Wyniki wyszukiwania - Biblioteka Nauki

1

MIZNUTIE AUTORA A UTVÁRANIE VÝZNAMU

100%

Debnár M.

World Literature Studies

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2016

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tom 8

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nr 3

115 – 124

EN

The study is aimed at the analysis of the consequences of the disappearance of the author as a unifying principle organizing meaning and determining the interpretation of the text in the era of digital media and hypertext. It is based on the movement aimed at the displacement of the concept of the author from this dominant position, reflecting the approaches of thinkers such as U. Eco, R. Barthes and M. Foucault. These authors particularly understand the text as a space in which intertextual relations dominate and readership perception replaces the principle of the author. More than a natural extension of these considerations is the area of texts published in electronic version, which, according to J. D. Bolter, allow significantly greater fragmentation and differentiation than printed texts, which even more reinforces their perceptual aspects. Reconstruction or rather making of meaning in the process of reading is subject to certain specifics that are at the centre of our consideration because there also appears the spectre of what remained of the author, as some of his features are still present in the text. Consequently, we move to the description of double writing: writing the self and writing culture. Relying on Bolter’s as well as Foucault’s analysis, we can say that hypertext writing is an ongoing process of eclectic writing and self-publishing. It is exactly the way we acquire a new virtual identity that enables and stands in the basics of digital communities. If hypertext is a place of this constitutive practice of subjectification, this means not only a return to the origins of philosophy, that is to the practice of the care for the self, which it always has been, but also the beginning of a new era of reading, writing and thinking.

2

Abstraktní autor a abstraktní čtenář

100%

Schmid W.

Česká literatura (Czech Literature)

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2006

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tom 54

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nr 2-3

74-97

EN

This contribution is devoted to two frequent factors in narratology (narrative theory): the implied author and the implied reader. The starting point in exploring these special strategies of narrative text is the fact that narrative does not narrate but represents narration. It comprises therefore at least two levels of communication: communication of the author and communication of the narrator. The article attempts to reveal the relationship between the transmitter and the receiver of a narrative utterance at the individual levels of communication, which are established by the narrative and the narrative action. It precisely sets down the form or definition of the individual instances of communication, concrete and abstract, and also investigates the historical development and formation of these terms in narratology. Against the background of disputes and the forms of the investigated instances in the history of narratology, the article analyzes their concepts and considers their advantages. It then proposes a new systematic definition of the two fundamental terms or, rather, tools of narratological analysis: the implied author and the implied reader. The article presents a methodologically clear way of investigating the semantic action of a narrative text and posits a logically and factually precise formulation for analyzing key problems of the theory, which it helps to support. The article focuses on the question of the limits of the lyric subject from the perspective of its potential for expression. It recapitulates the main features of Cervenka's conception of the lyric subject, particularly the concept contained in his 'Fikcni svety lyriky' (Fictional Worlds of Lyric Verse, 2003), and it questions the sharpness, or functionality, of the boundary that Cervenka demarcated between the fictional world of the work and the fictional world of playing with the work. The author proposes granting the persona greater 'authority' and accepting the blurred boundary between the persona and its utterance.

3

Le traducteur vu par son auteur

88%

Grabowska M.

Romanica Wratislaviensia

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2012

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tom 59

51-64

EN

The article is an attempt to answer the question of how the writer sees the work and role of the translator. The research tool was a survey comprising eight open questions which the present author presented to five Polish literary writers: Marek Krajewski, Olga Tokarczuk, Przemysław Wojcieszek, Małgorzata Sikorska-Miszczuk and Zyta Rudzka. The article contains a synthesis of their replies to questions concerning the emotions generated by the fact they are translated, their vision of the translator’s work, its creative/reproductive nature, copyright on the translated text, responsibility for the success/failure of the translated work, the role of the author and the translator as intercultural mediators.

4

MODALITY AUTORSKÝCH RECEPČNÝCH VPLYVOV

88%

Ballay M.

Slovenské divadlo (Slovak Theatre)

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2011

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tom 59

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nr 3

235 – 244

EN

In a generalising fashion, the author examines a set of reception influences of the author theatre. He finds multidimensional expressiveness of a dramatic piece structure in contemporary author theatre styles. Using several examples, Ballay examines expression range of reception influences of contemporary Slovak author theatre at the levels of the word, of the actor’s role, direction, incidental music, visual considerations, and theatre production texture and of the stage synthesis per se. However, the conclusions of the study would not provide a sweeping overview of the current state of contemporary author theatre in Slovakia. They are to be understood as a theoretical sketch of the vital phenomena within this context.

5

Szalony literat, niedzielny obłąkany czy genialny grafoman? Problematyka folie litteraire w polskiej literaturze przełomu XIX I XX wieku

88%

Marcinów M.

Zagadnienia Naukoznawstwa

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2011

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tom 47

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nr 4(190)

657-667

EN

The paper presents the topic of fous littéraires – ‘crazy writers’, whose creativity is systematic researched in France, from the Charles Nodier’s book from 1835 to the present. This issue, in spite of the growing interest in the global literature, is unknown in Poland. The aim of this article is to introduce new perspective of research in cultural status of creator, due to the place which has fou littéraire in the relation between ‘genius author’ – ‘mad author’. Moreover, the result of the studies on the Polish ‘crazy writers’ at the turn of the 19th and 20th centuries will be discussed.

6

"Пацанские рассказы" Захара Прилепина. Новый автор, новый герой

88%

Waszkielewicz H.

