Search results

1

A Blend of Sound and Image- the Music Video

100%

Filimon E. C.

Romanian Journal of English Studies

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2013

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vol. 10

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issue 1

18-26

EN

The focus of this paper is first of all the issue of authorship in music videos, with reference to the division of tasks between the musician and the director. Secondly, a non-narrative musical piece in analysed - The Chemical Brothers’ Star Guitar - in relation to the narrative video created by Michel Gondry to enrich its meanings and better convey the intended message of the musicians.

2

Kapitał uwagi jako skutek powstania mediów społecznościowych

100%

Maliński J.

Adeptus

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2017

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issue 10

EN

Attention capital as a result of the emergence of the social mediaIn this paper a theoretical model based on Pierre Bourdieu’s forms of capital is presented. It is applied to an analysis of cultural content production, distribution and consumption mechanisms. It assumes that on the cultural market there is always a social entity mediating between a sender and a receiver – on the one hand as a medium, on the other as institution granting salary to the author. After sketching a historical background, a new type of capital – attention capital – is presented. It has been emerging as a result of the technical development of the mass media and its functioning is profoundly transformed by the social media. Though attention capital (measured, e.g., by the number of likes or comments) is often translatable to other forms of capital, it remains rather autonomous. However, the development of the Internet allows us to broader our choice of content, consistent with our preferences, but the gratification, in form of views, is gained not so much by the author of content, but rather by a person who has shared it. This process is even more noticable in the case of memes, whose authorship often cannot even be established. As a result of the changes on the Internet, the emergence of new form of a sociocultural economy can be noticed. Kapitał uwagi jako skutek powstania mediów społecznościowychW niniejszym artykule przedstawiony zostaje model teoretyczny oparty na formach kapitału Pierre’a Bourdieu. Zostaje on zaaplikowany do analizy mechanizmów produkcji, dystrybucji i konsumpcji treści kulturowych. Obserwując rynek kultury, należy bowiem zauważyć, że pomiędzy nadawcą a odbiorcą każdorazowo istnieje byt społeczny zapośredniczający odbiór treści kulturowych – z jednej strony jako medium, z drugiej strony jako instytucja wynagradzająca autora. Po krótkim rysie historycznym następuje prezentacja, w jaki sposób poprzez powstanie technicznych mediów masowych wyłania się nowy typ kapitału – kapitał uwagi. Jego funkcjonowanie zostaje w jeszcze większym stopniu przekształcone przez powstanie mediów społecznościowych. Choć kapitał uwagi (mierzony w wymiernej liczbie wyświetleń, odwiedzin strony, lajków itd.) jest często przekładalny na inne formy kapitału, to sam w sobie jest autonomiczny. Wprawdzie rozwój internetu pozwala nam na szerszy wybór treści, zgodny z naszymi preferencjami, ale nagrody w postaci wyświetleń (czy komentarzy lub ocen) trafiają nie tyle do autora materiału, co do osoby, która go udostępniła. Proces ten jest jeszcze wyraźniejszy w przypadku memów, których autorstwa często nawet nie sposób ustalić. Obserwując wyłaniające się w internecie zjawiska, możemy w rezultacie mówić o nowej formie społecznej ekonomii kulturowej.

3

Problem Pawłowego autorstwa 2 Tes

100%

Romaniuk K.

The Biblical Annals

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1974

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vol. 21

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issue 1

75-83

PL

Il s’agit dans cette étude de l’histoire du Problème de l’authenticité paulinienne de 2 Thess. Puisque cette authenticité est rejetée presque unanimement par les exégètes protestants, leurs arguments sont étudies séparément de ceux des exégètes catholiques, qui - en grande majorité et jusqu’à nos temps - défendaient l’authenticité paulinienne de 2 Thess. L’analyse critique montre la fragilité des plusieurs arguments dont se servent les exégètes non-catholiques, s’efforgant de prouver l’inauthenticité de 2 Thess. Quant aux exégètes catholiques, le prof. W. Trilling s’est mérité le plus d’attention. Quelques principes de cette nouvelle prise de position qu’il représente justement, semblent être très solides, mais il y en a aussi dans son raisonnement plusieurs éléments assez faibles. On est forcé de rapprocher à l’auteur un certain apriorisme. Il serait done plus raisonnable, peut-être, de garder comme encore valable l’opinion traditionnelle, sauf - et ici est le mérite de W. Trilling - que l’épitre a été rédigée non pas immédiatement après 1 Thess., mais beaucoup plus tard, peut-être, à la fin du séjour de saint Paul à Ephèse au cours de son troisième voyage missionnaire.

