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1

TEÓRIE EMÓCIÍ A FIKCIA

100%

Hvorecký J.

World Literature Studies

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2011

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tom 3 (20)

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nr 3

53 – 61

EN

Philosophical theories of emotions have problems in explaining emotional reactions to fictitious events. We demonstrate the problem of all propositional theories and suggest a solution that is based on a perceptual account. We illustrate the problems of propositional theories by pointing out logical inconsistencies, as well as unclarities with the immediacy of emotional reactions to fiction. We explain how perceptual account, enriched by a specific form of intentionality, offers an elegant solution to the basic problem of coordination between an occurrence of emotion and belief about its fictitious origin. By the way of concluding we point it as still unresolved issues.

2

NARATÍVNA GRAMATIKA KLASICKEJ DETEKTÍVKY

80%

Hudymač M.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 1

19 – 43

EN

The structural analysis was used to draw attention to the fact that some properties of narrative structures are noticeably often repeated and their repeated presence is strikingly regular. „Narrative grammar“ – concepts thus develop a high degree of abstraction, generalization whilst they only contain a limited number of the organizational principles of the narrative unit structure along with the rules of combination. So – as a matter of fact – what is being discussed here is establishing a highly abstract story structure which is supposed to produce an infinite number of specific and individual manifestations. The main part of this study is therefore a specific narration structure analysis based on a particular detective story. The author analysed the novella The Advetnure of the Resident Patient by Arthur Conan Doyle using R. Barthes´s theory complemented by T. Todorov´s concept. The structure analysis thus enabled him to outline the „narrative grammar“, which is „identical“, i.e. it is repeated in most of the Sherlock Holmes stories. The simple text of a detective story exposed to the structural analysis showed and demonstrated how simple text units work and combine, which makes the story coherent and despite the fact that the story is composed of various elements, it does not fall apart and keeps together. At the same time, the „narrative grammar“ drew attention to the way a literary character functions in and becomes a part of the text, as well as it clarified what role the „effects“ of time and space in various forms play in the making a story. The traditional distinction between classic detective fiction (E. A. Poe, A. C. Doyle, A. Christie, D. Sayers) and „hardboiled“ crime fiction typical of American writers (D. Hammett, R. Chandler and R. MacDonald) is examined in the author ś study in terms of various questions and answers. While classic detective fiction raises questions such as „who“ the crime was committed by and „how“, „hardboiled“ crime fiction asks „why“ the crime was committed. Moreover, the author tried to expand on the motifs outlined in the chapter of Czech philosopher in Miroslav Petříček´s book, i.e. the motifs of face, town, room and story, which are approached in a fundamentally different way in the two types of crime fiction in question.

3

What is Literary Anthropology? The Difference between Explanatory and Exploratory Fictions

80%

Iser W.

Teksty Drugie (Second Texts)

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2006

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nr 5(101)

11-35

EN

The essay was published in a collection entitled 'Revenge of the Aesthetic. The Place of Literature in Theory Today' (ed. by M. P. Clark, University of California Press, Berkeley 2000). The author attempts at answering the title questions, assuming the issues of interpretation of culture, as a broad concept, as a starting point; following Geertz, he perceives culture as a constitutive element of the humankind, as opposed to a quality that emerged at a later stage, as an added value of a sort. This changed perspective renders the anthropological dimension of art - and, consequently, of literature - open and, consequently, makes the latter a model and an instrument for describing the mechanisms taking place between a human and his or her surrounding environment. Thus, literature becomes a sui generis founding myth of the mankind, and a method of alleviating tensions between the cultural centre and peripheral areas. The fictions mentioned in the title prove mutually complementary: the first one (explanatory) serves to set the chaos of our surrounding world in an order, whereas the second, or literary (discovery-related, searching) one, enables transgression beyond the sphere of mind and immediate perception, allowing for a rather painless confrontation with the incomprehensible and the inexpressible.

4

IS ODYSSEUS CUNNING?

80%

Wójcik B. H.

