Vývoj poetiky Jana Erika Volda v období 1965-1970

Abstract

Diplomová práce analyzuje koncept rané poetiky Jana Erika Volda z let 1965-1970. Na kontrastu jednotlivých sbírek ukazuje, jak se lyrická báseň proměňuje v poetický text, sleduje vývoj (lyrického) subjektu a způsob zacházení s prostředky estetického účinku. Charakteristické rysy Voldovy poetiky zasazuje do širšího dobového kontextu (tradiční lyrická tvorba, absurdismus, zenový buddhismus aj.). /The thesis analyses the concept of Jan Erik Vold's early aesthetics as performed during the fiveyear- period between 1965 and 1970. Through a multiple confrontation of Vold's books, it unveils the transformation of a lyrical poem into a poetic text and comments on the changes of both the lyrical subject and the employed aesthetic means. The features of Vold's early aesthetics are presented as a part of the overall cultural context of the 1960s (traditional lyrical production, inspiration by absurdism, Zen Buddhism etc./

The thesis deals with Jan Erik Vold's early work from the perspective of "attituderelativisme" represented in Scandinavia by the Danish poet and essayist Hans-Jrgen Nielsen. All the 7 Vold's books from this period are treated not only chronologically but rather cyclically - as three plus one contradictory pairs. The lyrical début mellom speil og speil (1965) is confronted with the experimental book blikket (1966). The thesis observes the different ways of inspiration of the absurd in HEKT (1966) and in fra rom til rom SAD &CRAZY (1967) and analyses the monistic double-project: Mor Godhjertas glade versjon. Ja (1968) in comparison with kykelipi (1969). The last book, spor, sn from 1970, introduces a final perspective (being in contrast to all the other books) inspired by Zen Buddhism and the literary form of haiku poems. The structure of "consentient antithesis" in Vold's literary concept shows how the lyrical structure is modified into the structure of a poetic text; how the lyrical subject changes; how the traditional metaphors and symbols are dissolved and the poem becomes metaphorical as a whole. The thesis indicates that this is caused by an emphasized use of non-figurative poetic expression instead of the traditional figurative meaning.