Wyniki wyszukiwania - Biblioteka Nauki

1

HUMOR A STRACH V POETIKE SÚČASNÝCH POVESTÍ

100%

Panczová Z.

Slovenský národopis (Slovak Ethnology)

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2013

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tom 61

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nr 2

142 – 154

EN

Although there are many discrepancies in definitions of contemporary legends as a folklore genre, one characteristic seems beyond dispute: the goal of the plot is to excite the interest of the audience through an uncommon (unbelievable) story which is told as if it were true. The expected impacts of such stories are feelings of shock, amusement or fear. It is interesting that in the same genre two such different emotional impacts are dominant, and furthermore they are very often present as parts of the same narrative situation or even in the same story. The aim of this paper is to describe two theories which attempt to explain the common principles of the poetics of horror and humour. They were developed by authors exploring the field of the philosophy or theory of art, but in the view of this author they could be inspiring and useful also in folklore studies.

2

OBRAZ V PŘÍBĚHU – EKFRÁZE VE VYPRÁVĚNÍ. PŘEDBĚŽNÉ NÁVRHY K ROZLIŠENÍ POPISNOSTI A VIZUALITY

100%

Jedličková A. , Fedrová S.

Slovenská literatúra (Slovak Literature)

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2010

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tom 57

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nr 1

29 – 59

EN

The term visualisation belongs in the last decades to the most frequent expressions in discussions about culture. A contrastive example of quite a recent novel Miloš Urban: (Lord Mord, 2008) and a fiction fits in the narrative tradition of the 19th century Jakub Arbes: Saint Xaverius (Svatý Xaverius, 1873) show disproportional attention, which is paid to visual qualities of the text in the interpretation, and also to swapping the terms visualisation and descriptiveness. The study therefore submits classification of descriptiveness just in a form of work, in which like a decisive parameter the measure of visualisation is chosen. There is a distinction between visualisation as a quality of verbal experience supported by a concrete text and visualisation as a potential effect of particular qualities of the text. Based on the criteria there are determined descriptions in the study such as fully informational, illustrational with symbolic function, suggestive description of the setting evoking atmosphere, “visual“ description, which means visually well-grounded in the textual level and directing the reader to visualisation of a described subject and – in a gradational order description – to ekphrasis. In the examples of a specific literary genre – ekphrasis predominately deals with ways of its dynamizing; that means involving into narration both the microstructure of an action, as well as macrostructure of a story. Pursuant the level of involvement it is possible then to follow up the full scale of options within simple ekphrasis allusion of a picture and ekphrasis fully constructed through epic, including e.g. ekphrasis connected with gradually built up interpretation of a picture, that is a key for the interpretation of psychology of either characters or the entire story in the novel by Jaroslav Maria Saintesses, Ladies and Sluts (1927). Here and also in Arbes´ Saint Xaverius (Svatý Xaverius) there is a possibility to apply of interpretational art-historical methods for literary scholarship shown, in cases if iconographic analysis of the picture depicted in the story makes easier comprehension of the symbolic projection in reflexive element of narration. Differentiation between involvement of a “picture into the story“ and “ekphrasis in the text of narration“ seems to be heuristically useful, but most of the times also ontologically necessary.

3

OD MÝTU K STORY. ZROD, VZOSTUP A PÁD VEĽKYCH PRÍBEHOV

100%

Malík B.

Filozofia (Philosophy)

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2009

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tom 64

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nr 1

45-56

EN

The article deals with the breakdown of the co called 'grand narratives' and with processes that preceded it. The author focuses on the degradation of the traditional meaningful forms, such as myth and grand narrative, and their becoming a 'story'. He offers a detailed examination of the essential characteristics of a story. He sees the particular forms of the codification of the world as related to following developments: the rise of grand narratives as related to the transition to linear alphabetical codes, while their transformation into a story as connected with the rise of technological images. He sees this transition as a negative phenomenon, since this shift of the focus of human activities on (technological) images resulted in a significant reduction of our freedom.

