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RYTMICKÉ CÍTENIE V SCÉNICKOM DIELE. ESTETICKÁ A MIMOESTETICKÁ FUNKCIA SCÉNICKÉHO UMENIA VYCHÁDZAJÚCA Z RITUÁLNEJ PODSTATY DIVADLA A MYTOLOGICKÝCH ZDROJOV DRÁMY NA POČIATKU 20. STOROČIA

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Kovalčíková P.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 2
129 – 144
EN
The study focuses on the penetration of ritual elements into contemporary performance art. Reflection of the discussed topics focuses on the period of modernism and postmodernism in the Western cultural context, while the documentation of phenomena is based primarily on the theatrical experiments of the creators of the first and second theatrical reforms.
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Teorie verše i jako teorie rytmu a melodie básníkovy promluvy

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Jiráček P.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 3
374-394
EN
This article seeks to demonstrate that the traditional theory of verse, in which the stylistics of metre represents the whole theory (field of research), is no longer tenable. Metrics ignores lexical meaning. Its schemes relate to only part of the acoustic level and do not touch the meaning of the text as a whole or the significance of a single line. The author suggests that for the further development of the Czech theory of verse, it is necessary to rediscover poetic expression and introduce the concept persona as the starting point of scholarly reflection. He considers in detail Henri Meschonnic’s (1932–2009) non‑metrical theory of rhythm, and places his conception of rhythm at the centre of new research (theories) on verse. Rhythm is, according to Meschonnic, the movement of the voice in writing; in the rhythm of every utterance (not just poetic) we hear the subject, not the sound. In another reflection, the author of the article introduces the concept of the rhythm‑melody predication, which is linked to both the concept of predication and its tempo‑modal actualization. The basis of the act of assessment in a line of verse is the syllable, whereby the line of verse is even more a rhythm‑melody statement than a tempo- modal statement about the persona. The rhythm‑melody projection of the act of predication in a line expands the speaker’s subjectivity into the field of reference. Breaking down the word into syllables has the effect that in a line of verse the relationship between the reference and referent achieves the rhythm‑melody value system. In the conclusion of the article, on the basis of extensive research into individual perception as an immediate value movement in which the subjectivity of the poetic utterance resides the author endeavours to form constructs of the intratextual, individual, and non‑individual subjectivity of lyric verse’s rhythm subject.
3
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Rytmus a smysl v lyrice

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Jiracek P.
Česká literatura (Czech Literature)
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2007
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vol. 55
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issue 3
301-343
EN
Bohumil Nuska points out the predominant limited conception of rhythm, which is usually linked only with acoustically symbolized and aurally perceived rhythms, while the rhythms that are optically symbolized and visually perceived are utterly ignored. In lyric verse, the double, parallel mental construction, which stems from the opposition of syllable and morpheme as constituents of a higher construct of the word, creates parallel lines of mixed mental spaces of linear and non-linear rhythms (the rhythm of verse, the rhythm of the situation; the atmosphere of the verse, and the atmosphere of the situation). Shared abstract structures in generic spaces within individual mixed spaces of lyric rhythm are shared axiological structures, represented at the highest level of abstraction by tension and relaxation (detension). The dynamic nature of these structures stems from the asymmetric distribution of tension and relaxation with regard to the dualistic symmetrical model of the axiological system. And thus deviations from its axial scheme emerge, creating these four parallel rhythmicized lyric structures (in terms of form). Similarity amongst the individual mixed mental spaces is only possible in a fractal dimension. In this theory, presented as a working hypothesis, it is assumed that the forms of the rhythm of the verse, the rhythm of the situation, the atmosphere of the verse, and the atmosphere of the situation, will be similar to each other, and their fractal mutual similarity emerges from the text.
4
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"Minulost umění" - modernost surrealismu

