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Recepce básnické promluvy jakožto specifická časová zkušenost

100%
Koblížek T.
Česká literatura (Czech Literature)
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2010
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vol. 58
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issue 1
42-59
EN
This phenomenological analysis of literature comprises a description of the relationship of two related poles of experience: the noetic (which in the case of literary discourse is the ‘act of reading’) and the noematic (again, in literary discourse, the structure of the literary utterance, which shapes the ‘act of reading’). The preliminary conclusions that were reached both by proponents of a poetics based on experience and the philosophy of art (in particular, Kant and the Constance School) and by proponents of Prague Structuralism (Jan Mukařovský, Felix vodička, and Milan Jankovič) constitute a starting point of the phenomenological reflection on poetic utterance. The epistemological pole becomes manifest in time: the time of reading is the time of particular expectations (which spread around the centre of the experience of this moment), the special meeting of these expectations and the retention of the experience so far. (recall Iser’s interpretation of Husserl’s phenomenology of the inner consciousness of time). The noematic pole (which must be emphasized in contrast to Iser’s conclusions) is not then comprised of the work’s fictional world, but of structural bundle of linguistic components (the acoustic and semantic layers), of composition (the climax and contrasts), and theme. In this we follow on from vodička’s concept of ‘concretization’. The article seeks to demonstrate the proposed principles of structural phenomenological analysis on the basis of rimbaud’s ‘voyelles’ (1871).
2

KONVERGENCIE FENOMENOLÓGIE, PRAŽSKÉHO ŠTRUKTURALIZMU A UMELECKEJ TVORBY. PRÍSPEVOK KU GENEALÓGII FENOMENOLÓGIE V STREDOEURÓPSKOM PRIESTORE

88%
Vydrová J.
Filozofia (Philosophy)
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2020
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vol. 75
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issue 2
109 – 120
EN
In the framework of presenting a genealogy of phenomenological philosophy in the Central European context, the article will demonstrate a convergent relation between phenomenology and Prague structuralism and will examine specific topics which derive from this relation. In the first part we address the concepts of attitude, constitution and language, and, in the second, the “situation” of artistic creation as well as the reception of works of art. In this context we also introduce a relevant concrete example of the creative artistic process that sheds light on these topics. From this thematic configuration – in the third part – will follow the question of the scope of the phenomenological method as well as suggestions for the possible interdisciplinary development of phenomenology.
3
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Kontexty znaku a (ne)záměrnosti v teorii Jana Mukařovského

88%
Kubínová M.
Česká literatura (Czech Literature)
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2010
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vol. 58
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issue 6
783-790
EN
The author’s starting point is Mukařovský’s Záměrnost a nezáměrnost v umění (Intentionality and Un­intentionality in Art, which was originally presented to the Prague Linguistic Circle in 1943), and she asks whether with this essay, written at the very close of Mukařovský’s structuralist period, Mukařovský’s overall view of the work of art was changed. This essay seeks to provide a detailed analysis of the relations (its contexts and encounters) between three terms: the work, the sign, and intention. In the changes that the conceptions of the three terms underwent one also observes shifts in Mukařovský’s structuralist conception, which is underpinned by these terms.
4
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Identita díla v pohybu

75%
Jankovič M.
Česká literatura (Czech Literature)
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2010
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vol. 58
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issue 6
790-796
EN
This article discusses the problem of the identity of a work in connection with the role of the reader. It follows on from the ideas of Herta Schmid, who, in 1999, argued that Mukařovský took both a poetological and an aesthetic approach to the literary text. The former emphasized the closed structure of the work as an artefact, whereas the latter focused on the openness of the aesthetic object. Jankovič asks whether the identity of a work is bound only to the immutability of the artistic artefact. In this sense, the Czech structuralism of the younger generation sought its own path (Červenka 1996). In Mukařovský’s aesthetics the identity of a work does not exclude the mutability of the aesthetic object; its centre of gravity is transferred to the potential efficacy of the work, to its semantic dynamism. From the zenith of the work’s potential aesthetic impact, from the perspective of its unique potential to affect and change the perceiver’s relationship with reality, one must inquire into the work’s identity. It is the identity of a work in motion, in which the dynamic assumptions of the work are realized in the course of time (thanks also to the evoked participation of the perceiver, who is not denied a part in the unifying semantic gesture). Mukařovský’s aesthetics do not contest the notion of the work as a formal unity; they merely make it dynamic.
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