This article examines parody in medieval literature and in folk literature and culture up to the 19th century. It analyses sacred parody (Bible parody), its significant aspects and role in literature and culture. The study focuses primarily on Cena Cypriani and Mesiáš přišel na svět pravdivý [The True Messiah Has Come into the World]. The Cena Cypriani is an anonymous prose work written in Latin. The text was probably written around 400 and tells the story of a banquet held at Cana in Galilee, where a king invites many biblical figures to attend a wedding. The song Mesiáš přišel na svět pravdivý is written in Czech, comes from the 18th century and narrates the story of a wedding feast at Cana. This article examines the origin of the song Mesiáš přišel na svět pravdivý and its dissemination throughout central Europe (in Slavic literatures, primarily in Polish).
In Kieszonkowy atlas kobiet (2008), the first novel by Sylwia Chutnik (born in 1979), all protagonists bear traits of uncanniness. Her female characters reside between life and death, real life and nightmare, day and night, the acceptable and the (socially) forbidden. They are also bordering on madness. These motives, however, are presented by the author as comic, and what is more, in a manner resembling the game of cognitive perspectives in Romantic literature. Like a Romantic ballad-writer, the author’s narrator either enters the imaginary world vouching for its reality, or she undermines it, discreetly suggesting the fictional and literary nature of a story. The Romantic aesthetics has not, however, been revised by Chutnik, but used similarly to Umberto Eco’s notion of intertextual irony. Chutnik emphasizes her distance toward employed conventions (if only because of their historic character). As a result, she creates an ironic variation of the identity novel, which proves only partial identification of Chutnik’s writings with the prevailing narrative models. However indispensable these models are, their validity is totally arguable.
FR
Dans Kieszkonkowy atlas kobiet (2008), premier roman de Sylwia Chutnik (née en 1979), toutes les héroïnes les plus importantes portent les marques de l’insolite. Elles figurent comme des personnages se trouvant à la charnière de la vie et de la mort, de l’état de veille et du rêve-cauchemar, du jour et de la nuit, de l’admissible et de l’interdit (au niveau social). Elles frôlent également la folie. Cependant, l’écrivaine donne à ces motifs un caractère comique, et elle le fait de la façon qui évoque le jeu des perspectives cognitives dans la littérature romantique. À l’instar des auteurs romantiques de ballades, le narrateur tantôt pénètre dans l’univers représenté et affirme son caractère réel, tantôt il le met en question tout en soulignant d’une façon discrète le caractère fictif et littéraire du récit. Toutefois, l’esthétique romantique n’a pas été actualisée par Chutnik, mais elle a été réalisée d’une manière qui correspond à la notion de l’ironie intertextuelle introduite par Umberto Eco. Or, l’auteure marque la distance par rapport aux conventions rapportées (que ce soit à cause de leur caractère historique). En effet, l’écrivaine construit une variante ironique du récit identitaire témoignant d’une identification incomplète de la production littéraire de Chutnik aux narrations prédominantes ; même si l’on ne peut pas se passer de ces narrations-ci, leur validité est fort discutable.
This article deals with the question of the “nationalization” of the detective genre, which can be seen with increasing frequency in Czech literary culture from the last third of the 1920s, both in literary journalism and in the actual works. In this context, the prose works featuring the detective Estevan Rex, written by Ladislav and Vladimír Tůma, are a remarkable example of the trend towards domestication of the genre. In the present essay we focus in particular on the unusually broad genre field in which the individual texts are situated and the attempt, unusual at that time, to create a shared fictional world in which they take place.
The aim of this article is to analyse the employment and transgression of generic norms in the contemporary French novel on the basis of the fiction of Jean Echenoz, a major figure in modern French literature. A story of unfulfilled love and unsuccessful plot, L’Équipée malaise is first of all an unconventional text which rejects conventions and subverts the habitual mode of reading. In his re-writing of the adventure novel Echenoz does not naively imitate the generic conventions or write a simple parody. Only occasionally employing its staple motifs and characteristic scenes, he creates an unusual novel, which is simultaneously an inverted reflection of the genre and a transgression of its boundaries. By juxtaposing a stereotypical story with nomadic narration based on digressions, repetitions and numerous plot twists, he turns the novel of adventure into “the adventure of writing” which offers the reader an intellectual journey into the world of fiction, whose norms have been subverted.
