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1

OBRAZ V PŘÍBĚHU – EKFRÁZE VE VYPRÁVĚNÍ. PŘEDBĚŽNÉ NÁVRHY K ROZLIŠENÍ POPISNOSTI A VIZUALITY

100%
Jedličková A., Fedrová S.
Slovenská literatúra (Slovak Literature)
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2010
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vol. 57
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issue 1
29 – 59
EN
The term visualisation belongs in the last decades to the most frequent expressions in discussions about culture. A contrastive example of quite a recent novel Miloš Urban: (Lord Mord, 2008) and a fiction fits in the narrative tradition of the 19th century Jakub Arbes: Saint Xaverius (Svatý Xaverius, 1873) show disproportional attention, which is paid to visual qualities of the text in the interpretation, and also to swapping the terms visualisation and descriptiveness. The study therefore submits classification of descriptiveness just in a form of work, in which like a decisive parameter the measure of visualisation is chosen. There is a distinction between visualisation as a quality of verbal experience supported by a concrete text and visualisation as a potential effect of particular qualities of the text. Based on the criteria there are determined descriptions in the study such as fully informational, illustrational with symbolic function, suggestive description of the setting evoking atmosphere, “visual“ description, which means visually well-grounded in the textual level and directing the reader to visualisation of a described subject and – in a gradational order description – to ekphrasis. In the examples of a specific literary genre – ekphrasis predominately deals with ways of its dynamizing; that means involving into narration both the microstructure of an action, as well as macrostructure of a story. Pursuant the level of involvement it is possible then to follow up the full scale of options within simple ekphrasis allusion of a picture and ekphrasis fully constructed through epic, including e.g. ekphrasis connected with gradually built up interpretation of a picture, that is a key for the interpretation of psychology of either characters or the entire story in the novel by Jaroslav Maria Saintesses, Ladies and Sluts (1927). Here and also in Arbes´ Saint Xaverius (Svatý Xaverius) there is a possibility to apply of interpretational art-historical methods for literary scholarship shown, in cases if iconographic analysis of the picture depicted in the story makes easier comprehension of the symbolic projection in reflexive element of narration. Differentiation between involvement of a “picture into the story“ and “ekphrasis in the text of narration“ seems to be heuristically useful, but most of the times also ontologically necessary.
2

FIGURA MODERNÍ MELANCHOLIE A JEJÍ INVENTÁŘ: INTERMEDIÁLNÍ INTERPRETACE JEDNOHO JIRÁSKOVA OBRAZU

100%
Fedrová S.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 5
410 – 428
EN
The assumption of the present study is seeing melancholy as a complex mood which becomes steady in a cultural context or atmosphere (Gernot Böhme) i.e. a prearranged cultural and cognitive or even perceptive scheme rather than as an individual emotion or an immediate psychic experience. This concept thus needs to be seen in its particular historicity, the transformation of the visual depiction of melancholy in the second half of the 18th century must be understood in the context of the contemporary philosophy and aesthetics of sentiment focused on subjective emotions and connected to man´s meditation in natural environment, to key cultural concepts such as the notion ´sensibilité´ (Frank Baasner). The interpretation of an extract from the „new chronicle“ called U nás /In Our Place, 1899/ by Alois Jirásek shows the writer´s process designed to evoke a scene having a certain mood which makes the reader visualize the scene by means of vivid images in the text itself as well as medial overlaps. Doing this, Jirásek refers to literary schemes as well as traditional schemes of fine art. Besides the intertextual references, he layers intermediary inspirations of his own writing process and his text is shown in double historicity, i.e. in developing the theme of a particular historical period and in being anchored in a particular aesthetic atmosphere: the character of a female reader with her head bowed and a book in her lap and the memoir "staging" of a Watteau-like shepherd scene both reflect the visualization of melancholy based on the aesthetics of sentiment, which is in line with the contemporary aesthetics of the fictitious world of the chronicle, i.e. the peak of Czech Classicism in the 1820s. And this visualization is overlapped with a new visual melancholy type coming from the times when the chronicle was published, closely related to natural scenery and the ´birch´ theme, which was established in the contemporary fine art of the late 19th century.
3
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Koncept minimální intervence