4

Jeszcze o autorstwie IV Ewangelii

100%

Paciorek A.

The Biblical Annals

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2000

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vol. 47

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issue 1

129-152

PL

Basing himself, implicitly or explicitly, on the findings of diachronic and synchronic studies on the author of the Fourth Gospel, the author presents his own opinion about the authorship of this Gospel. He believes that it is John, the son of Zebedee, on of the Twelve Apostles. The work of John the Apostle is continued by John’s collaborator, one of the most prominent personalities of John’s community, namely John the Presbyter. It is in his surrounding, in Ephesus, that the proper edition of the Fourth Gospel was completed. And it is there that John the Apostle, the father of church community, which came from Syria to Asia Minor, was called “the disciple whom Jesus loved”. The last editor, after the death of John the Presbyter, in face of the dangers threatening the Church in Asia, intended to bind it closely with the authority of the “beloved disciple”, that is John son of Zebedee. He did it through his final remarks on the writing of the Gospel. From that time, that is from the time of the last edition the belief that John the Apostle was its author has paved its victorious way through ages. At the time the main editor of the Fourth Gospel, i.e. John the Presbyter, has fallen into oblivion.

5

Textfiguren als linguistischer Analysegegenstand der Ratgeberforschung

100%

Niemann R.

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2022

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vol. Special Issue

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issue 16

195-202

EN

This paper seeks to apply the concepts of authorship and the authorial figure, as used in scholarship on academic writing, to the investigation of self-help literature. It reflects on advantages and disadvantages of these concepts in terms of methodology. In doing so, previous research will be challenged by offering an approach focusing on the textual analysis of figures in self-help texts.

6

TRANSLATION PRACTICE BETWEEN ABUSIVE FIDELITY AND ETHNOCENTRIC REDUCTION

88%

Marţole D. M.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2009

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vol. 1

148-157

EN

This paper deals with such concepts as translator’s invisibility, ethnocentric reduction and abusive fidelity applied in the analysis of an interpolated text in the Romanian translation of Thackeray’s Vanity Fair.

7

John Banville’s „Ghosts”: “A different way of being alive”

88%

Kucała B.

Anglica Wratislaviensia

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2017

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issue 55

69-82

EN

This article analyses the ontological status of the characters who inhabit the world of John Banville’s novel Ghosts. While the problem of volatile selfhood recurs in Banville’s fiction, in this novel the very existence of the characters within the fictional world remains doubtful. It is argued here that the numerous metafictional elements in the text are central to its interpretation. The novel itself should be treated as a work in progress or a design for a novel rather than a completed project. The narrative initiates and ultimately resists familiar patterns; the characters’ peculiar way of being alive seems to stem from an intersection of empirical reality and an obscure realm of fantasy, imagination as well as textual and artistic allusions. Correspondingly, the narrator’s status as a literary character is ambiguous. The article suggests that the narrator is the most likely creator of the characters within the fictional world and is himself a playful author-substitute in the novel. In conclusion, a reading that treats Ghosts as a postmodern artefact appears to provide a viable framework for resolving the apparent contradictions and ambiguities in the status of the characters.

8

“SYCORAX ON STAGE”: THE UNVOICED SHAKESPEAREAN FEMALE OTHER FINALLY SPEAKS IN SUNITI NAMJOSHI’S POETRY

88%

Tóth G.

