METAPHORS IN GLAZERS POETRY

V diplomski nalogi sem analizirala metaforiko v Glazerjevi poeziji. Analizirala sem vrsto, namen in učinkovitost metafor v treh Glazerjevih pesniških zbirkah: Pohorske poti (1919), Čas-kovač (1929) in Ob jesenskem ekvinokciju (1946). Ugotavljala sem tudi metaforične prvine Glazerjevih pesmi glede na tematiko in glede na čas nastanka. Za analizo sem uporabila interakcijsko teorijo. Ugotovila sem, da je Glazerjeva metaforika precej tradicionalna. Opazni so konvencionalni epiteti in ni inovativnih metafor. Glazer razvije zanj tipične metaforične povezave, ki jim ostane zvest v vseh pesniških zbirkah (povezava mladosti z zeleno barvo in pomladjo, hrupa z življenjem, duševnega miru z naravo in tišine s smrtjo. V vseh zbirkah prihaja tudi do interakcijskih odnosov med klopotci, naravo in človekom). Glazerjeva metaforika se od zbirke do zbirke ni bistveno spreminjala. Izhodiščne in ciljne predmete Glazer ves čas jemlje iz istih območij, razmerja med njimi pa temeljijo na realni osnovi. Interakcije največkrat potekajo med čutno-čutnimi vtisi, pogoste so podobe iz narave in Glazerjevega okolja. V Glazerjevih pesmih sta najpogostejši pridevniška in glagolska metafora in ni zapletenih metafor. Njegove pesmi so zgoščene in kratke, in temu je prilagojena metaforika. Glazerjev stil se giblje med impresionizmom, realizmom in ekspresionizmom, vendar realizem izstopa.This dissertation presents an analysis of the metaphors in Janko Glazer’s poetry. There are analysed the type, the purpose and the functionality of the metaphors in all three of Glazer’s poetry collections: Pohorske poti (1919), Čas-kovač (1929) and Ob jesenskem ekvinokciju (1946). The metaphorical features in the poems are analysed due to the theme and date of their origin. For the realisation of this analysis, I have applied the theory of interaction. The analsyis’ findings are that Glaser’s metaphors are quite traditional, with conventional epithets and the absence of inventive metaphors. In his work, Glaser uses his own metaphorical connections and persists using them through all of his poetry collections (he connects the youth with green colour and the springtime, the noise is connected to the life, the peace of mind is connected with the nature, and the silence with the death. In all of his collections, there are very notable the interactions between the Slovene klopotec (wooden wind-powered rattle), the nature and the man). From one collection to another, the Glaser’s metaphors do not change significantly. Glazer’s original and metaphorical subjects are more or less always taken from the same field and the relations among them are based on the reality. Most of the time, the interactions are based on sensuality, the images that Glazer depicts are taken from the nature and his natural environment. In Glaser’s poetry, the most frequent are adjectival and verbal metaphors, however these metaphors are more or less simple. Hence his poems are concise and short, the metaphors are adjusted to his writing manner. Glaser’s style could be placed among the impressionism, the realism and the expressionism, even though the realism is the most notable