Лирическият глас на 60-те години на ХХ век – от “вика” към “ларингса на мълчанието”


Гергина Кръстева

Резюме:

The text offered in this case, which is part of a more extensive study, endeavors to track down certain specific processes in the development of Bulgarian lyric poetry in the 1960s as related to significant changes in the expression of the lyrical voice. The dominant lyrical voice within this period seems to be building a clear and rather insistent aesthetic doctrine of its supra-acoustic performance which amasses and grows up mostly in the works of the poets of the socalled “April generation.” The voice which gives out anxiety, mission, constructive participation in Time is a voice-cry, voice-yell, voicethroat. At the same time in the lyric poetry of the above named period one could sense a particular denial of the demonstration of pathetic crying – that one seems “isolated,” directed at the expanses of collective bygone-ness. Such a choice gradually orientates the lyrical voice onto the spheres of a unique type of intimization, and onto the symbolic of human empathy and commitment, which would materialize when the personally experienced acquires a name, when it “finds” the adequate words, so that the voice-recognition, the voice-partiality, the voice-invoking the words’ true meaning would be read as a guarantee for mutual “hearing,” and for a human readiness to respond – needed so badly. It is indeed indicative that those tendencies could be traced not only in the first public literary contributions of the then “young” poets (Constantine Pavlov, Christo Fotev, Nikolay Kanchev), but also in the works of Valery Petrov, Dobry Zhotev, Blaga Dimitrova. 73 The voice of the end of the 1960s, which could gradually be seen to revoke itself in its own self-identification through sound and which usurps the territories of eyesight, in the poetry of the 1970s gradually turns into a dominant motif, which is part of the change in the processes of self-reflection and towards the “muffling” of the voice-cry, voiceyell. The rejection of high-pitched acoustics by vocalism manifested is a process accompanied by a search for other, different possibilities for sound expression.

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