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Od strukturalismu k nové naratologii

100%
Sládek O.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2014
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vol. 17
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issue 1
279-285
EN
The present study briefly outlines the history of narratology from its beginnings in France in the 1960s to the present. It presents basic theoretical and methodological starting points used in a narratological research of narration, the most important theoretical concepts and directions and their representatives. It is divided into three parts, in which the author deals with three stages of development of this discipline in detail. The first stage represents the "classical narratology" substantially shaped by Structuralism. The second stage corresponds with the development of the "post-classical narratologies" (comparative, applied, ethnic narratologies). The third stage, the "new narratology", strives to return to the Structuralist beginnings of the field, though it focuses more closely on the study of context and analysis of the anthropological sources of narration.
2
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Karel Klostermann : dokumentarista Šumavy?

80%
Hořejší M.
Česká literatura (Czech Literature)
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2017
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vol. 65
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issue 4
565-589
EN
This study engages in a critique of the documentary validity of Karel Klostermann’s (1848–1923) “Bohemian Forest” work, particularly with regard to the dominant narrative on the destruction of the “original” Bohemian Forest as a result of the unprecedented windstorm of 1870, which is a prominent motif in contemporary discourse on the Bohemian Forest National Park. By excerpting all the descriptions of the natural environment in the novels Ze světa lesních samot (From the World of Forest Solitude, 1891), V ráji šumavském (The Bohemian Forest Paradise, 1893) and the accompanying Črt ze Šumavy (Bohemian Forest Sketch, 1890) I create maps which are then contrasted to each other. By comparing them with the “overall” (general) descriptions, i.e. those relating to each book’s entire setting, I came to detect some significant discrepancies. I consider one substantial finding to be that although on the basis of general descriptions, Klostermann stated that the “Bohemian Forest” indeed underwent fundamental disruption in autumn 1870, his local descriptions tend more to indicate that there was no significant change in the ratio of “original” and exploited land resulting from the windstorm, the bark beetle outbreak and subsequent woodcropping. Hence the narrative that is traditionally identified with Klostermann’s work primarily arises from an inconsistent interpretation of text associated with the writer’s specific role (which, it should be added, is also partially reflected by him) as a creator of the collective memory for the entire region.
3
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Konceptualizace kulturních a kreativních průmyslů a vývojová dynamika odborné terminologie

80%
Lehečková E.
Studie z aplikované lingvistiky - Studies in Applied Linguistics
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2013
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vol. 4
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issue 2
57-81
EN
The paper deals with the development of specialized terminology in the field of cultural and creative industries. The first part, based on the Theory of Language Management and Critical Discourse Analysis, surveys how speakers in the field reflect the terminology and problems imposed by its use. The analysis focuses on a particular controversy in the nature of cultural and creative industries and its implementation in the Czech Republic (Gajdoš, 2010; Cikánek, 2011; Gajdoš, 2011). The second part scrutinizes the key collocation term kulturní a kreativní průmysly and its terminological variants. It investigates how the lexical components of the terms are used in Czech, what their common collocations are and what connotations they induce. The study shows how these properties affect the overall process of terminologization.
4
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Ideology as Metaphor, Narrative, and Performance in the Writings of Václav Havel

80%
Danaher D. S.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 23
115-127
XX
From his pre-1989 essays to his post-1989 presidential speeches, V. Havel develops an account of ideology that avoids a standard dictionary definition (ideology as a system of political or economic beliefs) and relies almost exclusively on elaboration via metaphor, narrative, and performance. The import of Havel’s treatment of ideology has not been appreciated. Metaphors, stories, and performances are special forms of appeal that prompt us to rethink the meaning of a given domain. This paper explores how Havel exploits the creative potential of these forms of appeal in order to radically reconceptualize our understanding of ideology as a force in the modern world.
CS
Od esejů z období komunistického režimu až po prezidentské proslovy po roce 1989 rozvíjí Václav Havel určitou koncepci ideologie, která obchází standardní slovníkovou definici ideologie jakožto systém politických či ekonomických názorů a je skoro výlučně rozvíjena pomocí metafor, narativů a performance. Význam Havlova chápání ideologie doposud nebyl zhodnocen. Metafory, příběhy a představení jsou apelem sui generis, který nás nutí nově promyslet smysl určité domény. Článek zkoumá, jak Havel využívá tvůrčí potenciál těchto apelativních forem s cílem radikálně nově pochopit ideologii jakožto sílu moderním světě.
5
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Obraz Karla Klostermanna v české (literární) historiografii

