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PL
Poezja cybernetyczna jest nowym gatunkiem powstałym z połączenia literatury i cybernetyki. W wyniku integracji poezji z technologią wygenerowany zostaje obiekt tekstowo--wizualno-dźwiękowy, który atakuje odbiorcę różnorodnością elementów, wywołując poczucie dezorientacji czy szoku. Prawidłowy odbiór cyberpoezji uwarunkowany jest kontekstem, do którego dany utwór się odnosi. W niniejszym tekście omówiony jest kontekst ludyczny, podkreślający aspekt gry i zachodzącą interakcję między użytkownikiem a obiektem. Odwołując się do konkretnych utworów animacyjnych, wskażę, w jaki sposób odbywa się gra z cybertekstem, którego charakter ujawnia się wyłącznie poprzez aktywną działalność odbiorcy. Kontekst ludyczny zmusza użytkownika do interakcji, ponieważ tylko wtedy odsłania się cybernetyczny aspekt poezji, a mianowicie sterowanie tekstem i generowanie znaczeń.
EN
Cyber poetry is the exemplification of an art genre whose existence is due to the fusion of literature and cybernetics. Where poetry meets with technology, images, sounds and words merge into a single work of art whose three constituents assail the consumer in a literal typhoon of impulses that leave him stunned and baffled, as he is confronted with the essence of audiovisual culture. The adequate reception/absorption of cyber poetry is dependent on the respective essential conditions it refers to as a genuine work of art. The game is the most essential context in the interpretation of cyber poetry, as it emphasizes the aspects of a game and the interaction between consumer/user and the object. Referring to a selection of actual animated works of cyber art the author demonstrates how to operate with a cybertext, whose character discloses itself solely through usertext-interaction. The ludic character compels the user to interaction, only through the latter’s leading part the composition reveals its cybernetic aspect, which lies in the piloting of the text itself and the evocation of connotations and underlying sense.
EN
The aim of our study is to present a new type of translation which takes place on the crossroads of language (translation proper), medium (adaptation) and a combination of software and hardware (port/porting). Looking closely at several translations of American hypertext fiction and poetry into Polish (afternoon, a story by Michael Joyce, Blueberries by Susan Gibb) we analyze textual procedures that must be taken into account while translating digital literature, at the same time scrutinizing various challenges (on the level of text semantics) that must be faced by the authors of this new kind of translation. Our goal is to demonstrate in what ways the shift from one medium and semiotic system (print) to another (screen) changes the ontology of the literary work and the scope of translator’s assignments. It is especially important in the situation when verbal elements are no longer sole conveyers of meaning, but are instead accompanied by multimedia elements and the underlying layer of computer code. Four forms of digital translation are presented: digitalization, digital adaptation, structural translations and hypertextual translation. Two possible instances of the hypertext translation are discussed; one is a language to language translation over the programming layer, the other being an adaptation of classic work into a hypertext structure. We analyze the stages and specifics of digital translation. Translation that takes into account the visual, the operational (interface) and the programming layer of the work becomes a process on events rather than a process on textual elements. Hypertextual translation – as we conclude – is a multidimensional transformation of text that happens on the semiotic, technological and the cultural levels at the same time.
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