4

UDALOSTI, REČOVÉ ŽÁNRE A PRÍBEHY

100%

Michalovič P.

Filozofia (Philosophy)

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2011

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tom 66

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nr 7

634 – 643

EN

The aim of the paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first among philosophers – and one of the first among thinkers in general – who focused on the issues of the artistic and rhetorical genres, philosophy ignored these issues for a considerably long time. One of the first philosophers who approached the issue of genre within a wider context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and literary scholar. As early as in the 1920s he started to reflect on the so-called small speech genres. It later served him as the basis for a remarkable theory of the primary and secondary genres. Bakhtin is a world-wide renowned novel theoretician, but his genre theory is no less topical, since it corresponds with the issues focused on by philosophers much later.

5

"Пацанские рассказы" Захара Прилепина. Новый автор, новый герой

88%

Waszkielewicz H.

Slavica Wratislaviensia

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2011

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tom 153

443-451

EN

Zakhar Prilepin is a 34-year-old writer, critic, social and political activist with a remarkable wartime experience, essay writer and TV presenter, who is highly popular and prospers very well in the media zone. Apart from three successful novels The Pathologies (2005), Sankya (2006) and Sin (2007), he also published a collection of stories which are subject of analysis in the present article. Boots Full of Hot Vodka. Boy Stories (2008) is a collection of stories full of brutality, humour, and lyricism, from which a delightfully coherent image of the protagonist and the world emerges. The coherence results for instance from the closeness of the protagonist and the author. The latter says of himself: “I am a happy man who occasionally keeps himself busy writing books.” Prilepin seems to be creating a new topos, absent from Russian literature so far — the topos of a happy man.

6

(NE)MOŽNOSŤ AUTOBIOGRAFIE V DIELE KARLA ČAPKA “OBYČAJNÝ ŽIVOT”

88%

Petres Csizmadia G.

World Literature Studies

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2011

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tom 3 (20)

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nr 2

61 – 69

EN

The paper interprets “Obyčejný život”, a work by Karel Čapek in the context of the late 20th century autobiography theories. Previous interpretations are more or less dominated by the so called noetic aspects, however, the autobiographical difficulties raised by the work, the impossibility of imagining life as narration, and facing the multifacetedness of the self-raise the possibility of employing autobiographical considerations. An interesting feature of the analysed work is that it includes an embedded story, an autobiographical text, which has a double structure: the first part includes a traditional autobiography; the second part consists of the dismantlement, rethinking and re-evaluation of the first part. The aim of this anti-autobiography is to liberate the autobiographer from his illusions about the working of an autobiography and to point at the failure of idealized preconceptions about life story narration. An anti-autobiography works as meta-autobiography and rewrites the relationship of the autobiography and the autobiographer. It intends to riddle the autobiographer ś myth about his/her own autobiographer: it points at the fact that the autobiographer works with a distorting memory instead of a precise one and employs metaphorical narration instead of metonymical, presents only life fragments instead of a whole life story and instead of a homogeneous self it presents multiple, heterogeneous subject.

7

“NIEKEDY SA VRACAJÚ.“ TRANSFORMÁCIA BALADICKEJ LENÓRSKEJ TÉMY V MODERNIZME

75%

Horváth T.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 4

324 – 337

EN

The study analyses the reinterpretation of Bürger´s ballad Lenore (1774) in terms of inter-textuality, genre and literary movement in the modernist short story by the Polish writer Antoni Lange Lenora (1912). According to Lange, his short story „tries to explain the ´balladic´, spiritualist phenomena by rational means“. Lange´s modernist reinterpretation modifies the motif of the return of the dead: in Bürger´s poem it is a physical return of the dead – a spectre having physical features, in Lange´s short story it is Konrad´s revelation interpreted as a meta-psychic phenomenon when a telepathic transmission occurs at the moment of Konrad´s death. The syuzhet of the story does not contain a contact with the afterlife and a crossing of the borderline between the opposite semantic territories, being life and death. Therefore Konrad does not act as a diabolical revenant as opposed to all the other balladic variations of the theme.

