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21
 Jovan Deli

THE POETRY AND RESISTANCES OF OSKAR DAVIO

Summary

This paper envisions the poetry of Oskar Davio in the

context of Surrealism, social poetry and revolution. Surrealism
had a fertile and inspirational influence on Davios poetry be-
cause Davio never had a dogmatic, religious stance regarding
that movement, but the creative attitude of a poet. The resist-
ance to poetry originated, on one hand, from the Surrealist
dogma, and on the other, from serving Stalin and the revolu-
tion. The resistance came not only from without, it came from
within as well: from the internal dichotomy, poetry-revolution.

22
 821.163.41.09-1 .

(radovanvuckovic@gmail.com)

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23
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35
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, , , -

Radovan Vukovi

THE SOCIAL POETRY OF OSKAR DAVIO

Summary

Two voluminous collections of Davios poetry from his

Complete works (Tragovi [Traces], Vinja za zidom [The Cherry-
Tree behind the Wall]) contain mainly poetry of a social charac-
ter, even when they deal with love and childhood. This paper
mentions only the lesser part of those poems and, sporadically,
offers analysis, but even that gives an insight into the nature
and quality of that part of Davios poetry. These poems were
based on the poets immediate experience of the reality, and
partly on his prison experience. Therefore, they are formally
different, but they are all characterised by a rhythmical, meta-
phoric and lexical abundance, an attempt to prove that reality
could be largely transposed into poetic forms. Consequently,
being varied and rich, the poetic language in Davios social
poetry is also orchestral, meaning that he tries to introduce
different, even contrasting pictorial and aural elements by the
means of a opulent lexical registry. Open towards all regions
of the linguistic heritage, Davio widened his vocabulary with
words more common in the Croatian region, following the re-
verse example of Tin Ujevi at a time he wrote of that poet
(Pesme Tina Ujevia [Poems of Tin Ujevi], 1938). This is a
distinctive value of Davios interwar social poetry.

36
 821.163.41.09 .

,
(slobodanka.pekovic@gmail.com)

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48
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53
 Slobodanka Pekovi

REVEALED OR HIDDEN AUTOBIOGRAPHY

Summary

Although it seems that Oskar Davio went through vari-

ous poetic phases, and used different poetic tools, his lyrical
opus contains links that connect everything he wrote. He
transposed the procedures of Surrealism onto his social and
revolutionary poems: his entire work contains constants
such as the yearning for freedom (in poetry as well as in life),
honesty in feeling and thought, and, most importantly, har-
mony between poetry and the life he lived.

54
 821.163.41.09-1 .
821.163.41.08 .

(sashapt@hotmail.com)

20.

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1979: Davio, Oskar, Izabrana poezija. Beograd.
2011: , . , -
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tura panskih Jevreja na jugoslovenskom tlu, Beograd.
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2011: , , -
?... <http://
www.study.ru/support/lib/note210.html.>
Shakespeare, William (ed. Colin Burrow), The Complete
Sonnets and Poems Oxford, 2002.
, . 8, 4.

75
 Aleksandar Petrov

DAVIOS POETRY OF THE THIRTIES AND FORTIES

OF THE 20TH CENTURY

Summary

Davios poems written in the thirties and forties derive

from his resistance to the academist features of traditional
poetry, the dogmatism of social poetry prevalent at that time,
but also to the modernist and avantgarde (surrealist) poetry.
His intention was to forge a synthesis following the principle
of the aesthetics of activation rather than of identification
or only opposition (principles pointed out by Y. M. Lotman).
However, on coinsidering Davio s poetry of that period it is
necessary to partly revise Y. M. Lotmans aesthetics of the
third case: some elements of structure are activated to be
renewed rather than to be destroyed, but Davios innova-
tions in this period involve genre, poetic language and themes.
Davios love poetry has secured him an outstanding position
in Serbian poetry, while as a poet who anticipated the poetry
of the Holocaust he has to be recognised not just in the limits
of Serbian literature.

76
 821.163.41.09-1 .

,
(d.l.hamovic@gmail.com)

:

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91
 Dragan Hamovi

OSKAR DAVIO IN THE CONTEXT OF THE POETIC

MODERNISM OF THE FIFTIES

Summary

Davios poetry contributed practically to the current

questions of modern Serbian poetrys development in the
mid-twentieth century: mostly by using a dynamic and col-
loquial poetic language, penetrating into new spaces of the
poetic image and multilevel metaphors, as well as by dem-
onstrating the irreplaceable role of a strict metric and formal
framework for the integration of different, distant impressions
that modern poetry reaches for. Such an effect was recognised
and acknowledged among younger modern poets as well, and
represented a basic influence on the articulation of the Ser-
bian Neo-symbolist programme. On the other hand, his break
with the post-avantgarde current of modern Serbian poetry
occurred because of his attitude towards tradition, principally
the national tradition, as exemplified by the Christian medi-
eval heritage; Davio always exhibited the utmost ideological
intolerance. This difference was displayed on the occasion of
the poetic mythopeia of Serbia. Davios and Popas experi-
ence of patriotic poetry are fundamentally different, although
they are both modern, revolutionary poetic voices with a
similar lineage. While Popa establishes markers of cultural
heritage as pure modern symbols with a deep, open subtext,
Davio reduce s his Serbia to a continuous battle, i.e. the
riot among nations, and excludes its central spiritual-histor-
ical myth, in fact, the entire tradition that shaped the peoples
identity. Davio condenses the inherited identity construct to
include merely the rebellion, love for freedom and fight for
social justice. From the mid-fifties till the end of his literary
work, Davio turns to an even more radical, renewed, rather
solitary avant-garde praxis, distancing himself from his own
highly valued results achieved in poems written immediately
before and after World War II, when his poetic influence was
most productive.

92
II
 821.163.41.09-1 .

(petar.pijanovic@uf.bg.ac.rs)

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118
 Petar Pijanovi

AN EXPLICIT POETICS OR THE ENGAGED SCREAM

OF OSKAR DAVIO

Summary

With certain simplifications, discounting Davios often

disproportionate ideologemes, one can claim that his poetry
and his literary reflections can be divided into three phases. In
the first phase, Oskar Davio tries to find the real poetic sign
in automatic writing, i.e. the dictate of thought without any
control of the reason. Davios explicit poetics follows that
lyrical position. In the second phase, the literary sign repre-
sents writing and thinking that are infused with reason, in-
fected with consciousness and history- Davios third phase
is marked by an awareness of the verbal signs insufficiency
and the necessity to search other media for a sign that would
properly express human thoughts and feelings.

119
 821.163.41.09-1 .
821.163.41.09-1 .
821.163.41.09-1 .

(tbrajo@eunet.rs)

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-
.

121
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,
.
/ , .
/ ( 1999:
52), , -
- -
- ,
- -
, -
,

. ,
, -
(),
() ()
, , ,
-
, ,
-
,
.

,
; -
,
,
, -
;
, -

136
 ,
--,
, ,
-
, -
.
,

: , -
; ,
, , ,
, , ,
. , , !

1979: Breton, Andre. Tri manifesta nadrealizma.

Preveli Lela Mati i Nikola Trajkovi. Kruevac: Bagdala.
1974: Davio, Oskar. Rituali umiranja jezika. Beograd:
Nolit.
1985: , . . :
.
1999: , . . : .
2005: Hopkins, David. Dada i nadrealizam. Prijevod
Duan Janji. Sarajevo: ahinpai.
Horkheimer, Max i Theodor W. Adorno. Dijalektika prosvje-
titeljsva. Prijevod: Nadeda ainovi Puhovski. Saraje-
vo: Veselin Maslea Svjetlost 1974.
Liotar, an-Fransoa. Postmoderno stanje. Prevod: Frida Fili-
povi. Novi Sad: Bratstvo-jedinstvo, 1988.
Lotreamon. Sabrana dela. Prevod i komentari Danilo Ki i
Mirjana Mioinovi. Beograd: Nolit 1964.
, . . -
. : , 1965.

137
Nado, Moris. Istorija nadrealizma. Preveo s francuskog Nikola
Bertolino. Beograd: BIGZ, 1980.
Popovi, Koa i Marko Risti. Nacrt za jednu fenomenologiju
iracionalnog. Beograd: Nadrealistika izdanja, 1931.
Reed, Christoper. Postmodernism and the Art of Identity.
Concepts of Modern Art: From Fauvism to Postmodernism.
Third edition, edited by Nikos Stangos. London: Thames
and Hudson, 1995. 271293.
Richter, Hans. DADA art and anti-art. Translated from the
German by David Britt. London: Thames and Hudson,
1997.
Sloterdijk, Peter. Critique of Cynical Reason. Translation by
Michael Eldred; Foreword by Andreas Huyssen. Minnea-
polis London: University of Minnesota Press 2001.
legel, Fridrih. Razgovor o poeziji. S nemakog preveo Drago-
mir Perovi. Beograd: Rad, 1992.
Taylor, Victor E. and Charles E. Winquist. Enciklopedia of
Postmodernism. London And New York: Routledge, 2001.
Ujevi, Tin. Kritike, prikazi, lanci, polemike. O hrvatskoj i o
srpskoj knjievnosti. Sabrana djela svezak VII. Zagreb:
Znanje, 1965a.
Ujevi, Tin. Eseji, rasprave, lanci II. O stranoj knjievnosti II, o
knjievnosti i umjetnosti, o domaim i stranim umjetnicima.
Sabrana djela svezak IX. Zagreb: Znanje, 1965b.
Ujevi, Tin. Eseji I: Poetika / Naa knjievnost / Strana knjiev-
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138
 Tihomir Brajovi

DAVIO, MILJKOVI, UJEVI: AN (IM)POSSIBLE

CONVERSATION ON THE FUTURE OF POETRY

Summary

The author of this paper uses romanticist (F. Schlegel)

and premodern (Lautramont) positions as reference points
and offers a comparative interpretation of three significant
Serbian and Croatian modernist poets understanding of the
possible status of lyrical poetry in a future society. These opin-
ions, significantly determined by the Dadaist-Surrealist and
the Avant-garde view on cultural and ideological conditions
of the poetic texts genesis, place their cognitive focus on the
relationship between mans rational and irrational capabilities.
Despite suggesting the existence of opposite, integralist and
assimilative visions, these opinions meet in a reflexion on the
relation between poetrys position and the civilisatory idea of
emancipation. When read in that context, the poetry collec-
tions and essayistic-theoretical thoughts of the late Davio,
displaying certain similarities with postmodernist views, tes-
tify, in their own way, on the productivity of a theoretical de-
bate about the future of poetry.