PL
Celem niniejszego artykułu jest analiza wykorzystywania reguł gatunkowych i ich transgresji we współczesnej prozie francuskiej, na przykładzie powieści czołowego jej przedstawiciela jakim jest Jean Echenoz. Historia niespełnionej miłości i nieudanego spisku, L’Équipée malaise to przede wszystkim niekonwencjonalny tekst, który odrzuca schematy i burzy utarte czytelnicze nawyki. Nawiązując do kanonów powieści przygodowej, Echenoz nie kopiuje w naiwny sposób konwencji gatunkowych ani też nie dokonuje ewidentnej parodii. Poprzestając na sporadycznym zapożyczeniu utartych wątków i charakterystycznych scen, tworzy nietypową powieść, która jest jednocześnie negatywnym odbiciem gatunku i przekraczaniem jego granic. Zestawienie stereotypowej opowieści z nomadyczną narracją opartą na dygresyjności, powtórzeniach i licznych zwrotach akcji przekształca powieść przygodową w „przygodę pisania”, oferując czytelnikowi intelektualną wycieczkę w świat fikcji, której zasady zostały podważone.
FR
Le présent article se pose pour but d’analyser la transgression des rčgles génériques dans le roman L’Équipée malaise de Jean Echenoz. Histoire d’un amour déçu et d’un projet échoué, L’Équipée malaise c’est surtout un texte déconcertant qui réfute les schémas conventionnels et les habitudes de lecture. Sans imiter de maničre naďve les principes du genre évoqué, Echenoz ne procčde non plus ŕ une parodie évidente. En empruntant au roman d’aventures quelques trames d’ensemble ou des scčnes conventionnelles, il construit un roman tout ŕ fait original qui est ŕ la fois un reflet négatif du genre évoqué et sa transgression męme. La confrontation entre un récit fictionnel stéréotypé et une narration déréglée transforme un roman d’aventures en une aventure du roman, offrant au lecteur tout le plaisir intellectuel de lire une fiction subvertie.
The myth of the vampire inspired many literary and audio-visual creations. Some of them tried to seduce a young audience. This is the case of the Twilight saga films (adaptation of the Stephenie Meyer novels), that the four Spanish comics of the cycle Crepúsculon want to parody. We will study Crepúsculon adopting an exclusively linguistic approach and more precisely, in this article, an onomastic approach, through rhetorical tropes.
FR
Le mythe du vampire a inspiré de nombreuses créations littéraires et audio-visuelles qui ont, pour certaines, cherché à atteindre un public adolescent. C’est le cas de la saga cinématographique Twilight (adaptation des romans de Stephenie Meyer) que les quatre BD espagnoles du cycle Crepúsculon s’emploient à parodier. Nous aborderons Crepúsculon en adoptant une approche exclusivement linguistique, et, en particulier, dans le cadre de cet article, onomastique, par le biais des tropes rhétoriques.
The article revises the view that the concept of “carnival” (one of the main contributions of M. M. Bakhtin in humanities worldwide) can have a single ontological nature (either negative or positive). It argues for the necessity to differentiate within this “unofficial” area of culture — based on Russian material. Holy foolishness and buffoonery are kinds of ontological extremes of “serious-laughing” space of carnival. On the surface they are similar — as a parody of dominating world order norms. However, their “deviance” has different vectors in Russian tradition. While buffoonery in one way or another gravitates towards the area of “sin”, holy foolishness in Russian culture is related by those who represent it to the area of «holiness» one way or the other. In other words, while buffoonery indicates “unlawfulness” violating the “norms” of a generally accepted Law (even though this “violation” is always performed within certain boundaries, which are defined by Law itself), holy foolishness is a “supra lawful” cultural factor and gravitates towards another axiological extreme: Grace. In Russian literature, one should differentiate between the gravitation of authors towards either holy foolishness, or buffoonery, and in some cases one can talk about the contamination of holy foolishness and buffoonery.