Filozofia (Philosophy)

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2012

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tom 67

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nr 5

387 – 397

EN

What is the status of sentences about fictional entities? What is the reference of their grammatical subject? Do they possess a truth value? The paper explores possible explanations of a truth value of sentences about fictional entities. While avoiding the possible dependency on particular theories, it proceeds in accordance with its fundamental common sense and ordinary language philosophy assumptions, particularly that a statement expressed by a sentence about fiction has a truth value which is not dependent on any dynamic conditions or external changes. The paper argues that a paraphrasing strategy, which emphasises the reference to a past event of a creation of a work of fiction, is the most plausible explanation of such a state. It is not ontologically committed to any speculative metaphysics, while being justifiable both semantically and contextually, considerably simpler and not affected by the problems caused by so called meta-fictional sentences.

5

MEDZI LITERATÚROU A VEDOU – NA MATERIÁLI TEXTOV STANISLAVA RAKÚSA

80%

Součková M.

World Literature Studies

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2022

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tom 14

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nr 4

91 – 103

EN

This study examines Stanislav Rakús’s dualism in his scholarly and fictional work. In particular, it deals with the different captures/representations of the same theme in fictional and scholarly discourse, the blending of different stylistic practices in the text and their functions. The paper singles out indicators of literary-theoretical knowledge in Rakús’s prose texts and of the “experience” of his scholarly works. It also traces the literarization of such (intra-textual) phenomena as substitution, silence, production and textual diagnosis. The study highlights the specificity of non-referential narrative (Dorrit Cohn), but also captures the movement from literature to scholarship and vice versa.

6

Fikční svět jako mundus imaginalis. Vertikální a horizontální osa v Hrabalově novele Příliš hlučná samota

80%

Furnica I.

Česká literatura (Czech Literature)

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2008

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tom 56

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nr 2

236-245

EN

In connection with Andrei Pleşu’s Despre îngeri (On Angels, 2003) the author analyzes the nature of the fictional world in Bohumil Hrabal’s Příliš hlučná samota (Too Loud a Solitude, 1977), using many quotations to demonstrate the parallel between the angels of the former work and Hanťa, the protagonist of the latter.

7

FREGE’S EQUIVALENCE THESIS AND REFERENCE FAILURE

80%

Hawkins N.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2021

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tom 28

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nr 1

198 – 222

EN

Frege claims that sentences of the form ‘A’ are equivalent to sentences of the form ‘it is true that A’ (The Equivalence Thesis). Frege also says that there are fictional names that fail to refer, and that sentences featuring fictional names fail to refer as a result. The thoughts such sentences express, Frege says, are also fictional, and neither true nor false. Michael Dummett argues that these claims are inconsistent. But his argument requires clarification, since there are two ways The Equivalence Thesis has been formulated, according as the thesis equates the senses or the referents of the relevant sentences. I have two aims in this paper. The first is to demonstrate that a sameness of sense thesis is inconsistent with Frege’s other theses. The second is to argue that a sameness of reference thesis is consistent with them. Thus, all else being equal, Frege ought to endorse a sameness of reference, rather than a sameness of sense thesis.

8

Fikční světy lyriky J. H. Krchovského

80%

Turecek D.

Česká literatura (Czech Literature)

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2006

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tom 54

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nr 2-3

314-322

EN

An article developing the interpretation of the texts of J. H. Krchovsky (in correlation with their possible reception) towards more general thoughts on the mechanisms of reception and possibilities, including an exemplary reference to perspective in considering the verse of Vitezslav Halek, and a conclusory analogy between the rhythmic form of Krchovsky's texts and the Parnassian rhythmic structure of Jaroslav Vrchlicky's verse. The article also seeks to establish a link between the thematic level of Krchovsky's poems and Jan Neruda's verse collection 'Hrbitovni kviti' (1857) and the style of Decadent and underground poetry

9

Pojmy v pohybu : K Červenkovu setkání lyriky s fikčností

80%

Kubinova M.

Česká literatura (Czech Literature)

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2006

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tom 54

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nr 2-3

148-159

EN

In his 'Fikcni svety lyriky' (Fictional Worlds of Lyric Verse, 2003) Miroslav Cervenka used the term 'fictional world' unconventionally and considered lyric verse, whereas in literary studies at the time it was being employed particularly to consider narrative genres. Consequently, the concepts opened right up: the question of the special world of lyric verse has now resulted in a general topic of the subject, and the means of its mediating discourse refers, among other things, to the broader topics of the implicit and the inferred. The ontological distinctness of the two subjects, the lyric subject and the subject of the work, which are jointly implied in the work, has led then, among other things, to a thorough consideration of the function and boundaries of the fictional world, and here Cervenka sees one of the instruments of the overall aesthetic game and contemplation.

