{"?xml":{"@version":"1.0"},"edm:RDF":{"@xmlns:dc":"http://purl.org/dc/elements/1.1/","@xmlns:edm":"http://www.europeana.eu/schemas/edm/","@xmlns:wgs84_pos":"http://www.w3.org/2003/01/geo/wgs84_pos","@xmlns:foaf":"http://xmlns.com/foaf/0.1/","@xmlns:rdaGr2":"http://rdvocab.info/ElementsGr2","@xmlns:oai":"http://www.openarchives.org/OAI/2.0/","@xmlns:owl":"http://www.w3.org/2002/07/owl#","@xmlns:rdf":"http://www.w3.org/1999/02/22-rdf-syntax-ns#","@xmlns:ore":"http://www.openarchives.org/ore/terms/","@xmlns:skos":"http://www.w3.org/2004/02/skos/core#","@xmlns:dcterms":"http://purl.org/dc/terms/","edm:WebResource":[{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-6P0E2UXS/46fd5394-dc13-4f48-a29c-1a607324fd14/PDF","dcterms:extent":"310 KB"},{"@rdf:about":"http://www.dlib.si/stream/URN:NBN:SI:doc-6P0E2UXS/ef124c67-e1f8-4c00-821f-bdf690b0d445/TEXT","dcterms:extent":"33 KB"}],"edm:TimeSpan":{"@rdf:about":"1982-2025","edm:begin":{"@xml:lang":"en","#text":"1982"},"edm:end":{"@xml:lang":"en","#text":"2025"}},"edm:ProvidedCHO":{"@rdf:about":"URN:NBN:SI:doc-6P0E2UXS","dcterms:isPartOf":[{"@rdf:resource":"https://www.dlib.si/details/urn:nbn:si:spr-goh8f1o9"},{"@xml:lang":"sl","#text":"Acta neophilologica"}],"dcterms:issued":"2016","dc:creator":"Turk, Boštjan Marko","dc:format":[{"@xml:lang":"sl","#text":"številka:1/2"},{"@xml:lang":"sl","#text":"letnik:49"},{"@xml:lang":"sl","#text":"str. 155-165"}],"dc:identifier":["ISSN:0567-784X","COBISSID:62769762","URN:URN:NBN:SI:doc-6P0E2UXS"],"dc:language":"fr","dc:publisher":{"@xml:lang":"sl","#text":"Znanstvena založba Filozofske fakultete"},"dc:subject":[{"@xml:lang":"sl","#text":"Božanska komedija"},{"@xml:lang":"en","#text":"damnation"},{"@xml:lang":"en","#text":"Divine Comédie"},{"@xml:lang":"en","#text":"Divine Comedy"},{"@xml:lang":"en","#text":"enfer"},{"@xml:lang":"sl","#text":"erotika"},{"@xml:lang":"en","#text":"érotisme"},{"@xml:lang":"sl","#text":"francosko kiparstvo"},{"@xml:lang":"sl","#text":"Ghiberti, Lorenzo, 1378-1455"},{"@xml:lang":"sl","#text":"italijansko kiparstvo"},{"@xml:lang":"en","#text":"Middle Ages"},{"@xml:lang":"en","#text":"Moyen-Age"},{"@xml:lang":"sl","#text":"pogubljenje"},{"@xml:lang":"en","#text":"Renaissance"},{"@xml:lang":"sl","#text":"renesansa"},{"@xml:lang":"sl","#text":"Rodin, Auguste, 1840-1917"},{"@xml:lang":"sl","#text":"srednji vek"},{"@xml:lang":"sl","#text":"Vrata pekla"}],"dcterms:temporal":{"@rdf:resource":"1982-2025"},"dc:title":{"@xml:lang":"sl","#text":"L'Équilibre de la chute : La Porte de L'Enfer et ses sources|"},"dc:description":[{"@xml:lang":"sl","#text":"The study tries to answer the questions opened up by the work of Auguste Rodin, La Porte de l'Enfer. It was inspired by earlier historical and literary sources among which Dante's Divine Comedy has to mentioned first, as it cannot be imagined without it. The study compares the structure of La Porte de l'Enfer with Ghiberti's masterpiece La Porta del Paradiso. The study concludes that the discussed Rodin's work is impossible to