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1

THE ANTHROPOLOGY OF LITERATURE: FASHION OR METHOD?

100%
Kosowska E.
Kultura i Społeczeństwo
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2005
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vol. 49
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issue 4
3-19
EN
Modern narratology has helped reveal the meaning of anthropological texts. It is thus worth addressing the question of whether suitable interpretations of the referential layer in literary texts would not help us understand the culture to which the text refers. The proposed anthropology of literature, which has already been partially achieved, is an attempt to link the two disciplines and provides a methodological justification of the value of such a fusion.
2
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A LITERARY TEXT AS A WORK OF ART (BASED ON SELECTED PUBLIC DISCUSSIONS REPORTED IN POLISH PERIODICALS AFTER 1989)

100%
KUCZERA-CHACHULSKA B.
Colloquia Litteraria
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2018
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issue 3
57-85
EN
In the sketch the author raises the issue concerning the presence of a literary text in the contemporary social-media consciousness.  At the outset the author draws two poles: the elite and egalitarian one, then, she passes to analysing public discourses which took place in the last century in cultural periodicals (“Znak”, “Tygodnik Powszechny”). One of the crucial conclusions of her observations is the judgement according to which a literary masterpiece has been in the last centuries as if less a piece of art and become more a place of exchanging a thought and social discourse.
3

NIEKOĽKO POZNÁMOK K TEXTOLOGICKO-EDIČNEJ PROBLEMATIKE LITERÁRNYCH TEXTOV 17. – 18. STOROČIA

80%
Gáfriková G.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 3
246 – 257
EN
The article deals with the several textological and editorial problems of Slovak literature in the 17th – 18th century which fundamentally differs from those of the research and publishing of literary texts in later periods. With regard to her long-term view of the subject the author draws attention to the differences in three essential textological principles defining text features. 1. The understanding of the notions authorial subject and authenticity of his/her literary production; 2. the degree and character of preservation of text sources, 3. the unsettleness and unstableness of the prescribed forms of the domestic literary language (particularly the issue of literary texts written in Latin, German etc.). At the same time she critically reflects the current situation in Slovak textology and editorial practice. The causes of its unsatisfactory condition cannot only be attributed to the radical change of the basic conditions in the publishing sector after the year 1989.
4

SVOJBYTNOSŤ MEDITATÍVNEJ ROZPRÁVKY AKO ŽÁNRU PRE DETI

80%
Magalová G.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 6
445 - 460
EN
The presented paper sets a goal to defend the concept of the meditative fairy tale amongst the other existing genres of the literary fairy tale. The introduction includes the description of the contemporary ununified genre classification of literary fairy tales at home and abroad. Its comparison with the genre of the philosophical fairy tale leads to reflecting on the meditative fairy tale as an autonomous genre in literature for children and youth and it points out its specific tendencies towards the „sacrum“ space. The paper makes an attempt to define these writings against abackground of the ideas formulated by the Romanian religious studies scholar Mircea Eliade and the contemporary research in the field of literature for children (Andričíková, Kubeczková, Magalová and others). Reading meditative fairy tales is recommended to all age groups. It presents a literary text of an intimate atmosphere for readers of all ages, where every human emotion comes to life – including the serious, gloomy, cheerless ones, which are rarely employed in literature for children. In the conclusion, the paper suggests new possible ways of looking at the evolution of the literary fairy tale in Slovakia against a background of the research into the „archetypical“ genre of the literary fairy tale – the fairy tale featuring Christian and didactic tendencies.
5

FAIRY-TALE BETWEEN ORAL ACCOUNTS AND LITERATURE

70%
Pacalova J.
Slovenský národopis (Slovak Ethnology)
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2005
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vol. 53
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issue 1
37-55
EN
The comparative analysis of the texts' style on micro-level demonstrated that particular fairy-tales differ first of all by their style of wording. Stylistic rendering of the texts by individual authors (in the cases of Dobsinský or Nemcová we can speak about nuances of the style) have important impact on the further levels of the texts' epic structure. They strongly influence the context of environment and characters, implementation of the category of story teller and elaboration of canonized elements and motives (dialogues in the analyzed texts' segments stand for formulas). However, it does not mean partial or absolute violation of these elements (categories) in the sense of modern fairy-tale or fairy-tale written by some author, but mainly specific stylistic presentation of the elements (categories) which become significant especially during comparing various way of stylization. Qualitative differences between particular texts can be observed at three mutually depended levels: realization of an expressive categories in the texts on the axis 'experience - significance' influencing a way of depiction of the elements of the epic structure of the text that further influences saturation of the text by new meanings, or revealing of archaic archetypal meanings. The elements (characteristics) of each level could be ranged (qualitatively graduated) on the base of relation between folklore and literary qualities, or, respectively, it is possible to observe gradation of literary qualities of the certain elements. For instance, the direct characteristic of a character by story teller is the simplest way of its depiction, typical for folk tales. Thus it can be evaluated as an element connecting the author's way of rendering the story to folklore. On the contrary, indirect characteristic (depiction of the character by means of actions, language, appearance and environment) implies increasing level of literary qualities of the text. Therefore, mentioned levels indicate elaboration of the texts on the basis of oral tradition (folklore) or literacy. They are part of characterization of the story as a folklore or literal phenomenon. Thus they can be seen as a sign of literary texts.
6

DVAKRÁT „METODOLOGICKÁ POVIEDKA“ (RUDOLF SLOBODA, PAVEL VILIKOVSKÝ)

61%
Prušková Z.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 1
17 – 28
EN
The 1960s meant an important cultural U-turn from the realistic method of depiction to alternative approaches and means of expression in Slovak art and literature, too. The decade brought new classification of values as well as a new philosophical view of the reality. In the conditions of our country the anthropocentric pattern of the world´s depiction came into use, the human became the centre of its attention. The key prosaic works written in this period confirm the use of the anthropocentric pattern and they go even further benefitting from it in various ways and establishing individual styles of their authors. Rudolf Sloboda and Pavel Vilikovský used short prosaic works of the late 1960s to demonstrate new text strategies involving readers in creating a text experience. The side effect of such efforts, as the present study tries to show, is not only spontaneous presence of relevant poet logical and philosophical affinities with the contemporary European literature (new novel) but also a modified relationship to artistic self-referentiality of a literary text (writing as an alternative to the reality).
7

TOUHA, SLAST A KOMUNIKACE

61%
Fulka J.
Filozofia (Philosophy)
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2009
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vol. 64
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issue 5
443-453
EN
The aim of the paper is to reconsider Barthes' theory of textuality, as presented in his 'The Pleasure of the Text'. Barthes' approach is based on the rejection of the 'referential' or 'realistic' theories of literary text: the Barthesian pleasure is drawn from the texture of the text itself rather that from its alleged referential character. In this sense, the author's suggestion is to return to the notion of representation rejected by Barthes, even though this representation should not be identical with the reference in the classical sense of the word. The notion of 'weak representation', suggested by the author, does not mean a return to a naive conception of realism. It rather implies that the referent would be a fantasmatic rather than 'realistic' entity. The notions of representation and reference are exemplified by the interpretation of Richardson's 'Clarissa' and Hardy's 'Tess of the d'Urbevilles'.
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