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FIGURA MODERNÍ MELANCHOLIE A JEJÍ INVENTÁŘ: INTERMEDIÁLNÍ INTERPRETACE JEDNOHO JIRÁSKOVA OBRAZU

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Fedrová S.

Slovenská literatúra (Slovak Literature)

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2014

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tom 61

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nr 5

410 – 428

EN

The assumption of the present study is seeing melancholy as a complex mood which becomes steady in a cultural context or atmosphere (Gernot Böhme) i.e. a prearranged cultural and cognitive or even perceptive scheme rather than as an individual emotion or an immediate psychic experience. This concept thus needs to be seen in its particular historicity, the transformation of the visual depiction of melancholy in the second half of the 18th century must be understood in the context of the contemporary philosophy and aesthetics of sentiment focused on subjective emotions and connected to man´s meditation in natural environment, to key cultural concepts such as the notion ´sensibilité´ (Frank Baasner). The interpretation of an extract from the „new chronicle“ called U nás /In Our Place, 1899/ by Alois Jirásek shows the writer´s process designed to evoke a scene having a certain mood which makes the reader visualize the scene by means of vivid images in the text itself as well as medial overlaps. Doing this, Jirásek refers to literary schemes as well as traditional schemes of fine art. Besides the intertextual references, he layers intermediary inspirations of his own writing process and his text is shown in double historicity, i.e. in developing the theme of a particular historical period and in being anchored in a particular aesthetic atmosphere: the character of a female reader with her head bowed and a book in her lap and the memoir "staging" of a Watteau-like shepherd scene both reflect the visualization of melancholy based on the aesthetics of sentiment, which is in line with the contemporary aesthetics of the fictitious world of the chronicle, i.e. the peak of Czech Classicism in the 1820s. And this visualization is overlapped with a new visual melancholy type coming from the times when the chronicle was published, closely related to natural scenery and the ´birch´ theme, which was established in the contemporary fine art of the late 19th century.

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Między interaktywnością a intermedialnością. Książka jako przestrzeń gry

100%

Mochocka A.

Homo Ludens

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2009

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nr 1

155-176

EN

Decoding and creating meanings, book readers always participate in a game. A book can be, however, a game space or a play space in the literal sense. It can be an accessory and a board, often combining the written text with two- or three-dimensional graphic representations. The article focuses on the book publications which are games in their own right (in accordance with Salen and Zimmermen's definition). After a brief discussion of the development and background of such publications, as well as the presentation of their crucial features, the intermediality vs interactivity continuum is being established. The continuum acts as the visual representation of actual and assumed features of the analysed examples, with the conclusion that the assumed position is invariably higher than the actual one.

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Konec literárního špenátu aneb Popis v intermediální perspektivě

88%

Fedrová S. , Jedličková A.

Česká literatura (Czech Literature)

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2011

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tom 59

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nr 1

26-58

EN

This article uses intermedial poetics to argue for the evocative potential of traditional prosaic description and to reveal the sources of the prejudices of both the general reader and the scholar, which have usually been linked with this stylistic approach or type of text. The article seeks to demonstrate that modern Czech stylistics and literary history, or the historical poetics of prose fiction, have to a certain extent helped to create these prejudices. The former has, in the endeavour to document types of text, sometimes tended to an implicit axiology of alternative functional forms of descriptiveness with their concrete historical forms; this state of affairs has continued in recent stylistics. In the interpretations offered in literary history and diachronic poetics until the 1980s, one encounters the generalizing opposition of realistic description, that is to say, ‘objective’, ‘static’ description, to modernist, that is to say, ‘subjectivized’, ‘dynamic’ description. As is clear from the analyses in the second part of the article, numerous examples can be found both to refute the existence of this opposition and to demonstrate it. Besides making a thorough distinction between, on the one hand, descriptive approaches and descriptive function (which draw, for example, on the ideas of Felix Vodička) and, on the other hand, the thoroughly contextual interpretation of literary description, a way out of the confusion is offered by the intermedial (or intermedially cognitive) approach to description as a ‘representational macro -mode’, as was methodologically laid out by Werner Wolf. Drawing on the first part of the article, the second part demonstrates the internal dynamics of realistic descriptions (which are often linked with superordinated epic models, particularly of composition) based, for example, not ‘on the evocation of landscape’, but on the evocation of the multisensory perception of the landscape, the ‘dissolution’ of description in the flow of narration, and the ‘temporalization’ of the description of the landscape by linking up with its transformations under the influence of the seasons; the narratological thesis of ‘description as suspension’ of narration is thereby rebutted. The means by which some realistic descriptions assume a mood -like character, clearly turns out in the intermedial perspective to be a result of the narrative application of traditional iconography and pictorial models linked with the period that is thematized in the story, as well as visual evocation based on intertextual relations. Identification of the position of the observer clearly follows from the key role of perception in these examples; that position is comprehensively demonstrated in the final example of the article, which shows that the autonomization of description as a ‘report of perception’ in prose fiction, which crosses over to literary impressionism.

