The content of law depends on the understanding of its provisions. Interpreter of the law texts is sometimes in front of the dilemmas that a specific word contained in the mentioned text should be understood as the universal language, or as it is understood in the language of specialist law practitioners, e.g. technical (law) meaning. Technical meaning of some word sometimes vary then that word has in common. Proper choice between universal meaning and special meaning of some word might be a serious challenge for an interpreter, e.g. judge in tax case. The literature in the field of tax law often expressed view that in determining the meaning of the expressions of a legal text in the case of the difference should be rather preferred meanings from legal language than universal one. The main argument for this concept is the use of the existing acquis of legal doctrine and/or judiciary leads to achieve greater uniformity and consistency in judicial decisions. The article formulates important caveat to this approach, particularly as far as the guarantee function of the law is concerned. The taxpayer is not obliged to know neither doctrinal nor judicial review and language used. In addition, some interpretive misconceptions surprisingly often gain unequivocal applause of the courts, which suggests the existence of the required uniformity of view in understanding a particular word legal text contained.
This essay considers stylistic changes in Daniela Hodrová’s last novels – Théta, Komedie, and Vyvolávání (Evokings). These works share the stylistic features of the repetition and blending of motifs, whose meeting and interplay give rise to a distinctive vision of the world. ‘Flow’, ‘web’, and ‘textile’ are metaphors the author uses to characterize her own writing in Citlivé město (Sensitive city, 2006), a book-length essay. Here she gives hints of much that distinguishes her recent novels from classic works of fiction and what was probably most consistently achieved in Vyvolávání: ‘the reeling of the text, particularly the woven, into its inner being, into a narrative abyss’. The author first considers the structurally complex action of this text and then indicates the significant countervailing role of the rhythmic articulation into sections of utterance, which preserve the requisite fluency of the author’s sentences. The motifs here always address the reader in certain configurations, whether they are events (fictive or factual), the telling of dreams, or the retelling of myths. Certain characters also appear in them, presenting their actions, thoughts, and feelings. All these epic elements are preserved in Vyvolávání, but each receives its distinctive treatment. Wholeness is disrupted; elements are regrouped, again mixed up in quasi-eternal returns. Arrangements of higher semantic units, in characters’ portraits and stories, always take place with discontinuities, as if it were necessary to search again and again for their unapparent inner links. To keep both creative forces in equilibrium, the clarity of naming and the play of imagination and dreams were clearly the author’s goal during the creation of the work, where one usually talks about the world of characters and composition. The author’s novel has not relinquished these, though it conceives them in its own way. Her aim continues to be the meshing and blending of motifs and the flow of life, its oneiric river.
The article is a part of a discussion about the meaning of logic in the area of law. The authors treating in a polemic way some common ideas and connotation of the term „legal logic“ – according to them there is a difference between a logic in a formal meaning, dealing with the structure of the nature language and methodology. In a situations, where formal logic seems to be insufficient to provide a solution of problems with the interpretation and/or application, correct methodology is only able to solve such problem. The authors of the outlined purposes briefly explicate core concepts, such as the normative system (as a set of relatively closed binding rules as defined segment of social relations), paying particular attention to the law system, further interpretative rules and methods (with interpretation, in general, is explaining the connection between the facts (actions) or the interpretation or clarification of the meaning of a particular text), logical consistency and inconsistency (a condition where the set of rules may or may not also draw the assertion and also a negation of this assertion). Inconsistency of normative texts can be either a logical inconsistency or methodological inconsistency. In addressing challenging legal matters, it is necessary to pass from the logic to the methodology, which, of course, logic and logical semantics remains necessary armature of reasoning.
Contributed paper concerns the misleading ways of argumentation caused by ambiguity of natural language as Aristotle describes them in his writing 'On Sophistical Refutations'. It will be shown that traditional and generally accepted interpretation of these paralogisms (especially of the third and fourth ones) is inappropriate and the new solution will be proposed.
The article is devoted to interpretations of several Alpine fairy tales from the collection Fairy tales from the mountains edited by Elena Chmelová. The aim is not only to delimit the themes present in the tales – typical of magical folk tales – but also to point out characteristic regional, ethnographic, topographic and landscape-related motifs associated with specific features of the various parts of the Alps (Pennine, Bernese, Urner, Glarus, Rhaetian, Allgäu, Provence Alps etc.). A “commentary” is provided by 19th century accounts of Polish travellers.
The aim of the essay is reflecting of the development of the concept of 'interpretation' in philosophy, in the theater and in the translation. Contemporary exaggerated use of the concept of the interpretation is derived from the hermeneutic tradition in the philosophy, that had introduced infinite and unlimited interpretation and had abolished 'the contradiction'. The essay is dedicated to this question because the contemporaneous level of the work in the theater, radio and in the translation is a reflection of the unlimited interpretation. In this meaning of the interpretation it is transferred the wish of infinity and the wish to transfer into the text of another author our own ideas. This situation is supported from the insufficient preparation in the cultural and historic context of the work (text), what gives to the interpreters the possibility to not respect the intentions of the text and the author.
