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1

The Parodic Character of Approximating Codes and Conventions in Mock-documentaries

100%
Kosinska-Krippner B.
Kwartalnik Filmowy
|
2006
|
issue 56
47-72
EN
Drawing on Roscoe and Hight's theory of mock-documentary, the authoress examines a few selected fictional film texts that approximate factual codes and conventions for parodic purposes. She traces director's clues in films, indicating the genuine status of the texts and reveals elements of the play between the text authors with the audience. The following films have been analyzed: William Karel's 'Operation Lune/Dark Side of the Moon', Aleksey Fedorchenko's 'First on the Moon', Petr Zelenka's 'Year of the Devil' and Vit Klusak and Filip Remund's 'Czech Dream'. The authoress mentions two examples of mock-documentary techniques used in Polish productions.
2

BALANCING INTERESTS IN PARODY CASES (Vyvazovani zajmu pri posuzovani pripadu parodii)

80%
Salamoun M.
Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)
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2010
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vol. 93
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issue 4
259-268
EN
While the copyright law contains parody as one of the forms of legal licences, the problem at hand is to define what parody is. The parody as such is a derivative work derived from another copyright. To create parody involves, in legal terms, the use of the original copyright. Due to the legal licence, this can be performed without consent of the author of the original piece of work, but it remains necessary to observe general terms and conditions concerning the use of copyright and which are required in connection with the legal licences. One of the conditions is the use of the copyright in the scope that is limited to what is necessary. U.S. law practice, with a number of cases having been dealt with, shows that limitation of such scope brings up a number of issues. Historically, we can see that an author of parody can use gradually larger and larger parts from the parodied work.
3

GROTESKNO HAŠKOVÝCH CESTOVNÍCH POVÍDEK

70%
Hrbata Z.
Slovenská literatúra (Slovak Literature)
|
2014
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vol. 61
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issue 3
181 – 198
EN
The article is focused on important part of Jaroslav Hašek´s work inspired by his travels made before the WW I around Central Europe, Eastern parts of the Austro-Hungarian Monarchy and the Balkans. The 1955 edition of these proses was titled „Črty, povídky a humoresky z cest“ (The Sketches, Short Stories and Humorous Writings). In comparison with the views highlighting the factual documentary-like nature of these proses or, on the contrary, those emphasising the autonomous structures, the present article assumes Hašek´s knowledge of the travel literature structures and their links to life events. However, these events when transformed often mock the travel literature paradigms, support the construction of the comic world (the created comic elements along with fantasy elements, „ludic“ inventions), which is mainly affected by two parallel factors: a) the ability to notice potentially comic aspects of the reality b) grotesque-like distortion of numerous occurrences using a particular style (comic, parodic, absurd combination of details, situations, utterances etc.). The analyses focusing on the „technique“ of unserious writing used in the short stories with documentary elements, where chance encounters and unimportant events become opportunities to create anecdotic sequences and humorous sketches which feature – besides food and alcohol – various tourist guides as the leading „agents“, the funniest characters of Hašek´s short travel stories.
4

Czy warto wiedzieć, „gdzie jest pies pogrzebany”?

70%
Czyżak A.
Białostockie Studia Literaturoznawcze
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2012
|
vol. 3
299-307
EN
The article is devoted interpreting Tadeusz Różewicz's poem Gdzie jest pies pogrzebany. The focus is on the contexts of the poem: contemporary experience (and experiencing) of old age, a critical outlook on the rules of communication, and the modes and aims of taking up the tradition of satiric writing.
5

Драматургія жестів у п’єсах Володимира Винниченка

70%
Malutina N.
Slavica Wratislaviensia
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2011
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vol. 153
565-571
EN
In the article the dramatic art of gestures in V. Vinnichenko’s plays is considered as an original author’s rhetoric, a discourse of a ritualized body, which becomes a sign of genre and stylistic codes and also a powerful method of estimation.
6

