U radu se analiziraju tragovi estetike videospota u poeziji Branka Čegeca kao istaknutog autora hrvatskog pjesništva iskustva jezika, kako je naraštaj ranije nazvao Zvonimir Mrkonjić i metajezičnog ...pjesništva, kako je Čegeca s pjesnicima spomenutih koncepata iskustva jezika skupno nazvao Goran Rem. Cilj je uputiti na elemente književnog kontakta s videospotovskim jezikom, odnosno pristupiti poeziji koja se konkretno i konkretistički, svojim jezičnim materijalom smješta u estetike video spota, kakvi su glavni rani projekti umjetnosti video spota Nam June Paika i Laurie Andersson. Upravo naziv „pjesništvo iskustva jezika“ signalizira kako se radi o pjesništvu čije je glavno obilježje jezična kodiranost odnosno metajezičnost te se rad bavi i sviješću o primanju tragova druge umjetnosti, prije svega videospotovskih. Polazi se od definicija intermedijalnosti, medija, postmodernizma i videospota. Analize predložaka u radu izdvajaju audiospotovske elemente vizualnosti i auditivnosti te donose nove interpretacije Čegecovih poetskih tekstova.
The article analyses the traces of video art aesthetics in the poetry of Branko Čegec, one of the “Croatian poets of the language experience,” as Zvonimir Mrkonjić termed that generation of poets, and of metalanguage poetry, as Goran Rem collectively called Čegec and the poets thematizing the aforementioned language experience. The aim is to address the elements of literary contact with the language of video art, that is, to approach the poetry recognizable as video art (of Nam June Paika and Laurie Andersson) due to its concrete, linguistic, material. The very term “language experience poetry” denotes that its main feature is the linguistic coding or meta-linguistics, thus the article also deals with the awareness of traces from other arts, primarily video art. The article is based on the definitions of intermediality, media, postmodernism, and video art. The analysis of selected works of art in this article emphasises the video elements of visual and auditory imagery, as well as provides new interpretations of Čegec’s poetry.
The article analyses the traces of video art aesthetics in the poetry of Branko Čegec, one of the “Croatian poets of the language experience,” as Zvonimir Mrkonjić termed that generation of poets, ...and of metalanguage poetry, as Goran Rem collectively called Čegec and the poets thematizing the aforementioned language experience. The aim is to address the elements of literary contact with the language of video art, that is, to approach the poetry recognizable as video art (of Nam June Paika and Laurie Andersson) due to its concrete, linguistic, material. The very term “language experience poetry” denotes that its main feature is the linguistic coding or meta-linguistics, thus the article also deals with the awareness of traces from other arts, primarily video art. The article is based on the definitions of intermediality, media, postmodernism, and video art. The analysis of selected works of art in this article emphasises the video elements of visual and auditory imagery, as well as provides new interpretations of Čegec’s poetry.
