3130 KB49 KB197820252019Milián, Orsolyaštevilka:2letnik:42str. 15-34ISSN:0351-1189COBISSID:69982306URN:URN:NBN:SI:doc-59O4B2UFenSlovensko društvo za primerjalno književnostPrimerjalna književnostBruegel, Pieterekfrazaintermedialnostknjiževnost in likovna umetnostKranz, Gisbertopis podobpoezijaWilliams, William CarlosRemediation and mediamachia in ekphrases|Remediation as conceived by Jay David Bolter and Richard Grusin designates a kind of intermedial relationship in which various media may refashion or appropriate, pay homage to or rival one another. Taking as example the literary form of ekphrasis, understood in its narrower sense as the literary description of a visual work of art, this article examines ekphrasis as a technique of remediation. Following Bolter and Grusin's understanding of remediation and W. J. T. Mitchell's analysis of the text-image dialectic, this article aims at outlining the traits of the paragonal struggle (that is mediamachia) between word/text and image in The Parable of the Blind by William Carlos Williams and Der Blindensturz by Gisbert Kranz. Firstly, it establishes a theoretical framework within which the differentiation of ekphrasis as a strategy of verbal hypermediacy becomes possible. Secondly, it presents a comparative analysis of the above mentioned poems, showing that while Williams's poem effaces the visual Brueghel's The Parable of the Blind keeping its traits in verbal allusions only, and in a sense repressing the image in order to create its own verbal "self-portrait", Kranz's poem adds another stratum to the mediatization of Brueghel's painting through verbal description, namely the typographic image of the verbal text which exhibits the "skeleton" of the original pictorial composition as well. Thus, Kranz's poem might be considered as a form of multiplied hypermediacy. As opposed to Williams's more conventional ekphrasis, Kranz also rearranges the traditional word-image hierarchy of ekphrases (that tend to give supremacy to words) in that it vindicates a more "democratic" or balanced relation between the verbal and the visual mediumRemediacija, kot jo koncipirata Jay David Bolter in Richard Grusin, označuje vrsto medmedijskega razmerja, v katerem lahko različni mediji eden drugega preoblikujejo, se medsebojno prilaščajo, častijo ali tekmujejo med seboj. Na primeru literarne oblike opisa podob (ekphrasis), razumljene v ožjem smislu kot literarni opis umetniškega likovnega dela, prispevek analizira ekphrasis kot eno izmed tehnik remediacije. Sledeč Bolterjevemu in Grusinovemu razumevanju remediacije in analizi J. T. Mitchell dialektike med besedilom in podobo želim v tem prispevku orisati poteze boja (torej mediamachia) med besedo/besedilom in podobo v pesmih The Parable of the Blind Williama Carlosa Williamsa in Der Blindensturz Gisberta Kranza. Najprej vzpostavim teoretski okvir, znotraj katerega diferenciacija opisa podobe kot strategija besedne hipermedijskosti sploh postane mogoča. Zatem predstavim primerjalno analizo omenjenih pesmi, ki pokaže, da medtem ko Williamsova pesem izniči vizualno Brueghelov motiv Slepci vodijo slepe (The Parable of the Blind), katerega poteze ohranja zgolj v verbalnih namigih, in na nek način zatre podobo, da bi ustvaril svoj besedni "avtoportret", Kranz v svoji pesmi skozi besedni opis doda še eno plast v mediatizaciji Brueghelove slike, namreč tipografsko podobo besedila, ki razkrije tudi "skelet" izvorne likovne kompozicije. Tako je mogoče Kranzevo pesem razumeti kot obliko namnožene hipermedialnosti. V nasprotju z Williamsovo bolj konvencionalno ekhphrasis, Kranz preuredi tradicionalno hierarhijo med besedo in podobo (ki običajno daje prevlado besedi), tako da ponovno vzpostavi enakopravnejše razmerje med verbalnim in vizualnim medijemTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost