Kodni sistem Slovenska knjizevnost Avtorji Urednistvo <-> bralci |
Jezik in slovstvo Povzetki |
Jezik in slovstvo Kazalo Kazalo letnika |
Zlata Sundalic'
O aktualizacijah pravljice v umetni knjizevnosti
About the Actualization of the Fairy-tale in Artificial Literature
Slovenski sinopsis
English synopsis
English summary
Drugi del razprave je posvecen Cankarjevemu romanu oz. ljubezenski pravljici, kot je delo Milan in Milena oznacil avtor sam, v kateri je na tem svetu mozen le pesimizem, medtem ko je optimizem stvar nadzemskega, ljudje so prej zivali in zveri kot kaj dugega, namesto zivljenja pa slavi smrt. Tako je naivno cudeznost, ki konstituira pravljicni svet, avtor pripisal onstranstvu ter zavrgel moznost uresnicenja le-te v zemeljskem zivljenju, s tem pa uresnicil tudi inverzijo arhetipskih motivov.
The second part of the study is dedicated to Cankar's novel/love fairy-tale, as the author himself describes his work Milan in Milena, in which in this world only pessimism is possible, while optimism is a matter of the supernatural, people are animals and beasts first and people second, it celebrates death instead of life. The author thus ascribed the naive miraculousness which constitutes the fairy-tale world to the after world and consequently rejected the possibility of its realization in this world, whereby he also put into effect the inversion of archetypal motives.
In Ivan Cankar's text Milan in Milena the cited elements appear as inversion. This inversion is even more evident because of the substitution on the meta level, for the writer subtitled it as Ljubezenska pravljica and thus produced a fairy-tale in which we notice the inversion of its archetypal motives: instead of successiveness --- parallelism; instead of optimism --- pessimism; instead of metamorphosis as a regression to human characteristics --- a metamorphosis as the abandoning of the human; instead of the affirmation of life --- the affirmation of death; instead of innocence --- the hero's moral dipravity, etc.
The central attention is on the mode of the existence of the simple fairy-tale form in the oral tradition and artificial literature. While the fairy-tale lives in the original context (oral literature) in the way and according to the rules that are characteristic of this simple form, it lives in the non-original context (artificial/Cankar's literature) following the rules characteristic of the so-called fairy-tales of fate.