Results found: 2

Search results

Search:
in the keywords: fotografija

Sort By:

Limit search:

Ut photographema poesis. O literackich fotografiach wojennego Sarajewa w poezji bośniackiej lat dziewięćdziesiątych XX wieku

100%

Oliwa B.

Slavica Wratislaviensia

2015

vol. 160

95 - 112

The article is an example of intersemiotic research. It is an attempt at interpreting the war poetry of Sarajevo through the art of photography. Poems of Ferida Duraković, Ivan Kordić, Nermina Omerbegović, Josip Osti, Izet Sarajlić, Goran Simić and Vladimir Srebrov are presented in the article, all written in besieged Sarajevo during the war in Bosnia and Hercegovina. Using a parallel between poems and photos, the works of these war poets have been matched with techniques in photography: black-and-white, colour photography, chronophotography, camera obscura technique, family album. Poems seem to be like photos — may contain many colours or be monochromatic. They can be an attempt at freezing asingle moment or be someone’s portrait. They always attempt to describe something, aperson, an event, astate of mind. Bosnian war literature in most cases presents only the facts of the war, descriptions of war reality, dried out of feelings. It creates a unique museum of national memories.

From Street Girl to Roman Goddess: The Creation of Multiple Visual Alices from 1858 to 1872

75%

Heller E.

Libri & Liberi

2015

vol. Vol 4

issue 4.2

251-268

Victorian representations of childhood are found in a wide variety of cultural texts, from literary descriptions to visual images. Alice’s Adventures in Wonderland by Lewis Carroll (1865) is no different in this sense. However, Alice’s character is one of the first of its kind to behave as a cross-media figure, thus becoming a fantasy literature heroine as well as a popular cultural icon. This paper focuses on Alice’s artistic representations in three forms: (a) Lewis Carroll’s verbal art; (b) the photographic prints of the “real” Alice Liddell taken in 1858 and 1872 by Carroll and Julia Margaret Cameron respectively; and (c) the visual illustrations by Carroll and by John Tenniel (1864 and 1865, respectively). The aim of the paper is to discuss whether Alice was ever a “real” Victorian girl, by examining her multiple representations in the given corpus. It also aims at analysing Alice’s visual characteristics in order to reveal Alice as a visual concept of her times.

Viktorijanske prikaze djetinjstva nalazimo u raznolikim kulturnim tekstovima, i to u različitim verbalnim i vizualnim oblicima – od književnih opisa do samostalnih slika. Aličine pustolovine u Čudozemskoj Lewisa Carrolla (1865.) u tome smislu ne predstavljaju iznimku. Međutim, Aličin lik jedan je od prvih koji se prometnuo u intermedijsku figuru, pri čemu je Alica postala junakinjom fantastične književnosti kao i ikonom popularne kulture. Ovaj se rad usmjerava na tri oblika Aličina umjetničkoga prikaza: (a) verbalni Lewisa Carrolla, (b) fotografske otiske „prave“ Alice, Alice Liddell, koje su načinili Carroll, 1858. godine, i Julia Margaret Cameron, 1872. godine, kao i na (c) ilustracije Lewisa Carrolla (1864.) i Johna Tenniela (1865.). Istražujući višestruke Aličine prikaze u odabranome korpusu, cilj je rada utvrditi je li Carrollova junakinja ikada bila „prava“ viktorijanska djevojčica. Nadalje, u radu se analiziraju Aličine vizualne karakteristike u svrhu razotkrivanja Alice kao onodobnoga vizualnoga koncepta.

Viktorianische Kindheitsdarstellungen sind in diversen kulturellen Texten vorzufinden, und zwar im Rahmen unterschiedlicher verbaler und visueller Darstellungsformen – von literarischen Beschreibungen bis hin zu autonomen Bildern. Das Werk von Lewis Carroll Alice im Wunderland (1865) stellt in diesem Sinne keine Ausnahme dar. Dennoch ist Alice eine der ersten Gestalten, die sich zu einer intermedialen Figur entwickelte, um dabei sowohl zur Heldin der fantastischen Literatur als auch zur Ikone der Popkultur zu werden. Im Beitrag werden drei Formen der künstlerischen Darstellung von Alice besprochen: (a) die verbale Form von Lewis Carroll, (b) die fotografischen Abbildungen der ‚wahren‘ Alice, Alice Liddell, die Carroll 1858 und Julia Margaret Cameron 1872 hergestellt haben, sowie (c) die Illustrationen von Lewis Carroll (1864) und John Tenniel (1865). Anhand der Auseinandersetzung mit der mehrfachen Darstellung von Alice im Rahmen des oben angeführten Korpus möchte man feststellen, ob Carrolls Heldin jemals ein ‚echtes‘ viktorianisches Mädchen war. Darüber hinaus werden im Beitrag auch die visuellen Merkmale der Alice-Gestalt analysiert, um Alice als ein aus jener Zeit stammendes visuelles Konzept darzustellen.

Refine search results

1 Libri & Liberi

1 Slavica Wratislaviensia

1 Heller E.

1 Oliwa B.

2 2015

Search results

Ut photographema poesis. O literackich fotografiach wojennego Sarajewa w poezji bośniackiej lat dziewięćdziesiątych XX wieku

From Street Girl to Roman Goddess: The Creation of Multiple Visual Alices from 1858 to 1872