Bartolove i Krležine Lutke u intermedijalnom kontekstu

Absztrakt

Bartol’s and Krleža’s Lutke (Dolls) in an Intermedial Context. A compa­rative analysis of Bartol’s sketch Lutke and Krleža’s scene Lutke from Banket u Blitvi (The Banquet in Blitva) reveals a highly complex network of intermedial relations, with the new optical art–film–playing a pivotal role. From the division of the subject and the experience of “heightened objectification,” through the puppet metaphor as a symbol of human determinism, to the aesthetic and philosophical implications of these visions, both texts display clear affinities with the poetics of silent cinema and its characteristic depersonalization of acting. The immaterial inscriptions of film within lite­rature testify to the profound transformations that the cinematic medium introduced into the cultural landscape of the first half of the twentieth century. Within the framework of the pictorial turn and the broader process of interaction between linguistic and visual systems, Bartol and Krleža may be read as authors who, consciously or unconsciously, inscribed the experience of the new visual medium into their works. Their texts, sharing nearly identical symbolic motifs and intellectual conclusions, illustrate how literature becomes a site for reflection on and transposition of cinematic practices.