Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  difference and repetition
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Difference and Repetition as the Aspects of Representation in Arnold Schoenberg’s Variations for Orchestra Op. 311

100%
Sowińska-Fruhtrunk I.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37) Eng
125-169
EN
The article focuses on the issues of difference and repetition, as defined by Gilles Deleuze, and their possible application to Arnold Schoenberg’s dodecaphonic work, Variations for Orchestra Op. 31. Although Schoenberg’s reflection on these problems comes from the earlier years than Deleuze’s, the correspondence of understanding the difference and repetition between them is striking. Two other terms by Deleuze and Guattari applied to the work are becoming and refrain. Repetition and refrain are associated with the representational moment in the work (motif B-A-C-H as a quote and as a type of refrain) while difference and becoming are associated with the anti-representational moment (dodecaphonic technique, developing variation technique, etc.).
2

Różnica i powtórzenie jako aspekty reprezentacji w Variationen für Orchester op. 31 Arnolda Schönberga1

100%
Sowińska-Fruhtrunk I.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37)
125-158
EN
The article focuses on the issues of difference and repetition, as defined by Gilles Deleuze, and their possible application to Arnold Schoenberg’s dodecaphonic work, Variations for Orchestra Op. 31. Although Schoenberg’s reflection on these problems comes from the earlier years than Deleuze’s, the correspondence of understanding the difference and repetition between them is striking. Two other terms by Deleuze and Guattari applied to the work are becoming and refrain. Repetition and refrain are associated with the representational moment in the work (motif B-A-C-H as a quote and as a type of refrain) while difference and becoming are associated with the anti-representational moment (dodecaphonic technique, developing variation technique, etc.).
3
Publication available in full text mode
Content available

Par-eikon: przypadek Ostatniej Wieczerzy

58%
Zarychta A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 14
|
issue 23
93-110
EN
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”.
PL
The text is an attempt to analyze the evolution of aesthetic forms and motifs discussed on the example of the so-called “great figure” The Last Supper – the starting point for the analysis of the motif is the photography of David La Chapelle of the series: Jesus is my homeboy. Significant here is the context theory of parody by Linda Hutcheon – understood as a central point overview of contemporary art – a phenomenon combining fidelity to tradition and contemporary ideas of creative freedom, to express, among others, in need of confrontation with the ‘classic’ conventions – encroaching and deconstructive also in our contemporary pop-cultural processes of “image-consumption”. 
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.