the word” and “writes the image.” It is shown that Mayröcker’s stream-of-consciousness is a process that refers to the act of writing in the first place and then to an inventory of texts and images that float the text as a stream of sense-data.

A. Blok and poetic strategies of postmodernism

Анализируется поэзия А. Блока, ее взаимосвязь с реалистическими, семантическими и перфомативными аспектами творчества русских постмодернистов. Тексты рассматриваются как способ мотивирования поэтических знаков в постмодернистской традиции. Они позволяют контекстуализировать модели выразительности в авангардистской поэзии и выделить основные парадигмы в ее трактовке, адаптировать художественные приемы и поиски нового языка. Отдельное вимание уделяется особенностям поэтического высказывания и ее взаимодействию с пространством стиха. Интерес акцентируется на диалектике разрушительных и созидательных сил в деконструктивизме наследия Вс. Некрасова, Д. Пригова, Т. Кибирова и др. Обсуждается актуальная проблема для теории современной поэзии: что стало с постмодерном как языком описания эпохи в XXI столетии. Особое внимание уделяется преемственности новых концепций с предыдущей культурной традицией в негативной и позитивной версиях. Тема особенно актуализируется благодаря выраженному стремлению представить тексты А.Блока и постмодернистской поэзии как культурное выражение новейшего времени. An analysis is made of the poetry of A. Blok, its relationship with the realistic, semantic and performance aspects of the work of Russian postmodernists. Texts are explored as a way to motivate poetic signs in the postmodern tradition. They make it possible to contextualize models of expressiveness in avant-garde poetry and highlight the main paradigms in its interpretation, adapt artistic techniques and searches for a new language. An attention is paid to the peculiarities of the poetic expression and its interaction with the space of the verse. The interest is focused on the dialectic of destructive and creative forces in the deconstruction of the legacy of Vs. Nekrasov, D. Prigov, T. Kibirov, etc. The paper discusses the actual problem for the theory of modern poetry: what has become with the postmodern as the language of describing the era in the 21st century. Particular attention is paid to the continuity of new concepts with the previous cultural tradition in negative and positive versions. The theme is especially actualized due to the expressed desire to present the texts of A. Blok and postmodern poetry as a cultural expression of modern times.

ILHAN BERK IN THE RELATIONSHIP OF PAINTING AND POET IN LINE WITH THE CONCEPT OF INTER-ARTISTS "SEKER AHMET PASA / PRIVATE PROMISES"

In this study; The painting-poetry relation by Şeker Ahmet Paşa's "Education Men" painting and the poem "Şeker Ahmet Paşa / Talim Making Erler" with the same name, named İlhan Berk, were examined with the inter-art method chosen as a subject. The link between the structure and content of postmodern poetry and painting has formed the backbone of this study. In this context, it is aimed to examine the sources of modern and postmodern art, without leaving their own special fields, and while paying attention to their special fields, common concepts and images have been brought together. The research was conducted with the content analysis method on the basis of qualitative approach. In addition, in the study, the table of "Education Performers" was read with the method of visual reading and the poem titled "Şeker Ahmet Paşa / Talim Making Erler" was examined by content analysis technique. Ecfrasis has been handled in the relationship between painting and poetry, which has been intimate throughout the history of art, and two works have been researched in this direction. In the study, ecfrasis was explained and it was explained how it found a place in inter-arts. Berk presented a replica made with letters, which makes the work visible thanks to the formality of the poem. By looking at Şeker Ahmet Pasha's painting, he determined the credits of the painting and wrote his poem in line with this line. Thus, the content of the poem was included in the composition in terms of form, as well as the picture. In addition, while Berk attributes this work to himself, he emphasized Şeker Ahmet Pasha by placing the name of the painter in the name of the poem. The poet has made it a mission to serve and advertise the painting in this inter-art work in which poetry is the framework for the painting. With this study, which is thought to contribute to the literature, it is predicted that it will constitute a different example where ecfrasis and self-appropriation methods are used together.