comprehend outside of the medieval philosophical context"},{"@xml:lang":"sl","#text":"La présente étude se donne pour but de répondre aux questions que souleve l'oeuvre magistrale d'Auguste Rodin, La Porte de l'Enfer. Celle-ci puise dans les sources historiques et littéraires parmi lesquelles il faut mentionner, en premier lieu, la Divine Comédie de Dante. En réalité, en dehors des références que fournit le chantre florentin, l'oeuvre d'Auguste Rodin serait impensable. Rodin lui-meme avait une prédilection pour les cathédrales, les édifices qui reconstruisent le sentiment de verticalité en recompensant le porte-a-faux. Celui-ci pris dans le sens analogique fournit une explication a la structure de La Porte, surtout lorsqu'on la compare a capolavoro di Ghiberti La Porta del Paradiso qui est censé servir de modele a Rodin. La conclusion du présent article serait que La Porte de l'Enfer est impensable en dehors du contexte philosophique du Moyen-Age"},{"@xml:lang":"sl","#text":"Pričujoči članek razdeluje literarno in filozofsko tematiko, ki je navdahnila eno največjih del Augusta Rodina, njegova Vrata pekla. Osnova je Dantejeva Božanska komedija, veliko pa delo dolguje tudi Rodinovemu premišljevanju gotskih katedral, predvsem njihovemu temeljnemu občutju, to je vertikalnosti. Prav slednja daja pogubljenim figuram Vrat pekla zagon nepovratnega drsenja proti dnu. V tem se Rodinova plastika bistveno ločuje od Vrat nebes renesančnega avtorja Lorenza Ghibertija, četudi jih je umetnostna zgodovina vselej jemala kot model, po katerem naj bi Rodin oblikoval Vrata pekla. Vendar se ena in druga umetnina v filozofskem sporočilu in arhitekturnem konceptu toliko razlikujeta, da je nekaj takega tudi teoretično nemogoče. V Vratih pekla Rodin poustvarja dinamiko človekovega življenskega erosa v luči večnosti, smrti in pogubljenja: to so srednjeveške kategorije mišljenja, brez katerih bi Vrata ne bila takšna kot so. S tem pa smo stopili daleč stran od renesančne inspiracije, v ospredju katere je stal optimističen pogled na človeka, kot središče sveta"}],"edm:type":"TEXT","dc:type":[{"@xml:lang":"sl","#text":"znanstveno časopisje"},{"@xml:lang":"en","#text":"journals"},{"@rdf:resource":"http://www.wikidata.org/entity/Q361785"}]},"ore:Aggregation":{"@rdf:about":"http://www.dlib.si/?URN=URN:NBN:SI:doc-6P0E2UXS","edm:aggregatedCHO":{"@rdf:resource":"URN:NBN:SI:doc-6P0E2UXS"},"edm:isShownBy":{"@rdf:resource":"http://www.dlib.si/stream/URN:NBN:SI:doc-6P0E2UXS/46fd5394-dc13-4f48-a29c-1a607324fd14/PDF"},"edm:rights":{"@rdf:resource":"http://creativecommons.org/licenses/by-sa/4.0/"},"edm:provider":"Slovenian National E-content Aggregator","edm:intermediateProvider":{"@xml:lang":"en","#text":"National and University Library of Slovenia"},"edm:dataProvider":{"@xml:lang":"sl","#text":"Univerza v Ljubljani, Filozofska fakulteta"},"edm:object":{"@rdf:resource":"http://www.dlib.si/streamdb/URN:NBN:SI:doc-6P0E2UXS/maxi/edm"},"edm:isShownAt":{"@rdf:resource":"http://www.dlib.si/details/URN:NBN:SI:doc-6P0E2UXS"}}}}