Search results

1

„Mimesis“, Platón a René Girard

100%

Kišš M.

Filosofický časopis (Philosophical Journal)

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2010

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vol. 58

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issue 4

503-526

EN

René Girard, the theoretician of society and culture, would not be classified as a philosopher in the traditional sense by many philosophers concerned with Plato’s work. The aim of this study is to show that, inspite of this, Girard’s thought can be of interest to philosophers, and that, more particularly, it provides an opportunity to look at Plato’s thoughts in a new way (at least in the area of Plato’s social theory and his conception of the human soul). The article offers a fresh view of Plato’s thoughts about the phenomenon of mimesis, exploiting several elements of Girard’s mimetic theory. In the introduction, the author sketches the basic features of Girard’s mimetic theory and explains some of the psychosocial background of Plato’s conception of mimesis. Then, on the basis of an analysis of Plato’s Republic, it is shown that Plato may not only be characterised as an intellectual forerunner of Girard’s mimetic theory, but even as the founder of thinking about the problematic of psychological mimesis. The author’s main thesis is that the Republic may be interpreted, with the help of Girard’s ideas, as a ground-breaking study of the laws of psychological mimesis and of the effects which this mechanism has at the level of psychosocial structures. It is also shown that the Republic can be understood as a grand construction of anti-mimetic organisation in relation to the individual and to society.

2

Gesture, meaning-making, and embodiment: Second language learning in an elementary classroom

100%

Rosborough A. A.

Journal of Pedagogy

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2014

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vol. 5

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issue 2

227-250

EN

The purpose of the present study was to investigate the mediational role of gesture and body movement/positioning between a teacher and an English language learner in a second-grade classroom. Responding to Thibault’s (2011) call for understanding language through whole-body sense making, aspects of gesture and body positioning were analyzed for their role as mediational tools for meaning making during a math assignment. Analysis of the teacher-student dyad provides insight as to how they moved from simply exchanging answers to using positions and gestures to embody meaning and feelings, thus establishing strategic ways to solve communication problems in the future. A shift to embodying the communication task provided new meanings not previously afforded while sitting at a desk. Combining a Gibsonian (1979) ecological perspective with Vygotskian (1978, 1986) sociocultural theory provides a way to view the role of embodiment in the social practice of second language learning (van Lier, 2004). Findings provide evidence that gesture along with bodily positions and [inter]actions play a central role in this dyadic meaning- making experience. The data demonstrate the interactive nature of the semiotic resources of the activity (i.e., speech, gesture/hands, math graph, whiteboard), with their materialized bodily/speech-voiced acts coinciding with Thibault’s (2004, 2011) explanation of human meaning-making activity as a hybrid phenomenon that includes a cross-coupled relationship between semiotic affordances and physical-material body activity. This perspective embraces Vygotsky’s (1978, 1997a) view of dialectical development including the importance of psychological and materialized-physical tools such as gesture in dealing with language learning processes (McNeill, 2012).

3

Bene nati w interpretacji plastycznej Piotra Stachiewicza

100%

Imperowicz-Jurczak M.

Przestrzenie Teorii

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2014

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issue 22

71-87

EN

The author describes the underappreciated, artistically innovative illustrations that Piotr Stachiewicz created for a jubilee edition of Bene Nati, which had been issued to commemorate the 25th anniversary of Eliza Orzeszkowa’s work as a writer in 1891. The author emphasizes the variety of Stachiewicz’s illustrations which portray the novel’s storyline, dramatic and genre scenes, characters and a winter landscape. These differ in format as well as the way in which they are integrated into the text and in which the images’ borders, which perform an interpretive function, are treated. When a border is interrupted and an illustration encroaches on the space that was intended for text, this means overstepping the boundaries of the fictional world and entering the real world. A reference to Andriolli’s illustrations brings to mind the world that was created in Pan Tadeusz [Sir Thaddeus] and constitutes a form of Aesopian language.

4

Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama

100%

Lorek-Jezińska E.

Text Matters: A Journal of Literature, Theory and Culture

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2017

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issue 7

353-367

EN

The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.

5

Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama

100%

Lorek-Jezińska E.

Text Matters: A Journal of Literature, Theory and Culture

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2017

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issue 7

353-367

EN

The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.

6

Teoria malarstwa abstrakcyjnego a Platońska koncepcja sztuki

89%

Żak D.