Egocentricals are lexemes, grammatical categories (particularly the grammatical renditions of aspect, verbal gender, tense and mood) and syntactic structures, the semantics of which anticipates the implied speaker as a participant in the situation being described. The aim of this study is to define the lexical egocentricals in Slovak and outline the semantic-pragmatic roles of the speaker roles in the narrative statements. We distinguish between the semantic (receptor) and communicative (speaker) role, i.e. perspective and focalization, as an essential starting point for understanding egocentricals. We also distinguish between the canonical and non-canonical communication situation, i.e. primary and secondary egocentricals. We present a set of nine semantic-pragmatic roles, in which the egocentricals act from the pragmatic perspective as modifiers of statements and contribute to the implementation of the communication intentions of the speaker.
This reflection is a short summary of reading and partly of a work experience with the texts devoted to Slovak literature. They come approximately from the half of the last century. This experience points the title of formulated thesis. Writing about poetry was particularly focused on older personalized line (empathic or critically distant), and stressing more evocation of the work, dealing with the character of an author and methodically progressing a structural line. Inspirational confrontation with transformation in poetry that happened in the end of the 50s and the 60s evolved several interpretational initiatives concentrated on semantically complicated contemporary poetic texts. Fiction, modernized in all transformations, would more correspond with all articulated constituted 'worlds' than contemporary poetry with intermediate self-understanding of society, with its official or alternative explanation and with the 'world' opening explosiveness, contemplativeness, fragmentariness, etc. Analogies of narrative fiction and historiography interpretation could help in a less conflicted transposed fiction in treating history of literature. An experience that makes rather problematic usual work with literature of a strong poetry sort can serve as a reminder: history is not only stated by 'subsequence' and 'similarity' of facts (in all methodological travesties still always by Comte's provenience), but it has non spectacular dimension 'in actu' evolving semantic ruptures, explosions, epiphanies, illuminations, or catastrophes.
According to a classic position in analytic philosophy of mind, we must interpret agents as largely rational in order to be able to attribute intentional mental states to them. However, adopting this position requires clarifying in what way and by which criteria agents can still be irrational. In this paper the author will offer one such criterion. More specifically, he argues that the kind of rationality methodologically required by intentional interpretation is to be specified in terms of psychological efficacy. Thereby, this notion can be distinguished from a more commonly used notion of rationality and hence cannot be shown to be undermined by the potential prevalence of a corresponding kind of irrationality.
This article considers anti-illusive elements in Věra Linhartová’s (b. 1938) early work. It focuses on the text strategies that result in the magic, enigma, and mystery of her writing. Such effects are achieved by the continuous subversion of meaning, the frequent use of contradiction, the synecdoche, a penchant for the parlance of the deranged, and the intentional disruption of the continuity of time and space. This, the author of the article argues, is why, despite their plots, these texts are lyrical. Interrupted discourses that are continuously deprived of sense are intended here to affirm the presence of the author.
This article provides the first comprehensive interpretation of the surviving texts and fragments of Kat, the unfinished series of stories by Karel Hynek Mácha (1810–1836). It combines known textological facts with an interpretation of semiotic aspects of the individual texts. It thus brings up to date our knowledge of Mácha’s conception of Czech history. Apart from purely Romantic themes and motifs, which link all parts of the series (and not just its first, Křivoklad – the only one to be published) with his later works (particularly Máj and Cikány), these texts also contain Mácha’s criticism of the policies of Wenceslas IV, King of Bohemia (d. 1419), which led to the Hussite movement and then, in consequence, the end of Czech sovereignty, a state of affairs that lasted to Mácha’s days. This unified interpretation of the Kat series also presents strong arguments supporting Mácha’s authorship of its unpublished fragments and outlines, which had previously been questioned (particularly by Oldřich Králík).
The article deals with two approaches to constructing a historical narrative: that of Hayden White, who considers historical narratives to be narrative interpretations. He argues that the plurality of historical narratives arises from the plurality of narrative forms used in the representations of the past. For M. Mandelbaum, N. Carroll and D. Carr on the other side the historical representation of the past is a sort of map or copy of reality. According to the author, both conceptions face the problem of selecting those historical narratives, which would not provoke objections on the side of historians. He argues that constructing a historical narrative associates necessarily with different interpretations of sources as well as different representations of the past.
Fine art is complicated phenomena which often holds different issues and resolves different problems. Fine art is also on the brink of “misunderstanding” and is often replaced in the perception by not so complex artistic – cultural objects. Therefore the main aim of the artwork should be to provide an environment or a possibility of intercultural, inter-media and interpersonal communication, and to offer a way how to express inner and cultural contents to different persons or cultures. There would be often a discussion about the importance of fine art, especially in present time, but also there would often be different ways how to understand each and one artwork, and which issue is crucial in the aesthetic perception of art. Present paper tries to analyse the main issue which could be understood as the origin of the misunderstanding of fine art: aesthetic interpretation. Even though, it looks like the act of interpretation is the one responsible for different meaning and countless readings of artworks, this paper would like to analyse the real impact of interpretation and its connection to the misreading of fine art, and everyday communication as well. The main aim is to demonstrate the relation between interpretation and quality of cultural phenomena, and to illustrate how an aesthetic interpretation could remove caused interpersonal and social misunderstandings.