139
 821.163.41.09 .

(aleksandar.jus@gmail.com)

: -
, (1969)
(1974) -

-
,
.
: , -
, , -
, , , -
, , .

1. ,
,
-
:
-
( 2007: 1115). , -
,
, -
. ,
,

. , -
-
:
, -
, , , , -

141
 ,
.


, .

, ,
, -
, 130 .
( 1818.
1852. ),
,

(. ,
, , -
.).
( 19. 20. ),
-
,
,
, (.
, ,
.).

.
1.1. -

, -
,
, -
.

,
-
.

142
 ,
,
-
.
,

,
.
, -
, -
.
-
-
-
, .

2. . -
-
, ( 1969) Rituali
umiranja jezika ( 1974). -
, -

,
.

: . -
. ( 1969: 86).
, ,
-
,
: : .
. . , .
, -
? ( 1969: 14).

143
 -
, , ,
. . -
. ,
,
. . ,
( 1969: 306).

3. -

-
. ,

-
: .
. ? ?
! . , , -
! ? ?
? ? ? ? ? -
? ( 1969: 10).

4.
-
. ,
-
:
. -
. , ,

, (
1969: 25).

, ,
,
, -

144
 - , -
:


,
, , ,

, , -
. ,
,
, , -

. . -
, ,
, .
. .
( 1969: 18).

5. -
.
-
,
: U tom je periodu razgoreli
ovinizam, sa koljakom svojom svitom tradicija, noeva,
bradatih i obrijanih popova, jo mogao uspeno da igra na
etnostrukturnim razlikama izmeu hleba, kruha, pogae,
taina, somuna i lepinje, jednom rei, razlika izmeu ije
i vrata ( 1974: 120). -
,
, -
,

,

.

145
 ,

. -
, , ,
: .
a,
-, .

( 1969: 193).
-
,
,
:
,
, ,
-
, ,
, ( 1969: 1819).

, -
: -
,
, -
, -
, -
-
( 1969: 22).1

, -
. , , teko je
poverovati da je ukusu savremenika blia katolika ili

1 -
-
( -
).

146
pravoslavno strukturisana metafizika opsesija negoli ona
revolucionarna, otvorena matanju i luenju budunosti
dozvane u oseanja ( 1974: 3435). -
, -
,

-
: Dopusti li [ . . .] danas
sebi, pod raznim pritiscima, da na nain koji ne odgovara
pevanju, postane direktno svrhovita i poslui neposrednoj
propagandi, reklami religije ili vina epsko-lirske varijante
Knez Lazar, ili nekim od tekuih, mudroslovnih slogana,
ona je u opasnosti da samu sebe izgubi ( 1974: 36).
:
,
.

6. , -
-
. .
-
.
,

, -

, .

, ,
, -
: , -
, , ,
, ,
, , ,
, , ,

147
 , ,
(
1969: 37). :
ak i kad bi poezija pristala da bude puko prepisivanje,
to jest kiprijanisanje sebe u stilu Raanina, na koje se svodi
svaki paseistiki tradicionalizam ( 1974: 187).
, , -
, , ,

: , , -
, ,
, .
. ,
, ?
( 1969: 119). -
-
,
,
,
, (. : ).
-
-
: Istina, sline
vrste ideolokih odraznosti, ponavljajui srednjovekovna
shvatanja, usvajali su i predbalkanskoratni graanski
srednjokolski profesori estetike (recimo nivoa pokojnog
Bogdana Popovia ili Pauline Lebl-Albale, da ne bih
pominjao ive pokojnike). No ako jedan savremen pisac,
njihov posredni uenik, jo uvek tvrdi da je Rastko
Nemanji u ime temeljnog kamena srpske poezije, koji
predstavlja njegova biografija oca mu kralja Nemanje,
jednom za svagda odredio toj srpskoj poeziji vertikalnu
orijentaciju, potrebno je upitati tog omatorelog junou ta
znai verovanje koje ima za pretpostavku takvo tvrenje,
verovanje da je u dvanaestom veku sin jednog prosveenog

148
kralja, i sam svetac, ujedno hilijastino jedinstven ovek
koji je, pored cenjenog i neprocenjenog feudalno-dravnog i
organizacionog talenta, ali i ne naroitog visokog teolokog
idejnog obrazovanja, bio, po svojoj prilici, dovoljno pismen
i darovit, mada nije raspolagao talentima, kao i onim tad
ve postojeim saznanjima to bi ga poetski kvalifikovala
[...] ( 1974: 72). -

, 12. ,
,
(-
),
-
: Odobravajui spaljivanje bogumilske knjige, njegov
filocenzorski u sutini naslednici iz XX veka plediraju za
vertikalnu orijentaciju, to se svodi na veru u diktaturu
boga adinoga u pravoslavnom sosu, kao to su se svud i svi
potonji danovi zalagali za vlast hijerarhijske vrste ruke,
birokratske ili druge, samo ne za slobode levog matanja,
bez koje umetnosti nema danas i nije moglo biti nikad, pa
ni u srednjem veku ( 1974: 73).
6.1. (-
) , ,
,
. -

,
( ): -

-
2.

2 .
, -
19.
, .

149
, ,
.
. -
,
, ,
,
,

.
, ,
. . , -
,
, .
, , .
XIX (-
1969: 36).
(), -
,
, -
,

. (
-.)
6.2. : -
anti-tradicionalist po svom najdubljem
duevnom opredeljenju ( 1983: 7),
,
: Ruka Daviova, koja u ovo doba pomno
lista stranice Vukovog Rjenika, otkrivajui u njemu veliki
renik duha srpske bune, jeste ruka to trai sam ovaj
apsolut ( 1983: 30).
,
put njegov u revoluciju je put u seljaku,
hajduku, vukovsku Srbiju. I kroz njega je progovorio jezik
srpskog seljaka po istorijskom moranju: kao jezik osnovnog

150
nosioca narodnooslobodilake borbe (
1983: 3940).3
-
,
, ,
. -
,
, -
:
,
. -
,
,
( 2007: 215).

7.
. -

.
-
() :
, -
,
,
-
, , ,
, (-
1969: 212); Poeziji su nepotrebne etikete, zaduenja,
funkcionalni dodaci: ona ne uzdie due (do verovanja u
troglavog boga edinagog, pooima Muse Kestendije i sina
mu Jusufa-ie) ( 1974: 36); Jer primitivizam

3 -
, -
-
.

151
za primitivizam, ali ja nisam nikad bio za onaj danovski;
jo manje moe onaj nacionalistiko-pravoslavstvujui-
jevrejstvujui-islamujui ili katolikujui predstavljati
iskuenja za mene ( 1974: 38).
,
,
,
, .
-
-
,
-
( 1968: 102104,
1974: 30).
7.1.
, .
.
,
,

, ,
,

( 1958: 91): -
, , / ,
/ .

8. -
. ,
,
, -
.
-
: Pesnici koji oseaju nemo jezika
i misle da ona potie iz njegove neologizmotropije, a ne iz

152
njegove protologike, koju ne treba brkati sa neloginou,
uzalud pribegavaju arhaizmima, kao da je u tome nevolja,
a ne u tekom skokovitom prelazu iz sklopa u sklop, u
prelazu preko voda bez mostova, bez brodovlja kojima bi
se savladale krune reke razvojnih godova epoha (
1974: 63).
-
, . , -
: Ali ima i pesnika koji, oseajui
slabost obinih rei knjievnog jezika, jeziki ne bee
uvek u manastirska srednjovekovlja, nego u puke i laike
dijalekte. Ne manje srednjovekovne. Petrica nije promaaj,
nego domet. Uprkos svojoj dijalektalnosti. Ali i zato to,
ne budui dijalektalno autentian, donosi na dijalektalnoj
osnovici jedan neponovljiv, silovito individualiziran jezik,
semantiki i sintaktiki moderan, sloen, smeo i kulturno
razuen ( 1974: 85).
:
a priori, ,
,
.

, -

,
, -
. , ,
, -
.
-
,
, .
. -
(, -
, ), .

153
 8.1. -
( 1955) ,
:
, -
,
.
( 1958: 68). -

, -
.
8.2. ,
1953.
,
: , ,
: ,
, ,
( -
) .
-

( 1996: 143).

