Wiersz jako rzecz. Rzecz o poezji Wacława Tkaczuka

Artur Nowaczewski

doi:10.36770/bp.648

Wiersz jako rzecz. Rzecz o poezji Wacława Tkaczuka

Bibliotekarz Podlaski. Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne ◽

10.36770/bp.648 ◽

2021 ◽

Vol 53 (4) ◽

pp. 119-135

Author(s):

Artur Nowaczewski

Keyword(s):

Creative Process ◽

World View ◽

Literary Magazines ◽

Radio Program ◽

Radio Broadcast

Wacław Tkaczuk (1942–2018) was one of the most important commentators on Polish poetry after 1989, which is best exemplified in his radio broadcast series “Poems from newspapers and magazines” (Polish Radio Program 2, 1991–2014). The author of the article introduces Tkaczuk’s poetry (three volumes of poetry, publications in literary magazines), tries to reconstruct the poet’s creative process and, more importantly, his world-view transformations.

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Tres símbolos y una metáfora en la poesía de Andrés Sánchez Robayna

Tropelías Revista de Teoría de la Literatura y Literatura Comparada ◽

10.26754/ojs_tropelias/tropelias.2018292551 ◽

2018 ◽

pp. 90-109

Author(s):

Alejandro Rodríguez-Refojo

Keyword(s):

Creative Process ◽

World View ◽

Religious View ◽

The World ◽

History Of Religions ◽

History Of ◽

Key Aspects ◽

Shed Light

Se analizan los símbolos de la barca, la casa y la piedra, así como la metáfora del Libro del Mundo, en la obra poética de Andrés Sánchez Robayna. El análisis se apoya en las aportaciones de la simbología y la historia de las religiones con el objetivo de esclarecer algunos aspectos clave de la cosmovisión del autor y de su poética. La presencia de imágenes pertenecientes al simbolismo del centro, la concepción de la poesía como enigma y la indagación en la memoria como una parte fundamental del proceso creador constituyen los elementos que conducen al surgimiento de una conciencia religiosa del mundo. This paper aims to analyse three symbols presented in Andrés Sánchez Robayna’s work of poetry: the boat, the house, the stone, and the metaphor of the Book of the World. This analysis is supported by contributions in the fields of symbolism and history of religions and it seeks to shed light on some key aspects of the author’s poetics and world view. The imagery related to the symbolism of the centre, the conception of poetry as an enigma and the search through memory as an essential phase in the creative process represent the main elements which lead to the emergence of a religious view of the world.

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From International Shortwave to Digital Rebroadcast

International Association of Sound and Audiovisual Archives (IASA) Journal ◽

10.35320/ij.v0i48.42 ◽

2018 ◽

Author(s):

Paul Conway ◽

Kelly Askew

Keyword(s):

University Of Michigan ◽

Voice Of America ◽

Radio Stations ◽

Radio Program ◽

Research And Teaching ◽

The Us ◽

Us Government ◽

Radio Broadcast ◽

The University ◽

Musical Heritage

In January 2015, the US government agency Voice of America loaned the Leo Sarkisian Music Library to the University of Michigan with the goal of digitizing and providing access to the materials for research and teaching. Transfer created an archive where once existed a longstanding music resource that supported all aspects of the production of the VOA’s Music Time in Africa radio program. The archive encompasses sound recordings and type-scripts of the radio program (1965-2004), along with extensive recordings of live musical performances made by Leo Sarkisian in his travels through Africa or by African staff trained by Leo Sarkisian to make professional quality recordings on his behalf—often at the radio stations he helped establish. This article describes the Music Time in Africa radio broadcast and then contextualizes efforts to provide access to the digitized recordings in terms of the nature of the post-modern archive, performance studies, and the repatriation of musical heritage resources found in archives. The article concludes with a reflection on the complexities of providing access to digital recordings of international radio and the author’s efforts to explore opportunities for digital repatriation through rebroadcast on social media, which in many ways shares the underlying characteristics of the radio broadcast medium itself.

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Mashup

Virtual Words ◽

10.1093/oso/9780195398540.003.0027 ◽

2010 ◽

Author(s):

Jonathon Keats

Keyword(s):

Creative Process ◽

Feedback Loop ◽

Cultural Critique ◽

Long Tail ◽

Culture Jamming ◽

Public Enemy ◽

Evolution Control ◽

Radio Broadcast ◽

Original Songs ◽

Source Materials

The origin of the mashup is a matter of debate. According to one theory, the phenomenon began in 2001 with the XFM radio broadcast of the song “Stroke of Genius,” a bootleg remix by the deejay Freelance Hellraiser that incongruously set the pop vocals of Christina Aguilera’s “Genie in a Bottle” against garage rock instrumentals from the Strokes’ “Hard to Explain.” A competing hypothesis credits the culture-jamming Evolution Control Committee, which in 1993 satirically layered the brutal rap lyrics of Public Enemy over swinging Latin arrangements of Herb Alpert and the Tijuana Brass. Other theories cite Club House’s 1983 medley of Steely Dan’s “Do It Again” and Michael Jackson’s “Billy Jean,” Frank Zappa’s ’70s experiments in xenochrony, King Tubby’s ’60s dub remixes, John Cage’s ’50s compositions for a chorus of radios, and even the Renaissance practice of quodlibet. Although some of these may have been influential—and all are reminders of the role remixing has forever played in the creative process—this long tail of influences scarcely anticipates the explosion of songs combining vocals from one source with instrumentals from another following the Freelance Hellraiser’s XFM debut. In a matter of months mashups numbered in the thousands, with juxtapositions including Missy Elliott vs. the Cure, Art Garfunkel vs. Watership Down, and Whitney Houston vs. Kraftwork. Evoking a wrestling match, A vs. B became the standard formula for citing sources, generally in parentheses following a title playing on names of the original songs. (For instance, “Smells Like Teen Booty” was a mashup of Nirvana’s “Smells Like Teen Spirit” with “Bootylicious” by Destiny’s Child.) The sounds of these remixes were as varied as the source materials, and the motivations were as disparate as the historical influences, with intended targets ranging from dance club entertainment to cultural critique. What these works shared, and have in common with the countless additional musical (and video) mashups that have since joined them, is the notion that culture is interactive, a feedback loop rather than a mail chute. Whether done in tribute or ridicule, or simply to create something beautiful, these songs mash up the standard distinction between consumer and producer.

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