Temat: ‘zaum’ - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Elements of the Formal Procedures in Zaum Poetic Experiment
Elementi formalnih postupaka u zaumnom pesničkom eksperimentu
Autorzy:: Latifić, Amra
Powiązania:: https://bibliotekanauki.pl/articles/635908.pdf
Data publikacji:: 2017
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: zaum
formalism
poetry
Russian avantgarde
form
function
Opis:: The paper analyzes the elements and strategies of Russian formalism applied to the Russian avantgarde zaum poetic experiment of Alexei Kruchenykh and Viktor Khlebnikov. In futuristic tendencies to create a trans-rational language or zaum language lies the idea of a new voice, sounds and semantic meaning. According to Russian poets the new semantic meaning of the word is obtained only in the process of performing a poem. Also, according to Russian formalism, sound of poem, in the performing process, has its own independent meaning. In this sense zaum experiment in its printed form does not possess a fixed resolution of meanings, but only has potential of meanings. The function of fixed forms, that during the process of performing is to form a new movable semantic meaning.
Źródło:: Poznańskie Studia Slawistyczne; 2017, 13
2084-3011
Pojawia się w:: Poznańskie Studia Slawistyczne
Dostawca treści:: Biblioteka Nauki

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Tytuł:: „Тупые, дикие, идиоты” a nowy teatr w Rosji na przełomie XX i XXI wieku
“Tupyje, dikije, idioty” vs. new theatre in Russia since the 1990s
Autorzy:: Osińska, Katarzyna
Powiązania:: https://bibliotekanauki.pl/articles/22446773.pdf
Data publikacji:: 2013
Wydawca:: Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:: new theatre in Russia
new theatre
Moscow Conceptualism
“Hudozhestvennyi zhurnal”
‘zaum’
absurd
performance of laughter
Opis:: In the Russian theatre, especially the postmodern one, since the turn of the 80s and 90s we have been able to observe that young theatre creators tend to adopt a defiant derisive attitude – both towards reality and to texts originating from the culture of the past which often constitute the subject matter of their works. A part of phenomena that are mentioned here might be presumably called ‘performances of laughter’ (as opposed to ‘performances of violence’ – this was the way the so-called new Russian drama was named by Mark Lipovetsky and Birgit Beaumers). This kind of artistic gesture was a reaction to the fact that in the former Soviet Union art was regarded as a mission and theatre was treated as a cradle of culture. They also meant a rebellion against authority figures, also the authority of tradition, and on the other hand they were an expression of surrender in the face of challenges brought in by the new social, political and cultural situation. In the article I assume that ‘performance of laughter’ and other theatre forms, whose authors undermined the possibility of rational cognition, simultaneously enhancing such strategies as absurd, eccentricity, chaos, infantilism, showing-off (in Russian „stiob”), originated from the chronologically earlier trend of visual arts, deriving from the Moscow Conceptualism. Therefore, I begin the article presenting the contents of the magazine “Hudozhestvennyi zhurnal” (2000, 26–27) dedicated to art taming the type of consciousness which medicine diagnoses as “idiotism”.
Źródło:: Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 31-42
1427-9681
2353-4834
Pojawia się w:: Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:: Biblioteka Nauki

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