Subjektyvumo įveika Jono Meko poezijoje irkine (eilėraščių rinkinys „žodžiai ir raidės“,filmas „Requiem rašomajai mašinėlei“)
Desubjectivation of a Person in Jonas Mekas’ Poetry and Film (Poetry Collection “Žodžiai ir Raidės” and Film “Requiem for a Typewriter”)

Summary/Abstract: This article discusses the desubjectivation in Jonas Mekas’ collection of poems “Žodžiai ir raidės” (“Words and Letters”) and film “Requiem for a Typewriter” approaching it from media theory, deconstruction and philotopical points of view. Desubjectivation is understood as freedom from History, ideology, symbol, and relations between author and reader/viewer. The works discussed are Mekas’ attempt to be free by denying subjectivity, renouncing a gap between experience, language and image. Speaking person in his poetry, as also the filming and reading one in his film, does not accept a logical causal development of story and its dictated thought, which is usually expressed by symbolic writing and narrative cinema in the Western world. Using graphic, rather than symbolic writing in his poetry Mekas produces such media, which does not admit in-mediation – media as an “extension of man” has only a life force for him. The film also erases the distance both between sound and image, and the viewing and the filming person. The distance between the author and the audience is impossible to define. The poems do not have the effect of death, exclusion, and isolation – which is traditionally attributed to media. “Requiem for a Typewriter” does not talk about death and end; the focus is on the present moment. The speaking person in “Words and Letters” and the filmed and filming one in “Requiem for a Typewriter” refuse not only the traditional categories of time, but also the spatial ones: there is no division into the lost, existing and discovered space. The place, in which speaking and filming takes place, is home not because it is a place where one has grown up and matured, but because it is universal and sufficient, there is no need to go beyond it and to desire a different location and different being. When person reaches freedom from time (and History, ideology) and space (Lithuania and New York), there is no meaning and no feelings in Mekas’ texts. There is no subject and object, no content. The form is the most important component in his ideogramic and visual texts as philotopical objects without metaphysics.

• Details
• Contents