Wyniki wyszukiwania - Biblioteka Nauki

1

Hry typologie a studium verše: český a španělský verš v zápasu o charakter a tvar sylabotónismu

100%

Volek E.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 2-3

41-58

EN

In the introduction to this article, the author recalls his relationship with Miroslav Cervenka. He then recapitulates several Czech attempts at typology of the 'metre types' of Jiri Levy, Roman Jakobson, and Josef Hrabak, and recalls how Cervenka dealt with them in the late 1960s. In the next part of the article, he describes Spanish syllabotonic writing, which, he argues, confirms Cervenka's interpretation of the syllabotonic-writing code.

2

Básně a próza - způsoby a problémy koexistence

100%

Pszczolowska L.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 2-3

10-17

EN

This article provides an outline of the history of the relationship between verse and fiction. From the thirteenth to the nineteenth century, verse held the foremost position in Polish literature. This was because of its connection with the language of the Roman Catholic Mass and Church ritual. The article focuses on the relationship between verse and fiction in the Romantic period, when the uniformity and regularity of verse was disrupted. It also considers Polish Romantic rhythmical prose, describing the changes that took place in the Modern period, a time when, among others things, irregular syllabic verse and experiments with vers libre developed. A further convergence between verse and rhythmicized prose occurred in the period when vers libre was developing and then became predominant.

3

Já a nejá v rytmu lyriky

100%

Jiracek P.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 2-3

26-40

EN

In this article the author seeks to define more precisely the atmosphere (the non-linear rhythm) of verse and the situation, which he sees as the unsymmetrical analysis of the basic evaluative approaches to the Ich and non-Ich. He creates a symmetrical structure of eight basic rhythmic qualities of atmosphere, and, after extensive psychosemantic research, finds 216 distinct rhythmic qualities in Czech verse. He then applies what he has discovered to a description of the atmosphere of six Czech lines, again based on his psychosemantic research into the evaluative approach.

4

Píseň, již stíhám a která mi neustále uniká (O vzpomínání v poezii Ivana Blatného)

100%

Krejci J.

Česká literatura (Czech Literature)

|

2007

|

tom 55

|

nr 4

517-537

EN

This article considers the function of anamnestic imagery in the collection of verse 'Hledani pritomneho casu' (In Search of Time Present) by Ivan Blatny (1919-1990). The author starts by defining memory as an act of recall of temporal consciousness (while analyzing the concept of temporality in the works of Bergson and Husserl), and focuses on anamnestic imagery in certain collections of verse in relation to their overall structure. Four analytical chapters are of key importance here; at the centre of each is verse by one poet: 'S lodi, jez dovazi caj a kavu' by Konstantin Biebl (1898-1951), 'Praha s prsty deste' by Vitezslav Nezval (1900-1958), 'Hledani pritomneho casu' by Blatny, and 'Davne proso' by Jan Skacel (1922-1989). By comparing the individual studies, which represent two contrasting attitudes to anamnestic imagery in modern Czech lyric verse, the author seeks to come up with a hypothesis about the general nature of lyrical anamnestic images. The attempt to comprehend Blatny's collection begins chiefly with considerations of temporality in the work of Emil Staiger (1908-1987) and also the hermeneutics of understanding of Hans-Georg Gadamer (1900-2002). 'Hledani pritomneho casu' unites two forms of Blatny's verse: on the one hand the collection contains poems of a musical nature, corresponding to Blatny's style before joining 'Skupina 42' (The 42 Group); on the other hand, it contains verse written under the influence of the principles of the group. The article seeks to find what it was that provided the unity of mood of both forms of Blatny's verse at the phonic (euphonic) level, lexical (motivic) level, and syntactic level. The common denominator seems to be Blatny's consideration of temporality, a tendency to articulate the 'fullness of the moment'. That is manifested in the elementary principles of return (repetition) and unification. These principles are most evident at the motif level. Blatny's being 'in search of the present' is understood as being in search of the moment when the everyday merges with the historic. Inspired by Proust's 'A la recherche du temps perdu', Blatny finds the historic mainly in expressing the banal details that surround him. The personal recollection of everyday life takes on the importance of a testimony of 'big' history. In Blatny's collection the repeated motif of the road, fundamental particularly to the longest poem of the first part, 'Dejiny' (History), becomes a characteristic metaphor for time. The lyric persona in it, much as in many other poems, is stylized as a flâneur. Blatny's second most frequent autostylization is the poet sitting in his room and concentrating on capturing the present moment. Both stylizations are in essence related to anamnestic imagery. The desire to express the total moment, to find the quality of time in its dure, is illustrated by examples of changes in tense, which move towards the gnomic. The monumental concluding poem, 'Terrestris,' reads as a new opportunity to 'find time present,' the expression of the moment. It is the mysterious mythical being that unites all opposites and embodies the order of life in the fleetingness of time.

