Naslov
Bijeg od filozofije . Povratak Saturnu. nekoliko misli o pjeništvu Katice Kulavkove
(Flight from Philosophy – Return to Saturn. A few thoughts on the poetry of Katica Ḱulavkova.)

Autori
Petlevski, Sibila

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
ПРИЛОЗИ CONTRIBUTIONS XLVI 2. Contributions of the Department of Linguistics and Literary Science of the Macedonian Academy of Sciences and Arts (OLLN).

Urednik/ci
Kulavkova, Katica. Mitevski, Vitomir, Marković, Marjan

Izdavač
Vlastita naklada

Grad
Skopje

Godina
2021

Raspon stranica
315-328

ISSN
0350-1914

Ključne riječi
Heidegger, Ḱulavkova, meafizika, neoplatonički panteizam, phenomenologija, poetika, saturnijska poezija, thaumàzein
(Heidegger, Ḱulavkova, metaphysics, neoplatonic pantheism, phenome- nology, poetics, saturnian poetry, thaumàzein)

Sažetak
Ḱulavkova does not find a direct impetus for her writing in Heidegger’s philosophy. However, we have found enough ground to apply the lattice of the Heideggerian philosophical system to her poetry. Opening itself up to the “vortex” - Ḱulavkova’s poetry denies Heideggerian concept of the alignment of the horizon of ecstasies. The poet willingly agrees to the phenomena of temptation, appeasement, alienation, and confused self-entanglement as she sings of the descent of “Dasein” from itself into itself. Katica Ḱulavkova’s poetry, although deep and philosophical, escapes philosophy in the name of poetry and returns to the auspices of the dark Saturn. In the poem “Representation of Heaven - cantos” - Ḱulavkova reads the mystery of heaven as a coded text: she admires the “miracle” of the strange Mind, the cuts of silence as commas that move the meanings of the encrypted message, and marvels at the inscription of the abyss of meaning - the immortal shining of death - “seed, sign, target”. In such a context of the materialist transcendental, phenomenological playfulness never manages to completely renounce the otherworldly. The rules of phenomenologically serious play allow the abandonment of metaphysics, but not the renunciation of it. After all, this is true of almost all continental philosophers. This is so even at the level of philosophical succession: for example, Badiou failed to banish Pascal from his post-theological anti-phenomenology. Ḱulavkova’s poetry is a “singing of the otherworld” which surrounds the Unspeakable in the metap- hysical and theological sphere by offering an abundance of possible attributes to it. Of course, the cyclical energy that produces such cantos is the energy of a pure paradox of life that fills the ineffability of the One with properties, and then falls into depression when it can no longer tolerate “multiplicity without properties” and longs for the One again. It is no coincidence that the subtitle of the song “Will for Harmony” contains the statement: “One is All - All is One”. Motivated by “astral” desire, Ḱulavkova admires the miracle of Pascal’s mathematics of the universe. The author seeks to expose the laws of the geometry of the arrangement of the various figures of identity and difference: “everything is a correlation, an angle and a positi- on.” Should the question be asked what is the nature of belief in her poetics, or is it enough to conclude that her poetics believes in nature?

Izvorni jezik
Hrvatski

Znanstvena područja
Filozofija, Znanost o umjetnosti, Književnost

POVEZANOST RADA