10

Druhý stupěň trýzně

80%

Suchomel M.

Česká literatura (Czech Literature)

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2006

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tom 54

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nr 2-3

304-313

EN

Inspired by, among other things, Miroslav Cervenka's concept of the fictional world, this article is an analysis of Daniela Hodrova's work of fiction, 'Kukly', as a composition of pictures, which, in and through its fragmentariness, presents us with a special fictional continuum, wiping away boundaries, for example, between characters, the historical and the fictional, and the living and the dead.

11

ON THE ISSUE OF NARRATIVITY AND REFERENCE IN HISTORIOGRAPHY AND FICTION (K problematike narativity a referencie v historiografii a v umeleckej literature)

80%

Jancovic I.

Historický časopis (Historical Journal)

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2010

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tom 58

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nr 4

621-632

EN

The author pays attention to narrativity - which has been considered very crucial in recent decades in creating presentation of past events. Narration is a basic act in works of historians as well as prose writers. The author deals with some common aspects of narration in texts by historians and fiction writers. Historical text and fictional text are created by structural building of narration, where selection and hierarchization of facts is made, selected narration elements are put in a compact interpretation giving particular events sense and meaning. A certain aim of an author of narration cannot be excluded and procedures in the building of narrative structure are similar in both cases, but specific procedures, aimed at results not acceptable in a scientific text, are applied in fictional text. Next the author examines the main differences resulting from different characters of reference of both text fields and from their different position in a net of social discourses. The crucial difference originates in the ontological nature of facts included in a historian's narration compared to the 'facts' given by fiction. This is connected to differences in the references of the two types of text. The next differentiation aspect is represented by the aims followed in creating historical and fictional narration. These aims are influenced by our cultural frame. The texts of a historian and a fiction writer are produced and perceived in diverse 'receptive regimes'; the two kinds of text enter different levels of expectation and fulfill diverse functions.

12

MIMESIS AND FICTION IN THE NEWEST SLOVAK DRAMA

80%

Knopova E.

Slovenské divadlo (Slovak Theatre)

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2006

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tom 54

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nr 4

568-581

EN

The authoress in her contribution deals with the general characterization of mimesis as the imitation of the empiric reality, and with the elements of fiction as the imitation of the virtual entities in the context of drama , with a space and time ( known as time and location / known as a recognized and a recognizable time and location). Subsequently the authoress tries to analyze the categories of mimesis and fiction by the means of the actual samples of plays by the latest Slovak drama authors (V. Klimacek, E.Maliti-Franova, P. Pavlac, M. Karasek and so on).

13

ANTI-REALISM ABOUT FICTIONAL NAMES AT WORK: A NEW THEORY FOR METAFICTIONAL SENTENCES

80%

Rouillé L.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2021

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tom 28

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nr 1

223 – 252

EN

In this article, I contribute to ongoing debates about the status of fictional names. The main debate in the philosophy of language focuses on whether fictional names should be thought of as non-referring terms (this is anti-realism) or referring terms (this is realism). This debate corresponds to a debate in metaphysics about the ontological status of fictional characters: the anti-realist claim that fictional characters do not exist while the realist say that they do exist in some sense. Although anti-realism is pre-theoretically intuitive, it has been challenged by a powerful argument in favour of realism based on so-called “metafictional” uses of fictional terms. This argument puts a lot of pressure on the anti-realist, for they have to come up with a theory of metafictional sentences which is in keeping with the anti-realist central tenet. I show that the existing antirealist account of metafictional statements is wrong-headed. I thus propose a new one. In doing so, I hope to free the anti-realist from the realist pressure. However, I do not offer any argument against realism. Consequently, I merely claim that anti-realism be a live option. My modest proposal will, perhaps, make anti-realism more attractive than it is today among philosophers of language.