Gender Studies

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2013

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vol. 12

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issue 1

126-143

EN

The witch has always been the representation of an unspeakable absence. Sycorax embodies all silenced African women, experiencing double patriarchy (a term used by Omofolabo Ajayi-Soyinka). Associated with the margins, she represented the barbarian Other to European culture. Sycorax decolonizes the male-dominated world of Prospero: from absence, she is turned into presence, as she constructs her subjective narrative

9

From Roots to Routes: Women Playwrights Negotiating their Authorship in Paratexts

88%

Kębłowska-Ławniczak E.

Academic Journal of Modern Philology

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2020

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vol. 10

145-156

EN

For a range of reasons, there has been a tendency to preach a dearth of interest in the ways writers assert their authorship, constructing individual and collective writerly identities to voice their authorial intentions. While some theoreticians and philosophers, evoking the ghost of biographical positivism, promoted anti-authorialism, postmodernity was immersed in intertextual studies. Though the announced death of the author assumed a significance matching the earlier death of God, the author returns as “writer,” scriptor or “function” in the writing of Roland Barthes and Michel Foucault, as the process of becoming (Gilles Deleuze and Félix Guattari) or as a performative concept (Gérard Genette, Erika Fischer-Lichte). The aim of the article is to examine a narrow selection of writing authored and co-authored by three women playwrights—Deborah Levy, Djanet Sears and Tanika Gupta—who set out to speak on why they write, aiming in that way to articulate their authorship in essays, notes and conversations which have the status of diverse paratextual forms. The article starts by exploring the relevance of discussions on authorship as well as the implications of institutional policies in regard to women writing for the theatre. Further on, on a tropological level, the article analyses the figurative rendering of self-reflection as a passage from roots to routes, from a concept of fixed identity to mobile, performative concepts converging on epistemological alertness and openness to recognising the ontology of writerly identity as becoming.

10

From Peritext to Text: Constructing Authorship in David Hare’s Selected Plays

88%

Kębłowska-Ławniczak E.

Academic Journal of Modern Philology

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2018

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vol. 7

119-129

EN

The article examines the ways in which two autographic peritexts tie in with the main texts of two verbatim plays they precede. The discussion addresses the question of transactions between peritext and text in view of interrelated aspects. Invoking background knowledge and the context of other verbatim plays, the inquiry concentrates mainly on The Permanent Way and Stuff Happens, staged in the years 2003-2004. While the main inquiry concerns the broader subject of constructing authorship in peritext, the further question involves the use of narrative frameworks to connect the peritext with the main text. The analysis concentrates on the ways a writer asserts, or declares, and stages his authorship, sometimes his authority, originating the process with significant enunciations in the prefatorial zone. Dealing with verbatim plays, the article invites reflection on the nexus of authorship, authority, authorization or authentication and “truth”.

11

Kulturowe studia nad prawem autorskim

75%

Jakubowiak M.