5

Tělo a verš

80%

Jiracek P.

Česká literatura (Czech Literature)

|

2005

|

tom 53

|

nr 1

1-40

EN

In the twentieth century the phenomenon of the subjective body was integrated into ontology in philosophy, moving from Phenomenology to Existentialism. The rediscovery of the body and affect as a way of thinking also led contemporary cognitive science to the topic of the relationship between emotion and cognition, to the necessity of expanding the model of the mind and of experiencing emotions and physical sensation. The extension of the explanatory possibilities of a scholarly metalanguage into the area of the emotions and physical sensation is also important for the analysis of the acoustic aspect of lyric verse. In the acoustic flow of verse, the sounds of language have, apart from a phonemic function, their own sensuous (emotional) effect of the articulating body. In literary studies so far the acoustic flow has been interpreted only at the segmental level as a sequence of phonemes or sounds (for example in constructs of acoustic succession, phonetic instrumentation, or phonetic composition). At the suprasegmental level the acoustic flow must be conceived of as a sequence of syllables, a sequence of articulated phonations, the semantic movement of the phonemic flow. A syllable has no semantic value, but does have an experiential form, which influences motivation, behaviour, and experience. In addition to sonic and tonal modulation at the suprasegmental level, qualitative modulation, modulation of timbre, and the sequences of tones and of noise are also employed. In modelling the semantic movement of syllables in a phonemic flow the methodological approaches of experimental psychosemantics have been used. Connotational objectivization took place in three dimensions that were polarized on the basis of domestic and alien, light and darkness, activity and passivity, and research was conducted with a sample of 2,800 respondents. The analysis of the acoustic side of lyric verse would be incomplete if in addition to accentual rhythm and melody we did not also consider qualitative modulation, the semantic movement of the phonic flow. At the segmental level of verse, phonemes are semantically completed by the lexical meanings of words. This semantic process is parallel to the semantic process of the phonemic flow, but apart from the metrical correspondence between them there is no causal connection, only similar semantic content. In addition to the semantic movement of the phonational flow and the semantic saturation of phonemes, the dynamic of the acoustic process of verse completes the phonic line of the verse, which in itself links occurrences of sonic and tonal modulation.

6

Časoměrné vzorce a metra v české národním obrození

80%

Sgallova K.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 2-3

17-25

EN

The article analyzes rules of prosody in the work of the Czech writers of the National Revival. In the Puchmajer Group the syllabotonic system won out. In the 1810s and throughout the 1820s in an attempt to achieve higher artistic goals there was a boom in Czech quantitative verse; but Classical metres were used only for translations.

7

K žánru epithalamia v latinské humanistické poezii

80%

Kolarova J.

