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Souběžná míjení : Marxismus a zlom v pojetí literární "struktury"

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Müller R.
Česká literatura (Czech Literature)
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2018
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vol. 66
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issue 2
153-181
EN
This study focuses on a particular distinctive moment in the Czech and French historyof literary thinking which took place in the latter half of the 1960s and which saw not only an encounter of Marxism and structuralism, but also a shift and radical change in the conception of literary structure. Marxist philosopher and historian Robert Kalivodapresents the development of Jan Mukařovský´s structural literary aesthetics from a Marxist and Freudian perspective ; according to him, Mukařovský´s conception matured - in association with the production and reflection of the interwar artistic avant-garde (Karel Teige) - towards a conception of aesthetic function and value as transparent anthropic principles and work of art as a dynamic ensemble of extra-aesthetic functions and values. Simultaneously, the representative of French Althusserian Marxism Pierre Macherey formulates his conception of literary output as a specific mode in the production of speech and literary structure as a space of difference, in which the ideological universalizations of the period are unconsciously presented in a critical light. Within the Czech structuralist tradition - and in harmony with its avant-garde pedigree - a parallel conception then emerges within the works of Oleg Sus and Milan Jankovič of literary structure as a structure that is unconsolidated and unconsolidatable, as the process and action of meaning, the movement of contradictions that will not have culminated in a final and completed synthesis. Analysis of the internal contexts and interrelations of these conceptions leads us to interpret them as the movement of concurrent misses - a radical change in the structure and the opening of its dialectics here has different resonances, caused by a different conception of the subject and the relationship between the work and the social structure - and also a failed meeting, whose connections have for the most part hitherto escaped the attention of literary studies and philosophy historians.
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Między traumą a reifikacją, czyli o estetyzacji reprezentacji przeszłości i schematach pamięci społecznej

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Kajfosz J.
Sprawy Narodowościowe
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2020
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issue 52
EN
Between Trauma and Reification, or on Aestheticization of Representations of the Past and on Patterns of Social MemoryThis paper attempts to answer two questions: first, how aestheticization and mediatization of representations of the past affects the possibility of their transmission between milieus distinguished by incompatible social memories, identifications or value and symbolic systems; second, how aestheticization of narratives of the past can affect the ability of their recipients to distinguish between individuals and collectives. The key concept is the degree of reification of collectives and the impact of such reification on the possibility to communicate representations of traumatic experiences of individuals. The author focuses on some feature films and analyses their ability to promote or inhibit dehumanization of individuals. Między traumą a reifikacją, czyli o estetyzacji reprezentacji przeszłości i schematach pamięci społecznejCelem artykułu jest odpowiedzieć na dwa pytania: po pierwsze, w jaki sposób estetyzacja i mediatyzacja reprezentacji przeszłości rzutuje na możliwości ich transmisji między środowiskami społecznymi, które  odznaczają się niewspółmiernymi pamięciami społecznymi, tożsamościami zbiorowymi, systemami wartości i systemami symbolicznymi. Po drugie, w jaki sposób estetyzacja opowieści o przeszłości może oddziaływać na zdolność jej odbiorców do rozróżniania między jednostkami i zbiorowościami. Kluczową kategorią, wokół której osnuta jest zawierająca się w tekście argumentacja, jest przerost (hipertrofia) urzeczowienia z poziomu spontaniczności do poziomu refleksyjności, czyli z poziomu postaw przed-teoretycznych do poziomu postaw teoretycznych. Autor koncentruje się na kwestii uzależnienia społecznego przyzwolenia na publiczne ujawnianie przez ofiary przemocy swych traumatycznych doświadczeń od społecznien reprodukowanej tendencji do reifikacji zbiorowości. Sięga do przykładu wybranych filmów fabularnych o tematyce historycznej i autobiograficznej, koncentrując się na ich zdolności do lansowania bądź przeciwstawiania się dehumanizacji.
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Эстетическое отражение темы «Питание» в русских говорах Тюменской области

