Wyniki wyszukiwania - Biblioteka Nauki

1

PERMANENCE AND CHANGE. ON THE STYLE OF KRÚDY'S LAST CREATIVE PERIOD

100%

Petho J.

Magyar Nyelvor (Hungarian Language Guardian)

|

2007

|

tom 131

|

nr 1

63-75

EN

This paper consists of two parts: the first discusses problems of periodisation in Krúdy's oeuvre, whereas the second part attempts to present a sketch of the style of his last period on the basis of its characteristic stylistic properties. As the author points out, the main features of that period are as follows: (a) a distinguished role of figurative language: similes, metaphors, a correlation of recurring images and topics; (b) cumulation (the use of coordinated constituents) as a decisive strategy of sentence construction; (c) combination of present and past within the same stretch of text; and (d) irony.

2

Ironia a dyskurs satyryczny

100%

Sidoruk E.

Białostockie Studia Literaturoznawcze

|

2013

|

tom 4

205-214

EN

The subject of analysis in the article is a relation between irony and satire understood as discursive practice. Putting under scrutiny the concept of the satirical text proposed by Paul Simpson in his work On the Discourse of Satire, the author argues that irony understood as a form of expression is not a constructive element of satire.

3

DESIRE TO BE AN ARTIST (BOZENA SLANCIKOVA TIMRAVA: Great Master) (Tuzba byt umelcom (Bozena Slancikova Timrava: Velky majster))

88%

Suchankova M.

Slovenská literatúra (Slovak Literature)

|

2010

|

tom 57

|

nr 4

319-330

EN

In the novelette Velky majster (Great Master) Timrava got rid of the conception of nationally enthusiastic country gentlemen and artists. She created rational types of artists for whom creative work is a serious occupation. She removed the bondage of the pressure caused by nationally reviving ambitions. She refused sentimental production of Romanticism presented by Vajansky and his epigones. She created characters, whose lives are influenced by ambitious motives, and contaminated by laziness social uselessness, parasitism. The main character steps on the pathway of self-transformation; this process is usually a part of the theme of being set free from self-complacent and became more authentic. She is not only ironic in her depiction of the creative struggle of artists; she shows a lot of empathy. Contrary to Vajansky Timrava destructs cliché, she follows up artistic process itself. Timrava want to express what is genuine, even in a case that she shows also unflattering side of spontaneity. Her approach revives the spontaneity itself that way. This method shows different inspirational resources for artistic work. Timrava stresses subject of text. She lets the main hero to declare the most critical opinions. As a result of that, the auctorial subject is in the background without any intervention into the text. This method enables Timrava to change the view on ideologically burdened character of artist and stress also negative view on artist by city people.

4

FIGURATIVE SPEECH AS A REPRESENTATION OF MEANING

88%

Heller D.

World Literature Studies

|

2011

|

tom 3 (20)

|

nr 3

62 – 71

EN

Complexity and plasticity of speech is manifested inter alia by the fact that there are not a few speech phenomena that cannot be understood literally. One of the tasks of contemporary psychology of speech and cognitive psychology is to reconstruct the structure and the process of the production and reception of figurative speech. The most important forms of the figurative speech are metaphor and irony. According to the classical rhetoric a metaphor substitutes the actual meant word another whereas the substitutive or comparative theory comprehended a metaphor as an analogy. According to the interaction theory the metaphoric meaning is generated by the mutual incidence of two ideas. As concerns the irony it is similar. The model of the process of understanding the figurative speech assumes first the reception of the literally meaning whose incoherence with the context influences the inference of actually meant (Searle). Gibbs created the contradictory model of “direct access” that assumes understanding the figurative meanings without the regress to literally meanings. Nevertheless, there is still open question left: What happens to the literally meaning in the end of the process of understanding the figurative expression? Neither conception of synchronous being aware of literally and non-literally meaning does not make it possible to explain the emotional and motivational dimensions of esthetical liking, endearment, and favour the research of which often starts from the figurative speech. The author ś contribution focuses on the figurative speech as a representation of meaning.

