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Nová koncepce synchronních korpusů psané češtiny

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Cvrček V., Čermáková A., Křen M.
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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2016
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vol. 77
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issue 2
83-101
EN
The paper describes the new corpus SYN2015, the most recent 100 million word corpus of contemporary written Czech. General notions of corpus representativeness and balance are discussed in this context with a focus on the new design of representativeness adopted for SYN2015. Unlike the previous synchronic corpora SYN2000, SYN2005 and SYN2010, which were balanced according to text reception (based on sociological surveys), the composition of SYN2015 is based on the “texts-as-products” principle with arbitrary proportions of the individual categories within a revised text classification scheme. The paper argues in favour of this solution by highlighting three major advantages: (1) this type of composition can be upheld constant in the future, ensuring corpus comparability, while reception changes constantly; (2) it emphasises diverse composition of the corpus as a language sample; (3) corpus SYN2015 serves not only as a representative sample, but also as a large pool of texts from which different subsets (subcorpora) based on various linguist-specified criteria can be drawn.
2
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Teorie fikčních světů a genologie

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Šidák P.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
38-46
EN
The article examines the possibility and the merits of a dialogue between genology and the theory of fictional worlds. It focuses particularly on the areas where Czech or Czech-related theory of fictional worlds (Zuska, Doležel, Traillová) offers a typology of fictional worlds, and it evaluates the potential application of such typology in genology. The types of fictional worlds, or the groups of texts defined by these types, cannot be seen quite as genological units (taxons), but they can play an important role for genology as the s.c. modus.
3
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Autorovy role a funkce zájmen v první osobě v odborných článcích anglofonních a českých lingvistů

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Dontcheva-Navratilova O.
Časopis pro moderní filologii (Journal for Modern Philology)
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2014
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vol. 96
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issue 1
42-57
EN
Taking a cross-cultural perspective, this paper considers the functions of author-reference pronouns in contemporary English-medium academic discourse. While considering the range of authorial roles in academic discourse, the study explores how academic writers exploit various rhetorical functions of author-reference pronouns for communicating with their readers and enhancing the persuasiveness of their discourse. The cross-cultural investigation is carried out on a corpus of research articles in applied linguistics written by Anglophone and Czech linguists. The analysis considers the frequency of use and the most prominent rhetorical functions of personal pronouns in relation to the generic structure of research articles. The differences in the rate and functions of author-reference pronouns in research articles written by Anglophone and Czech linguists is discussed taking into consideration the intended readership and the divergences between the Anglophone and the Czech academic writing literacies.
4
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O historické fikci a jejích žánrech

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Schubertová A.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2021
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vol. 31
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issue 2
141-149
EN
From the Romance to the Novel and Back Again by Ladislav Nagy is dedicated to the topic of historical prose. The author analyses the theoretical debate about the relationship between fictional and historical writing, and he also examines the generic development of English historical fiction. In the passages dedicated to the narrative aspects of history, Nagy offers a persuasive criticism of Hayden White’s distinction between fictional and historical writing, and sees an alternative to it in Paul Ricœur’s theory of narrative. In the second line of argumentation Nagy presents a thesis that historical prose has developed from the romance genre, and through a short diversion to novel it returns to romance again. He analyses Scott’s novel Waverley, which famously defines itself against romance, as a romance, and he uses the same term for postmodern historical fiction. This thesis seems less plausible to me as Nagy’s definition of both novel and romance genres is problematic.
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Dlouhé loučení Milana Kundery s Julkem Fučíkem a odpovědnost žánru První verze Umění románu a druhá verze Posledního máje

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Meyer H.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 23
36-65
EN
The article focuses on Milan Kundera’s works from the mid-1950s to the early 1960s, particularly on Poslední máj (The Last of May) in the versions of 1955 and 1961, and Kundera’s first Art of the Novel (Umění románu), a study on the works of Vladislav Vančura, finished in 1959. The article argues that these works are interesting not only from the point of view of Kundera’s then Marxist-Leninist political stance, but also with respect to genre theory and practise as it can be retraced in his writing before the appearance of the famous novels of the mid-1960s. The article demonstrates that the relationship between lyricism and the novel in these early works exhibits many features which are to be found in his later work. The novel takes up a privileged position — albeit with a different and more explicitly political, party-bound motivation, representing the “great epic” required by “the people”. The article also contains reflections on Kundera’s role in the Czechoslovak Stalinists cult of Julius Fučík, related to the genre issues mentioned insofar as Fučík is placed by Kundera in the same category as Vančura in the first Art of the Novel.
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Modernistická kronika jako poznání jiného

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Poláková D.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
16-20
EN
During the epoch at the turn of the 20th century — known in the Hispanic area as modernism — the writers had to look for other ways how to make art and gain some money. The solution was often found in journalism, where a new genre appeared: the modernist chronicle. Despite the fact the newspapers were symbols of transitoriness the modernists tried even there to create a beautiful, artistic prose which would reflect the main questions and fears of that period. And the authors of chronicles were the key figures of Hispanoamerican modernism like José Martí and Rubén Darío. The modernist chronicle became an instrument of presentation of new, unknown and rare experiences and also a way how to interpret the modern world and human existence.
7
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Problém žánrů odborné právnické literatury

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Tuláček J.
Právník. Teoretický časopis pro otázky státu a práva (The Lawyer - Scientific Review for Problems of State and Law)
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2021
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vol. 160
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issue 4
261-272
EN
Lawyers were then coined among the best stylists, alongside writers, playwrights and poets. They were aware of this and showed their affinity with the world of literature in their works. Who among today’s lawyers would think of quoting poems in support of their claim? For example, the verses of Homer’s Iliad were cited by the lawyer Massurius Sabinus as evidence for his theory of the market contract. Then there is the question of whether we should pay attention to the texts of legal norms when examining the genre of professional legal literature. Here I chose a negative opinion. I am based on the opinion that the texts of legal norms are material, the object of legal literature, not its subject. As the subject of artistic prose is life as such, the subject of legal literature is the life of legal norms, i.e. their application to specific life situations. In the same way I look at court (and the other official) decisions as well. I analyse the individual subgenres in the article, as they separated from the unified concept of legal literature in ancient Rome and supplement the current border subgenres, which is popular legal literature.
CS
Byli si toho vědomi a svou spřízněnost se světem literatury projevovali i ve svých dílech. Koho z dnešních právníků by napadlo citovat na podporu svého tvrzení báseň? Například verše Homérovy Iliady uváděl právník Massurius Sabinus jako důkaz pro svou teorii smlouvy trhové. Pak je ještě otázka, jestli máme při zkoumání žánrů odborné právnické literatury věnovat pozornost i samotným textům právních norem. Zvolil jsem negativní stanovisko. Vycházím z názoru, že texty právních norem jsou materiálem, předmětem právní literatury, nikoli jejím subjektem. Jako je předmětem umělecké prózy život jako takový, je předmětem právní literatury život právních norem, tj. jejich aplikace na konkrétní životní situace. A stejně tak se dívám na soudní (a jiná úřední) rozhodnutí. Rozebírám v článku jednotlivé podžánry, tak jak se vyčlenily z jednotného pojetí právní literatury už ve starověkém Římě, a doplňuji je o aktuální hraniční podžánr, jímž je populární právnická literatura.
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