Česká lidová slovesnost a internet: Humor v e-mailech

70%
Otcenasek J.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2007
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vol. 94
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issue 4
365-375
EN
The study focuses on contemporary forms of folklore and their relationship to Internet. In the Czech lands, the spreading of literacy and print in the nineteenth century, together with the invention of radio and television in the twentieth, contributed to the displacement of oral transmission of many forms of literary folklore. At present, to a certain extent continue to exist short stories (especially urban stories), and also remembrances and short folklore genres (anecdotes, jokes, proverbs, adages, locutions). Internet, that began to expand in the Czech Republic in the second half of the 1990s, became a new platform for circulation of some forms of folklore. The principle of electronic mail in certain respects comes close to the procedure of oral transmission. Besides electronic mail, there exist many web pages that collect for example anecdotes. In these cases, it is difficult or impossible to ascertain their provenance, but this is not a crucial question. Many of the texts presented are parodies to classical folklore genres, but also literary works or film. There is often erotic or pornographic vertone. Thanks to internet and the use of e-mail, the literary folklore (especially its shorter and more humorous forms) acquired new possibilities for spreading and development.
7
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BÜRGERSTADT UND STADTFIKTION IN SÁNDOR MÁRAIS ROMANZYKLUS „A GARRENEK MŰVE“

70%
Kulcsár-Szabó Z.
World Literature Studies
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2016
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vol. 8
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issue 4
19 – 34
EN
The paper discusses Sándor Márai’s cultural concept of the bourgeois from a specific angle. Represented by the author’s native town of Košice and carrying an inherent tendency toward fictionalization, Márai’s idealized concept of the bourgeois city appears as a central issue of his novel series A Garrenek műve (The Garrens’ Work), often considered as a kind of epopee of the Hungarian bourgeoisie. The paper concentrates on the first volume, Zendülők (The Rebels), written in 1930, and focuses on the work’s fictional topology, which is governed by the conceptual metaphor city as body, and the concept of theatricality underlying the strategies of narrative representation. In conclusion, it raises the question of whether a culture, in Márai’s view, can possess any efficient means to interpret itself in a way that is not given over to parodist tendencies.
8

Nie je hymna ako hymna. Hymny v procesoch transformacie na prelomu tisicrocia

70%
Krekovicova E.
Národopisná revue (Journal of Ethnology)
|
2010
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vol. 20
|
issue 1
44-51
EN
In her essay, the authoress deals with different levels of self-identification at members of Slovak language islands in Hungary, based on an example of more ethnically symptomatic anthems. On the one hand, it is the anthem of the Slovaks in Hungary, which became an official anthem of this minority in 1999. The Slovaks in Hungary accepted the melody of a carol generally spread in Slovakia to be their anthem. The text of this song comes from 1991 and it was written by V. Gruska, a Slovak involved in folklorism in Slovakia. It is the song 'Daj Boh stastia tejto zemi' publicized in the media also in Slovakia, but mainly as a Christmas carol. Based on the aforementioned example the authoress points out the different historical memory of the Slovaks in Hungary and of the Hungarians in Slovakia on one side, and that of the Slovaks living in Slovakia on the other side. While the Hungarians in Slovakia take the official Hungarian anthem for their own, the Slovaks in Hungary felt a need to have different anthem song, than the state anthem of the Slovak Republic. Within this environment, regional ('Pilisska anthem') and local anthems ('Cabianska anthem' from 1932) exist and return. The second part of the essay mentions a parody of the official Slovakia state anthem (Anthem of Unjustly Baldheaded) spread by the Internet as an anthem of an officially registered interest association.
9
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Intertextualita a její podíl na vyjednávání pozic účastníků talk show

61%
Čmejrková S., Hoffmannová J.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
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2012
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vol. 73
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issue 4
263-285
EN
The paper examines the discourse of the Czech weekly talk show Uvolnete se, prosim (Relax, please). For this purpose, we have chosen an interview of the moderator Jan Kraus with the former chairman of the Social Democratic Party of the Czech Republic, Jiri Paroubek, who was invited into the studio on the occasion of his appointment as prime minister in 2005. The analysis focuses on the polyphony of voices arising in the talk show and on the intertextual techniques used in the process of positioning the guest, as well as the self-positioning of the moderator. The interview is thus analyzed as an intertext built upon other texts, which are both external and internal to the current speech situation. The host’s practices employ allusions to the voices coming from “outside”, i.e. through the introduction of quotations of the voices of third parties and the guest’s prior words, as well as responses to the voices heard “inside” the current interaction, i.e. the host echoes the guest’s utterances and moreover, assumes the guest’s voice, positioning the prime minister mostly in an unfavorable, but humorous manner. The guest’s work with these voices is also traced.
10

