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Je kubismus, který je český, světový? : Případ Kubišta

100%

Rakušanová M.

Umění (Art)

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2017

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vol. 65

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issue 5-6

474-500

EN

The study examines the methodological tools used to interpret Cubism by the art history of the cultural hegemons and by Czech art history. The aim is to identify unconscious patterns of interpretation that, rather than enabling Czech art historians to establish a productive dialogue with their international counterparts, have, on the contrary, pushed them more to the margins of international discussions. The lack of understanding has of course been on both sides, and the study shows that even revisionist histories of art (and of Cubism in particular) have not generated tools that could be used to draw lessons from those areas of art that do not fit in to the universalistic canon. The study offers a critical revision of the art-historical postulate of Western structural linguistics and semiotics that sees a revolutionary re-evaluation of the concept of pictorial representation solely in the Cubism of Picasso. The study focuses also on the origin of key concepts in Czech art history - ‘Cubo- expressionism’ and ‘Picassism’ - and considers to what extent these terms were aimed at capturing characteristic features of local modernism and to what extent they reflect a tendency to mythologise local art and culture. Attention is also devoted to other methods favoured in Czech art history, which include biographism and a distinctive form of iconology that is enhanced with gestaltism. In its revision of existing interpretations of Western and local art historians, the study does not refute the values and methods of either of these art-historical discourses, nor does it seek to elevate the qualities of one methodological frame over another. Its goal is rather to draw attention to the points where the two sides’ views intersect as potential inspiration for future reciprocal transcultural dialogue. Ideas on the possibilities for communication between ‘Western’ and Czech art history and on establishing a coequal correlation between the homogenised canon of modernism and the heterogeneous art of Central Europe are applied in the study to one particular phenomenon in art history - the work of Bohumil Kubišta (1884-1918), who was a key actor in European early avant-garde activities. Assessments of Kubišta’s work problematised art-historical conceptions of Czech and Central European Cubism and its international contextualisation.

CS

Studie zkoumá metodologické nástroje, které byly pro interpretaci kubismu používány jak dějinami umění kul- turních hegemonií, tak českým dějepisem umění. Cílem je identifikovat neuvědomované vzorce výkladu, které místo aby umožnily českým historikům umění navázat plodný dialog se zahraničím, naopak je od mezinárodní diskuse spíše vzdalovaly. Nepochopení bylo ovšem oboustranné a studie ukazuje, že ani revizionistické západní dějiny umění (a kubismu zvláště) nevygenerovaly nástroje, které by jim umožnily čerpat poučení v uměleckých oblastech, unikajících univerzalistickému kánonu. Studie kriticky reviduje uměleckohistorický postulát západní strukturální lingvistiky a sémiotiky, nalézající revoluční přehodnocení koncepce obrazové reprezentace pouze v Picassově kubismu. Naproti tomu se soustředí na původ klíčových konceptů českého dějepisu umění - "kuboexpresionismu" a "picassismu" - a zvažuje, do jaké míry šlo v jejich případě o vystižení charakteristických znaků místního modernismu a nakolik o tendenci zdejší umění a kulturu mytologizovat. Pozornost je věnována i dalším favorizovaným metodám českého dějepisu umění, k nimž patří biografismus a svérázná forma ikonologie, obohacená o gestaltismus. Revizí dosavadních interpretací západních a místních historiků umění studie nechce negovat hodnoty a postupy obou uměleckohistorických diskursů, ani nehodlá vyzdvihnout kvality jednoho metodologického rámce na úkor druhého. Pokouší se spíše upozornit na jejich názorové průsečíky jako na potenciální inspiraci pro budoucí vzájemný transkulturní dialog. Úvahy o možnostech komunikace mezi "západním" a tuzemským dějepisem umění a o rovnoprávném usouvztažnění homogenní kanonizované moderny a heterogenního umění střední Evropy jsou ve studii aplikovány na konkrétní uměleckohistorický jev, na dílo Bohumila Kubišty, hlavního aktéra dobového dění příznačně problematizujícího uměleckohistorické koncepty českého, respektive středoevropského kubismu, včetně jeho mezinárodní kontextualizace.

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Przekład i przestrzenie lektury

87%

Scott C.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 23

207-224

EN

The author discusses relations between the original and translation in terms of imaginary spaces. Target text is understood here as one of the possible images of the source text, from the perspective which could not be accessible to the original. In accordance with the concept presented here, artistic translation can be not so much reconstructed, as conceptually constructed, in the manner of a cubist object. Acts of creative reading are commented on by the author with examples of his own experimental translations from contemporary French poetry.

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Strata, tęsknota, ciekawość

70%

Sośnicki D.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

213-221

EN

In his piece, the author of the article ponders on the experience of loss in human life. It is this particular experience, as well as the accompanying longing, that form the basic components of an elegiac attitude. However, in its broader sense, loss becomes one of the most universal experiences in literature and the arts of the twentieth century. After all, they shared the conviction that reality, no matter how looked upon, was never fully accessible to us and that man always played a losing game with it. Contrary to outward appearances, the above also applies to the creators of avant-garde movements. An analysis of the poem Do NN***, written by Miron Białoszewski, carried out first within the context of elegy and then with reference to the techniques and the program of cubism, makes us aware that Białoszewski somehow evades both elegiac mood and the avant-garde principles such as they are underlined in its program. The driving force for his writing is then curiosity. And it is curiosity, and just curiosity, independent and one that cannot be reduced to just the desire to know, that forms the only real alternative that, in a way, always remains metaphysical.