9. -
,
-
.
-
-
,

: , ,
( 2007: 1115). ,
,
, -
... , -

154
, ,
-
( -
) ,
,
.
9.1. Ritual umiranja jezika
: Jezici poezije ve su u agoniji
( 1974: 215). , , -
,


( , ),
( ,
.). -
, ,
, ,
.
-
(
) : Ne oduzimam [...] ni ideologiji
dvanaestog stolea njen istorijski i civilizacioni znaaj; [...]
ja samo ne odlazim na sednice i zborove koje zakazuju
vukodlaci i slini, i ne piem pesme po diktatu njihove
ideologije. Toliko ( 1974: 76).

1969: , , ,
: .
1974: Oskar Davio, Rituali umiranja jezika, Beo-
grad: Nolit.

155


2007: , , :
.
2007: , -
, : Sezam Book.
1983: Radomir Konstantinovi, Bie i
jezik, Beograd Novi Sad: Prosveta Rad Matica
srpska.
2010: ,
, : .
1996: , -
, : .
1958: , , -
: .
1968: Milorad orac, Jezik i stil Mihaila Lalia, Pri-
tina: Zajednica naunih ustanova Kosova i Metohije.
1974: Milorad orac, Stilistika srpskohrvatskog knji-
evnog jezika, Beograd: Nauna knjiga.

Aleksandar Milanovi

DAVIOS ATTITUDE TOWARDS THE CHURCH

SLAVONIC LINGUISTIC HERITAGE

Summary

On the example of Davios essay collections, Poezija, ot-

pori i neotpori (Poetry, Resistances and Non-Resistances, 1969)
and Rituali umiranja jezika (Rituals of one Languages Dying,
1974), this paper analyses the causes of this poets negative
and belittling attitude towards Church Slavonic lexis and tra-
dition, and concludes they should be sought in the dominant
post-war ideology.

156
III
 821.163.41.09-1 .

,
(alias@bvcom.net)

- :
-
(1938)1

Libert couleur dhomme

(Andr Breton)

:
(1938) -
-
:

. , ,
, a .
,
-
,
-

.
: , ,
(1938), () .

1938. , -

1 178008
,
,
.

159
 ,
. , -
-
,
/ -
/ ,
-
.

*
,
1938. ,

, ()
( , ), ,
, . , ,
.
79 -
-
; ,
,
,
. -

:
(15); (53);
(71); (82); (89);
(95); (102);
(104);
/-
() (/-
) :
(41); (82); -
(103); , (106);

160
 (84);
(93);
:
(26); (82); (98);
(121); , ! (126);
:
, (84).
, -
,
() ,
/ -
(, , ; , , ),
.
:
(9); (29); (50); -
(54); ;
(91); (93); (105);
(106);
(8); (11);
(20); (35);
(41); (... ) (45); -
, (46);
(48); (54); (55); -
(62); (89); (100);
(101); (103; 111; 112); , (113);
(9); (15); (26);
(32); (36); ; (48); (48);
(54); (55); (98);
(107); , (108); (110);
(112); (114); (115);
(117) (118);
(122)

161
 (9); (); (19); -
(21); , (22); -
. (23)
(30); (34); (36); (39);
, (40); (42); (44);
, (45); (47);
(48); , 90
(50); (51); , (54); , , (55);
(57); (62); (64);
(66); , (67); (68); ,
(70); ( );
(75); , (82); (86); (89);
(90); (92); (93); (94);
(109); (114); -
(114);
(116); (119); -
; (1193)

-

-

. , ,
(1938) () -
(1929),
(1930), (1930),
/
.
,
, ,
, , -
, .
,


, , , ,
, ,

162
 , - -
, -
.
(
)
( ),
-
,
,
... (, 1980: 5960)

, ,
-
, ,

, -
. -


, 1951. :
: -
. -
je . ,
, , . .
: . je
.
: . .
: ? je . -
.
: , ,
, ce
. .
...
: ? ? He ce.
: . -
,
.

163
 . y . .
. ,

, y . ,
, . ,

.
(, 1969: 2829)

2;
, --
, -
/, -
, , /
. /,
, -
, , ,
2 () -
,
,
, -
(
), , ,
( ) . , ,
; -
(,
, , , , , -
), -
, ()
() .
, -
, , , ,
, -
( ,
, ).
, ,
, -
, / .
.

164
, ,
-
.

, , ,
, -
. -
() :
, ! . !
? ,
: -
; oepea , :
; ,
: ;
: (: nihil
humanum...); : ,
, , , ,
, ,
.
.
,
, a
,
, ,
-
, .
;
,
, .
(, 1969: 235236)

, -
, (-
) / ;
,
, ,

165
 , -
. , , -
,
, ,
, , -
, , ,
.
, ,
,
/ -
/ ,
, ,
, .

*
-
1938.
/-
-
, , ,

. , ,
,

.
, ,

,
-
/
, /-
, / ,
, , ,
, (Brent, Key: 1723).

166
 3,
, ,
/-
,
, -
.
/
,

, -
,
, /
, -
.
,
-
, ,
/ ,

-
. -

(/) ,
, ,
, , ,
(Mead: 172)4. -
,

3 / ,
, , -
(Wolf, 2009: 224).
4 -
, ,
o
.

167
 ( , , ()
, ; Mead: 187).
,

, ,

,
(Carmen 63), -

5. ,
:
, /-
, ,
, , -
, 6. ,
, ,
, -
.

(, -
, , ).
, -

5 -
, -

.
6
: / (
, , )
, -
( )
.
-

, (Clarke,
2001: 177).

168
()
, -
(,
2009: 2979). ,
, ,

7.
*
, ()
1938.
-
-
, ,
,
. , () -
-

. ,
, ,

.
, , , -
, ,
,
,
-
( : 21+19+14+7+18; : -
[30]; [19]; [16]; [8];
[38]).
,

, , -

7 , ,
.

169
 .

,

. , ,
,
.
, --
,

, -
-
. ,
/

-
, ,
, /; /
; /: , /
, / (1938: 7). -
/ , -

( -
, ) , ,
(), (
).
,
-
/ -
, ,
-
, -
,
() . -
,

170
 , -
: / ,
/ , , j, / ?
(1938: 48).
,
,
- :
, / j j / j /
/ ? / j , / j j
/ / , -
?8 (1938: 48).

, ,

,
, -
.
( / /
, . / ,
/ / , ...; 1938: 74),
, , -
,
-.

, .
-
,
,
,

-
. ,
, -
8 ,
.

171
 -
-
( ? /
, / /
. / ; 1938: 81)9,
,
( . / -
, , /
, , . / ; 1938: 86).
-
, , , ,
, -
,
, , ,
. ,

,
a ,
, -
- (1938: 95).
, ,
(XVIII), -
,

. -

, , ,
, .
,

, / . -
, , ,

9 ,
( [...]
1938: 84).

172
 ,
, ,
()-
, .

*
() ,
, (1938)
.

,
, -
, /
/.

/
, -
, -
/,
, , .
, ,
, -:
,
, -
.

() -
,
,
,
, .

173


I
, (1938). . : Naa stvarnost.
, (1969). , . -
: ; : .
, (2008). , . Vrac:
KOV.
II
, , (1980).
, 19241933
. : .
III
Berlin, Brent; Kay Paul (1991). Basic Color Terms: Their Uni-
versality and Evolution. University of California Press.
Clarke, Jacqueline R. (2001), Colours in Conflict: Catullus
Use of Colour Imagery in C.63 The Classical Quarterly,
New Series, Vol. 51, No. 1, 163177
Mead, William E. (1899), Color in Old English Poetry,
PMLA, Vol. 14, No. 2. Modern Language Association,
169206,
Novakovi, Jelena (2009). Recherches sur le surralisme. Srem-
ski Karlovci; Novi Sad: Izdavaka knjiarnica Zorana Sto-
janovia.
Skard, Sigmund (1946). The Use of Color in Literature: A
Survey of Research. Proceedings of the American Philo-
sophical Society, Vol. 90, No. 3 (Jul., 1946), pp. 163249.
Wolf, Kirsten (2009). The Color Grey in Old Norse-Icelandic
Literature JEGP, Journal of English and Germanic Phi-
lology, Volume 108, Number 2, April 2009, pp. 222238

174
 Bojan Jovi

THE BLACK-AND-WHITE WORLD: DAVIOS

A-CHROMATIC POETIC VISION IN THE COLLECTION
PESME (POEMS, 1938)

Summary

This paper offers an overview of thematised coloristic

sensations in Davios collection Pesme (Poems, 1938): on one
hand, expressions regarding chromatic colours (colours be-
longing to the visible part of the spectrum), and, on the other
hand, the so-called achromatic colours, including black,
white and shades of grey. The author draws attention to the
distinctive misbalance between the number of examples for
those two categories and points out the principle of mono-
chromatic poetry and light contrast, clearly established from
the first poem in the collection onwards, which includes the
opositions light/darkness; black/white; day/night. On the ba-
sis of colour use, the author establishes certain conclusions
on the collections composition and its poetic summit in the
concluding poem, which unites all important postulates of
Davios poetic approach in his collection Pesme of 1938.

175
 821.163.41.09-1 .
811.163.41'373.612.2

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Goran Radonji

OSKAR DAVIOS HANA

Summary

The paper deals with the genesis and meaning of poetic

imagery in Oskar Davios Hana. The images in that poem
are complex, metonymic by origin, but in the context of the
poem they become metaphors. Those images appear in series,
forming contrasts which are at the same time undercut. In
that way the modernistic theme of identity is being developed
and the basic principle of the poem is paradox. Love awakens

185
the lyrical self, creating a new vision of the world, and his
identity is being challenged. The world is seen as grotesque,
full of evil, suffering, death, so that love cannot give the world
a deeper meaning, but the very possibility of loving in such a
world is being explored.