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Vojvodik J.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
673-676
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article considers Karel Teige's (1900-1951) attitude to the Avant-garde, particularly his attitude to echoes of the Avant-garde, and also his perception of the Avant-garde in the 1940s. Using examples, the article discusses Teige's perception of art as a dialectic fact. It considers his attitude to Hegel and the ideas of the art historian Max Dvorak (1874-1921), particularly Dvorak's conception of art history as history of the mind and Dvorak's call for a unity of art scholarship and art.
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Pohyb, rytmy a klid

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Jiracek P.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
635-650
EN
Subjectivity in the rhythm of the lyrical image manifests itself in two different, yet parallel, rhythm spaces. The space of the linear rhythm of the lyrical image, which is formed by the movement of perception is more passive, more sensuously objectivized than the value-positive (upward and outward) and value-negative (downward and inward) orientation (in the metaphors of the iamb and trochee). The space of the nonlinear rhythm (of atmosphere) of the lyrical image, which is created by the movement of perception is more active, more emotionally subjective in comparison the value-positive (pleasant, suggesting a warm colour, active) and value-negative (unpleasant, suggesting a cool colour, passive) emotionally evocative orientation. This article, based on psychosemantic study of the lexis of Antonin Sova's (1864-1928) poem 'Dym' (Smoke) inquires into the relationship between the value shifts in the perception of the semantics of the poem's lexis and phraseology, and concepts of the lyrical image's movement, rhythm, and rest.
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ATTILA JOZSEF: REJTELMEK [ENIGMAS]

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Wacha I.
Magyar Nyelvor (Hungarian Language Guardian)
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2007
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vol. 131
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issue 3
298-305
EN
The analysis shows how various key motifs of Attila Jozsef's love poetry are represented in this poem of 1937, including transparency, the contrast between 'up' and 'down', 'the outside' and 'the inside' (or, 'eye' vs. 'heart': the external vs. the internal world) and, in general, macro-world and micro-world, as well as reference to music (here: singing, reverberation) and counterpoint. The paper discusses the form and regularity of parallel reference to first vs. second person (the poet and his love), intertextual references to fairy tales and folk poetry, the plane of associations and the parallel structures of the sentences, as well as the palatovelar orchestration and rhythm of the poem.
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RITUALS AND GROUP SOLIDARITY: AN ETHNOGRAPHIC CASE STUDY

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Mentel A.
Slovenský národopis (Slovak Ethnology)
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2022
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vol. 70
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issue 2
228 –247
EN
Since Durkheim (2002 [1912]), it has been recognised that ritual can serve as a means of strengthening intra-group solidarity. Mutual help and emotional arousal connected with rituals may help the participants cope with adversities. Collective rituals have thus become one of the tools for adapting to environmental conditions. Several theories try to clarify the mechanism by which this adaptation happens. One’s investment of time, money, and other personal resources into collective activities, including rituals, may serve as a commitment signal and thus enhance group solidarity. However, rituals are not the only way the group members signal their commitment. Therefore, the fundamental question is whether rituals offer anything unique compared to other types of joint coordinated activity. Atran and Henrich (2010) provide a hypothesis based on some of the characteristics of rituals that observed all over the world. According to them, religious rituals often involve various components to promote faith and devotion by stimulating certain emotions. The primary tools in this context are music, rhythm, and synchronization of body movements. In this ethnographic case study from Bosnia, I compare three confessional communities (Sunni Muslims, Roman Catholics, and Sufi dervishes). They inhabit the same geographic area but differ in the character of their ritual performances regarding synchronization and use of rhythmic activities. The highest degree of in-group solidarity is expected in the group whose rituals involve rhythm and synchronization of body movements to the greatest extent.
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COMPARATIVE MUSICOLOGY REVISITED: THE PROBLEM OF CROSS-CULTURAL COMPARISON AS REFLECTED IN SACHS' THEORY OF ADDITIVE VS. DIVISIVE RHYTHM

