Search results

1

NA MARGO “LITERÁRNEHO FOLKLORIZMU”

100%

Profantová Z.

Etnologické rozpravy (Ethnological Disputes)

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2010

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vol. 17

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issue 1-2

30 - 36

EN

Folklore does not have only textual character in literature. Folklore was and still is syncretic, and thus manifests also itself in literary form. It can have educational, instructive, social – creative, informative, aesthetic, ideological, political or humorous function in literature. Literature and folklore constitute two different communication systems. Folklore incorporated into the other communication system frequently, it becomes normative on the level of style and composition ad influences further development of tradition.

2

Text-proud a text-tkaný - "herakleitos" a "arachné"

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Hodrova D.

Česká literatura (Czech Literature)

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2006

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vol. 54

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issue 2-3

160-174

EN

This article is concerned with the double mode of writing, characteristic of the contemporary 'urban' text. Both of these modes, the first 'spewing' and emphasizing continuity, the second discontinuous and fragmenting, are a response to the traditional linear mode of writing.

3

MEDZI POETIKOU TEXTU A POETIKOU UDALOSTI: K NIEKTORÝM ONTOLOGICKÝM OTÁZKAM EPICKEJ REPREZENTÁCIE

100%

Prušková Z.

Slovenská literatúra (Slovak Literature)

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2022

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vol. 69

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issue 4

327 – 342

EN

Research of arts and literature had moved from a striving for exact, structuralist handlings of its objects to observations of the world as mediated and experienced by humans. Research in aesthetics and literary studies not embedded in structuralism is often interdisciplinary in its nature and draws on a host of inspirations (anthropology, epistemology of imaginative processes, ontological transformations of existential meanings, etc.). The creative process and its product – the literary text – can be handled from various viewpoints. Traditionally, literary studies approached the text in terms of its structure, aesthetics, and poetics. Such observations do offer a systematic way in which the functioning and form of the literary work can be described; however, they are much less capable of grasping the ontological sources and origins of aesthetic experience. The latter are inherent to the engagement with an aesthetic object and as such need to be taken into account in the creation of knowledge and value of the literary work. Respecting the psychological subject of the writer and of communicative configurations of the literary text is crucial in this context. The article looks under the surface of textual structures and concentrates on imaginative processes in connection to the reception intention of the literary work.

4

DYNAMIKA JAZYKA A DYNAMIKA TEXTU

100%

Kralčák Ľ.

Slovenská reč (Slovak Language)

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2011

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vol. 76

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issue 5-6

315 – 321

EN

The article deals with the questions of the dynamics of a text in comparison with the dynamics of a language. Nowadays, the understanding of the concept dynamics is not problematic in the linguistics, and it may refer to a broad, historically conducted research. The question is how to understand the dynamics of a text, i. e. if there is any uniting principle which can serve as a support. A more detailed analysis shows that the collocation the dynamics of a text represents three different conceptual understandings: it is the dynamics of a thematic and compositional construction, the particular communicational dynamics, and the historical or development dynamics of a text. Finding of this condition refuses a possibility of defining one universal understanding of this concept.

5

SLOVENSKÁ TEXTOLÓGIA A EDITORSTVO V DRUHEJ POLOVICI 20. STOROČIA

100%

Hašková Z.

Slovenská literatúra (Slovak Literature)

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2013

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vol. 60

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issue 2

143 – 155

EN

The goal of the article was to at least partly systematize the knowledge gained by the Slovak text studies as a generalizing work in this field does not exist in our country. The ideas built on the scientific articles within text studies written in the second half of the 20th century. The beginning of the Slovak text studies in the 1950s is represented by the works by Jozef Felix, Karol Rosenbaum and Mikuláš Bakoš. Later studies by Nora Krausová, František Miko and Peter Zajac form the next stage of its development and with regard to the future seem to be trend-setting. Owing to their communicative and inspiring nature, the summary can be considered a good starting point for an effective exploitation of their potential. Based on the study of the texts used at the birth of Slovak text studies it can be concluded that the most serious practical problems are related to the way texts are edited and the choice of the basic text. Using the texts written by younger authors the scientific character of the text studies was demonstrated as well as how they are bound with literary theory and why they are important for the correct understanding of literary texts. The summary and assessment of the Slovak text studies in the article map their most important topics and debatable issues, relate the results of the research by the literary scientists engaged in this field and draw attention to their various approaches. They also raise questions about the direction of the Slovak text studies in the future.