Česká literatura (Czech Literature)

|

2007

|

tom 55

|

nr 1

25-40

EN

In the Bohemian Lands occasional verse written in Latin developed mostly in the sixteenth century. It comprises poetic texts of various lengths written for important events in life, such as birthdays, the completion of studies, departures for, or returns from, journeys to foreign lands, weddings, births, or deaths. This branch of humanist poetry employs models from classical antiquity, which is also where most of its sub-genres come from, mainly in the period of late Roman literature. Most preserved their form throughout the Middle Ages and into the period of humanism. The kinds of occasional verse are defined in works on poetics and rhetoric of various periods. The normative nature of Neo-Latin humanist literature therefore makes it possible to investigate the individual sub-genres and describe them in terms of genre theory. Among the most popular sub-genres of occasional verse (if one can judge fairly from the number of poems written) are epithalamia and epicedia. The article analyzes epithalamia written in the latter part of the humanist period (the late sixteenth and early seventeenth centuries), concerned chiefly with themes and motifs, and considers interesting aspects and remarkable examples in which the poets seek to achieve a measure of originality and to free themselves from the conventions of the times.

8

Rýmové útvary a konfigurace Máchova Máje

80%

Prokop D.

Česká literatura (Czech Literature)

|

2005

|

tom 53

|

nr 6

769-797

EN

The article considers the rhyme structure of Mácha's 'Máj'. It first describes the rhyme forms as passages from which the overall rhyme patterns of the sections are then composed. It then analyzes the morphology and types of these forms and patterns, and discusses their unusual diversity. In 'Máj' Mácha employs rhyme forms between two and seven lines in length (and sometimes, though rarely, even longer ones), from which particularly those from four to seven lines are usually of several types and variations, in part regular, in part irregular. The rhyme patterns are shorter (up to ten lines), utterly individual, that is to say, they always have a different rhyme sequence and combination of rhyme forms. Apart from the length, one can discern also odd and even patterns (with the odd or even number of lines) and especially regular and irregular ones. In terms of syntax and motif the pattern boundary overlaps with the section boundaries; the boundaries of the rhyme forms alternate without apparent regularity with the syntactical units or motifs.

9

Rytmus a smysl v lyrice

80%

Jiracek P.

Česká literatura (Czech Literature)

|

2007

|

tom 55

|

nr 3

301-343

EN

Bohumil Nuska points out the predominant limited conception of rhythm, which is usually linked only with acoustically symbolized and aurally perceived rhythms, while the rhythms that are optically symbolized and visually perceived are utterly ignored. In lyric verse, the double, parallel mental construction, which stems from the opposition of syllable and morpheme as constituents of a higher construct of the word, creates parallel lines of mixed mental spaces of linear and non-linear rhythms (the rhythm of verse, the rhythm of the situation; the atmosphere of the verse, and the atmosphere of the situation). Shared abstract structures in generic spaces within individual mixed spaces of lyric rhythm are shared axiological structures, represented at the highest level of abstraction by tension and relaxation (detension). The dynamic nature of these structures stems from the asymmetric distribution of tension and relaxation with regard to the dualistic symmetrical model of the axiological system. And thus deviations from its axial scheme emerge, creating these four parallel rhythmicized lyric structures (in terms of form). Similarity amongst the individual mixed mental spaces is only possible in a fractal dimension. In this theory, presented as a working hypothesis, it is assumed that the forms of the rhythm of the verse, the rhythm of the situation, the atmosphere of the verse, and the atmosphere of the situation, will be similar to each other, and their fractal mutual similarity emerges from the text.

10

Na okraj Červenkova přínosu k bádání o lumírovském verši

80%

Riedelbauchová T.

Česká literatura (Czech Literature)

|

2008

|

tom 56

|

nr 1

101-108

EN

ncipient Modernists, they paved the way for twentieth-century verse. The author demonstrates how Červenka, whose starting point was the conclusions of Mukařovský, Šalda, and Jakobson, dealt with metre, the relationship between verse forms and semantics, and the polymetric and monometric, and she discusses the conclusions he came to.

11

K MOŽNOSTIAM KVANTITATÍVNO- -KORPUSOVEJ ANALÝZY NADREALISTICKÉHO VERŠA (VSTUP DO PROBLEMATIKY)

60%

Teplan D.

