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

Results found: 10

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  LITERARY GENRE
help Sort By:

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

Genologia nomadyczna: gatunek jako metatekst

100%
Kalaga W.
Pamiętnik Literacki
|
2012
|
vol. 103
|
issue 4
175-188
EN
Traditional “literary genetics” or generic studies endeavour to categorize and classify works of literature into taxonomies which are always already too narrow to accommodate works escaping clear-cut criteria. Such studies generally rely on the principle of literary evolution and progress, and exclude or are unable to account for phenomena which escape that principle. In opposition to approaches which posit genre as an imposed classificatory category, this paper first poses the ontological question concerning the mode of existence of the literary genre, and then proposes to consider genre as an open metatext emerging as a result of the performative, metatextual activity of literary texts. The ontological principle of genre is thus becoming, stipulated by the performative activity of texts, the activity itself relying on the interplay of repetition and difference. Such an approach opens ground for nomadic genre studies which, instead of aiming at taxonomic classifications, would search for cultural, ideological, philosophical, anthropological and literary factors of the emergence of genres, and treat them as hybrid “densities of sense” rather than a priori categories.
2

THE PHENOMENON OF RUSSIA AS AN EXAMPLE OF THE EAST-WEST RELATIONSHIP. MUTUAL RUSSIAN-GERMAN RECEPTION ON THE LEVEL OF LITERARY GAMES (Fenomen Ruska jako prikladu vztahu 'Vychod-Zapad'. Vzajemna recepce na urovni zanru)

80%
Ulbrechtova H.
Slovak Review. A Review of World Literature Research
|
2008
|
vol. 17
|
issue 1
29-43
EN
The study is divided into two parts. In the first part the position of Russia 'between the East and the West' is outlined in the light of Russian as well as German philosophical thinking accenting their intersections. Central here is the question of the 'mysteriousness' of the Russian culture and of the so-called Russian soul, which the authoress approaches from the position of 'Western Europe'. She touches also on the question of the Western enthusiastic admiration of Russia, in which the exhausted Europe at the turn of the 19th century saw regenerating forces. The second part deals with select examples of the history of Russian-German literary relationships from the 19th and 20th centuries, which show differences in their mutual reception. While Russian literature was regarded as the successor of German philosophy and wanted to creatively develop it further (consequently German philosophy influenced the genre specifics of Russian literature), the image of Russia in Germany had mostly a political-sociological character and operated as a reflection of certain polemics of the period. Russian literature had no influence on the development of German genres; the reception of Russia can mostly be observed on the psychological level of 'suzhets' and motifs. In the conclusion the authoress outlines the possibilities that the study of the reflection of philosophical systems in the 21st century (dialogue between 'Western' philosophy and Russian tradition) opens in Russian contemporary literature.
3
Content available remote

Glorifikace autorského gesta

80%
Češka J.
Česká literatura (Czech Literature)
|
2008
|
vol. 56
|
issue 1
1-16
EN
This article considers several aspects of the geste du narrateur in the works of Milan Kundera (b. 1929). With the geste du narrateur it is possible to unite and thematize texts of different genres (verse, drama, novels, and essays), and it is possible to read Kundera’s works as a definite voice, as a certain reflexion of speech. First, Kundera’s conception of poetic language is considered by looking at his analysis of poems by Vítězslav Nezval (1900–1958). Kundera considers anthropomorphic devices in particular, because the poems are, in his view, meant to transform the alienated world of phantoms into a world of objects that have a human dimension. An echo of the demiurge nature of the poetic word is audible in Kundera’s conception of the narrative, in his fundamental distinction between narrator and character. From this perspective it seems that the narrator occupies an invincible position of authority. Interpreting Kundera’s 1960 book on Vladislav Vančura (1891–1942) the article pays special attention to the concept of lyrical prose. It contrasts Kundera’s idea of fiction with the tradition of the nouveau roman (Robbe-Grillet) and New Criticism. It then characterizes Kundera’s style by the tension between his metaphorical and metonymous periods, and concludes that Kundera’s decision to set prose and the lyrical in opposition to each other is largely untenable, because his fictional world is in fact lyricized.
4