ER(R)GO: Teoria – Literatura – Kultura

|

2016

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issue 34

EN

Maciej JakubowiakJagiellonian University, Faculty of Polish, Department of Anthropology of Literature and Cultural Studies Cultural Studies on Copyright LawThe goal of the article is to present and analyze the key problems of cultural studies on copyright law – a relatively new area of literary and cultural research, developed mostly in the United States since 1980s. The main objective of thus oriented research is to introduce an alternative perspective to studies traditionally carried out by copyright lawyers – a perspective allowing one to recognize the complexity of ways in which legal solutions may impact cultural practice. The article chronologically discusses the most important publications representing this subdiscipline, including text by such authors as Martha Woodmansee, Mark Rose, Paul K. Saint-Amour and Caren Irr. The critical presentation of the material focuses on ways of defining relations between copyright law and literature, on the impact of analyses carried out within this model upon our understanding of the cultural phenomena under discussion, and – last but not least – on research methods within the area. Additionally, the argument presented in the article serves the purpose of deriving a more general formula of thinking about literature from the existing research and of confronting it with other modes of reflection about the relations obtaining between various disciplines of academic research. Keywords: cultural studies on copyright law, copyright, authorship, impact of legal solutions upon cultural practice Kulturowe studia nad prawem autorskim Artykuł poświęcony jest prezentacji i analizie najważniejszych problemów formułowanych w ramach kulturowych studiów nad prawem autorskim – nurcie badań literaturo- i kulturoznawczych rozwijających się głównie w Stanach Zjednoczonych od lat 80. XX wieku. Głównym celem tych badań jest wprowadzenie odmiennej perspektywy do zarezerwowanych tradycyjnie dla prawoznawców studiów nad prawem autorskim, pozwalające na odsłonienie złożonych sposobów, na jakie rozwiązania prawne przekładają się na praktyki kulturowe. W artykule analizowane są w porządku chronologicznym najważniejsze publikacje tego nurtu badawczego, autorstwa m.in. Marthy Woodmansee, Marka Rose’a, Paula K. Saint-Amoura i Caren Irr. Krytyczna prezentacja materiału bierze pod uwagę takie kwestie, jak: sposoby definiowania relacji między prawem autorskim a literaturą; efekty prowadzonych analiz dla rozumienia omawianych fenomenów kulturowych; projektowane metody badawcze. Dodatkowym celem artykułu jest próba wypreparowania z przedstawianych badań ogólniejszej formuły myślenia o literaturze i skonfrontowanie jej z innymi sposobami myślenia o relacjach między dyscyplinami naukowymi.Słowa kluczowe: kulturowe studia nad prawem autorskim, copyright, prawo autorskie, autorstwo, wpływ rozwiązań prawnych na praktykę kulturową

PL

Maciej JakubowiakUniwersytet Jagielloński, Wydział Polonistyki, Katedra Antropologii Literatury i Badań Kulturowych Cultural Studies on Copyright LawThe goal of the article is to present and analyze the key problems of cultural studies on copyright law – a relatively new area of literary and cultural research, developed mostly in the United States since 1980s. The main objective of thus oriented research is to introduce an alternative perspective to studies traditionally carried out by copyright lawyers – a perspective allowing one to recognize the complexity of ways in which legal solutions may impact cultural practice. The article chronologically discusses the most important publications representing this subdiscipline, including text by such authors as Martha Woodmansee, Mark Rose, Paul K. Saint-Amour and Caren Irr. The critical presentation of the material focuses on ways of defining relations between copyright law and literature, on the impact of analyses carried out within this model upon our understanding of the cultural phenomena under discussion, and – last but not least – on research methods within the area. Additionally, the argument presented in the article serves the purpose of deriving a more general formula of thinking about literature from the existing research and of confronting it with other modes of reflection about the relations obtaining between various disciplines of academic research. Keywords: cultural studies on copyright law, copyright, authorship, impact of legal solutions upon cultural practice Kulturowe studia nad prawem autorskim Artykuł poświęcony jest prezentacji i analizie najważniejszych problemów formułowanych w ramach kulturowych studiów nad prawem autorskim – nurcie badań literaturo- i kulturoznawczych rozwijających się głównie w Stanach Zjednoczonych od lat 80. XX wieku. Głównym celem tych badań jest wprowadzenie odmiennej perspektywy do zarezerwowanych tradycyjnie dla prawoznawców studiów nad prawem autorskim, pozwalające na odsłonienie złożonych sposobów, na jakie rozwiązania prawne przekładają się na praktyki kulturowe. W artykule analizowane są w porządku chronologicznym najważniejsze publikacje tego nurtu badawczego, autorstwa m.in. Marthy Woodmansee, Marka Rose’a, Paula K. Saint-Amoura i Caren Irr. Krytyczna prezentacja materiału bierze pod uwagę takie kwestie, jak: sposoby definiowania relacji między prawem autorskim a literaturą; efekty prowadzonych analiz dla rozumienia omawianych fenomenów kulturowych; projektowane metody badawcze. Dodatkowym celem artykułu jest próba wypreparowania z przedstawianych badań ogólniejszej formuły myślenia o literaturze i skonfrontowanie jej z innymi sposobami myślenia o relacjach między dyscyplinami naukowymi.Słowa kluczowe: kulturowe studia nad prawem autorskim, copyright, prawo autorskie, autorstwo, wpływ rozwiązań prawnych na praktykę kulturową

12

"Ought", Agents and Ambiguity that Matters

75%

Klimczyk J.

