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Om ikonoklasmen hos Birgitta Trotzig

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Om ikonoklasmen hos Birgitta Trotzig

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dc.contributor.author Bak, Krzysztof [SAP11010735] pl
dc.date.accessioned 2016-07-05T07:44:00Z
dc.date.available 2016-07-05T07:44:00Z
dc.date.created 2015 pl
dc.date.issued 2016 pl
dc.identifier.issn 1897-3035 pl
dc.identifier.uri http://ruj.uj.edu.pl/xmlui/handle/item/28661
dc.language swe pl
dc.rights Dozwolony użytek utworów chronionych *
dc.rights.uri http://ruj.uj.edu.pl/4dspace/License/copyright/licencja_copyright.pdf *
dc.title Om ikonoklasmen hos Birgitta Trotzig pl
dc.title.alternative On Birgitta Trotzig's notion of iconoclasm pl
dc.type JournalArticle pl
dc.description.physical 275-297 pl
dc.description.additional Bibliogr. s. 294-297 pl
dc.identifier.weblink http://www.ejournals.eu/Studia-Litteraria/2015/Issue-4/art/7182/ pl
dc.abstract.en The Swedish writer Birgitta Trotzig (1928–2011) defines her own process of literary creation in interart terms as a translation of pictures into verbal signs. She often comments on the intersemiotic difficulties involved in this transformation by referring to the Byzantine iconoclastic controversy. Using Trotzig’s notion of the iconoclastic controversy as a starting point, the present article investigates her understanding of the picture-word-transformation problems. The line of argument comprises five stages. In the first stage, the main issue of the article is presented and specified. In the second stage, it is argued that previous critical approaches to Trotzig’s Byzantinism in most cases have been based on misleadingly anachronistic and mainly Occidental categories. In the third stage, the Byzantine iconoclastic controversy is related to the distinctive character of the theological thought of the Eastern Church. In the fourth stage, the Byzantine iconophile and iconoclast theories are applied to Trotzig’s literary works. A close reading of a representative prose poem of hers, “Teologiska variationer” (“Theological variations”), demonstrates that her works unequivocally support the icon theology of the iconodules. In the closing fifth stage, Trotzig’s notion of the Byzantine iconoclastic controversy is reconstructed on the basis of her essays and interviews in which she explains her own as well as other authors’ intersemiotic difficulties. In conclusion, these difficulties are related to general aesthetic, political, ideological and philophical conflicts, all of which are – paradoxically – diagnosed by Trotzig herself in typical categories of Western theology. pl
dc.subject.en Birgitta Trotzig pl
dc.subject.en iconoclastic controversy pl
dc.subject.en Byzantine theology of icon pl
dc.subject.en intersemiotic transformation pl
dc.subject.en intermediality pl
dc.description.volume 10 pl
dc.description.number 4 pl
dc.description.points 14 pl
dc.description.publication 1,9 pl
dc.identifier.doi 10.4467/20843933ST.15.025.4584 pl
dc.identifier.eissn 2084-3933 pl
dc.title.journal Studia Litteraria Universitatis Iagellonicae Cracoviensis pl
dc.language.container pol pl
dc.date.accession 2016-07-05 pl
dc.affiliation Wydział Filologiczny : Instytut Filologii Germańskiej pl
dc.subtype Article pl
dc.rights.original OTHER; inne; ostateczna wersja wydawcy; po opublikowaniu; 24; pl
dc.identifier.project ROD UJ / P pl
.pointsMNiSW [2016 B]: 14


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