Wyniki wyszukiwania - Biblioteka Nauki

1

Problémy a perspektivy kulturně senzitivního přístupu k literární historii

100%

Nuenning V.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 1

77-95

EN

In the article, the authoress provides some insight into the problems and perspectives of a culture-sensitive approach to literary history. She first defines some key terms, before she deals with the more practical questions of a 'culture-sensitive' approach to literary history. She concentrates mainly on three areas: the challenge of coming to terms with ways of contextualisation, the problems posed by different conceptions of, for instance, periodisation and literary change, and the selection of the literary works that should be discussed. In a more positive approach, she also points to major directions of research and makes some suggestions for important themes of a 'culture-sensitive' literary history.

2

Spontánnost, manipulace, literární kánon a dobový horizont

63%

Papousek V.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 2-3

103-112

EN

The article considers the relation between the ideas of the New History and other concepts of contemporary American literary studies, in particular deconstruction. It also considers the connection between the thinking of the New Historians and literary history, concluding that the New History can bring about important changes in traditional concepts of literary history. Despite the marked differences between deconstruction and the New History, there are, the article points out, a number of features common to both, features that these apparently incompatible models often place side by side, in particular a shared mistrust of the reliability of beauty and a lack of faith in an explainable unity of the human universe.

3

NÁČRT PREMIEN SLOVENSKEJ LITERÁRNEJ KRITIKY OD POLOVICE 60. DO ZAČIATKU 70. ROKOV (DOKONČENIE)

51%

Barborík V.

Slovenská literatúra (Slovak Literature)

|

2015

|

tom 62

|

nr 4

306 – 318

EN

This literary history paper is concerned with the changes of the Slovak literary criticism over a certain period of time. It reconstructs the process of the criticism becoming temporarily emancipated, i.e. the autonomous field of literary criticism was established in the mid-1960s, and, subsequently, it ceased to exist during the social and cultural „normalization“ in the early years of the following decade. The paper consists of three chapters; the first one presents two polemic articles by critic Milana Hamada (the argument with Vladimír Mináč and a polemic over Miroslav Válek´s collection of poems Milovanie v husej koži /Lovemaking with Goose Pimples on/), which made a significant contribution to forming the autonomous field of literary criticism in the mid-1960s. It defined its territory against the contemporary power structures as well as the literary field: criticism stopped serving and became, for the first time after 1948, an autonomous factor of the social context in those times. The second half of the 1960s was thus a short period of time when the relative emancipation of domestic literary criticism influenced by the external limits of the Socialist regime was finalized. The contemporary structure of the literary field, i.e. the genres and other forms of critical discourse, is discussed in the second chapter of the paper. The changes in the social situation after the invasion of Czechoslovakia in August 1968 had a dramatic impact on culture and the humanities. A number of decisions made in the name of power severely affected the domestic literary criticism. Several of the significant critics were ousted from public life. Some of the cultural and literary magazines providing space for reflection on literature were banned while other ones went through significant transformations. It was a gradual process, the outline of which is reconstructed in the final part of the paper. As a result of the interventions, literary criticism lost its autonomy and again came under control of political power just like in the 1940s and 1950s, although the new conditions were different.

4

THE NEED OF INTERPRETATION

51%

Koska J.

Slovak Review. A Review of World Literature Research

|

2005

|

tom 14

|

nr 2

144-156

EN

The author asserts that it is necessary to create new interpretations of the literary texts. These interpretations (chiefly so called 'generational') do not lead to any final or complete interpretation of the literary works but, nevertheless, they conform the best to the needs of the particular historical context. Interpretation is an application. It is the impossibility and undesirability of the only and unique interpretation (unique result) that creates the difference between the literary scholarship and the exact sciences, where, on the contrary, one result is desirable. The results of the interpretative sciences are instrumental for discussion and fundamentally influence the whole social and historical process, and prepare new tendencies and new epochs.

5

Literární život jako předmět literární historie

51%

Scherber P.

Česká literatura (Czech Literature)

|

2005

|

tom 53

|

nr 4

518-540

EN

This essay provides an overview of the changes and shifts in the use of 'literary life' and other terms related to sociological and economic aspects of literary communication. Originally published in 1989, it now has a preface by Tomás Pavlicek (pp 518-520).

