Search results - CEJSH

1

The end of style?

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Bakoš J., Menzies C.

Umění (Art)

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2021

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vol. 69

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issue 3

254-265

EN

In 1996 a seminal book of critical art history was published titled Critical Terms for Art History (Robert S. Nelson, Richard Shiff /eds/, Critical Terms for Art History, Chicago 1996). But ‘style’, one of the key terms in art historiography, was not to be found among the entries. The 50-year-long predicament of style had thus come to an end, with the term being excluded from the list of contemporary-art and art-history terms in current use. Paradoxically, this took place at a time when the term style was just starting to gain significance in philosophy and other humanities. (Caroline van Eck, James W. McAllister, and Renée van de Vall, The Question of Style in Philosophy and the Arts, Cambridge 1995). ‘Philosophy of style’ was seen as a means of constructing the truth and, as such, entirely appropriate to the relativism and pluralism of postmodernism. In fact, the term style never completely disappeared from either of these disciplines. Nonetheless, its centre of gravity shifted to encyclopaedias and dictionaries (The Grove Dictionary of Art, 1996; Encyclopedia of Aesthetics, 1998; Metzler Lexikon Kunstwissenschaft, 2003; Ästhetische Grundbegriffe, Historisches Wörterbuch, 2003). The authors of the entries on style (Elkins, Lang, Locher, Brückle) did not simply interpret it as a term formerly used in academic disciplines, but pointed to its continuing importance and currency, and not just as an essential tool for establishing authorship for the needs of the art market. They focused particularly on its usefulness in contemporary art — postmodern art — and on stylistic pluralism. But that entailed a shift away from the modernist view of style as coherent expression and towards an instrumental and polyphonic conception of style. The question of whether ‘style’ was both appropriate and useful in contemporary art was decided in 2003 when the second edition of Critical Terms for Art History was published, which once again featured the term style. The author of the entry (Jaś Elsner) concluded as follows: ‘If we abandon it entirely, we do so at our peril.’

CS

V roce 1996 vyšla programová publikace kritického dějepisu umění Critical Terms for Art History. (Robert S. Nelson, Richard Shiff /edd./, Critical Terms for Art History, Chicago 1996). Jeden ze základních pojmů historiografie umění — pojem stylu — v ní však nenašel své místo. Znamenalo to, že půlstoletí trvající krize stylu nakonec vyústila v jeho vyřazení z živých, aktuálních pojmů umění a jeho dějin. Paradoxně se tak stalo v době, kdy se pojem stylu začal pokládat za mimořádně aktuální pro filosofii a další humanitní disciplíny. (Caroline van Eck, James W. McAllister, Renée van de Vall, The Question of Style in Philosophy and the Arts, Cambridge 1995). „Filosofický styl“ byl chápán jako prostředek konstruování pravdy a jako takový plně odpovídající relativismu a pluralismu postmoderny. Ani z uměnovědného diskursu se pojem stylu úplně nevytratil. Jeho těžiště se však přesunulo do oblastí encyklopedií a lexikonů. (Grove’s Dictionary of Art, 1996; Encyclopedia of Aesthetics 1998; Metzler Lexikon Kunstwissenschaft 2003; Asthetische Grundbegriffe, Historisches Worterbuch 2003). Autoři encyklopedického hesla (Elkins, Lang, Locher, Bruckle) styl interpretovali nejen jako pojem z minulosti vědní disciplíny. Naopak zdůraznili jeho přetrvávající důležitost a aktuálnost. A to nejen jako nenahraditelného nástroje znalectví potřebného pro umělecký trh. Vyzdvihli i jeho adekvátnost vůči soudobému umění — postmoderně a její stylové pluralitě. To si však vyžádalo nahradit modernistický koncept stylu jako koherentní exprese instrumentálním a polyfonním chápáním stylu. Proces ověřování užitečnosti stylového pojmu a jeho adekvátnosti dobovému umění byl završen v roce 2003 druhým vydáním Critical Terms for Art History, do kterého byl pojem stylu opětovně zařazen. Autor příslušného hesla (Jaś Elsner) konstatoval, že se bez pojmu stylu ani v současnosti nelze obejít.

2

Gdzie krzyżują się drogi w polonistycznym i germanistycznym rozumieniu stylu?

