hrvatski

Harms i Kafka

Književnoumjetničko stvaralaštvo ruskoga sovjetskog pisca Daniila Harmsa (D. I. Juvačov, 1905.-1942.), bitno obilježeno avangardnim načelima ludističke (Gerasimova, Vlašić-Anić) "cisfinitne" (Harms) i "aracionalne" (J.S. Druskin) poetike apsurda (Flaker, Jaccard) - ponovno zaokuplja autoričinu istraživačku pozornost. Neiscrpnost Harmsovih "besmislica", metaanamorfozičnih (metaanamorfoza, Hocke) "preobraženja" (Aleksić) u "nadrealističku čudesnost" (Breton) "zvjezdanosti nadraz-umna apsurda" (sverhrazumnye zvezdy bessmyslicy, A. Vvedenskij) - kao da, u procesu "dubokih unutrašnjih zakonitosti europskih avangardnih kretanja" (Flaker), nizom poetičko-etičkih podudarnosti, korespondira - s munchovski kriknutim CONTRA ABSURDUM u, kierkegaardovski paradoksalnim (Filipović), fikcionalnim teksturama apsurda Franza Kafke (1883.-1924.). U fikcionalnoj zbilji crnohumorno-groteskne "kao-da" (Briski Uzelac) "slučajnosti", als ob kafkijanskih (Solar), "susjednih svjetova" (sosednij mir, "činari") Slučajeva (Slučai, 1936.-1939.), Starice (Staruha, 1939.) i Elizavete Bam (Elizaveta Bam, 1927.-8.) ; dostojanstvenom "formulom cisfinitnosti" to=NEto (Harms 1931) - u Harmsovim "bitkama sa smislovima" (1930.)aracionalizirana je (J.S. Druskin), osporavana (Flaker 1982) i dekonstruirana (Derrida 1986), apsurdna potrošenost "bijede misli" (bednost6 jazyka, niščie mysli, A.I. Vvedenskij) - kako "tisućljetnih" (Benjamin) Tradicija umjetnosti i kulture (i riječi i slike), tako i civilizacijskih Tradicija (malo)građanske zbilje raščovječena (Adorno) "byta". U autoričinu komparativno-analitičkome pristupu Harmsovoj i Kafkinoj poetici apsurda - u "razmatranjima" Harmsova i Kafkina opusa: Razmatranja (Die Betrachtung, 1913.), Preobrazba (Die Verwandlung, 1915.), U kažnjeničkoj koloniji (In der Strafkolonie, 1919.), Seoski liječnik. Male pripovijetke (Ein Landarzt. Kleine Erzahlungen, 1919.) i Umjetnik u gladovanju. Četiri priče (Ein Hungerkunstler. Vier Geschichten, 1924.) ; te tri romana: Proces (Der Prozess, 1914.-1915., objavljen 1925.), Dvorac (Das Schloss, 1922., objavljen 1926.) i Amerika (Die Verschollene, 1912.-1914., objavljen 1927.) - osobita pozornost posvećena je: I. konstitutivnim načelima Harmsove poetike apsurda koja, oblicima i načinima pojavnosti u umjetničkoj strukturi njegovih tekstova, karakteriziraju i Kafkinu poetiku apsurda (afiguracija, alogizam, aleatorika, amimetizam, anamorfoza, antiestetizam, apstrakcija, apsurd, asocijativnost, citatnost, crni humor, dehijerarhizacija, dekanonizacija, depersonalizacija, groteska, infantilizam, ikonoklazam, implozija, inkompatibilnost, intertekstualnost, karikaturalnost, kontiguitet, metatekstnost, negacija, nihilizam, samoosporavanje, semanička nula, slučaj ; II. konstitutivnim razinama Harmsovih amimetičkih umjetničkih struktura koje, kao i u slučaju Kafkinih - redovito markiraju kao osviješten, najmanje dvostruk, odnos prema konstrukciji koja postaje istodobna de(kon)strukcija moela i totaliteta (simulirane) mimetičke fikcionalne zbilje ; tako da se, kako Harmsov tako i Kafin (als ob!) fikcionalni svijet, uspostavljajući se umjetničkim postupcima pripovijedanja (fikcionalizacijom) - sukladno bitnoj intenciji gotovo u svim načelima poetike apsurda - istodobno destruira umjetničkim postupcima raspričavanja ili defikcionalizacije (karaktera, fabule, vremena i prostora, pripovjedača, narativnih postupaka) ; III. sažetom prikazu rezultata provedenih komparativnih analiza "slučaja Harms i Kafka". ABSTRACT HARMS AND KAFKA The literary-artistic creativity of the Russian Soviet writer Daniil Charms (D. I. Juvačov-Harms, 1905-1942), markedly characterised by the avant-garde principles of the ludist (Gerasimova, Vlašić-Anić), “ cisfinite” (Harms) and “ arational” (J. S. Druskin) poetic of the absurd (Flaker, Jaccard), re-occupies the author’ s exploratory attention. The inexhaustibility of Harms’ “ nonsenses, ” the metaanamorphosical (meta-ana-morphosis, Hocke) “ transformations” (Aleksić) into the “ surrealistic wonderness” (Breton) of the “ starriness of the super/sur/de/rational absurd” (sverhrazumnye zvezdy bessmyslicy, A. Vvedenskij) – appears to, in the process of the ‘ deep intrinsic lawfulness of the European avant-garde movements’ (Flaker), by a series of poetical-ethical concurrences, correspond – with the Munchian scream c o n t r a a b s u r d u m in the Kierkegaardian paradoxal (Filipović) fictional textures of the absurdity of Franz Kafka (1883-1924). In the fictional reality of the black-humoured-grotesque ‘ as if’ (Briski Uzelac) ‘ coincidence, ’ ‘ als ob’ Kafkian (Solar) “ neighbouring worlds” (sosednij mir, “ činari” ) of The Cases (Slučai, 1936-1939) of the Old Woman (Staruha, 1939) and Elizaveta Bam (Elizaveta Bam 1927/8) ; with a dignified ‘ formula of cisfinitness’ it=non/it (Harms, 1931) – in Harms’ “ battles with the senses” (1930), the absurd used-upness of the ‘ pitifulness of thought’ (bednost’ jazyka, niščie mysli, A. I. Vvedenskij) is being arationalised (J. S. Druskin), challenged (Flaker, 1982) and deconstructed (Derrida, 1986) – both as the ‘ thousand-year-old’ (Benjamin) Traditions of art and culture (and word and picture), and the civilisational Traditions of civil/bourgeois reality of the de-humanised (Adorno) “ byte.” In her comparative-analytical approach to the Harms’ and Kafka’ s poetic of the absurd – in ‘ considerations’ of Harms and Kafka opuses [Considerations (Die Betrachtung, 1913), Metamorphosis (Die Verwandlung, 1915), In The Penal Colony (In der Strafkolonie, 1919), The Village Doctor. Short Stories (Ein Landarzt. Kleine Erzahlungen, 1919) and Artist in Starvation. Four Stories (Ein Hungerkunstler. Vier Geschichten, 1924) ; and three novels: The Trial (Der Prozess, 1914-1915, published in 1925), The Castle (Das Schloss, 1922, published in 1926) and America (Die Verschollene, 1912-1914, published in 1927)] the author pays special attention to: I the constitutive principles of Harms’ poetic of the absurd which, in its forms and ways of appearance in the artistic structures of his texts, characterises also Kafka’ s poetic of the absurd (abstraction, absurd, afiguration, aleatorics, alogism, amimetism, anamorphosis, antiesthetism, associativity, black humour, case, caricature, citation, contiguity, decannonisation, dehierarchisation, depersonalisation, grotesque, iconoclasm, implosion, incompatibility, infantility, intertextuality, metatextuality, negation, nihilism, selfdebasement, semantic zero) II the constitutive levels of Harms’ amimetic artistic structures which, as is the case with those of Kafka – mark regularly a conscious, at least twofold, relation to the construction that becomes an instantaneous deconstruction of the model and totality of the (simulated) mimetic fictional reality ; so that both Harms’ and Kafka’ s (als ob!) fictional worlds, establishing themselves by artistic procedures of telling (fictionalisation) – concurrent with the essential intention in nearly all the principles of the poetic of the absurd – and instantaneously destructing themselves by artistic procedures of defictionalisation (of the character, story, space and time, the narrator, the narrative procedures) ; III the summarised display of results of comparative analyses ‘ the case of Harms and Kafka.’ Translated by: Boris Anić

Daniil Ivanovič Harms; Franz Kafka; poetika apsurda; avangarda; harmsada; intertekstualnost; aracionalizam; cisfinitna logika; narativni suprematizam;

nije evidentirano