186
 821.163.41.09-1 .
821.163.41.08 .

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(svetlana.seatovic@gmail.com)

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u: Zyklusdichtung in den slavischen Literaturen: Beitrage zur
Internationalen Konferenz, Magdeburg, 1820. Marz 1997, Reinhard
Ibler (Hrsg.). Peter Lang, Frankfurt am Main, 2000, . 65.
( 2000: 65).

192
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stvennoj ciklizacii, : Zyklusdichtung in den slavischen
Literaturen: Beitrage zur Internationalen Konferenz, Mag-
deburg, 1820. Marz 1997, Reinhard Ibler (Hrsg.). Peter
Lang, Frankfurt am Main, 2000, . 5967.
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Svetlana eatovi Dimitrijevi

HANA THE CYCLE OF THE EROTIC AND

REVOLUTIONARY BEING

Summary

This paper analyses the forms and types of cycle organi-

sation in Hana. Childhood is contrasted with Hana, as
a form of cycle much closer to the form of long poem. The
interpretation leans on Russian theorists that dealt with lyrical
cycles, M. Darvin, V. Fomenko, and the Greek Slavist E. A. Ste-
riopoulou. The development of the lyrical cycle starts with the
long poem, so this displays the development course of the long
poem into the lyrical cycle. The analysis of separate poems,

206
their internal organisation and the interpretation of cyclic
links among the poems in Hana establish an internal logic of
this cycles dramatic development. Hana is interpreted as a
whole, but certain poems are also analysed as separate unities
that are interconnected to form a complete cycle. Hana is
viewed as a Surrealist cyclic structure that shapes the internal
dynamics of the poems organisation within the cycle.

207
 821.163.41.09-1 .

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(biljana.andonovska@gmail.com)

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Beograd: Prosveta, 1979. 377.
, . :
. :
[19511955]. , . : ,
1997. 5968.

Biljana Andonovska

RITUALS OF SURREALISMS SURVIVAL:

FROM OSKAR DAVIOS ANATOMY TO HIS FLORA

Summary

If we analyse the position that the experimental Surreal-

ist prose-lyrical collection Anatomija (Anatomy, 1930) holds
within Davios poetic opus, we may reach a new understand-
ing of his poetic strategies in the late fifties of the 20th cen-
tury. After Davio himself pointed out that the collection
Flora (1955) was based on a reworking of Anatomija, and R.
Konstantinovi registered a similar process in several poems
subsequently written for the cycle Detinjstvo (Childhood,
1958), we can establish the procedures of Anatomijas tran-
scription in other Davios post-war collections and texts,
particularly in the collection Kairos (1959), but in the Nastan-
jene oi (Inhabited Eyes, 1954/6), and the additional parts of
Zrenjanin (1958) as well. The collection Flora is paradigmatic

235
for an examination of the entire process of re-contextualising
Anatomija in this phase of Davios work, so this paper follows
the intertextual relationship of the two collections and their
immediate link, established in a fragment of Anatomija, where
Flora appears and is named for the first time. The further des-
tiny of this womans name motif, his/her repression and sur-
vival in Davios poetry, points to the typology of intertextual
networking which were introduced into Davios opus by the
multiple Transcribing of the Surrealist Anatomija. This pro-
cess of intertextual and autocitational linking can be read as a
separate phase or an aspect of Davios opus, which opens the
question of the nature and meaning of evoking the Surrealist
experience in the key moments of post-war Serbian poetry
and literature.

236
 821.163.41.09-1 .

,
(nperisic@gmail.com)

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1985: Zoran Gavrilovi, Neizvesnosti: ogledi i kri-

tike, Beograd: Narodna knjiga.
1969 V: , , ,
, 5, : .
1969 XX: , , -
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2002: , , -
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2007: Mirka Zogovi, Barok: Knjievna teorija i prak-
sa, Beograd: Narodna knjiga.
1956: Ljubia Joci, Nije dovoljna samo forma, u: Mla-
da kultura, Beograd, 13. V 1956, V.
M 1956: N. Milievi, Sumnje, u: Vjesnik u srijedu,
Zagreb, 4. IV 1956, V.
1968: , ,
.
1980: , , :
.
1990: ntoan Poro: Enciklopedija psihijatrij, prevodi-
oci: Mila Bati, Ljiljana Karadi, Slavica Mileti Vitas,
Olivera Milievi, Ana Morali, Branka Novakovi, Jelena
Novakovi; redaktor Vladimir Adamovi; Beograd: Nolit.

254
 1956: ,
: , : -
, 378, 12 ( 1956), str. 8187
1956: Antun oljan, skar Davio: Flora, u: Repu-
blika, Zagreb.

Nedeljka Perii

OSKAR DAVIOS FLORA

Summary

This paper was written as an attempt to read Oskar

Davios collection Flora (1955) anew. The collection was not
particularly noted at the time of its publication, apparently
overshadowed by Davios former, and certainly more famous
poetic creations, in the first place Detinjstvo (Childhood)
and Hana, and it still does not attract much attention when
the huge creative opus of this poet is analysed. Moreover, even
those researchers who reviewed this particular collection of
Davios poems, especially immediately after its appearance,
did not find much to praise in Flora: they mostly criticize the
excessive, almost meaningless hermeticism in certain parts, a
lack of lyricism, the obvious loss of poetic vigour and, occa-
sionally, voluntary construction of a vague and confused style
without a poetic justification. The author of this paper tried
to observe the collection, as much as possible, from within, by
following its internal logic and coherence. The interpretations
of nebulous symbols, both those religious and mythological,
stemming from different cultures, but also the historical and
love symbols, as well as the hypertrophied, baroque meta-
phors, were continuous with the logic followed, apparently, by
the collection as an entirety. This paper attempts to prove that
the composition of this collection is much more serious than
it seems if we judge at first sight, on the basis of its seemingly
dispersed architecture and dishevelled expression.

255
 821.163.41.09-1 .

(goran_korun@yahoo.com)

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257
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: 2005: 161173.

258
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260
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274


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.

Ades 2009: Ades, Dawn. (Dada and) Surrealism. Concept of

Modern Art. Nikos Stangos, ur. London: Thames and Hud-
son. 110137.
Aspley 2010: Aspley, Keith. Historical Dictionary of Surrealism.
Toronto: The Scarecrow Press.
2005: , . -
. .
: .
161173.
Derrida 2007: Derrida, Jacques. Pisanje i razlika. Prevela sa
francuskog Vanda Maki. Sarajevo: ahinpai.
Konstantinovi 1980: Konstantinovi, Radomir. Davio. Beo-
grad: Rad.
Kristeva 1970: Kristeva, Julia. La Rvolution du language po-
tique. Paris: Editions du Seuil.

275
Milievi 1956: Milievi, Nikola. Sumnje. Vijesnik u srijedu,
4. IV : 205.
Culler 2001: Culler, Jonathan. The Pursuit of Signs. London:
Routledge. 2001.
oljan 1956: oljan, Antun. Oskar Davio, Flora. Republika,
god. XII, br. 3 : 59-60.

Goran Korunovi

TIMELESS FLOWING THE INTERPRETATION

OF THE OSCAR DAVIO IN THE NAME
OF THE PLANTS

Summary

This paper will be dedicated to the analysis of the analy-

sis of the Oscar Davios poem In the Name of the Plants.
The intention is to draw attention to the organization of the
authors subjectivity, the distribution of indicator, the configu-
ration of metaphore and certain equality of present critical
insight wich are left on the tematization of elementary erotism
in the above mentioned Davichos poem.

276
 821.163.41.09-1 .

(sladja.j@sbb.rs)

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286
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293
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-
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294


1962: , . . : -
.
1969: , . , .
: ; : .
1983: , .
. : : ; : -
.
1998: , . . -
: : .
1955: , . . : -
.
1988: , . -
. : .

Slaana Jaimovi

TROPI OF OSKAR DAVIO A LYRICAL VOYAGE

THROUGH SPACE AND THE SELF

Summary

This paper interprets the poetry collection Tropi (The Trop-

ics) as a particular lyrical version of the travel experience, very
rare in Serbian literature. The exotic non-European space and
the travelogue impulse are clearly visible in the abundance
of motifs connected with exotic flora and fauna, the profuse
metaphorisation of various tropical landscapes, the topogra-
phy of African and South American settlements, extraordinary
aspects of life and nature. However, the exotic landscapes are
only an excuse to speak about the shadowy landscape of ones
own soul and its existentialist beat, as well as to explore the
ability of the lyrical word to encapsulate the entire complexity
of the outside and the inside in the poetic image or an amaz-
ing, ambivalent and fresh syntagm. In 1962, Oskar Davio

295
would also publish a travelogue from Africa, Crno na belo
(Black on White), where he clearly points out a completely dif-
ferent literary intention, and the travel writer devotes himself
to the political and social questions of Africa, to the problem
of colonialism and the recently established movement of the
Non-Aligned, frictions between political parties and attempts
to dethrone the heritage of European imperialism, and all that
through the medium of often stilted and pretentiously con-
structed discussions with his travel companions.
The lyrical realisation of travel experience in Tropi of Os-
kar Davio places this book among the rarest and most unu-
sual poetry collections with such themes. The extraordinary
lyrical travelogue that crosses travelling through the exotic
space of the tropics and the labyrinth of his own being joins
nearly all qualities and some weaknesses of Davios poetry.
Tropi, surpassing Davios travelogue by far, invite a new read-
ing and a re-evaluation of this poets poetry.