سبک ادبی مجموعه شعری «درغارهای پر از نرگس» علی باباچاهی The Literary Style of Ali Baba Chahi’s collected poems In Caves full of Daffodils

ادبیات فارسی معاصر در گستره پهناور خویش در بردارنده سبک ها و روش و نوآوری ها و نمودهای گوناگونی است یکی از عرصه های شعر فارسی معاصر که در حدود نیم قرن پیشینه اش اندک اندک جای خویش را باز می نماید شعر پست مدرنیسم است. علی باباچاهی از سرآمدان شعر پارسی در عرصه پسا نیمایی و پست مدرن محسوب می گردد. این پژوهش بر آن است تا با مطالعه در مجموعه شعر در غارهای پر از نرگس، به ویژگی های سبکی عمومی وهمچنین نوآوری ها و خلاقیت های سبکی که باباچاهی در این اثر، پایه نهاده است دست یابد. در نتیجه این پژوهش بسیاری از اختصاصات سبکی شعر پست مدرنیستی باباچاهی با پختگی و کمال بیشتر، نمایان می گردد وافزون بر آن شناخت بیشتری در زمینه نقد و بررسی تحلیل سبک شناسانه کتاب در غارهای پر از نرگس فراهم می گردد. Abstract Post Modern Persian poetry that is rich with visions and creations has slowly but firmly regained its statues in modern Persian literature and poetry. Ali Baba Chahi is considered one of Iran’s most prominent postmodern and post-Nimaie writer and poet. The present paper discusses the general style characteristics as well as the distinctive stylistic creations of Ali Baba Chahi as presented in his collected poems In Caves full of Daffodils. In conclusion, the study crystallizes some of the stylistic characteristics of Ali Baba Chahi as a leading figure in postmodern poetry. The study, also, provides a comprehensive critical analysis of the collection of In Caves full of Daffodils.

Abstract Expressionism Techniques in John Ashbery’s "Self-Portrait in a Convex Mirror"

John Ashbery (1927-) is one of the most prominent postmodern poets in America who is known for his innovative techniques. He continues to be the most controversial poet, as he disregards the laws of logic in picturing reality. Ashbery’s style is deeply influenced by the experimental methods of modern painting. He has been mostly associated with Abstract Expressionism that signifies the great progress in the European avant-garde visual art. The Abstract expressionists often choose to present subjects in graceful distortion, rather than attempt to record life with absolute accuracy. Ashbery’s “Self-Portrait in a Convex Mirror” is typical of ekphrastic poetry. It is inspired by a painting which has the same title by the sixteenth-century Italian painter, Francesco Mazzola. The painting is not a realistic portrait of the painter, for it is deliberately distorted as it would be in a convex reflection. Ashbery unfolds the essence of postmodern poetry which illustrates the inability of the forms of language to capture the reality beyond the mental image. Like the Abstract Expressionists, he makes of his poems a depiction of the real workings of the mind which is liberated from all the constraints. Furthermore, the poem is a verbal depiction of the painting; it assumes and transforms the inner voice of the portrait.

DECONSTRUCTION OF THE SACRAL CHRONOTOPE IN POSTMODERN POETRY (BASED ON S. ZHADAN’S POETRY)

The research considers the main aspects of the formation of a chronotop in the postmodern text. The article analyzes the ways of ironic desacralization of time and space in S. Zhadan’s poetry. The sacred time by cyclicality, which is its main organizing feature, a guarantee of harmonious existence in the world. Images of cyclic time allow postmodern author to reproduce the usual for mythological consciousness perception of time on another aesthetic-mental level, providing otherwise the filling of the traditional. The cyclicity of any time space, in particular, everyday, historical, cyclicity and, accordingly, sensuality and absurdity of any phenomenon, individual or collective residence, a sense of uniqueness, is stated. In fact, the cosmic meaning of the sacred time space is individualized, coming from the macrocosm into the microcosm, becoming the property of each individual in its everyday existence, often remote from holiness or even the opposite of it. The author emphasizes that the postmodern deconstruction of the chronotope does not necessarily imply his absolute unveiling and the removal of the opposition of the sacral and profane, since it is possible to superimpose chronotopes in the subject’s reflection. Need to clarify the thesis that postmodern space (wider time space) is a space in which the opposition «sacred-profane» disappears, because in the discourse of Ukrainian postmodern poetry the desacralization of time space has a more complex form and a non-one-dimensional realization.