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1

A ja jestem jedynym dowodem”. O poezji fantastycznonaukowej

100%
Leś M.
Białostockie Studia Literaturoznawcze
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2013
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vol. 4
187-203
EN
The author of the article presents three concepts of the existence of poetry in the framework of the science-fiction literary convention. The first of the concepts, concretized by Suzette Haden Elgin, recognizes a possibility of creating a lyrical monologue from inside of an assumed fantastic reality. The other one, more risky, confronts the scientific discourse with an intimate confession in the framework of allegory and hyperbole. The third one, represented by Samuel R. Delany, Adam Roberts and Seo-Young Chu’s views, recognizes the existence of poetry as a holistic dimension of the science-fiction convention.
2

"Denaturalized" Mimesis

100%
Zuska V.
Estetika: The Central European Journal of Aesthetics
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2006
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vol. 42
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issue 1-3
46-51
EN
The traditional theme of mimesis as a fundamental factor in art, art theory, and aesthetics has undergone many changes of meaning, ups and downs. The present article traces the development of the idea from the point of view of the understanding and appreciation of natural beauty. An inquiry into the relationship between art and reality, that is, mimesis, and the question of the order, reveals two lines of development and their point of bifurcation in Kant and Hegel. The Hegelian line heads towards structuralism, semiotics, semiology and linguistics, to a reduction of orders into standardized norms and epistemes, where the auto-referentiality of art is accented. The Kantian notion of mimesis as 'imitation', which understands the aesthetic idea of the natural order enables the transcendence of episteme and the presentation of the order in the state of becoming. This approach restores the true nature of art.
3

Ovid's Tree catalogue.and the aesthetics of the Metamorphoses

100%
Acel Z.
Antik Tanulmanyok (Studia Antiqua)
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2007
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vol. 51
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issue 2
239-273
EN
The tree catalogue (10, 90 - 106) in Ovid's 'Metamorphoses' is a piece hardly yielding to interpretation. Inherently relating to the motives of Book 10, it anticipates the main themes of the song of Orpheus and builds upon the tradition of 'ekphrasis' and 'locus amoenus'. The botanical names refer to particular narratives, making by this way for the basic unity of the text. The catalogue, itself a representative of the literary approaches, artistic style and horticulture of the urbanitas, can be read as the manifestation of a new theory of art that redefines the relationship of ars and natura. A reconstruction of the conceptual development of 'mimesis' may lead to a better understanding of the tree catalogue and of the whole epic. At the same time, it may also bring contribute to a profound comprehension of the theory of art, either implied or overtly expressed in 'Metamorphoses', without seeking for the concepts of contemporary literary criticism.
4
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MIMESIS AND FICTION IN THE NEWEST SLOVAK DRAMA

100%
Knopova E.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 4
568-581
EN
The authoress in her contribution deals with the general characterization of mimesis as the imitation of the empiric reality, and with the elements of fiction as the imitation of the virtual entities in the context of drama , with a space and time ( known as time and location / known as a recognized and a recognizable time and location). Subsequently the authoress tries to analyze the categories of mimesis and fiction by the means of the actual samples of plays by the latest Slovak drama authors (V. Klimacek, E.Maliti-Franova, P. Pavlac, M. Karasek and so on).
5
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UMENIE VERZUS SKUTOČNOSŤ V BAROKOVEJ JEZUITSKEJ ŠKOLSKEJ DRÁME ŠVEHLA

88%
Kopas L.
ESPES
|
2016
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vol. 5
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issue 2
6 – 12
EN
The object of the paper is a reflexion of Aristotle ́s concept of mimesis as an artistic imitation of reality in Baroque Jesuit tragedy of Trnava provenance called Švehla. The author aims to demonstrate how the personality of Ján Švehla is artistically captured in concerned school drama in historical context. It is based on comparison of Latin periochis of tragedy Švehla and available historiographical period source – the historical source text from the thirty first Bonfini ́s Decades of Hungarian History.
6

Schulzian representations of the cultural bordeland in the postcolonial perspective

88%
Wojda D.
Teksty Drugie (Second Texts)
|
2007
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issue 4(106)
233-247
EN
It has already been indicated that Bruno Schulz's work has its root in the cultural borderland and that it undertakes the subject of the relation between the centre and the periphery. However, it has never been compared with the Polish myth of 'Kresy', in which these issues are equally important. Schulz's prose has been read as a literature lacking any distinct references to ethnic or national issues, since the mimesis of realistic representation is not found here. What occurs is the mimesis of process - imitating general cultural mechanisms, like the functioning of the centre/periphery opposition. According to the article's thesis, in Schulz's writing occurs a deconstruction of the indicated opposition: it is imitated, negated, and finally, ironically problematized. This deconstruction has been described using postcolonial categories of hybridization, mimicry and palimpsesticism.
7
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PLASMATIC MIMESIS: NOTES ON EISENSTEIN’S (INTER)FACES

88%
Geil A.
World Literature Studies
|
2019
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vol. 11
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issue 4
26 – 41
EN
This essay explores the question of (inter)faces as a problem of mimetic form in the work of Sergei Eisenstein. While Eisenstein ’s early theory of attractions emphasizes the production of audience effects through “motor imitation,” his later writings appear to depart from this model for sake of a notion of “ex-stasis” that would transport the spectator out of her or his current state. These two sides of Eisenstein’s thought are brought together here in the concept of “plasmatic mimesis,” which is explored through the figure of the face in a number of his theoretical texts and his first film Strike (1925). By taking up the device most associated with the face in Eisenstein – typage – and reading a specific instance in Strike’s superimposition of animal and human faces, this essay ultimately aims to decentre the face as a privileged site for mimesis-as-mirroring in cinema and audio-visual media. Thinking the face through concept of “plasmatic mimesis” makes it into one form among others but in doing so it frees the face to assume the principle Eisenstein calls “formal ecstasy”: the capacity of all form not simply to mimic but to ex-statically stand beside and beyond it.
8
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K možnostem a hranicím mimetické interpretace: na příkladu postav ve středověké rytířské epice