296
 821.163.41.09 .

(ivkovivkov@gmail.com)

:
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308
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( 2008:
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/.
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,

- .
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,
:
.

1977: , , , : ,
. ,
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309
 1960: , , ,
: , . . ,
, .
1991: , , ,
. , , -
.
2000: , , ,
, .
1989: , , , . -
, , .
2007: , , -
, , , .
1982: , , ,
. , , .
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, , .
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: , Ars Libri, .
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, . , , . 124
125, ,
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310
 2010: , , , :
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II, . , ,
.

Mileta Aimovi Ivkov

OSKAR DAVIOS POEMS OF LOVE AND DEATH

Summary

A constant creative relation between motifs/symbols of

love and death marks the complete work of Oskar Davio. In
this paper, the author examines, based on several representa-
tive examples, the way this poet meaningfully and produc-
tively correlated these two ambivalent principles throughout
his opus. By activating their archetypical and mythical poten-
tial and linking it to the events of living history, Davio built
his own creative form where love and death are objective cor-
relatives key elements of his poetic world and expression,

311
perhaps one of the most expressive in modern Serbian poetry.
To do so, he used complex phrases, expressive words and a lan-
guage base both rich and fragmentary, that comprised socially
typical terms, colloquial expressions and urban argot.

312
 821.163.41.09-1 .

,
(mrkavramovic@yahoo.com)

: -
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(1979)
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, 1999. . -

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1. -

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1980: 4647). , -
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.

313
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2, ,
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, 1999. . ,

2 -
: (1979), (1982),
(1983), (1985), -
(1986), (1987), (1987),
(1987), :
(1988) (1988).

314
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4 , , , 2008.

315
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316
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317
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329
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330
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-
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.
,
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( 1999: 15).

:
/ ( 1999:
50).
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, -
/ / -
( 1999: 40).
( 1999: 40),
.
:

332
 /
( 1999: 61).

, -
.
-
, , -
.
-
.
-
. ,
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, , ,
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, , 162. -
,
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.

,
.
, ,

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: [ ]
[ ] ( 1999: 89)

,
, -

333
 , , , ,
(. 1999: 93),

,

?

1960: , , , .
2001: ,
: , ,
, .
1982: , , , .
1985: , , ,
.
1987: , , -
, .
1987: , , ,
.
1988: , : ,
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1999: , , , .
2008: , , , .
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, .
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, , . 25/26.
1963: , -
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712.
1961: , -
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27, . 370-377.

334
 1968: ,
, , .
2009: , ,
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1998: ,
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1958: , ,
, .

Marko Avramovi

THE HAND OF DEATH THE LAST POETIC

DECADE OF OSKAR DAVIO

Summary

This paper analyses the poetry collections of Oskar

Davios last decae, from the Misterije dana (Mysteries of the
Day, 1979) to the posthumously published Prva ruka (First
Version), written during the last months of the poets life and
published only in 1999. Besides an attempt to give some basic
coordinates of Davios late work, this paper accentuates the
thematic dominant of Davios late books, namely death.

335
IV
 821.163.41.09-1 .
821.163.41.09-1 .

(radivojemikic@gmail.com)

: ,
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339
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344
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345
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361
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Radivoje Miki

TWO MODELS OF THE LYRICAL AUTOBIOGRAPHY

OSKAR DAVIO AND BRANISLAV PETROVI

Summary

This paper positions the centre of interest into an unu-

sual type of literary text verse autobiography. In Serbian
literature, autobiographic texts appear in various stylistic
formations, but they lived through very important changes
in the Avant-garde literature and in Serbian literature of the
second half of the 20th century. This is why the subjects of this
analysis are the poetic works of Oskar Davio and Branislav
Petrovi, poets who belong to different poetic orientations,
but who love to, each in his own way, change the boundaries
between literary genres and the frames for the application of
certain literary devices. And while Oskar Davio transposes
autobiography into verse form as an integral literary form,
Branislav Petrovi introduces autobiographical elements into
his poems dispersedly, since his goal is, quite obviously, to con-
nect his poetic world to the so-called reality, especially that
reality which is part of his biography.

362
 821.163.41.09-1 .

(valentina.hamovic@gmail.com)

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Valentina Hamovi

CHILDHOOD IN OSKAR DAVIOS POETRY

Summary

Davios attitude towards the phenomenon of child-

hood displays a fundamental kinship with avant-garde and
neo-avant-garde poetic postulates, which form a basis for the
poets own vision. Childhood, accepted as heritage of poet-
ics that include infantile experience and various forms of the
primeval and naivet, appears as an all-permeating element in
the work of Oskar Davio, resonating from the fundaments
to the roof of his poetic building. This is why childhood is
discussed at several levels. We start from the poets childhood
experiences, seen as the generator of his literary maturation.
Secondly, building on his auto-poetic reflections (the key essay
is Nevinost rei [Innocence of the Words]), we consider the
words childhood phenomenon. Subsequently, attention is de-
voted to two poetic cycles with a common title Detinjstvo
[Childhood]. Created in different periods, these cycles bring
a collection of different poetic devices. A year before the ap-
pearance of his key poetry collection of the interwar period,
under the simple title Pesme (Poems, 1938), he published a po-
etry cycle called Detinjstvo, meant to represent a thematic
unity with the unfinished and destroyed novel of the same ti-
tle. Twenty years later, it was joined by another cycle of poems
with the same title, part of the collection Flora (1958). The un-
derstanding and reading of poems that treat the same theme in
a completely different poetic key was helped and suggested by
a selection of Davios poems, published by Srpska knjievna
zadruga (1958), where the more recent cycle was interpolated

377
into the older one. The editing, which followed chronological,
thematic and associative connections between those cycles,
enabled readers to distinguish two texts as the front side and
the reverse (positive and negative) of the same poetic object.
Childhood is also existent in Davios work as the primary im-
puls of collective life, so we will point out the childhood of
the world, through the analysis of the poem Ba-elik, as
another important form of navet, present in his poetry.

378
 821.163.41.08 .

(mina.m.djuric@gmail.com)

:

( 1987: 7), -
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,
1987. .
: 1987, , --
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.

, 1975.

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1987. , -
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379

1.

( ), -
(1971) -

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( 1980:
4849; . .)2 , -
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3, -

1 ,

. -


1987. -
-
. --
1987. .
2 -
-: Je li verbalna, fonemska, semantika,
sintaksika poezija jedina i jedino mogua? (Davio 1974: 168);
Svest o entropiji to ne mimoilazi ni govor, povod je tom eseju
(Ritualima umiranja jezika . M. .). Njegova dilema: da li e
zavojevaka vizuelna civilizacija naneti smrtni udar reima ili oznaiti
i da poetak njihovog postavljanja na stazu spusta... u smrt, sadri
implicitnu nadu da to ne mora tako biti, da e audio-oralna civilizacija
zadrati svoje upotrebne prednosti u granicama primenljivosti na
ivot u srazmerama euklidovske geometrije, da e trajati koliko i ovaj
ovek... (Davio 1979: 226).
3 ,
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, , , -

380
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( 2011: 11)4.
,
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2011: 12). -

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1987. ?
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/,
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:

; -
, :
. . (.
1994: 622).
4 emu, pitao sam se, taj poetni nadrealistiki strah od svesti, od
uma to tobo tako nefastno kvari svojom kontrolom rad na pesmi
koja je sloboda (...) nije li do tih stavova dolo zato to je sama svest
shvaena pogreno (...) Oteti se dejstvu svesti prisutne u inu pisanja,
odbaciti je kao staru krpu, kao neto uvek i svagda negativno, poelo
mi se... sve vie initi stvari sumnjivom, sve manje potrebnom kao
apsolut i neizbena zakonitost, kao istina stvaranja (. Davio
1985: 153155, 2011: 1011).

381
 1. : -
, , . ,
,
, ,
.
:
(...) nema oveka koji nije iskusio onaj neverbalni
napon nalik na trudove to, ostajui jalovi kakvi jesu, ne
prestaju da donose na svet bar nove reenice i misli kao
neke tek omaterene bebe. (...) Predverbalnu zonu odreuje
ono to ona nije. Ona nije verbalna. ta to znai, ako ne da
istorijski prethodi verbalnim etapama, to nita ne kazuju
o njoj (...) ona je intermundij due i duha to im prethodi
(Davio 1979: 115119; M. .).
, , -
.
,
-
, ,

5. , , ,

, -
-
,
( Biti 1988: 278)6.
5 Rei se ne ale na to, mada ele da se interuterinski vrate
predverbalnosti koja, jasno, i nije mogla biti njihova, poto njih
u to vreme nigde jo nije bilo, ni njih, ni njihove posesivnosti (...)
Ukljetena u raklje istorije, predverbalna oblast odreuje i sebe i ono
to ona nije (...) Ipak predverbalnu oblast odreuju i ovog asa rei, za
koje ta netiinska zona jo ne zna, rei koje su budunost nje, njenog
nestajueg nastanka (Davio 1985: 196198).
6 / -
,
(
. Gronden 2010).

382
 ( -
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(
1987: 11, 13).
2. -: , ;
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. 1987.

