o:34692 Поетичке фазе у раној поезији за одрасле Мирослава Антића Poetic Phases in The Early Poetry for Adults by Miroslav Antić од детињег човека до човека изгубљених димензија from a childish man to a man of lost dimensions sr Сажетак: У раду се истражују етапе поетичког развоја Мирослава Антића од збирке Испричано за пролећа (1950) до Концерта за 1001 бубањ (1962). У првој стваралачкој фази његово песништво претежно обележавају топоси социјалистичког реализма и занос пругашко-кубикашких подвига, док потоње лирске творевине, упоредо са песниковим постепеним ослобађањем од идеолошких наноса владајуће књижевне естетике, попримају све израженије одлике интимистичко-сентименталним расположењима засићене, а мотивима боемско-луталачких немира прожете, неоромантичарске осећајности, која ће поткрај прве деценије поетског стваралаштва, збирком Псовке нежности, бити испотиха проткана дискретним одблесцима модернистичког сензибилитета. Међутим, поетички склоп Концерта за 1001 бубањ, откриће да Антић своје устаљене стваралачке принципе ипак неће у израженијој мери уподобљавати дикцији модерног певања, док ће формална својства показати да је новом књигом значајно проширио и иновирао дотадашњу палету песничких поступака. Summary: In his earliest poems, Antić places a lyrical subject in the poetical focus, the subject who is based in Neo-Romanticism and is at times sentimentally sensitive, fragile, and mellow, while at other times he is rebellious and spiteful in the manner of Đura Jakšić, but always enthralled and vibrant. The anxiety and exaltations of such a lyrical subject served as a foundation on which a pallete of poetical motifs was built, underpinned by social themes and dilluted by children’s experience of war. The collection of poems Ispričano s proleća depicts three layers of different, yet intertwined experiences: the first one is personal because the poems are a lyrical chronicle of the poet’s growing up; the second experience is historical, given that the collection depicts three epochs – pre-war, war, and post-war; and the third one is ideological, as the verses trace the trend of gradual awakening of the socialist awareness in an individual, which is in the end marked by the subject’s final adherence to communist ideals. Miroslav Antić’s first collection of poems seems to sum up the fundamental trends of Serbian post-war poetry that dominated literary life before the great modernist revival of the 1950s: on the one hand, a socialist-intoned singing about the liberation war, the freedom struggle of communist fighters, and the hard work of young people on rebuilding the country, and on the other hand, the verses of a pronounced subjective-intimistic orientation, love laments, and Sergei Yesenin-style sentimental-bohemian sighs, which will later be polemically referred to as the so- called lyrics of a soft and gentle mood. At the basis of Roždestva tvojeg rests the poet’s effort to paint, placing the fragments of the dispersive-associative course of action in the late interwar period, the cruel exploitative character of the monarchist-capitalist order, portray the oppressed position of Vojvodina peasants with stark colors of bloody suffering, and give a strong impetus to an unavoidable national uprising. In its main emphases in terms of meaning, this poem is a kind of subsequent lyrical apology of communist revolution, i.e. the justification and celebration of the social upheaval, which, as Antić’s verses show, did not take place by coincidence, but happened due to the force of historical necessity. In some poems at the begining of Plavo nebo Antić focuses on social topics, though this collection of poems, as a whole, is written in the spirit of intimistic moods and a pronounced sentimental introspection. However, in Psovke nežnosti, the lyrical subject is obsessed with ultimate questions and borderline segments of existence, in a nutshell, the limits of existence: the problem of coming into the world, the reasons and purpose of life, and especially the reflections on one’s death, which will transform throughout this collection of poetry into an obsessive visualisation of one’s own funeral and exposing the society’s hypocritical behaviour regarding a person’s death on the one hand, and on the other, into an effort of the poetical ”I” to evaluate and sum up, in the spirit of somewhat spiteful fight with one’s own destiny, the accumulated life experience. Discovering the reflection of cynicism in a smile, which is a sign of an inner blockade and a signal of an established distance towards the world, Antić enriched the poetic credo, without disturbing a deeply romantic foundation of the lyrical voice, with properties close to modernist sensitivity. The poetic structure of the Koncert za 1001 bubanjg, the collection published in 1962, reveals that Antić mainly did not adapt his usual principles of creativity to fit the diction and sensibility of modernist poetry, while the formal features show that in his new book he considerably expanded and innovated the previous palette of poetic procedures. Кључне речи: догматска књижевна критика, социјалистички реализам, револуционарни бунт, неоромантизам, боемија, модернизам. Keywords: dogmatic literary criticism, socialist realism, revolutionary upheaval, neo-romanticism, bohemia, modernism. 1552100 978-86-7849-314-0 2024-09-25T08:58:01.794Z 44 yes 46 Немања Каровић Факултет за образовање учитеља и васпитача Универзитет у Београду 0000-0001-9678-6084 application/pdf 1523378 https://phaidrabg.bg.ac.rs/o:34692 no yes 1 70 1552260 11A42 Антићеви простори детињства 19 41 Београд: Учитељски факултет 2022