Wyniki wyszukiwania - Biblioteka Nauki

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Uwagi o tłumaczeniu dokumentów

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Dambska-Prokop U.

Studia Iberystyczne

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2009

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tom 8

343-354

EN

This paper examines the Conditions of Use of the British Library Reading Rooms and their translations into Polish by the students of the Jagiellonian University doctoral studies. It stresses out the specific characteristics of the text and the difficulties met by translators, resulting from differences of cultural and stylistic approach in English and in Polish.

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MARIAN MOTIFS IN TRADITIONAL GENRES: LEGEND SONGS AND PAINTINGS ON GLASS (Marianske motivy v tradicnych zanroch: Legendicke piesne a malba na skle)

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Urbancova H.

Slovenský národopis (Slovak Ethnology)

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2008

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tom 56

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nr 4

399-418

EN

The Marian motifs in legend songs and in paintings on glass result from the complex relations established by the model, actual style context, subjective experience and expressive means of the medium. They are associated with the active reception of the Marian cult in a traditional environment as well as with the reflection of biblical and apocryphal themes. They are integral part of narratives (legends-tales) and are also formed into iconographic types (pictorial representations). Besides a narrow circle of parallel themes and pictorial types they are only complementary in both genres (media); complementation is also the way how to render them. They are components of folk belief as the two modes of formulating religious images.

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MISSION AND VISION. THE IMPLEMENTATION OF THE GENRE BY POLISH COMPANIES

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Mamet P.

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2009

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tom 30

195-212

EN

Corporate mission statement is a genre used globally by managers to motivate the employees and to create a good image of the firm. The objective of the research is to analyse, from the linguistic point of view, how Polish companies adapt the genre. In particular, the analysis focuses on how the managerial objectives influence register choices and whether the genre has developed any permanent, or recursive, structural features. The study focuses on statements of missions and vision of 81 companies Polish companies listed on the Warsaw Stock Exchange.

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POSLEDNÝ SOVIETSKY EASTERN

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Ciel M.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 6

504 – 507

EN

Alexander Proškin along with the screenwriter Edgar Dubrovský changed the Soviet eastern paradigm in 1987. All the previous ones had been set in the times of the Civil War or immediately afterwards. “The Cold Summer of 1953”, as it stands out from the title, does not. Always, the eastern had been set in the wildest period of the Soviet history and the intense heroism of that period in order to create an attractive dramatic situation (Biele slnko púšte /The White Sun of the Desert/, Nikto nechcel umierať /Nobody Wanted to Die/, Transsibírsky expres /Transsiberian Express/, Svoj medzi cudzími, cudzí medzi svojmi /Alone Amongst Strangers, Alone Amongst Fellows/, Svieť, svieť, hviezda moja /Shine, Shine, My Star/ etc. It was not possible to depict the 1950s as a negative „wild“ situation until the mid-1980s (actually, it was, soon after the 20th Party Congress, but it did not last long and it led to persecution of many including Solzhenitsyn).

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THE CRIMINAL GENEALOGY OF A DETECTIVE STORY (Pitaval. Vidocq. Literature on Crime. Aesthetics and London Murders in Fog)

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Horvath T.

Slovenská literatúra (Slovak Literature)

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2005

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tom 52

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nr 6

377-393

EN

In the study we are constructing one branch of genealogical root in the development of detective genre - narration on criminal cases (Vidocq, De Quincey, Newgate Calendar) and famous trials (Pitaval). Pitaval is not only a collection of 'causes célébre' like it is in old literature about crime but the main topic is investigation and conviction of a criminal and finding him guilty by means of proves - at this stage legal knowledge takes effect. By means of Pitaval the connection of criminal topic and rational reflection applied by investigation of crime and proving guilty begins in literary discourse. In Pitaval's work particularly Enlightenment type of rationality connected with the conception of naturalness is concerned. The means of rational reflection allow come to conclusion about what natural acting is like. It is with respect to circumstances and this naturalness is a part of a rational argument. The naturalness and rational argument together produce truth. The voice of truth speaks first of all through the contradictions in the suspects' utterances (through their offends against the rules of reason) and not according to an eyewitness account. Here we read the initiative of the Enlightenment discredit of prejudice (Gadamer). This discourse transformation has been a necessary but not a sufficient condition of establishing the detective genre. Pitaval differentiates from a detective story by its linear composition although in Pitaval we can sometimes also come across the tendency to linear-reversible (detective) composition.