88%
Cvrcek V.
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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2008
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vol. 69
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issue 4
284-293
EN
The Concept of Minimal Intervention (CMI) is a 'methodological bill' concerning linguists and their approach toward the language and its speakers. CMI represents one possible approach to language, implying programmatic character. CMI prerequisites are: 1) There is no reason why linguistics should infringe upon language development through its interventions and thus disqualify speakers for their (natural) linguistic behavior. 2) The language has been evolving into a sensible instrument of communication, needing no assistance from linguists. 3) The arbitrary nature of linguistic means draws on their usage, and involves the ways of using constituents; it is thus not beneficial when linguistics violates, through its interventions, the very fact of this choice taken by the majority. CMI is delimited by the endeavor to minimize linguists' interventional pressure on language and its speakers; CMI's goal is to bring the language situation as close to the condition marked by the existence of a spontaneously constituted order of norms which is 'only' passively recorded by linguists. Since zero intervention is irreconcilable with the existence of linguistics, it is necessary to deliberately weaken potential linguistic interventions through a pluralism of descriptions which should expressly declare the goals they pursue and which (communicative) functions they favor.
4

К вопросу об изображении руки в портрете преподобного иоанна дамаскина

88%
Anchimiuk O., Заика В.
Białostockie Archiwum Językowe
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2014
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issue 14
11-24
EN
Analysis of descriptions of the Saints and characteristics of their appearance includes a number of problem areas: a linguistic portrait, linguistic and nonlinguistic ways of describing the Saint and a problem of the body in culture. The paper concentrates on the means of describing the hand- a part of the body of Saint John of Damascus, which was a source of suffering and divine healing. A linguistic comparison of Saint John of Damascus` history in Четьи Минеи св. Димитрия Ростовского (1689-1705) and Lives of the Saints of Old and New Order by priest P. Skarga shows that short description as the main feature of religious literature, explicit and implicit mentioning about the hand, both direct and descriptive one, take on significant meaning. A detailed analysis of the words used in both texts shows an important extension of the semantic field, relevant for the expression of religious meanings.
5
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Konec literárního špenátu aneb Popis v intermediální perspektivě

88%
Fedrová S., Jedličková A.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 1
26-58
EN
This article uses intermedial poetics to argue for the evocative potential of traditional prosaic description and to reveal the sources of the prejudices of both the general reader and the scholar, which have usually been linked with this stylistic approach or type of text. The article seeks to demonstrate that modern Czech stylistics and literary history, or the historical poetics of prose fiction, have to a certain extent helped to create these prejudices. The former has, in the endeavour to document types of text, sometimes tended to an implicit axiology of alternative functional forms of descriptiveness with their concrete historical forms; this state of affairs has continued in recent stylistics. In the interpretations offered in literary history and diachronic poetics until the 1980s, one encounters the generalizing opposition of realistic description, that is to say, ‘objective’, ‘static’ description, to modernist, that is to say, ‘subjectivized’, ‘dynamic’ description. As is clear from the analyses in the second part of the article, numerous examples can be found both to refute the existence of this opposition and to demonstrate it. Besides making a thorough distinction between, on the one hand, descriptive approaches and descriptive function (which draw, for example, on the ideas of Felix Vodička) and, on the other hand, the thoroughly contextual interpretation of literary description, a way out of the confusion is offered by the intermedial (or intermedially cognitive) approach to description as a ‘representational macro -mode’, as was methodologically laid out by Werner Wolf. Drawing on the first part of the article, the second part demonstrates the internal dynamics of realistic descriptions (which are often linked with superordinated epic models, particularly of composition) based, for example, not ‘on the evocation of landscape’, but on the evocation of the multisensory perception of the landscape, the ‘dissolution’ of description in the flow of narration, and the ‘temporalization’ of the description of the landscape by linking up with its transformations under the influence of the seasons; the narratological thesis of ‘description as suspension’ of narration is thereby rebutted. The means by which some realistic descriptions assume a mood -like character, clearly turns out in the intermedial perspective to be a result of the narrative application of traditional iconography and pictorial models linked with the period that is thematized in the story, as well as visual evocation based on intertextual relations. Identification of the position of the observer clearly follows from the key role of perception in these examples; that position is comprehensively demonstrated in the final example of the article, which shows that the autonomization of description as a ‘report of perception’ in prose fiction, which crosses over to literary impressionism.
6

