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1

NEW NOVEL AND MATHEMATICS

100%
Lem S.
Slovenská literatúra (Slovak Literature)
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2007
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vol. 54
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issue 2
104-114
EN
The author in the study demasks false analogy of a genre of new novel with a mathematical creating process as it was proposed by some theoreticians. New novel according to the theoretical assumptions of the representatives of the theory replaces a function of copying reality by a function of constructing autonomous system of the denotations and that way it is similar to the mathematical creative work. Mathematical deduction consists of basic set of the elements and their transformations (operators). In the novel of Robbe-Grillet 'Dom schodzok' (The House of Meetings) there is no relationship between the elements and operators in the sense of explicit correlation: nuclear scenes belong to the elements and among operators there is a rule of connecting single events into phases having a character of a snipe. Vertical operator is a rule of connecting the sets of events in a way so that what differs in reality from one another by the categorical levels in a novel can co-exist. The antinomic effects are results of it as the versions of events stand side by side one another even in contradiction. However, this construction is not an equivalent to autonomy of a mathematical construction: relationships that in the mathematics can connect a set of the denotation elements with a set of the operators never exist by chance. But the Robbe-Grillet's operators as well as the places of their application to 'a story' could be radically exchanged and that way a new text can be created not different from the text of 'Dom schodzok' as far as it is equipped by analogical entropy because the systems with an analogical degree of disorderliness are informationally equivalent. As a sense of the operators cannot be defined by connection to a sense of the events, the semantic integration of a text must be replaced by formal integration. However, reader cannot resign on the reference of the designations to the fragments of reality. In consequence of it, breaking the course of the work with 'informing' tradition seems to be a postulate not a result. If a text includes a structure that can refer as a model to the phenomena outside of the work that means that the structure works as an element contains denotation that is not empty. In that case the work is a communicator (creates a message). The more original operators are the more stereotype must be a foundational set of the scenes on which the operators are applicable.
2

PLATÓNSKÉ VLASTNOSTI PRVKŮ V TZV. FIGURA SOLIDA K ISIDOROVU DE NATURA RERUM XI, 1

100%
Otisk M.
Filozofia (Philosophy)
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2022
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vol. 77
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issue 6
408 – 426
EN
Isidore of Seville in On the Nature of Things XI, 1 presents the threefold nature of the four elements: fire is acute, subtle and mobile; air is subtle, mobile and obtuse; water is mobile, obtuse and corpulent; earth is obtuse, corpulent and immobile. This (Neo-)Platonic teaching on elements is based on Plato’s dialogue Timaeus. Isidore’s On the Nature of Things was relatively often copied in the middle ages. In many manuscripts we can find an illustration to the part XI, 1 of the treatises, usually called the figura solida (according to geometrical ratio), demonstrating the aforementioned qualities of all four elements. The depiction of the figura solida is very different among the surviving manuscripts. The paper focuses on various drawings of the figura solida in the manuscripts. The main aim of this paper is to show how these various versions of the figure can be interpreted (especially within the context of Calcidius’ commentary to Timaeus) as an illustration of Platonic teaching on the nature of the elements.
3

Тело дионисийское в творчестве русских символистов

100%
Cymborska-Leboda M.
Slavica Wratislaviensia
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2011
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vol. 153
289-299
EN
In the first part of the article, the author discusses the function and meaning of the category of the (Dionysian) body in Thus Spoke Zarathustra and shows the significant presence of Nietzschean impulses (the body–dancer concept, the vision of the woman and other) in Russian Symbolists’ poetic thinking about the body and corporeality (V. Briusov, F. Sologub, A. Blok). The second part of the article provides a contextual interpretation of dance as an ecstatic whirl and as a creation of a symbolic I–You (man–woman) relationship in A. Blok’s cycle of poems entitled Zaklatie ogniom i mrakom. The author reveals the overt and implicit reminiscences of Zarathustra’s “Second Dance-Song” and analyses the image of the body and the meanings of corporeality in Blok’s poetry.
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