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SOME WEIRD EVENTS HAVE BEEN TOLD IN THE BAKER STREET - THE 1ST PART (Niekolko cudnych udalosti vyrozpravanych na Baker Street - 1. cast)

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Horvath T.

Slovenská literatúra (Slovak Literature)

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2009

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tom 56

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nr 1

28-56

EN

The study analyses composition, motifs and stylistic structure of Doyle's Holmes detective stories. The author tries to determine their value in the context of their development within transformations of the detective genre. He studies the Doyle's texts in regard with the Victorian cultural code and parallel literary worldview movements. For the most important category of the construction of Holmes' rebuses he determines a category of weird and bizarre, sometimes even grotesque. The evil plan or breaking an order (natural or social) comes forth onto phenomenal level in the form of series of weird and absurd events appearing the way to a person, who is trapped in 'hands' of criminals. If the intellect embodied in the person of a genial detective reveals the right motivation, the odour of strange disappears: detective's achievement (searching and resolving) brings back the rational order to absurdly looked world. Only minority of later texts fulfil the rules of the 'standard' type of a classical detective prose. Progressing schematisation of the genre eliminated the most characteristic part of Doyle's heritage: category of strange which is finally suppressed by operation of shifting and reduction: in the further development of the genre which is applied to motif of murder (it makes murder more peculiar and masks it). It is not applied the general motif of rebus as it was in case of Doyle.

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Co to jest soliloquim? W kręgu refleksji teoretycznoliterackiej

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Kulczycka D.

Białostockie Studia Literaturoznawcze

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2013

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tom 4

171- 186

EN

The author of the article posits a quite frequent misunderstanding of literary experts and theatrologists on understanding soliloquy result from, for example, their not noticing two basic currents, along which the form has developed. She underscores various understandings of soliloquy, its various classifications, for instance, according to genology; she attempts to systematize the knowledge thereof. She verifies erroneous, mutually contracting judgments of some researchers on soliloquy and, in a way, redefines it.

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ŽÁNRE NÁBOŽENSKÉHO ŠTÝLU. HOMÍLIA

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Pancáková K.

Slovenská reč (Slovak Language)

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2006

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tom 71

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nr 3

136 – 138

EN

The study is focused on the genres, which are appertaining to religious style, and those are classified into a confessional or a catechistic category. The central attention of the article however is orientated on the sermon as a genre.

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SOME WEIRD EVENTS HAVE BEEN TOLD IN THE BAKER STREET - THE 2ND PART (Niekolko cudnych udalosti vyrozpravanych na Baker Street - 2. cast)

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Horvath T.

Slovenská literatúra (Slovak Literature)

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2009

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tom 56

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nr 2

98-124

EN

The author goes on with analysis of composition, motifs and stylistic structure of Doyle´s Holmes detective stories (see the first part of it in Slovak Literature, 2009, vol.: 56, number: 1, pages: 28 - 56).

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THE BIRTH OF A DETECTIVE STORY FROM THE SPIRIT OF FANTASY

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Horvath T.

Slovenská literatúra (Slovak Literature)

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2006

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tom 53

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nr 5

329-367

EN

The aim of the study is to make a research in genealogic and structural relationship between a genre of fantasy and a detective story. The relationship of both two genres was demonstrated through series of the interpretations of the particular texts not following strictly a historical line, but rather logic of the structural transformations. Following it a typological classification was made. The types of the texts mutually differentially defined through logical relationships: inclusive relationship between fantasy (also horror) and detective story, reversed inclusion of fantasy to a genre of a detective story, exclusion between a detective story and horror and relationship of the unique synthesis between a detective story and a fantasy. Excluding supernatural forces from the detective story operate in economy of a superior regime of the rules of fair play of a detective story (equalities of chances for a reader as well as a detective, providing by pure rationalistic solution). If there is a distributed supernatural explanation in the text, which in its exposition (and etiquette on the cover) activates the detective story reader's generic expectations, pre-programmed detective story reader classifies it as a cheat, as a breaking of a genre pact of a reader with the text. The different genres construct their specific fictional worlds with not breakable rules - breaking of them produces an overlap into a text of a different genre.

