Wyniki wyszukiwania - Biblioteka Nauki

1

IT IS ONLY A MATTER OF STYLE: HOLLYWOOD AND THE MYTH OF AMERICAN CULTURAL INFLUENCE IN POLAND

100%

Lewandowski T.

Stylistyka

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2006

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tom 15

399-408

EN

The paper deals with the perceived hegemony of American mass culture in Poland and its effects on young people. It is argued that the supposed 'Americanization' of Poland through Hollywood films does not constitute any serious threat to Polish national identity, and in fact has little to do with any genuine American cultural influence. Rather, it amounts to the passing adoption of American styles. Explaining that Hollywood is an internationally owned and operated force that works more to appeal to the tastes of the worldwide audience than America's, it is concluded that the globalization of American cinema is more a threat to the U.S.A. national identity than that of other countries. Additionally, the fact that many Americans such as right-wing politicians and conservative Southerners and Midwesterners have viewed Hollywood antagonistically from its inception, indicates the degree to which it should not be considered as representative of American culture or the nation as a whole. Likewise, the content of Hollywood's films has almost nothing to do with the reality of the country it happens to rest in. To illustrate the point that Poland does not suffer from Americanization, American and Polish national characteristics are detailed to demonstrate the vast differences between the world views and cultures of these two nations and peoples. Ultimately, it is suggested that there has been no significant internal cultural impact on Polish youth due to contact with American entertainment, other than on the surface in the form of fashion and appearance. Also, they are becoming more and more derisive of American mass culture as time passes. Therefore, core Polish attitudes have not become more American and the Polish culture, which has survived so much in the past, has very little to fear from the vapid Hollywood fantasy land a continent away.

2

STIL UND BEDEUTUNG: ÜBER KONKURRIERENDE RENAISSANCEMODELLE IN DER POLARISIERTEN WELT DES KALTEN KRIEGES

100%

Kodres K.

ARS

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2015

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tom 48

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nr 2

118 – 135

EN

The main subject of this article is the texts of Soviet (and Soviet Estonian) art historians to Renaissance art at the time of Stalin to the thaw period - the period of the Cold War in the years 1945 - the 1965. They are compared with the texts that have been published on the opposite side of the iron curtain. The renaissance art history of both ideological camps had many similarities, because the treatise framework has been formed by the artistic discourse developing in the West since the 19th century.

3

Features of literary trends as a possible principle of investigation: The history of literary trends as an applied discipline

100%

Szabo Z.

Magyar Nyelvor (Hungarian Language Guardian)

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2004

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tom 128

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nr 1

23-36

EN

The aim of this study is to present 'stylistic features' of literary trends as a new principle of stylistic investigation. In this view, these features serve as a reflector by means of which stylistic phenomena can be put in a new light. In other words, they represent new principles for the inquiry into stylistic facts belonging to various branches of stylistics. By way of this inquiry, we can deepen our understanding, we can penetrate into their latent 'content', and we can complete our knowledge of them obtained so far by other criteria, in terms of other approaches. For instance, by introducing such 'features' into the stylistic analysis of a literary work, our knowledge of the analysed work is enriched, and this 'addition' contributes to a better understanding and to a more profound interpretation and evaluation of it. In this way, one of the most neglected branches of stylistics, the history of literary trends (the history of literary style) can be considered as an applied discipline, and by way of this new aspect its importance may increase. In discussing these problems it is to be stressed that in this initial phase the question at issue, the possibilities offered by the history of literary trends, have to be judged as a working hypothesis; consequently, biassed exaggerations (unfounded refusals or undesirable overrating and misunderstanding) should be avoided. The structure of the study answers the purpose, the intended discussion of 'stylistic features' from various points of view. The first section deals with the problems of the subject-matter joined with the concept of literary trend, several matters of the history of literary trends and those of the underlying theory, i.e., textology. The following three sections present a survey of 'features' belonging to three branches of stylistics: stylistic evaluation, stylistic analysis, and style typology. The main task for the near future is to reveal stylistic universals, as many as possible, and to find invariants in the mass of stylistic variants, in the great variety of stylistic features of literary trends.

4

LOOKING FOR THE CONCEPT OF STYLE (1753 – 1953)

100%

Bakoš J.