14

THE TRUTH ABOUT SHERLOCK HOLMES

80%

Haraldsen F.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2017

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tom 24

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nr 3

339 - 365

EN

According to possibilism, or non-actualism, fictional characters are possible individuals. Possibilist accounts of fiction do not only assign the intuitively correct truth-conditions to sentences in a fiction, but has the potential to provide powerful explanatory models for a wide range of phenomena associated with fiction (though these two aspects of possibilism are, the author argues, crucially distinct). Apart from the classic defence by David Lewis, the idea of modelling fiction in terms of possible worlds has been widely criticized. In this article, the author provides a defence of a possibilist account against some lines of criticism. To do so, he assumes that names for fictional characters are directly referential and a possible worlds model that accommodates trans-world identity. On this background, he argues, it is possible to construct an elegant model of fictional discourse using familiar models of information exchange in ordinary discourse, and he sketches how this model can be used to i) make a natural distinction between fictional and counterfactual discourse, ii) account for creativity, and iii) sustain a natural definition of truth-in-fiction that avoids certain familiar objections to possibilism. Though he sets aside questions about the metaphysical commitments of a possible-world interpretation here, there is accordingly reason to think that the battle over possibilist treatments of fiction will have to be fought over metaphysical foundations rather than technical shortcomings.

15

CONCERNING POETRY AND FICTION (LYRICS AND EPICS) AS THE TWO FORMS OF CRITICAL INITIATION AND INSPIRATION IN DEALING WITH LITERATURE (Na margo poezie a prozy (lyriky a epiky) ako dvoch podob kritickej iniciacie a inspiracie pri praci s literaturou)

80%

Matejov F.

Slovenská literatúra (Slovak Literature)

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2009

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tom 56

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nr 3

201-205

EN

This reflection is a short summary of reading and partly of a work experience with the texts devoted to Slovak literature. They come approximately from the half of the last century. This experience points the title of formulated thesis. Writing about poetry was particularly focused on older personalized line (empathic or critically distant), and stressing more evocation of the work, dealing with the character of an author and methodically progressing a structural line. Inspirational confrontation with transformation in poetry that happened in the end of the 50s and the 60s evolved several interpretational initiatives concentrated on semantically complicated contemporary poetic texts. Fiction, modernized in all transformations, would more correspond with all articulated constituted 'worlds' than contemporary poetry with intermediate self-understanding of society, with its official or alternative explanation and with the 'world' opening explosiveness, contemplativeness, fragmentariness, etc. Analogies of narrative fiction and historiography interpretation could help in a less conflicted transposed fiction in treating history of literature. An experience that makes rather problematic usual work with literature of a strong poetry sort can serve as a reminder: history is not only stated by 'subsequence' and 'similarity' of facts (in all methodological travesties still always by Comte's provenience), but it has non spectacular dimension 'in actu' evolving semantic ruptures, explosions, epiphanies, illuminations, or catastrophes.

16

FICTIONAL NAMES: REFERENCE, DEFINITENESS AND ONTOLOGY

80%

Sainsbury M.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2021

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tom 28

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nr 1

44 – 59

EN

Definite linguistic expressions, for example proper names and singular and plural pronouns are easy to introduce. Indefinite expressions may pave the way, but are not essential. It is also not essential that there be entities to which the successfully introduced definite refer. This is the underlying fact that makes fiction possible, and it gives guidance about fictional names: we have no need in general to suppose that there exist entities to which they refer.

17

Historická tematika v prózách Karla Sabiny

80%

Charypar M.

Česká literatura (Czech Literature)

