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:  LYRIC VERSE
help Sort By:

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

Fikční světy lyriky J. H. Krchovského

100%
Turecek D.
Česká literatura (Czech Literature)
|
2006
|
vol. 54
|
issue 2-3
314-322
EN
An article developing the interpretation of the texts of J. H. Krchovsky (in correlation with their possible reception) towards more general thoughts on the mechanisms of reception and possibilities, including an exemplary reference to perspective in considering the verse of Vitezslav Halek, and a conclusory analogy between the rhythmic form of Krchovsky's texts and the Parnassian rhythmic structure of Jaroslav Vrchlicky's verse. The article also seeks to establish a link between the thematic level of Krchovsky's poems and Jan Neruda's verse collection 'Hrbitovni kviti' (1857) and the style of Decadent and underground poetry
2
Content available remote

Pojmy v pohybu : K Červenkovu setkání lyriky s fikčností

100%
Kubinova M.
Česká literatura (Czech Literature)
|
2006
|
vol. 54
|
issue 2-3
148-159
EN
In his 'Fikcni svety lyriky' (Fictional Worlds of Lyric Verse, 2003) Miroslav Cervenka used the term 'fictional world' unconventionally and considered lyric verse, whereas in literary studies at the time it was being employed particularly to consider narrative genres. Consequently, the concepts opened right up: the question of the special world of lyric verse has now resulted in a general topic of the subject, and the means of its mediating discourse refers, among other things, to the broader topics of the implicit and the inferred. The ontological distinctness of the two subjects, the lyric subject and the subject of the work, which are jointly implied in the work, has led then, among other things, to a thorough consideration of the function and boundaries of the fictional world, and here Cervenka sees one of the instruments of the overall aesthetic game and contemplation.
3
Content available remote

K hledání hranice, kdo kde co v lyrice mluví

100%
Bilek P.
Česká literatura (Czech Literature)
|
2006
|
vol. 54
|
issue 2-3
140-147
EN
An article developing the long-standing debate between the author and Miroslav Cervenka about the 'limits of the lyric subject from the point of view of its potential for expression', and presenting an overview of Cervenka's analysis of the concept of the 'lyric subject' in relation to the concepts of 'person', 'subject', 'persona' and also offering its own answers to the question.
4
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.
5

Béla Balázs: Über lyrische Sensibilität

88%
Kerekes A.
Estetika: The Central European Journal of Aesthetics
|
2011
|
vol. 48
|
issue 1
81-111
EN
In comparison with his art criticism, verse, and screenplays, Bela Balazs's (1884-1949) writings on aesthetics and the history of genres have received little attention. His essay 'A lirai erzekenysegrol' (On lyrical sensibility) consists of lectures that were heard in the extracurricular series Freie Schule der Geisteswissenschaften (Open School of the Humanities), which was established in Budapest, in 1917, by the Sonntagskreis (Sunday Circle) discussion group, whose members included Georg Lukacs, Karl Mannheim, and Arnold Hauser. In these lectures, Balazs describes the development of lyric verse, culminating with Goethe, as being a process distinguished by an emerging distance and complexity in the relationship between the human soul and nature. This change, resulting in a gradual growing apart of religion, the arts and science, and Romantic utopia, has meant that lyric verse may have gained in subject matter, but these newer topics are no longer manifested as an 'extension of the soul', but as a sign of the increasingly intense feeling of loneliness amidst alienated reality. Balazs's approach to questions related to the history of genres evokes social-historical contexts, and is typical of comparable approaches taken by the thinkers of the Sonntagskreis. They too were determined to capture the singularity of each work of art by questioning the special features of the times or the continuous development of genres.
6
Content available remote

Dvě úvahy o poezii a próze

75%
Haman A.
Česká literatura (Czech Literature)
|
2006
|
vol. 54
|
issue 2-3
98-102
EN
An essay developing ideas of Miroslav Cervenka (sequentiality in the epic/simultaneity or association in lyric verse), Tzvetan Todorova (the transparency/opacity of the spoken word), and Gerard Genette (fiction/diction; the thematic/the rhematic) on features constitutive for conceptual distinctions between fiction and verse.
7
Content available remote

Červenkova teorie lyrického subjektu

75%
Piorecky K.
Česká literatura (Czech Literature)
|
2006
|
vol. 54
|
issue 6
31-55
EN
This article considers the development of Miroslav Cervenka's ideas on the theory of the lyric subject and communication in lyric verse. He did not lay the foundations of this theory till his dissertation, 'Vyznamova vystavba literarniho dila' (The Semantic Structure of a Work of Literature), in which he defines the lyric subject as one of the semantic complexes within the overall structure of the work. Although Cervenka never completely abandoned this conception, which stems from a structural and semiotic paradigm, he gradually added to it with impulses from other ways of thinking about literary studies. In the article 'Individualni styl a vyznamova vystavba literarniho dila' (Individual Style and the Semantic Structure of a Work of Literature, 1975) he linked the question of subjects in lyric verse to ideas in stylistics and the theory of interpretation. With his theory of subjects in lyric verse, set forth in the articles 'Halasova sebeosloveni' (Halas's forms of self-address, 1985) and 'Sebeosloveni v lyrice' (Self-address in the lyric, 1991), Cervenka moves towards perspectitives of communication. He is concerned with current theory of fiction in the volume 'Fikcnimi svety lyriky' (Fictional Worlds of Lyric Verse, 2003), which, according to this article, was an impulse to methodological considerations about a model of literary history, which would link involvement in interpreting a text with its contextualization from the perspective of literary history.
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.