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

Results found: 7

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  LITERARY SCIENCE
help Sort By:

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

LITERÁRNA VEDA A ZÁKONITOSTI

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2018
|
vol. 65
|
issue 6
419 – 446
EN
Over the years of its troubled evolution literature has shown a high degree of repetition: individual literary texts have mutually identical as well as different properties. What dominates in literary science is the structural, systematic and typological process of establishing patterns of regularity in form i.e. structural types, and the result of the process is literary forms, genres, movements and types of narrative structures, types of composition, chronotopes etc. Jakobson´s structuralism with its universal ambition establishes isomorphic phenomena typical of literature as a whole – it aspires to define literariness and poetic function through the model of its mechanism. In the course of its history literary science has attempted at formulating diachronic patterns. E.g. within Darwin´s theory of evolution Ferdinand Brunetière attempted to disclose the „laws and conditions controlling genre evolution“. The Darwinesque pattern is also used by Franco Moretti in the process of establishing patterns of competition of literary genres trying to acquire their share in the book market. What was formulated by Russian formalists as a pattern of literary evolution is the principle of tension between automatization and de-automatization of literary techniques. Then, there is Jakobson´s productive conception of invariants as a constant scheme in relation to fluctuations, variants. It focuses on investigating the different within the same (different variants in various literary works by the same writer) and the same within the different (invariants in different literary works by the same writer or different writers of the same literary movement). We analyse the methods of establishing patterns of repetition and schemes in selected literary scientific works: for instance in that by Northrop Frye the subject was repetition on the highest level – the whole literature seen as a specific system – to repetitions on lower levels of subsystems, where texts are grouped into particular classes, e.g. genres.
2

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
|
2008
|
vol. 17
|
issue 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.
3

THE NEED OF INTERPRETATION

100%
Koska J.
Slovak Review. A Review of World Literature Research
|
2005
|
vol. 14
|
issue 2
144-156
EN
The author asserts that it is necessary to create new interpretations of the literary texts. These interpretations (chiefly so called 'generational') do not lead to any final or complete interpretation of the literary works but, nevertheless, they conform the best to the needs of the particular historical context. Interpretation is an application. It is the impossibility and undesirability of the only and unique interpretation (unique result) that creates the difference between the literary scholarship and the exact sciences, where, on the contrary, one result is desirable. The results of the interpretative sciences are instrumental for discussion and fundamentally influence the whole social and historical process, and prepare new tendencies and new epochs.
4

'COGNITIVE LITERARY SCIENCE' IN A BIT DIFFERENT WAY...

100%
Suwara B.
Slovak Review. A Review of World Literature Research
|
2007
|
vol. 16
|
issue 2
44-56
EN
The study briefly reflects on the Slovak interest in cognitive science, in the cognitive research of language. It is conceived as a kind of polemics with the idea of cognitive literary science as a so-called hard discipline. The authoress of the study seeks the arguments for the polemics in the literary scientific research close to linguistics, cognitive/cultural linguistics, cognitive psychology and last but not least in the present direction of literary theory. The closest is the conception of the Krakow literary scholars which they call 'cultural theory of literature'. A reply to the hard research conception of 'cognitive literary science' are the examined transdisciplinary 'cognitive-literary symptoms', as for instance 'the modality of a literary statement', or the 'support points' of the common orientation in the literary events.
5

THE SCIENCE RESEARCH OF LITERARY SCIENCE (Vedny vyskum literarnej vedy)

100%
Mikulas R.
Slovak Review. A Review of World Literature Research
|
2008
|
vol. 17
|
issue Spec. ed.
67-84
EN
The author of the article expounds the problem of the complex reflection of literary science on the basis of science research. The science research of literary science is a multiperspective, interdisciplinary project that integrates the following planes: the plane of science theory, the plane of sociology of science and the plane of history of science. The science research claims to reflect scientific problems as well as offering respective solution offers on all planes. This theory failed, however, because of the unclear theoretical, methodological and terminological basis for the unification of the three fields. Above all it lacks the will to transcend disciplines in order to advance the project. The author of the article voices his own thoughts on this problem, saying the approach of science research, entailing multiperspectivity, integrativity and interdisciplinarity, is palpable although the science research itself has not gained the status as a discipline.
6

INTERPRETATIVIZMUS A LITERÁRNA VEDA

75%
Jančovič I.
Filozofia (Philosophy)
|
2016
|
vol. 71
|
issue 8
696 – 707
EN
The study deals with parallels and differences between interpretivism as a method of social science on one hand and literary interpretation on the other. Firstly, the author briefly outlines the essentials of interpretivism in social knowledge and shows some specific items of literary interpretation. The next parts of the study pay attention to two contemporary methodological approaches in literary science: Siegfried J. Schmidt’s empirical approach to literature and Franco Moretti’s abstract models of literary history. Both approaches instead of habitual considering a text to be the central object of interest enrich research areas of literary science with new sectors and get closer to the objects of interpretivism in social sciences.
7

DESIGN JAKO LITERÁRNĚVĚDNÝ POJEM?

75%
Janoušek P.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 2
160 – 170
EN
In relation to his book Černá kočka aneb Subjekt znalce v myšlení o literatuře a jeho komunikační strategie (A Black Cat or The Subject of the Expert in Literary Thinking and His Communication Strategies, Praha, Academia 2012), the writer of the article suggests incorporating design as a concept into literary thinking. He builds his opinion on the fact that literary scientific speeches are not only meant to communicate ideas and contents but also to present and represent the speaker in front of the literary scientific community. Literary experts therefore naturally need to consider what they say as well as how they say it: to find means of expression which will be regarded by the potential recipients as appropriate or even progressive. It is true that the term design, which denotes this speech function, places accent on the uniqueness of an individual speech but it reflects also a collective conformity because it counts on mechanisms of identification, automatization and embellishment. If it was recognized, the term would make it possible to analyse a number of literary text features ranging from the choice of the subject, genre and appropriate language to terminology, citation method as well as the choice of the ideas and the people that the speaker makes references to as those who he/she respects or challenges. There also appears a possibility to characterize the design of individual literary schools, methodologies and approaches. In this context the writer himself defines three essential types of literary design, which he names traditional or naive design, methodological design and conceptual design. His focus of attention is on detailed characteristics of the mentioned designs and the ways they have developed in literary thinking in the course of time, and they overlap with current literary scientific practice. And no matter how these types have related to each other in history, the writer holds the opinion that in the future their conscious coexistence will be necessary and useful because that is what creates space for grasping such an unintelligible and complex thing like literature.
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.