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1

Hranice mezi dvěma překlady Rossova Pana Kaplana

100%
Svobodová J.
Studia Slavica
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2013
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vol. 17
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issue 2
205-211
EN
The aim of the present study is to seek for differences between two Czech translations of The Education of Hymnan Kaplan (Czech Pan Kaplan má třídu rád) and The Return of Hyman Kaplan (Czech Pan Kaplan má třídu stále rád) two books by an American writer Leonard Q. Ross alias Leo Rosten. Within forty years two translations were published the authors of which, Pavel Eisner and Antonín Přidal, belong not only to outstanding translators, but are also connoisseurs of Czech. Using different translation techniques, both of them succeeded to convey the comic effect of the text to the presumed addressee. Even though the language of the original text, i.e. English is substantially different typologically from the highly inflectional Czech, and as a result English and Czech offer different means to raise language play between the author and his readers, both translators have managed to preserve the effect the original text has with respect to the readers.
2
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Humoristische Fake-Nachrichten: kommunikativ-pragmatische und lexikalisch-stilistische Merkmale

63%
Koroljowa N.
Studia Germanica Gedanensia
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2021
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vol. 45
118-127
EN
The article deals with the genre characteristics of humorous fake news, ways of creating a comic effect, and intertextual connections that indicate the parodic nature of such texts, which combine the fantastic and real, extreme and everyday, cliched and specific models of interpretation of events. Social effect of these texts takes on particular significance, whereby the linguistic and extra-linguistic markers of unreliable information were analysed. The material for this study present 200 Ukrainian and 200 German texts, published on the websites dealing with humorous fake news: www. uareview.com and www.der-postillon.com.
DE
Der Artikel behandelt die Genre-Merkmale von humoristischen Fake-Nachrichten, Moglichkeiten zur Erzeugung komischen Effekts sowie intertextuelle Verbindungen, die auf die parodistische Art solcher Texte hinweisen, worin die fantastischen und realen, extremen und alltaglichen, klischeehaften und spezifischen Modelle der Interpretation von Ereignissen kombiniert sind. Einen besonderen Stellenwert erhalt der soziale Effekt dieser Texte, wobei die sprachlichen und extralinguistischen Marker von unzuverlassigen Informationen analysiert werden. Das Material fur diese Studie bilden 200 ukrainische und 200 deutsche Texte, die auf speziellen Websites mit humoristischen Fake-Nachrichten veroffentlicht sind: www. uareview.com und www.der-postillon.com.
3
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Речевой комизм одностиший Владимира Вишневского

63%
Iakovleva O.
Studia Wschodniosłowiańskie
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2021
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vol. 21
155-167
EN
Linguistic comedy is a special case of the implementation of a language game. The aim of the paper is to identify the most frequent, periodic realized linguistic ways of creating a comic effect in V. Vishnevskii’s one-line poems. The study is based on such methods as: the descriptive method, the dictionary definition analysis method and the component analysis method. The results of the research reveal that among the ways of creating the discussed effect used in V. Vishnevskii’s one-line-poems, the following are distinguished: polysemy, antonymy, metonymy, violation of lexical connectivity of words, the author’s neologisms, ellipse, transformation of precedent texts, verbal-graphic representation, and combination of lexical units referring to various aspects of their use, characterized by different functional and expressive connotations.
4
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Parodia flmowa

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 14
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issue 23
5-14
EN
Film parodies are now attracting more popular interest than at almost any time in their history except the first two decades of the 20th century (golden era of film parody). The contemporary renewal of parody is an attractive phenomenon of popular culture. To analyse and recontextualize this renewal of parodistic paradigm in film supporting by new media (spontaneous net art) Hendrykowski has compiled a wide-ranging panorama and collection of classic examples made by many famous but also unknown film-makers. Underlying the entire collection is the author’s personal belief that parody can be divers and rich as particular form of cultural rebellion and social catharsis – by turns comic effect and confusing dialogue in polemical confrontation with common opinion and public point of view established by parodied original.
5
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Wokół definicji parodii filmowej

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 14
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issue 23
29-38
EN
The revision of key topics that are related to film parody. The crucial question of Marek Hendrykowski’s research sounds as follows: what is the semiotic mechanism that gives parodistic effect expressed in the language of motion pictures? According to the author, conditio sine qua non of each parody are: incorrectness, caricatural exaggeration, comic effect, deconstruction, pars destruens and new meaning of old characteristic elements confronting the audience and its common memory. In the light of new reading and revised definition of this term, film parody is not a separate genre but rather meta-genre in its relations to many other film genres and individual screen performances being object of parody
6
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Autobus Linkego jako parodia PRL. Studium intertekstualne

38%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 14
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issue 23
65-79
EN
Marek Hendrykowski’s study is concerned with the close-reading analysis and interpretation of the Autobus (1955–1961) oil on canvas painted by Bronisław Wojciech Linke. This masterpiece of Polish peinture of the 1950s is deeply related to history and conditions of human life in Poland and other East European countries after World War II where everyday life is based on ideology imposed on society. Linke’s peinture gives emblematic ironic image of it created as an anti-social realist protest based on paradigm of Polish culture and art of the period.
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