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Hanus A.

Stylistyka

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2015

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vol. 24

423-443

EN

In this article, the author attempts to show common features and also differences in the study of style in Polish and German-speaking countries. Special emphasis is placed on finding and demonstrating analogies, both in the tradition of research on style, and the meaning of the concept of style in both examined areas. In addition, the paper shows different research traditions and the changing understanding of the term style and its research from the contrastive perspective, as well as the latest trends especially in research on style within German studies.

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Valuation in pupils’ stories as an expression of cognition and evaluation of the world

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Kopeć U.

Stylistyka

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2018

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vol. 27

321-333

EN

The analysis of stories written by pupils from sixth and seventh grades proves that they evaluate the depicted world mainly by means of stylistic word formation devices, especially hypocoristic forms and epithets, most frequently of positive markedness. They are also willing to apply exclamations, e.g. łał! and colloquial words such as spoko and goœciu. Their application of phraseological expressions and the creation of metaphors does not seem to be very frequent. Metaphors serve mainly as means to describe abstract concepts, e.g. Rozkwitająca miłość przypomina wschód słońca (The thriving love resembles a sunrise). The analysis of the stories proves that pupils evaluate positively what brings them satisfaction, provides a feeling of safety and what is beautiful, which means that moral, aesthetic and hedonistic values are important to them. Negative valuation, in turn, concerns, first of all, what is related to pain, fear, violence, i.e. with vital and moral anti-values.

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Stylizacja na dziewięćdziesiąt dziewięć sposobów. Raymond Queneau według Jana Gondowicza

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Mitura M.

Między Oryginałem a Przekładem

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2015

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vol. 29

25-36

EN

The paper constitutes a review of translation techniques and strategies used by Jan Gondowicz in his translation of Exercises in Style by Raymond Queneau. Methodology of organising diversified content of the original is based on classification of metaboles developed by Groupe μ. Analyses have shown that the translative dominant is situated at the discourse level: the translator very skilfully plays with potential of the language and conventional text forms. Not only does he comply with organisation constraints or isotopies of the vast majority of Exercises, but at times goes deeper into a style imposed by a given formal constraints.

5

Through the Maze of Style, through the Labyrinth of Time. Stylization in the Translation of Cloud Atlas by David Mitchell

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Drab E.

Między Oryginałem a Przekładem

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2015

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vol. 29

71-83

EN

The author attempts at showing the impact which style has on the process of translation. The theoretical angle presenting the role of style in a literary text is followed by an examination of the style adopted in Cloud Atlas by David Mitchell, which is a novel consisting of six stylistically independent stories with subtle connections established between them. The analysis of the text’s stylization to make it resemble a diary, a host of letters, a journalistic thriller, a memoir, an SF interview and a spoken tale allows to depict the strategies used in the translation of the novel and characterize the factors which determine style, such as genre, historical time, characters and others.

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Jak nie należy czytać Milana Kundery? (Z Europą Środkową w tle)

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Hellich A.

Przegląd Humanistyczny

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2015

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vol. 59(2 (449))

75-84

PL

The purpose of this study is to consider whether it is appropriate to talk about the writing style of the Central Europe as a separate artistic construction. After the fall of the Iron Curtain, when the former Soviet states became part of the western community, Central European society ceased to exist so that the whole project has become an anachronism. One can see it on the example of Kundera’s post-Cold War novels which definitely do not represent the Central European style. It does not mean, however, that one is unable to find a link between Kundera’s The Joke and Immortality. Features such as anti-essentialism, aphoristic and intellectual style, narrative games, ambiguity and irony are appropriate not only for Kundera, but also for other authors of modern novel – with or without Central European citizenship – like Cervantes, Sterne, Broch, Gombrowicz, K. Brandys, Pamuk, etc.

7

Kultura a styl wypowiedzi autobiograficznej – dyskursywność 1 dzienników Zygmunta Mycielskiego i Stefana Kisielewskiego

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BIŁAS-PLESZAK E.