7 -
: (...) Stihovi jesu delovi tiine dovedene do
razgovora, do dijaloga, do znaenja. Mada je ta tiina dvosekla u
svojoj dvostrukosti: nema, ona je slepa i gluha a buna (...) Biti pesnik,
znai biti odgovorni i zakleti prevodilac iz oblika doprlih do praga
beumnog dogaanja, do praga tiine. A to znai biti prevodilac tiine i
njenih oblika na glasni govor, na zvuk koji je uslovno adekvatan izraz
slike, to zvuei znai (Davio 1985: 148, 172; . .).


: Ovi bi sudovi trebali voditi prema tiini, a ja piem. To nije
nimalo paradoksalno. No valja govoriti (). Valja pronai govor koji
uva tiinu. () Govorei na rubu tiine valja organizovati strategiju i
pronai rijei to ponovo uvode na nekom mestu suverenu tiinu koju
prekida artikulisani jezik. Iskljuujui artikulisani jezik, suverena je
tiina, dakle, na neki nain, strana razlici kao izvoru znaenja. Ona
kao da brie diskontinuitet, a tako zapravo i treba shvatiti nunost
kontinuuma koji Bataj neprestano zaziva kao komunikaciju (Derida
2007: 279280; . .; 2012: 166
183).

383
 , ,
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1987. -
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( 1987: 8;
. .). 8
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( 1969: 197233;
2007: 158170).

384
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( 1987: 89; . .).

-
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( -);9

9
-
( 2011: 14), -
-
: Re je o drugom, u stvari,
o meusvesti koja je podsvest. Nalazi se ona na sredokrai izmeu jedne
i druge, izmeu sloja svesti koju zovemo podsvest i onog koji zovemo
samo svest. (...) Ona e se obavezno pojaviti na suprotnom kraju
uspavane klackalice, u asu kad svetlost svesti jo uvek nije sasvim
usnula i zgasla, a podsvest jo nije uzela pod svoje sve rei... (...)
Prvotnija od njihovog komijskog druenja, podsvest podstie svest,
podbada je, podjaruje, hrani, podrava, zahvata, nosi. Tek naknadno,

385
 : , -

( -).
,

, - (
) - (
, , ). ,
, -

.
,

(,
-, -; , -
)
. 1987. -
, ,
( 1987:
8; . .). (,
), (, --
) (, -)

.
1987.

podsvest i svest pojavie se u taki dodira kao predsvest to prethodi

svesti, ali to ne znai da je ona, podsvest, iskljuivo iracionalna, a svest
apsolutno racionalna (Davio 1985: 160175;
2011: 13). (Davio 1985 1987),
( ), -

(Davio 1985, -
-
), , ,
( -
1987. ).

386
(, , )

( -
, -
,
-
).10 (Davio
1981: 114119), -

:
) , -
;
) , -
, ,
;
) ,
.

, -

, :
) ( );11

10 u Daviovom poetskom izrazu

ostvaruje neto to bismo nazvali verbalnim pozivom na miljenje,
odnosno primatom verbalnog u ukrtenom procesu miljenja i
verbalnog saoptavanja. Rei emo ak i vie: kod Davia kao da
miljenje rezultira iz verbalnog (...) Nasluuje se da je u magmatinom
stanju pred pesmu, u trenutku uzburkane vievrsne aktivnosti kada
treba da otpone izgovaranje kod Davia misao nejasno uobliena i
da re, tako rei nezavisno od nje, sevne u pesnikovoj svesti (Nikoli
1979: 317).
11 : I pre bilo kakve upotrebe rei, pre njenog zvunog
uoblienja u nadoblik to je postao neka vrsta njene upotrebljivosti,
javie se verbalni Id kao nagon ka rei, pre rei (Davio 1985: 188;
. .).

387
 ) (
, -);
) (
,
- ).
,
, 1987. -
,
-
,
, :
Da li da od te proze ponem priu o svojoj neverici
u govor? Njoj prozi pribegavao sam upravo zbog ose-
anja nezadovoljstva stihovima. Oduvek sam posle napisane
pesme imao utisak da je ostao neiskazan neki izvijeni deo
smisla u prostoru to se pruao ne samo izmeu onog pola-
znog impulsa ka reima i rei nego i u drugoj jednoj ranijoj
i neravnijoj jo zoni gde sam boravio, zoni to je prethodila
polasku ka njima, reima, i nije bila od rei; u zoni izmeu te
predverbalne oblasti u kojoj se pokret itavog bia javljao kao
neoformljena, gola, precizna u svojoj nepreciznosti predstave
o onom to bi se htelo da kae, tamo gde se ta sumnja ve
raala izmeu predverbalne a verbotropne strme ravni u rei
kojima e se poetski uobliiti ono to se elelo rei (Davio
1974: 40; M. .).

-
( / )

(1971), -
, , -
-
( 2007: 214). -
, ,
, :
, ,

388
. -

,
( 2007: 217218; -
. .).
,
, ,
,
:
ulo sluha, koje je najcivilizovanije, podstiui utie
na manje razvijena ula kad je u spregu sa njima, iako,
smo nema od toga nikakve koristi; ali i oko ima koristi
kad sarauje sa uhom, kupujui od njega tanane metode
memorisanja, to se za uvo ne bi moglo rei. Na osnovu
ega bi valjalo zakljuiti da ulo vida, vie nego ijedno drugo
prolazi trenutno kroz apsolutno i relativno ubrzaniju razvoj-
nu fazu i da e u perspektivi (od nekoliko vekova najdue)
oduzeti prvo mesto sluhu, to e morati da zadovolji drugim
mestom po znaaju, a moda i treim (...) tokom svoje dosa-
danje evolucije, sluh je bio ono privilegovano ulo komuni-
kacije to je, omogueno ovekovom drutvenou, doprinelo
dodrutvljenju ljudi, mada se punim ustima nije govorilo
nikad. Na bazi ljudskog larinksa, drukijeg nego kod o-
vekolikih majmuna, razvio se i sluh, ne samo kao njegov
nusprodukt, pa se razvio i govor, koji je poao od krika, ali
je, preko vrlo bogate evolutivne palete, ostajui privilegovano
orue komunikacije, dosegao umetnike izraajne intenzitete
i tanine s jedne strane, a s druge naunu operativnost (...).
Oko postaje dominantno ulo sadanjosti i budunosti, ulo
ija e evolucija odremorkirati, silom prilika, i oralnu za-
sad jo uvek literaturu do nesluenih jo vidika (Davio
1974: 21, 2324, 26; M. .).

, -
, - -, -
-
:

389
 :12
.13

(1973)
, -
:
Meutim, ja bih upravo u vezi s muzikom pokuao da,
transponujui u akcenatske intervale i melodiju sve intonacije
reenica, kao i boju glasa oveka koji bi bez lai izgovorio neke
stihove (ije bilo, recimo i moje), doem do jednog autenti-
nog muzikalnog vrednovanja poetskog govora i da, kasni-
je, uz saradnju muziara, doprem do onih harmoninih
elemenata za koje mehaniki ili elektronski aparati nisu
dovoljni. (...) Ispranjeni od znaenja, sa slogovima preba-
enim u cele tonove ili taktove, sa slovnim znacima koji su
note, sa smislom rei pretvorenim u muzike kontrapunktalne
odnose, moda bi doveli do muzikih fraza to bi bile muzike
adekvacije smisla rei to tvore pesmu. Ne bi li to bila neka
vrsta projekcije rei i muzike? Verovatno. Isto to se ini sa

12 -
: ( . . .) -
,
;
,
(...)
, -

( 1973:
468479; . .).
13 1959.
, -
, -
,
-
, -
, (
1996: 11). ,
(
).

390
 zvukom moglo bi i s bojom i oblikom. Mogue je pretvoriti
govorne valere u odnose boja i linija kao to je mogue pretvo-
riti izgovorenu reenicu u muziku frazu. Glumac koji bi je
pevao mesto da je ita imao bi pred sobom svoj libreto bez
ijedne rei. Njih bi, u kontrapunktu ili van kontrapunkta
sa onim to je ranije izgovoreno pred aparatom za regi-
striranje, vredno prevela maina na gole tonske adekva-
cije kao to se isti glas pesnika, odnosno onoga koji ita,
moe da pretvori u boju i oblik ( Davio 1979:
219; M. .).
-

:
Ono to e, nema sumnje, biti budunost komuni-
kacije, pritom mislim na onu posrednu, za daljine vee
od dosega ljudskog glasa, morae zbog brzina uslovljenih
koliinom i vrstom davanja i primanja saoptenja i infor-
macija, da se poslui sistemom direktnog prenoenja misli i
emocija bez iijeg posredovanja. Ni posrednitva jezika niti
drugih, sloenih simbola. Ne znam na ta e liiti zna-
enjski impulsi koji e biti u upotrebi. Po svoj prilici, bie
pre refleksni nego meditativni, bie neuslovljeni. Otuda danas
i toliki broj lano i uplaeno zainteresovanih interesa za
prouavanje starina, u sutini tano deifrovanoj potrebi
da se pad jezikih vrednosti zameni pronalaskom nekog za-
boravljenog sistema simbolikih signalizacija, to bi mogle
uputiti ili podstai dalja istraivanja u povoljnijem pravcu.
(...) Ali matanja o njima ( . M.
.) neophodna su joj ( . M. .) ve sada, kao
nov korak i nova veba u pravcu rastereenja invencije od ver-
balizma i navike da se, i matajui, misli i osea jedino uz
pomo rei ( Davio 1974: 205206; M. .).

