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EN
Detournement of Aestheticization — Zofia Kulik The Garden (Libera and Flowers)
EN
The aim of the article is to present recent fundamental changes in thinking about poetry. Authors of books published in the years 2010–2016 are much more aware of the political and social situation than those who were debuting right after the year 2000. They are also aware of the context of artistic creation and aesthetic criteria. They seek to redefine the production and distribution of poetic works and react (as their predecessors did) with resistance to social and political oppression.
EN
The article is devoted to a discussion of the works by Darek Foks in the context of an aesthetic change in poetry these days. The very change is presented on the basis of the comparison of a poetical book by Foks Sto najlepszych polskich reklam i jedna niemiecka with Niskie pobudki by Marcin Świetlicki. In poetry by Świetlicki the issue of the politicality of poetry is defined by a gesture of a radical division of the world into an allienated and external public sphere as well as a private sphere giving rest and the feeling of independence. The poetry by Foks, on the other hand, does not believe the possibility of separating the two orders and criticizes a public order by means of a radical internalization.
FR
L’article est consacré à la présentation de l’oeuvre de Darek Foks dans le contexte de la transformation esthétique de la poésie moderne. L’auteur montre ce changement en comparant le livre poétique de Foks Sto najlepszych polskich reklam i jedna niemiecka et la publication de Marcin Świetlicki Niskie pobudki. Dans la poésie de Świetlicki la question du caractère politique de la poésie détermine le geste de la division radicale du monde entre la sphère publique, extérieure et isolant, et la sphère privée, qui donne un certain répit et la sensation d’indépendance. La poésie de Foks ne croit pas à la possibilité de séparer ces deux réalités et soumet l’ordre public à une critique à travers son extériorisation radicale.
EN
The article refers to poetry that is regarded from a new media perspective. The author claims that both untraditional and traditional (inscriptive) forms of poetry require new media perspectives. Such an assumption seems essential now, especially since technology is becoming socialized and traditional systems of art have been deconstructed. The article aims at justifying such assumptions and describing the consequences for poetry.
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