ARS

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2020

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tom 53

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nr 2

99 - 111

EN

A number of authors have written about the history of the concept of style, one of the key formulating concepts of art history. Those deserving special mention here are Jan Białostocki (‘Styl’, in: BIAŁOSTOCKI, J.: Historia sztuki wśród nauk humanistycznych. Wrocław-Warszawa-Kraków-Gdańsk 1980, pp. 36-55), Willibald Sauerländer, (‘From Stilus to Style: Reflections on the Fate of a Notion’, in: Art History, 6, 1983, no. 3, pp. 253-270), Carlo Ginzburg, (‘Stil. Einschließung und Ausschließung’, in: GINZBURG, C.: Holzaugen. Über Nähe und Distanz. Berlin 1999, pp. 168-211), and Robert Suckale (‘Stilgeschichte’, in: Kunsthistorische Arbeitsblätter, 11, 2001, pp. 17-26). The present study is an attempt to map in greater detail the efforts of several generations of scholars to define style, starting with the ‘discovery’ of the history of style in the mid-eighteenth century and ending with the crisis that ensued after the end of the Second World War.

5

STILUM VERTERE. ON THE EXPLORATION OF STYLE (Stilum vertere (O zkoumani stylu v literarni vede))

100%

Staskova A.

Slovak Review. A Review of World Literature Research

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2008

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tom 17

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nr Spec. ed.

110-130

EN

The confrontation of German, French and partially Czech (structuralist) traditions enables one to come to a notion of style, which is suitable for historical exploration and suits the present demands on reflecting on the terms in literary science. However, one has to admit that the exploration of style belongs to non-propositional forms of knowledge. Consequently, some results of literary analysis of style will always be liable to correction. It will always be bound to a 'personality' of the author as well as the interpreter. The notions of personality, as well as the notion of divination, are time-conditioned constructions. Both do not discredit the analysis in any way. On the contrary, the present development in the exploration of literary periods demands a style analysis accompanied by an appropriate reflection.

6

Z AKTUÁLNYCH ŠTYLISTICKÝCH OTÁZOK ŽURNALISTICKEJ ŽÁNROLÓGIE (NAJMÄ NA POZADÍ KNIHY I. JENČU ÚVOD DO TEÓRIE ŽÁNROV)

100%

Mlacek J.

Slovenská reč (Slovak Language)

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2016

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tom 81

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nr 1-2

39 – 54

EN

The base of author’s contemplation is Jenča’s publication titled „Úvod do teórie žánrov – The Introduction into the Theory of Genres“ which consists of the analysis of several Slovak stylistic conceptions. The goal of this paper is a revaluation of Jenča’s approach compared to other existing stylistic theories (the older or current ones). The author follows Jenča’s interpretation, stresses and modifies it for purpose of a complex journalistic genre theory.

7

FORMULA IN LITERARY TALES

100%

Pacalova J.

Slovenská literatúra (Slovak Literature)

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2007

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tom 54

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nr 2

81-103

EN

The intention of the study is in the background of the stylistic and functional characteristics in realisation of the captions and closings in the literary tales of the 19th c. to point out those features of the compositional mean that we could evaluate as a specific for the literary tales of the mentioned period. The authoress analysed the captions and closings in the tales of three collections of the tales published in the 19th c.: 'Slovenske povesti Jana Francisciho' (Slovak Fables by Jan Francisci, 1845), 'Slovenske povesti Augustina Horislava Skultetyho and Pavla Dobsinskeho' (Slovak Fables by Augustin Horislav Skultety and Pavol Dobsinsky,1858-1861) and 'Prostonarodnych slovenskych povesti Pavla Dobsinskeho' (Folk Slovak Fables by Pavol Dobsinsky, 1880-1883). In the stylistically functional analysis the authoress regarded the way how the formula were presented in the folk proses (resource: so called Wolman's catalogue of folk tales). The realised comparative analysis results in information that formulas in the literary tales differ from the formulas in the folk tales by higher degree of stylisation filling the formal frame of a formula with new original content, increasing and advancing functionality of a formula (formula as a poetic decoration, folk artefact). Also within particular collection the authoress recorded the differences in the stylistic level and functional presentation as well as a generic determination. These differences concern extension of the collection, their generic content, way of literary genesis of the texts and goals followed by their editors. While e.g. Francisci's collection reflects generic representation of the formula the same as we can find in the folk tales, Dobsinsky's collection illustrates a wide scale of formula creational methods. The rhetoric formula are the most interesting, as in their cases it is possible to demonstrate very clearly differences between folk and literary way of framing the tales.

8

Тело, телесность и авторский стиль Валерии Нарбиковой

88%

Maeda S.

