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The article is devoted to, most generally, literary creative activity of Michel Butor, and especially to the unusual 'Dialogue avec 33 variations de Ludwig van Beethoven sur une valse de Diabelli'. The work, existing in two versions, namely the book (published by Gallimard 1971) and the intermedial (Actes Sudes 2001), proves to be a rare example of 'music in literature'. Developing as a commentary to Beethoven's 33 variations 'sur une valse de Diabelli' opus 120 and delivered in public in the 'concert-conference' convention, the work becomes at the same time an autonomous literary record. The interpretation of the dialogue between Butor and Beethoven in a perspective of intertextual studies, makes it possible to speak of 'the aesthetic of otherness' of the French writer. In the light of the above, the focus is put not so much on Butor as 'classic' (the former of 'nouveau roman' and essayist), as on Butor as experimentalist at the moment of rejecting the nouveau roman tradition - the theoretician and practitioner of intertextuality.
EN
Rooted in the tradition of oral poetry and a number of avantgarde movements of the last century (futurism, Dadaism and Lettrism), sound poetry entered the European literary and cultural scene in the 1950s. Bernard Heidsieck began his poetic sequence called Poemes-partitions in 1955 and continued to expand it in the following decades. The Poemes-partitions inaugurated one strand of this type of poetry, subsequently labelled semantic. The article focuses, firstly, on the modalities of sound poetry, composed no doubt with an eye to its public presentation by the author himself (cf. the conventions and pronouncements made by theoreticians of the genre, among them Henri Chopin, Bernard Heidsieck, Jean-Paul Bobillot and Jean-Yves Bossuer) and, secondly, on the poetics of Bernard Heidsieck's poetry and his individual artistic style.
EN
Known in the first place as a composer, music theoretician, playwright and graphic artist, Boguslaw Schaeffer holds quite a separate and unique position amongst his peer artists. This article puts an emphasis on the main traits of Schaeffer's 'aesthetics of the borderline', and traces the evolution of thought and various activities of this 'interdisciplinary artist' across the latter half of 20th century. The focus is on hybrid forms, overcoming the borders of, primarily, music and theatre (a 'new music'/'new theatre'), as well as the complex reception of works by the author of 'Quartet for four actors'. His ingenious understanding of music and of the phenomenon of contemporary score has led him, ever since his earliest works, to committing subsequent musical experiments, such as e.g. the concept of instrumental theatre, which, as a consequence, become decisive as to the specific form of stage plays written by this dramatist and composer.
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