Stylistyka

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2013

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vol. 22

335-350

EN

Discourse, understood as a category of the cognitive character, was applied in this article to analyse the diaries of two Polish composers and feature writers – Stefan Kisielewski and Zygmunt Mycielski, written in the communist Poland. The purpose of the analysis was to show how this special cultural, social and political context was reflected in their works and how it affected their choices as far as the style and topics were concerned. This paper was also supposed to single out various types of discourses and discursive strategies in the authors’ diaries. A particular attention was paid to the selfawareness of the writers and methods of its expression, either in a direct or oblique way, which often requires an active, almost “archaeological” reading that involves revealing new reserves of meanings from under another layer of words. The performed analysis leads to the conclusion that various types of discourses (anti-totalitarian, chronicle, critical and musical, political, intimate) are present in the discussed works. The above conclusion invites one to ask the following question (which sets a further direction in the research): To what extent is it an individual feature of the authors’ works and to what extent is it a certain element of the style of this period?

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Русская речь в СМИ и как категория стиля

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КОНЬКОВ В. И.

Stylistyka

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2014

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vol. 23

209-219

EN

The article says that the variety of Russian speech in the media require more detailed, functionally differentiated deseription. Proposes a definition of style as a speech technology.

9

Styl narodowy jako kategoria stylistyczna

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Gajda S.

Stylistyka

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2012

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vol. 21

7-18

EN

The term and the category of national style was introduced in the period of pre-romanticism in Germany (Winckelmann, Herder, Goethe) in response to radical social and cultural transformations. At that time in Europę, the modem understanding of the nation was being formed, with national societies being constituted and national identities dominating over other forms of collective identity. In the twentieth century, it was accepted that a nation is not a naturally formed community of people, but rather a cultural project - a construct based on ideology and realized in discourse (Gellner, Anderson, Hobsbawm). The notion of national style reąuires a retraction from the rhetorical (elocutionary)conceptualization of style based on the opposition between language and thought (cf. res vs. verba). It is theoretically grounded in the monistic tradition (cf. Ganzeit). As a result, the category of national style integrates various previous typologies of styles (e.g., formal/casual/colloąuial register, functional styles). According to the classical understanding of style, a given national style can be regarded as a repository of stylistic devices (marked or expressive linguistic elements or properties). In the new, holistic approach, where style is the highest organizing principle XXIof expression (in terms of both content and form), national style is said to pervade national discourse (i.e. the textual realizations of national identity and national ideology). It can be postulated that specific nations are characterized by their unique perception of social reality, organization of information and patteming of interaction, which is evidenced in what is accepted as socially appropriate textual (stylistic, generic) forms.Slavic national styles can be researched from the perspective of individual nations, as well as from the comparative perspective.

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Barokowe kształty słowa.Z zagadnień ewołucji stylu poematów Kaspra Twardowskiego

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REJTER A.

Stylistyka

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2007

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vol. 16

257-272

PL

The article is dedicated to the reflection over the style of three poems of Kasper Twardowski, the early baroąue writer. The poems are: Lekcyje Kupidynowe (1617), Łódź młodzi z nawałności do brzegu płynąca (1618) and Pochodnia Miłości Bożej z piącią strzał ognistych (1628). Foundations of pragmatic stylistics, which takes into considera- tion the subjective aspect of work, have been taken on. Poems lexis, figures of rhetoric and stylistic features have been observed.The style evolution of analyzed texts is based on gradual convertion of text form, focu- sed on the following notions: SENSUAL LOVE -> SIN//PENANCE -> GOD’S LOVE. These no- tions have their equivalents on the style level, i.e.: IDYLL // COURTLINESS -» EXPLICIT- NESS // IMAGERY -> EXPLICITNESS H RESTRAINT.The analysis of work’s style level was aimed to point a parallel between stylistics sphe- re of literary text and its ideological surface motivated subjectively, which is a reflex of author’s - who is the text subject - view posturę. Madę observations are the next proof of extraordinary cultural and linqual luxuriance of baroque period, which are in favour of omnipresent varietas idea and its not trivial influence on stylistic shape of a text.

11

Styl dedykacji rękopiśmiennej a czas

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KRAUZ M.