Studia Semiotyczne

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2017

|

vol. 31

|

issue 2

113–138

EN

According to a well-homed view in linguistic semantics, deontic logic and logic of agency, some ‘ought’ sentences, like ‘Kate ought to write the report’, are ambiguous between the socalled agentive sense as when Kate is the agent of writing the report, and the non-agentive, or evaluative sense as when, in the light of some norm or things being ideal, the proposition that Kate writes the report would come out true. Within this approach to the semantics of ‘ought’, the ambiguity in question is not due to any semantic ambiguity of the word ‘ought’, but the ambiguity traced to Kate writes the report. We may call the view in question, after Schroeder, the agency-in-the-prejacent theory, or APT for short. APT’s explanation of ambiguity has been put under heavy criticism by Mark Schroeder’s 2011 influential paper. Schroeder tried to undermine APT by exposing its central theoretical drawbacks, their being: (i) that APT badly overgeneralizes because if ambiguity is in Kate writes the report, then it should equally well be preserved under the non-agentive interpretation of ‘Kate ought to write the report’, but it is not, and (ii) that APT also undergeneralizes, since it ‘inscribes’ the same ambiguity as observed in ‘Kate ought to write the report’ to a sentence that lacks it, e.g. ‘Bill ought to kiss Lucy’. I argue that both the ‘overgeneralization problem’ and the ‘undergeneralization problem’ are harmless for the criticized view, since Schroeder’s two central arguments against the respective problems are seriously defective. Also, the third problem identified by Schroeder, that APT cannot accommodate the deliberative sense of ‘ought’, is mistargeted. I argue that identifying the salient property of the deliberative ought is crucial for assessing whether APT is able to accommodate it or not, and that Schroeder failed to recognize this properly.

13

Creative Commons (CC)

75%

Delert E.

Themis Polska Nova

|

2014

|

issue 1(6)

280-305

EN

Creative Commons is a non-profit organisation, which was established in 2001 in the United States of America. It was founded of the initiative of the people involved in work for the protection and promotion of common cultural goods. Polish branch of the organisation has been operating since 2005 and its partners are Centre for Digital Design: Poland and the Interdisciplinary Centre for Mathematical and Computational Modelling at the University of Warsaw. The article presents the development of Creative Commons licence their history specifics and use both in USA and international environment. Last part of the text is focused on presentation and analysis of the situation of Creative Commons licences in Polish Law.

14

Whose Authority May I Ask? Polish, English, German, Shakespearean or Directorial? On the Boundaries Between Ethnicity, Nationality, Religion and Theatricality in Jan Klata’s Shakespearean Productions

75%

Fabiszak J.

|

2018

|

vol. 17

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issue 32

51-60

EN

Jan Klata is a director who has been labelled a provocateur and who is considered to hold nothing cultural or national sacred. From the beginning of his artistic career he is said to have challenged authorities: theatrical, ethnic, national, etc. by debunking and questioning prevailing heroic myths and forms. Today, imperceptibly yet steadily, Klata himself becomes an authority and his theatrical productions gradually become classics in the eyes of the new generations of theatre directors and audiences, at the same time inciting and inevitably inviting cultural rebellion ... The article examines Klata’s treatment of theatrical and national authority in his Shakespeare productions, on the one hand, and the image of the director as an authority on the other. All in the light of the theoretical model on authority in theatre, especially in Shakespeare productions, developed by W.B. Worthen.

15

Perspectives on Authorship and Authority

75%

Lorek-Jezińska E., Strehlau N., Więckowska K.