SONNET: LITERARY GENRE OR STANZA? CLASSIFICATION PROBLEMS IN THE CONTEXT OF RENAISSANCE AND BAROQUE LITERATURE

80%
Batko P.
Barok. Historia - Literatura - Sztuka (Baroque. History - Literature - Art)
|
2007
|
vol. 14
|
issue 2(28)
65-74
EN
The source of the present essay is the discussion of genologic and versification character, addressing the problem of functional assessment of sonnet as a literary unit. The analysis encompassed the lyrics by Jan Kochanowski, Mikolaj Sep Szarzynski and Jan Andrzej Morsztyn. The author remarks that the sonnets of Kochanowski in literary history are derived not from the subject matter but from versification that is their only distinctive feature. Also the analysed sonnet by Morsztyn is received through the category of stanza and rhyme pattern. Szarzynski, on the other hand, directly calls his poems by the name of sonnet, thus indicating their genre distinction. This invites the question whether the lack of genre designation in Kochanowski's sonnets could provide a basis for challenging their status. An affiliation to a specific category undoubtedly offers a convention helping with the reception of a poem. According to Maria Grzedzielska, in the case of the sonnet a versification pattern could be the base of the genre. The symmetry presented in the text between the genre and stanza allows us to accept this standpoint. An unconventional association of the sonnet with the situation of the novel as literary genre, illustrated by a chart, proves that the less is the number of distinctive features of a given literary category, the more it belongs to the genre. The author also refers to the conventions of the sonnet and its numerous transformations over the centuries.
5
Content available remote

Dzieło literackie jako akt komunikacji językowej w kontekście relacji nadawca - odbiorca, czyli o współczesnych tendencjach rozwojowych twórczości dla dzieci i ich rodziców

80%
Chrobak K.
Bohemistyka
|
2009
|
vol. 9
|
issue 2
119 - 124
EN
Authoress discusses development of modern tendencies in literature for children and young people, on base of book, which was written by Czech writer and publicist Michal Viewegh – Krátké pohádky pro unavné rodiče . It’s directed to children in pre-school age and to adult recipients. Text intended for children makes a separate whole and text intended for adult recipients can’t exist without main text.
6

GROTESKA A GROTESKNOSŤ (V POVIEDKE LETNÉ HRY DUŠANA MITANU)

70%
Melník J.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 3
199 – 208
EN
The study presents in its two parts an attempt of defining and specifying problematic concepts of the grotesque and the grotesque style. Having considered the works by Wolfgang Kayser and the line of other authors updating his theory of the grotesque (PhilipThompson, Frances K. Barasch, GoeffreyHarpham), the writer of the study forms a pattern of the grotesque style which is verified and developed through an interpretation of Dušan Mitana´s short story Letné hry/Summer Plays, where focusing on the grotesque aspect emphasizes some of the overlooked text segments and enables new reading of the short story in question. Alongside the theory and interpretation parts, the author thinks about a possible distinction between the concepts of the grotesque style and the grotesque moment, and their mutual influence and repetition creates space for defining the grotesque as a literary genre.
7
Content available remote

Bývaly prý v Čechách někdy časy

70%
Kret E.
Bohemistyka
|
2009
|
vol. 9
|
issue 2
125 - 139
EN
Authoress concentrates on problem of evolution of Czech fairy tale as literary genre. She discusses following elements of work structures in the article: magic formulae (initial, final, spells) and type of hero (people, animals, plants, fantastic characters, objects). Authoress underlines, that fairy tale fulfills important didactic function: young reader perceives pleasure from reading and he simultaneously learns by subconscious. Fairy tales help children to discover personal identity. They enrich them and develop their character.
8

PARADOXICAL ESSENCE OF THE STORY IN BALLA'S FICTIONS (Paradoxna podstata pribehu v Ballovych prozach)