DEFINITE DESCRIPTIONS AGAIN: SINGULAR REFERENCE, QUANTIFICATION AND TRUTH-EVALUATION

75%
Kotatko P.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2009
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vol. 16
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issue 4
552-568
EN
The author defends a combination of Strawson's explanation of definite descriptions as devices of singular reference par excellence with the Russellian truth-evaluation of utterances of sentences with descriptions. The complex Russellian proposition is, according to the author's view, introduced by such utterances into communication as a by-product of the instrumental side of an attempt to make a singular statement. This, precisely like the instrumental aspects of similar attempts exploiting names or demonstratives has to be reflected by analysis but should not be confused with the communicative function of utterances. The success of all these attempts depends on the fulfilment of empirical conditions of various types, given by semantics of descriptions, names or demonstratives (unless the relevance of these conditions is neutralized by another identification factor dominating in given context). But their communicative function does not consist in claiming that these conditions are fulfilled. The author agrees with Strawson that the first two conjuncts of the complex Russellian proposition are introduced into communication as presuppositions: but argues in favour of defining presupposition (in pragmatic sense) in normative, rather than intentional terms.
7

Literacki kształt wspomnień o Błogosławionej Bolesławie Lament w dokumentach procesów kognicyjnego i informacyjnego

75%
Puchalska-Dąbrowska B.
Rocznik Teologii Katolickiej
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2012
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vol. 11
151-166
EN
The aim of the article is to present and analyse the image of Blessed Boleslawa Lament in the light of documents collected for her beatii cation procedures. The source material consists of several collections of accounts written by the witnesses of Blessed Boleslawa’s life, such as priests, nuns from the Congregation of the Missionary Sisters of the Holy Family, pupils and other people. The author focuses on dominant qualities of Bl. Boleslawa as an individual and a nun, with particular regard to a literary shape of the material under discussion.
8

Kilka uwag o domniemanych związkach map i pejzażu literackiego

75%
Dajnowski M.
Białostockie Studia Literaturoznawcze
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2012
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vol. 3
37-51
EN
The article is devoted to the possible inspirations for analysis and interpretation of literary descriptions of space and landscape of history and theory of cartography after its critical turn. One example of such application are landscapes-maps found in Mariusz Wilk's Wilczy notes (The journals of a white sea wolf).
9

MOŽNÉ INDIVÍDUÁ A POSIBÍLIE (I)

75%
Cmorej P.
Filozofia (Philosophy)
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2015
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vol. 70
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issue 8
585 – 600
EN
The present paper offers (i) a logic-semantic analysis of sentences of the form „(ιx)Φ(x) is C“, where C stands for „possible“ (LP) or „merely possible“ (MP) or „really possible“ (Re) or „impossible“ (NP) and (ii) an explication of intuitive meanings of these expressions using modal temporal semantics. The crucial question concerning this analysis runs: What are the items to which modality C is attributed in these sentences? Is it an individual that is the referent of the description „(ιx)Φ(x)“ or an intension generated by the meaning of the description or the meaning of the description itself? It is argued that the most suitable response is the last one. Unlike some other positions, the present view has it that possibilia are not individuals but meanings of individual descriptions that have referents only at world-time couples where w is not the actual world. Being a possibilium amounts to being the meaning of a description having the property MP that is defined as follows: (ιx)Φ(x) is MP if (ιx)Φ(x) is possible, but there is not exactly one individual having the property (λx)Φ(x) at some world-time couple where a w is the actual world. Apart from the concept of possibilium, another concept of semipossibilium (SP) is introduced namely the meaning of a description which except some referents in the actual world has also at least one referential pause in this world. The first part introduces (i) the notions of semantic reference and user’s intentional reference, (ii) the difference between the actual world and the real world and (iii) the definitions of LP, MP, Re and NP modalities. The second part tries to answer the question whether the intension or meaning of a description is a suitable subject of predication in sentences which have the form „(ιx)Φ(x) is C“. The rest of this part deals with possibilia and semipossibilia.
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