Naslov (srp)

Politički diskurs dendizma u Vajldovim komedijama društva

Autor

Radovanović, Aleksandar, 1980-

Doprinosi

Nastić, Radmila, 1952-
Rosić Ilić, Tatjana, 1962-
Bubanja, Nikola, 1978-
Đorić Francuski, Biljana, 1961-

Opis (srp)

Krajem XX veka, u periodu bujanja postmodernih teorija književnosti i kulture, Oskar Vajld je revitalizovan kao kanonski anglo-irski autor i rekonceptualizovan kao viktorijanska društvena ikona kroz koju se prelamaju tabuizirana seksualnost, fragmentirani nacionalni identitet i revolucionarna politička stremljenja. Prethodno marginalizovan kao šarmantni zabavljač imperijalne elite i književni diletant, Vajld je naprasno, kroz vizuru novih teorija, izrastao u mislioca čija poetika anticipira moderno, kao i postmoderno viđenje sveta i umetnosti. Ova disertacija sagledava Vajldove komedije društva kao refleksiju kulturne transformacije i političkih previranja s kraja XIX veka. Osmišljen u skladu sa konvencijama komercijalnog teatra, Vajldov komediografski izraz podrazumevao je kompromis sa dominantnim tržišnim ukusom, ali i kreativni postupak koji ima svoju subverzivnu notu. U populističkoj formi svojih komedija, Vajld je iznalazio prostor za disonantni glas koji sa izvesnom dozom suptilnosti poziva viktorijansku javnost na preispitivanje društvenih normi o aktuelnim pitanjima roda, klase, imperije i seksualnosti. Iako se u Vajldovim zapletima mogu locirati nebrojeni moderni i klasični izvori, njegova scenska delatnost pomalja se kao inventivna u realizaciji, dinamična u političkoj relevantnosti i vitalna u istorijskoj istrajnosti. Vajldova estetizovana komunikacija laganjem pokazuje se kao srodna irskoj oralnoj tradiciji, ali i filozofiji dendizma koju dramatičar vaskrsava na pozornici. Dendi je Vajldov eksponent romantičarske hirovitosti u eri viktorijanske pragmatičnosti. On je modni diktator, kulturni provokator i umetnik življenja, a odeća je njegova poezija, izraz revolta i suštinskog konformizma. 7 Dendijeva kreacija je solipsistička, ali ne odvija se u izolaciji, već kroz posmatrače. Bez svoje publike, dendi ne postoji. Postavljen na scenu, dendi kao estetsko i naizgled pasivno biće oživljava u svojstvu glasnogovornika vajldovske filozofije koja kroz ironiju i paradoks podriva društveno podobna stanovišta i formira zid jezičke ambivalentnosti koji i danas priziva nove vidove dekodiranja. Sučeljenost tradicionalnosti i inovativnosti, derivativnosti i originalnosti, konvencionalnosti i subverzije u Vajldovom dramskom postupku nagoveštava da se u samoj formi njegovih komedija može razabrati upravo ona tenzija koja sačinjava srž njegove književnosti i centralnu dihotomiju njegovog životnog i umetničkog performansa. Reč je o dendijevskoj rascepljenosti između inheretne buntovnosti i konformističke pritvornosti, na osnovu čega se Vajldove komedije prepoznaju kao medijum koji valjano odražava kompleksnost njegove poetike i obujmljuje sve kontradiktorne aspekte njegove filozofije. Ova disertacija razmatra Vajldov dramski tekst kroz pristup koji je pre društveno nego literarno orijentisan, pre materijalan nego egzistencijalan. Teza je fokusirana ne na sam tekst koliko na socijalnu interaktivnost teksta u političkim, istorijskim i kulturološkim diskursima Britanske imperije na izmaku viktorijanske epohe. Vajldove komedije otuda su sagledane kao dramska književnost i pozorišni performans, ali i kao kulturni artefakt i scensko ogledalo poznoviktorijanskog sveta u tranziciji. U svom istraživanju, teza se oslanja na masivan kritički korpus o Vajldu, ali i teži da se nadoveže na njega, predoči sopstvenu argumentaciju i izvrši blago pomeranje diskusije ka manje ispitanim obodima. Podrobnije upoznavanje sa politikom Vajldove komedije i njene publike proširiće i humanizovati naš fiksirani pogled na viktorijance i pružiti mu dodatnu istorijsku dimenziju. U tom procesu, disertacija će predočiti načine na koje Vajldova poetika reflektuje kulturne osobenosti fin de siècle Britanije, ali i podstiče zapitanost nad ljudskim stanjem u maniru koji je podjednako prijemčiv za našu digitalnu epohu.

