Prostor, čas in gibanje pri Srečku Kosovelu

• Main Author: Vrečko, Janez
• Format: Other/Unknown Material
• Language: Slovenian
• Published: Znanstvena založba Filozofske fakultete 2021
• Subjects: slovenska književnost; slovenski pesniki; prostor; čas; gibanje; evklidska geometrija; einsteinovska sferična geometrija; prostorska pesem; protigravitacijsko gibljivo branje; Slovene literature; Slovene poets; space; time; movement; Euclidian geometry; Einstein's spherical geometry; spatial poem; post-gravitational shifting reading; info:eu-repo/classification/udc/821.163.6.09Kosovel S; sami
• Online Access: https://repozitorij.uni-lj.si/IzpisGradiva.php?id=124191; https://repozitorij.uni-lj.si/Dokument.php?id=139588&dn=; https://repozitorij.uni-lj.si/Dokument.php?id=142988&dn=; https://plus.si.cobiss.net/opac7/bib/69803362?lang=sl

Prispevek govori o temeljnih pojmih einsteinovske fizike, prostoru, času in gibanju, ki so jih najprej posvojili ruski konstruktivisti, za njimi pa jih je prevzel Kosovel. Hkrati je uporabil sferično zrcalo, da bi poudaril razliko med tradicionalno liriko in prostorskimi konsi kot poljem protigravitacijskega branja. Sferična geometrija s križanjem in ukrivljanjem premic namreč preseže evklidsko inženirsko skico v sami pesmi. Zgornji in spodnji del konsa, ki sta v sferičnem zrcalu deformirana (kljukast nos, rdeča krizantema), in osrednji avtocitatni del, ki je doživel pomanjšanje in preobrat na glavo, polemizirajo z načelom mimesis, z načelom vživetja in inspiracije ter z načelom avtonomije umetnosti. The contribution discusses some basic concepts of Einstein's physics - space, time and movement - which were first adopted by the Russian Constructivists and then by Kosovel. At the same time, Kosovel used a spherical mirror to emphasise the difference between the traditional lyric and the spatial "cons" as a field of post-gravitational reading. Spherical geometry, by crossing and bending lines, transcends the Euclidian engineering sketch in the poem itself. The upper and lower parts of the "cons", which are deformed in the spherical mirror (hooked nose, red chrysanthemum), and the central self-citational part, which experienced diminution and inversion, polemicises with the principle of mimesis, with the principle of identification and inspiration, and the principle of artistic autonomy