6

STATUS LINGVISTICKÝCH PREMENNÝCH V METODOLÓGII ANALÝZ TEXTU: (NÁHĽAD DO POMENOVACÍCH DATABÁZ SLOVENČINY)

100%

Sokolová J., Sokol A.

Slavica Slovaca

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2022

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vol. 57

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issue 2

137-148

EN

The subject of the study is a definitional understanding and reflection on the linguistic variables used in the methodology of text analysis. The impetus to write this paper was the definition of the very linguistic entities that text is made out of, and their conceptual and terminological designation from the point of view of the text linguistics. The term variable was chosen for the flexibility of its status and value. Linguistic variables are presented from the perspective of systemic, textual, quantitative and corpus linguistics. Interpretation, which is used in the sense of explanation, is the methodological framework. The definition of the linguistic variables is connected with the operational steps of segmentation, identification and classification. A distinction is made between the linguistic variables with a primarily systemic value, which traditionally show the linguistic (langue) and speech (parole) status, and the linguistic variables with a primarily textual and pragmatic value.

7

HRANIČNÁ SKÚSENOSŤ ČÍTANIA: MAURICE BLANCHOT

100%

Sucharek P.

Filozofia (Philosophy)

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2009

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vol. 64

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issue 8

781-792

EN

Referring to a passage from Blanchot's novel 'Thomas l'Obscure', the paper questions the clear contours between literature and philosophy as disciplines. The point where the clear distinction breaks down is the phenomenon of reading. In a decisive moment of each authentic reading the author tries to introduce a 'phenomenology of reading', in which we ourselves as readers are being transformed to the ones who are read. Light, truth, clarity - all these are notions, which are opposed in Blanchot by passivity, night, and absence. Underlined in particular is the absence of meaning, of any light in perpetuated occidental theoretical discourse, which is nothing more than one's apology of oneself. Not to betray Blanchot means to abandon pure commentaries of his philosophy and to find another ways of its interpretation. Thus the questions of reading, interpretation, and translation might become the questions of life and death. To articulate this alternative approach is one of the aims of the paper.

8

THE INFINITE INTERPRETATION LIKE THE CULTURAL MYSTIFICATION

100%

Princic-Sabolova D.

Slovenské divadlo (Slovak Theatre)

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2006

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vol. 54

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issue 4

582-586

EN

The aim of the essay is reflecting of the development of the concept of 'interpretation' in philosophy, in the theater and in the translation. Contemporary exaggerated use of the concept of the interpretation is derived from the hermeneutic tradition in the philosophy, that had introduced infinite and unlimited interpretation and had abolished 'the contradiction'. The essay is dedicated to this question because the contemporaneous level of the work in the theater, radio and in the translation is a reflection of the unlimited interpretation. In this meaning of the interpretation it is transferred the wish of infinity and the wish to transfer into the text of another author our own ideas. This situation is supported from the insufficient preparation in the cultural and historic context of the work (text), what gives to the interpreters the possibility to not respect the intentions of the text and the author.

9

COMPARISON OF TEXT AND GRAPHICAL SOCIOMETRIC QUESTIONNAIRES

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Dobeš M., Naser K., Lehotská V.

Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied

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2012

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vol. 15

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issue 1

-

EN

Peer nomination and peer rating which are used in standard text sociometric questionnaires can be also used in graphical form of sociometric questionnaires. Children may consider the graphical questionnaire more interesting and more playful. We created the graphical sociometric questionnaire which is based on peer rating. We aimed to verify its validity by comparing it with text sociometric questionnaire. Our sample consisted of 125 sixth and seventh graders from three elementary schools in Slovakia. The results indicate that graphical sociometric questionnaire is a valid assessment method for measuring social status of group members. We suggest that graphical questionnaire is more sensitive in discrimination of children´ social status. But graphical questionnaire did not show exactly status of neglected children. Neglected children are better identified by text sociometric questionnaire.

10

VNÍMÁNÍ TEXTU, DÉLKA JEHO TRVÁNÍ, EVALUACE: RŮZNÍ AUTOŘI, SOUVISEJÍCÍ POZOROVÁNÍ

100%

Krátký O.

