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40 Simpozij OBDOBJA conventions of the lyrical poem as an introspective genre which was for a long period connected with male poetry production. Then theoretical discourses are presented fragmentarily in comments related to the social system and the construction of subjectivity – the heritage of post-structuralism. The narrative lfow by which we relate these discursive fragments we construct while reading the book. Novak Popov emphasises the extremely rhythmical organisation of the poetic material. I will relate this aspect of her work to the fact that Nina Dragičević is a composer and scholar dealing with sound. Poetry in the age of the global , performative turn which forcefully embraced poetry, related this to the oral public performance. And so Dragičević composes her text, simultaneously working with narrative lfows, or as Balžalorsky Antić (2020: 47) explains, she combines outer dialogue with inner dialogue. The stories branch in different fragmentary narrative directions, and the initiator of this is the work at the sound level of the language, pointing to how sound and sense coincide. In some parts, the lines consist of only one word, while on the other hand, some parts are organised in paragraphs, as in prose. Dragičević carefully works with the relationships between narrative continuity and narrative discontinuity in two ways, ifrst through a repetition of certain words and phrases, as in this example: »kažem šta ću kaže šta šta ćeš kažem pišem, a šta ću kaže a šta / ćeš kažem ništa, kaže idemo.« 3 Secondly, she works with signiifers and with words which function as synonyms but are either opposed at the level of sound pattern as not similar or successively positioned as similar or with identical sound composition: »še kar / tolčejo in mlatijo in udarjajo in udrihajo in udrihajo in / zasopli so votli komaj dihajo« (Dragičević 2019a: 10). Words are repeated, varied, or the poet works with the word’s root, preifxes, suiffxes and inifxes, words that are usually graphically marked – written in italics. These compositional principles Novak Popov (2021) describes as »developing by the repetition of sounds, sentences, onomatopoeia (vrə, bm, ššššš, he, hm, ou, ə) and syntactic parallelisms«. All these elements enable a performing of poetry in which the articulation of the voice is a medium in itself, because the rhythms of repetitions and words enable the voice to act not as a vehicle for transmitting a speciifc meaning subordinated to it in declamation, for example, but as a speciifc articulationary sound energy. 4 Conclusion The concrete poetry of Franci Zagoričnik and the hybrid poetry of Nina Dragičević took shape in the broader poetical context of the historical period in which they worked. This means that the conditions of their work are different. In Zagoričnik’s case, the context was socialist Yugoslavia and the Cold War, during which poets wanted their work to belong to the international language of concrete poetry, penetrating the barriers of socialist culture. In the case of Dragičević, there are no longer any political and 3 I used Ivan Antić’s translation of one fragment from Nina Dragičević book into Serbian and published in the magazine Koraci (https://koraci.net/2019/12/нина-драгичевићљубав-каже-идемо/). Aproximate translation: »I say what I can do She says what can you do I say I am writing, what I else i can do she says what esle you can / do I say nothing, she says s go.«let’ 28
