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Identifikace konstituentů kompozit u předškolních dětí:

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Kadlecová A., Nagy M., Mertins B., Donevska S.
Naše řeč (Our Speech)
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2014
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vol. 97
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issue 3
146-163
EN
The paper presents research concerned with the ability of children to identify Czech compound constituents and the factors affecting this ability. It focuses on the constituent family size effect, i.e. the number of compounds sharing the constituent (type frequency), and it also compares the results with an English study by Krott and Nicoladis (2005). Unlike the English study, the Czech data do not confirm the family size effect on the child’s success during the identification. The primary factor seems to be the knowledge of the motivating word. Our paper discusses differences in Czech and English compounding and points out some problems of the reliability of the results achieved using a child-questionning method (“Why do we call a merry-go-round a merry-go-round?”).
2
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Jazyková kreativita při tvoření názvů nových prostředků činnosti

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MATUROVÁ M.
Bohemistyka
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2017
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issue 2
115-125
EN
The present article investigates ways in which new words are formed to name objects which do not have established names in the Czech language. In particular the author focuses on vocabulary related to the Dedra e-shop, mainly kitchen appliances and objects related to cooking. The vocabulary is examined through the prism of Jaroslav Kuchar’s seminal study Word Formation in the Czech Language and the author pays attention to all ways of word-formation, including blending. The author concludes that most words in the examined vocabulary were composites, both from local Czech words and hybrids combining a Czech word with a foreign one; derivatives using the “ator” suffix were quite common too. As far as the formal/colloquial level is concerned, some words were neutral while others were colloquial, which – the author points out – seems to have been driven by a desire to be witty. The author also points out that it is not possible to assess how viable the new words will be.
CS
Vývojové tendence současné české slovotvorby jsou lingvisty sledovány dlouhodobě a velmi zevrubně. Slovní zásoba jazyka je proměnlivá a rychle reaguje na dynamické změny ve společnosti. Důležitým faktorem je bezesporu i vliv cizích jazyků, dnes především angličtiny, která proniká do mnoha oblastí současné slovní zásoby. Některé studie se věnují utváření nových pojmenování na chatu, v e-mailové a SMS komunikaci (např. Svobodová 2005, Jandová 2006), jiné se zabývají komunikací na diskusních fórech (např. Lišková 2008, Chejnová 2009), pozornost lingvistů vzbuzují také neologismy na sociálních sítích. V této stati si budeme všímat relativně nových názvů prostředků činnosti, jež vznikly pro účely internetového obchodu Dedra.1 Naším záměrem je ukázat, byť na omezeném množství lexikálních jednotek, čím byly motivovány, které slovotvorné postupy se při vytváření pojmenování uplatnily a které slovotvorné prostředky byly přitom využity.
3
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K významům slov s komponentem -braní

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Nzimba S.
Naše řeč (Our Speech)
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2022
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vol. 105
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issue 2
106-111
EN
The paper deals with the meanings of the compounds with the component -braní. This component has not been lexicographically treated yet despite its productivity in contemporary Czech. We describe the word-formation bases which are combined with the component -braní and define the prototypical meaning of these compounds – ‚a public (gastronomic, cultural, etc.) event‘.
4
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Je možná nová klasifikace českých kompozit?

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Štichauer P.
Časopis pro moderní filologii (Journal for Modern Philology)
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2013
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vol. 95
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issue 2
113-128
EN
The article offers an overview of Czech compounding based on the classification put forward by Sergio Scalise and Antonietta Bisetto (cf. Bisetto — Scalise 2005; Scalise — Bisetto 2009). The classification is based on a combination of two hierarchical levels of analysis. The upper level divides compounds according to the grammatical (or syntactic) relation between the constituents into coordinate, subordinate and attributive structures. The lower level splits each of the three “macrotypes” into endocentric and exocentric compounds (on the basis of the presence / absence of a head). It is only at this point that the different lexical categories enter the scheme giving rise to various combinations (such as A + N, V + N and so on). Against the background of such a classification, which is in some important respects divergent from the onomasiological approach, the paper also concentrates on two special cases: first, on so‑called parasynthetic compounds of the type modrooký, vysokoškolský, bezvětří, nosorožec and others; second, on so‑called juxtapositions (spřežky), such as pomstychtivý or smysluplný, which are usually left aside within the onomasiological framework not being considered as fully‑fledged compounds.
5
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Psát okem na zeď cely… Črta k vězeňské lyrice Václava Renče

