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This article discusses a literary phenomenon that is oriented utterly subjectively in terms of the concept and content, even though as a whole it is not alienated from the given time and space. When it was published, it aroused a number of varied emotional responses. This is also undoubtedly because it was precisely during this time that the author's personal identity was changing and changed. Razprava obravnava literarni fenomen, ki je idejnovsebinsko naravnan skrajno subjektivno, čeprav kot celota ni odtujen času in prostoru. Ob svojem izidu je zbudil številne različne in prizadete odzive. Nedvomno tudi zato, ker se je prav v teh letih spreminjala in spremenila avtorjeva osebnostna identiteta.

The author methodologically interprets Andrej Capuder's novel Iskanje drugega (Looking for the Other) just like the narratives in the book Slovenska vojna proza (Slovenian War Prose; coauthored with Marjan Dolgan, 1988), which describe the same theme. In terms of concept and content, it interprets it from the perspective that after 1945 the war theme freed itself of ideological brakes and stylistic uniformity, and in terms of form and structure from the perspective of modern narratology. He seeks to answer how true literary art was created in Slovenian conditions. Avtor se je lotil interpretacije Capudrovega romana Iskanje drugega metodološko tako kot pripovednih del z isto temo v monografiji Slovenska vojna proza (skupaj z Marjanom Dolganom, 1988). Idejnovsebinsko s stališča, kako se je vojna tematika po letu 1945 osvobajala ideoloških zavor in slogovnega poenotenja, oblikovno strukturno pa z vidikov sodobne naratologije. Odgovoriti je poskušal na vprašanje, kako je v naših razmerah nastajala prava literarna umetnost.

The author connects the question of the presen-day significance of Gregorčič's poetry with the reception of the poet's work in his time, i.e., the second half of the 19th c. Working towards the present, he stops in the area after World War II, in the 1950s and 1960s. Finally, he attempts to define the value of Gregorčič's poetry from the point of view of a contemporary reader with literary expetise and thematically define the poetical complexes that resounding today, this interpretation does not overlook the musicality of Gregorčič's verse, which is ab easily noticeable, but the least concrete pecularity of his poetry Vprašanje o današnjem pomenu Gregorčičeve poezije je avtor povezal najprej z recepcijo pesnikovega dela v njegovem času, v drugi polovici 19. stoletja. Na poti v aktualno sedanjost se je ustavil v obdobju po drugi svetovni vojni, v petdesetih in šestdesetih letih minulega stoletja. Naposled je poskušal opredeliti vrednost Gregorčičeve poezije s stališča sodobnega strokovnega bralca in tematiziral tiste sklope poezije, ko odmevajo še danes, čeprav drugače kot v svojem času. Kot nobena interprecija doslej, se tudi pričujoča ni izognila muzikalnosti Gregorčičevega verza, ki ostaja zaznavna, vendar najmanj oprijemljiva posebnost pesnikove umetnosti.

A Limit Model in Slovenian Religious Poetry. The author deals with the problem of a special thematic group of the Slovenian poetic art, the religious poetry, which was of no particular interest to the professional and other public until now, and was almost forgotten or kept secret in the last half-century. The author is interested in diverse expressions of religious emotions and consciousness, in dynamics of the basic static world view as manifested in the 19th and 20th century Slovenian poetry. But above all, the author asks himself which are the religious poems that with their confessional contents reach the very limit of their theme, the limit that could not be pushed further anymore. Avtor problematizira posebno tematsko skupino slovenske pesniške umetnosti, religiozno poezijo, ki je bila doslej na obrobju zanimanja strokovne in širše javnosti, v zadnjem polstoletju celo odrinjena v pozabo ali zamolčana. Zanima ga raznovrstnost v izražanju religioznega čustva in zavesti, dinamika v načelu statičnega pogleda na svet, kakor se kaže v slovenski poeziji 19. in 20.stoletja. Predvsem pa si avtor zastavlja vprašanje, katere so tiste religiozne pesmi, ki prihajajo s svojo izpovedno vsebino do roba lastne tematike, čez katerega ni bilo več mogoče.

Lyrics and Their Translatability. The treatise arises from the conviction that lyrical poetry is the most difficult type of literature to translate, and that its translatability or non-translatability is closely related to the essence of lyrics. This is why translations are questionable and should be studied. The study of two cases, the translation of Goethe into Slovene, and Prešeren into German, attempts to ascertain to what extent the translations coincide with the originals, and where translation ends and poetic recreation begins, but above all it reveals those layers of lyric poetry which elude translation because they are rooted in the structural peculiarities of the individual language. Razprava izhaja iz prepričanja, da je lirika od vseh literarnih zvrsti najteže prevedljiva, da pa je njena prevedljivost oz. neprevedljivost tesno povezana z bistvom lirike, zato je prevajanje vprašljivo in ga je treba preučiti. Na dveh konkretnih primerih, pri prevajanju Goetheja v slovenščino in Prešerna v nemsčino, poskuša razprava dognati, kako daleč seže istovetnost prevoda z izvirnikom, kje neha prevod in se začenja prepesnitev, predvsem pa odkriva tiste plasti v lirski poeziji, ki se izmikajo prevajanju, ker so utemeljene v strukturnih posebnostih posameznih jezikov.

The author examines the attitude of 20th c. criticism and literary history towards Slovene literature. He attempts to identify the models of reception and, using receptional aesthetics, to establish which intrinsic elements of the art of writing have been of interest to scholars reading the works. He also attempts to determine the value assigned to the basic literary elements by literary critics and scholars, and the direction in which the evaluation of these elements, i.e., the definition of the meaning and role of literature, is presently evolving. Avtor raziskuje odnos kritike in literarne zgodovine 20. stoletje do slovenske literature. Odkriti skuša modele recepcije in ob uporabi recepcijske estetike ugotoviti, katere bistvene sestavine umetnosti pisanja so zanimale strokovnjake, ki so dela brali. Skuša tudi ugotoviti vrednost, ki so jo literarni kritiki in zgodovinarji pripisovali osnovnim literarnim sestavinam, in določiti smer, v kateri se razvija vrednotenje teh sestavin, tj. pojmovanje pomena in vloge literature.