100%
Bar-Yosef A.
Muzyka
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2009
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vol. 54
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issue 1(212)
29-35
EN
Since the first decades of the 20th century, when cross-cultural comparison constituted a central method through which Comparative Musicology sought to achieve its main goals, the comparative approach has gradually lost the researchers' interest to the extent of an almost total disappearance from the Ethnomusicological scene. The main question discussed in the present article is: to what extent cross-cultural comparison as conducted by Comparative Musicology is relevant to our research today? This question is dealt with through an examination of a particular case, the theory of additive vs. divisive rhythm as defined and used for cross-cultural comparison by Curt Sachs, one of the prominent figures of Comparative Musicology, in his book 'Rhythm and Tempo' (1953). It is argued that the notions of additive and divisive rhythm as defined by Sachs are applicable to Western rhythmic organizations because their definitions were based on these structures, but their application to other musical cultures is often problematic. The article concentrates on one of the non-Western rhythmic organizations analyzed by Sachs, the Arabic iqa' (a cycle of beats whose structure is based on a sequence of drum strokes), and shows that: (a) the notions of additive and divisive are applicable to the Arabic iqa' only when their definitions (as presented by Sachs) are broadened; (b) the notions are inadequate for characterizing the iqa' because they refer only to the durational aspect of a temporal organization and ignore its accentual aspect, which in the case of the iqa' constitutes a basic constituent. Comparison between the iqa' and other temporal organizations, Western meter for instance, should take into account the nature of accents on which they are based not less than their durational structure. On the basis of the analysis of the iqa', as well as the analyses of other temporal organizations that can not be presented in this article, it is suggested that cross-cultural comparison will be constructed in a direction opposite to the one taken by Comparative Musicology. Rather than using supposedly universal criteria and try to apply them to every musical culture, comparison may start with two or three musical cultures, and after establishing analytical notions that are valid in these cultures try to broaden the scope of the compared styles and include additional cultures, but only after checking again the validity of the notions, and extending their meaning or adding other notions if needed.
9
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České hlásky ve versologických metaforách vzestupnosti (jambu) a sestupnosti (trocheje)

88%
Jiracek P.
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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2008
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vol. 69
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issue 4
268-284
EN
Subjectivity in the rhythm of a lyrical idea is manifested in two different, yet parallel rhythmic spaces. The more passive and sensually objectivized linear rhythm of a lyrical idea, which is created by the movement of perception in the opposition of positive-value (upward-outward) and negative-value (downward-inward) spatial orientations (i.e. in iamb and trochee metaphors). More active and emotionally subjectivized is the space of the non-linear rhythm (atmosphere) of a lyrical idea, which is formed by the movement of perception in the opposition of positive-value (pleasant-lightly temperamentally colored-active) and negative-value (unpleasant-darkly temperamentally colored-passive) emotive orientations. This article continues in the tradition of the author's research on the emotive perception of Czech phones and it examines, using a set of 400 Czech speakers, whether we can administer the 'syllabic' metaphors of iamb and trochee at the level of the phoneme.
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KOMUNIKÁCIA A RYTMUS

88%
Marcelli M.
Filozofia (Philosophy)
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2014
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vol. 69
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issue 1
2 – 10
EN
The subjects of the study are the semiotic and communicational aspects of rhythm. These aspects are approached from the point of view of a theory called rhythmanalysis, drawing on philosophers such as dos Santos, Bachelard and Lefebvre. The first part explores in what way the structurally oriented semiotics and linguistics contribute to understanding the rhythms. The next one focuses on the anthropologically oriented rhythmanalysis and its results when applied in the study of individual and social demonstrations of rhythm. In the final part the attention is drawn to the concept of polyrhythm.
11
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FESTSPIELHAUS V HELLERAU

