Poetics of suicide in prose of Ivo Andrić and Miloš Crnjanski

[Đ. Radovanović]

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Osnovni predmet istraživanja u doktorskoj disertaciji Poetika samoubistva u prozi Ive Andrića i Miloša Crnjanskog jeste prisustvo i važnost suicidalne poetike u proznim delima dvojice najznačajnijih srpskih pripovedača dvadesetog veka. Polazeći od kratkog istorijata samoubistva, od načina na koji su razumevani i postepeno formirani različiti oblici suicidalnog znanja (simboličkog i ne-simboličkog) uputili smo se onome trenutku u istoriji književnosti u kome modernost najpre usvaja suicidalnu transcendenciju kao jednu od krucijalnih poetičkih mogućnosti da se izrazi novo shvatanje metafizike kao transcendiranja humaniteta, ali je istovremeno i razgrađuje i odbacuje, upisujući u nju vlastiti metapoetički nalog dvosmislenog bivanja u utesi (nadi) i u smrti. U srpskoj književnosti, taj pokret ka afirmaciji suicidalnog nihilizma bio je kratkog veka i daha i već nakon Prvog svetskog rata, sa usklađivanjem i sinhronizovanjem poetičkih tokova u srpskoj i u evropskim književnostima, suicid se počinje posmatrati ili na način groteksno-karikaturalne dekonstrukcije suicidalne želje ili se njegov gubitak prikazuje smeranim simboličkim građenjem narativa oko neosvešćene ili nemoguće metafizike suicidalnog. Crnjanski i Andrić, u tom smislu, polaze od sasvim različitih pristupa samoubistvu. Crnjanskovoj ironijsko-grotesknoj, čak komičnoj stilizaciji raznorodnih suicidalnih situacija u Maski i u Pričama o muškom, suprotstavlja se dovršeni sumatraistički model poetike u Dnevniku o Čarnojeviću. Sa druge strane, Andrić će, u „Mustafi Madžaru”, najpre osvestiti prostor suicidalne želje, ali će svom junaku taj prostor učiniti nedostupnim, ostavljajući ga u užasu i traumi želje koja želi želju, koju ne može da pozna, da bi zatim, u brojnim pripovetkama, nadalje razvijao i razgranavao ovaj motiv, počev od, u poetici samoubistva već prepoznatog i od Šekspira nadalje stalno prisutnog, ofelijinog kompleksa, preko nerazjašnjenih samoubistava i pojave istražnog diskursa (u „Anikinim vremenima” i Travničkoj hronici), pa sve do suicidalnog zahteva za prisvajanjem koji vodi u zločin destrukcije i samodestrukcije („Olujaci”, Omerpaša Latas). Međutim, ako se dva autora razlikuju na svojim počecima, njihovo se pripovedanje zakonomerno sliva i međusobno reflektuje na izmaku epohe. U Crnjanskovoj Drugoj knjizi Seoba i Romanu o Londonu, simbolički tretman suicida gotovo je identičan kao u Andrićevoj Travničkoj hronici i Prokletoj avliji. Konačno odbačenom zahtevu za identitarnim utemeljenjem junaka u svojevoljnoj smrti, u Travničkoj hronici i Drugoj knjizi Seoba, sleduje njihov nestanak, kao nestanak modernističke poetike i metafizike, eksplicitno ili implicitno vezan za junakov suicidalni status, u Prokletoj avliji i Romanu o Londonu. Cilj teze bio je ne samo da se uspostavi veza, u sličnostima i razlikama unutar dvaju suicidalnih poetika, već i da se na primerima onih dela koja sačinjavaju glavni deo opusa Ive Andrića i Miloša Crnjanskog, pokaže da ih je moguće tumačiti sa stanovišta jednog kulturološko-poetičkog fenomena koji nije tek jedan od motiva prisutnih u njihovoj prozi, koliko noseća simbolička struktura na osnovu koje se može vršiti hermenutička valorizacija svakog modernističkog opusa. Modernistička poetika jeste suicidalna poetika i ako postoji distinktivno svojstvo prema kome se formira razlika modernizma u odnosu na poetičke pristupe i epohe koje mu prethode, onda je to svakako samoubistvo. Samoubistvu kao razlici i samoubistvu kao gubitku bilo je, međutim, neophodno pristupiti putem teorijskog modela koji ima mogućnosti da tu razliku i taj gubitak osvesti. Naime, tek je poststrukturalističkoj filozofiji i poststruktuarlističkoj psihoanalizi pošlo za rukom da izvrši „prespajanje” i premošćenje dvaju do tada „zavađenih” diskursa – diskursa suicidalnog znanja i diskursa suicidalne književnosti. Otuda je i izbor metodološkog aparata kojim će se tumačiti i rasvetaljavati problem suicidalnosti u modernističkoj poetici Andrića i Crnjanskog prirodno i (jedino) logično vodio ka poststrukturalizmu, jer, i kao nemogući (nedostižni) transcendent i kao poetički katalizator koji ukazuje na razgradnju drugačijih modernističkih metanarativa, samoubistvo je, u književnosti modernizma, pre svega i iznad svega – razlika.