5

KAŽDODENNOSŤ, SNÍVANIE, HRA A REALIZMUS (K POETIKE KUKUČÍNOVEJ NOVELY NEPREBUDENÝ)

88%

Bílik R.

Slovenská literatúra (Slovak Literature)

|

2023

|

tom 70

|

nr 3

229 – 243

EN

The article takes a poetological approach to the thematising of everyday life and its connections with the poetics of the “effect of the real.” Methodologically, it is part of the research concept of the new poetics. On the material of a canonical text of Slovak literary realism – the novella “Neprebudený” ([The unawakened] 1886) by Martin Kukučín (1860 – 1928) –, it identifies poetological characteristics of the novella, reveals its existential parameters, and points to the place of M. Kukučín in the ironic-polemical line of modern Slovak prose. This innovative approach allows for identification in the structure of the text the tradition of the poetics of grotesque realism as conceptualised by M. M. Bakhtin on the folk culture of the Middle Ages and the literature of the European Renaissance. The identification of elements of the poetics of the grotesque in the text of the novella is based on the emphasis of this poetics on the shape/surface of the phenomena of the life world, especially the human body. Therefore, the starting point of the interpretation of the novella as outlined here is description as the basic stylistic procedure of realistic texts – the description of the character in this case. The description and subsequent interpretation of the image of the grotesque body makes it possible to identify the presence of the poetics of discrete irony as a key strategy of authorial narration in the text of the novella.

6

Ironiczność – warunek transcendentalny tożsamości

88%

Kopeć A.

Kwartalnik Filozoficzny

|

2017

|

tom 45

|

nr 1

53-71

EN

This article attempts to examine whether irony would make a good condition for defining identity. It presents two approaches to understanding irony, both of which are rooted in romanticism. The article intends to show that irony helps constitute identity only when it is understood as a distance towards possible identifications. However, irony understood as independence from the world makes defining identity impossible. To support this thesis, the article contrasts Schlegel’s and Kierkegaard’s understanding of irony and its influence on subjectivity, and it also presents some contemporary followers of Schlegel and Kierkegaard by focusing on the thoughts of Richard Rorty and Robert Piłat. Stressing the objection which arises when irony is seen as absolute freedom, the article highlights the role of possibilities (to save the notion of ‘identity’ despite rejecting the illusion of complete self – knowledge), one which results from the conception of irony presented by Kierkegaard and Piłat. According to them, irony, without the right to exclusivity, is what makes identity possible.

7

Satyra jako praktyka dyskursywna

88%

Sidoruk E.

Białostockie Studia Literaturoznawcze

|

2012

|

tom 3

241-248

EN

The article constitutes an analysis of the concept of satire as a discursive practice proposed by Paul Simpson. What the author considers the main forte of Simpson's model is its definition of the nature of satire without references to the categories of “satirical intent” and the “ideology” of the satirist. The author claims that such an approach allows a new perspective on the way literary satire is perceived.

8

HISTORY, PARAHISTORY, IRONY - SPANISH HISTORICAL NOVEL IN THE POSTMODERN TIME (Historie, parahistorie, ironie - spanelsky historicky roman v dobach postmoderny)

75%

Chalupa J.

World Literature Studies

|

2010

|

tom 2 (19)

|

nr 4

12-24

EN

The paper deals with the methods and the strategies used by Spanish authors of the post modern historical novels to relativize the historic Truths. Instead of the proved dogmatic categories, serving as supports of the traditional historical novel for many generations, some authors, as E. Mendoza, J. Eslava Galan or A. Perez-Reverte use original post modern approaches, e.g. the generation of a so-called 'parahistory', an ironical point of view, a tension between the 'classical' form and the 'modern' contents, demythization etc. This is mainly due to their strong scepticism towards the 'great' ideologies presented as recipes for the salvation of the world and mankind. Spanish post modern authors reject the role of the writer as 'the conscience of the nation' and deliberately offer only partial view of the subjective validity. Their efforts result in highly original historical novels in which nothing and nobody are taken quite seriously, yet the texts still maintain a relatively high informative value of the complex and ambiguous human history.