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Z AKTUÁLNYCH ŠTYLISTICKÝCH OTÁZOK ŽURNALISTICKEJ ŽÁNROLÓGIE (NAJMÄ NA POZADÍ KNIHY I. JENČU ÚVOD DO TEÓRIE ŽÁNROV)

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Mlacek J.

Slovenská reč (Slovak Language)

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2016

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tom 81

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nr 1-2

39 – 54

EN

The base of author’s contemplation is Jenča’s publication titled „Úvod do teórie žánrov – The Introduction into the Theory of Genres“ which consists of the analysis of several Slovak stylistic conceptions. The goal of this paper is a revaluation of Jenča’s approach compared to other existing stylistic theories (the older or current ones). The author follows Jenča’s interpretation, stresses and modifies it for purpose of a complex journalistic genre theory.

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PROMĚNY ŽÁNROVÝCH DISKURZŮ: INTERTEXTOVÉ FILMY, REMAKY A POKRAČOVÁNÍ. ITALSKÝ FILMOVÝ PRŮMYSL A POPULÁRNÍ ŽÁNRY OD 90. LET PO 10. LÉTA NOVÉHO MILÉNIA

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Švábenický J.

Slovenské divadlo (Slovak Theatre)

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2013

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tom 61

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nr 1

53 – 65

EN

This study examines transformations of genre discourses in relation to the sociocultural background and film industry in period from 1990 to 2012. The main intention of essay is reasoning and explanation of factors that co-formulate criteria, system and various strategic operations in Italian film industry in the context of popular film genres after a long period of great popularity of popular Italian genres regarding audience and various foreign distributions in the 50's – 80's. The important method of contemporary Italian popular cinema in the framework of dialogue with film audience and also new concepts of popular spectacle is return to some tested forms of genres from previous periods of Italian cinema. The author ś analysis is based on the academic resources of Italian film historian and theorist Gian Piero Brunetta, who examines Italian cinema as a complex of interdisciplinary system.

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THE DYNAMICS OF GENRE IN VASILY ROZANOV'S WORKS [Dynamika zanru v tvorbe Vasilije Rozanova]

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Nykl H.

Slovak Review. A Review of World Literature Research

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2008

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tom 17

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nr 1

54-62

EN

In his works 'Solitaria', 'Fallen Leaves' and 'The Apocalypse of our times', Russian thinker and publicist Vasily Rozanov created a remarkable type of text which, for its radically innovative nature, was marked as a new genre by V. Shklovsky. The study deals with the evolution of this 'genre' in Rozanov's works and identifies its three phases. In his early works ( ponimanii, Dostoevsky and the Legend of the Grand Inquisitor), Rozanov was trying to write classical discursive texts. At the turn of the 19th century, he started editing dictionaries (Sumerki prosveshchenia, semeinyi vopros v Rosii, Metafizika khristianstva and others) which attain characteristics of a specific genre. From this perspective, the genre of 'Solitaria' represents the culminating phase of the evolution of this literary form. The dynamics of the genre of 'Solitaria' is not exhausted; the study summarizes the results of the leading researchers in this field, from which follows that other changes occurred in the genre itself. The poetics of Rozanov's works grew by its own dynamics to the personalisation of the synthetic efforts of the Russian post-symbolism.

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TO THE BEGINNINGS OF MARGITA FIGULI'S PROSE WORK 'PIESEN OTROKOV' (THE SONG OF SLAVES)

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Sutovec M.