8

NARRATION (AND ALSO) ON THE SUBJECT OF NARRATION (VINCENT SIKULA: WITH ROZARKA) (Rozpravanie (aj) o rozpravani (Vincent Sikula: S Rozarkou))

75%

Barborik V.

Slovenská literatúra (Slovak Literature)

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2010

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tom 57

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nr 3

211-225

EN

The article is focused on interpretation of the most popular and known fiction by Slovak author Vincent Sikula. His novelette S Rozarkou (With Rozarka 1966) belongs to the early and the most productive period of his work (fictions from the 60-tieth) and represents one of two significant creative tendencies of the writer - he was focused more on the private problems, on a single relationship, destiny. Concurrently to that in a polyphonic narration with the book Nebyva na kazdom vrsku hostinec (There is not an Inn on Every Top Hill) he began to develop other socially - historical line, culminating in his collection of fictions Tazisko (The Locus). The study is an attempt to depict a narrative concept of the fiction, determining by two contra dictionary intentions. The narrator and the protagonist of the story took cares for an adult but mentally retarded sister Rozarka. Her condition cannot be (is not intentionally) determined. The empty space of silence is to be filled by something else not corresponding to the problem; almost half of the narration is filled with stories. Simple, private space, localized story of a brother and a sister´s sharing lives together became a source of themes which are foundational for the formatting principles of the narration; the fiction With Rozarka is in that way also a story about birth of a narrator who shares his experience coming from the difficult circumstances. Vincent Sikula developed in that novelette a unique variant of sentimentalism. His work is one of his creative climaxes and also it could be determined as regionally distinctive contribution to a Slovak version of 'sentimental maturing'. It is tendency putting together Sikula´s works with fictions of some of younger writers, e.g. Rudolf Sloboda, Pavol Vilikovsky, Dusan Kuzel, and Pavol Hruz.

9

PARADOXICAL ESSENCE OF THE STORY IN BALLA'S FICTIONS (Paradoxna podstata pribehu v Ballovych prozach)

75%

Jancovic I.

Slovenská literatúra (Slovak Literature)

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2010

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tom 57

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nr 2

105-124

EN

This paper looks at fiction techniques and their semantic implications in the texts of a Slovak writer Balla. The author explains the paradoxical essence of the story in Balla's works by means of the 'event's' nature being different from that of the subject matter's theme, going beyond the borderline separating the two distinctive semantic fields. Balla's texts demonstrate the impossibility of changing the protagonist's negative situation. The essence of the thematic problem is by its nature close to a theme less text that contradicts the usual story ness directed towards dynamic interaction between the subject and its surroundings. The static nature of the theme demands innovations in the text-producing process, while this also determines the process substantially. As the author's treatment of the theme does not allow for thematic detention, the stronger becomes the author's focus on procedures that are able to disintegrate disproportional thematic facets beyond straightforward verbalisation as well. In the frame of fictional semantics, the purpose is served by contaminating the fictional world with elements overlapping the 'real' dimension and exploiting the tex's metaphorical components. Besides the two mentioned procedures, the tendency towards a more developed fictional structure is manifested in Balla's work. If the story represents a medium of potential extension in Slovak cultural context, 'story' in Balla's texts means obstructing extension and in this way also the impossibility to experience the 'otherness' of existence in motion. As a result, the fiction provides minimal transitivity into 'trans textual' cathartic space. The ground for aggravated communication is the subject encircled in the causality of causes and effects, with an absence of the slightest hints concerning a breakthrough in his state. Thus the way to ease off the accumulated tension does not open by the text itself; but in contrary, it is necessary to step out of it.

10

FOLK AND PHILOSOPHICAL NATURE OF COMIC-TRAGIC DICHOTOMY IN OLEKSA STOROZHENKO’S SHORT STORIES ON COSSACKS

75%

Yankovska Z. , Iurieva O.

