Wyniki wyszukiwania - Biblioteka Nauki

1

S mimezí v batohu na výlet do různosvětů

100%

Jedlickova A.

Česká literatura (Czech Literature)

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2005

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tom 53

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nr 2

203-225

EN

An essay inspired by Lubomir Dolezel's 'Heterocosmica: Fiction and Possible Worlds' presents - in part polemically - the essential features of the theory of fictional worlds (including clear definitions of the terms 'actual', 'possible', and 'fictional' worlds), and, following on from this, it interprets the short story 'Muzeum tety Laury' (Aunt Laura's Museum) from Frantisek Langer's collection 'Malirské povidky' (A painter's tales).

2

Systém významové výstavby narativního díla v návrhu pražského strukturalismu

100%

Kubicek T.

Česká literatura (Czech Literature)

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2006

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tom 54

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nr 4

1-44

EN

The study strives to represent a connected system of semantic construction proposed by Prague structuralism, and mainly by Felix Vodicka. This system was never presented in a form of a single study, but its suggestions are scattered in various studies that deal with the questions of semantic construction and questions of the literary work's identity. Prague structuralism in the form of Vodicka's or Mukarovsky's suggestions did not strive for the presentation of an integral system (such as that proposed by Roman Ingarden), because the need was not felt to make such statements, nor did the contemporary literary theory aim yet to similar designating projects. Still this complex system of structural semantic construction of the work was an enduring part of the studies that were arising in the 30's and 40's, it had recognizable, rather solid and stable outlines and rules, and de facto it represents a methodological resource for the structural analysis of a literary work. In this form, it is possible to consider it one of the essential contributions of the Prague school not only to the Czech literary theory. This study attempts at proving incorrect the traditional apprehension that the Prague structuralism did not present a sustained system of semantic construction, and obversely, to prove that such a system did exist and was a conscious part of the Czech structuralists' works, and it only was not proclaimed.

3

Dějiny teorie vyprávění: psaní a narativní strategie

100%

Jedlickova A.

Česká literatura (Czech Literature)

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2007

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tom 55

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nr 3

365-388

EN

Theorists of narrative studies often claim that the history of narrative theory is impossible to narrate because of its specific nature, consisting in the discontinuity of development due to disproportional introduction (and implementation) of the theory in various research cultures connected with diverse traditions of philological studies, which has resulted in a cluster-like character of particular narratologic systems. Narrative theory may represent a case study in the context concerned, i.e. in the discourse questioning historiographic methods in general. The question that narratologists may share with historians is this: are there any spheres of human culture and periods of its development so specific in their character as to prevent us from mediating them by means of current historiographic methods? A scheme for writing the history of narrative theory is presented here, based on negotiating between a history of ideas (including virtual links between related concepts dislocated in time and space) and an institutional history that enables us to understand the gaps. Various narrative modes are employed to re-construct the development of narrative studies as a coherent process. Recent attempts at replacing the history of narrative studies with a selection of canonic text are subject to criticism; the first synthetic essays on the topic Fludernik (2005) Herman (2005) are analyzed here in order to discern the principles of 'making a history of narrative theory possible'.

4

Autobiography/Truth/Psychoanalysis

100%

Doubrovsky S.

Teksty Drugie (Second Texts)

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2007

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nr 1/2(103/4)

189-203

EN

A theoretical commentary to the famous definition of 'self-fiction' (also referred to as 'auto-fiction'). The author analyses his own novel 'Fils', drawing our attention to the point at which the autobiographical project collapses whilst the subject spinning out a narrative about himself gets transferred into a self-fiction register, under the pressure of language.

5

NESPOLEHLIVOST – ALE K ČEMU? PŘÍSPĚVEK K ANALÝZE SPECIFICKÉ NARATIVNÍ STRATEGIE VÝZNAMOVÉ VÝSTAVBY

100%

Kubíček T.

World Literature Studies

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2013

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tom 5 (22)

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nr 1

3 – 16

EN

The main aim of the text is to analyse the narratological category “unreliability” in relation to the basic domains within which it is defined by the post classical narratology. The basis for the analysis are various texts − both the fictional and the nonfictional nature. In the scope of this study are fictional and nonfictional speakers and characters in relation to the three dimensions of textual worlds which are here understood as the strategy of construction of the meaning: the first is the domain or the construction of “truth”, the second is the domain or construction of “self” and the third one is the domain or constructing of the whole of the fictional world − the domain of the text. The author suggests in his study that while the first two domains are clamouring extra textual control activities, which is the relationship between text and context, only the third domain allows us to perceive unreliability as a narrative category as a category of narrative analysis.

6

TYPY ROZPRÁVAČA A JEHO INOVÁCIE (NA PRÍKLADE SÚČASNÉHO SLOVINSKÉHO ROMÁNU)

100%

Zupan Sosič A.

Slovenská literatúra (Slovak Literature)

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2022

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tom 69

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nr 2

95 – 113

EN

The article tackles the function of the narrator in contemporary fiction. After outlining the position of the narrator in classical and post-classical narratology, it analyses several innovative approaches to this category as found in contemporary Slovenian novel. The article outlines general determinants of the narrator and attempts at showing that the category is still viable and offers possibilities for systematising. It looks at the narrator in the context of narratology and provides a definition and typology of this category. Given the syncretic character of the category of narrator, the knowledge of its multiple types – not restricted to the ones outlined by structuralism narratology – proves to be fruitful. The wider current definition of the narrator is most concisely outlined in the standard model of communication and consists of such elements as the real author, implied author, narrator implied reader and real reader. The model, unlike older conceptualisations, is based on mediation and the activity of the narrator, not on the notion of the narrator as the speaker.

7

Naratologické marginálie české teorie literatury

100%

Jedlickova A.

Česká literatura (Czech Literature)

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2005

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tom 53

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nr 6

852-861

EN

This essay, an outline of the history of Czech 'protonarratology', focuses on the contributions made to the field by Jan Mukarovský, Felix Vodicka, and Lubomir Dolezel, but also considers the contributions of Miroslav Cervenka, Jaroslava Janácková, Vladimir Macura, Daniela Hodrová, and Alice Jedlicková.

8

RELIGIO TRIPLEX JAKO RÁMCOVÝ MODEL AUTOREFERENCIALITY V CESTOPISU JÁNA KOLLÁRA

100%

Kiss Szemán R.

Slovenská literatúra (Slovak Literature)

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2023

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tom 70

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nr 5

497 – 507

EN

The paper, employing the narratological method, examines and systematises self-referential speeches in Cestopis obsahující cestu do Horní Italie ([Travelogue containing a journey to Upper Italy] 1843) by Ján Kollár (1793 – 1852). Drawing on materials included in the kollar.elte.hu database, it maps typical forms of narrator’s self-referential speeches: the name of the author and his family members in the narration; the use and interpretation of the author’s own works in the narrative; the various forms of the author’s taste manifested in the text; the preferred literary, artistic, and architectural works he encounters or quotes; the presentation of the author’s ecclesiastical, philological, pedagogical, and other activities in the travelogue; and the narrative forms of self-referentiality that provide the narrator with the opportunity to express himself on an ideological level. The article also examines the various narrative roles which can be attributed to self-referential speeches and which point to the existence of an ideological system generally characteristic of the Enlightenment and Romantic periods in Central Europe. In this way, it reveals the characteristic features of Slavic national emblematism in the text and a certain broad system of ideas which can understood as religio triplex, which by merging revealed, natural, and national devoutness provides the narrator with a unified narrative framework.

9

TRANSGENERICKÁ NARATOLÓGIA: NARATOLOGICKÁ ANALÝZA POÉZIE AKO NOVÁ SYSTEMATICKÁ TEÓRIA LYRIKY

100%

Kališová R.