Stylistyka

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2007

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vol. 16

541-551

PL

The article gives analysis of author’s manuscript dedications inscribed predominantly on the title page. The dedication is a short text, closed in terms of content and composi- tion, in which author ascribes his/her work. The basie pattem of dedicatory formula inclu- des: a name of addressee, a reąuest for reception and a signature of addresser.On one hand dedicatory formulae as the typical minimal texts, serving a polite function of a language, retain continuity and permanence of some of the structures (a few linguistic conventions are repeated); on the other they are distinguished by individual, original mo- difications conceming mainly well thought out and elaborated forms in comparison with minimal pattem.The stylistic form of a dedication depends largely on the relation between addresser and recipient, sociol status of interlocutors, type of relations, the choice of functional style, situation in which the action is performed, the time of formation is less important.Even thought contemporary dedications are characterized by morę straightforward way of addressing recipient, diversity of occasions and spontaneity, they still retain so- lemn naturę of statement.

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Problem stylizacji w tłumaczeniu dzieł Witolda Gombrowicza. Przegląd badań nad angielskimi i włoskimi przekładami

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Salmeri C.

Między Oryginałem a Przekładem

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2015

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vol. 30

139-152

EN

This research study deals with an area which has largely escaped the attention of researchers so far, i.e. linguistic equivalence and the limits to the translatability of Gombrowicz’s convoluted style, an effective deterrent for other translators. This article investigates the English and Italian translations of various works of Gombrowicz. Particular attention must be paid to the way in which translators have rendered the Polish original, and above all to the vocabulary, phrasing and structure of the language used by Gombrowicz in the Italian and English languages.

13

The nature of artistic expression of the Únětice culture’s people

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Gralak T.

Studia Hercynia

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2020

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vol. 24

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issue 1

66-77

EN

The analysis of the artistic expression of the population of the Únětice culture was carried out assuming that the style is expressed through various media. Due to different materials, their properties and meth ods of treatment, the effects must differ in obvious ways. However, the idea remains common. Comparing subsequent elements of a culture, we can expect to perceive a set of repeatable features – the paradigms. Hence, the analytical procedure consisted in searching for and classifying similarities. It was carried out in three fields: architecture, artistic expression, and paratheatrical activity. The results obtained indicate that the artistic activity of the population of the Únětice culture was a harmonious whole. Individual types of expression were complementary and in part also resulted from each other.

14

Stylistics and Persuasion

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Bonta R.

Stylistyka

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2008

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vol. 17

223-244

EN

The paper deals with stylistics and persuasion but, in order to be able to speak about them, we started first with the presentation of rhetoric that represents the core for both the study of style and the study of argumentation. Stylistics and persuasion represent, in fact, the two meanings of the new rhetoric: study of style and art of argumentation, which are only apparently divergent (in reality, they are able to function together). The figures of speech (associations of words that can embellish and render force to the discourse) are closely connected to the study of style. We insisted mainly on the rhetoric figures (figures of words, of meaning, of construction, of thought), as they are the ones that play a persuasive role. Persuasion is linked to argumentation, both being focused on the receiver and expecting an action from him. For argumentation we identified the most important argumentative strategies (of cooperation, interrogation, polemic negation, rejection, metaphor), based on different argumentation and persuasion techniques, that have as the main objective the influencing of the interlocutor, the change of his beliefs and attitudes, techniques that can also appear in negotiation, seen as an argumentative discourse. Persuasion, apart from the quality of the arguments presented, is also efficient if it fulfils four criteria: credibility, coherence, consistency and congruence and also if the language and style used are adequate to the auditory, to their social and educational standards etc. At the same time, because persuasion combines the appeal to intellect with the appeal to emotions, the arguments are frequently followed in the persuasive discourse by rhetoric figures. In order to see the connection between stylistics and persuasion, the way in which the rhetoric figures and the arguments help and complete each other during the persuasive discourse, we have chosen a fragment from the last discourse of Jim Jones, the founder of the Peoples Temple, discourse held in front of his followers and which had as a result the suicide of more than 900 people. This discourse proves the power of persuasion, the (sometimes) lethal force of language.

15

O gramatyce stylistycznej

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Skubalanka T.

Stylistyka

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2012

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vol. 21

423-424

EN

The author makes a revision of the newest Polish publications dealing with stylistic gram mar and claims that there are many research possibilities still open in these works.

