U radu se analiziraju kulturni i medijski tragovi u poeziji Branka Čegeca. Istraženi su, opisani i protumačeni iz perspektive subjektne strukture u trima autorovim tekstovima triju pjesničkih zbirki ...objavljenih 80-ih godina 20. stoljeća – „Genesis (domovina): vazda i dovijeka“ iz Eros-Europa-Arafat, „Abcčćdđdžefghijklmnnjoprsštuvzž“ iz Zapadno-istočnoga spola i „Stanje stvari“ iz Melankoličnoga ljetopisa. Rad se oslanja na razlike između individualnoga i kolektivnoga pamćenja (J. Assmann) te dominantne i emergentne kulture (R. Williams), pri čemu tekst postaje poprištem njihove borbe. Tragovi kultura i medija najčešće se zamjećuju u motivskim slojevima, a njihovi su učinci vidljivi u otporima subjektnih struktura koje kritički rastvaraju prevladavajuće diskurse moći, ponajprije jezičnim i diskurzivnim igrama.
The article analyses cultural and media traces in Branko Čegec’s poetry. They are researched, described, and interpreted from the perspective of subject structure in the three texts from Čegec’s three poetry collections published in the 1980s – “Genesis (domovina): vazda i dovijeka” from Eros-Europa-Arafat, “Abcčćdđdžefghijklmnnjoprsštuvzž” from Zapadno-istočni spol, and “Stanje stvari” from Melankolični ljetopis. The article explores the differences between individual and collective memory (J. Assmann), and the dominant and emergent culture (R. Williams), whereby the text becomes the space in which they clash. Traces of cultures and media are most often observed among the motifs, and their effects are notably in the resistance of subject structures that critically undermine the prevailing discourses of power, primarily through linguistic and discursive games.
U opusu Luke Bekavca Galerija likovnih umjetnosti u Osijeku: studije, ruševine (2017) izdvaja se s obzirom na odmak od romanesknoga žanra i utvrđivanje djela kao zbirke kratkih pripovjednih proza. ...Međutim, da nije riječ o konvencionalnoj zbirci kratkih priča u kojoj obuhvaćeni tekstovi funkcioniraju posve autonomno, govore, među ostalim, titularni, ponavljajući motiv, pripovjedačka instancija, vizualni i dizajnerski izbori, koji više od drugih pripovjednih elemenata rade na multimodalnoj koheziji. S obzirom na to da je knjiga specifičnoga formata, dizajna i tipografsko- kompozicijske izvedbe, u obzir se uzimaju metodološki alati multimodalne stilistike kako bi se otkrilo i interpretiralo kako se u zbirci razvija multimodalna kohezija.
Luka Bekavac’s oeuvre Galerija likovnih umjetnosti u Osijeku: studije, ruševine (2017) stands out due to its departure from the genre of the novel and the establishment of the text as a collection of short stories. However, that this is not a conventional collection of short stories in which the texts function completely autonomously, is notable by, among other things, the titular, recurring motif, the narrator, the visual and design choices, which contribute more than other narrative elements to multimodal cohesion. Considering the specific format, design, and typographic-compositional layout of the book, this paper uses the methodological tools of multimodal stylistics to explore and interpret how multimodal cohesion develops in the collection.
The article analyses cultural and media traces in Branko Čegec’s poetry. They are researched, described, and interpreted from the perspective of subject structure in the three texts from Čegec’s ...three poetry collections published in the 1980s – “Genesis (domovina): vazda i dovijeka” from Eros-Europa-Arafat, “Abcčćdđdžefghijklmnnjoprsštuvzž” from Zapadno-istočni spol, and “Stanje stvari” from Melankolični ljetopis. The article explores the differences between individual and collective memory (J. Assmann), and the dominant and emergent culture (R. Williams), whereby the text becomes the space in which they clash. Traces of cultures and media are most often observed among the motifs, and their effects are notably in the resistance of subject structures that critically undermine the prevailing discourses of power, primarily through linguistic and discursive games.