Slovenská literatúra (Slovak Literature)

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2024

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tom 71

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nr 2

179 – 189

EN

This overview essay on the implementation of narratology on reading and interpreting lyric poetry presents the main principles of the so-called lyricology, which is based on the thesis that narrative structures, such as the presence of agency, mediation and sequencing (the ordering of plot sequences), can also be observed in lyric poetry. This line of research has been followed by scholars at German universities, but has also found its way into the English-speaking academic world. The paper defines narratological concepts which are readily applicable to lyric poetry, such as focalisation, event, narrative reliability, and hierarchical stratification of the narrator (biographical author – abstract/implicit author – narrator/speaker – protagonist/character in the plot). The essay presents narratological analysis of lyric poetry as an innovative approach to the reading of lyric poetry, but also highlights the potential pitfalls of this approach and outlines appropriateness of its use.

10

Ciągle ta sama historia? O powtarzalności fabuł w narracyjnych grach fabularnych

100%

Krawczyk S.

Homo Ludens

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2009

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nr 1

137-153

EN

Narrative role-playing games (RPGs for short) are a relatively new cultural phenomenon, dating back only to the 1970s. They constitute an important part of contemporary Western popular culture. As in its other fields, crucial to RPGs are story schemata. However, no systematic analysis of these, regarding a selected set of texts, has been published so far. A promising analogy to film or literature research is encouraging enough to make an attempt to fill this gap. Although it is very difficult to study the schemata in real game sessions, scenarios may be analysed instead. Firstly, the stories they tell are an approximate equivalent of what happens during the game itself. Secondly, such research may yield verifiable results. And thirdly, the scenarios have numerous literary qualities, which allows the use of well-proven methods of literary studies. Especially useful in preliminary research are the methods of classical narratology, which has turned out to be a useful tool in analysing the phenomena of popular culture. With such instruments, twenty texts set in two game worlds (Neuroshima and Call of Cthulhu) have been researched. The analysis has led to distinguishing two story schemata, one for each universe. They exhibit both peculiarities and similarities. The article also suggests further possibilities for the academic exploration of RPG scenarios. Such research may increase our knowledge of role-playing games, and less directly - of the people who play and of the culture of the West, in which various kinds of games are gaining a more and more significant position.

11

Dialog jako způsob existence v díle Richarda Weinera

100%

Jirsa T.

Česká literatura (Czech Literature)

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2008

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tom 56

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nr 1

73-101

EN

The article is concerned with dialogical approaches in the works of Richard Weiner (1884–1937), which the author considers a constitutive feature of Weiner’s fiction. Similarly it considers dialogues between the implied author and the authorial narrator (whose voices, however, often overlap) on the one hand, and the reader and the characters on the other hand, and two-way dialogues between the real world and the fictional world. The author demonstrates that a characteristic feature of Weiner’s fiction, dialogicality, is not a self-serving figure of speech of Weiner’s style, but a means of enabling the reader to become actively involved in the creation of the fictional world.

12

READING IMMIGRANT LETTERS AND BRIDGING THE MICRO-MACRO DIVIDE

100%

Lehmkuhl U.

Studia Migracyjne - Przegląd Polonijny

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2014

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tom 40

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nr 1 (151)

9-30

EN

The early 1980s were characterized by a paradigm change in history. The premises, research methods and research goals of the dominant paradigm of "social and structural history" were challenged by the “subjective turn” in history contesting the logocentrist and linear way of historical thinking, the established techniques of history writing and the systems of historical knowledge production. The emerging new fields of research and research approaches – oral history, life histories, historical anthropology and history and memory – were closely interconnected, methodologically and with regard to their theoretical foundations. Going back to some of the arguments put forward in the discussion about the linguistic turn in the 1980s, I will argue that in order to be able to "read" and understand immigrant letters historians have to approach them as "texts" and not just as illustrative historical source material. It is necessary to not only look at content but also at the way the content is presented, i.e. the narration and the narrative structure of the letters. In order to elucidate the methodological bridging function of these two approaches and their contribution to overcome the micro-macro divide, I will in a first step contextualize the specific theoretical value of life history research by putting it in the context of arguments developed by historical anthropology. In a second step, I will apply the developed research framework to reconstruct the structural properties and historical sequences of life course processes as represented by the narratives of the letters of Ernst and Marie Kuchenbecker written between 1891 and 1932.

