This article explores multimediality and diversity in the poetry of Branko Čegec, the film Pulp Fiction by Quentin Tarantino, and the novel Soba za razbijanje by Tomislav Zajec. Their comparison is ...based on intermediality as the main feature of postmodernism, which provides a two-way or multi-way relationship between the analysed works, since each of them is already characterised by intermediality and citability. The main structural components are emphasised according to which the three works or multimedia texts, are intermedially similar, primarily through motifs and topics. The aim is to reveal Čegec’s intense intermedial sensitivity as an open dialogue of intermedial traces on both formal and stylistic, and subjective structures. A similar sensitivity to other media can be found in Tarantino’s film and Zajec’s novel. The article aims to determine the elements common to all three authors, that is, the three aspects of their emphasized intensity of thematic and presentational intermediality. Finally, the conception of their works will be placed in the context of postmodern creativity as a highly communicative intermedial state
U radu se ustvrđuje poetološka usporedivost između raznomedijskih i raznovrsnih predložaka polazeći od poezije Branka Čegeca, a usporedbu vodimo prema filmu Pulp Fiction Quentina Tarantina i romanu ...Soba za razbijanje Tomislava Zajeca. Usporedivost se temelji na intermedijalnosti kao glavnoj značajki postmodernizma, koja se nameće kao dvosmjerna ili višesmjerna u odnosu među analiziranim predlošcima budući da je svaki od njih već sam intermedijalno senzibiliziran i citatno sofisticiran. Ističu se glavne strukturne sastavnice prema kojima su tri predloška ili, tezno raznomedijska teksta, intermedijalno bliska i to prvotno preko motivsko-tematskih aspekata. Cilj je pronaći intenzivnu Čegecovu intermedijalnu osjetljivost kao otvorenu dijalošku situaciju intermedijskih tragova i na formalno-stilskim, kao i na subjektnim strukturama. Takvu sličnu osjetljivost za druge medije pronalazimo i u filmskom predlošku Quentina Tarantina i romanu Tomislava Zajeca. Problemska je teza odrediti gdje su približeni elementi koji povezuju tri autora, točnije tri njihova aspekta naglašenog intenziteta predmetno-prikazivačke intermedijalnosti, a zaključno je koncepcija njihovih radova postavljena u kontekst postmodernog stvaralaštva kao visoko komunikativnog intermedijskog stanja.
This article explores multimediality and diversity in the poetry of Branko Čegec, the film Pulp Fiction by Quentin Tarantino, and the novel Soba za razbijanje by Tomislav Zajec. Their comparison is based on intermediality as the main feature of postmodernism, which provides a two-way or multi-way relationship between the analysed works, since each of them is already characterised by intermediality and citability. The main structural components are emphasised according to which the three works or multimedia texts, are intermedially similar, primarily through motifs and topics. The aim is to reveal Čegec’s intense intermedial sensitivity as an open dialogue of intermedial traces on both formal and stylistic, and subjective structures. A similar sensitivity to other media can be found in Tarantino’s film and Zajec’s novel. The article aims to determine the elements common to all three authors, that is, the three aspects of their emphasized intensity of thematic and presentational intermediality. Finally, the conception of their works will be placed in the context of postmodern creativity as a highly communicative intermedial state.
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Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Umjetnost naroda Jugoslavije u XIX. i XX. stoljeću"- All metadata published by Europeana are available free of restriction under ...the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
