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1

FIGURA MODERNÍ MELANCHOLIE A JEJÍ INVENTÁŘ: INTERMEDIÁLNÍ INTERPRETACE JEDNOHO JIRÁSKOVA OBRAZU

100%
Fedrová S.
Slovenská literatúra (Slovak Literature)
|
2014
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vol. 61
|
issue 5
410 – 428
EN
The assumption of the present study is seeing melancholy as a complex mood which becomes steady in a cultural context or atmosphere (Gernot Böhme) i.e. a prearranged cultural and cognitive or even perceptive scheme rather than as an individual emotion or an immediate psychic experience. This concept thus needs to be seen in its particular historicity, the transformation of the visual depiction of melancholy in the second half of the 18th century must be understood in the context of the contemporary philosophy and aesthetics of sentiment focused on subjective emotions and connected to man´s meditation in natural environment, to key cultural concepts such as the notion ´sensibilité´ (Frank Baasner). The interpretation of an extract from the „new chronicle“ called U nás /In Our Place, 1899/ by Alois Jirásek shows the writer´s process designed to evoke a scene having a certain mood which makes the reader visualize the scene by means of vivid images in the text itself as well as medial overlaps. Doing this, Jirásek refers to literary schemes as well as traditional schemes of fine art. Besides the intertextual references, he layers intermediary inspirations of his own writing process and his text is shown in double historicity, i.e. in developing the theme of a particular historical period and in being anchored in a particular aesthetic atmosphere: the character of a female reader with her head bowed and a book in her lap and the memoir "staging" of a Watteau-like shepherd scene both reflect the visualization of melancholy based on the aesthetics of sentiment, which is in line with the contemporary aesthetics of the fictitious world of the chronicle, i.e. the peak of Czech Classicism in the 1820s. And this visualization is overlapped with a new visual melancholy type coming from the times when the chronicle was published, closely related to natural scenery and the ´birch´ theme, which was established in the contemporary fine art of the late 19th century.
2

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

63%
Jedličková A., Fedrová S.
Slovenská literatúra (Slovak Literature)
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2010
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vol. 57
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issue 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
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Konec literárního špenátu aneb Popis v intermediální perspektivě

63%
Fedrová S., Jedličková A.
Česká literatura (Czech Literature)
|
2011
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vol. 59
|
issue 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.
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