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Wiendl J.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 31
132-146
EN
This article presents an analysis of Václav Renč’s lyrical poetry from the period of his imprisonment by the Communist regime in 1951–1962. From Renč’s extensive collection of prison poems (including such lyrical-epic compositions as Cinderella of Nazareth, first published in book form in 1969; Prague Legend, 1974; and Loretan Light, 1992; as well as several poems collected in Meeting with the Minotaur, 1969) we take a look at the nineteen poems Renč included in an anthology of his works from 1941–1962 under the title Lark Tower (1970). To the section of lyrical texts from the years 1951–1962 the poet gave the title Without Echoes. In particular, the study focuses on how Renč’s lyrical poetry from the period of his imprisonment builds upon his previous critically acclaimed poetry, simultaneously aiming to address the question of what makes this work unique. The unique quality can be found in the formal precision of the texts, which represents the poet’s effort to maintain his moral integrity and identity while in prison, while at the same time, by virtue of carefully constructed allusions to the verses of certain poets with whom Renč had worked as a poet and translator before his imprisonment, strengthening his sense of inner freedom. A key starting point for the aesthetic composition of the prison poems is the combination of various expressive and often elementary contradictory motifs, perspectives or attitudes, a process typical of prison poetry in general. In Václav Renč’s poetry, this initial moment is re-envisioned on the principle of the so-called lyrical dichotomy, which, on the basis of subtle gradational and compositional techniques and intersections, connects distinctive opposites into subtle poetic images. However, this is not the expression of a selfcentered aesthetic game, but an attempt to articulate — and cope with — a new and exacting life situation. In this way, Václav Renč’s poetry, which had always been characterized by its compositional and figurative rigor, would later become more austere in its semantics, at the same time gaining in intensity, depth and reach.
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„Neposlouchám, co mi říká, zato slyším, co nepovídá.“ Vyprávěcí postupy a kompozice próz Anny Blažíčkové

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Smějsíková M.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 31
174-190
EN
This study analyzes narrative techniques, self-reflexive features and elements of composition in three published novels for adults by Anna Blažíčková: Woodbine, Now Something from Life, and Waiting in the Crowd. Picking up on the use of real names and events in Woodbine and Now Something from Life, reviews tend to emphasize the autobiographical dimension of these works. This study aims to present a new perspective, focusing on Anna Blažíčková’s work as a whole, thus revealing the full repertoire of elements and practices featured in the texts, as well as the self-contained world of her prose in which the sentient subject is inscribed.
7
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Poznámky k poetice Dostojevského: Bratři Karamazovi

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Chlupáčová K.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 51
29-35
EN
Dostoyevsky in his novel The Brothers Karamazov develops to unusual extend a play with the language material, with narrative principles, with the semantics of words. These techniques contain future predictions, returns to the past, the system of repetition and variations creating a great semantic space behind many expressions on the level of poetic positions. The wealth of the semantic perspectives, of references to the hidden unknown content, the mysterious significant ciphers are integral part of Dostoyevsky’s poetics. Author with a great favour allocates objects and pronouncements which become an image and a symbol, in the text they go across many mutually not united figures at the same time. The favourite Dostoyevsky’s method are the most various word plays and funs. The funs used to be often based on mingling of reality and metaphor. Dostoyevsky understands the extensive lexical body of his novel like a poet: language, semantics and stylistics by means of expression have for his writing a crucial importance.
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