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

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  WESTERN GENRE
help Sort By:

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

NARATÍVNE ŠTRUKTÚRY V PRÍBEHOCH Z DIVOKÉHO ZÁPADU. PRÍPAD PETROLEJOVÉHO PRINCA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 6
462 – 487
EN
The article is based on the analysis by John G. Cawelti saying that the western formula cannot be attached to a single plot pattern but rather to a symbolic chronotope and its influence on the type of a hero who operates within the chronotope. The author uses examples of some writings (M. Bird, F. Parkman, O. Wister, J. Altsheller, M. Brand, E. Haycox, Z. Grey and others) to demonstrate several narrative structures used in westerns: the schemes of chasing, revenge, an armed conflict between groups of characters (or a duel), the scheme of hunting for a treasure, the travel scheme as well as the scheme of a detective novel, which may be incorporated into the western. The author includes a detailed analysis of Karl May´s novel “The Oil Prince” (Der Ölprinz, 1893). Two types of stories can be identified within May´s text corpus: the ones having the paratactic narrative structure (inherited from the picaresque novel) and those having a central plot, which also include “The Oil Prince”. Its narrative structure is organized by the central motif of a fake oil lake trap. The narrative line of the bad guys is opposed by the narrative line of the positive characters, who want to save a banker´s life. Both narrative lines are interrelated by means of the manifold chasing/tracking narrative structure depicted by the alternate storyline composition switching between that of the good backwoodsmen and that of the bad guys. On the level of narrative point of view the alternate storyline composition is reflected in alternate focalization, which makes the model readers identify themselves alternately with either the good or the bad characters. Both of the narrative lines are – on the micro level – constructed as the solutions of the narrative problems: the positive characters deal with ad hoc tasks, problems, which they are faced with, using their common sense so as to assess and solve a particular situation, and their skills and physical condition. The author includes a detailed analysis of the trick pattern in the case of the Old Shatterhand character. On the other hand, the negative characters deal with being in danger by telling lies or killing. In conclusion he brings inter textual examples of the Mayesque fictitious world in the proses by J. F. Cooper, F. Gerstäcker, G. Ferry, T. M. Reid, Ch. Sealsfield on the level of motifs, on the level of the hero construction as well as on the level of the narrative structure.
2

NARATÍVNE ŠTRUKTÚRY V PRÍBEHOCH Z DIVOKÉHO ZÁPADU. PRÍPAD PETROLEJOVÉHO PRINCA – II.

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 1
38 – 49
EN
The article is based on the analysis by John G. Cawelti saying that the western formula cannot be attached to a single plot pattern but rather to a symbolic chronotope and its influence on the type of a hero who operates within the chronotope. The author uses examples of some writings (M. Bird, F. Parkman, O. Wister, J. Altsheller, M. Brand, E. Haycox, Z. Grey and others) to demonstrate several narrative structures used in westerns: the schemes of chasing, revenge, an armed conflict between groups of characters (or a duel), the scheme of hunting for a treasure, the travel scheme as well as the scheme of a detective novel, which may be incorporated into the western. The author includes a detailed analysis of Karl May´s novel “The Oil Prince” (Der Ölprinz, 1893). Two types of stories can be identified within May´s text corpus: the ones having the paratactic narrative structure (inherited from the picaresque novel) and those having a central plot, which also include “The Oil Prince”. Its narrative structure is organized by the central motif of a fake oil lake trap. The narrative line of the bad guys is opposed by the narrative line of the positive characters, who want to save a banker´s life. Both narrative lines are interrelated by means of the manifold chasing/tracking narrative structure depicted by the alternate storyline composition switching between that of the good backwoodsmen and that of the bad guys. On the level of narrative point of view the alternate storyline composition is reflected in alternate focalization, which makes the model readers identify themselves alternately with either the good or the bad characters. Both of the narrative lines are – on the micro level – constructed as the solutions of the narrative problems: the positive characters deal with ad hoc tasks, problems, which they are faced with, using their common sense so as to assess and solve a particular situation, and their skills and physical condition. The author includes a detailed analysis of the trick pattern in the case of the Old Shatterhand character. On the other hand, the negative characters deal with being in danger by telling lies or killing. In conclusion he brings inter textual examples of the Mayesque fictitious world in the proses by J. F. Cooper, F. Gerstäcker, G. Ferry, T. M. Reid, Ch. Sealsfield on the level of motifs, on the level of the hero construction as well as on the level of the narrative structure.
3

ZPÍVEJ, KOVBOJI. SNY, PŘEDSTAVY (A SKUTEČNOST) O DIVOKÉM ZÁPADU

88%
Jareš M.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 6
455 – 461
EN
The author tries to capture how the western, which originally existed as the American form of historical and, actually, realistic novel, took root in the countries where the tradition of winning the Wild West and patriotic tendencies were more or less absent or they were depicted by using different genres and techniques. He contemplates whether the western in its essence exists until now or it is just in the position of a romanticizing and fossilized genre. Alongside the conscious exotism of the western, the genre – from the historical point of view, especially in the territory of Czechoslovakia - is able to function in its transformed meaning as a trigger for the tramp movement (and thus can also be seen as one of many roots of the Leftist Avant-garde), as well as a moral and social solution. Idealizing the „American“ element, which dates back to the 1930s, was also a moving force for liberal and free thinking, which in its black-and-white distinction often helped to overcome oppression and totalitarianism. The stereotypical battle between good and evil complemented by freedom simply works in any totalitarian society better – although with hindsight. He admits it was partly just a precursor of the Ideology of Consumerism. Since the second half of the 20th century the western imagery has moved from the literary form mainly to film adaptations and recently it has reached a stage when the western has de facto lost its opponent as well as its essence and the motivation for existence. Its current form undergoing a worldwide transformation from Romanticism preferably to Realistic-Naturalistic depictions then naturally has to seek its own purpose as well as the users, who often incline to other sources of pleasure in Pop Culture.
4

O ŽÁNROVÝCH OBALOCH A ŽÁNROVÝCH JADRÁCH (K PROBLEMATIKE FUNKCIE WESTERNOVEJ/POPULÁRNEJ ŠTRUKTÚRY V SOCIALISTICKO-REALISTICKÝCH NARATÍVOCH)

75%
Bílik R.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 6
445 – 454
EN
The study focuses on the identifying the western genre invariants and revealing their functions in the structure of the socialist realist narratives. The author uses Vladimír Mináč´s novel Modré vlny (Blue Waves, 1951) and Dominik Tatarka´s Prvý a druhý úder (The First and the Second Blow, 1950) to demonstrate that the western invariant applied in both of the novels is only a „shell“, where the archetypical core of these socialist realist novels is set: the transformation of Chaos into Cosmos being the cosmization of new territories. This motif is the basis of human experience with winning new space and colonizing it. It finds expression in the idyllic-utopian socialist novel. Alongside the invariants of myth and utopia, there are updated genre invariants of exemplum and legend as a narration about exemplary and famous deeds. The receptive meaning (and function) of socialist realist stories is then structured by the interference of author-reception genre conventions (narrative strategies), which are closely linked to folk, originally religious and mythical concepts of the world ontology. It makes it easier to communicate the utilitarian core of the stories.
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.