Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/30697
Type of publication: research article
Type of publication (PDB): Straipsnis kitose duomenų bazėse / Article in other databases (S4)
Field of Science: Filologija / Philology (H004)
Author(s): Čičelis, Ramūnas
Title: Subjektyvumo įveika Jono Meko poezijoje ir kine : (eilėraščių rinkinys „Žodžiai ir raidės, filmas „Requiem rašomajai mašinėlei“)
Other Title: Desubjectivation of a person in Jonas Mekas’ poetry and film (poetry collection “Žodžiai ir raidės” and film “Requiem for a typewriter”)
Is part of: Česlovo Milošo skaitymai = Czeslaw Milosz’s readings. Kaunas : Vytauto Didžiojo universitetas, 2013, [T.] 6 : „Gimtoji Europa“: erdvė, mintis, žodis
Extent: p. 98-105
Date: 2013
Note: e-ISSN 2029-8692
Keywords: Literatūra;Hieroglifas;Simbolinis raštas;Mekas Jonas;Medija;Simuliakras;Filotopija;Literature;Desubjectivation;Hieroglyph;Symbolical writing;Mekas Jonas;Media;Simulacrum;Philotopy
Abstract: This article discusses the desubjectivation in Jonas Mekas’ collection of poems “Žodžiai ir raidės” (“Words and Letters”) and film “Requiem for a Typewriter” approaching it from media theory, deconstruction and philotopical points of view. Desubjectivation is understood as freedom from History, ideology, symbol, and relations between author and reader/viewer. The works discussed are Mekas’ attempt to be free by denying subjectivity, renouncing a gap between experience, language and image. Speaking person in his poetry, as also the filming and reading one in his film, does not accept a logical causal development of story and its dictated thought, which is usually expressed by symbolic writing and narrative cinema in the Western world. Using graphic, rather than symbolic writing in his poetry Mekas produces such media, which does not admit in-mediation – media as an “extension of man” has only a life force for him. The film also erases the distance both between sound and image, and the viewing and the filming person. The distance between the author and the audience is impossible to define. The poems do not have the effect of death, exclusion, and isolation – which is traditionally attributed to media. “Requiem for a Typewriter” does not talk about death and end; the focus is on the present moment. The speaking person in “Words and Letters” and the filmed and filming one in “Requiem for a Typewriter” refuse not only the traditional categories of time, but also the spatial ones: there is no division into the lost, existing and discovered space. The place, in which speaking and filming takes place, is home not because it is a place where one has grown up and matured, but because it is universal and sufficient, there is no need to go beyond it and to desire a different location and different being.[...]
Internet: https://www.vdu.lt/cris/bitstream/20.500.12259/30697/1/ISSN2029-8692_2013_N_6.PG_98_105.pdf
https://hdl.handle.net/20.500.12259/30697
Affiliation(s): Lituanistikos katedra
Vytauto Didžiojo universitetas
Appears in Collections:Universiteto mokslo publikacijos / University Research Publications
Česlovo Milošo skaitymai 2013, nr. 6

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