The principal object of doctoral dissertation Poetics of suicide in prose of Miloš Crnjanski and Ivo Andrić is to analyze presentness and importance of the poetics of suicide in prose works written by two of the most significant Serbian novelist in twentiteth century. Starting this research with a brief history of suicide, mentioning the ways in which suicide was understood throughout the time and constituted as knowledge (symbolic or non-simbolyc) we made our way to a crucial moment in history of literature when literary modernism, at first, accepts the possibility of transcedence through suicide, as one of its most important poetical strongpoints for human metaphysics to be expressed, but, at the same time, it also rejects and disintegrates that transcendence, proclaiming the paradox of the same-time being in death and in (metaphysical) condolence as the base of modernist literature. In Serbian literature, that move towards affirmation of suicide nihilism didn’t last long and by the end of World War One Serbian literature is already synchornized with literary movements in european and world literature, so writing of suicide changes and takes differnet forms. It is either grotesquely or ironically deconstructed in its former demand or it is recognized in its metaphysical impossibility and symbolic narrative is structuring itself as the impossible desire to reach transcendence through suicide. Starting to wite in the afterwar years Crnjanski and Andrić represent two completely different approaches to the poetics of suicide. In some of Crnjanski’s early works, like in his play The Mask or in collection of stories Stroies abut Men, the view on suicide is ironically-grotesque or even comical, because Crnjanski wants to create his poetics of sumatraism (in his first novel The Journal of Čarnojević) through metaphysics opposite from the one that affirmates suicide, while in Andrić’s early works, like in his story „Mustafa Madžar”, poetics of suicide is created as the impossible hero’s search to awake his own sence of meaningful death. Andrić does not reject suicidal metaphysics but he makes it impossible to know, so the hero only wishes something that would get him out of his trauma but he dosen’t kknow what he is wishing for. In later Andrić’s stories this motif is completely developed with many differnet ranges of suicidal poetics, from the Ophelia’complex, shakesperean theme in modernist reinterpretation, through the unsolved crimes that could be suicides and through forming an investigation discourse around theese cases („Anika’s Times”, The Days of the Consuls), to the suicidal demand of appropriating something or someone which leads to destruction or self destruciton. („Olujacs”, Omerpaša Latas). Howevere, if theese two writers show great differencies in their early works, they are closing to each other as the epoch of modernism comes to its end. Symbolic treatment of suicide in Crnjanski’s Second book of Migrations or in A Novel about London is almost identical as in Andrić’s The Days of the Consuls and The Damned Yard. Final rejection of heroe’s suicidal demand to reach his identity through willingful self destruction, in Second book of Migrations and in The Days of the Consuls, leads us to heroes dissapearing in The Damned Yard and in A Novel about London, and the disappereance of theese heores marks also the future (and near) dissapereance of modernist poetics and metaphysics, expicitly or implicitly related to the hero’s suicidal status. The aim of this thesis was not just to establish relations, internal or external, between theese two modernist writers and their poetics, but to show that it is possible to interpret main works of theese writers form the aspect of a cultural and poetical phenomenon that is not just one of the motifs present in their prose, but it is a crusial symbolic structure throughout which any opus in literary modernism could be hermeneutically valorized. Poetics of modernism is a poetics of suicide and if there is any distincive characteristic that forms the difference between modernism and other epochs of literature, than it mus be the suicide (poetics of suicide). As poetics of loss and poetics of difference, suicide demands to be analyzed through a theoretical method which can be conscious about theese losses and differences. Only in poststrucutral philosophy and in poststructural psychoanalysis it became possible to make connection between two realms sharply separated before poststructuralism – realm of suicidal knowledge and relam of poetics of suicide. Because of that, it was only natural and only logical to analyze problem of suicide in Crnjanski’s and Andrić’s prose by using the poststructuralist methodology. No matter if we are interpreting suicide as an impossible transcendence or as a poetic catalyst which implies that all the other metanarratives of modernism are also deconstructed, suicide, in modern literature, is, above all – a difference.

Ivo Andrić, Miloš Crnjanski, samoubistvo, modernizam, poststrukturalizam, identitet, smrt, gubitak, razlika, metafizika

Ivo Andrić, Miloš Crnjanski, suicide, modernism, poststructuralism, identity, death, loss, difference, metaphysics

821.163.41-3.09 Andrić I.(043.3) 821.163.41-3.09 Crnjanski M.(043.3)

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