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Михайловна Белякова С.
Gwary Dziś
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2016
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vol. 8
103-113
RU
статье рассматривается денотативно-референтная сфера «Питание» в ее эстетической рефлексии, отраженной в живой речи современного сельского населения. Для выявления специфики эстетического начала народной речи привлекаются языковые факты, характеризующиеся семантической двуплановостью и прагматической нагруженностью: тропы, экспрессивные и оценочные средства, фразеологизмы, прецедентные тексты. Данная область модифицирована как сфера-донор и как сфера-реципиент, соотносясь с разными аспектами области «Человек». Анализируемая тема развивается в нескольких направлениях, связанных, в частности, с субтемами голода, поста, ассоциации процесса еды с другими жизненно важными процессами; присутствует также модус комической оценки.
EN
The article discusses the denotative-referential sphere “Food,” in its aesthetic reflection, mirrored in the living speech of a modern rural population. To identify the specificity of the aesthetic principle of the people’s speech involves linguistic facts, characterized by semantic and pragmatic biplanning load: trails, expressive and evaluative tools, idioms, precedent text. This area is modified as donor and as recipient in correlation with different aspects of the field of “Man”. Analyze the theme develops in several directions, associated in particular with subramani hunger, fasting, the Association of food with other vital processes; there is also the modus comic rating.
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Radost z vícejazyčnosti

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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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2013
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vol. 74
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issue 3
211-221
EN
The phenomenon of multilingualism can currently be observed and analyzed from various perspectives which are identified and summarized in this article. Multilingualism is of interest for psycholinguistics, sociolinguistics, neurolinguistics, conversation analysis and discourse analysis, as well as for researchers working with language management, and phenomena including bilingualism, diglossia and code-switching are the objects of research. This article emphasizes the approaches used in two recent publications: Život s více jazyky (Life with Multiple Languages, 2011) by Ivo Vasiljev and Nejen jazykem českým: Studie o vícejazyčnosti v literatuře (Not Just in Czech: Studies on Multilingualism in Literature, 2011) by Petr Mareš. Ivo Vasiljev’s book is a language autobiography, yet it cannot be considered a mere personal testimony, because the biographic method is established in the social sciences as an important qualitative research method. Petr Mareš, for whom the use of more than one language in Czech literature has been a major long-term research topic, views multilingualism as the bearer of the aesthetic function and as a means of achieving heterogeneity in text structure. Though the perspectives guiding the two books differ greatly, the two authors share a common quest for connections between Czech and other languages (including various varieties of Czech and its overall stratification).
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Aksjologiczny charakter szczęścia w literaturze, czyli o związkach felicytologii i estetyki

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Osiński J.
Amor Fati
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2015
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issue 1
113-126
EN
The article relates to compounds of happiness with the literature, its purpose is to answer the question: what and why can literature talk about happiness? Different directions in literary studies occupy different positions to the values contained in the literary work. There is also no consensus as to whether it is the bearer of aesthetic func-tion. The author starts from the aesthetic function, which sees the only way to fulfill the value in the literary work to the reflection on the aesthetic value to propose a theoretical model of happiness in the literature. This model is based on the structural aesthetic by Jan Mukařovský, whose works are its theoretical foundations. In this connec-tion the two modes for its practice: evoking and showing, that explains an example of ‘Szczęśliwe drogi’ by K. K. Baczyński. Consideration sends attention to the impact on the valuation of happiness evoking literary work.
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Motyw domu w Czechowowskim modelu kreowania świata

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Ksenicz A.
Białorutenistyka Białostocka
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2017
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vol. 9
RU
В статье предпринята попытка анализа образа дома в творчестве автора “Дома с мезонином” в его фабульном, эстетическом и символическом аспектах, решаемых А.Чеховым целиком оригинально, так как писатель избегает прямой перекодировки реальных фактов в художественный материал. Такой прием приводит к тому, что каждое произведение Чехова приобретает значимость обобщения, близкого принципам онтологического познания.
EN
One of the most essential motifs in Anton Chekhov’s literature is a house, its surroundings and dwellers. There are personal and artistic factors that determine these motifs. Personal aspects refer to the fact that the writer was compelled to change his place of residence several times in his short lifetime. Artistic aspects encompass Chekhov’s insightful employment of the architecture and its surroundings as an additional element in the modes of representation of his characters.
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Приключения эстетической функции в кулинарном медиатексте