61%
Jancovic I.
Slovenská literatúra (Slovak Literature)
|
2010
|
vol. 57
|
issue 2
105-124
EN
This paper looks at fiction techniques and their semantic implications in the texts of a Slovak writer Balla. The author explains the paradoxical essence of the story in Balla's works by means of the 'event's' nature being different from that of the subject matter's theme, going beyond the borderline separating the two distinctive semantic fields. Balla's texts demonstrate the impossibility of changing the protagonist's negative situation. The essence of the thematic problem is by its nature close to a theme less text that contradicts the usual story ness directed towards dynamic interaction between the subject and its surroundings. The static nature of the theme demands innovations in the text-producing process, while this also determines the process substantially. As the author's treatment of the theme does not allow for thematic detention, the stronger becomes the author's focus on procedures that are able to disintegrate disproportional thematic facets beyond straightforward verbalisation as well. In the frame of fictional semantics, the purpose is served by contaminating the fictional world with elements overlapping the 'real' dimension and exploiting the tex's metaphorical components. Besides the two mentioned procedures, the tendency towards a more developed fictional structure is manifested in Balla's work. If the story represents a medium of potential extension in Slovak cultural context, 'story' in Balla's texts means obstructing extension and in this way also the impossibility to experience the 'otherness' of existence in motion. As a result, the fiction provides minimal transitivity into 'trans textual' cathartic space. The ground for aggravated communication is the subject encircled in the causality of causes and effects, with an absence of the slightest hints concerning a breakthrough in his state. Thus the way to ease off the accumulated tension does not open by the text itself; but in contrary, it is necessary to step out of it.
9
Content available remote

Apoštol Pavel opěvuje lásku

51%
Tichy L.
Studia theologica
|
2004
|
vol. 6
|
issue 4
19-30
EN
The article deals with two Pauline texts: 1 Cor 13 and Rom 8.31-39. The former well-known text is traditionally called the hymn to love (or hymn on love or hymn of love). But this appellation has been recently criticized with good reason. Instead, a number of different literary genres have been proposed for this chapter of 1 Corinthians. However, it seems that a consensus on this question can hardly be reached. The pericope Rom 8.31-39 has been called a 'Hymn to the Love of God Made Manifest through Christ Jesus' by J. A. Fitzmyer. Although the apostle Paul possibly sings the praises of love more strongly in this latter text, the classification as 'hymn' is not generally accepted, either. Other definitions of the literary genre as 'diatribe' or 'plea for love' are also not without difficulties. We can see that the problem of genre is common to both our texts. But more important is the common theme, i.e. love, and the message. Even though Paul speaks of love in each pericope in a different manner, we must see these texts as complementary. The apostle Paul exalts and extols the love that comes from God, i.e. as God's gift, but it is also the love we are to have and to accomplish for God and for our neighbors.
10
Content available remote

K žánrové diferenciaci české poezie doby baroka

51%
Malura J.
Česká literatura (Czech Literature)
|
2008
|
vol. 56
|
issue 2
155-182
EN
For its methodology this article draws chiefly on the theory of intertextuality, emphasizing the genre as model. It is premised on the idea that similar works gradually group around a successful prototype text, leading to the genre category. The author takes issue with existing classifications of Czech Baroque verse, and questions the validity of fundamental criteria such as the opposites secular:spiritual, to be sung:to be spoken, lyric:epic. He proposes a more sophisticated differentiation of genre in contrast to forms of publication, which include the hymn book and the broadside ballad. His interpretation concentrates particularly on the production of Czech hymn books, both Roman Catholic and Lutheran, which is distinguished by a quite surprisingly wide range of genres and sub‑genres. From contemporaneous books on poetics and rhetoric one can reasonably deduce mainly Humanist genre terms like eclogue, ode, and epicede. Contemporaneous sources also distinguish between two distinct, even considerably opposed, categories – the hymn and the lament –, which in practice appear in various forms (the Christmas anthem, the Easter anthem; the lament of Protestant exiles, the Passion lament, and the funeral lament). What is particularly important in hymn books is the distinction – not made in Czech scholarly literature on the topic, but common, for example, in the German‑speaking world – between the hymn (closely linked with high days and the liturgy, intended primarily for choral singing) and the spiritual song (used in the cultivation of the individual spiritual life in private; with an indirectly expressed religious content; employing topoi of contemporaneous non‑religious verse). Among the hymns there are, for example, the Whitsun anthem, the Eucharistic anthem, and the Marian hymn. Among the spiritual songs there are songs of personal anxiety, sung meditations on vanity and transience, and love songs addressed to the Lord Jesus. The various genres were concealed in the particular form of publication in which they appeared.
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.