Vesna Parun in the context of socialist realism: case analysis

U radu se nastoji osvijetliti književno djelovanje Vesne Parun u razdoblju socijalističkog realizma te se pritom naglasak stavlja na recepciju njezine pjesničke produkcije u tadašnjem javnom kritičkom diskursu, koji je funkcionirao kao tumač i promicatelj partijske politike. Demonstrira se pritom posredno kako je Parun bila onemogućena u svojoj umjetničkoj subjektivaciji u političkom režimu koji je, nametanjem vlastitoga kulturnog obrasca, zahtijevao identifikaciju s logosom poretka. Time je socrealizam, nesposoban i nevoljan priznati drugoga i drugačijega, odao da je u svojoj biti zapravo protivan izvornoj ideji ljevice, a na površinu je izbilo i pitanje autonomije i slobode umjetnosti odnosno njezina identificiranja i usklađivanja s poželjnim vrijednostima.This paper attempts to present the literary activity of Vesna Parun during the period of socialist realism, thereby emphasising the reception of her poetry in the critical-political discourse of that period, which functioned as the interpreter and promoter of the communist-party politics. The paper indirectly demonstrates that Vesna Parun’s artistic subjectivation was rendered rather impossible due to the political regime which demanded identification with the logos of the system by imposing its own cultural pattern. Socialist realism, being incapable and unwilling to accept difference and otherness, has thus revealed that its essence is in fact completely opposite to the original idea of the left, while the autonomy and artistic freedom, i.e. its identification with and adjustment to desirable values, have become questionable. Although today it is often stressed out that the period of socialist realism was marked by a restrictive atmosphere and that this dominant paradigm did not succeed in having a considerable influence on the development of Croatian literature, Vesna Parun is the best example of how the public critical discourse, which played a key role in the propaganda of the new artistic preoccupations without having consideration for individual expressions, measured the value of a piece of art based on agitation-propaganda success and could not even recognize an evident concretization of her verses on the horizon of contemporary reality