) ,14 :
, .
14 Dezoralizacijom pjesme ovaj uporni eksperimentator pokuava
putem znaka slike osmisliti nemo rijei u njenom predverbalnom
naponu, naboju, predvorju: tu negdje u samoj blizini neizgovora...
( Jurii 1975: 201207).

391
 , -
-
( 1974: 28),
:
kola oka je ipak pola od danas bitnog stanja po
kreaciju, od preponderantne uloge vizuelnosti svih masov-
nih sredstava komunikacije (iako ni film, koji je poeo kao
nem, ni Te-Ve nisu iskljuivo vizuelni mediji). Ozvuenost
njihova nije samo komercijalni kompromis. Ona reflektuje
realnost eklipsa sluha je tek otpoela. Trebae jo vremena
da slika ukine i uuva prednost i domete oralnosti. Ali crv se
nalazi ve u njenoj jabuci. Nema sumnje u to (Davio 1974:
28, 29; M. .).15

, :
Sa promenom hijerarhijskog redosleda na lestvici
ula, sa pojavom oka kao ulnim organom broj I (po vano-
sti uloge i uestalosti svoje primene), re, ostajui zasad
na izgled ono to je i dosad bila, ostajui auditivno-oralni
fenomen ak i kada je odtampana i proitana, poinje
da gubi svoje nekadanje samopouzdanje razmaenog de-
teta, ono samopouzdanje koje je nuno imala i prilikom
pisanja prvih automatskih tekstova (...) Aleksandrijski
pesnici, kao i raznovrsni postgongoristi, nisu toj pred-

15 ,
, , -
(Ong
2002), , -
( 1987: 5859),
1988. : | Zver koja ubija
sebi hranu, uspeva to | Zahvaljujui matematskoj preciznosti osnovnih
| Podataka PeTeTe slube ula (Davio 1988: 54; M. .). -
,
, , ,
: ,
| | |
| |
( 1987; . .).

392
 metnosti teili iz istih razloga iz kojih i njihovi pozniji a
mlai drugovi, i nisu je ni postizavali, bar ne u onolikoj
meri koliko su to uspevale kasnije evropske poete, osetlji-
viji na gravitaciona polja kosmosa pisane i tampane rei,
koja je, ne suprotstavljajui se otvoreno oralno-auditivnoj
prirodi dotadanje poezije, prihvatajui je ak kao neminov-
nost, uspela da relativizira oralnost ako ne da je uutka, da
je deapsolutizuje ako ne da je uini izlinom (Davio 1974:
265266; M. .).

) : -
. -
, -

( 2006: 129).
(1967),

:
Viak znaenja dolazi od mogunosti da, izvan
pragmatike komunikacije, rei ne znae samo zvukom
koji se u verzu vezuje logikom slunog rodbinstva s drugim
semantikim zvucima izvan neposrednog smisla onog to one
saoptavaju, nego da rei, osloboene obaveze da budu
samo to, poinju da deluju kao slike u jeziku koji oznaava
a ne zvui, postanu dotle jo nepostojea ni u smislu, ni u
zvuku lepota saoptenog sugestivnom slikom, metaforom,
simbolom, njihovom gustinom ( Davio 1979: 43;
M. .).

,
-
, -
.
,
-
. , -
, 1987.

393
 , -
, :
,
,
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. -

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I II, , I II, ,
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( 1987: 67; . .).

-

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-

,
1987.


-, . - --
,
.

394


Biti 1988: Biti, Vladimir. Upisivanje govornog dogaanja.

/ ,
, , ., , .
261283.
2001: , .
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, . 721.
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Prevela sa nemakog Emina Perunii. Novi Sad: Aka-
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, . 20, . 197233.
Davio 1974: Davio, Oskar. Rituali umiranja jezika. Beograd:
Nolit.
Davio 1979: Davio. Oskar. Pod-tekst. Sarajevo: Veselin Ma-
slea.
Davio 1981: Davio, Oskar. Pod-seanja. Sarajevo: Svjetlost.
Davio 1985: Davio, Oskar. aka sveska seanja; Dodatak:
pesnikov esej povodom 60-godinjice nadrealizma. Beograd:
Prosveta.
1987: , . .
: .
1987: , . . :
.
1987: , . .
: .
1987: , .
. : .
1994: , . -
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, ,
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: , . 609622.
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213219.
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i, Sarajevo: Biblioteka Diskursi.
2012: , . /
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nutka. Putevi. XXI, 3, Banja Luka, str. 201207.
Nikoli 1979: Nikoli, Milica. Verbalni poziv na miljenje Ni-
kada more Oskara Davia. U portazi: radovi o knjievnom
delu Oskara Davia. Stojan ori, prireiva. Beograd:
Narodna knjiga, str. 307321.
Ong 2002: Ong, Walter. Orality and Literacy, Technologizing of
the Word, Routledge, London and New York.
1996: , . .
: .
1980: , . . :
.
2006: , , , , , -
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1973: , .
,
, . VIII, . 6, , . 468479.
2007: , . -
. : .

396
 ina uri

DAVIOS POETICS AND POETRY FROM

PREVERBAL TO DEVERBALIZATION OF ART

Summary

Following Davios interest in examining ability of

transfer preverbal motions into words (oral or written), this
paper analyzes whether poetic metaphors in Davios verses
published in 1987 follow his ideas presented in essays ten
years before, in the decade of signalism, which has supported
deverbalization of arts and poetry.

397
 821.163.41.09-1 .

(sania0205@yahoo.com)

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414
 Sanja Paripovi

THE SONNET-GRAMS OF OSKAR DAVIO

Summary

Simultaneously a live impulse and a traditional prop, the

sonnet form inspired Oskar Davio. His use of this established
genre suggests not only that it was not formally exhausted, but
also a need to realise the modern sensibility in a traditional
form. This hybrid hides one of the idiosyncrasies and values
of Davios poetic opus. The poetry collection Trg eM (Square
eM, 1968), is the best illustration for this contradictive unity,
the synthesis of seemingly disparate elements. Here, the Sur-
realist orientation, with its exceptional verse structure, often
unbridled and linguistically unrestrained, fuses with formal
conventions. Obviously, the poet thought the sonnet form was
appropriate as a boundary for his verbal energy and an instru-
ment to discipline his expression. The poems are connected as
a cycle not only by genre, but by the recognisable code of the
titular compound noun as well grams imply a multiplic-
ity of self-contained poetic texts that realise new connotative
connections. The symbolism of the gram is suitable to express
the essential units of lifes system, and such units aspire to
establish a compact system, which is an equivalent for the con-
structive attributes of the lyrical cycle.

415
 821.163.41.09 .

(danijela.maksimovic@fil.bg.ac.rs)

:
- -
1968.
La Battana.
: - -
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.

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, 1958.
.
Titolo provvisorio dellinfinito (1966).
,
, -
(Bruno Meriggi) (19271970),
.
-
,

417

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. 20. 23. 1968. -
IV -
La Battana,
(Eros Sequi),
-
.
-
: (Domenico Cerroni
Cadoresi), (Bartolo Cattafi),
(Gian Carlo Ferreti), (Marco Forti),
(Giovanni Giudici),
(Eugenio Miccini), (Lamberto Pignotti),
(Giovanni Raboni), (Michele
Rago), (Adriano Spatola), -
(Claudio Ugussi), (Mario Cocchietto),
, , ,
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418
. 16
17 La Battana (1968)
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1958: , . . -
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1966: , . Titolo provvisorio dellinfinito.
Bruno Meriggi. Milano: Monda-
dori.
1968: , , La Battana, . 1617.

Danijela Maksimovi

TRA POETICA E POLITICA:

LE TRACCE DEL PENSIERO DI OSKAR DAVIO
IN LINGUA ITALIANA

Riassunto

Nel presente lavoro vengono prese in esame le idee di

Davio esposte al convegno italo-jugoslavo tenuto a Umago
a giugno 1968. Il testo di Davio, oltre alla traduzione del suo
romanzo Radni naslov beskraja (Titolo provvisorio dellinfinito),
il suo unico testo in italiano, per quanto ne sappiamo. Il mate-
riale delle conversazioni letterarie di Umago stato pubblicato
nella rivista La Battana.
Davio discute sulla situazione letteraria dal punto di vi-
sta surrealista tessendo le lodi alla ribellione avanguardia e
surrealista; dopo di che riflettte sullo stato attuale della poesia
appoggiando gli esperimenti di neoavanguardia.

