Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 13

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  EXPRESSION
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

THE TRANSLATION THEORY OF THE NITRA SCHOOL AND CONTEMPORARY COMMUNICATION MODELS OF LITERARY TRANSLATION: A CASE STUDY

100%
Huťková A.
World Literature Studies
|
2017
|
vol. 9
|
issue 2
99 – 114
EN
The study answers the essential question whether the Nitra School can stand its ground in the contemporary communication models of literary translation. The author works with postmodern texts translated from Hungarian into Slovak (mainly prose by Peter Esterházy). Through the individual shift she reveals different options for translation of many parameters, such as questioning authorship identity, hybridity, relativity of language, cultural memory of a nation, misleading explicativeness as a popular postmodern strategy, etc. The study shows the potential of the new categories of expression (e. g. coolness, allusiveness, fragmentariness of expression, provocativeness, sensuality of expression, etc.).
2
Content available remote

KONOTAČNÉ POLE DETSKÉHO ASPEKTU VÝRAZU

100%
Pirníková T.
ESPES
|
2012
|
vol. 1
|
issue 1
9 – 16
EN
The author deals with aesthetic quality „children’s aspect of expression”. She focuses on its characteristic from the point of view of musical creator. She enumerates specification of music for children and at the same time she suggests, what picture of child in art brings and represents. She thinks about artistic value of children creation. She confronts experiences from reflection of musical work with ideas of scientists, pedagogues, and artists.
3
Publication available in full text mode
Content available

Świadomość mityczna jako problem filozoficzny

100%
Ples M.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
|
2012
|
vol. 24
5-18
EN
The article Mythical consciousness as a philosophical problem is an at- tempt to analyze the subjective reflection of a myth that is concentrated on such notions as: “mythical consciousness”, “mythical imagination”, “mythical thought” or “logic of myth”. The analysis shows the main theses and pro- blems of subjective reflection of the myth, based on philosophical theories (E. Cassirer, L. Kołakowski) and also on the concepts which developed in the area of the cultural anthropology (B. Malinowski, L. L´evy-Bruhl, J.G. Frazer, C. L´evi-Strauss).
4

DIFFERENTIATING-LECTAL EXPRESSIVENESS

100%
Tosovic B.
Stylistyka
|
2005
|
vol. 14
151-174
EN
The author discerns two main types within the field of cognitive differentiation of language - extroverted and introverted type. In all types of introverted differentiation of language there are different types of expressivity, which he refers to as differentiating-lectal expressivity. This paper shortly presents its basic aspects and types. Expressivity, in general, is divided into internal and external. Internal expressivity creates its own types of differentiating-lectal structuring of language. Each of those types has its own expressivity: one - functional style, two - dialect, three - jargon, four - women language as opposed to men language, five - language of the young etc. Thus, expressivity is not only a phenomenon of stylistic differentiation of language but also universal occurrence.
5

NEARTIKULOVANÉ ZLOŽKY SÉMANTICKÉHO OBSAHU A SYNTAKTICKÁ ELIPSA

100%
Zouhar M.
Filozofia (Philosophy)
|
2011
|
vol. 66
|
issue 8
725 – 745
EN
The paper addresses the problem which consists in that the semantic content of an utterance is often much richer than the content fixed by the semantic conventions and compositionality. The semantic content of an utterance is, therefore, supposed to involve so-called inarticulate constituents, over and above those articulated at the linguistic level. It is often claimed that this problem undermines traditional conceptions of semantics. The paper shows that every inarticulate constituent has to be determined at the syntactic level. Consequently, there are no inarticulate constituents tout courts. This claim is resulting from a careful specification of the notions used to show that there are inarticulate constituents (the notion of sentence, the notion of expression, the notion of using as opposed to that of saying, etc.). Given these specifications, it is possible to develop a theory of syntactic ellipsis as a viable solution to the above mentioned problem.
6