6

BETWEEN MATERIAL, THEORY AND IDEOLOGY. ON THE POSITION OF THE LITERARY HISTORY (Mezi materialem, teorii a ideologii. K pozicii literarni historie)

51%

Turecek D.

World Literature Studies

|

2010

|

tom 2 (19)

|

nr 4

3-11

EN

The lecture, which arises from concrete research done at the Institute of Bohemian Studies at Jihoceska univerzita, Ceske Budejovice, focuses on the possible methodological approaches in studying 19th-century Czech literature. Step-by-step, it recapitulates the way of the gradual creation of a methodological position, and at the same time illuminates the practical meaning of the instrumentalization of each individual theoretical postulate for literary historicism. The literary historicism is understood as an arbitrary algorithm, used in each step to define the point of view, the summary of the work tools and the terminological inventory. The goal is to liberate literary historicism from the constriction of the traditional, causal, linear understanding, yet at the same time prevent the break-down of the literary historical position in the windstorm of widely understood cultural studies.

7

Ztracená literární historie aneb Hledání Levelu 2

51%

Janousek P.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 1

29-63

EN

Following Thomas Kuhn's conception of paradigms, the article attempts to delineate the dominant features of current Czech thought in literary history, particularly in reaction to Vladimir Papousek, Dalibor Turecek, and Petr A. Bilek in 'Hledani literarnich dejin' (In search of literary history, 2005). The work of these three men serves the author as a reservoir of theses and terms - the opposition of construction/reconstruction; the rejection of the constructs of continuity; diachrony; Zajac's 'nodal point' metaphor; Bilek's idea of productive interpretation; the text instead of the work; the relativization of the values of the canon; and claims of 'novelty', 'otherness', 'differentness'. These are subjected to critical, polemical analysis based on the assumption that promoting them (and the rhetoric connected with them) has more to do with an overall attempt to draw attention to the authors themselves and to achieve 'social success' in the community of literary scholars. The author of the article - in clear opposition to this - emphasizes the role of (literary) history as the 'memory of the collective', and supports the idea of literary history as a institution that preserves, instructs, and orients the national community.

8

LIBRETO AKO NÁČRT DEJÍN – ŠTEFAN DRUG A EXPOZÍCIA LITERATÚRA MEDZI DVOMA VOJNAMI (1968)

51%

Gavura J.

Slovenská literatúra (Slovak Literature)

|

2017

|

tom 64

|

nr 5

359 – 367

EN

In 1968 a literary critic Štefan Drug was commissioned to take a part in an exhibition covering Slovak literature since the beginning to contemporary times. He prepared a period of interwar literature which had been a matter of numerous deformations during 1950s and partly 1960s, however, he presented the period with respect to its variety and aesthetic achievements. Eventually it became a precise and concise outline of literary history, probably the most precise one at that time. Drug used to his advantage the form of an exhibition so he can make the presentation not only vivid but also flexible with latest available sources of research. In the outline he was able to return some authors banned from official literature and correct the image of others that had been altered in favour of political engagement of the Communist establishment. Even nowadays, fifty years from the exhibition itself, Drug’s outline is an example of deep understanding of the Slovak literature written in the interwar period, with only minor corrections needed.

9

SUBJECTS AND SUBJECTIVITY OF THE HISTORY (OF LITERATURE)

51%

Janousek P.

Slovenská literatúra (Slovak Literature)

|

2008

|

tom 55

|

nr 2-3

130-138

EN

The article is an analysis of subjectivity of the history of literature created by individual subjects (internal and external subject of an author) but also impersonal subjects. He states limits and mechanisms creating context overlapping individual level of the historian's discourse. He also studies narrative and pragmatic constants managing historical narration. The hero of that - internal subject - is a national literature itself.

10

Studium raněnovověké zbožnosti a dějin literatury

51%

Malura J.

Česká literatura (Czech Literature)

|

2011

|

tom 59

|

nr 5

726-737

EN

This essay is a literary historian’s view of themes and concepts in recent works of history, cultural history, and historical-anthropology which consider early modern spirituality. It endeavours to demonstrate how interdisciplinary research may be useful in investigating works of literature in their social and cultural contexts. The article discusses research on the identity of confession, the dissemination of literary works, and the institutions that contribute to the dissemination, the possibility of our being able to assess private reading habits (including those of women and of crypto-dissenters) and the social stratification of literary production from the sixteenth to the eighteenth century.

