Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Rytmus a smysl v lyrice

100%
Jiracek P.
Česká literatura (Czech Literature)
|
2007
|
vol. 55
|
issue 3
301-343
EN
Bohumil Nuska points out the predominant limited conception of rhythm, which is usually linked only with acoustically symbolized and aurally perceived rhythms, while the rhythms that are optically symbolized and visually perceived are utterly ignored. In lyric verse, the double, parallel mental construction, which stems from the opposition of syllable and morpheme as constituents of a higher construct of the word, creates parallel lines of mixed mental spaces of linear and non-linear rhythms (the rhythm of verse, the rhythm of the situation; the atmosphere of the verse, and the atmosphere of the situation). Shared abstract structures in generic spaces within individual mixed spaces of lyric rhythm are shared axiological structures, represented at the highest level of abstraction by tension and relaxation (detension). The dynamic nature of these structures stems from the asymmetric distribution of tension and relaxation with regard to the dualistic symmetrical model of the axiological system. And thus deviations from its axial scheme emerge, creating these four parallel rhythmicized lyric structures (in terms of form). Similarity amongst the individual mixed mental spaces is only possible in a fractal dimension. In this theory, presented as a working hypothesis, it is assumed that the forms of the rhythm of the verse, the rhythm of the situation, the atmosphere of the verse, and the atmosphere of the situation, will be similar to each other, and their fractal mutual similarity emerges from the text.
2
Content available remote

Tělo a verš

100%
Jiracek P.
Česká literatura (Czech Literature)
|
2005
|
vol. 53
|
issue 1
1-40
EN
In the twentieth century the phenomenon of the subjective body was integrated into ontology in philosophy, moving from Phenomenology to Existentialism. The rediscovery of the body and affect as a way of thinking also led contemporary cognitive science to the topic of the relationship between emotion and cognition, to the necessity of expanding the model of the mind and of experiencing emotions and physical sensation. The extension of the explanatory possibilities of a scholarly metalanguage into the area of the emotions and physical sensation is also important for the analysis of the acoustic aspect of lyric verse. In the acoustic flow of verse, the sounds of language have, apart from a phonemic function, their own sensuous (emotional) effect of the articulating body. In literary studies so far the acoustic flow has been interpreted only at the segmental level as a sequence of phonemes or sounds (for example in constructs of acoustic succession, phonetic instrumentation, or phonetic composition). At the suprasegmental level the acoustic flow must be conceived of as a sequence of syllables, a sequence of articulated phonations, the semantic movement of the phonemic flow. A syllable has no semantic value, but does have an experiential form, which influences motivation, behaviour, and experience. In addition to sonic and tonal modulation at the suprasegmental level, qualitative modulation, modulation of timbre, and the sequences of tones and of noise are also employed. In modelling the semantic movement of syllables in a phonemic flow the methodological approaches of experimental psychosemantics have been used. Connotational objectivization took place in three dimensions that were polarized on the basis of domestic and alien, light and darkness, activity and passivity, and research was conducted with a sample of 2,800 respondents. The analysis of the acoustic side of lyric verse would be incomplete if in addition to accentual rhythm and melody we did not also consider qualitative modulation, the semantic movement of the phonic flow. At the segmental level of verse, phonemes are semantically completed by the lexical meanings of words. This semantic process is parallel to the semantic process of the phonemic flow, but apart from the metrical correspondence between them there is no causal connection, only similar semantic content. In addition to the semantic movement of the phonational flow and the semantic saturation of phonemes, the dynamic of the acoustic process of verse completes the phonic line of the verse, which in itself links occurrences of sonic and tonal modulation.
3
Content available remote

České hlásky ve versologických metaforách vzestupnosti (jambu) a sestupnosti (trocheje)

100%
Jiracek P.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
|
2008
|
vol. 69
|
issue 4
268-284
EN
Subjectivity in the rhythm of a lyrical idea is manifested in two different, yet parallel rhythmic spaces. The more passive and sensually objectivized linear rhythm of a lyrical idea, which is created by the movement of perception in the opposition of positive-value (upward-outward) and negative-value (downward-inward) spatial orientations (i.e. in iamb and trochee metaphors). More active and emotionally subjectivized is the space of the non-linear rhythm (atmosphere) of a lyrical idea, which is formed by the movement of perception in the opposition of positive-value (pleasant-lightly temperamentally colored-active) and negative-value (unpleasant-darkly temperamentally colored-passive) emotive orientations. This article continues in the tradition of the author's research on the emotive perception of Czech phones and it examines, using a set of 400 Czech speakers, whether we can administer the 'syllabic' metaphors of iamb and trochee at the level of the phoneme.
4
Content available remote

Rytmus českého lyrického verše v psychosémantických experimentech

100%
Jiracek P.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
|
2006
|
vol. 67
|
issue 4
243-261
EN
The empirical basis of this article is a part of extensive psychosemantic research involving more than 3000 speakers. The first section attempts to objectivize the relationship between a word's communicative dynamism and its acoustic accentuation. Using psychosemantic methods, it is shown that a word which is communicatively dynamic is always additionally perceived by the subjects as accentuated acoustically. Further psychosemantic experients monitor the influence of rhythmic quality on the process of the phonic line of the verse. The intuitive base for determining the rhythmic quality of words in lyrical representation is also noted. In lyrical theory, the emotive-value (rhythmic) logic of lyrical representation is nearly lacking in scientific reflection. The third section presents the results of research on the rhythmic quality of Czech phonemes, employing Roman Jakobson's definition and Lakoff and Johnson's concept of metaphor. Among 400 Czech speakers, the Czech phonemes are valuepolarized in a psychosemantic field of space-oriented metaphors and distinctive opposites. These findings are then applied to experiments tracing the influence of the rhythmic qualities of phonemes on the phonic line of verse and revealing the parallel existence of rhythmic qualities of words and syllables in the acoustic accentuation of the phonic line of verse.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.