13

Nové směry (a staré mezery) v teorii vyprávění

100%

Jedlickova A.

Česká literatura (Czech Literature)

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2005

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tom 53

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nr 1

78-100

EN

This review of the essay volume 'Neue Ansätze in der Erzähltheorie' begins with an overview of narratological literature (including translations) in Czech and Slovak literary studies in the second half of the twentieth century.

14

Glorifikace autorského gesta

100%

Češka J.

Česká literatura (Czech Literature)

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2008

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tom 56

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nr 1

1-16

EN

This article considers several aspects of the geste du narrateur in the works of Milan Kundera (b. 1929). With the geste du narrateur it is possible to unite and thematize texts of different genres (verse, drama, novels, and essays), and it is possible to read Kundera’s works as a definite voice, as a certain reflexion of speech. First, Kundera’s conception of poetic language is considered by looking at his analysis of poems by Vítězslav Nezval (1900–1958). Kundera considers anthropomorphic devices in particular, because the poems are, in his view, meant to transform the alienated world of phantoms into a world of objects that have a human dimension. An echo of the demiurge nature of the poetic word is audible in Kundera’s conception of the narrative, in his fundamental distinction between narrator and character. From this perspective it seems that the narrator occupies an invincible position of authority. Interpreting Kundera’s 1960 book on Vladislav Vančura (1891–1942) the article pays special attention to the concept of lyrical prose. It contrasts Kundera’s idea of fiction with the tradition of the nouveau roman (Robbe-Grillet) and New Criticism. It then characterizes Kundera’s style by the tension between his metaphorical and metonymous periods, and concludes that Kundera’s decision to set prose and the lyrical in opposition to each other is largely untenable, because his fictional world is in fact lyricized.

15

Pomieszanie języków i pierwszy kontakt. O językach sztucznych w fantastyce naukowej

100%

Leś M.

Białostockie Archiwum Językowe

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2013

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nr 13

159-186

EN

The author of the article discusses a special manner of existence of constructed languages created within the boundaries of science ﬁction. The subject matter occupies a special place in the general theory and practice of science ﬁction within the frames of the confrontation of languages and modiﬁcation of the existing linguistic systems. The article contains a brief outline of constructed languages categorization, in the background of which selected science ﬁction works focused on language communication, as well as the presentation of two most popular fantasy systems – L´ aadan and Klingon.

16

INTERSUBJECTIVITY AND LITERATURE (Intersubiektywnosc i literatura)

88%

Rembowska-Pluciennik M.

Teksty Drugie (Second Texts)

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2009

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nr 1-2

215-227

EN

This article is a preliminary proposal of how to redefine basic narratological notions in reference to issues and analytical methods of cognitive narratology. In light of the latter, literary narrative constitutes an experiment in accepting and representing someone else's perspective (cognitive, emotional, perceptual). This fact has to do with the properties of one of the basic forms of human consciousness - namely, the functioning of intersubjectivity as a permanent orientation of consciousness toward presence of other people being perceived as intentional and mental subjects. The possibility of taking into consideration another person's perspective is one of the most important features of human cognition, one being of great importance to cooperation and communication. The authoress' original creation of a character and the reader's mental representation of the latter can be considered to be an act of imaginary simulation of somebody else's perspective. Making use of the cognitive model of intersubjectivity in the theory of narrative enables a new interpretation of phenomena related to literary communication, literary character, and reception of literature. It also allows for extending the issues of consciousness in literature beyond the limits of conventions of presenting the character's internal speech.