Slavica Wratislaviensia

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2011

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tom 153

443-451

EN

Zakhar Prilepin is a 34-year-old writer, critic, social and political activist with a remarkable wartime experience, essay writer and TV presenter, who is highly popular and prospers very well in the media zone. Apart from three successful novels The Pathologies (2005), Sankya (2006) and Sin (2007), he also published a collection of stories which are subject of analysis in the present article. Boots Full of Hot Vodka. Boy Stories (2008) is a collection of stories full of brutality, humour, and lyricism, from which a delightfully coherent image of the protagonist and the world emerges. The coherence results for instance from the closeness of the protagonist and the author. The latter says of himself: “I am a happy man who occasionally keeps himself busy writing books.” Prilepin seems to be creating a new topos, absent from Russian literature so far — the topos of a happy man.

7

STOPY AUTOBIOGRAFIE VO FIKCII (AUTENTICKOSŤ DIELA DOMINIKA TATARKU)

75%

Bátorová M.

World Literature Studies

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2011

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tom 3 (20)

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nr 2

46 – 60

EN

The article considers selected “autobiographical” works by Dominik Tatarka and his fiction with autobiographical elements. As a typical modernist author, Tatarka focuses on the personal experience of the authorial subject. However, the writing is ambiguous and often contradictory in factual information. Comparisons with memoirs by his contemporaries clearly document Tatarka ś strategic shift from autobiography to creative fiction. In thinking about “autobiography-auto-fiction-fictional (novelistic) discourse”, that is not at stake just the type of theory that deals with the category of the author, but also the type of interpretation that the interpreter will accept and put to practice. We are dealing not only with a stereotypical distinction between post-structural and hermeneutic approaches of the interpreter, but with the finer differentiation of the multiple roles of the author. We are dealing with the relationship of the author – text, the text as the basis of interpretation, as the platform of the author, as the mirror of the author, the text with an evident stamp of the author. We are dealing with autobiography as a fiction (focus on the self – self-exhibition – brings with it a shift from own biography – in memories – to a desired image of oneself, a shift that is however difficult to identify).

8

DVOJITÁ IDENTITA VOJNOVEJ SKÚSENOSTI. ROZOSTUP AUTORA A SUBJEKTU V SLOVENSKEJ POVOJNOVEJ PRÓZE (LEOPOLD LAHOLA A JOŽKO LÁNIK)

75%

Paštéková J.

Slovenská literatúra (Slovak Literature)

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2016

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tom 63

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nr 3

165 – 178

EN

The goal of the paper is to explain the rupture in the line of Slovak war prose between the year 1945 and February 1948, when Socialist Realism was pronounced the only method of artistic production. The prospects of ´brighter tomorrows´ cast black light back on the existential/existentialist line. The methodical assumption is the comparative analysis of several writers´ productions, while Leopold Lahola is seen as the key one. His prose is interpreted here in the context of the work of contemporary Jewish writers as well as non-Jewish authors such as the Italian Cesare Pavese. At the same time the study specifies theoretically the changes of accents of configurations of the author and the self within the pluralistic poetics of the 1940s. It is supported by several layers of Slovak reception of philosophical Existentialism. The period of liberalisation of the 1960s revived the interest in this movement. The key concept of ´situation´ was still (or again) seen at the end of the decade as artificial, too theoretical (Viliam Marčok). Also, existential referentiality was considered to be ideologically shaky. This card had to be reckoned with and it was by Jozef Felix who, when trying to legitimize the work of “foreign” Lahola, claimed it was due to the anxiety resulting from the cruel war experience and he distanced it (more Lahola himself) from Existentialism. The choice of double identity of assumptions made it possible. In order to verify the reliability of this statement, the author of the paper compared Lahola´s work with both the parallel line of documentary prose (Alfréd Wetzler) and Cesare Pavese´s existential diary records of his life. One of them became the motto of Lahola´s collection of short stories Posledná vec/The Last Thing. Several poet-logical and ideological parallels between Lahola and Pavese´s work have been identified.

9

L'AVEAU DE LA FICTION: UNE STRATÉGIE CONTEMPORAINE. LES PARATEXTES DE SOPHIE CALLE

75%

Camart C.

ARS

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2008

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tom 41

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nr 2

240-255

EN

Sophie Calle's literary texts are very profoundly associated with 'intimate writing', and they are fruits of various strategies as well, such as mixture of the author and the narrator, or keeping the reader in a 'pendant' position. Somewhere in between autobiography and a longing for fiction there is a vast self-fabulation, thoroughly confirming the artist's position as a writer and her authorial qualities. Sophie Calle's life thus melts into her artistic work, the creation of autobiography being an actual working method for fulfilling the artist's objectives.

10

Mises en traduction théâtrale: Valère Novarina — Dimitris Dimitriadis, contextualisations multiples d’un événement scénique

75%

Bobas C.

Romanica Wratislaviensia

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2012

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tom 59

319-329

EN

In terms of theatre, translation involves not only linguistic transfers on the level of discourse signification, but also a transfer of functions in relation to other signs of theatre action. Theatre translation as a component of a whole dramatic process has to consider among other criteria the author’s (playwright) basic position which leads the speech action to the stage. In this context, the V. Novarina and D. Dimitriadis’ approaches present opposite points of view, with different cultural references, corresponding to a contemporary theatrical discourse which could contribute to an important extent, to the translator’s work.