Podstawy Edukacji

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2016

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vol. 9

225-237

EN

The thesis of the paper is the statement that in theoretical assumptions of abstract painting the Platonic conception of art is to be found. It is an interesting coincidence, especially that it is independent and does not arise from inspiration of abstractionist painters by Plato’s philosophy or their reference to his conception of art. Plato, likewise, did not predict a development of such an art movement but despite that, in theoretical foundations of abstract painting the same truth cognitive assumptions can be identified as in Plato’s conception of art. They define its essence as well as function and value. They are also expression of Plato’s negative attitude to imitative painting.

PL

Tezą artykułu jest twierdzenie, że w założeniach teoretycznych malarstwa abstrakcyjnego odnajdujemy Platońską koncepcję sztuki. Jest to interesująca zbieżność, tym bardziej że jest ona niezależna, nie wynika z inspiracji abstrakcjonistów filozofią Platona, czy odwoływania się do jego koncepcji sztuki. Także Platon nie zakładał rozwoju takiego kierunku w sztuce, a mimo to u podstaw teoretycznych malarstwa abstrakcyjnego odnajdujemy te same prawdziwościowe, poznawcze założenia co w Platońskiej koncepcji sztuki. Określają one zarówno jej istotę, jak i funkcję oraz wartość. Stanowią także wyraz negatywnego stosunku Platona do malarstwa naśladowczego.

7

Lubomír Doležel o postmoderně Sebeodhalení a protimluvy jako tahy v narativní hře

89%

Koťátko P.

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

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2016

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vol. 53

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issue 26

19-26

EN

The paper critically interprets the analysis of characteristic features of the postmodern narrative fiction in Lubomír Doležel’s Heterocosmica (1998) and Heterocosmica II (2014). In particular, the author focuses on Doležel’s approach to metafiction and cumulation of contradictions as moves undermining (in a literarily productive way) the constitution and authentication of fictional worlds. Despite the explanatory power of Doležel’s analysis, the author points out that the same instruments (as well as some others analyzed by Doležel, like metamorphosis or construction of parallel and hybrid worlds) can be used with mimetic functions (in a rather non-traditional sense): in such cases, they cannot be reduced to moves within the postmodernist „ontological game“.

8

Słońce we wnętrzu – od użyteczności do śladów ducha

89%

Bucholc K.

Przestrzeń, Ekonomia, Społeczeństwo

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2018

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issue 13/I

9-23

XX

Światło słoneczne towarzyszy Ziemi i człowiekowi od zawsze. Zostawia swoje subtelne lub spektakularne ślady w każdej chwili i w każdej przestrzeni. Najbardziej widocznym działaniem Słońca na Ziemi jest ciepło i światło, które cechuje nieustanna zmienność i ruch. Współczesny człowiek – szczególnie żyjący w mieście - spędza w pomieszczeniach większość swojego życia, kontakt ze światłem naturalnym, którym jest słońce, księżyc i gwiazdy jest więc zminimalizowany. Dlatego wprowadzenie tegoż światła do wnętrz jest problemem niezwykle istotnym. Co prawda pojęcie architektury solarnej wiąże się wciąż przede wszystkim z pozyskiwaniem i akumulacją ciepła słonecznego we wnętrzach, jednak nie mniej ważny jest wpływ słońca na fizyczne i psychiczne zdrowie człowieka a także jego rola w budowaniu charakteru obiektu i ducha miejsca. Piękno i Tajemnica wpisane są we wszystkie twory Natury. Istotnym zadaniem projektanta wydaje się być świadome korzystanie z materii światła naturalnego, która świadomie użyta może nieść sobą treści głębokie i istotne. Projektować z myślą o człowieku, czyli z miłością do niego, to przybliżyć mu rozumienie świata poprzez wskazanie na istniejące, choć ukryte w świecie ślady prawdy, dobra i piękna. Są to ślady rzeczywistości niematerialnej. Światło jest „duszą przestrzeni”.

9

Fostering Resilience through Fairy Tales: The Girl Without Hands by Jacob and Wilhelm Grimm

89%

Kaźmierczak M.

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2017

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vol. 20

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issue 4

15-34

EN

The purpose of this paper is to exemplify the outstanding potential of literary narrations, and particularly the fairy tales, to foster resilience among primary school students. The starting point of these reflections is the mimetic-cathartic vision of a literary narration proposed already by Aristotle and then developed by such contemporary authors as Paul Ricoeur, Alasdair MacIntyre, David Carr, etc. The specific application of the general idea, according to which great literary stories have a powerful intrinsic pedagogical potential, is depicted with the use of the example of a classic tale by the Grimm brothers, The Girl Without Hands, which is a clear mimesis in both textual and figurative sense of a resilient character. Moreover, the traumatizing circumstances against which the resilient attitude develops in the protagonist are related to family background, which makes the story particularly up-to-date at present times in which we observe an outstandingly high divorce rate as well as many other types of problems affecting large numbers of children in relation with their families. A variety of “pillars” or “factors” of resilience are easily observable in the behaviour of the “girl without hands,” which converts the story into a remarkable and encouraging example of overcoming all sort of difficulties and obstacles which our students encounter on their own way towards a more complete integration and happiness.