9

Тілесність у постколоніальному дискурсі української літератури (на матеріалі поезії «Бу-Ба-Бу»)

75%

Żukowska H.

Slavica Wratislaviensia

|

2011

|

tom 153

613-620

EN

The article analyses bodily semantics, projection of the functional capacity of man and woman body in arts of the literature group “Bu-Ba-Bu,” especially in poetry of Yurij Andruhovych, Oleksandr Irvants’, Viktor Neborak. They pay attention to receptions of carnivalization, masking, parodying, irony and expression in their rhymes. Using stylistic diminutive names for human body, approximation of dissimilar thematic physical and mental field, they ridicule things which were earlier sacral, transmit ironic attitude to reality, make a carnival from high culture of poetry.

10

SOCIOŠTYLISTICKÁ ANALÝZA ROMÁNU DOMINIKA DÁNA „NOC TEMNÝCH KLAMSTIEV“ – NÁČRT METÓDY

75%

Slančová D.

World Literature Studies

|

2020

|

tom 12

|

nr 2

85 – 96

EN

The study analyses the linguistic means representing social phenomena, structures and processes in Dominik Dán´s criminal novel “Noc temných klamstiev” (2009, Night of dark Deceptions). Methodologically, it is based on the concept of interactive stylistics, specifically its socio-stylistic subsystem. The main aim of the analysed linguistic means in the structure of the novel is (i) to characterise the setting, characters, situations and relations; (ii) to indicate the more complex stylistic qualities, mainly the contrast with the often humorous solution between textual tension and de tension; and (iii) to be a part of irony as the main author´s attitude towards reality.

11

Zvuková signalizace verbální ironie v češtině

75%

Marková P. , Studenovský D.

Naše řeč (Our Speech)

|

2012

|

tom 95

|

nr 1

15-32

EN

The study investigates how native speakers of Czech signal irony through articulation rate and speech melody modulations. Recordings of six speakers reading short ironic and non-ironic statements were analyzed. To ascertain the validity of the data, a perceptual test was administered in which respondents evaluated utterances as ironic, neutral or otherwise affective. A detailed analysis of changes in articulation rate and fundamental frequency contours took into account the linguistic content of the utterances and the perceptual evaluation by the listeners. Results revealed two classes of strategies that were used by the speakers: while some used what we call a localistic approach, others exploited a globalistic mode of signalling irony in their voice.

12

"Žvást na žvást?" Interpretace Iz 28,10.13 v kontextu knihy proroka Izaiáše

75%

Vlkova G. I.

Studia theologica

|

2004

|

tom 6

|

nr 3

1-13

EN

This article offers an interpretation of difficult words 'caw läcäw qaw läqäw' in Isa 28,10.13. Rendering the words as a gibberish utterance of drunken priests and prophets or as a children's babbling is to be refused. It seems better to interpret the words as an imitation of some incomprehensible speech of foreigners in Jerusalem. In Isa 28,13, the prophet surely imitates the language of Assyrian conquerors, whose advance presents God's sarcastic response to His people for the lack of the trust in the time of Sennacherib's invasion. As for Isa 28,10, there are two possibilities of interpretation. The utterance could have the same meaning as it has later in Isa 28,13. But it is also possible to consider the unintelligible pronouncement in Isa 28,10 as a parroting of Ethiopian envoys (cf. Isa 18,2.7), who came to Jerusalem in attempt to obtain support for the anti-Assyrian coalition, which was resolutely criticized by Isaiah. In this case, Isa 28,10-13 would be regarded as an excellent example of Isaiah's art of irony.

13

Intertextualita a její podíl na vyjednávání pozic účastníků talk show

75%

Čmejrková S. , Hoffmannová J.

Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)

|

2012

|

tom 73

|

nr 4

263-285

EN

The paper examines the discourse of the Czech weekly talk show Uvolnete se, prosim (Relax, please). For this purpose, we have chosen an interview of the moderator Jan Kraus with the former chairman of the Social Democratic Party of the Czech Republic, Jiri Paroubek, who was invited into the studio on the occasion of his appointment as prime minister in 2005. The analysis focuses on the polyphony of voices arising in the talk show and on the intertextual techniques used in the process of positioning the guest, as well as the self-positioning of the moderator. The interview is thus analyzed as an intertext built upon other texts, which are both external and internal to the current speech situation. The host’s practices employ allusions to the voices coming from “outside”, i.e. through the introduction of quotations of the voices of third parties and the guest’s prior words, as well as responses to the voices heard “inside” the current interaction, i.e. the host echoes the guest’s utterances and moreover, assumes the guest’s voice, positioning the prime minister mostly in an unfavorable, but humorous manner. The guest’s work with these voices is also traced.

14

KIERKEGAARD’S SOCRATES, THE CORSAIR AFFAIR, AND THE MARTYRDOM OF LAUGHTER

75%

Burgess A. J.

Filozofia (Philosophy)

|

2013

|

tom 68

|

nr 1

38 – 49

EN

This essay follows Kierkegaard’s treatment of the concept of Socratic irony through the course of his whole authorship, starting with his dissertation (1841) on Socratic and Romantic irony. Later, in 1846, Kierkegaard’s pseudonym Johannes Climacus mounts a critique of that dissertation in Concluding Unscientific Postscript, sharpening Kierkegaard’s earlier definition of irony through the concepts of jest and earnest. The focus of this essay, however, is on Kierkegaard’s late period, after 1846, when the satirical Copenhagen journal The Corsair, mounted a set of vicious attacks upon Kierkegaard, subjecting him to months of public ridicule. The result was that Kierkegaard came to feel a much closer personal identification than before with the situation at Socrates’ trial.

15

Irony in news interviews: Dialogism and intertextuality

75%

Weizman E.

Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)

|

2012

|

tom 73

|

nr 4

253-263

EN

The article analyzes ironic interpretation in extracts from news interviews on British and Israeli television, specifically ironic criticism addressed to breaches of interactional conventions. In doing so, it elaborates on the notion of echoic mention of a prior utterance, thought or norm (e.g. Sperber & Wilson 1981, Wilson & Sperber 1992), and highlights the intrinsic relations it maintains with dialogism (Bakhtin 1986) and intertexuality (Kristeva 1986). Given that irony involves criticism, in ironic texts at least two positions are brought together – the one represented by the echoed semiotic unit and the other represented by the echoing utterance – and their adjacency accentuates their mismatch. It is argued that the interpretation of irony may involve the re-coding of interactional and social norms, and that irony may thus be conceived of as a way to re-affirm and re-accentuate these norms.

16

Prywatne życie znanych osób w tabloidach

63%

Wiącek A.

Oblicza Komunikacji

|

2011

|

tom 4

199-208

EN

The private life of well-known people is a topic often covered by the tabloids. Weddings, romances, and divorces of politicians, musicians, and other public figures are of the great interest of these newspapers. It is worthwhile noticing that not every such a relationship is treated in quite the same way. The aim of this article is to introduce the way in which the tabloids deal with the private lives of the famous. It takes as examples the divorce and following relationship of the former prime minister Kazimierz Marcinkiewicz, and the marriage of actor Cezary Pazura to Edyta Zając. In each case there is a common factor; the man is considerably older than his partner, who is similar in age to his own children. The presentation of Marcinkiewicz and his fiancée in the media is compared with the image of their relationship created by him and his fiancée. The way this relationship was presented by the press is then compared with the media presentation of the marriage of Cezary Pazura. The rhetorical techniques used by the journalists and the effect they created are also shown. Each pair is described in a different way. Writing about the former prime minister, journalists either write negatively or judgmentally, trying to condemn his decision, retreating into irony, employing stereotypes, and describing situation with a mocking tone. The private life of the actor, although it acts as fodder for jokes and various comments, is not, in fact, the subject of such aggressive attack ― the media are rather more positively inclined towards him. This article attempts to clarify reasons of these differences.