SELECTED ISSUES OF THE COPYRIGHT IN MUSICAL COMPOSITION (PART II.) LEGAL ASPECTS OF PERFOMERS' CHANGES IN THE AUTHORIAL WORK FROM THE VIEWPOINT OF THE SLOVAK AND CZECH LEGISLATION (Slovak title - below)

61%
Adamov N.
Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)
|
2009
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vol. 92
|
issue 5
427-438
EN
(Title in Slovak - 'Vybrane otazky autorskeho prava v oblasti hudobnej tvorby (II. cast) Pravne aspekty zasahov vykonneho umelca do autorskeho diela z hladiska slovenskej a ceskej pravnej upravy'). A performance of authorial piece of work is not only making of its use, but often the interpretation is connected with some interference beyond the author's intentions. Therefore, it is necessary to distinguish between 'the use of the work' as a general term, 'an intervention into the work' as a specific term and 'a processing of the work' as the most specific term. Within the processing of the work, parody has a peculiar position. On the one hand, it must stand in relation to the original work; on the other hand, this relationship is specific in that it more or less fundamentally denies the parodied work and simultaneously, so to speak, parasitizes upon it. In the parody of a musical work one must distinguish two levels: the relation of the reworked text to the original text and the relation of the reworked text to the original musical component. Where the relation of both texts is concerned, the parody might be unambiguously another work which does not devalue the original text, even while being its deliberate deformation, because the original text (as a separable part of the musical work) only creates an association on the basis of so-called gradual semiosis. What is fundamental, however, is that the significance of the new work is changed. In this case authorial legal protection could not be applied against such an encroachment, because only the thought included in the work would be affected.
11

ZVIERATÁ MESTA – MESTO ZVIERAT. PRÍRODA A CIVILIZÁCIA V POÉZII ŠTEFANA MORAVČÍKA (POZNÁMKY K BÁSNI HOLUTKAN A POTKÁBICA)

61%
Šrank J.
Slovenská literatúra (Slovak Literature)
|
2023
|
vol. 70
|
issue 2
163 - 173
EN
The article tackles the shaping of the relationship between nature and civilisation in Štefan Moravčíkś poetry (b. 1943). It focuses on urban and natural (particularly animal) motifs in the poet’s collections from the 1980s – Moravčík’s second creative period. The article notes the qualities that have characterised Moravčík’s poetry since his collections Erosnička ([Treerotic frog] 1981) and Tichá domácnosť ([Silent household] 1981) in terms of the conception of man and the world as outlined in Moravčík’s first collections of poetry from the 1960s. The reasons why Moravčík’s vitalism was problematized are linked to the opening of his poetry to the urban life: the nature of the relationship between nature and the city is an antagonistic one in his poetry. The analysis of the poem “Holutkan a potkábica [Pigeorat and she-ratgeon]” from the collection of poems Idiotikon ([Idioticon] 1989) focuses on the role animal motifs play in the shaping of the poem’s genre, the unfolding of its meaning, and also looks at what functions neologisms perform in the text. The article reflects on the poem’s parodic relationship to the fable and myth, notes the link between the poem’s ecological theme and its civic-protest focus with an existential undertone.
12
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Parodie jako forma intertextuality

51%
Mareš P.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
|
2012
|
vol. 73
|
issue 4
285-299
EN
The paper deals with attributes of parody as a textual phenomenon, the features of which are substantially determined by the intertextual relationship to the object of parody (pretext). Definitions of parody, though they have a common core (work that imitates pretext and at the same time transforms it to make the final effect humorous or critical and polemical), allow for great variability of conceptions. One pole is constituted by broad delimitations, the other by approaches which try to precisely distinguish parody from other ways of connecting to the pretext (travesty, pastiche, etc.). An especially important differentiation is determined by the question of whether parody is consistently seen as a text focused on another text, or whether works that use pretext operations to make comments on the phenomena of reality are classified as parody. The paper also deals with the description of techniques that are used for the derivation of parody from the pretext and signals used to make recipients aware that they should interpret the text as a parody. In the last part of the article, the concepts introduced are applied in the analysis of two Czech parodic texts written by Jiří Haussmann and Michal Viewegh.
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