PL

Celem niniejszego artykułu jest zilustrowanie niezwykłego potencjału wzmacniania rezyliencji uczniów szkół podstawowych, jaki posiadają narracje literackie, a zwłaszcza baśnie. Punktem wyjścia tych refleksji jest mimetyczno-katartyczna wizja narracji literackiej, zaproponowana już przez Arystotelesa, a następnie rozwinięta przez takich współczesnych autorów, jak Paul Ricoeur, Alasdair MacIntyre, David Carr i inni. Konkretną egzemplifikacją ogólnego twierdzenia, że wielkie historie literackie posiadają znaczny potencjał pedagogiczny, jest analiza klasycznej opowieści braci Grimm Dziewczyna bez rąk, będącej doskonałą mimezą, zarówno dosłowną, jak i figuratywną, rezylientnego charakteru. Co więcej, traumatyczne okoliczności, na tle których objawia się rezylientny charakter głównej postaci, są związane z rodziną, co sprawia, że historia ta jest szczególnie aktualna w obecnych czasach, w których obserwujemy wyjątkowo dużą liczbę rozwodów, a także innego rodzaju problemy związane z rodziną, mające bezpośredni wpływ na rozwój dzieci. Różnorodność „filarów” lub „czynników” rezyliencji jest łatwo zauważalna w zachowaniu „dziewczyny bez rąk”, dzięki czemu ta narracja okazuje się być wyjątkowym i zachęcającym przykładem pokonywania wszelkich trudności i przeszkód, które napotykają również nasi uczniowie na swojej drodze do pełniejszej integracji i osobistego szczęścia.

10

Application: Between Hermeneutics and Education. Paul Ricoeur’s Perspective

89%

Domingo Moratalla T.

Studia Paedagogica Ignatiana

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2015

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vol. 18

97-114

EN

In this article I would like to express the possibilities resulting of the application of hermeneutical ethics to the education field. Specifically I adopt the perspective of Paul Ricoeur’s hermeneutical ethics as it is presented mainly in Oneself as Another. I proceed as next: (1) first, I briefly describe the structure of Ricoeur’s hermeneutical ethics; (2) after that I explain the application to medical ethics drafted by Ricoeur which I develop and expand, and (3) finally, I present how this hermeneutical ethics can be applied to the education field. Then we will be ready to expose an applied ethics for education through Paul Ricoeur’s theory. It will be evident that the key question is what defines the idea of “application” (Anwendung) itself.

PL

W powyższym artykule zostały przedstawione możliwości płynące z zastosowania etyki hermeneutycznej na polu edukacji. W szczególności pragnę wykorzystać etyczne podejście właściwe dla hermeneutyki Paula Ricoeura, jakie zaprezentował on w „O sobie samym jako innym”. Kolejno rozwijam następujące kwestie: (1) szkicowo opisuję strukturę hermeneutycznej etyki Ricoeura; (2) wyjaśniam – w sposób rozszerzony – jej zastosowanie opracowane przez Ricoeura do etyki medycznej; (3) przedstawiam, jak owa etyka hermeneutyczna może być wykorzystana w dziedzinie edukacji. W ten sposób poprzez teorię Paula Ricoeura ukaże się nam możliwość zastosowania etyki w edukacji. Naświetlona zostanie również kluczowa kwestia tego zagadnienia, czyli definicja samego pojęcia „zastosowanie” (Anwendung).

11

René Girarda mimetyczna rywalizacja: oksymoron czy postawa hybrydyczna

88%

Mamzer H.

Rocznik Antropologii Historii

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2013

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issue 2(5), Genealogie kultury

83–96

XX

Mimetic rivalry is, contrary to appearances, not an oxymoron, as it would seem from the perspective of a modern researcher, but a hybrid attitude. Mimesis, meaning imitation, or identification of the imitator with the imitated, remains closely connected with the so-called mimesis of appropriation, which according to Girard transforms itself into pure antagonism. The resulting agonistic attitude (rivalry, competition) becomes a source of violence on the one hand, and a source of improvement or even self-creation on the other. It expresses a way of thinking characteristic of societies with magical culture, manifesting itself in an antinomy of concepts, opposing attitudes coming together to create one whole. The problem can be most clearly illustrated by the identity of opposites, known in the world of ancient concepts, especially in ancient Greece. Heraclitus’ unity of opposites is particularly relevant here; it contains two opposing attitudes, whose hybridism meant a violation of long-established moral, ethical, and religious – i.e. cultural – norms, creating an opposition towards everything that is positive, effective. It ensured a sense of balance, stability, and security within the cultural community.