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Spojrzenie zwrócone ku wnętrzu

53%

Melberg A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2011

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issue 18

191-210

EN

This article presents an analysis of the transformations in the poetics of Rainer M. Rilke. According to the author, the essential impulse for the inception of this evolution had been provided by the encounter of the poet with a series of paintings by French artist Paul Cézanne. The author outlines particular traits in Rilkean poetic variants of modernism: the poet, drawing inspiration from the very same sources as many of his contemporaries (such as, for example, cubists), proposed his own conception of a poetic language. The most important element that constitutes a poem and a poetic image is the rhythm, the fundamental component in the organization of the text. Painterly “overlapping” of planes in a poem becomes thus a kind of a “breath” to take, that opens up a poem to the infinity underlined in the subject. From the experience gained in the visual arts concerning the “attitude and insight”, in turn, a poem attempts to organize a new arrangement for the presented space - ambiguous and in a constant movement.

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Wyobraźnia wyzwolona. Kubistyczny model przekładu literackiego

53%

Brzostowska-Tereszkiewicz T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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issue 23

79-98

EN

The subject of the present discussion is the cubist model of literary translation, which assumes a multilateral perspective in simultanism, expressed in rotation of the original text through various historical timespaces, styles, poetics, conventions, registers, and varieties of an ethnic language (or several languages) in the field of target text, nullification of the oppositions between domestication and exoticisation, archaising and modernising, and maximisation of reader’s reception: reader’s multilingual and multicultural competences. The “eclipticity” of relation between source and target text, peculiar to the cubist model, as well as the nonlinear (stereometric) approach to original, metonymic and juxtapositional translation technique, and ironic modality, all lead, in cubist translation, to the requirement of intertextual confrontation with the original, which is necessary of an assessment of scale, value, and range of a translation experiment.

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Przestrzeń kubistyczna w literaturze?

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Voisine-Jechova H.

Białostockie Studia Literaturoznawcze

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2011

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issue 2

117-126

EN

The article takes up the question of relationship between cubism and literature. According to the author, an approach analogous to the cubist representation of objects, shown as if simultaneously from various points of view, can be found in literature in an elimination of perspective and time as well as the tendency to represent history and situations without considering the participation of the text’s narrator or main character. Some tendencies of this kind appear in certain surrealistic poems and existentialist novels, while in Polish literature we encounter them in the works of Helena Boguszewska.

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Estetyczne aspekty przestrzeni formistycznej: Witkacy – Chwistek – Czyżewski. Abstrakcja i metanarracja

41%

Mikołajczyk I.

Estetyka i Krytyka

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2014

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issue 2(33)

33-52

PL

Artykuł Iwony Mikołajczyk Estetyczne aspekty przestrzeni formistycznej: Czyżewski – Chwistek – Witkacy ujmuje formizm polski w aspekcie związków z metanarracją i abstrakcją. Analiza formy dzieł trzech twórców dowodzi, iż w dialektyce rozwoju kierunku artyści albo wychodzili od przedmiotu, albo go aproksymowali (oddawali w dużym przybliżeniu). Jako znak plastyczny był on dla nich pretekstem do prowadzenia gry metaestetycznej z konwencją artystyczną. Z drugiej strony synteza i autonomia przedmiotu kierują formizm ku abstrakcji. To zawieszenie między metajęzykiem a abstrakcją (obecne też w futuryzmie i kubizmie) powodowane było obawą przed zbyt gwałtownym zerwaniem z tradycją i przekroczeniem przez sztukę granicę zrozumiałości. Albo stanowiło znak rozwoju artystycznego samego artysty.

EN

Iwona Mikołajczyk’s article looks at the Polish formist movement from the point of view of its relations with meta-narration and abstraction. A formal analysis of the works by the three above-mentioned artists proves that within the dialectical development of this current the artists were either using the object as the point of departure or else approximating it. As an artistic sign, the object was a pretext for them to play a meta-aesthetic game with the artistic convention. On the other hand, the synthesis and autonomy of the object leads formism toward abstraction. This sense of being suspended between metalanguage and abstraction (also present in futurism and cubism) was caused by fears of breaking with tradition too completely and thus crossing the boundaries of intelligibility. Or else it was a sign of the artistic development of the artist himself.

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4 Poznańskie Studia Polonistyczne. Seria Literacka

1 Białostockie Studia Literaturoznawcze

1 Estetyka i Krytyka

1 Umění (Art)

1 Brzostowska-Tereszkiewicz T.

1 Melberg A.

1 Mikołajczyk I.

1 Rakušanová M.

1 Scott C.

1 Sośnicki D.

1 Voisine-Jechova H.

1 2017

3 2014

3 2011

Je kubismus, který je český, světový? : Případ Kubišta

Przekład i przestrzenie lektury

Strata, tęsknota, ciekawość

Spojrzenie zwrócone ku wnętrzu

Wyobraźnia wyzwolona. Kubistyczny model przekładu literackiego

Przestrzeń kubistyczna w literaturze?

Estetyczne aspekty przestrzeni formistycznej: Witkacy – Chwistek – Czyżewski. Abstrakcja i metanarracja