METAPHOR, THE WAY OF THINKING

100%
Chirpaz F.
|
2008
|
vol. 6
|
issue 2-3(20)
373-386
EN
Human being can live his own life only by shaping it into the form of words, thus absorbing words inherited from language he was born into. In this sense, to speak is to have always been included in the community, it is also to decipher the mystery of human being. Symbol, metaphor, notion try in their own way to surmount limits of words and their poverty. They are different forms of important functions of language that acts as a medium between the lived-through part of experience and its expression in words. At the beginning, human existence is lived through beyond words, but it can display itself only if it is able to express its own relation to life. The most important part of human experience is not lived through only in words, but it must go through them in order to understand the fact of being lived through. Therefore, only the metaphor opens our look to unexplored fragment of experience and inserts in words 'a play' that is similar to poets' creativity. This play only is able to express the lightness and gravity of life.
7

PRÍTOMNOSŤ ČLOVEKA. ANTROPOLOGICKÝ PRÍSTUP HELMUTHA PLESSNERA

88%
Vydrová J.
Filozofia (Philosophy)
|
2016
|
vol. 71
|
issue 7
562 – 571
EN
On the basis of the analysis of some of Helmuth Plessner’s topics (expression of cry, corporeity, man in relations, situations and historicity) we try to introduce the specific approach of philosophical anthropology. Through the “eccentric positionality” as a core concept of Plessner’s anthropology we understand also his multi-layered and specific form of questioning, openness and indeterminacy of man (Ger. Unergründlichkeit). By the question of actuality and influence of anthropological initiative which arose in the 30’s in Germany we focus finally also on its relation to phenomenology as well as its roots in the philosophy of life.
8
Content available remote

OPERNÍ SCÉNOGRAFIE JÁNA ZAVARSKÉHO

88%
Hrdinová R.
Slovenské divadlo (Slovak Theatre)
|
2017
|
vol. 65
|
issue 1
32 – 48
EN
The present study aims to describe the work that Ján Zavarský, one of the most prominent contemporary Slovak scenographers, has done for musical theatre, mainly opera. The author draws on her years of experience as an audience member, production recordings, photographs, scene designs, and other documentation. Her study is the first attempt at mapping the language of expression that Zavarský has created in two decades, especially in cooperation with the directors Martin Otava and Karla Štaubertová. First, the author deals with the process of creation of a scenographic proposal in dialogue with a director, which gives rise to a scenographic and directorial concept of a production. It then proceeds to identifying the characteristic features of Zavarský’s approach to opera scenography, which include the architectural concept of the scene, simplicity of expression, formal and colour stylization, and the connection between scenography and the movement of characters on the stage. The study includes a list of Zavarský’s scenographies and photographs documenting the individual features of his work for musical theatre in approximately ten productions.
9

MUST EXPRESSION BE INSTRUMENTAL?

88%
Bäckström S.
Organon F. medzinárodný časopis pre analytickú filozofiu
|
2021
|
vol. 28
|
issue 2
282 – 302
EN
This article engages critically with the theory of expression proposed by Mitchell Green in his Self-Expression (2007). In this book, Green argues that expressions are signals designed to convey information about mental states. By putting pressure on one of the examples Green uses in his book, I will challenge this thesis. Then I will deepen this challenge by developing a contrast between two philosophical perspectives on expression, which I name the ‘instrumental’ and the ‘descriptive’. I take Green’s theory of expression to be an exemple of the instrumental perspective. Expression, in the instrumental perspective, is a means for transmitting information about mental states from organism to organism. I articulate the descriptive perspective with the help of Maurice Merleau-Ponty and Ludwig Wittgenstein. On the descriptive view, expression is (at least a part of) an answer to the question what it is so much as to have mental states and a living body. I suggest at the end of the article that if we remain within the instrumental perspective, we will not be able to use expression to satisfactorily answer this question.
10
Content available remote

The Musical Expression of Emotion: Metaphorical-As versus Imaginative-As Perception

75%
Budd M.
Estetika: The Central European Journal of Aesthetics
|
2012
|
vol. 49
|
issue 2
131-148
EN
The paper begins with an overview of various well-known accounts of the musical expression of emotion that have been proposed in recent years. But rather than proceeding to assess the merits and faults of these accounts the paper examines whether a radically new theory by Christopher Peacocke is superior to all of them. The theory, which certainly has a number of attractive features, is based on the idea of metaphorical-as perception. The notion of metaphorical-as perception needs to be elucidated and the examination of Peacocke’s theory takes place by playing it off against a rival theory that is based on a different kind of perception, imaginative-as perception. The paper argues that, as the basis of an account of the musical expression of emotion, imaginative-as perception has all the advantages and none of the apparent defects of metaphorical-as perception.
11