Slavica Wratislaviensia

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2011

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tom 153

399-405

EN

Contemporary Russian writer Valerija Narbikova, who published her first novel in 1988, is regarded as one of the best representatives of the so-called “another prose,” which became a new trend in Russian literature of the eighties. The destruction of literature norm became a characteristic of “another prose”: the writers were not interested in heroes anymore but rather in the ordinary people with their daily routine and everyday problems. Many Soviet people tried to escape from their absurd lives going to the theater and cinema, and reading books. The writers of the eighties who were deconstructing the Soviet “reality” became a kind of revelation for many of those people. Narbikova thought that Soviet actuality was absurd, and constantly criticized the Soviet inhuman system. Her style reflected her thought. Thus, she often uses inversion to describe the contradictions of the Soviet system; she often gives a detailed description of ugly human bodies, filthy streets with lots of garbage, sexual intercourse with the help of pun, euphemisms and metaphors.

9

Authenticity of the Alcibiades I: Some Reflections

88%

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.

10

Filón de Biblos y la imaginación literaria: la naturaleza retórica de la Historia fenicia

88%

RODRÍGUEZ HORRILLO M. Á.

Eirene. Studia Graeca et Latina

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2012

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tom 48

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nr 1-2

162-174

EN

The fragments of Philo’s 'Phoenician History' have a content that the research on Eastern mythologies seems to confirm. However, the way in which Philo affirmed he found such information, as well as the euhemerist perspective the fragments present, have led no little suspicion about its authenticity. In order to clarify this paradox, we explore the literary nature of these fragments, trying to link these fabulous features to the literary essence of historiography in this period, in which accurate information could be presented as invented. The examination of the style led us to conclude that it imitates the features of the archaic Greek literature, in order to recreate the great literature of other times creating something new. Also, the fabulous circumstances of the discovery of the lost work of Sanchuniathon acquire their significance as a literary prologue that facilitates the reader’s understanding of the two-level lectures that presents the 'Phoenician History'. So, Philo creates a literary work that imitates the stylistic characteristics of the ancient Greek mythical genealogies, also presenting genuine contents of the Eastern mythology.

11

MODALITY AUTORSKÝCH RECEPČNÝCH VPLYVOV

88%

Ballay M.

Slovenské divadlo (Slovak Theatre)

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2011

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tom 59

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nr 3

235 – 244

EN

In a generalising fashion, the author examines a set of reception influences of the author theatre. He finds multidimensional expressiveness of a dramatic piece structure in contemporary author theatre styles. Using several examples, Ballay examines expression range of reception influences of contemporary Slovak author theatre at the levels of the word, of the actor’s role, direction, incidental music, visual considerations, and theatre production texture and of the stage synthesis per se. However, the conclusions of the study would not provide a sweeping overview of the current state of contemporary author theatre in Slovakia. They are to be understood as a theoretical sketch of the vital phenomena within this context.

12

Retoryka erotyzmu w prozie Milana Kundery

75%

Skibska A. M.

Bohemistyka

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2016

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tom 16

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nr 1

19 - 50

EN

In the essay, I make an attempt to explore a question of style, derived from Nietzsche’s discourse devoted to a figure of woman. Re-written subsequently by Derrida, the discourse itself turns out to be organized around the convoluted rhetoric events which are to reveal and at the same time conceal the representation of woman in both languages: of philosophy and of literature. As is well known, Kundera’s novels and essays consist in a significant and sometimes ambivalent confrontation occurring between these two languages, which also result in feminine characters’ construction often subordinated to the dominant rhetoric of eroticism. Furthermore, this rhetoric determines the dualistic perspective regarding the lovers’ relationships, according to which the image of woman is considered on different levels (i.e. as a reduction to the bodily ego, or emotional drive acting between sex and sublimation, etc.), which, however, always refer to the figurative procedure of transformation.

13

BIEDERMEIER. UMĚNÍ A KULTURA V ČESKÝCH ZEMÍCH 1814 – 1848. OTÁZKA ŠTÝLU

75%

Beňová K.

ARS

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2009

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tom 42

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nr 2

351-354

EN

The article offers information on the exhibition 'Biedermeier. Art and Culture in the Czech countries 1814 - 1848' and the resulting extensive publication (527 pp.), both organized and published in 2008. It presents basic insight according to the logical structure of the publication: Predispositions and Roots, Applied Arts and Life-style, Biedermeier in Fine Arts and Tradition and Modernity and the Catalogue comprised of approximately 700 entries.