Slovenská literatúra (Slovak Literature)

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2007

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tom 54

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nr 3

179-195

EN

The article analyses and interprets the first published piece of literary prose by the Slovak author Margita Figuli. Its aim is to investigate and determine the prose's genre, thematic and semantic structure, as well as to establish its aesthetic and historical value. The methods and procedures used in the study derive primarily from the methodological tradition of Slovak and Czech structuralism. They represent a further development of those semiotic research principles and methods, which the author defined on a theoretical level and put to practice in his books 'Romany a myty' (The Novels and myths) (1982) and 'O epickom diele' ( On epics) (1999). The plot of the novelette 'Piesen otrokov' ( The song of slaves) (1930) is rooted in the popular literary tradition of adventure calendar fables, which were based on the genre of the historical legend. Into a neo-romantic interpretation of the story of family revenge, which is modulated as 'high' on the level of language and style, the author inserts social motives in a naive manner. The resulting text and its semantic ambiguity are therefore the result of an artificial contamination of several different paradigmatic sources: 'low' genre base, 'high' verbal presentation, and a naive interpretation of fragments of utopian social beliefs and ideologies of the time. The analysis of the novelette's characters, topos and several key points of the plot shows a number of semantic contradictions as well as incoherencies in the plot and composition. These are partly attributable to a writer still learning her craft, but also point to some longer term characteristics of Figuli's writing, which can be detected also in the literary prose of her mature and classical periods. The study of 'Piesen otrokov' demonstrates how from the very start of Figuli's career her writing contained assumptions about the elementary and leading role of genetic determination and implications that her characters' actions were 'naturally' predestined in certain different ways, so that different ideologies (ethical, social, religious) gain precedence over those features of the plot which might be generated by substance, characters and surroundings.

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Žánr a ideologie Rudoarmějců Vladimíra Holana

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Steiner P.

Česká literatura (Czech Literature)

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2007

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tom 55

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nr 3

343-364

EN

In Holan's post-War poetic output, the cycle 'The Red Army Men' (1947) enjoys high critical acclaim while the trio of his other works 'Thanks to the Soviet Union', ' A Memorial Service', and 'To You' is regarded as a crude exercise in propaganda. The main reason for this evaluative difference, my paper argues, is that the genre of the cycle enables the author to disseminate an ideological message similar to that of the unappreciated trio in a more subtle, less ostentatious manner. The first part of the essay analyzes the various techniques of portraiture employed by Holan to represent ordinary Russian soldiers (prosopopeia and ethopoeia). In the second part the ideological potential of the genre is discussed. Since portrait by definition must depict an actual human subject, the very selection of the model and his/her features embroils such a work in a social reality and reflects the author's attitude toward it. This worldview, however, is not added to the text mechanically, from without, but comprises an integral part of the very mimetic apparatus that generates its overall meaning.

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ON THE BORDERS OF GENRES. COMMUNICATION SITUATIONS AND INTERGENRE FORMS IN TRADITIONAL SONG CULTURE (Na hranici zanrov. Komunikacne situacie a medzizanrove formy v tradicnej piesnovej kulture)

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Urbancova H.

Slovenský národopis (Slovak Ethnology)

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2009

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tom 57

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nr 2

162-175

EN

The study of song genres carried until recently has been marked by a prevailing orientation towards the 'text'. Within the scope of genre classifications, hybrid forms appeared as ambivalent and fragmentary. In this article the view on the traditional song genres is enriched by boundary genre forms. These enable us to study the process of how song genres exhibiting a different level of relationship and interconnection become hybridised at the level of song lyrics and music-style signs.

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CENZÚRA NA SLOVENSKU V DRUHEJ POLOVICI PÄŤDESIATYCH ROKOV (AKTÉRI A VYBRANÉ DOKUMENTY)

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Matejovič P.

Slovenská literatúra (Slovak Literature)

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2015

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tom 62

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nr 1

15 – 33

EN

The study focuses on the second half of the 1950s, which is generally seen as a period of political thaw, following the 20th Congress of the CPSU, which had impact on culture, too. However, underneath the phoney „liberalization“ there were still trials going on, which was more or less a continuation of the Stalinist methods of managing culture in the first half of the 1950s. Imposing censorship, i.e. establishing the Head Office of Press Supervision by the government decree of 22 April 1953 can be perceived within this context. The censorship office was established as „non-public“ in order to have a more effective control system, which was supposed to act as a form of „creative leadership“, i.e. not only to ban but also to fulfil the didactic function. The study also analyses the censor commentaries as an autonomous „genre“; reading by a censor often looked like a review composed in the manner of normative ideological instructions. The Office of Press Supervision directed its attention to literary magazines (Kultúrny život, Mladá tvorba) as well as the production of certain poets and writers (the Concretists, Vladimír Mináč, Anton Hykisch, Dominik Tatarka, Milan Rúfus, Ivan Mojík etc.). The power control of culture after February 1948 was not only executed by means of the censorship office but also by other institutional mechanisms (laws, organizations, appointed editors).