11

NATIONAL AND CENTRAL EUROPEAN LITERATURE AS A PART OF CENTRAL EUROPEAN CULTURAL MEMORY

51%

Zakac P.

Slovenská literatúra (Slovak Literature)

|

2008

|

tom 55

|

nr 2-3

138-148

EN

The author confronts homogenous linear model of history of national literatures based on exclusion, alteration, singularity, and juvenility. Model of the literary history is presented as a synoptic map presenting poly-functionality, poly-focal and poly-perspective characters, poly-chronic and poly-territorial aspects. He proposed a concept of trans-local Middle-European national literary history coming out from their inner difference and outer plurality, and their belonging to the cultural memory of the Middle-Europe.

12

Felix Vodička: Úkoly literární historie a jejich zdroj

44%

Kubíček T.

Časopis pro moderní filologii (Journal for Modern Philology)

|

2010

|

tom 92

|

nr 1-2

85-95

EN

The paper aims to present and interpret the methods of literary history developed by Felix Vodicka, one of the main representatives of Czech structuralism. The paper describes the variables of the paradigm in the field of literary history and the reasons for this metamorphosis. Attention is focused on the most significant notions of the structuralist analysis of the diachrony of structure: aesthetic object, aesthetic norm, esthetic function and aesthetic value, which were traditionally connected with the synchronic point of view of analysis, and which Vodicka strives “to translate” into the language of diachronic analysis.

13

PIERRE BOURDIEU: THE SOCIOLOGIST BETWEEN ECONOMICS AND LITERATURE

44%

Vajdova L.

Slovak Review. A Review of World Literature Research

|

2007

|

tom 16

|

nr 2

66-78

EN

Social and sociological orientation in the contemporary Western literary criticism is one of the most interesting but also the most fashioned trends. In his works about literature, Bourdieu represents a trial for reconciliation of structuralistic methodology and Marxist views in the social sciences and humanities becoming one of the motivational sociological and cultural issues. The article maps some of Bourdieu's opinions and shows a view of possible application of his results in the study of history of literature. Bourdieu's analysis in the French modernism from the second half of 19th century (Les regles de l'art) opens literary topics for sociological orientation of both theory and empirical research under one condition - to not apply his systematism and terminology in a mechanical way. In connection with the general tendencies to contextual study of literature seems to change the existing traditional approaches in a literary history by the contribution of the cultural representations of the time in study.

14

NÁČRT PREMIEN SLOVENSKEJ LITERÁRNEJ KRITIKY OD POLOVICE 60. DO ZAČIATKU 70. ROKOV (2. ČASŤ)

44%

Barborík V.

Slovenská literatúra (Slovak Literature)

|

2015

|

tom 62

|

nr 3

231 – 243

EN

This paper is concerned with the changes of Slovak literary criticism over a certain period of time. It reconstructs the process of the criticism becoming temporarily emancipated, i.e. the autonomous field of literary criticism was established in the mid-1960s, and, subsequently, it ceased to exist during the social and cultural „normalization“ in the early years of the following decade. The paper consists of three chapters; the first one presents two polemic articles by critic Milan Hamada (the argument with Vladimír Mináč and a polemic over Miroslav Válek´s collection of poems Milovanie v husej koži /Lovemaking with Goose Pimples on/), which made a significant contribution to forming the autonomous field of literary criticism in the mid-1960s. It defined its territory against the contemporary power structures as well as the literary field: criticism stopped serving and became, for the first time after 1948, an autonomous factor of the social context in those times. The second half of the 1960s was thus a short period of time when the relative emancipation of domestic literary criticism influenced by the external limits of the Socialist regime was finalized. The contemporary structure of the literary field, i.e. the genres and other forms of critical discourse, is discussed in the second chapter of the paper. The changes in the social situation after the invasion of Czechoslovakia in August 1968 had a dramatic impact on culture and the humanities. A number of decisions made in the name of power severely affected the domestic literary criticism. Several of the significant critics were ousted from public life, some of the cultural and literary magazines providing space for reflection on literature were banned while other ones went through significant transformations. It was a gradual process, the outline of which is reconstructed in the final part of the paper. As a result of the interventions, literary criticism lost its autonomy and again came under control of political power just like in the 1940s and 1950s, although the new conditions were different.

15

Felix Vodička v kontextu současné literární teorie a historie: recepce a revize

44%

Sládek O.