17

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.

18

The narratology of memory. The case of Stanislaw Vincenz

88%

Kaczmarek M.

Teksty Drugie (Second Texts)

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2006

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nr 5(101)

171-184

EN

This article discusses the issues of narratology of memory in Stanislaw Vincenz's novel-cycle 'Na wysokiej poloninie', which, along with genology, rhetoric and other related issues, forms part of Vincenz's multi-aspect mnemology. The way the narrator is structured and the narrative structures appearing are viewed in terms of the memory category which fulfils certain determined functions therein. The several narrative subjects (the author/narrator and the characters acting as narrators) allows one to speak of a common universal category of narrator as a 'poviastun' (story-teller), i.e. a person with a certain memory at his or her disposal, performing acts of recollection/story-telling (or, recollection/poviastun-ing). The numerous memory narrations present in the Vincenz text imply multi-optional memory-based narrative strategies, being contemplated in the essay. In a mnemonological perspective, the poviastun becomes a narrative subject with his/her own 'mnemic experience'; story-telling/poviastun-ing becomes identified with narrative acts of recollecting, whereas the story (or, the 'tidings') assumes the form of a mnemic text being proper with prose of memory.

19

The Narrative Event as an Occasion of Emergence

88%

Zuska V.

Estetika: The Central European Journal of Aesthetics

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2009

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tom 46

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nr 1

62-74

EN

Some recent approaches to narratology have presented the event as a basic constitutive element of narrativity. The event is considered either a primitive term or something that just happens or may happen, a change from one state to another. The underlying concepts are identity, state, and being. The article describes the event in general and the narrative event in particular from the perspective of the primacy of becoming, change, and flow, employing especially Whitehead's philosophy of process and also certain concepts developed by reception aesthetics. The narrative event is analyzed in the context of the following concatenation: the event - interconnected events - plot - fictional world - the real world and its potentiality. The aim is to understand a narrative event not as an interruption of the receptive flow, but as its change of course among levels of emergence.

20

Podivuhodný labyrint každodennosti. Fikční svět Povídek malostranských.

88%

Mocna D.

Česká literatura (Czech Literature)

|

2007

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tom 55

|

nr 2

145-166

EN

This article is concerned with narrative approaches that Jan Neruda (1834-1891) employed to construct the ambiguous, disorganized fictional world of his 'Povidky malostranské' (Tales of the Lesser Town). First, they are his preference for non-authoritarian narrators, particularly the personal narrator-observer. At many points throughout the text, this narrator changes into a medium through which 'flow' foreign opinions on elements of the fictional world. To this he then also adds his own insights and observations. Second, the implicit nature of the communication is extremely intensified here. Important information is usually provided in the form of vague hints, hidden behind a great quantity of insubstantial detail, in which both kinds of information is presented in the text mostly in the same manner. The connections among the individual items of information are similarly hidden: an explicit expression of causality rarely appears here, and when it does it is usually related to marginal matters. Third, compared to the traditional mode of narration, which organizes information about the fictional world along the axis of the story, here the initial narration branches out in several sides: the basic organizing principle of the narrative text ceases to be the linearity of time, and thus becomes the complexity of space. This special mode of narration is of fundamental consequence to the nature of the story and the characters. The story does not become visible; submerged in the over-sized 'skin' on the surface of the fiction, it makes its presence known only by sparse, not particularly clear signals. The characters comprise heterogeneous, often outright contradictory information of various provenance, making them also ambiguous and sometimes inconsistent. The narrative approaches have much in common with the principles of 20th c. experimental fiction. Unlike the latter, however, they retain the stable outer framework of the fictional world, which the chaotic, ambivalent interior action make understandable. There thus arises a considerable tension between the static macrostructure of the fictional world and its dynamic microstructures, which can be interpreted as a reflection of a world on the borderline between two periods of civilization.