This study offers a selective overview of the most important methodological approaches and theoretical concepts relevant to the study of musical meaning which have emerged in the Anglo-American musicological tradition since the 1990s. It takes as its starting point the work of Lawrence Kramer, which represents the conceptual underpinnings of New Musicology, and continues with Michael Klein’s study of musical intertextuality, which helps to further illustrate the implications of post-modern philosophy for the hermeneutical interpretation of music. A significant portion of the text is dedicated to Robert Hatten’s work on markedness, correlation, gestures, topics, and tropes. The discussion of the topic theory also covers the contributions made by Raymond Monelle, Danuta Mirka, and others. The overview continues with Esti Sheinberg’s theory of musical incongruities and her typology of modes of semantic ambiguity, including irony, satire, parody, and the grotesque. To complement the traditional text-based approach to musical meaning, this overview also considers meanings communicated through the movements of the human body, referencing Nicholas Cook’s thoughts on embodied cognition and Robert Hatten’s approach to interpreting musical gestures encoded in a musical text. Attention is also paid to the line of thinking leading from Edward T. Cone’s ideas on the presence of different voices and personae in seemingly singular musical works, through Fred Maus’s conception of music in terms of dramatic interaction of musical agents, to Hatten’s theory of virtual agency. This is followed by the summary of Byron Almén’s theory of musical narrative, i.e. the capacity of music to articulate a trajectory leading from one state to another, propelled by the dynamic forces of conflict and resolution. Subsequent chapters discuss the relevance of recent approaches to the study of musical form (William Caplin, James Hepokoski, Warren Darcy) and the possibilities/limits of musical narrative in music since 1900, in which the conventional principles of syntax (tonality, form, motivic/thematic structure) are often questioned. In the closing section, the author returns to Kramer’s ideas, takes a stance with regard to the opposition of semiotic and hermeneutic approaches, and discusses ethical issues associated with the act of interpretation (and misinterpretation).
CS
Tato studie nabízí přehled nejvýznamnějších metodologických přístupů a teoretických konceptů vztahujících se ke studiu hudební významovosti, které se objevily v anglo-americké muzikologické tradici od devadesátých let minulého století. Výchozím bodem je dílo Lawrence Kramera, které reprezentuje ideová východiska tzv. Nové muzikologie, a pokračuje studií Michaela Kleina o hudební intertextualitě, která osvětluje některé další implikace postmoderního myšlení pro hermeneutickou interpretaci hudby. Podstatná část stati je věnována dílu Roberta Hattena, tedy konceptům jako příznakovost (markedness), korelace (correlation), hudební topoi (topics) a tropy (tropes). V diskusi o teorii hudebních topoi je rovněž zohledněn přínos autorů jako Raymond Monelle, Danuta Mirka aj. Navazuje výklad o modech významové nejednoznačnosti (semantic ambiguity), tedy o hudební manifestaci principů ironie, satiry, parodie a grotesky, jak je popisuje Esti Sheinberg. Kromě významů obsažených v (hudebním) textu je pozornost věnována též významům komunikovaným skrze pohyby lidského těla. Obecnou charakteristiku pojmu „vtělené kognice“ (embodied cognition) nabízí Nicholas Cook; možnosti studia významu expresivních gest zakódovaných v hudebním textu systematicky demonstruje Hatten. Opomenuta není též pozoruhodná myšlenková linie vedoucí od úvah o přítomnosti různých hlasů či „person“ v hudbě (Edward T. Cone) přes pojetí hudby jako dramatické interakce různých hudebních agentů (Fred Maus) po Hattenovu sofistikovanou teorii virtuální agence (virtual agency). Následuje kapitola představující teorii hudební narativity (Byron Almén), tj. schopnost hudby vyjádřit dějovou trajektorii směřující z počátečního do koncového stavu na základě dynamiky konfliktu a rozuzlení. V této souvislosti je diskutována relevance novodobých přístupů ke studiu hudební formy (William Caplin, James Hepokoski a Warren Darcy) a otázka možností a limitů hudební narativity v hudbě po roce 1900, v níž jsou často zpochybňovány konvenční syntaktické principy (tonalita, forma, motivicko-tematická práce apod.). V závěru se autor vrací k tezím Lawrence Kramera, zaujímá vlastní stanovisko k opozici sémiotických a hermeneutických přístupů a akcentuje etické problémy související s aktem interpretace (a desinterpretace).
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