ESPES

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2019

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vol. 8

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issue 2

33 – 44

EN

Recipients always perceive texts in a successive and linear way. Often, the recipient’s perception of the text only lasts until the text has fulfilled the expectations the recipient has of it. Being well aware of this, the authors build texts based on their goals, aims, or preferences that either meaningfully fulfil the expectations of the recipient - according to the authors’ own knowledge, estimation, or presumptions - or, on the contrary, more or less intentionally violate these expectations. While the fulfilment of expectations results in a certain “comforting” impression on recipients, its violation causes an arousal in them. In this sense, violation of expectations does not only have a negative effect, but it can also have a communicative value. It can be argued that a) the author incorporates stimuli into the text that lead to the violation of the recipient’s expectations and does so with a communicatively functional - also artistic and aesthetic - kind of intent and b) an arousal is a consequence of violating the recipient’s expectations; then if an author’s artistic or aesthetic intention lies in a (multi layered, sequential, compositional) series of violations of the recipient’s expectations, this can provoke an aesthetic experience which will be caused - among other things - by the arousals themselves induced by the relevant violations.

11

MOŽNOSTI TEXTU

100%

Petríček M.

Filozofia (Philosophy)

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2011

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vol. 66

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issue 7

683 – 689

EN

The paper offers a brief history of French theory of text (Julia Kristeva, Roland Barthes) from the conception of the text as a stabile repository of the materiality of the signifier to the notion of the text as a field of production (becoming, significance). This development necessarily transforms the definition of the theory as well as the basic idea of the coherence of the text. But just from this perspective it is possible to see the new concept of text as a picture of our contemporary world. The text is, in this sense, a model of our world.

12

K PROBLEMATIKE NARATIVITY A REFERENCIE V HISTORIOGRAFII A V UMELECKEJ LITERATÚRE

100%

Jančovič I.

Historický časopis (Historical Journal)

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2010

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vol. 58

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issue 4

621-632

EN

The author pays attention to narrativity - which has been considered very crucial in recent decades in creating presentation of past events. Narration is a basic act in works of historians as well as prose writers. The author deals with some common aspects of narration in texts by historians and fiction writers. Historical text and fictional text are created by structural building of narration, where selection and hierarchization of facts is made, selected narration elements are put in a compact interpretation giving particular events sense and meaning. A certain aim of an author of narration cannot be excluded and procedures in the building of narrative structure are similar in both cases, but specific procedures, aimed at results not acceptable in a scientific text, are applied in fictional text. Next the author examines the main differences resulting from different characters of reference of both text fields and from their different position in a net of social discourses. The crucial difference originates in the ontological nature of facts included in a historian's narration compared to the 'facts' given by fiction. This is connected to differences in the references of the two types of text. The next differentiation aspect is represented by the aims followed in creating historical and fictional narration. These aims are influenced by our cultural frame. The texts of a historian and a fiction writer are produced and perceived in diverse 'receptive regimes'; the two kinds of text enter different levels of expectation and fulfill diverse functions.

13

NABOKOV A TEXTOVÉ OBRAZY

88%

Vydra A.

Filozofia (Philosophy)

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2008

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vol. 63

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issue 7

611-618

EN

The main line of the paper is putting together several Nabokov's ways of grasping visual images with the help of words, i.e., grasping them within a text. One of Nabokov's ideas is to write analogically to the work of a painter. A textual description seems to him very verbose and tedious. The other model of his creative work imitates optical illusions. Textual mimicries are produced by various anagrams and wordplays. This imitation (a specific form of mimesis) follows from (is related to) Nabokov's literary understanding of the transparency which in fact is not transparent. According to him, we cannot see the essentially unknowable ground of things (and of images, persons, etc.). We only are able to see the surface which changes its shape continuously by imitating rather its background, not its hidden essence. There is nothing interior in his texts, too, everything is surface-like, i.e. everything is visible just like as a painter's painting.

14

AUTHENTICITY AND DIFFERENTNESS IN THE STRATEGY OF A DRAMATIC LITERARY TEXT (Autenticke a diferencne v strategii dramatickeho literarneho textu)

88%

Zemberova V.

Slovenské divadlo (Slovak Theatre)

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2010

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vol. 58

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issue 1

58-64

EN

The authoress considers a mass media text and an artistic text to be autonomous artistic entities which are not placed in a relativistic or contrastive relationship. On the contrary, she respects their form and genre and language uniqueness. The second point of departure for her is a conviction according to which it would be instrumental and appropriate to use the term 'medium' not only for denoting but also for distinguishing a phenomenon and a means, an expression and a meaning in a way in which the peculiarities of its 'technical and realisation' contexts would be brought into prominence and also the fact that it can represent a set of different and multifaceted means of expression and semantic possibilities. Thus, the authoress alludes to peculiarities caused by their material and from it ensuing narration and communication propensities, sociological or aesthetic interventions and effects. She applies her theoretical assumptions to the analysis of the texts of Jana Bodnarova, prose writer, pop poet, dramatist, and script-writer in one. Her works oscillate between the history and the present of art, i.e. between form and genre possibilities of various types of arts, in order to highlight the intrinsic features and qualities of their expression material in a fashion which is natural to them.