TELO JAKO VÝRAZ. TVŮRČÍ GESTO PODLE MERLEAU-PONTYHO A JEHO REVISE NA ZÁKLADE ZKUŠENOSTI IMPROVIZACE

75%
Puc J.
Filozofia (Philosophy)
|
2013
|
vol. 68
|
issue 5
367 – 375
EN
The paper compares the notion of bodily expression as used in Merleau-Ponty’s Phenomenology of perception with the notion gained from the analysis of The Acting with the Inner Partner. It is a kind of dramatic improvised performance, developed at the Department of Authorial Creativity and Education at the Theatre Faculty of the Performing Arts in Prague. Whereas Merleau-Ponty grasps the experience of non-certainty, so typical for the creative state of mind, by the schema empty intention/fulfilment. The Acting with the Inner Partner is based on the ability of a body’s expression to create its own meaning. Thus the body’s expressivity is liberated from the meaning given in advance, no matter if fulfilled (as it is in the case of imitation) or just empty or intended (as when realizing an idea). The improvisation thus offers a new means how to get to the “very birth” of our experience (Merleau-Ponty’s understanding of the proper goal of phenomenology), and to understand the intrinsic creativity of our own body.
12
Content available remote

Henryk Elzenberg as a Forerunner of Anglo-American Concepts of Expression; Emotional Colouring as an Aesthetic Phenomenon

75%
Guczalski K.
Estetika: The Central European Journal of Aesthetics
|
2012
|
vol. 49
|
issue 2
191-232
EN
Classic expression theory identified the emotional content of works of art with the feelings of the artists and the recipients. This content thus appeared to be external to the work itself. Consequently, formalism declared it to be irrelevant to a work’s value. A way out of this predicament – one which the Polish aesthetician Henryk Elzenberg (1887–1967) was among the first to propose – was suggested by the idea that physical, sensory objects can themselves possess emotional qualities. Thanks to Bouwsma and Beardsley, this concept – of expressiveness as a quality – became common in Anglo-American aesthetics from the 1950s onwards. At the same time, these authors demanded that the term ‘expression’ be expunged from the language of aesthetics. But the widespread tendency to conceptualize the emotional content of art in terms of the expression of a certain subject (most often the artist) still requires some explanation – interpretation, rather than negation. One interpretation construes the expressiveness of works of art in terms of the expression of a fictitious subject, the ‘work’s persona’, conceived by Elzenberg in the 1950s and 1960s. This article discusses his concept and explains some of its more complex aspects, before addressing the emergence of a very similar concept within Anglo-American aesthetics. This concept was gradually elaborated in the 1970s and 1980s, but only in the 1990s did it become more fully developed and widely discussed. Published in the Archive Documents and Articles section together with two translated studies by Elzenberg: Emotional Colouring as an Aesthetic Phenomenon and Non-aesthetic and Aesthetic Expression.
13

O Hrabim Murdel-Bęskim, Lilce, Mirce..., czyli o autografonimach wybranych twórców dwudziestolecia miedzywojennego

75%
Dudek-Palinciuc E., Dudek P.
Onomastica
|
2011
|
vol. 55
119–138
EN
The goal of this article is analysis of epistolary signatures (autographonyms) of selected writers of the 20-year interwar period (M. Choromanski, M. Dabrowska, W. Gombrowicz, J. Iwaszkiewicz, Jan Lechon, B. Lesmian, M. Samozwaniec, B. Schulz, J. Tuwim, and S. I. Witkiewicz) and their appearance as pseudonyms. Described are the sociological, psychological, and pragmatic conditions of their selection and the means of creating the autographonyms assembled as well as formal classification of them. The specificity of the epistolary signature is emphasized, as it was often a fulfillment of the expression of partners in correspondence dialog as well as a determinant of the emotion and expression of the letter’s author.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.