Search results - CEJSH

1

Realita, obraz, fikce

100%

Štefanides J.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2013

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vol. 16

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issue 1

6-18

EN

This article points out the necessity to research theatrical life in Moravia separately while its development until 1918 differed enormously from that in Bohemia and Silesia, as the author claims. The research has to go much further than understanding theatre history as a picture of isolated national cultures. The multicultural aspect of theatrical life has to be respected, considering the fact that the German-speaking productions predominated in this region until 1918. Lacking its own cultural centre, Moravia became the place of transition in which various forms of European theatre collided and coexisted.

2

The material world of digital fictions

80%

Janik J.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2021

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vol. 29

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issue 38

57-72

EN

This paper explores the interdependency between digital matter and the representational or mimetic layer of the digital game object. The main aim is to foreground the mechanisms by which the representationalelements of the game world emerge from the materiality of the process of play. These mechanisms are examined from the perspective of the ontology of the game object. The issue of digital materiality will be linked with the aesthetical explorations of Tadeusz Kantor, who emphasised the relation between the materiality of the theatre and its fictional elements. As the main example of this analysis, I will focus on Undertale (Toby Fox, 2015) as an example of a game that plays with the boundaries between the fictional world being presented and the elements of digital materiality that are usually hidden from the player’s sight.

3

Access Paths: On Popular Women’s Literature and Criticism

80%

Nowacki D.

Tematy i Konteksty

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2020

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issue 1

395-404

EN

Referring to critical statements that have appeared during the last few years, the author discusses ways of commenting on popular literature penned byfemale authors. One may distinguish five types of comments, 1) Appropriation (Aneksja), employed when a popular novel is included in the socially important literature referring to pressing and alarming problems (e.g. domestic violence). 2) Playing with convention (Gra z konwencją), based on pinpointing both grotesque and ironic elements and, above all, metaliterary signals in popular novels. 3) Adherence to tradition (Zgodnie z tradycją), best represented in the secondary literature, either through a poetologic approach (structural analyses) or approaches inspired by feminist criticism. 4) Exhortation to pay close attention (Dobrze się wschłuchać), focused on the approaches suggested by other fields, e.g. how popular women’s literature is read by sociologists. 5) Focus on emotions and excess (Emocje i zbytek), based on emotional and therapeutic research on the perception styles of popular literature. In this case, one focuses not on popular women’s fiction, but on the way it influences the readers’ emotions.

4

Biografia i autobiografia w literaturze audialnej

80%

Bachura-Wojtasik J., Uniwersytet Łódzki W. F., Joanna Bachura-Wojtasik – adiunkt w Katedrze Dziennikarstwa i Komunikacji Społecznej UŁ. Jest autorką książki Odsłony wyobraźni. Współczesne słuchowisko radiowe (2012) oraz współautorką (obok Elżbiety Pleszkun-Olejniczakowej i Aleksandry Pawlik) książki Dwa Teatry. Studia z zakresu teorii i interpretacji sztuki słuchowiskowej (2011). Podstawą jej zainteresowań badawczych jest radioznawstwo p. w. a. g. r. I. j. t. w. k. j. p., joanna.bachura@gmail.com

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 28

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issue 2

EN

The article discusses the audio form of the biography and autobiography – as seen in the radio- drama and documentary – as a distinct form in audio literature. The article is inspired by the theoretical findings of Philippe Lejeune concerning autobiographical literature and the personal diary genre. Theoretical reflections are complemented by selected examples of artistic audio genres. The examples of radio-dramas and artistic documentaries (features) discussed illustrate the specificity of the radio medium, which, on the one hand, opens up new opportunities for documentaries that are impossible to achieve in printed literature, while, on the other hand, it also imposes restrictions.

5

Непубликуваните фикционални текстове (Васил Попович и Асен Христофоров)

80%

Аретов Н.

Poznańskie Studia Slawistyczne

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2020

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issue 19

149-168

EN

This paper deals with some texts from the archives of two authors from different periods. These texts were not published by the authors in their lifetime. The reason was not some kind of censorship, especially in the case of Vasil Popovich, who probably had some scruples dealing with events from the private life of his opponent Konstantin Jireček. Asen Hristoforov, a writer who was expelled from the University and sent to a labor camp, did not offer texts about his time in the labor camp for publishing. However, in this published texts there are hints about the repressions he suffered and about his disapproval of the communist regime. At the same time, there was a tension between his criticism and his attempt to partially accept the official perspective towards some events and political figures of Bulgarian communist past.

6

Opowieść transmedialna – znak naszych czasów

80%

Boczkowska M.

