hrvatski

Književne vedute

The concept of the vista belongs to the fine arts ; as a term (veduta) it developed in Venetian painting, which made the genre canonical in the 18th century and created various additional terms (veduta ideata, prospettiva, naturale, capriccio and others). At the same time, literature too, particulary in the travelougue, came to focus upon descriptions of a city or upon parts of in, and we can thus talk of the literary vista, a phenomenon that was important for certain styles (pre-Romanticism, Romanticism, Impressionism, Symbolism and the like) in prose and in poetry. Sometimes it is expressed in entire texts of vistas. Sush literary vistas are analysed, mainly in chronological order, from those that draw on visual models of earlier ages (woodblocks, etchings with topographical views, panoramas and ther early vista forms), right up to the disintegration of systematically shaped vistas in the visual or the literary avant-garde. It is to this latter stylistic formation that parts of the book are devoted that discuss simultanism, approximation to the art of signboards, or even the disintegration of an entire urban iconography, as well as the possibility of recreating the city as an integral unit from the detail of some text or author's work. There is particular discussion of the way the vista is made kinetic through the use of the technemes of civilisation, espacially the train or the tram, although the carriage form the Romantic beginnings of the 19th cedntury should also not be forgoten. Te material, backed up with quotations, encompasses the mainstream of European literature although, in line with the author's particular areas of interest, the accents tend to fall upon Russian and to some extent Croatian literature. Particular chapters are devoted to Venice, Vienna and Moscow, and as well as to vistas in Bosnia-Herzegovina, and the mountain massifs of Gorski Kotar and Urals. The following are treated as artists of the vista: Wordsworth, Whitman, Puškin, Mickiewicz, Manzoni, Hugo, Turgenev, Šenoa, Cankar, Blok, Pasternak, Rilke, Heym, Schulz, Matoš and Krleža, and the questions of the poetics of Apollinaire, Majakovskij and Kosovel are also considered. A diverse selection of material from the fine arts accompanies the writing and allows a comparison of the two media, pictures and words.

veduta; književnost; slikarstvo

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