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Mistrík M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 4
370 – 384
EN
Teacher and musician Émile Jaques-Dalcroze was provided with ideal conditions for his work in Hellerau near Dresden in 1910. A Festspielhaus had been built for him in the garden city, especially thanks to the entrepreneur Wolf Dohrn. It followed his requirements and offered room not only for his school of rhythm, but also a big theatre. The conception of the building had also been influenced by Adolphe Appia and Alexander von Salzmann. Its modern architecture, authored by Heinrich Tessenow, was, in terms of its style, an early work of functionalism. The Festspielhaus became an international centre for the teaching of rhythm in 1910–1914. It was a source of inspiration, especially in dance, ballet, and pantomime, and significantly influenced the development of the 20th-century theatre.
12
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Rytmus českého lyrického verše v psychosémantických experimentech

88%
Jiracek P.
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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2006
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vol. 67
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issue 4
243-261
EN
The empirical basis of this article is a part of extensive psychosemantic research involving more than 3000 speakers. The first section attempts to objectivize the relationship between a word's communicative dynamism and its acoustic accentuation. Using psychosemantic methods, it is shown that a word which is communicatively dynamic is always additionally perceived by the subjects as accentuated acoustically. Further psychosemantic experients monitor the influence of rhythmic quality on the process of the phonic line of the verse. The intuitive base for determining the rhythmic quality of words in lyrical representation is also noted. In lyrical theory, the emotive-value (rhythmic) logic of lyrical representation is nearly lacking in scientific reflection. The third section presents the results of research on the rhythmic quality of Czech phonemes, employing Roman Jakobson's definition and Lakoff and Johnson's concept of metaphor. Among 400 Czech speakers, the Czech phonemes are valuepolarized in a psychosemantic field of space-oriented metaphors and distinctive opposites. These findings are then applied to experiments tracing the influence of the rhythmic qualities of phonemes on the phonic line of verse and revealing the parallel existence of rhythmic qualities of words and syllables in the acoustic accentuation of the phonic line of verse.
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BALADA AKO INTERMEDIÁLNY RYTMUS. MANIFESTÁCIA ŽÁNRU AKO ERÓZIA SOCIALISTICKO-REALISTICKÉHO CHRONOTOPU

75%
Paštéková J.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 3
236 – 249
EN
The goal of the paper is research into applying one of the key genres of the 19th and 20th centuries, which found its way to Slovak literature after year 1945. The balladic structure principle as well as the balladic tone was not only employed in literature, but it can also be noticed in the research into the intermedial connections with the other forms of art. While researching the chosen subject, the author applied the methods and terminology of the grant project named VEGA Poetika slovenskej literatúry po roku 1945. The project uses terms such as figuration and reconfiguration when working with historical material, reconstruction and historical process records. Although the author seeks support in Alfonz Bednár´s works, particularly the novel Sklený vrch (The Glass Hill, 1954) and the literary screenplay of the film Tri dcéry (The Three Daughters, 1967), the hermeneutic interpretation of them is not the goal. After a brief outline of the evolution of assessing the relationships between the arts within the development of the current research into intermediality, the author considers the balladic principle to be a transmedial concept, which is – in the context of the research into modern Slovak art and culture. She drew inspiration from literary historian Štefan Krčméry and his essays on Slovak folk songs, especially ballads. The terms such as rhythm, translation and transfusion in relation with music and melody correspond with the current terms of intermediality, while regarding the chosen subject, rhythm is the key one. The author´s most important anticipation marker directed at a later reconfiguration is the position of the ballad and the balladic principle in the 1950s and 1960s in Slovakia is Bednár´s dissertation on European ballad, which was inspired by folklore expert professor Horák during his Prague studies. Bednár´s writing featured an apparent aspect of tragedy and fatefulness, which comes from the Ancient inspirations. The paper is a contribution to the research into the mechanisms and modes that were disintegrating the strict norms of Socialist Realism in the 1950s. Alongside the manifested genre forms of „happiness“ the latent Slovak dispositions of balladic elements such as tragic tone and sadness were gradually legitimized and in the context of contemporary literature and art they became a form of manifestation.
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