Slavica Slovaca

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2018

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tom 53

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nr 1

38 – 48

EN

The culture of laughter in every nation’s tradition, including Ukrainian, is characterized by its peculiarities. With its folklore roots, the comic of all kinds has been transformed into fiction. Such receptive relations are particularly close between folk oral tradition and the literature in the period of Romanticism. In this article, the authors are the first to analyse the interaction between categories of the comic and the tragic in featured short stories on Cossacks by O. Storozhenko. The research offers an attractive prospect for the further exploration of other O. Storozhenko’s works as well as for comparative studies of works by other authors’ in the indicated period.

11

CHANCE AS A SUBVERSIVE ELEMENT IN THE 1960S PHILOSOPHICAL AND AESTHETIC DISCOURSE (Nahoda ako subverzivny prvok filozofickeho a estetickeho diskurzu sestdesiatych rokov)

75%

Matejovic P.

Slovenská literatúra (Slovak Literature)

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2011

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tom 58

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nr 2

98-104

EN

The author uses chosen texts (philosophical essays) and films of the 1960s new wave as examples to demonstrate the function of chance serving as a subversive element in the philosophical and aesthetic discourse of that time. In particular he pays attention to M. Forman's film Cerny Petr (Black Peter), Vladimir Minac's essay Paradoxy okolo umenia (Paradoxes around the arts) and J. P. Sartre's piece of writing Marxism and Existentialism. As well as to chance he pays attention to the motifs of everyday life and authenticity, which used to be previously kept in the background - what used to be perceived as a marginal and non-systemic becomes a legitimate part of the theoretical reflection. In the conclusion the author states that the role of chance in the 1960 literature, art and film cannot be reduced to a sort of arbitrariness, or uncontrolled behaviour. Its function tends to be related to moments of playfulness and spontaneity, which at the same time review everyday life as a kind of creative potential present in film and literature as well as music and fine art.

12

D. GUSTI ON PROFESSOR SIN GERMANY IN THE WILHELMIAN PERIOD (D. Gusti a wilhelmianus Nemetorszag egyetemi oktatoirol)

63%

Paszka I.

Szociologiai Szemle (Sociological Review)

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2009

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tom 19

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nr 2

103-122

EN

Based on the autobiography of D. Gusti, the aim of this paper are twofold: a.) in relation to the relationship-network of the life path: the university years in the Wilhelmian period and the reconstruction of his memories about his professors; b.) in relation to the story the author was interested in which way he described his understandings, his preserved perceptions and experiences from this period, and whether he actually realized that his university years fell under the period of the revolutionary paradigm change of modern science. The double-aim coherence is elaborated along three place-time dimensions that correspond with Gusti's three narrative episodes of his study period (beginning period: Berlin, - middle period: Lipcse, - final period: Berlin). The theoretical-methodological considerations of the narrative story forms (autobiography, life story) require that the life path and the story should equally complement each other. On the one hand, in the case of Gusti's autobiography both in terms of structure and content, the episodes and the connected impressions and experiences from the university years are most of the time not personal self-reflections from his memory, but cited from outside sources, mainly published sources. This is due to the fact that during Gusti's university years his relationship to his reformer, paradigm changing professors was mainly formal, not a vivid dialogical relationship. On the other hand, his memories of Simmel's presenter rhetoric and sociological view reveal his actual interests that not simply refer his non-understanding of Simmel's insights, but to his non-interest in Simmel's irrelevant sociological thematic originating in his socialization and habit as Simmel's thematic is not applicable in that rural, modernizing and initial nation forming context in which Gusti was born. Gusti's autobiography is subjective and intentional, a self-representation serving to strengthen his personal identity-legitimization and at the same time, it is pedagogical and narcissistic. Besides all these characteristics of his autobiography, it cannot be considered as a singular type neither in terms of its structure, nor in terms of the length of the life term (first 25 years of his life), despite the fact that even Gusti called his undertaking as ,'auto-sociology'. His autobiography can be considered as a mixture of literary and non-literary narrative self-representation that contributes data to the understanding of the history of the society (fashion, behavior, mentality, morality, carrier model, etc.) in a given period.