15

AKTUÁLNE OTÁZKY SLOVENSKEJ TEXTOLÓGIE: TEXTOLOGICKÝ DISKURZ NA SLOVENSKU

88%

Navrátil M.

Slovenská literatúra (Slovak Literature)

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2018

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vol. 65

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issue 4

294 – 301

EN

After year 1989 in Slovakia scientific research into textology and editorial practice has not been systematically developed, and therefore Slovak textology and editorial practice has faced stagnation or even regression. The lack of professional competence in publishing the literary works of the past has caused uncontrolled publishing of writings without any detailed analyses of the sources and variants. As a result, there is absence of theoretical thinking about the issues of editorial practice, which is also reflected in the editorial standards and processes. Moreover, the general need of professional approach to editing texts has disappeared. Selected editorial cases of the recent times are used to address the issues of Slovak textological discourse and editorial solutions.

16

OBRAZ, NARATÍV, DEJINY V ROMÁNE PÁLA ZÁVADU PRIRODZENÉ SVETLO

88%

Görözdi J.

Slovenská literatúra (Slovak Literature)

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2017

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vol. 64

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issue 6

432 – 444

EN

Within the context of contemporary Hungarian historical narration Pál Závada´s literary production represents writing with pronounced views on the content of the subject matter as well as the narration issues of plausiblity of stories about history. The subject of the paper is the writer´s historical novel Prirodzené svetlo (Természetes fény/Natural Light, 2014), which experiments with bringing history into the present simultaneously through the medium of language/narration and that of an image/photographs. The paper analyses the relation between the text and the image (ekphrasis, „discovered“ photographs, illustration, narrativization, contradiction, missing photographs), the interconnections of medial switching/overlapping while placing the accent on perception (H. Belting, W. J. T. Mitchell), which are seen from the perspective of questions about the nature of historical representation raised by this literary work (authenticity of the resource materials of written history, ideology/stipulated structure of perception and recollection, non-convergent microhistorical narratives as a correction of collective historical memory , i.e. too little or too much history – P. Ricoeur).

17

POZNÁMKY K TEXTU – (NE)PORUŠENÍ OČEKÁVÁNÍ RECIPIENTŮ JAKO SOUČÁST AUTOROVY STRATEGIE

88%

Krátky O.

ESPES

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2022

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vol. 11

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issue 1

115 - 151

EN

The following paper draws upon a formerly published paper of mine (Krátky, 2021) where text perception was analysed from the perspective of the recipient. As its logical continuation and completion, this paper deals with the author’s viewpoint in the process. Various related aspects are identified, observed and studied, such as the ‘author’s strategy’, the evaluation of the recipient, the intended goals, as well as other important factors that influence the final text. Special attention is paid to all such aspects of communication pragmatism that are reflected by the author’s (more or less controlled) deviations from the norm, aptly made to achieve communication goals. Within this framework, the study strives to show the different roles that the factor termed ‘expectation violation’ takes on when strategically applied by the author in the process of text creation. To support this description, numerous observations by authors such as Grice, Burgoon, Gombrich, Iser etc. are employed. By tackling the author’s viewpoint on text creation, a claim is advanced concerning the plausibility of certain conclusions, theories and, possibly, laws, by virtue of the identification and observation of selected multi-domain principles, phenomena and tendencies.

18

EMPTINESS IN LANGUAGE - HORROR VACUI?

88%

Chrzanowska-Kluczewska E.

