The article discusses the problem of the object in the neo-avantgarde poetry on the example of Vujica Rešin Tucić’s volume San i kritika [Dream and Critique] from 1977. Basing on two different methodological paths – an ‘anthropological’ one, linked with Marek Krajewski’s notion of ‘unbridledness’, and a ‘formalist’ one, associated with Eco’s, Belknap’s or Pomian’s categories of catalogue, list and collection – the author reveals two different aspects of the object. Firstly, it can be seen as an autonomous and emancipated, even alive, entity which overshadows the subject to gain a new, dominant identity and a vast “living space”. Secondly, the object, or its textual equivalent, is a part of the catalogue- or list-oriented structure of the poem. Tucić’s poetics is marked with a number of two- or three-piece sequences of objects which build a particular objective paradigm, analysed as a “lifestyle of the objects” phenomenon. In conclusion, the author tries to utilise the notion of an “uncanny collection” of objects (as independent entities or as textual representatives) as a point of convergence of those two methodological approaches.
 

The article discusses the problem of the object in the neo-avantgarde poetry on the example of Vujica Rešin Tucić’s volume San i kritika [Dream and Critique] from 1977. Basing on two different methodological paths – an ‘anthropological’ one, linked with Marek Krajewski’s notion of ‘unbridledness’, and a ‘formalist’ one, associated with Eco’s, Belknap’s or Pomian’s categories of catalogue, list and collection – the author reveals two different aspects of the object. Firstly, it can be seen as an autonomous and emancipated, even alive, entity which overshadows the subject to gain a new, dominant identity and a vast “living space”. Secondly, the object, or its textual equivalent, is a part of the catalogue- or list-oriented structure of the poem. Tucić’s poetics is marked with a number of two- or three-piece sequences of objects which build a particular objective paradigm, analysed as a “lifestyle of the objects” phenomenon. In conclusion, the author tries to utilise the notion of an “uncanny collection” of objects (as independent entities or as textual representatives) as a point of convergence of those two methodological approaches.