Wyniki wyszukiwania - Biblioteka Nauki

1

The Authorship of The Last Temptation of Christ

100%

Dulemba M.

Kwartalnik Filmowy

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2007

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nr 59

80-99

EN

The author analyses the literary tropes of Martin Scorsese's 'The Last Temptation of Christ'. He is primarily interested in the discrepancies between the cinematic version of the film and its literary archetype. He also tries to identify to what extent Frederick Nietzsche's anti-Christian philosophy, which greatly influenced Nikos Kazantzakis, spread to Scorsese's film. He questions the popular belief as if 'The Last Temptation of Christ' perfectly fitted the neo-pagan theology of New Age Movement. Eventually, identifying the dialectic struggle of opposition as the central theme of the film under discussion, the author considers 'The Last Temptation' in the context of antagonisms present in the novels of Fyodor Dostoyevski who - like Scorsese - thought that man's faith remains dynamic as long as it is true.

2

FROM IMITATION TO PLAGIARISM. RESEARCH ON THE LITERARY ETHICS IN 18TH-CENTURY RUSSIA

80%

Warda A.

Slavia Orientalis

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2005

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tom 54

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nr 4

515-526

EN

In the literary and paraliterary texts by Russian authors of the latter half of the 18th century the problem of literary stealing, not revealed in the texts of the previous periods, was noticed. The theory of imitation, considered to be the basic rule of literary composition since the beginning of old-Russian literature, encouraged the authors to use borrowings and to copy the models. The situation changed in the 18th century when the Russian authors familiarised themselves with West-European theoretical works referring to the problem of imitation and the borderline between creative use of a literary model and literary stealing. This changed also the relation to literary work which was treated then as an author's property. Violation of the authorship provoked emotional reactions of the literary milieu. Numerous writers' opinions related to literary stealing demonstrate the increasing consciousness of authors and the need to regulate copyright and related laws.

3

STÁŤ NA OKRAJI SA NEOPLÁCA: ANALÝZA SOCIÁLNEJ SIETE SLOVENSKÉHO FILMU Z ROKOV 2012 – 2019

80%

Urban M.

Slovenské divadlo (Slovak Theatre)

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2021

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tom 69

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nr 2

206 – 221

EN

In recent years, authorship in Slovak cinema has formed the subject of several qualitative studies. In art films, these identified authorship in the person of the sole director. In commercial films, they attributed it to the whole crew. This study aims to examine these findings from the quantitative perspective of digital humanities, especially social network analysis (SNA). By SNA, this study examined the link between the centrality of (a) entire crews and (b) individual directors and the number of film spectators, reviews by professionals and the lay public, budgets, and the amount of funding received from the Slovak Audio-visual Fund (AVF) in both art films and commercial films. Linear correlations revealed a weak-to-strong link between the centrality of crews and individuals and all the monitored indicators, except for one case: the AVF funding of commercial films was not connected to the centrality of their creators. In all cases, however, the centrality of an individual was a stronger predictor than the centrality of the crew, implying that the central position of individual directors plays an important role in reception, budgeting, film attendance and, in the case of art films, also in public funding.

4

SPRACHBIOGRAFIE UND INSZENIERTE AUTORSCHAFT: DAS FALLBEISPIEL ERIKA BLUMGRUND

80%

Tancer J.

World Literature Studies

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2017

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tom 9

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nr 4

103 – 116

EN

This article focuses on the connection between language biographical research and the question of performed literary authorship based on the example of the lyricist, journalist, painter and dance instructor Erika Blumgrund (1924–2016). The first part of the text offers a short linguistic biography of the author primarily based on interviews with her. In addition, it illustrates how Blumgrund’s language biography influenced her performed authorship in three different contexts: Blumgrund as a multi-lingual author, as a German-Jewish author in Argentina and as a Slovak-Jewish Holocaust survivor.

5

OVERCOMING OF THE ROMANTIC AUTHOR IN THE CONTEXT OF CONTEMPORARY INFORMATION SOCIETY

80%

Novák V.

Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied

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2019

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tom 22

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nr 3

62 – 73

EN

This text presents the concept of the romantic author in a broader context. Firstly, it points out its roots connected with antics (Bennett, 2005), then it describes its pre-concept, which is rooted during the rise of the typography (Ong, 2005), and finally it directly concentrates on the era where this concept is truly formed (Abrams, 1958). Based on these opening statements, the author of this text defines the concept of the romantic author in the sense of an individual sovereign creator in the context of western traditional authorship he classifies the subject of his interest in three key categories: firstly, he defines the concept of the romantic author in terms of its birth and its non-global character; secondly, he is oriented on the metaphor of the death of the author (Barthes, 1984), which Carpentier (2011) considers as a starting point for the weakening of the sovereign authorial position in order to present fantasies, which reflect this shift; and thirdly, he is concentrated on the term produseage (Bruns, 2008), where the author eventually (not just metaphorically) disappears, and points out the necessity of the produsage liberation from its techno-optimism. The author points out several paradoxes which emerge from the findings mentioned in the article. In reality, the romantic author is overcome in the context of contemporary information society, but formally, we are still able to face his nowadays version via the gallery visits or (simply) by the efforts to keep him alive in the world where he has already disappeared. According to the author of this article, the only way to fully accept this disappearance is to accept the author/viewer convergence by the produsage, which has to be liberated from its exaggerated utopian expectations.

