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1

OBJECTS PLAYING IN COSMICOMICS BY ITALO CALVINO (Il gioco degli oggetti nelle 'Cosmicomiche' di Italo Calvino)

100%
Szymura M.
Kwartalnik Neofilologiczny
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2010
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vol. 57
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issue 4
393-410
EN
The article is a study on presence and functionality of objects in a Cosmicomics collection of short stories written by Italo Calvino. These philosophical fantasy stories, presents a very individual vision of our galactic before life formation on Earth. Objects, ubiquitous in our life environment, place matter in order and are a testimony of homo faber's activity. They receive symbolic meanings and also serve as evidence of ‘possession over existence' supremacy. Objects in Calvino's cosmic universe function as fictional, stylistic, identifying, reconnaissance, metaphorical and ideological ones. Typology of their functionality - illustrated with examples - and defining these objects meaning both allow us to conclude on a vision of a human being and the world but also the specific fictional world poetics in the work of this Italian writer.
2
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Fikční svět jako mundus imaginalis. Vertikální a horizontální osa v Hrabalově novele Příliš hlučná samota

100%
Furnica I.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 2
236-245
EN
In connection with Andrei Pleşu’s Despre îngeri (On Angels, 2003) the author analyzes the nature of the fictional world in Bohumil Hrabal’s Příliš hlučná samota (Too Loud a Solitude, 1977), using many quotations to demonstrate the parallel between the angels of the former work and Hanťa, the protagonist of the latter.
3

FICTIONAL NAMES, FICTIONAL CHARACTERS AND PERSONS REFERRED TO IN NARRATIVE FICTION

100%
Koťátko P.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2017
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vol. 24
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issue 3
308 - 338
EN
The paper is based on a strict distinction between the notion of a person referred to by a fictional name, as uttered within a text of narrative fiction, and the notion of a fictional character. The literary functions of such a text require the reader to interpret the occurrences of a fictional name as records of utterances of that name by the narrator, referring to that individual which has been assigned that name at the beginning of the chain to which these utterances belong. This, according to the author’s view, provides proper basis also for interpretation of various kinds of extra textual use of fictional names. A literary character is, on the contrary, an element of a construction of a literary work and is identified by a set of requirements (e.g. of the kind mentioned above) imposed by the text’s literary functions on the reader. The author attempts to justify the assumption that the referential function of fictional names so understood is to be interpreted as directed to the actual world (rather than to an artificial world created by the writer), to specify the (rather limited) role reserved for pretence within this approach, to explain the implications of this account of fictional characters for the dispute between realists and anti-realists in this field etc.
4
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Sémiotika žánru historické fikce

100%
Kubíček T.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 5
655-678
EN
The essay focuses on definitions of the ‘historical novel’ and argues that they are inadequate because they need to demonstrate why the text and the fictional world are relevant to the historical novel, by means of data from another set of ontological assumptions, the world of facts. The essay therefore proposes a semiotically based definition arising solely from the text and the fictional world of the text.
5

FROM A CONSTRUCTION TO A FUNCTION (A CONTRIBUTION TO A POETICS OF FAIRY TALES)

88%
Pacalova J.
Slovenská literatúra (Slovak Literature)
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2006
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vol. 53
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issue 3-4
221-242
EN
The aim of the contribution is to show that introductory and final formula considered as one of the most phenomenal features of a fairy tale are inwardly structured. These formula were analysed on the base of the ethnographic material (so called Wolman's catalogue of Slovak fairy tales). We analysed them regarding to their construction, way of development, stylisation, attitude of a narrator, measure of convention and a way of its contamination. We identified the several types of these skeleton forms: simple introductory and final formula characterised by a lower degree of stylization and development of conventionalised form and content; stylised introductory formula (magic), an explicitly characterised fictional world of fairy tales; stylised introductory formula (rhetoric) and final (formula with an involvement of a narrator into a plot) formula, expressing an attitude of a narrator to the told story. Further, we found that in the folk environment differently from the literary one, the occurrence of formula in the right sense of word is rarer. It is clear from the analysis that some of the types of formula determine generic characteristic of texts, in which they function like their skeleton; it is also clear how much they also depend on an interpret's narrative characteristics. In the end of the contribution we defined the functions of formula, which are revealed just on the background of typological modification of formula. The basic function of formula is to declare a fairy tale story as a fictional story - that is why we can consider formula as a type of metaleptic figures.
6

THE CONCEPT OF 'WORLD' IN THE CONCEPTIONS OF THE PRAGUE LINGUISTIC SCHOOL AND IN DOLEZAL'S THEORY OF FICTIONAL NARRATION

88%
Sladek O.
Slovenská literatúra (Slovak Literature)
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2006
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vol. 53
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issue 6
409-422
EN
The study is a comparison of the concept of a literary work, which represents an independent 'world', according to which that concept was created by the representatives of the Prague school - J. Mukarovský and F. Vodicka - in the context of the structural poetics and also in Lubomir Dolezel´s theory of the fictional worlds. The purpose is (a) to analyse Mukarovský's and Ingarden's concept of the 'intentional reality'; (b) critically compare Dolezel's concept 'the fictional world' with Vodicka's 'the fictive world' and (c) to explain Jungmann's concept of the fantastic poetry. The wider frame of the research is an attempt to answer the question what influenced Lubomir Dolezel that instead of 'the world' of literary work he began to think about 'the fictional world'. The author of the study wants to point out the significance of the University papers written by J. Mukarovský - 'Filozofie jazyka básnického' (The Philosophy of Poetic Language); there Mukarovský for the first time expressed his opinion that a language expression includes a double reference to the reality. Comparing F. Vodicka's and L. Dolezel's theoretical approaches to a literary work the author of the study added the opinion that 'the fictive world' cannot be identified with 'the fictional world'. While Vodicka's conception of a literary work as 'the fictional world' makes an accent on the aspect that while a literary work is a world representing a unique (literary) reality, it is also measured and compared with a concrete empiric reality; the L. Dolezel's term 'the fictional world' characterises a literary work as a world completely generated from a narrative text. On the setting of these analyses author shows that the source of Vodicka's conception of a literary works as a fictional world comes from an older conception of a fantasy poetry and 'the fictional (fantasy) world'. The author of it is an important Czech scholar Josef Jungmann (1773-1847). An extra attention is paid to comparing Jungmann's and Dolezel's suggestion of a typology of the fictional and the fictive worlds. The study brings a detailed analysis of the terms 'the fictive world' (F. Vodicka) and 'the fictional world' (L. Dolezel). It points out that they cannot be used as synonyms as they differ from each other in the references. He also look in a new way at forgotten Jungmann's project of the fantasy poetry and suggests its further research and in the ranks of the theory of the fictional worlds.
7
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DEJINY LITERATÚRY AKO KONŠTRUKCIA MOŽNÝCH SVETOV

75%
Vajdová L.
World Literature Studies
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2014
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vol. 6 (23)
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issue 2
24 – 35
EN
Historiography has been in the centre of attention for decades, but its understanding constantly expands and the questions it asks concern an increasing number of areas, regardless of disciplinary borders. The article deals with literary history as a construction of conceivable worlds in the context of historiography and literary works. Lubomír Doležel is an important theorist in this area, whose work Fiction and history in the era of postmodernism (Fikce a historie v období postmoderny, 2008) elaborates Doležel’s earlier work on fictional worlds in literature by examining the questions of historiography and its conceptualizations of both conceivable and inconceivable worlds.
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