12

Acheiropoietes – mimesis doskonała?

88%

Zawadzki A.

Przestrzenie Teorii

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2014

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issue 21

211-217

EN

The paper deals with the topic of an acheiropoietes (an image “not made by hands”) and, more broadly, with the motif of the so-called true or natural image. Such images were known to ancient Greek thinkers (Dionysius of Halicarnassus and Plotinus), but their importance grew significantly in the Christian theology of icons which treated Christ as the perfect image of His Father. In modern times true images mostly function in folklore and they are also referred to in modern art. From the perspective of the philosophy of representation, a true image is an interesting utopia of perfect mimesis – it comes into being in a natural, not artificial way, whereas a copy is regarded as equivalent to the original.

13

Ekopoetika i problem mimeze ( s osvrtom na poeziju Slađana Lipovca )

88%

Oblučar B.

Poznańskie Studia Slawistyczne

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2022

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issue 22

237-254

EN

The article discusses the topic of poetry, poetic language and mimesis in the context of ecocritical and ecopoetic approach to the study of literature. The first part presents and discusses significant theoretical and critical insights regarding the relationship between poetic language and the environment-from ecophenomenology to insights influenced bypoststructuralism. Based on these more general observations, the second part provides an interpretation of poetry by contemporary Croatian poet Slađan Lipovec, whose poetry features prominently the themes of the natural environment.

14

Les silences dans la dramaturgie giralducienne

88%

Bombard F.

Quêtes littéraires

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2017

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issue 7

123-131

EN

Technical and rhetorical devices used by Giraudoux to indicate silence varyduring its dramatic production. Silences have to do with relationships of the characters, both emotionally and dialogal, and are sometimes loaded the unspoken or unspeakable. By their relationship to the word and to the game, they are at the heart of a dramaturgy that oscillates between mimesis and rupture. And certain silences are like the limit assigned to the power of words in a theater yet claimed as literary.

15

Theatre as Contagion: Making Sense of Communication in Performative Arts

88%

Sugiera M.

Text Matters: A Journal of Literature, Theory and Culture

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2017

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issue 7

291-304

EN

Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of contagion are to be found in both the fictional world on the stage (at least since Sophocles’ Oedipus Rex) and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You (2010), in order to demonstrate new forms of performativity and (re)presentation.

16

Theatre as Contagion: Making Sense of Communication in Performative Arts

88%

Sugiera M.

Text Matters: A Journal of Literature, Theory and Culture

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2017

|

issue 7

291-304

EN

Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of contagion are to be found in both the fictional world on the stage (at least since Sophocles’ Oedipus Rex) and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You (2010), in order to demonstrate new forms of performativity and (re)presentation.

17

Human Drama in Aristotle’s Poetics

76%

Mazur P. S.

Roczniki Humanistyczne

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2020

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vol. 68

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issue 3

57-69

EN

The aim of this paper is to present drama as it figures in Aristotle’s Poetics as a human event. According to the author, reversing the mechanism of imitation (mimesis) used to create tragedy makes it possible to treat the Poetics as primarily a bearer of knowledge about actual persons. The feelings of pity and fear that should be aroused by tragedy reveal the essence of human drama per se. Such drama results from the fact that a person faces evil in the sense of a deficiency or lack of something affecting such aspects of their life as their integrity or self-perfection. It thus manifests our human proneness to mistakes, as well as susceptibility to existential injury, and in so doing emphasizes the impermanence of the human situation and existence itself.

PL

Ludzki dramat w Poetyce Arystotelesa Celem artykułu jest ukazanie dramatu jako wydarzenia ludzkiego w Poetyce Arystotelesa. Zdaniem autora, odwrócenie mechanizmu naśladownictwa (mimesis), używanego przez Arystotelesa do tworzenia tragedii, pozwala potraktować Poetykę przede wszystkim jako nośnik wiedzy o dramacie człowieka jako bohatera tragedii. Uczucia litości i trwogi, których powinna dostarczyć tragedia, ujawniają, co jest dramatem człowieka, a zarazem co sprawia, że człowiek może doświadczyć dramatu. Dramat ten wynika nie tylko z siły i nieuchronności zła, na które natrafia człowiek w swoim życiu, ale także jest następstwem jego niedoskonałości. Przejawia się ona w podatności człowieka na błąd, nietrwałości i niepewności jego sytuacji oraz podatności na egzystencjalne zranienie.