14

STRUCTURE OF BASAL PSYCHICAL SELF-REGULATION AND PERSONALITY INTEGRATION IN RELATION TO COPING STRATEGIES IN DECISION-MAKING IN PARAMEDICS

75%

Jurišová E. , Sarmány-Schuller I.

Studia Psychologica

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2013

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tom 55

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nr 1

3 – 17

EN

The aim of the study was to find: 1) the relationship between the basic components of the basal mental personality integration (cognitive, emotional, regulatory and adjusting variability), factors of general personality variability (general mental arousal, motoric dynamics) and styles of coping with decisional conflict in decision-making (vigilant, hyper-vigilant behaviour, buck-passing and procrastination) in paramedics, 2) stability, or variability of occurrence of identified relationships among paramedics with the different length of experience. Sample: 134 paramedics, age: 22 – 51 years, AM = 33.22, SD = 6.26. Methods: Melbourne Decision-Making Questionnaire, MDMQ (Mann et al., 1997), Questionnaire SPARO (Mikšík, 2004). Results: Significant relationships between components and factors of mental integration (emotional and regulatory invariability, lower mental arousal) were found. Their integration forms a “calm, mentally stable and resilient personality type” and the choice of hyper-vigilance and defensive, avoidance strategies: procrastination and buck-passing. The results are interpreted within the context of the personality concept “basal psychical self-regulation and integration” of Mikšík (2004), the theory of conflict by Janis and Mann (1977) with regard to the specific research set (working in stressful conditions, team character of work and typical personality characteristics of paramedics: performance orientation and high need for praise). Apparently, to understand the behaviour styles of paramedics in decision-making it is necessary to consider the aforementioned occupational and social aspects.

15

PERSONAL NEED FOR STRUCTURE, COUNTERFACTUAL THINKING AND DECISION MAKING IN WOMEN

75%

Prokopčáková A.

Studia Psychologica

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2014

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tom 56

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nr 3

181 – 198

XX

The aim of the study is to clarify the mutual relationships between personal need for structure, counterfactual thinking and decision making styles. The research sample comprised 76 university students. The following scales were administered: Personal Need for Structure (PNS), Melbourne Decision Making Questionnaire (MDMQ), Decision Making Style Questionnaire (DMSQ) and Counterfactual Thinking Questionnaire (CT). Results revealed that personal need for structure and its sub-factors do not affect an individual’s behaviour in the decision making process, but they do affect the decision making style when it comes to the desire for structure or the response to the lack thereof. A strong desire for structure is more related to a more frequent use of rational and dependent decision making style, while a weak response to the lack of structure is related to a more frequent use of the intuitive decision making style and less frequent avoidance decision making style. Additionally, the results show that counterfactual thinking characteristics are related mainly to maladaptive styles of decision making behaviour.

16

CONTENT AND FORM IN LATVIAN ART THEORY IN THE FIRST THIRD OF THE 20TH CENTURY (Satura un formas attiecibu traktejums latviesu makslas teorija 20. gs. pirmaja tresdala)

63%

Pelse S.

Makslas Vesture un Teorija

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2006

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tom 5

31-35

EN

The idea of content and form being two separate components of the artistic image is a rather ancient legacy of European art theory. The origins of the notion of form can be found in classical sources; in a simplified way, content is what the artwork is 'about' and form relates to 'how' this content is made manifest. As noted by the Polish aesthetician Wladyslaw Tatarkiewicz, form can have at least five meanings. Form as opposed to content is only one possible reading; another no less important sense is the interpretation of form as the relationships of parts and their proportions. In the local art-theoretical material both the above-mentioned senses of form (form as style and form as relationships of parts) are largely blended together, speaking at the same time about perceptible formal qualities and the modes of their arrangement. Early 20th century theoretical thought is largely concerned with lessening the significance of content in art, especially 'significant' content as promoted by the academic tradition. It was replaced by everyday subjects considered equally significant by artists who stressed form as embodying the unique vision of the individual. From a Marxist viewpoint, symbolism was termed formalist although it is rather content-based in the context of other 20th century trends. In the early 1920s, when an open clash broke out between the 'old' academic art and the Riga Artists' Group, young artists tended to stress the importance of form, seemingly diminishing the role of content. The local scene was typified by the search for a midway between 'traditional' and radically innovative form, denouncing both the imitation of nature by 'old means' and 'contemporary' form lacking any deeper content.