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2020

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vol. 6

|

issue 1

1-6

EN

This article outlines selected shifts in thinking about authorship and authority that have occurred in literary and cultural studies in the aftermath of Roland Barthes’s proclamation of the death of the author, followed by the author’s many revivals. Reconsidering Barthes’s seminal essay and confronting it with Michel Foucault’s query about the author-function, the article comments on Seán Burke’s polemical stance concerning situated authorship. Against these general considerations, several areas in which authorship and authority have been reconceptualized are briefly discussed, referring to the themes addressed in this volume. These areas embrace the problems of representing and using somebody else’s story in visual arts and testimonial theatre, the challenges of individual and cultural situatedness of writing within one’s own output and in reference to more general cultural hauntings as well as the processes of self-formation in the interactions between a variety of texts forming life-writing.

16

Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań

71%

Drewniak J.

Ruch Biblijny i Liturgiczny

|

2010

|

vol. 63

|

issue 4

EN

The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the biography of the priest Chlondowski, which contradict his authorship. Next, in the following part of this article the author presented some facts which helped him to find the authentic composers. According to the author of this dissertation the authentic composers of Te Deum were Józef Furmanik and Franciszek Wesołowski. The aim of this article is to emphasize the necessity of the correction of the mistaken information about the composer in the song-books which will be published in the future. This article has the following structure: Te Deum in the history of the Catholic Church; Polish language version of Te Deum used in the liturgy in the XXth century; Polish millennium Te Deum; The controversy around the authorship of the priest Antoni Chlondowski; The controversy around the authorship of Franciszek Wesołowski; The authentic composers – Józef Furmanik and Franciszek Wesołowski.

17

Alicja w Krainie Koszmarów” – Gry American McGee’s Alice i Alice Madness Returns jako mroczne interpretacje utworów Lewisa Carrolla.

71%

Chojnacki M. M.

Porównania

|

2016

|

vol. 19

171-182

EN

The author of this paper analyses two video games created by American J. McGee and which are an interesting example of borrowing adaptation accomplished within digital interactive medium. Article also considers the issues of intersemiotic translation in an unstable narrative text, authorship strategy realized by original interpretation of the source material and using themes, characters, events, and places from the original in navigational virtual space. Author points out the multiplicity of possible readings of these titles content while paying attention to the maturity of the medium of video games and their adaptive potential.

PL

W niniejszym artykule autor przeprowadza analizę dwóch gier autorstwa Americana J. McGee, stanowiących interesujące przykłady adaptacji zapożyczających zrealizowanych w ramach interaktywnego cyfrowego medium. W tekście rozpatrywane są kwestie funkcjonowania przekładu intersemiotycznego w niestabilnym tekście narracyjnym, strategii autorstwa, obecnej poprzez oryginalną interpretację materiału źródłowego przez projektanta gier, oraz to, w jaki sposób zaczerpnięte z oryginału motywy, postaci, wydarzenia i miejsca znajdują zastosowanie w nawigowalnym środowisku wirtualnym. Autor wskazuje także na wielość możliwych odczytań treści zawartej w omawianych tytułach, zwracając jednocześnie uwagę na dojrzałość medium gier wideo oraz ich adaptacyjny potencjał.

18

Život kao artefakt: Matoševo autorstvo. Povodom knjige Dubravke Oraić Tolić Čitanja Matoša

66%

Protrka Štimec M.

Poznańskie Studia Slawistyczne

|

2014

|

issue 7

EN

Paper deals with a conception of Antun Gustav Matoš authorship, regarding his own definition of his life as a work of art. Performing his authorship in a variety of literary texts, letters and notices, he lived in extremes, being flaneur, dandy and a bohem, world traveler and a nationalist ideologist, what influenced reception of his work until recent period. Critical and historiographic, as much as other literary works related to AGM follow this „author-centered” positions regarding his life as a work of art, as much as his literary texts as a reflection of his life. Latest Croatian „Matosiana” book, Dubravka Oraić Tolić̕ Reading Matoš (Čitanja Matoša, 2013), attests some traditional critical assumptions regarding authorship of this canonical writer end expands them in a new context. Different theories of literary canon formation, especially those grounded on feminist or psychoanalytical approach, call in question usual strategies in creation and understanding AGMs authorship, aestheticism and anti-modernism.

