20.500.12556/RUL-155682 Vizualizacija poezije skozi konstruktivni dialog urednika in oblikovalca na podlagi analize primera Integrali ‘26 Visualisation of poetry through a constructive dialogue between the editor and the designer - a case study of Integrali ’26 Prispevek obravnava oblikovanje ikonične zbirke konstruktivistične poezije Srečka Kosovela Integrali ‘26 (1967), ki jo je načrtoval eden najpomembnejših slovenskih modernističnih grafičnih oblikovalcev Jože Brumen. Besedilo analizira Brumnovo sodelovanje z urednikom Antonom Ocvirkom pri pripravi knjige, ki je izšla 40 let po tem, ko je pesnik dela dejansko napisal. V podrobni analizi se loteva vprašanj vizualizacije posameznih pesmi in se pri tem opira na intervjuje, ki so bili dostopni v tisku in drugih medijih, na arhivske materiale muzejev in zasebnih zbirk in poskuša predstaviti potek, metode in orodja, ki sta jih v sodelovalnem odnosu uporabljala Ocvirk in Brumen pri svojevrstni vizualni interpretaciji. Čeprav velja knjiga za presežek v oblikovanju knjig v modernističnem obdobju na jugoslovanskem področju, je sprožila v polju literarnih ved tudi prenekatere pomisleke in kritike o vlogi urednika in oblikovalca pri posthumni interpretaciji pesnikovih umetniških del. Prispevek zato zajame tudi vpliv obeh ključnih osebnosti, povezanih s projektom, predstavi pa tudi zgodovinsko-tehnološki kontekst tiskarske industrije, ki je vplival na vizualizacijo in produkcijo knjige. The paper examines the design of the iconic collection of constructivist poetry by Srečko Kosovel Integrali ‘26 (1967), designed by one of the foremost Slovenian modernist graphic designers, Jože Brumen. The text analyses Brumen’s collaboration with editor Anton Ocvirk in preparing the book, which was published 40 years after the poet actually wrote the works. In an in-depth analysis it addresses the issue of the visualisation of individual poems; in doing so it draws on interviews available in print and other media, as well as archival materials from museums and private collections. It attempts to illustrate the process, methods and tools used by Ocvirk and Brumen in their collaborative relationship that resulted in the unique visual interpretation. Although the book is seen as a benchmark of book design in the modernist period in Yugoslavia, it also raised numerous concerns and criticisms in the field of literary studies concerning the role of the editor and designer in the posthumous interpretation of the poet’s works. The paper therefore also considers the influence of the two key figures associated with the project, along with the historical and technological context of the printing industry that influenced the visualisation and production of the book. tipografija Jože Brumen modernizem konstruktivizem poezija typography modernism constructivism poetry true false true Slovenski jezik Angleški jezik Drugo 2024-04-11 15:24:54 2024-04-11 15:25:01 2024-04-12 09:15:58 0000-00-00 00:00:00 2024 0 0 Str. 44-60 0000-00-00 Zaloznikova Objavljeno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 7.01 10.51938/9789612972868 190877699 189062915 Vizualna_pismenost_04-CerneOven_spread.pdf Vizualna_pismenost_04-CerneOven_spread.pdf 1 E4E561FA6E53DEA279693F53EBB664A4 c5d64449e19f9d2f11b19ad35b9599dcd6b65a84985545daf46600591ecbaee6 8d42aee9-f808-11ee-85ad-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=182702 https://www.aluo.uni-lj.si/zaloznistvo/vizualna-pismenost/ 1 e619b593-f806-11ee-85ad-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=182701 Akademija za likovno umetnost in oblikovanje 0 0 0