80%
Hořejší M.
Slovo a smysl - Word & Sense
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2017
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vol. 14
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issue 27
60-74
EN
The article deals with the problem of representation of an author Karel Klostermann (1848–1923) and his novels in Czech literary-historical handbooks, editorial prefaces, and encyclopedias. The article exposes the way in which Czech literary historiography works with the myth of Karel Klostermann as a documentarist of the ‘old Bohemian Forest’ (Šumava in Czech). An analysis of the above three distinct text types reveals that Klostermannʼs central topic — an unprecedented windstorm that had terminated the ‘original Bohemian Forest’ — is mostly seen not as a motive but as the fact (as well as in the recent discourse on Bohemian Forest National Park). However, the concepts of ‘monumental and naturally stable forest’ or ‘sudden epochal break’ were paradoxically known only from the novels of Karel Klostermann, who worked with them inconsistently. The article shows that Czech literary historiography does not deal with Klostermann’s fiction critically but rather replicates common stereotypes and dominant narrative about the past of the Bohemian Forest.
6
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Vortage passieren lassen: Skizzen zu Transfers zwischen Ort und Zeitbezug in Uwe Johnsons Jahrestagen in Hinsicht auf Prag

51%
Plath N.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 24
171-195
EN
The paper concentrates on selected passages from Uwe Johnsonʼs opus magnum, Jahrestage (Anniversaries), in which the Prague Spring and the events of 1968 play a key role, and develops some ideas on how narrations of history and critique of language can jointly (as a translation of sorts) be understood as a critical approach to what is taken to be the present and the reality of the past. It is argued that Hannah Arendtʼs notion of the unpredictability of the future and of the event variously influenced the modalities of narration as employed by Johnson. The central issue of Jacques Derridaʼs Prague lecture on how a city determines ‘our’ modes of (self-)preception and how a location can be grasped and ‘dated’ in writing is put to use in order to develop a singular perspective on some neglected aspects in Johnsonʼs work. Johnson’s novel and its commentaries nils plath 179 form a diverse reflection on time, reality, and the media which can affirm its contemporaneity when understood as exemplary in contesting, by the voice of literature, the functionalization of history and its narrative.
CS
Článek probírá vybrané pasáže z hlavního díla Uweho Johnsona Jahrestage, v němž významnou roli hrají události „pražského jara“ v roce 1968, a zamýšlí se nad možností chápat historická vyprávění a kritiku jazyka společně (v překladu sui generis) jako kritický vztah k takzvané současnosti a k realitě minulosti. Článek ukazuje, jak jsou způsoby vyprávění, jichž Johnson využívá, ovlivněny pojetím nepředvídatelné budoucnosti a události u H. Arendtové. Klíčové téma pražské přednášky Jacquesa Derridy — jak město determinuje „naše“ vnímání a sebevědomí a jak lze při psaní uchopit a „časovat“ lokalitu — tu je využito k získání přístupu k některým opomíjeným aspektům Johnsonova díla. Johnsonů román a komentáře k němu podávají vnitřně rozmanitou reflexi o čase, skutečnosti a médiích, reflexi, která osvědčí svou současnou platnost, pokud ji vnímáme jako exemplární, hlasem literatury přednesené zpochybnění funkčního přístupu k dějinám a vyprávění o nich.
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