Bogusława Bodzioch-Bryła, Dariusz Rott
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引用次数: 0

摘要

本文着重分析和解读列塞克·奥纳克的《液晶屏上的蝙蝠国》这首诗,这首诗是对扬·科查诺夫斯基的一首抒情小调《悲歌1》的新媒介、颠覆性处理,这首诗在文学传统中已经确立。由于上述过程,科查诺夫斯基的诗歌经历了一场迅速而彻底的生成性转变。作者强调,奥纳克的作品与Kochanowski的追随者之前的艺术行为有很大的不同,因为奥纳克的创作策略基于对新技术领域的参考,混合过程,编程语言,首先,他使用了颠覆性的混合和混搭策略,这导致了艺术传播状况和接受行为的根本变化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Potencjał błędu. „Bat Country on LCD” Leszka Onaka w mash‑upowym dialogu z „Trenem I” Jana Kochanowskiego
The text focuses on the analysis and interpretation of the poem 'Bat Country on LCD' by Leszek Onak, which is a new media, subversive processing of 'Lament 1' – one of the threnodies by Jan Kochanowski, the work which is well­‑established in the literary tradition. Due to the processes mentioned above, Kochanowski’s poem has been subject to a rapid and radical generative transformation. The authors emphasise that the work of Onak differs significantly from the previous artistic acts of Kochanowski’s followers because Onak grounds his creative strategy in the references to the sphere of new technologies, hybridisation processes, the programming language and, first of all, he uses the subversive remix and mash‑up strategies, which results in a radical change of both, the situation of artistic communication and the reception behaviours.
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