16

DER ZWEIFEL AN DER METAPHER. BETRACHTUNGEN ZU FRANZ KAFKAS STIL

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Mihăileasa L.-E.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2010

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vol. 2

51-62

EN

In the article “The Rejection of the Metaphor. Thoughts on the Kafkian Style” we argue that the simplicity of the Praguean writer’s style and the purposeful avoidance of metaphor are based on the conviction that reality is one, indivisible and uninterpretable, and that literature should express this reality. For Kafka, metaphor is not a way to reveal the essence of reality, but a trap that alienates the writer from the essence of things. By trying to find the limits of the correspondence between literature and reality and attempting to reach the utopia of the total correspondence between word and world, Kafka builds his own style, one characterized by great simplicity, clearness and concreteness, where metaphor is used parsimoniously.

17

On Non-Native Speaker E-mail Communication from a Genre Perspective

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Pikhart J.

Theory and Practice of Second Language Acquisition

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2016

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vol. 2

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issue 1

EN

The author has investigated a corpus of informal email messages produced by post intermediate Czech learners of English. The method of analysis draws upon Biber & Conrad (2009) employing primarily a qualitative analysis as part of the author´s dissertation. First of all, the paper touches upon such descriptive terms as style, register and genre. Secondly, the paper presents the results of an analysis of genre features including deviations. In the concluding part, the article outlines implications for practice.

18

Technika kompozytorska Arvo Pärta w utworach instrumentalnych z okresu wczesnej stylistyki tintinnabuli

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Krawczyk A.

Aspekty Muzyki

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2014

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vol. 4

147-169

EN

The most known works of Estonian composer Arvo Pärt (*1935) have been written in his individual compositional style called tintinnabuli. The style was formed in 1976 as a result of a significant crisis Pärt had experienced after his last dodecaphonic composition. At that point the composer realized that dodecaphony and other contemporary techniques are no longer inspiring for him and decided search for a new direction for his music. In 1976–1980, after some years of exercising and studying early music, he presented several works, mostly instrumental, introduc-ing a new stylistic quality. The compositions are based on a precise system of regulations which has determined many aspects of Pärt’s musical language. The melodic material is limited to two scales: one diatonic and one ‘triad scale’, the latter having been created on the basis of triad struc-ture. The form has been constructed by using a simple mathematical procedure — a sequence, although some external formal models are also involved. The rhythm is often based on a repetitive scheme which can be interpreted as a reference to a medieval isorythm. It is the very detailed and consequent system of those and others technical principles that make the pieces composed during the early period of tintinnabuli style consistent and recognizable.

19

„Malowanie słowem” – o stylu sprawozdań Henryka Sienkiewicza z wystaw malarskich

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Pietrzak M.

LingVaria : Półrocznik Wydziału Polonistyki UJ poświęcony zagadnieniom języka i językoznawstwa

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2016

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issue 21

111-122

EN

The paper aims to characterize the style of H. Sienkiewicz’s reports from painting exhibitions. The stylistic features have been determined from the genological perspective, with the assumption that the report is an alternative template for the review. The main stylistic features of the analysed texts are: 1. suggestiveness, graphical character, and persuasiveness, as features resulting from how the intention of the text was realized; 2. weakened adherance to templates, owing to the possibility of realization of various structural variants; and 3. eclectic nature, related to the richness of stylistic registers, including a sizeable repertory of means belonging to the artistic style, thematic vocabulary, and vocabulary directly linked to the subject of painting. Specialist vocabulary, concepts and terms characteristic of the art of painting, constitute a specific group.

20

Koncepce stylotvorných faktorů v československé lingvistice: rozbor, kritika, nástin řešení

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Chromý J.

Naše řeč (Our Speech)

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2012

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vol. 95

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issue 2

57-70

EN

The article presents an overview of research on style-forming factors in Czechoslovak linguistics. The conception of style-forming factors was unique at the time of its introduction, but it has not been developed much since then. The article identifies the following problems with this conception: (1) The processual domain of style is not examined; (2) Factors are derived from the resultative domain; (3) It is not clear what particular factors influence and to what extent; (4) Some factors are complex and they could be broken down into partial factors; (5) There is no limit to what can potentially be a style-forming factor. The article offers a possible solution to these problems: experimental research on style-forming factors.

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