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2008

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tom 56

|

nr 3

345-368

EN

This article is an excerpt from the author’s Ph.D. dissertation ‘Karel Sabina epigon a tvůrce’ (Sabina as Original Writer and Imitator; Prague, 2007), which is concerned mainly with the belles-lettres of the poet, dramatist/librettist, novelist, and journalist Karel Sabina (1813–1877). The dissertation combines approaches from literary history, biography, and textual criticism, but its core approach is a detailed interpretation of his individual works, focusing on intertextuality, for example, Sabina’s essay on Karel Hynek Mácha (1810–1836) and Romantic motifs. The extract published here concerns two distinct areas of Sabina’s historical fiction: semi‑historical fiction from 1837–44 (Hrobník, Msta, Obrazy ze XIV. a XV. věku, and Čech), with an ostentatiously ahistorical treatment in the spirit of the melodramaticity of the gothic novel and earlier popular literature, and Sabina’s historical fiction from the 1860s (in particular, Hyacint), which helped to establish this kind of work in modern Czech belles-lettres, and also his adventure literature (Ruesswurm), anticipating some later forms as well. In the first type of writing the article considers Sabina’s remarkable tendency to run down eminent figures of Bohemian history, which in Obrazy is a treatment typical of the popular 1541 chronicle of Václav Hájek z L ibočan, and in Čech, using Jan František Beckovský’s 1700 version of the same chronicle. This tendency in the early Sabina was suppressed by the censor and condemned by people in the arts, like Karel Havlíček Borovský (1821–1856) and later critics as well, but it did not prevent these works from achieving popularity amongst contemporaneous readers. In Sabina’s historical fiction at its height the tendency appears to be the most remarkable approach to writing, aiming to unify fact and fiction in belles-lettres. The article also aims to contribute to the assessment of the value of these works and to provide new findings in textual criticism of the works of Sabina and Mácha.

18

ZUM AUSDRUCK VON EMOTIONEN IN LITERARISCHEN TEXTEN. AM BEISPIEL DER ERZÄHLUNG „DER WALDGÄNGER“ VON ADALBERT STIFTER

70%

Mišun J.

Motus in verbo: časopis mladej vedeckej generácie

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2013

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tom 2

|

nr 2

56 – 66

EN

The submitted article focuses on the issues of emotion linguistics and its application for the analysis of literary texts. The author examines, in connection with the Bühler’s organon model of natural language, some of the language means serving to express, name and develop emotions, where it is particularly the lexical level of the language which is paid attention to. A sample emotion linguistics analysis is illustrated by the example of Adalbert Stifter’s story “Der Waldgänger”. It becomes apparent that literary texts can bear emotional potential which is often activated by the means of context and general knowledge of the text recipient.

19

INTERFERRENCE OF FICTION AND HISTORY IN A LITERARY PIECE OF ART

70%

Tapajnova-Kenderessyova E.

Slovak Review. A Review of World Literature Research

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2007

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tom 16

|

nr 2

79-93

EN

J. M. Lotman writes, that those descriptions of culture, drew according to the expressions of spatial modelling, mainly the topological expressions, may be called the models of culture. The actual individual texts can thus be considered the interpretations of these models. In Stefan Banulescus' novel 'Millionaires' book. Book of town Metopolis' (Cartea Milionarului. Cartea de la Metopolis, 1977) we interpreted as the model of binary spatial orientation, that is 'nurtured' by the previous historical 'identical metanarrations' (the term of the Romanian semiotician Monica Spiridon), dealing with the roles of town and village, as well as with the agrarian and pastoral elements in the Romanian culture. As shown in our text, the historical motifs or components evoking the impression of historical relevance that occur in the piece 'Millionaires' Book. Book of town Metopolis' are used primarily on the grounds of compositional and narrative reasons but from another point of view, to high extent determines the ideological orientation of the novel of the given period that 'by usage of parables and symbols becomes a false historical novel'. By the analysis of the studied work we verified, that the cyclically repetitive themes and identical metanarrations have the ability to disrupt the homogenised concepts and myths of the actual culture as well as of its history.

20

FICTIONAL NAMES AND TRUTH

70%

Vallée R.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2018

|

tom 25

|

nr 1

74 – 99

EN

By addressing fictional names head on, we risk going back to familiar, ordinary names intuitions and missing what is specific about them. The author proposes a different strategy. His view is grounded on fictional name sentence utterances and on indexed tokens of such sentences, where an index contains the fictional narrator and the time and location of the token. Using the framework of pluri-propositionalism (Perry 2012), the author argues that the semantic relation of reference – ‘x’ refers to y - where ‘x’ is a name, rather than the notion of an object, is central to the debate on fictional names. He also contends that fictional names do not enter into that relation. Tokens of fictional names are individuated with the fictional index of the sentence they originate from. This allows for dispensing with a referent. Indexed fictional name sentence tokens have semantically determined truth conditions, yet they are not truth assessed given facts. In this respect, they have cognitive significance only, and no official or referential content. Indexed fictional name token of sentences are accepted as true, but they are not true.