Časopis pro moderní filologii (Journal for Modern Philology)

|

2010

|

tom 92

|

nr 1-2

95-106

EN

A great many of the critical receptions and studies of Felix Vodička’s work as well as many of his students and followers concur in the lasting inspirational value of his heritage. In my paper I focus on tracing the impact of Vodička’s work both at home and abroad and on the recapitulation of the crucial literary theoretical and historical concepts informing Vodička’s work which literary critics and theoreticians still find thought-provoking. In the first part I deal with the most important studies, conferences and proceedings devoted to Vodička’s work; in the second part I elaborate on the three main principles of his structural theory (the development of literary structure, the history of the impact of literary works and structural thematics) which have been adopted by other scholars (H. R. Jauss, W. Iser, L. Doležel) in their works.

16

NÁČRT PREMIEN SLOVENSKEJ LITERÁRNEJ KRITIKY OD POLOVICE 60. DO ZAČIATKU 70. ROKOV

44%

Barborík V.

Slovenská literatúra (Slovak Literature)

|

2015

|

tom 62

|

nr 2

96 – 114

EN

This literary history paper is concerned with the changes of Slovak literary criticism over a certain period of time. It reconstructs the process of the criticism becoming temporarily emancipated, i.e. the autonomous field of literary criticism was established in the mid-1960s, and, subsequently, it ceased to exist during the social and cultural „normalization“ in the early years of the following. The paper consists of three chapters; the first one presents two polemic articles by critic Milana Hamada (the argument with Vladimír Mináč and a polemic over Miroslav Válek´s collection of poems Milovanie v husej koži /Lovemaking with Goose Pimples on/), which made a significant contribution to forming the autonomous field of literary criticism in the mid-1960s. It defined its territory against the contemporary power structures as well as the literary field: criticism stopped serving and became, for the first time after 1948, an autonomous factor of the social context in those times. The second half of the 1960s was thus a short period of time when the relative emancipation of domestic literary criticism influenced by the external limits of the socialist regime was finalized. The contemporary structure of the literary field, i.e. the genres and other forms of critical discourse, is discussed in the second chapter of the paper. The changes in the social situation after the invasion of Czechoslovakia in August 1968 had a dramatic impact on culture and the humanities. A number of decisions made in the name of power severely affected the domestic literary criticism. Several of the significant critics were ousted from public life and some of the cultural and literary magazines providing space for reflection on literature were banned while other ones went through significant transformations. It was a gradual process, the outline of which is reconstructed in the final part of the paper. As a result of the interventions, literary criticism lost its autonomy and again came under control of political power just like in the 1940s and 1950s, although the new conditions were different.

17

Mezi imanencí a náhodou : Příspěvek českého strukturalismu ke koncepci historiografie

44%

Kubicek T.

Česká literatura (Czech Literature)

|

2006

|

tom 54

|

nr 2-3

122-130

EN

This paper considers the structure of history as conceived by the Prague School, seeks to show the evolution of the conception, and stresses that ways in which it may be useful in the current theoretical discussion on historiography. Its central concept is sense and the way in which sense is determined. It views sense as a structural category, and therefore focuses on how sense is generated. This question is therefore of key importance, whether sense is understood as intentionality, potentiality, or eventuality. In this context, the Prague School also considers the frequently reiterated view that to understand the sense of an event (for example, a battle, the French Revolution, or Dumas's Three Musketeers), it is necessary to activate the original context, which the given event is the product of. But is this context accessible to us? And in what form, then, is the sense of the event accessible to us? With this discovery, part of modern historiography tends to be sceptical about what man can know: 'the history we write is always, without exception, invented'. But is it not sense itself, as a structural category, which could lead us out of this scepticism? It clearly, however, must be the kind of sense whose structure is capable of conceiving both intention and chance. To what context, then, does sense belong?

18

DESIGN JAKO LITERÁRNĚVĚDNÝ POJEM?

38%

Janoušek P.