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Shestakova E.
Studia Rossica Gedanensia
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2022
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issue 9
157-171
EN
The paper formulates and substantiates the importance of distinguishing food photo as a new independent type of text and a genre of culinary media text, as well as its genre variant – a photo of a thematic dessert. Food photo, as a culinary media text, has a special «mass-media-gastronomic» language. In the thematic dessert photo, the aesthetic wholeness and function are tightly fused with other functions and address the practice and objectivity of social-home reality and leisure time. In food photography it is not important to play with food, as in food art, but it is important to use familiar sweetness and its images with many purposes, including changes of behavior in leisure and mass-media.
RU
Формулируется и обосновывается правомерность выделения food фото в качестве нового самостоятельного типа текста и жанра кулинарного медиатекста, а также его жанрового варианта – фото тематического десерта. Food фото, как кулинарному медиатексту, присущ особый «массмедийно-гастрономический» язык. В фото тематического десерта эстетическое целое и функция плотно сращены с другими функциями и обращены к практике, объективности социаль- но-бытовой реальности и досугу. В food фото не важна игра с едой, как в food art, а использование привычной сладости, ее изображения со многими целями, включая смены поведения в досуге и массмедийные.
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Otázky mediality v Pražské škole? Zpětný pohled

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Müller R., Šidák 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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2020
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vol. 81
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issue 1
3-30
EN
The article addresses problems of mediality in the context of the Prague School in its classical period. Drawing from John Guillory’s study “Genesis of the Media Concept”, we work on the hypothesis that new technical media and technologies exerted pressure in the theoretical discourse of the Prague School, via the mutual reflexion of the avantgarde (Nezval, Štyrský, functionalist architecture, the avantgarde theater) and Structuralist thought, to formulate a shift in the delimitation of art. First, we observe the variety of influences that the discourse on film and modern and avantgarde theater had on the Structuralist concepts of the sign, the understanding of the actor or of temporality in art. We further note the tension between linguistic and architectural functionalism in the Prague School thinking and how this tension translates into Mukařovský’s concept of the aesthetic function. Functionalist avantgarde architecture, as we observe, fundamentally influenced Mukařovský’s cultural anthropological theory of functions. On the basis of these converging factors, leading, among other things, to the growing strategic importance of the concept of communication, we conclude by characterizing what we call latent medial traces of certain notions and returning ideas of Prague School theories (apart from sign, the concepts of semantic gesture and unintentionality).
DE
Der Aufsatz widmet sich der Reflexion von Medialität im Kontext der „klassischen Periode“ der Prager Schule (1926–1948). Anknüpfend an die Studie von John Guillory Genesis of the Media Concept gehen wir von der Hypothese aus, dass neue Technologien und neue technische Medien Druck auf die Transformation des Begriffes „Kunst“ im theoretischen Diskurs der Prager Schule ausgeübt haben. Zuerst widmen wir uns dem Phänomen, wie die Reflexion des Films und des modernen und avantgardischen Theaters die strukturalistischen Überlegungen zu den Konzepten „Zeichen“, „Schauspieler“ oder auch „Temporalität in der Kunst“ beeinflusst haben. Weiters konzentrieren wir uns darauf, wie sich die Spannung zwischen dem linguistischen und architektonischen Funktionalismus in Mukařovskýs Denken widerspiegelt. Unserer Beobachtung nach beeinflusste die Avantgarde der funktionalistischen Architektur Mukařovskýs anthropologisch-kulturelle Funktionstheorie maßgeblich. Von der Charakteristik dieser verflochtenen Einflüsse, die sich u. a. dahingehend auswirken, dass der Begriff Kommunikation an Bedeutung gewinnt, gehen wir dazu über, was wir als latente Medialitätsspuren mancher Ideen und Begriffe der Prager Schule – das sind neben dem Konzept „Zeichen“ vor allem „semantische Geste“ und „Unabsichtlichkeit“ – bezeichnen.
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