88%
Slanar O.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 6
786-804
EN
Somewhat provocatively for the historian, in this article I pose a question concerning the extent to which it is acceptable to look for a reflection of the real world in literary sources that are primarily fictional. I base myself mainly on a method which seeks realities immanent in individual works, which accentuate the autonomy of a work of art and thwart the possibility of interpreting these texts mimetically. The potential information encoded in the work can be classified into three groups. With implicit communications there is a greater risk that its mimetic interpretation will be over-speculative. The interpretations have therefore to be confirmed or refuted by a method based on the internal immanent reality. My starting point is that there is a fundamental difference between the real/natural world and the fictional world. The literary work is regulated as an aesthetic sign by a set of rules. These rules need not be equivalent to those known and valid in the real world. In a polemic with Alfred Thomas about the reflection of medieval rulers' power in the chivalrous romances, I argue by means of an analysis of the two visits of Duke Ernest to a city in Cyprus. In my first point I demonstrate that the only thing the author of a work can fully bring under control is meaning and function. By contrast, as far as the manner in which the meaning or function of the text is communicated, the author is to a large extent constrained by an autonomous literary system, which influences not only the selection of individual elements, but also the manner of their composition. In my second point I demonstrate, with the help of a specific example, that an unmediated mimetic interpretation of the text is impossible. I demonstrate that the passivity of several figures in the chivalrous romance, which Thomas explains mimetically, is merely apparent, and manifests no connection with real-life circumstances.
9
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ARISTOTELOVA POETIKA V KONTEXTE JEZUITSKEJ TEÓRIE POETIKY A RÉTORIKY NA ÚZEMÍ DNEŠNÉHO SLOVENSKA V PRVEJ POLOVICI 18. STOROČIA

75%
Kopas L.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
330 – 338
EN
This study reflects Aristotle’s Poetics, in particular his concept of mimesis as a basic form of artistic representation in baroque Jesuit theoretical practice in the territory of today’s Slovakia. It focuses on an overlooked anonymous theoretical work entitled Commentarii in litteras humaniores, which was most probably one of the most important textbooks of poetics at the Jesuit grammar school in Skalica in the first half of the 18th century. Although it is not clear who the author of this valuable manuscript is, an analysis of its second book Observationes Poëticae, in particular its second part De Poësi in Specie and its sixth chapter De Drammatibus, and its comparison to the sixth to eighteenth chapters of Aristotle’s Poetics make us think that a reflection of the phenomenon of Aristotle’s concept of mimesis as a principle of creative representation was established in the territory of today’s Slovakia in the course of the first half of the 18th century.
10
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»Tematika« literárního díla v předkritickém období - mezi antikou a vrcholným středověkem (výběrový přehled)

75%
Změlík R.
Bohemistyka
|
2015
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vol. 15
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issue 3
201 - 225
EN
The paper discusses the issue of literary representations in the pre-critical period, represented here by selected poetological concepts, exemplified by fourtexts of the period: Book X of Platos The Republic, Aristotles Poetics, Horaces Ars poetica, and the mediaeval treatise by Geoffrey of Vinsauf Poetria nova. The aim of the study is to demonstrate the change in the understanding of the so-called content complexes of a literary work, which form the historical grounds for contemporary terms, including literary theme, motif, artistic representation, as well as the issue of fiction and reality.
11

GOODMAN A GOMBRICH O POVAHE OBRAZOVEJ REPREZENTÁCIE A REALIZME ZOBRAZENIA

75%
Hrkút J.
Filozofia (Philosophy)
|
2021
|
vol. 76
|
issue 1
31 – 45
EN
The aim of the paper is to examine the criteria of realism applied to pictorial representations by Ernst Gombrich and Nelson Goodman. In the 2nd half of the 20th century, they both developed theories as to why some artefactual depictions seem more realistic to us than the others. In both approaches, there is a rejection of classical mimetic doctrine (there is a brief introduction to modern mimetic theory represented by Catherine Abell) as well as a criterion of visual illusion. What makes Gombrich and Goodman different is the assessment of informativeness criterion. While it is sufficient for Gombrich, Goodman goes even further in his relativization. Goodman also rejects informational content as the criterion of realism. The final criterion in Goodman's conception is based on the so-called inculcation. The paper examines the persuasiveness of Goodman’s and Gombrich’s arguments and mentions the current discussion (Mitrovic, Margolis, Briscoe) on them.
12
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Narativní analýza v sociologickém výzkumu: přístupy a jednotící rámec

63%
Nekvapil J., Havlík M., Hájek M.
Sociologický časopis. Czech Sociological Review
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2012
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vol. 48
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issue 2
199-224
EN
Against the backdrop of the current popularity of the concept of narrative in the social sciences the authors analyse the uses of narrative analysis in empirical social research and provide a unifying frame based on Paul Ricoeur‘s notion of narrative mimesis. To begin they situate ‘narrative’ in the context of the social research tradition. Using both a simple and an elaborated definition of narrative they outline the main approaches to narrative analysis relevant to sociology and categorize them as structuralist, hermeneutic, or interactionist. The crux of the article is a discussion of Ricoeur’s integrative model of narrative as threefold mimesis and its proposed methodological application in sociological narrative research. The authors argue that Ricoeur’s model obviates undesirable analytical simplifications and encourages research that captures all the substantial aspects of narrative, including the producer (the narrator) and the recipient (the listener or reader).
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