Slovenská literatúra (Slovak Literature)

|

2014

|

tom 61

|

nr 2

160 – 170

EN

In relation to his book Černá kočka aneb Subjekt znalce v myšlení o literatuře a jeho komunikační strategie (A Black Cat or The Subject of the Expert in Literary Thinking and His Communication Strategies, Praha, Academia 2012), the writer of the article suggests incorporating design as a concept into literary thinking. He builds his opinion on the fact that literary scientific speeches are not only meant to communicate ideas and contents but also to present and represent the speaker in front of the literary scientific community. Literary experts therefore naturally need to consider what they say as well as how they say it: to find means of expression which will be regarded by the potential recipients as appropriate or even progressive. It is true that the term design, which denotes this speech function, places accent on the uniqueness of an individual speech but it reflects also a collective conformity because it counts on mechanisms of identification, automatization and embellishment. If it was recognized, the term would make it possible to analyse a number of literary text features ranging from the choice of the subject, genre and appropriate language to terminology, citation method as well as the choice of the ideas and the people that the speaker makes references to as those who he/she respects or challenges. There also appears a possibility to characterize the design of individual literary schools, methodologies and approaches. In this context the writer himself defines three essential types of literary design, which he names traditional or naive design, methodological design and conceptual design. His focus of attention is on detailed characteristics of the mentioned designs and the ways they have developed in literary thinking in the course of time, and they overlap with current literary scientific practice. And no matter how these types have related to each other in history, the writer holds the opinion that in the future their conscious coexistence will be necessary and useful because that is what creates space for grasping such an unintelligible and complex thing like literature.

19

CENTRAL EUROPE IN LITERARY STUDIES

38%

Zelenka M.

World Literature Studies

|

2013

|

tom 5 (22)

|

nr 2

14 – 28

EN

The paper offers a delineation of Central Europe from the viewpoint of literary studies. Central Europe as a cultural and geographic space or a crossroad between East and West is characterized by the changing position of unstable centres and peripheries, and by a fusion of ethnic groups, cultures and religions. The territorial principle of mutual “contacts” led to an intense communication and exchange of literary values, to understanding, but also to encounters of artistic traditions and poetics, norms and conventions. The metonymic motivation of this communication, which results rather from “neighbouring” contacts than from the genetic relation among the languages, gave rise not only to the process of inter-culturality but also postulated the myth of cultural unity. While minimalist concepts work with binary oppositions (we and them, ours and theirs, centre and periphery, etc.), which characterize this space as a specific region of small Slavonic and non-Slavonic nations between Germany and Russia, the maximalist concepts sees Central Europe mostly from the axiological point of view as a set of historically developed ideas related to the tradition of Latin Christianity. From the viewpoint of literary studies, the question is whether one observes its ideologemes on the level of genre, poetics and style, i.e. in the very literary structures. Some literary scholar contend that we can decipher the Central Europeanisms of the inter-poeticity of artefacts (as certain timeless cultural models and constants) in the Central European variant of the grotesque, the irony, the satire, the cabaret or the post-modern prose. The paper also summarizes the views of literary theorists on the phenomenon of Central Europe.

20

HISTORICISM AND METHODOLOGICAL PLURALITY: TWO ASPECTS OF STUDYING THE LITERARY PROCESS (Historizmus a metodologicka pluralita: dva aspekty skumania literarneho procesu)

38%

Pastekova S.

World Literature Studies

|

2010

|

tom 2 (19)

|

nr 4

67-73

EN

The debate on models of the literary history and the need for a new methodological paradigm, which has been pursued in the Euro-American academy since the mid-twentieth century, question the traditional historiographical genres (textbooks, handbooks, academic history); the linear, diachronic, and additive approach to the literary history on the basis of the causal relations between the past and the present (literary process) as well as the purpose of the aesthetic canon as a historically variable category. At present, literary scholars consider a flexible model of non-linear, so-called problem history of literature (nodes, networks), moving across historical periods, uncovering the traces of important literary events (a change of poetics, genre, style, tendency, themes and motives, cultural myths and archetypes, literary canon, and so on) as a more productive approach to the organization of the literary-historical material. One can observe the discussed methodological aspects also in Russia, where the tendency to synthetic scholarship is evident, applying literary-historical, reader-response critical, interdisciplinary, and culturological approaches. Recently a couple of new genre forms of the literary history developed in Russia. Beside the popular genre of academic biography (life history of one author) an unusual genre has appeared: the encyclopaedia of a literary text (history of one literary text), working with the text and the context ('The Onegin Encyclopaedia', 1999-2005; 'The Oblomov Encyclopaedia', in progress). The entries deal with facts, events, and cultural and other contexts, pertaining to the creation of the text, its publication, critical reception, scholarly research, poetics, key notions, and motives. They are a kind of academic commentary in the form of lexicon.