428
V
 821.163.41-94

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, 34
, 313335
, 255
, (Theodor W. Adorno) 132, 133, 137
, 163, 174
, (Hans Christian Andersen) 289
, 209236
, 417
, (Louis Aragon) 103, 318, 447448
Aspley 265, 275

, (George Gordon Byron) 69

, (Hugo Ball) 133
, (Honor de Balzac) 150
, . 412, 413
, (Colin Burrow) 75
, (Roland Grard Barthes) 232
, (Georges Bataille) 210, 233, 302, 309, 383
, ( )
5760, 70, 71, 74, 75, 356
, (Gaston Bachelard) 368, 376
, 254
, 311
, (Henri Bergson) 111
, (
) 49, 52, 297
, 382, 395
, (Maurice Blanchot) 298, 310, 323, 325, 334
, (William Blake) 69
, 102
, (Jean Baudrillard) 306, 310
, 233
, 39, 52, 80, 90, 112, 118, 121139, 188,
202204, 258, 275, 307, 310, 314, 315, 318, 334, 376, 380,
381, 385, 386, 395
, 87

463
, (Berlin Brent) 166, 174
, (Andr Breton) 15, 98, 100, 101, 103, 105, 114,
121, 123, 125130, 132, 133, 137, 159, 218, 226, 227, 233,
264, 376
, (Bertolt Brecht) 420
, (David Britt) 138
126
, 83, 331
, 395

, 34
, 64, 75
, 21, 57, 79, 366, 421
, (Taylor Winquist) 133
, (Charles E. Winquist) 138
, 254
, 395
, 366, 421, 422
, 155
, 91
, (Kirsten Wolf) 167, 174
, 2336, 205

, 238, 254
, ( ) 58
, 310
, 418
, 294
, 408, 413
, (Jean Grondin) 382, 395
, 86

, 78, 79, 81, 83, 84, 151, 156, 310, 316, 334,
371, 375, 396, 388, 389, 402404, 414, 437 461
, 424
, ( -
) 192, 201, 205, 206
, 15, 228, 244, 395, 421, 422
, 911, 1522, 37, 52, 75

464
, 141, 154, 156, 239, 254, 343, 362
, (Jacques Derrida) 210, 266, 275, 383, 396
, . 310
, (Mikel Dufrenne) 308, 310
85, 150
, 418
, 34, 340
, 57, 59, 142, 189, 190, 282, 422

, 35, 203206, 313, 396

, 436, 446
, (Giovanni Giudici) 418, 420
, 379397

, (Dawn des) 264, 275

, 308, 310
, (Michael Eldred) 138
, (Thomas Stearns Eliot) 85, 89, 250, 420

, 396

, 418
, 419
, 421, 422
, 244, 254

, (Henrik Ibsen) 289

, 212, 234
, 297312
, 395
, 298

, 137
, 109, 142, 144, 367
, 277296
, 99, 118
, 228, 230, 234
, . 34
, ( ) 69

465
, 414
, 304, 310
, 16, 103, 227
, 109, 142, 456, 459
, 309
, 159175
, 413, 414
, 34
, 229, 234, 239, 254, 395
, 49, 52
, 379, 391, 396

, (Domenico Cerroni Cadoresi) 418

, 39, 52
, (Jonathan Culler) 269, 276
, (Heribert Ritter von Karajan) 425
, 254
, 79, 86, 108, 142, 149151, 249
, 281
, (Bartolo Cattafi) 418
, (Gaius Valerius Catullus) 168
, 297, 310
147, 148
, 20, 137
(Jacqueline R. Clarke) 168, 174
, (Paul Claudel) 449
, 321, 331, 332, 334
, 311
, 32, 35, 40, 43, 48, 53, 85, 87, 150,
151, 156, 203205, 209, 213, 214, 225, 234, 235, 238, 259,
275, 280, 295, 298, 310, 331, 334
, 257276
, 16, 104, 118, 227, 366, 422, 423
, 340, 361, 362
, 142, 456
, 441, 442
126
, 418
, ( ) 210, 274

466
, (Joan Crawford) 452
, 25, 36, 47, 153, 275, 420, 445

, 317, 334
, . 88, 325, 414
, ( )
5860, 74
-, 148
, (Philippe Lejeune) 346, 347, 361
, (Wolf Lepenies) 308, 310
, - (Jean-Franois Lyotard) 132, 133, 137
, ( ) 55,
68, 69, 74, 75, 307, 310
, (Lautramont, Isidore Lucien Du-
casse) 121, 126, 137, 139
, ( ) 68
, 212, 234, 361

, . 192, 193, 205

, 365, 376

, (Giancarlo Maiorino) 200

, ( -
) 79, 340, 402, 420
, (Marshall McLuhan) 388
, 417428
, 418, 422
, ( ) 69, 75
, 310
, (Adrian Marino) 278, 295, 364, 370, 376
, 311
, 311
, 400, 414
, 310
, 34, 86, 87
, (Karl Heinrich Marx) 19, 20
, a (Laura Marcus) 350, 361
, ( ) 68
, 100

467
, 15, 41, 51, 53, 89, 104, 118, 169, 205, 244,
396, 421, 422
, 137
, 311
, . (William E. Mead) 167, 168, 174
, ( -
) 57, 58, 75
, 203, 205
, (Bruno Meriggi) 417, 418
, 188, 206, 339362
, 141156
, 239, 254, 257, 276
, 255
, 245, 254, 317, 319, 334
, 86, 149
, 78, 81, 82, 84, 86, 91, 121, 124127, 131,
135137, 233, 244, 340, 341, 439
, 421, 422, 443
, 137
, . 225
, 402, 412, 414
, 459
, 441443
, 34
, (Eugenio Miccini) 418
, 88, 154, 156, 298, 310
, 311
, (Marilyn Monroe) 291
, 255

, (Maurice Nadeau) 127, 138

, 57, 59, 109, 190
, 308, 310, 396
, 117
, , 188, 205, 211, 234, 235, 237, 299, 313,
315, 317, 333, 335, 343, 361, 387, 396
, 255
, 169, 174, 255
, 234

468
, (Wystan Hugh Auden) 56
, (Walter Ong) 396

, 390, 396
70, 75, 79, 80, 83, 85, 88, 91, 152, 154
156, 180, 185, 206, 229, 230, 233, 327, 335
, 78, 79, 91, 328, 335
, 142, 298
, 399415
, (Ezra Pound) 449, 450
, 3753
, 230, 234
, 237255
, 138
, 395
, 6770, 144, 197, 216, 233, 298, 422
, 177, 185, 298, 310, 311
, (Francesco Petrarca) 197
, 5576, 238, 240, 243, 254, 313, 316, 318,
335, 380, 396, 410, 414
, 339343, 355362
, 192, 205
, 59, 65, 109, 211, 282, 285, 286, 291, 295,
340, 366, 422
, 395
, 95119
, (Lamberto Pignotti) 418
() 393, 396
, (Key Paul) 166, 174
, 34, 395
, 85, 86, 88, 92, 155, 190, 229, 230, 233, 235
, 148, 249, 421
, 34, 421, 422
, 98, 129, 138, 366, 396
, 421
, 242, 254
, 418
, (Marcel Proust) 239
, 212, 213, 235

469
, (Giovanni Raboni) 418
, (Michele Rago) 418
, 390, 396
, 142
, 82, 83, 91, 188, 191, 195, 205, 206, 299,
300, 303, 311, 316, 376, 384, 396, 436
, . 85
, 177186
, 77, 78, 83, 91, 228
, 37, 38, 59, 142, 298, 422
, 34
, (Marcel Raymond) 318, 335
, (Arthur Rimbaud) 289
, (Christoper Reed) 132, 138
, 310
, 17, 25, 36, 98, 129, 138, 226228, 233, 365,
376, 404, 414, 421, 422
, (Hans Richter) 133, 138
, (Ivor Armstrong Richards) 85
, (Denis de Rougemont) 300, 311

, . . ( ) 192196,
206
, . (. ) 192
86, 87, 148
, ( ) 86, 149, 150
, (Eros Sequi) 418
, 361
, (Emile Cioran) 450
, (Sigmund Skard) 174
, 418
, (Peter Sloterdijk) 133, 134, 138
, ( ) 303,
311
, (Adriano Spatola) 418
, 34
, ( -
) 17, 22
, (Nikos Stangos) 138

470
, 87, 194, 195, 199, 205, 206,
407, 414
87
, . 362
, 310
, 24, 36
() 126
, . (. ) 192

, . . ( ..) 57, 58, 75

, 212, 235, 238, 239, 255
, 244
, . (Victor E. Taylor) 138
, (Charles Taylor) 309, 311
, 40, 53, 105, 106, 118, 235, 396
, 155
, ( ) 59
, 105
, 449
, 436
, 311
, 390
, 310
, 395
, ( -
) 7072, 75
, (Arturo Toscanini) 424
, 137
, 369, 376
, 85
, (Sergio Turconi) 419
, 87

() 86, 87
, 152, 156
, 366, 377

, (Claudio Ugussi) 418

, 200, 202, 206

471
, 35, 36, 121, 129131, 134136, 138
, ( ) 68, 75

, (Gian Carlo Ferreti) 418

, 137, 376
, 364, 377
(Marco Forti) 418
, . . ( ) 192, 199,
206
, 299, 311
, (Sigmund Freud) 98, 111, 128

, (Jrgen Habermas) 365

, (Martin Heidegger) 301, 311
, (Andreas Huyssen) 138
, 363378
, 7792, 311, 396
, o 25, 36
, (David Hopkins) 128, 137
, (Max Horkheimer) 132, 133, 137
, 80, 81, 91, 418, 422, 425

, (Tristan Cara) 133

, ( ) 68, 69
, 33, 59, 189, 190, 211, 228, 233, 235, 289,
421

, 137
, 395
, 52
, 309
, (Geoffrey Chaucer) 167

, 137, 212
, (Martin Jay) 210

, 421
, 187207
, (William Shakespeare) 68, 69, 75, 167

472
, (Friedrich von Schlegel) 121, 122, 127, 136,
138, 139
, (Wolf Schmid) 354, 362
, 230, 235
, (Arthur Schopenhauer) 297, 311
, 239, 255, 258, 276

473


, 2

, 18

*



*


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300
*


43,
*
ISBN 978-86-7095-191-4
CIP -
,
821.163.41.09-1 . (082)
821.163.41:929 . (082)
:
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ISBN 978-86-7095-191-4 (Y)
) , (1909-1989) -
COBISS.SR-ID 196444428