Postscriptum Polonistyczne

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2014

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issue 2(14)

125-137

EN

The article presents the so¬ called transmedia stories that have become more popular in the epoch of media convergence. Transmedia texts are the texts that tell their stories using different media, for example television, Internet or literature. Transmediality can be regarded as a kind of intertextuality. The author also presents several novels whose plot as well as other elements (for example fictive author) refer to popular TV series.

7

Jokes, aporia and undecidability

80%

Segal A. P.

The European Journal of Humour Research

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2018

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vol. 6

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issue 1

EN

Derrida saw laughter as a version of aporia; and he linked aporia to an undecidability that he ties to fiction. I argue that such undecidability contributes to some jokes. Sometimes this undecidability enables the joke to combine plausibility and delightfulness. More interesting and more aporetic is the way that undecidability contributes to jokes that foreground their textual status (some meta-jokes for instance) and those that have an effect of unfathomability. The jokes considered include one on which Derrida commented and another which was told at his Columbia University memorial service.

8

THE ROLE OF SYNTACTIC STYLISTIC MEANS IN EXPRESSING THE EMOTION TERM LOVE

80%

Panasenko N.

Research in Language

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2013

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vol. 11

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issue 3

277-293

EN

Love as one of important feelings in human emotional, cognitive and social life has always attracted attention of the researchers: psychologists, linguists, philosophers, ethnologists, etc. We may speak about extralinguistic and linguistic ways of love manifestation. To linguistic ones belong, of course, stylistic means, which include lexical, syntactic, phonetic, and semasiological level. The author focuses on lexical-syntactical means of expressing love in two Slavic languages, Czech and Slovak, using linguocognitive and cultural approach. This research is inspired by the GRID project, which aimed at study of 24 emotion terms in 35 languages

9

Evaluative Beliefs in a Thought Theoretical Framework? A Proposal For Non-positing Epistemic States

80%

Neuber S.

Estetika: The Central European Journal of Aesthetics

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2015

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vol. 52

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issue 1

23-38

EN

Thought Theory (TT) seems to provide an answer to the paradox of fiction (PoF) which has the ontological merits of current pretence accounts without, however, assuming mere pretence emotions. This article will question whether present formulations of TT live up to what they promise. Whenever its current versions try to include evaluative beliefs in a TT framework in order to comply with a cognitivist account of emotions, they either stop being a genuine thought theory or endorse the irrationalism of fictional emotions. This unfortunate outcome can be prevented by shifting the focus to thoughts, and specifically to the genetic dynamics of how we come to think of the objects in question. This is at least what we can learn from Edmund Husserl, who developed a still underestimated account according to which it is possible to have the belief that x merits evaluation as appearing emotion-worthy without this belief implying that x merits being believed to exist.

10

Prawda i fikcja w autobiograficznych trylogiach emigracyjnych Eduarda Limonowa

80%

Bieliński R.

Acta Polono-Ruthenica

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2012

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vol. Tom 1 Nr XVII

115-125

EN

Limonov’s character adores to be different, he loves to shock people. He lives then with kind of an other life. From one side it gives to him a hallmark of singularities and uniquenesses, from other it is underlining intuitive - ness, which is such important to him as the base of knowledge and reasoning. This philosophy is meeting all requirements of Eddie’s “life philosophy”. Empirical knowledge the own soul, and also souls of other people is leading him to height of the success and the vital fulfilment in own antrophosphere, own existence, time and space. Ediczka is standing out, he is “different”. However the most important is fact, that Eddie - character is the same as Limonov - writer. The life and the existence of the character are becoming author’s being at the same time. There is no Eddie's existence without existing of his author - Limonov. Eduard Limonov antrophosphere’s multidimensionality has reflection in the Eddie’s form. Character, similarly as his author, is a writer, publicist, rebellious critic of political world’s order (especially his two “homelands” - America and the USSR). Analysing interviews with Limonov a striking similarity of both figures views is noticed. Tragedy of the man left by “mother - Russia” and thrown to “orphanage - America” is becoming from one side - more definitive, from second- highly deceptive and seeming.

11

Fikcja a fałsz, O właściwościach semantyczno-składniowych przymiotników fikcyjny i fałszywy

80%

Zaucha J.

Linguistica Copernicana

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2014

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issue 11

35-52

EN

The aim of the paper is to pinpoint semantic and syntactic features of two Polish predicates, namely fikcyjny and fałszywy. The author shows what they have in common, as well as how they differ. Particularly, she concentrates on the differences in the scope of reference for the two predicates. She also presents two short representations of their semantic content. The analysis of the Polish expression fikcyjny sheds new light on certain theoretical problems of fiction, known from philosophy and literary theory.

