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Poezie jako hlavolam: Saussure o anagramu

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Koblížek T.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
199-205
EN
The text provides a commentary regarding Ferdinand de Saussure‘s research in anagrammatic poetry. The author first describes three phases of Saussure’s research (1906–1907, 1907–1908, 1908–1909) and explains various changes in his approach. Secondly, the author introduces the main tendencies in reception of Saussure’s “anagrammatic work” (Tel Quel, linguistics, psychoanalysis). Finally, a comparison is drawn between Saussure’s analysis of anagrams and his Course in General Linguistics.
2
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Rukopisné poznámky o anagramu

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de Saussure F., Koblížek T.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
206-215
EN
The text is a Czech translation of selected Ferdinand de Saussure’s manuscripts concerning anagrammatic poetry (the source text: Jean Starobinski, Les mots sous les mots. Les anagrammes de Ferdinand de Saussure, Paris: Gallimard 1971). Three types of Saussure’s manuscript notes appear in the translation: 1) texts concerning general linguistic background, 2) descriptions of various anagrammatic rules, 3) concrete analysis of anagrams.
3
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ANADISS. REVUE DU CENTRE DE RECHERCHE ANALYSE DU DISCOURS. JOURNAL OF THE DISCOURSE ANALYSIS RESEARCH CENTER, EDITURA UNIVERSITĂŢII SUCEAVA, NO. 21 (I). 2016

99%
IFTIMIA C.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2017
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vol. 9
135-143
4
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Znak i pomieszczanie

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Szkudlarek J.
Internetowy Magazyn Filozoficzny Hybris
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2020
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vol. 49
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issue 2
1-27
EN
This paper is a reflection on the concept of sign presented by Ferdinand de Saussure in juxtaposition with the psychoanalytic notion of container/contained, presented by Wilfred R. Bion. The basic question of this paper concerns the types of relationships between signified and signifier and the container/contained. It is suggested that psychoanalytic work of Bion allows for supplementing de Saussure’s perspective with a spatial aspect of penetration of the signifier by the signified. Juxtaposing these two models creates a new conceptualization of sign, in which one of its elements enters the other, thus creating meaning. In this new conceptualization, two significant areas emerge, which are not direct parts of the sign, but are positioned in its immediate neighbourhood. They are given the names of the insignifier (insignifiant) and insignified (insignifié).
5
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Symbolismus jako inspirace pro 20. století. Pojem „kulturního paradigmatu“

57%
Svatoň V.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2017
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vol. 55
46-56
EN
Literary history commonly grounds itself in the heritage of philosophical positivism. It is not only its predilection for facts, but also a belief that the facts themselves can provide for the contours of syntheses and concepts of major styles and genres. The era of symbolism marked the renewed interest in philosophical hermeneutics, and, consequently, the realization that empirical knowledge is structured by a ground of a-priori assumptions (the rehabilitation of “prejudice”). This ground gave rise to a series of major concepts, the best known of which are Ferdinand Saussure’s “langue” and “parole”, but there are many more of similar pairs: Viktor Shklovsky “story” (fabula) and “plot” (syuzhet), Jan Mukařovský’s “semantic gesture” and “structure”, or Yury Tynianov’s “tightness of a verse line” and “syntax”. In the field of philosophy it is Arnold Toynbee’s pair of terms “challenge” and “answer”. Husserl’s concept of “Lebenswelt” is the most important explication of this approach in philosophy.
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Quia Ego Nominor Leo: Barthes, Stereotypes and Aesop’s Animals

43%
Tyler T.
Dialogue and Universalism
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2014
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issue 1
193-208
EN
Taking Barthes’ discussion of Aesop’s lion as my starting point, I examine the notion of the stereotype as it applies to the use of animals in philosophy and cultural theory. By employing an illustrative selection of animal ciphers from Saussure and Austin, and animal indices from Peirce and Schopenhauer, I argue that theory’s beasts are always at risk of becoming either exemplars of a deadening, generic Animal or mere stultifying stereotypes. Gilbert Ryle’s faithful dog, Fido, as well as a number of Aesop’s edifying animals, help to demonstrate that these two dangers are not inescapable, however. I close by indicating two strategies for preventing the unnecessary inhibition of the creatures of critical theory, focusing on Derrida’s individual and gently unruly cat.
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