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POSTMODERNÁ SITUÁCIA SLOVENSKEJ LITERATÚRY VO VOJVODINE A PROCESY TRANSFORMÁCIE POÉZIE OD ŠESŤDESIATYCH ROKOV 20. STOROČIA

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Speváková Šimáková M.

Slovenská literatúra (Slovak Literature)

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2016

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tom 63

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nr 4

263 – 286

EN

This paper analyses the transformation of poetics from modernism to postmodernism in the poetry of Vojvodina Slovaks. The main methodological sources which we have used are the monograph Individualizovaná literatúra by Jaroslav Šrank and V poschodovom labyrinte byViliam Marčok, as well as the study by Dubravka Djurić. As a result of the analysis we have identified three sources of transformation from modern poetics to postmodernism in the poetry of the late sixties of the 20th century: intertextuality, neo avant-garde intermediality and the poetry of the Beat Generation. The only generalization which follows from the analysis is the variety of poetics during postmodernism. We have also identified two phases in the transformation from modernism to postmodernism in the poetry from Vojvodina. In the first phase the transformation consisted of spontaneous reactions of the authors to the contemporary literary influences. The second phase was a purposeful use of the postmodern manner, deconstruction as a source of the new semiotization. We consider the main conclusion of this paper to be the realization that the poetry of Vojvodina Slovaks has also been transformed by the influence of the poetry from Slovakia although some of the processes of postmodernism in Vojvodina predate those in Slovakia.

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PATHS OF THE TEXT: FROM INTERMEDIALITY TO VISUALITY (Cesty textu: od intermediality k vizualite)

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Suwara B.

World Literature Studies

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2010

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tom 2 (19)

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nr 2

56-69

EN

The sceptics argue that a border persists between the textual and the visual in the new hypertext art. This critical position results not only from the empirical experience of a perceptive user of hypertext, but also from the need to promptly and at least partially address the problem of interpretation of textual and visual segments of literary projects received in an electronic environment without the authority of the traditional dichotomy between the textual and the visual. It seems problematic to ask whether the reader/user perceives textual segments in the new digital medium according to the conventions received from the culture of printed text and the visual segments according to the tradition of visual art, or differently. We could ask whether there exists an assumption according to which a reflective user could achieve 'high focus' on perceived textual and visual segments. Our working explanation of 'high focus' is based on the idea that 'high focus' results from the cooperation of information received at the same time by verbal and visual information channels. The authoress demonstrates the phenomenon of 'high focus' in fine art in the context of 'ecphrasis' and 'subversive ecphrasis' in the work with 'semantic enclave' (Snezna sova by Purkyne) by building on the project Shredder by M. Napier. The analysis confirms the argument by Didi-Huberman that visuality is a phenomenon that complicates the epistemological status of an image.

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POHYB POZA HRANICE: INTERMEDIÁLNE A TRANSMEDIÁLNE VZŤAHY

75%

Tomašovičová J.

World Literature Studies

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2016

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tom 8

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nr 3

29 – 39

EN

Various questions concerning relations between the old and the new media, as well as relations between different sign systems, resound in current discussions about remediation. The proposition of J. D. Bolter and R. Grusin who claim that media always comment on each other and reproduce and substitute one another gives rise to the relevant methodological question: what possible forms and qualities of mutual relationships and links between various types of media can be identified? Or, in other words, how do we specify phenomena such as intermediality and transmediality, which include the whole complex of bonds and links but at the same time, regarding their terminology, display a certain level of ambiguity? The author compares several interpretative approaches to the abovementioned phenomena that stem from German ideological concepts and aims at pointing out their possible concurrence as well as their current terminological differences. She confronts W. Wolf ’s and I. Rajewsky’s concepts of intermediality and transmediality with the more recent attempts at terminological clarification of both phenomena: by U. Wirth and R. Simanowski. At the same time, the author does not ignore the fact that the latest methodological tendencies are not isolated in their theoretical reflections but follow several relevant premises. These premises include fundamental ideological struggles that have taken place in modern art, semiotics and philosophy, viz. the crisis of representation, and poststructuralist attempts at loosening or even over-stepping the text’s limits. Both tendencies can be seen as turning points; they have modified stabilized forms and deep-rooted interpretative formulae by which they laid the foundation for the subsequent new approach to media studies that interconnects art, literary studies, philosophy and digital technology.