12

Interference Patterns of the Verb Say in the Narration of English-Polish Literary Translations: A Corpus-Based Study

80%

Olejniczak J.

Anglica. An International Journal of English Studies

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2016

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issue 25/2

139-150

EN

In this paper I present a corpus-based study of the interference of the verb say from English source texts into their Polish translations. I compare a sizeable corpus of native Polish fic- tion with corpora of English-Polish fiction translations and argue that the various forms of the verb say commonly used in the English narration influence the choices made in some (albeit not all) of the Polish translations. In order to exemplify my claims I use parallel corpora to show how two different professional translators working with an identical set of source texts were influenced by the narrative verb distribution.

13

Lucky Jim – Kingsley Amis as the master of peripheral characters

80%

Klepuszewski W.

Acta Neophilologica

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2016

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issue 18/2

149-159

EN

Kingsley Amis’s Lucky Jim is a classic novel, popular both with readers and critics. It has been in print ever since the date of its first publication, 1954, and still attracts critical attention. Most criticism concerning Lucky Jim focuses on the academic milieu it delineates and its main representatives, Jim Dixon and Professor Welch. However, a discerning reader will immediately notice that Amis’s novel is crowded with marginal characters, whose presence contributes immensely to Amis’s masterpiece. The aim of this article is to revisit Lucky Jim in order to focus on a number of background characters and give more prominence to their role in the novel.

14

Odwołania do literatury pięknej w orzecznictwie Europejskiego Trybunału Praw Człowieka

71%

Maroń G.

Ruch Prawniczy, Ekonomiczny i Socjologiczny

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2019

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vol. 81

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issue 2

67-82

EN

The article discusses the practice of invoking literary works in the jurisprudence of the European Court of Human Rights. The quantitative analysis of the case law allowed for the formulation of some conclusions. Firstly, literary references appear exclusively in dissents and concurrences, not in the Court’s judgments themselves. Secondly, the phenomenon of citing fiction in the ECtHR’s case law is neither common nor marginal. Thirdly, in the last two decades there has been a marked intensification in the use of literary references by the Court’s judges. Fourthly, the willingness to cite works of fiction in the dissent or concurrence is essentially independent of the judge’s nationality, sex or country of origin. Fifthly, literature is one of many extra-legal sources quoted in the ECtHR’s case law, among those such as philosophy, movies or music.

PL

W artykule omówiono praktykę posługiwania się odwołaniami do literatury pięknej w orzecznictwie Europejskiego Trybunału Praw Człowieka. Kwantytatywne studium orzecznictwa pozwoliło na sformułowanie kilku wniosków. Po pierwsze, beletrystyczne odniesienia pojawiają się nie w uzasadnieniach wyroków Trybunału, a wyłącznie w zdaniach odrębnych i zbieżnych do tych wyroków. Po drugie, praktyka posiłkowania się utworami literackimi w orzecznictwie strasburskim jakkolwiek nie jest powszechna, to zarazem nie ma też charakteru sporadycznego. Po trzecie, w ostatnich dwóch dekadach sędziowie Trybunału co raz częściej przywołują dzieła literatury pięknej. Po czwarte, gotowość posłużenia się literackim odniesieniem jest zasadniczo niezależna od narodowości i płci sędziego oraz typu kultury prawnej właściwej dla jego kraju pochodzenia. Po piąte, literatura piękna to jedno z wielu źródeł pozaprawnych wykorzystywanych przez sędziów Trybunału w zdaniach odrębnych i zbieżnych, obok np. filozofii, kinematografii czy muzyki.

15

Rapport sur l’affaire Darrieussecq

71%

Lipták-Pikó J.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2015

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vol. Special Issue: Le monde de la litérrature

174-181

EN

Marie Darrieussecq, a contemporary French writer, had been accused of plagiarism several times during her career. Besides defending her reputation, these accusations forced her to think about her conceptions on fiction and writing. Finally, in Rapport de police, she succeeded in showing a mirror to the society of contemporary French writers, in which a tendency towards denying the legitimacy of fiction in certain cases can be observed. This phenomenon is diagnosed by Tiphaine Samoyault as the extension of the domain of plagiarism on simple particles of life. Behind this tendency resurges the old controversy of Plato and Aristotle on mimesis and fiction. Along with Jean-Marie Schaeffer’s analysis on the function of fiction from a cognitive point of view unfolds an apology for lecture and for a fictional writing that is capable of saying the inexpressible and speak for those who don’t have access to language.