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OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. OBRAZ NOVÝCH POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 2. ČÁST

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Švábenický J.

Slovenské divadlo (Slovak Theatre)

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2012

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tom 60

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nr 2

205 – 218

EN

The study examines popular genres in Italian cinema of 60's – 70's as a sociocultural phenomenon in the context of cultural background and film industry. The text structured as inter-disciplinal interpretation explores the theme in the level of textual and inter-textual analysis and includes wide framework of various aspects related to questions of elected subject of study. The essay examines also Italian genre terminology and titles of some films that belongs into popular cycles and series of concrete genres. The study demonstrates on some examples that interests and intentions of filmmakers, producers, distributors and audience with regard to film genres are absolutely different. The text is based on methodological approach of inter-disciplinal conception of history of Italian cinema that applies Italian film historian and theorist Gian Piero Brunetta in his long series of books and several times revised and completed work.

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ŽÁNER ESEJE ANDREJA MRÁZA V KONTEXTE SLOVENSKO-VOJVODINSKÝCH PREPOJENÍ

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Šimáková Speváková M.

Slovenská literatúra (Slovak Literature)

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2017

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tom 64

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nr 4

308 – 317

EN

The paper deals with the aspects of the genre of the essay titled Rozhovory o juhoslovanských Slovákoch /Dialogues about Yugoslavian Slovaks by Andrej Mráz in the context of research into literature written in the interwar period. The goal of the paper is to present the invariant elements and the special features of Mráz´s essay as well as to show how inspiring it is in the present. The paper builds on the fundamental studies on essay as a genre by A. Bagin, R. Chmel, P. Valček, M. Horváth as well as the assessment of Andrej Mráz´s literary work by A. Matuška, K. Rosenubaum, V. Petrík, O. Čepan. Mráz´s essay deserves attention in the context of updating the inter-literary dialogue between Slovakia and Yugoslavia, i.e. Vojvodina. In relation to that the paper shows the special features of Mráz´s genre form within the history of the genre in Slovakia. The essay-like elements are also contained in less extensive articles by A. Mráz dedicated to the subject. The bibliography of the works by Andrej Mráz compiled in 1964 is extended by a list of his writings published in Yugoslavian magazines. The essay is considered to be inspiring in the context of developing the Slovak – Vojvodina inter-literary relations. What is also stimulating is Mráz´s critical attitude to the efforts to gain a more objective understanding of ourselves and the others.

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ŠVANTNER, HOROR, FANTASTIKA: ŽÁNROVÉ PARAMETRE

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Horváth T.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 2

122 – 138

EN

The analysis of the texts in the study seeks to prove the hypothesis that most of František Švantner´s short stories from the collection Malka (1942) belong to the genre of fantasy as it is defined by Tzvetan Todorov: the endings of the most stories leave the reader oscillating between the natural and supernatural interpretations of the plot. The epistemological status of numerous events in the story is ambivalent. Švantner´s texts generate the fantasy effect by means of motif focalisation: each hypothetically supernatural motif is focalised through a literary character´s perspective. The suyzhet must be reconstructed by a model reader in the text – this suyzhet is set in the crossing point of the different characters´ (contradictory) dialogue perspectives. Another method of generating the fantasy effect is a blank space in the text, a missing story syntagm (a data concealing approach) and the inversion of time coordinates, when e.g. the emergence of a character who was already dead at that time (which the reader does not learn until the end) allows the „psychic“ interpretation, too. Emphasising the genre dimensions of Švantner´s texts may also fulfil an important role in the literary life when translating these texts into a foreign literature: hypothetically, they could be introduced into a new literary context as a sample of a particular genre rather than as a sample of Slovak literature.