19

Lollipop Chainsaw Goichiego Sudy i problem autorstwa w medium gier wideo

63%

Staszenko D.

Homo Ludens

|

2015

|

issue 2(8)

153-162

PL

Kategoria autora jako indywidualnego twórcy wydaje się archaiczna, niepotrzebna i niefunkcjonalna w kontekście medium gier komputerowych. Jednakże takie myślenie nie jest do końca zasadne, ponieważ wciąż można wskazać twórców, którzy manifestują swoje oryginalne pomysły nawet w grach wysokobudżetowych, mających z założenia odnieść komercyjny sukces. Jedną z takich osób jest właśnie Goichi Suda znany jako Suda 51. W swoim artykule analizuję grę Lollipop Chainsaw z wyszczególnieniem charakterystycznych cech jego twórczości, takich jak specyficzne poczucie humoru, unikalna estetyka oraz kontrowersyjne rozwiązania kreacyjne.

EN

This paper examines the phenomenon of the game designed by Goichi Suda, also known as Suda 51. It focuses on the analysis of Lollipop Chainsaw, detailing the characteristics of his work, such as a sense of humor, unique aesthetics and controversial solutions. This Japanese designer is sometimes considered as an artist who manifests his original ideas even in high-budget games. This paper also describes the problem of authorship in the video games medium using Suda’s creation as an example.

20

Neruda redaktor Josefa Baráka? : sonda do Nerudovy redakční praxe především na příkladu Adolfa Heyduka

63%

Kosák M.

Česká literatura (Czech Literature)

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2020

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vol. 68

|

issue 1

65-74

EN

The text sets out to examine the hypothesis that Jan Neruda had a hand in the editorship or authorship of poems signed by Josef Barák, thus examining the conclusion of the study by Petr Plecháč and Jiří Flaišman: “Barák’s problem: Neruda from the standpoint of contemporary stylometry” (Česká literatura No. 5/2017), who deduced that there was a textual similarity between the two authors and attempted to explain it in terms of the theory that Jan Neruda was involved in editing or co-authoring his work. The present text analyses Jan Neruda’s editing practice during the 1859–1860 period on the basis of a comparison of newly discovered manuscripts of poems by A. Heyduk, V. A. Crha, E. B. Kaizl and J. V. Jahn with printed material in publications edited by Neruda, particularly in the first annual volume of the journal Obrazy života (Images of Life, 1859) and in the book edition of Heyduk’s Básně (Poems, 1859). On the basis of this analysis and the critical determination of constraints emerging from the available archive material under analysis, the author characterizes Jan Neruda’s editorial work, concluding that it does not form a basis for the hypothesis that Neruda made decisive alterations to the text of the poems by Josef Barák resulting in a change in stylometric indicators.

CS

Text si klade za cíl prozkoumat hypotézu o redakčním či autorském podílu Jana Nerudy na básních podepsaných Josefem Barákem. Prověřuje tak závěr studie Petra Plecháče a Jiřího Flaišmana „Problém Barák: Neruda z pohledu současné stylometrie“ (Česká literatura č. 5/2017), kteří dospěli k závěru o textové podobnosti obou autorů a pokusili se ji vysvětlit hypotézou o redakčním či spoluautorském podílu Jana Nerudy. Přítomný text analyzuje redakční praxi Jana Nerudy v daném období let 1859‒1860 na základě srovnání nově nalezených rukopisů básní A. Heyduka, V. A. Crhy, E. B. Kaizla a J. V. Jahna s otisky v publikacích, na nichž se Jan Neruda podílel jako redaktor, především v prvním ročníku časopisu Obrazy života (1859) a v knižním vydání Básní A. Heyduka (1859). Na základě tohoto rozboru a po kritickém stanovení omezení vyplývajících z analyzovaného dostupného archivního materiálu dochází autor k charakteristice redakční práce Jana Nerudy, a vyslovuje závěr, že není podklad pro hypotézu o Nerudových razantních změnách textu básní Josefa Baráka, které by měly za následek proměnu stylometrických ukazatelů.

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