Slovenská literatúra (Slovak Literature)

|

2023

|

tom 70

|

nr 5

573 - 593

EN

The aim of the study is to present and specify the possibilities of quantitative corpus analysis of verse, which was characteristic for the work of the representatives of the avant-garde movement of Nadrealism – the Slovak variation of Surrealism (Rudolf Fabry, Július Lenko, Vladimír Reisel, Štefan Žáry, and others). The article consists of three chapters. The first one summarises the previous research on the versological aspects of Nadrealism and characterises their general features. Then, isolated attempts at quantitative analysis of the verse are presented and critically evaluated. The conclusion presents the possibilities of quantitative research of this type of verse in digital processing, with the need to create a digital corpus of poetic texts that could be used for the analysis of a variety of versological problems. The aim should be not only the digitisation of Nadrealist texts, but also of the whole complex of Slovak poetry, so that selected problems can be studied in their interrelations and also from developmental aspects. From the methodological point of view, the study follows the current research in the field of quantitative versology.

12

Intertextual relations and axiology: Verse structures as vehicles of axiological values in poetry

60%

Dobrzyńska T.

Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)

|

2012

|

tom 73

|

nr 4

299-312

EN

The author discusses the problem of the semantic value of verse structure and its importance for the interpretation of poetry. Various metrical forms acquire their stylistic distinctness and profile, and become elements of the semiotic system of a given culture. Intertextual allusions to these metrical forms are to be treated as vehicles of meaning and are very important for the interpretation of a text. It is argued that these allusions can also introduce axiological values. Two examples of such semiotic operations are analyzed. The first of these (the poem Why?, by Czesław Miłosz) illustrates the mechanism of strengthening the solemnity and authority of the uttered words, the mechanism of dignifying them, endowing them with a status of unquestionable revelations of truth. The second example (the poem Mona Lisa, by Zbigniew Herbert) serves as a presentation of the ways in which reliable speech can be restored and the object of an utterance degraded. The poet makes allusions to the specific form of the free verse characteristic for the style of Stanisław Różewicz’s post-war poetry, which imitates a very simple and sincere way of speaking. Its stylistic value is applied as an exponent of the authenticity and reliability of the speaking subject.

13

K žánrové diferenciaci české poezie doby baroka

51%

Malura J.

Česká literatura (Czech Literature)

|

2008

|

tom 56

|

nr 2

155-182

EN

For its methodology this article draws chiefly on the theory of intertextuality, emphasizing the genre as model. It is premised on the idea that similar works gradually group around a successful prototype text, leading to the genre category. The author takes issue with existing classifications of Czech Baroque verse, and questions the validity of fundamental criteria such as the opposites secular:spiritual, to be sung:to be spoken, lyric:epic. He proposes a more sophisticated differentiation of genre in contrast to forms of publication, which include the hymn book and the broadside ballad. His interpretation concentrates particularly on the production of Czech hymn books, both Roman Catholic and Lutheran, which is distinguished by a quite surprisingly wide range of genres and sub‑genres. From contemporaneous books on poetics and rhetoric one can reasonably deduce mainly Humanist genre terms like eclogue, ode, and epicede. Contemporaneous sources also distinguish between two distinct, even considerably opposed, categories – the hymn and the lament –, which in practice appear in various forms (the Christmas anthem, the Easter anthem; the lament of Protestant exiles, the Passion lament, and the funeral lament). What is particularly important in hymn books is the distinction – not made in Czech scholarly literature on the topic, but common, for example, in the German‑speaking world – between the hymn (closely linked with high days and the liturgy, intended primarily for choral singing) and the spiritual song (used in the cultivation of the individual spiritual life in private; with an indirectly expressed religious content; employing topoi of contemporaneous non‑religious verse). Among the hymns there are, for example, the Whitsun anthem, the Eucharistic anthem, and the Marian hymn. Among the spiritual songs there are songs of personal anxiety, sung meditations on vanity and transience, and love songs addressed to the Lord Jesus. The various genres were concealed in the particular form of publication in which they appeared.