Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  pražský strukturalismus
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Přicházeli vhod i nevhod: Vančura a Mukařovský, Vančura a Peroutka

100%
Holý J.
Česká literatura (Czech Literature)
|
2021
|
vol. 69
|
issue 5
622-634
EN
This article deals with the aesthetic views that Vladislav Vančura formulated in the late 1920s and early 1930s. Vančura sympathetically followed the emergence of Prague structuralism and its concepts. The dominant role of the aesthetic function in art met his requirement for “poeticity”, while in Vančura’s works the structuralists found suitable material to support their concepts. Jan Mukařovský wrote about Vančura in a positive light not only in the 1930s and 1940s, but also later on, when Vančura’s works found themselves in potential conflict with the demands of “realism” and “the people”. An example of the reverse case, i.e. a fundamental misunderstanding based on different ideas about literature, can be found in the criticism of Vančura’s novel The Last Judgement by Ferdinand Peroutka.
2
Content available remote

Mimetické a nemimetické aspekty divadelního prostoru: Několik myšlenek o "Pohybu divadelního znaku“ Jindřicha Honzla

80%
Rokem F.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2016
|
vol. 19
|
issue 1
54-64
EN
Jindřich Honzl’s seminal essay on the “Dynamics of the Sign in the Theater” from 1940 serves as the point of departure for discussing the borderline between the building (or site) where the performance event takes place and its mimetic dimensions, through which the scenography or scenery as well as the acting and all the other elements of a particular production create a specific fictional world, determined by plot, characters and circumstances. The basic issue I raise here is how and to what extent the semiotic coding of the stage and the auditorium, including its two– and three-dimensional semiotic modelling systems, which initially may seem to be a neutral, non-mimetic feature of such an event are profoundly connected to the fictional, mimetic aspects of a theatrical event, even determining what kind of action and characters can appear in such a space.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.