Opis (eng)

Towards the end of the twentieth century, Oscar Wilde was revitalized as a canonical Anglo-Irish author and re-conceptualized as a Victorian social icon who embodied tabooed sexuality, fragmented national identity and revolutionary political aspirations. Previously marginalized as a charming entertainer of the imperial elite and a literary dilettante, Wilde sprang into academic recognition as a thinker whose poetics anticipated the modern, as well as postmodern conception of the world and art. This dissertation examines Wilde’s society comedies as a reflection of cultural transformation and political turmoil at the close of the nineteenth century. Conceived in accord with the conventions of commercial theatre, Wilde’s dramatic expression was marked by a compromise with the dominant taste of the market, but it also entailed a creative strategy which had its subversive note. In the populist form of his comedy, Wilde found space for a subtle dissonant voice which invited the Victorian audiences to review social norms on the topical issues of gender, class, empire and sexuality. Although Wilde’s plots reveal countless modern and classical sources, his plays loom as inventive in execution, dynamic in political relevance and vital in historical durability. Wilde’s aestheticized communication through lying proves to be akin to the Irish oral tradition as well as the philosophy of dandyism which the playwright revived on the stage. The dandy is Wilde’s exponent of romantic whimsicality in the era of Victorian pragmatism. He is a fashion dictator, cultural provocateur and a supreme artist of life. Clothing is his poetry, a sartorial expression of his apparent revolt and essential conformity. The dandy’s creation is solipsistic, but it does not enfold in isolation. Without his audience, the dandy does not exist. Once he is placed on the stage, the dandy, as an aesthetic and seemingly passive creature, comes to life as the spokesman of Wildean philosophy which uses irony and paradox to undermine socially acceptable views and to build a wall of linguistic ambivalence which still invokes new forms of decoding. Wilde’s dramatic method thrives on the oppositions between traditionalism and innovation, derivativeness and originality, conventionality and subversion, thus suggesting that the very form of his comedy exemplifies the tension which stands as the existential core of his literature and the central dichotomy of his performance of life. That tension is the dandy’s schism between inherent rebellion and conformist pretence, which is why Wilde’s comedies can be recognized as a medium that properly reflects the complexity of his poetics and embraces all the contradictory aspects of his philosophy. The approach to Wilde’s dramatic text is socially rather than literarily inclined, material rather than existential. The dissertation is focused not on the text itself but on the social interactivity of the text within the political, historical and cultural discourses of the British Empire at the apex of its power. Wilde’s comedy is therefore observed as dramatic literature and theatrical performance, but also as a cultural artefact and a stage mirror of the late Victorian world in transition. The research relies on the massive body of critical work on Wilde, but it also aims to complement it, present its own argument and make a slight shift of the discussion towards the less examined edges. A keener awareness of the politics of Wilde’s comedy and its audience serves to expand and humanize our fixed view of the Victorians and provide it with an additional historical dimension. In this process, the dissertation will demonstrate the ways in which Wilde’s poetics not only reflects the cultural traits of the fin de siècle Britain, but also evokes a sense of wonder about the human condition in a fashion which is just as provocative in our digital era.

Jezik

srpski

Datum

2018

Licenca

Ovo delo je licencirano pod uslovima licence
Creative Commons CC BY-NC-ND 2.0 AT - Creative Commons Autorstvo - Nekomercijalno - Bez prerada 2.0 Austria License.

CC BY-NC-ND 2.0 AT

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