6

Authenticity of the Alcibiades I: Some Reflections

70%

Jirsa J.

Listy filologické (Folia philologica)

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2009

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tom 132

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nr 3-4

225-244

EN

This text maps the history of debate on the authenticity of Plato's or pseudo-Plato's Alcibiades I. The first doubts were raised by Friedrich Schleiermacher at the beginning of nineteenth century and the debate became vigorous again after Denyeris and Pradeau-Marboeufis attempts to argue for Plato's authorship couple of years ago. The author discusses several particular points raised against the authenticity (lexical, literary, stylistic and philosophical problems) and he will show that none of them stands on its own. Further, when taken together these points do not prove the dialogue to be a bogus work. The debate, he concludes, is open; however the tendency in the last decade is in favour of Plato's authorship rather than against it.

7

MARIE THERESE VON ARTNER UND IHRE LITERARISCHE AUTORSCHAFT

70%

Puchalová I.

World Literature Studies

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2017

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tom 9

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nr 4

129 – 140

EN

This study concentrates on the literary works of the German-language author Marie Therese von Artner (1770–1829). The postulates of a feminist literary theory serve as a basis for exploring the issue of authorship in selected lyric texts. The study tries to answer the questions on which conditions Artner enters literature, how she perceives her own authorial process and authorship and how she defines herself as an author and a woman. Artner’s attitude is ambivalent, but this ambiance disappears in her later works and gives way to a more radical position concerning demands for women’s rights. Artner as a woman and a Hungarian German living at the periphery, is marginal in German literature, but in the period around 1800 she belongs to those authors who influenced the literary and cultural course of events in the region of Upper Hungary and Lower Austria.

8

FACING THE FACE: TO BE OR NOT TO BE DON QUIJOTE

70%

Bal M.

World Literature Studies

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2019

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tom 11

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nr 4

69 – 83

EN

The article presents a “preposterous” updating of Don Quijote, in the face of trauma, contemporary slavery, and the importance of a social face-to-face, or interfaces, to help people to come out of their isolation inflicted on them by violence. The argument begins with the “updating” of a literary monument, an instance of cultural heritage that never lost its relevance for whatever era in which it functions. The focus on trauma makes this particularly necessary, since those on whom the stagnation and isolation violence cause has been inflicted, must be helped socially. Taking seriously not that but why some people seem “mad” is a collective task for humans. We can all contribute to that remedial interfacing. Through its special complexity, subtlety and temporality, art can facilitate this. The video installation Don Quijote: Sad Countenances presents an attempt to do this. Especially the episode “Who Is Do Quijote” is central in the article. There, some characters discuss the value and possibility of history, the authorship of Cervantes’ novel, and the importance of the literary imagination, while the figure of Don Quijote, in front of a large mirror, exposes himself to an artist-photographer who tries to capture his face.

9

MY, VYDAVATELIA

60%

Pácalová J.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 2

115 – 138

EN

The goal of the article is to show cultural environment factors which determined the form and reception of the two parallel collections of fairy tales, Slovenské povesti (1858 – 1861) by August Horislav Škultéty and Pavol Dobšinský and Slovenské pohádky a pověsti (1857 – 1858) by Božena Němcová, accenting the differences in the concept of fairy tales and the publishing of them, and mainly how the subjects traditionally called publishers or editors understood their own function and role. Recognizing the roles and functions of the subjects of the processes (those of authors´ and those of publishers´) proved to be essential for the form of the collections in question – it is closely connected to the Romantic concept of authorship as they have been seen lately in relation to Rukopis královédvorský (Dvůr Králové manuscript) and Rukopis zelenohorský (Zelená Hora manuscript) by David L. Cooper (2012). The categories and aspects related to the forgery as one of the Romantic forms of authorship which the American bohemist writes about correspond in several respects with the process and phenomenon accompanying the edition of Slovenské povesti and subsequently condition of the Slovak national revivalists´ attitude to the collection (in a narrower sense the reception of Slovenské pohádky a pověsti). The categories such as authenticity, originality and simulation make it possible to view the authors of the fairy tales in Slovenské povesti in the literary-theoretical sense with regard to the category of author without the traditional burden of the folklorist approach, which has so far refused to identify the particular fairy tale authors.

10

ČESKÁ POČÍTAČOVĚ GENEROVANÁ LITERATURA A OTÁZKA AUTORSTVÍ LITERÁRNÍHO TEXTU

60%

Piorecký K.

World Literature Studies

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2017

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tom 9

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nr 3

66 – 78

EN

Since the end of the 1950s, computer-generated literary texts have been a marginal but ever-present part of many national literatures including the Czech one. This study primarily charts the history of this phenomenon on the Czech cultural scene. Its material scope extends from experiments in the 1960s (by Jiří Levý and Karel Pala) and the metaliterary reflections of Jiří Drašnar with computer-distorted texts to contemporary conceptual procedures (e. g. glitch aesthetics in Impromptu by Roman Haisel) and literary experiments with artificial intelligence. Attention is also focused on its forays into pop culture (Google poetry). More general questions on the authorship of literary texts in particular are then formulated, and a proposed pluralist conception of authorship as a collective of human and technological actors is presented, based on analysis of generative literature output.

11

Czy Czech mógłby napisać "Lolitę"? O literaturze erotycznej, która nie istnieje

41%

Novotný V.

Slavica Wratislaviensia

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2011

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tom 153

73-79