Kirabolni a képtelent, avagy a nyíló forma apológiái (A kadaverikus kép és a prospektív potencia Babits Mihály költészetében és prózájában)

Bakonyi Veronika
Kirabolni a képtelent, avagy a nyíló forma apológiái (A kadaverikus kép és a prospektív potencia Babits Mihály költészetében és prózájában).
Doktori értekezés, Szegedi Tudományegyetem.
(2010)

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Absztrakt (kivonat) idegen nyelven

ABSTRACT Robbing the imagelessness or the apology of the opening form (The cadaveric – dead body – image and the prospective potency in the lyrics and prose of Mihály Babits) The paper traces the positioning of the status of the language of poetry in Babits’s theoretical poem-modelling in the relationship between the discourse- and representation criticism procedures of the “weak thought”, with the method of figuring the polemicity of the form as a defending mask in the heterogeneous truth-programs and the appearance of the devenir in energetic patterns. The research covered the strong conceptual-philosophical fullness of image and apparition, the codes of representation, especially the paradigmatic codes of sign and intensity, vanishing and filling, programs of multiplicity, event and presence, all tendencies that relate to the dialectics of the work, within this the opening becoming operative, and the approach to the poetic material of Babits. The understanding of the genesis of the discourse results, as Beáta Thomka says, in understanding the “narrative logic and order” of the work what can define the matter of Babits’s poetic language as a textual engine which expects paying attention both to the taille, the “folds of the work” of the closed form, inundation and visible truth, the Didi-Huberman-determined simptomal presence and, as a category of aesthetic debates of differentiation and resemblance, work and figure, to the concept of Maurice Blanchot’s neutral presence, the subversive criticism of Gilles Deleuze and beyond the subversive discourses going towards Alain Badiou’s verity-corpus approach that gains a semiotic status in Babits’s experiment of the gradually opening, haptic show of carnival scenes and category dissolutions of the closed form. Those debates on the modern aesthetic reflection of the “corpse washer century” are discussed which are related to the reference points outlined by the closed and open structure, the rhetoric-poetic and ideological inscriptions being stratified in an aesthetic regime, which ensure aesthetic viscosity to the categories of closed form connected to parnassism-criticism and motionlessness in a way which, discussing the work as sensorium specifikum and by reconfigurating the regime of the visible and thinkable to make them aesthetically understood, and with the concept of co-influence of the regimes and the re-placings of sensible and partage du sensible, takes them as determining factors in the reconfiguration of the territory of the “common”. This paper intends to reflect to those problems raised by Ernő Kulcsár-Szabó in connection with the Babits anniversary, which include that the examinations of the Babits oeuvre discussed from a biographical-psychogenetical aspect lack such an approach that interrogates the oeuvre as “the prospective potency of the first years of the century in literature” though in the dialogic event of the genesis of significations literary studies still may enable us “to call forth an impact-potential as reflection awareness of literature from a classic bequest that «appears speechless». Thus the paper approaches the opening space of subversive discourse with the intention of adapting Babits’s theoretic modelling of the poem, before examining the paratextual, metatextual and intratextual stripping off and textual peeling off then getting dressed again of the Babits texts subjugated to the form-metapolitics of the oeuvre. In the modern aesthetic reflection the opening space of the subversive discourse brought the shift of performative centre to operative notion and it dynamized/dynamizes the new terms of constitutive ideologemes of sign, legislation, ideological instancy, legal character of genre, the body made subjective by, in the paper’s approach, cutting out a piece from the oeuvre that can be synthetized under the regime of Babits’s cadaveric image. It is the debates that putting to the forefront the partitions of sensible in the modern aesthetic reflection, the carnival scenes, time- and space limits of carnival-like subversion, the metaphoric pattern of dying and the category of segmentation of sensible that we have to follow and it is the modality of polarity of closed and open through which the textual operation of Babits’s oeuvre can be discussed. However, the primary task is to designate the territory of tensions of the struggle with dichotomies in aesthetics: in that aesthetics which designates the oscillation between regimes as its territory of activity, and which selects the closed, fixed form in the vitalist-ontological discourses, that is, the attitudes and places of image, movement and opening as destabilizing tools to satisfy the constitutive ideologeme of sign, the continuous birth and the challenges of cadaveric resemblance. By this, in the conceptual unity of presences, they make the desired notion of form operative again in the text of culture or, more directly, they try to define the pluralism of their aesthetic reflection as opposed to the conceptual superstructure of “anti-representation”. Therefore the paper examined the polemy on the surplus of movement by theorizing Babits’s poetic matter in forming the concept of heterogeneous block/body and heteronomy, placing to the forefront the textual and subject-semiotic referenciality of Mallarmé’s solid block and the circumambulatable statue that appears in Babits’s modern aesthetic reflection. In my view the “genre of poem”, the “crisis of poem” in the cadaveric modality of Babits appears as theoretic reference point, as an inscription to that identification regime which intends to realize the category-dissolutions of closed text by the localization, the “scanning” of the place of movement. Therefore the dialectics of the objective work is shown in the formation and replacements of paradigmatic codes which appear in the tension between sign and intensity, image and series, and thus the place of the movement, through different dynamics of open and closed, is designated by aesthetic propositions investigating the validity of antithetic figurativity and not being able to get rid of body, statue, that is, image. As a consequence, dialectics of death and life, disappearing and genesis is dissolved in Babits’s forming poetics of objective poem and that is why the imageless, the formless, the closedness of apparition into text come forward: it is the cadaveric image, the dead body image which word (cadavre) comes from the French language and denotes dead body and as one form of metapolitics in literature and aiming at a new resemblance it prepares for the progression of the body in the state before colouring not with the opposition of matter and form but with acting together with the modality of differentiation, looking behind the dialectic time that “precedes” representation. In Babits’s oeuvre as a realization, by aesthetic modelling of form frame, the objective work and “biographic experiment” within the open oeuvre and multiple immanency levels a distinguished role is assigned to the intra-, meta and paratextual movements of the cycle Images and Apparitions. Elaborating the politics of the amalgamation of heterogenes and the phenomena of inscripting to the aesthetic regime, then adding approaches of philosophical reception history and genetic textological research to the research of immanent history of poetry, the interpretation of the oeuvre is directed to such dimensions of the forming of Babits’s conceptual superstructure in which Babits’s lectures on theory of literature, his essays in which aesthetics and philosophy, “outside” literature, are subordinated under the phenomena of being closed into the text. His studies, particularly the Ágoston-study, Game Philosophy and the Modern impressionists can demonstrate the dialectics of the work by textual organization, and building on the textual experience, consider the positioning of becoming an artist-poet-philosopher by making dance and poem philosophical notions.

Mű típusa: Disszertáció (Doktori értekezés)
Doktori iskola: Irodalomtudományi Doktori Iskola
Tudományterület / tudományág: bölcsészettudományok > irodalom- és kultúra tudományok
Magyar cím: Kirabolni a képtelent, avagy a nyíló forma apológiái (A kadaverikus kép és a prospektív potencia Babits Mihály költészetében és prózájában)
Idegen nyelvű cím: Robbing the imagelessness or the apology of the opening form (The cadaveric - dead body - image and the prospective potency in the lyrics and prose of Mihály babits
Témavezető(k):
Témavezető neveBeosztás, tudományos fokozat, intézményEmail
Dr. Virág ZoltándocensNEM RÉSZLETEZETT
EPrint azonosító (ID): 554
Publikációban használt név : Bakonyi Veronika
A feltöltés ideje: 2010. ápr. 29. 14:15
Utolsó módosítás: 2014. okt. 03. 10:52
Egyebek (raktári szám): B 4776
URI: http://doktori.bibl.u-szeged.hu/id/eprint/554
Védés állapota: védett

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