Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Kornhauser, Jakub" wg kryterium: Autor

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-4 z 4
    Tytuł:
    Depoetize the Universe. Manifestoes of Romanian Surrealism
    Autorzy:
    Kornhauser, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/638313.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Surrealism, manifesto, avant-garde, modernism
    Opis:
    The main aim of my article is to investigate, or simply to highlight the evolution of the twofold character of Surrealism-influenced, and later Surrealist, manifestos in three consecutive stages of the avant-garde movement in Romania. I apply the notion of the avant-garde manifesto developped by Benedikt Hjartarson in his essay “Myths of Rupture. The Manifesto and the Concept of Avant-Garde”, with the aim of taking a closer look at the anti-Surrealist Romanian manifestos of the mid-twenties, pre-Surrealist texts of the thirties, and the proper phase of the newly-established Romanian Surrealist Group’s discoveries in the forties.
    Źródło:
    Romanica Cracoviensia; 2015, 15, 4
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nuca terorizează orasele. Eliberarea obiectului suprarealist în Vasco da Gama de Gellu Naum
    Autorzy:
    Kornhauser, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/638412.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Gellu Naum, surrealism, object, liberation, Romanian literature
    Opis:
    The paper analyses one of the Gellu Naum’s poetic masterpieces, Vasco da Gama. The main aim is to reconstruct Naum’s aesthetic premises that lead him to transform the images to reveal the real nature of the poetic objects. The theoretical background for Naum is created by the André Breton’s essay Crise l’objet (1936). The article presents the crucial imperative in the Romanian Surrealism leader’s Nuca terorizează orasele. Eliberarea obiectului suprarealist în Vasco da Gama de Gellu Naum 219 appeal, the object to be stripped of cretinizing uniforms and liberated by removing from the quotidian context. Rather than an inert object engulfed by the perceiving consciousness, the liberated thing becomes active and devours its observer. The language of permanent and fluid transformations accompanies a promiscuous, perpetual orgy of devouring. The concept of “liberation” is claimed as both “emancipation” and “release”. Disfunctional objects gain a new identity, being anthropomorfized or animated. Vasco da Gama propose a special type of sensibility reclined on an unruly imagination and encourages the reader to discover new relations between the object and the word.
    Źródło:
    Romanica Cracoviensia; 2012, 12, 2
    2084-3917
    Pojawia się w:
    Romanica Cracoviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zadania tłumacza poezji konkretnej. Prolegomena metodologiczne (I)
    Autorzy:
    Kornhauser, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/638721.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    concrete poetry, visual poetry, translation of the experimental forms of literature, text as an object
    Opis:
    The paper focuses on the methodological approach to the problem of translating experimental poetry. The presented analysis is based on three texts: Julian Kornhauser’s Przekład jako objaśnienie (O tłumaczeniu poezji konkretnej) from 1983, Jerzy Jarniewicz’s Tłumacze na urlop! and Leszek Engelking’s Konkretne decyzje tłumacza, both from 2006. Each of these three articles includes a translative strategy towards the concrete poetry. The term, in narrow meaning, can be used to describe the worldwide movement founded simultaneously in Switzerland/Germany (by Eugen Gomringer), Sweden (by Őyvind Fahlstrőm) and in Brazil (by the Noigandres group – Haroldo and Augusto de Campos and Décio Pignatari) in the early 1950s. The movement itself represents a form consisting of both verbal and visual elements and, in consequence, unites the distinctive marks of poetry and painting. With a vague status of a hybrid, as well as the experimental character, this specific genre is situated beyond the traditional categories of analysis and interpretation. Despite the confusion in terminology, though, there is fundamental requirement which the various kinds of concrete poetry meet: concentration upon the physical material from which the poem or text is made. Considered as an object, the concrete poem causes a fundamental problem in the frames of the translatology. The concrete poetry interpreters and researchers are disunited on the question of its translatabilty. Julian Kornhauser distinguishes the two major kinds of the concrete poem – a “poster-poem” and the “non-poster” one, the latter allowing or even requiring a translator’s intervention. The “poster-poem”, owing the complicated visual structure, cannot be translated. Jerzy Jarniewicz defines the entire concrete poetry as untranslatable, classifying it in the terms of the visual arts. Leszek Engleking presents a contrary view, which considers a translator as an interpret who promotes the experimental forms of poetry in the new literary context. The author of this paper attempts to put these methodological concepts into translation practice, examining the concrete poems of Eugen Gomringer, Friedrich Achleitner, Gerhard Rühm, Hansjörg Mayr and Jiří Kolář among others. While the most significant component of the concrete poem is language itself, treated predominantly as a graphic structure, the translation strategies can differ significantly. The analysis evokes its internal status, which appears to be miscellaneous from different perspectives, as it initiated an interdisciplinary genre by searching for new artistic horizons.
    Źródło:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2012, 7, 3
    2084-3933
    Pojawia się w:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wędrowny podżegacz oraz Vasco da Gama Gellu Nauma. Bohater surrealistyczny in statu nascendi
    Autorzy:
    Kornhauser, Jakub
    Powiązania:
    https://bibliotekanauki.pl/articles/638743.pdf
    Data publikacji:
    2010
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Gellu Nauml Romanian Surrealism, "The Incendiary Traveller", "Vasco Da Gama" , Romanian Poet, Surrealist Hero, Textual Construct
    Opis:
    The paper presents the early poetic works of Gellu Naum, leading representative of the Romanian surrealism. The point of departure for considerations becomes the theoretical background of Naum’s aesthetic premises. On that basis, surrealism is being reconsidered as a special type of sensibility reclined on an unruly imagination rather than anarchical doctrin. With a starting glimpse of Naum’s debut (The Incendiary Traveller, 1936), surrealism in Romania has earned a lot of consciousness, confirmed by several volumes (particularly Naum’s Vasco da Gama, 1940). The new lease of life brought to the movement by the Romanian group was incontestable.The principal part of the paper is devoted exclusively to the analysis of Gellu Naum’s early masterpieces – The Incendiary Traveller (1936) and Vasco da Gama (1940). The main aim is to reconstruct Naum’s imaginary areas full of unseen things that underlie the surfaces of the quotidian and consciousness. The Romanian poet concentrates on the liberation of the subject or a person from the necessity of identity. The Surrealist hero (both Vasco da Gama and The Incendiary Traveller) has to be at the same time a textual construct, only a toy in the demonically animated inorganic things’ hands, an inert object, and, at least, the poet’s alter ego, exploratory of the irrational and marvellous, a grand voyager over the devouring sea of objects (sea of bones), a platform build on the basis of free imagination. The goal of the Gellu Naum’s textual representative is to move between worlds, to participate in a fluid series of magical changes in the permanent process of seeking for a secret identity.
    Źródło:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2010, 5, 1
    2084-3933
    Pojawia się w:
    Studia Litteraria Universitatis Iagellonicae Cracoviensis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies