<p>U našem radu pokušaćemo da, na korpusu drama za odrasle, koje su u štampanom obliku dostupne javnosti, izdvajanjem samo nekih interpretativnih problema, ukažemo na ono za šta pretpostavljamo da je po-etička osnova Popovićevog rukopisa. Njihova priroda nametnula je aparaturu i strategije koje pripadaju postmodernizmu. To je stoga što i sam pisac, verujemo, jeste postmoderni pisac.<br />Pre svega, Popovićev opus hronološki posmatrano, interferira s postmodernizmom u srpskoj književnosti, pa nas zanima priroda veze ove dve pojave. Takođe, u Popovićevom delu značajno je prisutna, prvenstveno jezička, građa preuzeta iz srpskog književnog nasleđa, te tradicionalne kulture, a upravo je odnos prema tradiciji jedno od relevantnih pitanja koje postmoderna postavlja. Slično se može reći i za problem književnog redefinisanje obrazaca kulture. Doslednim preoblikovanjem farse, temeljnim postupka prema žanru kojim se A. Popović služi, on je ne samo na tragu opštih književnih težnji dvadesetog veka, nego posebnim poetskim postupcima čini vidljivim one kulturne pojave koje su u vreme nastanka Popovićevog opusa bitno uticale na kulturnu matricu Srbije, ali i naznačile ono što će se u kulturi (pa tako i u književnosti) tek dogoditi.<br />U hermetičnim tekstovima, dakle onima koje smo svrstali u drugu tendenciju Popovićevog opusa, predstavljanje značenja kao nepredstavljivog, realizovano je i kao igranje (jezičkih) igara, što je drugo ime za apofatičku misao koja, verujemo, prožima Popovićevo celokupno delo. Nihilizam neće završiti u samoubistvu nijednog njegovog lika (što bi predstavljalo tragičnu preteču postdramskog teatra u verziji Sare Kejn), nego u samožrtvovanju (u drami Afera Ljiljak i njenom negativu – Ružičastoj noći), svojevrsnoj razradi Popovićeve teme potrage, koja signalizira suštinsko nepristajanje na logos vidljive stvarnosti. On zna da je nasleđeni koncept o diskurzivnim hijerarhijama – obmana, ali nije napustio ideju potrage za aksisom.<br />Time što problematizuje binom centar-margina, što dekonstruiše velike narative kulture uspostavljajući tako svojevrsni kontinuitet s nasleđem (i onim koje je ostalo skrajnuto), što ukida hijerarhije kulturnih kodova, što tematizacijom jezika diskutuje metafiziku prisustva i označiteljske prakse kulturnog kanona kojem pripada, Popović postavlja okvir za (re)konstrukciju poetičkih načela svog opusa. Konačno, tezom o apofatizmu, koja svoju paralelu ima u ruskom postmodernizmu, ma koliko na prvi pogled bila nespojiva s Popovićem i njegovim dramama, onakvim kako ga pamti ideološki opterećeno književnoj nasleđe, verujemo da odgovaramo na pitanje zašto Popović piše, tada i tako.</p> / <p>In our paper-work we shall try, concerning the corpus of dramas for adults, which are in printed forms available to the public, to point to what we assume is po-etic basis of Popovic's writings, by singling out certain interpretative problems. The nature of those works imposed apparatus and strategies that belong to the postmodernism. It is because the writer himself, as we belive, is postmodern writer.<br />First of all, Popovic's oeuvre, chronologically speaking, interferes with postmodernism in Serbian literature and we are interested in the conection between these two phenomena. Also, in his literary work there is a significal presence of, primarly linguistic, material taken from Serbian literary heritage and traditional culture, and the relationship to the tradition is the one of the relevant questions that postmodernism raises. The same can be said about the problem of literary redefining cultural patterns. By consequent reshaping of farce genre аs the fundamental Popovic`s mood, he is not just on the trail of XXth century<br />literary aspiration, but through special poetic procedures he makes visible those cultural phenomena that had, at the time when Popovic`s oeuvre appeared, significant impact on cultural matrix of Serbia and indicate what in culture (incuding literature) will only happen in the future.<br />In hermetic texts, those considered as the second tendency of Popovic`s oeuvre, representing void as unimaginable, implemented as a play (language) games, is another name for the apophatism, which, we believe, permeates entire Popovic`s oeuvre. Nihilism will not end up in suicide of any of his characters (which would be a tragic forerunner of postdramatic theater in Sarah Kane`s version) but in self-sacrificing (in drama Afera Ljiljak and its opposite – Ružičasta noć), a kind of working out of Popovic`s theme – quest, which signals a fundamental refusa of visible reality. He knows that inherited concept of discursive hierarchies is deception but he did not abandon the idea of searching for Axis.<br />By problematizing binary opposition center – margine, by deconstruction of the grand narratives of culture which means establishing specific kind of continuity with legacy (even with those remained sidelined), by terminating the hierarchy of cultural codes, by discussing the metaphysics of presence and practice of signification to which he belongs (by focussing language), Popovic sets the framework for (re)construction оf poetic principles of his ouvre.<br />Finally, through the thesis on apophatism which has its parallel in Russian postmodenism, although, at first glance, that thesis is incompatible with Popovic and his dramas, as it is remembered by ideologically laden literary legacy, we believe that we have answered the question why Popovic has been writing, then and so.</p>
| Identifer | oai:union.ndltd.org:uns.ac.rs/oai:CRISUNS:(BISIS)91728 |
| Date | 31 January 2015 |
| Creators | Todorić Gordana |
| Contributors | Damjanov Sava, Pešikan LJuštanović LJiljana, Đerić Zoran |
| Publisher | Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, University of Novi Sad, Faculty of Philosophy at Novi Sad |
| Source Sets | University of Novi Sad |
| Language | Serbian |
| Detected Language | English |
| Type | PhD thesis |
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