18

The Complicated History of Einfühlung

75%

Nowak M.

ARGUMENT: Biannual Philosophical Journal

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2011

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vol. 1

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issue 2

301-326

PL

Złożona historia Einfühlung. Artykuł dotyczy historii pojęcia Einfühlung. Przytacza teorie dotyczące wczucia w Naturę, dzieła sztuki czy uczucia i zachowania innego człowieka, autorstwa niemieckich filozofów drugiej połowy XIX wieku: Friedricha i Roberta Vischerów oraz Theodora Lippsa, a także zbliżoną i związaną z wczuciem teorię rozumienia (Verstehen) Wilhelma Diltheya i Friedricha Schleiermachera, do której Dilthey nawiązuje. Analizie ulega również pojęcie Einfühlung w rozumieniu Edyty Stein. Zarówno Einfühlung jak i Verstehen zostały skrytykowane jako nieobiektywne i naiwne metody polegające na identyfikacji z badanym obiektem lub na projekcji uczuć podmiotu na tenże obiekt. Artykuł przywołuje krytykę Georga Gadamera i Bertolda Brechta oraz proponuje sposoby przywrócenia wartości pojęciu Einfühlung po tej krytyce, m.in. przypominając teorię empatii Dominicka Lacapry, jeśli chodzi o jej zalety dla historii, czy mit o Narcyzie analizowany w duchu psychoanalizy przez Julię Kristevę. Artykuł proponuje przeformułowanie pojęcia mimesis (nieodłącznie związanego z Einfühlung), w rozumieniu Lipssa czy Vischera, rozumianego jako identyfikacja, analogia, naśladowanie uczuć. Mimesis nie musi oznaczać biernego powtórzenia i odtworzenia uczuć obiektu, lecz służy jedynie jako punkt wyjścia do zainteresowania się podmiotu światem zewnętrznym czy przeżyciami np. postaci historycznych. Potem nie dochodzi do identyfikacji ani projekcji uczuć, lecz do twórczego, aktywnego i krytycznego przeformułowania wiedzy. Okazuje się, że wczucie nie jest pasywnym, bezkrytycznym procesem, lecz że polega na krytycznym wyborze tego, w co podmiot chce się wczuć, na aktywnym podejściu do percypowanych uczuć i wyglądów. Oprócz poznania przedmiotu wczucie może również służyć analitycznej i wartościowej poznawczo introspekcji. Natomiast w poznaniu historycznym empatia pozwala na połączenie analizy faktów z indywidualną narracją i zrozumienie tożsamości jednostki.

19

Nové příběhy dobrého vojáka Švejka. Podrývání státu a kulturní blízkost v ukrajinsko-polském pohraničí

75%

Grygar J.

Sociologický časopis. Czech Sociological Review

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2013

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vol. 49

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issue 4

521-549

EN

This article sets out to study creative works of collective memory in contrast to state-backed representations of the past. It takes as examples for analysis the erection of statues of the title hero of Jaroslav Hašek’s novel The Good Soldier Svejk in the border region of western Ukraine. It looks at the political and social contexts of creative readings of this novel and how such readings interfered with the dominant state-backed representations of the past and upset historical interpretations that had become deeply anchored in the national discourse. The erection of these statues also had the effect of expanding room for the imagination and fostering discussion of local cross-border cooperation. Activities of this nature tend to dowplay rather than emphasise the state border that cuts through the Urkainian-Polish border region. Methodologically the article is based on an ethnographic study of the unveiling of Svejk statues in Skelivce, Uzhhorod (Ukraine) and Przemyśl (Poland). These new contextualisations of Svejk help to establish an alternative representation of the past and political geography of the borderland area and make Svejk into an object that emphasises the differences between the inhabitants of the Ukrianian-Polish borderland on the one hand and the inland populations of these two stages on the other.

20

Literární geografie: problém Máchových krajin

75%

Změlík R.

Historická geografie (Historical Geography)

|

2014

|

vol. 40

|

issue 2

205-233

EN

The article analyzes literary landscape in the work of Karel Hynek Mácha, specifically, it focuses on the way in which the landscape in the poem Máj and in the prose Cikáni has been interpreted through history. Using specific interpretative case studies, it illustrates the chronological change in the interpretation of Mácha’s landscape, which range from the first attempts to reconcile literary landscape with real topographies to the increasing independence of the literary representation. The author of the article interprets mimetic reading of Mácha’s landscapes as an expression of the contemporary effort to strengthen the consciousness of national self-identity based on a cultural continuity demarcated not only historically but also territorially.

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Literární geografie: problém Máchových krajin