Please use this identifier to cite or link to this item: http://hdl.handle.net/10077/24685
Title: »Skrivnost« Črnega kvadrata: obrnjena perspektiva
Other Titles: The "Mystery" of the Black Square: Reverse Perspective
Authors: Anđelković, Bojan
Keywords: Črni kvadratKazimir Malevičsuprematizemperspektivizem,obrnjena perspektivaPavel FlorenskizaumvečdimenzionalnostprojektivnostikonopisjeBlack SquareKazimir MalevichSuprematismperspectivismreverse perspectivePavel Florenskyzaummultidimensionalityprojectivityiconography
Issue Date: 2019
Publisher: EUT Edizioni Università di Trieste
Source: Bojan Anđelković, "'Skrivnost' Črnega kvadrata: obrnjena perspektiva" in "Slavica Tergestina 22 (2019/I)", Trieste, EUT Edizioni Università di Trieste, 2019, pp. 96-113
Journal: Slavica Tergestina
Abstract: 
Članek ponuja eno izmed možnih genealogij
najbolj emblematične umetnine
suprematizma in ruske avantgarde
nasploh – Črnega kvadrata Kazimirja
Maleviča. In sicer, od njegove prve
»prikazni« v letu 2013 v kubofuturistični
operi Zmaga nad Soncem
do razvpite Zadnje futuristične razstave
iz leta 2015. Prispevek tematizira vse
v povezavi s teatrom oz. genealogijo
gledališke perspektive, prek koncepta
t.i. »obrnjene perspektive«,
kot ga razvija ruski svečenik, mistik,
filozof in matematik Pavel Florenski
v istoimenskem delu iz leta 1922, ter
koncepcij resničnega in lažnega gledališča
v Nietzschejevem zgodnjem delu
Rojstvo tragedije iz duha glasbe.

The article offers one of the possible
genealogies of the most emblematic
Suprematist artwork and the Russian
avant-garde in general: Black Square
by Kazimir Malevich. Covering the
period from its first ‘apparition’ in 1913
in the Cubo-Futuristic opera Victory
over the Sun to the infamous Last Futuristic
Exhibition in 2015, it deals with
everything related to the theatre or the
genealogy of theatrical perspective
through the concept of the so-called
‘reverse perspective’ as developed
by the Russian priest, mystic, philosopher
and mathematician, Pavel Florensky,
in the eponymous work from
1922, and the conceptions of the real
and false theatre in the Nietzsche’s early
work The Birth of Tragedy from the
Spirit of Music.
Type: Article
URI: http://hdl.handle.net/10077/24685
ISSN: 1592-0291
eISSN: 2283-5482
DOI: 10.13137/2283-5482/24685
Rights: CC0 1.0 Universal
Appears in Collections:Slavica Tergestina 22 (2019/I)

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