WILL THE 'MUSICONYMS' BELONG TO ONOMASTICS? (Budu v onomastike aj muzikonyma?)
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The author analyses a place of 'ideonyms' (proper names of spiritual life e.g. a picture, literary work, musical composition) in the structure of proper names. The analysis of these names, utilizing the theory of 'transonymisation' (R. Sramek), leads P. Zigo to a proposal to specify, along with 'literaronyms' (titles of literary works), a group of 'musiconyms' (titles of musical works). Concerning the musiconyms, he compares their semiotic structure (composer, author of the text, interpreter and adaptation) with a structure of literary work (an author of a text). Analyzing means of expression he points out the differences in the semiotics of a work of art which in the case of musiconyms needs a larger connotation potential of their recipients (examples: Romeo and Juliet as a title of classic literary work, opera, ballet and popular song; Fedora - opera and popular song, Tereza - opera and popular song; musiconyms like Svatopluk - epic poem by J. Holly and opera by E. Suchon, pairs created in transonymisation Peter and Lucia (literary work and opera of M. Bazlik), Eugen Onegin (poetic work and opera) or musiconyms motivated with historical events and bounded with a particular locality (Vltava, Tabor, Blanik).
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