16

L’Histoire vue de « l’Autre côté » dans les récits d’Amin Maalouf

71%

Elmoudden S.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2020

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issue 61

148-157

EN

The article aims to analyze the relationship between history and fiction in Amin Maalouf ’s novels. Fascinated by history and literature, the Franco-Lebanese writer, tries, in several of his works, to combine history and romance and to make real and fictitious characters coexist in one universe. However, far from being limited to a simple transcription of history, Amin Maalouf has set himself the audacious goal of shedding light on the other side of history, as it was seen and lived on the “other side”; and at the same time he tries to revive the memory of certain figures forgotten or even denigrated by the official historiography. Thus, by rediscovering and reinterpreting history from a new perspective, Amin Maalouf aspires to understand the present and to build bridges between the two shores of the Mediterranean, between the North and the South, and between the East and the West. KEYWORDS (en)

17

Poe’s Litotes (in Romanian Translation) or Why Less is Always More

70%

Hăisan D.

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

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2020

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vol. 13

123-135

EN

The paper looks into the way the various translators of Edgar Allan Poe‟s fiction into Romanian dealt with a figure of speech (or of thought) Poe seems to have been especially fond of: the litotes. Romanian versions spanning 55 years (1957-2012) are examined with a view to pinpointing whether litotes are interpreted as having to do with intensification or attenuation. The paper looks into the way the various translators of Edgar Allan Poe‟s fiction into Romanian dealt with a figure of speech (or of thought) Poe seems to have been especially fond of: the litotes. Romanian versions spanning 55 years (1957-2012) are examined with a view to pinpointing whether litotes are interpreted as having to do with intensification or attenuation.The paper looks into the way the various translators of Edgar Allan Poe‟s fiction into Romanian dealt with a figure of speech (or of thought) Poe seems to have been especially fond of: the litotes. Romanian versions spanning 55 years (1957-2012) are examined with a view to pinpointing whether litotes are interpreted as having to do with intensification or attenuation. The paper looks into the way the various translators of Edgar Allan Poe‟s fiction into Romanian dealt with a figure of speech (or of thought) Poe seems to have been especially fond of: the litotes. Romanian versions spanning 55 years (1957-2012) are examined with a view to pinpointing whether litotes are interpreted as having to do with intensification or attenuation.

18

EDGAR ALLAN POE ET LA FICTION MEURTRIÈRE

70%

IFTIMIA C.

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

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2016

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vol. 8

53-67

EN

In the 20th century, Edgar Allan Poe’ s poem, The Raven, was the starting point for many film adaptations. In 2012, director James McTeigue gave us one more, based on Hannah Shakespeare & Ben Livingstone’s script, with John Cusach in the role of Poe. In the latest production, Edgar Allen Poe himself is facing, in his real life, the atrocities that came out of his imagination. Our intention is to show the challenges of the film and the implications at the aesthetic level and at the level of reception.

19

Television humour and preferred meanings in the Catalan identity debate

70%

Martínez-García L.

The European Journal of Humour Research

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2014

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vol. 2

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issue 3

EN

This article analyses a sports-related satirical-parody television series as a generator of preferred meanings that may be associated with an ideological context of a stateless nation such as Catalonia, where the symbolic aspect is fundamental to the imaginary-building process. In this case, the research focuses on identifying whether representations of difference exist in the humorous content of the television series and, if they do, how they are represented and whether they propose imaginary boundaries. Through a quantitative and qualitative analysis in a satirical-parody television series about sports-related news, this study shows that humour generates symbolic boundaries between two spaces. While one of the spaces is in close proximity to the context in which the series is produced and broadcast –Catalonia–, the other encompasses the rest of Spain. In the same direction, humorous audiovisual text contains preferred and also dominant meanings, and these are expressed by how characters valuate other characters, situations, contexts, etc. The nature of the valuations proposes meanings that express the idea of a positive “us” and a negative “them”. Television humour acts as a cultural agent that proposes preferred meanings to the subject, and such meanings become part of the subject’s identity process.

20

Ve službách románu. Mario Vargas Llosa a Milan Kundera

70%

Poláková D.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2018

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vol. 58

141-148

EN

Mario Vargas Llosa and Milan Kundera are eminent novelists and literary theorists and critics. They both acknowledge their debt to Miguel de Cervantes, whose Don Quixote they consider not only the first modern novel, but a symbol of Western civilization. The article focuses on their conception of the novel, the role of fiction and humor, and the possible death of the novel.

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