Suvremena slovenska poezija kao evolucijski problem
Contemporary Slovene poetry - an evolutionary problem

Summary/Abstract: The problem of "evolutionary dynamics" are still basic to theoretical and operative literary appreciation (J. Striedter, M. GUnther). A recent notion is that of "speeded-up development" (J. MukafovskY, G. D. Gačev) as opposed to "normal" or "slowed-down" development. These ideas are very applicable to consideration of contemporary Slovene poetry, especially lyrical poetry, in the postwar decades (1945-1985). From that angle Slovene poetry can be considered in two fairly extensive periods. The first period - from the late 40s to the end of the 60s was one of speeded-up development, evolution ally dense. Characteristic of the period is the fast and widespread development of poetry with a "mobilization" intent (typical of wartime poetry, uprisings and early pre war programmatic poetry), then new, free subject matter, and the greater and finally complete freedom characteristic of radical modernism. In language this means a move from a collective code to complete subjectivity and finally to the de-semanticizing of words in various kind of experimental verse. It could be said that lyrical poetry in these two decades had run the gamut of its possibilities from didactism to magic and finally to technical games. The second period, from the beginning of the seven ties until today is an attempt to find a new stability of subject and language which some call post-modernism. We are witnessing an attempt to create new value relationships, a revitalization of values, a new semanticization of language with greater stability of meaning. Like the earlier period so too this one is so widespread as to involve all poetic generations, although in different ways. Among the young poets there are two well marked streams: one moving towards a new, dynamic realism, the other writing in stylized historicism. Both are essentially modem but avoid the extemes of modernism. The previous period was characterized by continuity of events and this period by parallelity. The dynamics of the diachronic have now taken the place of the synchronization of what is different. Even so a common development course can be discerned. In this period we can talk of normal or of slowed-down development. Axiomatic and esthetic values do not account for either of the two modes of evolutionary dynamics, although the first in general seems to offer greater possibilities for artistic achievement.

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