The study deals with the rules of dramatic text reading. An inseparable part of dramatic text reading is creation of a vision which is the result of not only direct 'visualisation' of information contained in the text, but also of fantasy of the recipient. It is also the result of three outlines in which the recipient is concurrently reading the text: conventionalised, individualised and creative. Respective outlines are interactively depending on each other. The vision of happening within dramatic text always means its interpretation.
The article considers one of the main provisions of the competence approach. The development in trainees the ability to independently solve professional problems, write musical text interpretation is discussed in the paper.
A well-known novel Doctor Faustus written by Thomas Mann is situated in social and artistic environment of first half of the 20th century. It primarily concentrates on the particularity of the development of musical medium and inspires to rich reflections. The author of the paper tries to summarize, compare and closely specify opinions of Slovak music theorists, aestheticians and composers. One of first thinkers who introduced the nature of Mann’s novel as mirrored by its era was Ján Albrecht. Rudolf Brejka aimed to concentrate on description of the essence of artistic portrayal of presented problem. He drew attention to the fact that twelve-tone technique in this work of art is different from thinking and work of Schönberg. Vladimír Fulka dealt with a summarization of frequency of quotes and influence of Adorno’s texts on the diction of passages in the novel connected with problems of music. Vladimír Godár contributed to discussion about importance and contents of the novel by a detailed summary of all poetic inspirations which were used in the fictitious work of protagonist of the novel – composer Adrian Leverkün – and were really set to music by other composers. Last but not least, Juraj Hatrík presented stigmatisation of symbolic of evil in Alfred Schnittke’s cantata, directly related to Mann’s description of fictitious works. At the same time he pointed out connections of Thomas Mann’s Doctor Faustus in relation to another work of a German author – novel The Glass Bead Game by Hermann Hesse. In the last part the author thinks about cultural and social-political climate and dispositions of composed music in Slovakia thanks to which composition principles of Second Viennese School have not been fully expressed.
The author asserts that it is necessary to create new interpretations of the literary texts. These interpretations (chiefly so called 'generational') do not lead to any final or complete interpretation of the literary works but, nevertheless, they conform the best to the needs of the particular historical context. Interpretation is an application. It is the impossibility and undesirability of the only and unique interpretation (unique result) that creates the difference between the literary scholarship and the exact sciences, where, on the contrary, one result is desirable. The results of the interpretative sciences are instrumental for discussion and fundamentally influence the whole social and historical process, and prepare new tendencies and new epochs.
Re-reading Plato's Ion as the first text in the hermeneutics tradition, the author finds two main streams. The first, based on reflection (rationality, logic, knowledge) stems from Socrates; the second, consisting in an affective approach (myth, art), stems from Ion. Both Socrates and Ion delimit this field of hermeneutics (legein peri or 'speaking about') staying beyond its frontiers. Next, the author exploits the Socrates: Ion binary in order to interpret some key figures, trends, and schools within the whole tradition (rabbis, St Augustine, Pietism, Schleiermacher, Nietzsche, Dilthey, explication de texte, Heidegger, Gadamer, Peter Szondi, the Nitra School, and Ricoeur). Writers tend towards either the Socratic (explication de texte) or Ionic wing (Nietzsche). There are, however, also writers who attempted to find the middle ground, a position offering both reflexion and intuition (Schleiermacher, Gadamer, and Ricoeur). The author concludes that the main challenge issuing from his interpretation is to remain close to a text, and resist any temptation to go beyond it.
This text is yet another attempt at taking up the immortal question reappearing seasonally in university or college seminars in humanities: Can interpretation be scientific? Can an act of interpreting, understood as responding to the call and meeting the challenge posed by a text (or, by 'texts', in a broad semiotic meaning), aspire to be termed 'scientific', as per the customary explanation of the term? If, namely, there is always someone's subjectivity behind an interpretative gesture, whereas striving for objectivity - or, inter-subjective communicability - is part of the essence of science, then, is it not so that the notion of 'scientific interpretation' proves to be a classical example for quadrature of the circle? The author also attempts at responding the question of why science - understood for the purpose as codified rules of a methodological game - is so much afraid of interpretative subjectivity, and, at the end of the day, why it strives so insistently for taming any interpretative passion.
The article is a peculiar 'record of interpretative failures' in analysis of Czeslaw Milosz's 'Traktat moralny' (The Moral Treaty). The author points out to some details of the poem proving extremely hard to interpret, and makes an attempt at explaining them, supporting himself to this end by Milosz's own commentaries to the text, which he has found in the poet's letters to the philosopher Tadeusz Kronski and in his recorded conversations with Renata Gorczynska, and, with Aleksander Fiut and Andrzej Franaszek. The author's indication of certain unclear points and instances of contradictoriness in the Treaty's text offers a specific incentive for the reader to focus not only on what the text can offer them but also, on what is apparently incomprehensible in it.
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