Stylistyka

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2006

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vol. 15

85-98

EN

The authoress argues that the conception of emptiness, ambivalent on physical and philosophical grounds, can be projected onto natural language. On the one hand, we can face here 'absolute emptiness', which is a total lack of certain elements in the linguistic system, on the other - gaps that tend to be filled in by the language user. It seems that the natural human propensity to complete the encountered empty places, lacunae, areas of indeterminacy, or blind spots is also well-visible in language and although such gaps can be spotted at each linguistic level, their occurrence is especially interesting at the level of semantics, stylistics and discourse analysis. The question of how interlocutors, readers and translators cope with such areas of blindness has been discussed by philosophers, literary critics, linguists and semioticians (most notably R. Ingarden, W. Iser, U. Eco, L. Dolezel). Dolezel rightly pointed out that 'absences' and 'silences' in texts (mostly fictional) can be either total (i. e. the ontological indeterminacy of fictional worlds) or only apparent (implicit meanings hidden yet recoverable from the text). The authoress of the present article perceives in the ontological incompleteness of fiction an instance of absolute, irrecoverable emptiness, whereas the idea of the text as an inferential machine, which through hints and suggestions prompts the reader to fill in the gaps (the case of concretisation in Ingarden's terminology) squares with her idea of the emptiness that tends toward an ultimate, if only partial completion. One of tenets of this paper is also the gamesome, ludic character of the activity of gap-filling. The completion of empty spaces in texts / discourses is a prototypical pragmatic game of the reader, critic or translator - their quite automatic answer to the authorial move of saturating the text with gaps (the term saturation or density of gaps has been borrowed from Dolezel 1995).

19

Od významu v jazyce ke smyslu v textu: O dobrodružství strukturalistické cesty

88%

Hoskovec T.

Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)

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2008

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vol. 69

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issue 1-2

110-131

EN

There is no one single structuralism, but sets of texts conceivable of as SCHOOLS, if they share a common notional apparatus, or FOCI (FOYERS), if a shared FORUM and mutual knowledge of the texts within one set may be supposed. Consequently, what is usually called the Prague School is not a school, but a focus (foyer). The author presents a complex notional apparatus for treating the LINGUISTIC SIGN when combining the approaches of two structuralist schools, that of Functional-Generative Description (Prague focus) and that of Interpreting Semantics (Paris focus with a Copenhagen affiliation). The linguistic sign is perseveringly treated in the dif-ferential (not re-ferential, nor in-ferential) way, and there are two environments in which this can be done: the abstract system of language and a concrete text (both written and oral). Problems encountered and solutions proposed through that way are presented.

20

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.

Refine search results

NA MARGO “LITERÁRNEHO FOLKLORIZMU”

Text-proud a text-tkaný - "herakleitos" a "arachné"

MEDZI POETIKOU TEXTU A POETIKOU UDALOSTI: K NIEKTORÝM ONTOLOGICKÝM OTÁZKAM EPICKEJ REPREZENTÁCIE

DYNAMIKA JAZYKA A DYNAMIKA TEXTU

SLOVENSKÁ TEXTOLÓGIA A EDITORSTVO V DRUHEJ POLOVICI 20. STOROČIA

STATUS LINGVISTICKÝCH PREMENNÝCH V METODOLÓGII ANALÝZ TEXTU: (NÁHĽAD DO POMENOVACÍCH DATABÁZ SLOVENČINY)

HRANIČNÁ SKÚSENOSŤ ČÍTANIA: MAURICE BLANCHOT

THE INFINITE INTERPRETATION LIKE THE CULTURAL MYSTIFICATION

COMPARISON OF TEXT AND GRAPHICAL SOCIOMETRIC QUESTIONNAIRES

VNÍMÁNÍ TEXTU, DÉLKA JEHO TRVÁNÍ, EVALUACE: RŮZNÍ AUTOŘI, SOUVISEJÍCÍ POZOROVÁNÍ

MOŽNOSTI TEXTU

K PROBLEMATIKE NARATIVITY A REFERENCIE V HISTORIOGRAFII A V UMELECKEJ LITERATÚRE

NABOKOV A TEXTOVÉ OBRAZY

AUTHENTICITY AND DIFFERENTNESS IN THE STRATEGY OF A DRAMATIC LITERARY TEXT (Autenticke a diferencne v strategii dramatickeho literarneho textu)

AKTUÁLNE OTÁZKY SLOVENSKEJ TEXTOLÓGIE: TEXTOLOGICKÝ DISKURZ NA SLOVENSKU

OBRAZ, NARATÍV, DEJINY V ROMÁNE PÁLA ZÁVADU PRIRODZENÉ SVETLO

POZNÁMKY K TEXTU – (NE)PORUŠENÍ OČEKÁVÁNÍ RECIPIENTŮ JAKO SOUČÁST AUTOROVY STRATEGIE

EMPTINESS IN LANGUAGE - HORROR VACUI?

Od významu v jazyce ke smyslu v textu: O dobrodružství strukturalistické cesty

K možnostem a hranicím mimetické interpretace: na příkladu postav ve středověké rytířské epice