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1

Textual Hybrids - on the Example of Andrzej Sapkowski's Cycle of the Wizard

100%
Roszczynialska M.
Przegląd Kulturoznawczy
|
2007
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vol. 1
|
issue 3
76-88
EN
According to psychological and social theories self-defining of both individual and communitarian identity is a comparison itself to the Other in terms of binaristic representation. In general sense the fantastic is a realm of otherness (the Aliens, non-human races, 'uncanny'). A shape of the Others is connected to the colonial practices: in the decolonisation wake it turned out that there are no indigenous people on the Earth. Due to this fact the fantastic finds its Others in the outer space, and then - according to globalization process - in the very close neighborhood. The process of transgression taking place during die conflicts causes the fact that in such circumstances the Others tend to percolate into 'our' realm and destroy actual social and cultural order. Figure of the Other is a vehicle of these transgression. The fantastic literature has always been interested in fictional representing of processes of transgression and hybridisation. Fantasy is a genre focused on the literary describing national and ethnic conflicts and, especially recently, their specular image which is multiculturalism. In Andrzej Sapkowski's 'Saga of the Wizard' all main issues of contemporary ethnic / racial discourse appear as racism, ethnonationalism, issues of individual and communitarian identity, processes of representation, racialisation and delegation of voice, problems of racial, ethnic end cultural hybridity and, last but not least, project of multiculturalism disseminated in the flame of political correctness. Contrary to what is thought when considering fantasy the operative category in literary analysis is neither fairy tale nor myth, but allegory (ethnos issue instead mythos ones). Among many aspects of hybridity in Sapkowski's work examined a figure of the shaman, which superseded the typical myth hero of fantasy (this process is a heritage of American contrculture in the 60s in fantasy).
2

THE BIRTH OF A DETECTIVE STORY FROM THE SPIRIT OF FANTASY

80%
Horvath T.
Slovenská literatúra (Slovak Literature)
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2006
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vol. 53
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issue 5
329-367
EN
The aim of the study is to make a research in genealogic and structural relationship between a genre of fantasy and a detective story. The relationship of both two genres was demonstrated through series of the interpretations of the particular texts not following strictly a historical line, but rather logic of the structural transformations. Following it a typological classification was made. The types of the texts mutually differentially defined through logical relationships: inclusive relationship between fantasy (also horror) and detective story, reversed inclusion of fantasy to a genre of a detective story, exclusion between a detective story and horror and relationship of the unique synthesis between a detective story and a fantasy. Excluding supernatural forces from the detective story operate in economy of a superior regime of the rules of fair play of a detective story (equalities of chances for a reader as well as a detective, providing by pure rationalistic solution). If there is a distributed supernatural explanation in the text, which in its exposition (and etiquette on the cover) activates the detective story reader's generic expectations, pre-programmed detective story reader classifies it as a cheat, as a breaking of a genre pact of a reader with the text. The different genres construct their specific fictional worlds with not breakable rules - breaking of them produces an overlap into a text of a different genre.
3

LISSARRAGUE A SCHNAPP, BAŽANT A FRONTISI-DUCROUX O POSUNE MEDZI ZOBRAZOVANÍM A VIDENÍM U STARÝCH GRÉKOV

80%
Karul R.
Filozofia (Philosophy)
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2019
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vol. 74
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issue 2
154 – 162
EN
On the basis of the Francophone research in the field of visual anthropology we will try to show in this text that there was a shift between how the Ancient Greeks saw reality and how they portrayed it. We will base this examination on the second kind of mimêsis presented in Plato's dialogue, Sophist, where representation deforms the real and we represent reality not as it is, but as we want to see it. Even scenes that have a supposed guarantee of realism, the scenes of everyday life, often represent our desires or fantasies more than the reality.
4

ALBUM FANTÁZIÍ S GUIDOM RENIM

80%
Novosad M.
ARS
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2022
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vol. 55
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issue 1
59 - 75
EN
The present study is a half-shortened version of the Album, perhaps sufficient to outline the problem and reasoning. It forms a chapter in the dissertation, the topic of which is German painting ’80 and ’90 years (predecessors, opposition, followers). Unfortunately, or fortunately, it was necessary for such an extensive treatment of the emergence of meaning from the movement of the view of the image, precisely in relation to the transgressive principles of networking images outside themselves. I noticed how the look and the story were connected. The movement of the eye along the image does not have to be in a single line, but can only subsequently form a single line with a jump; this leap sometimes becomes a topic in itself. The text aimed to present a foreword to today’s network paintings (originating from the Cologne area of the eighties and nineties), which also worked in large scale with the text, context and painting principles. It may be too distant a relationship at first glance, but on the contrary: thanks to Reni, a continuous line is being created to Titian and from Reni to Kandinsky. The predecessor and distant follower worked as I will show below with the movement of the eye around the image.
5

МИРЫ ПОСМЕРТИЯ В ПРОИЗВЕДЕНИЯХ СЛАВЯНСКИХ ПИСАТЕЛЕЙ XX – XXI ВВ.: НАЦИОНАЛЬНЫЙ И ОБЩЕЧЕЛОВЕЧЕСКИЙ АСПЕКТЫ

80%
Kovtun E. N.
Slavica Slovaca
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2023
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vol. 58
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issue 1
109-117
EN
In the article the literary works by Slavic writers (O. Tokarczuk, M. Kisiel, J. Grzędowicz, D. Kužel, D. Kovačević, etc.) are considered within the framework of a study based on the material of more than a hundred literary texts belonging to Russian, European and North American fantasy of the 20 – 21 centuries. The study is aimed at depicting the Universe of Afterlife (UA) as a special locus of the post-mortem existence of a human being (soul). It asserts the compliance of the analysed works with the "canon" of depicting the UA from the point of view of the problems, structure and functions of the investigated artistic image. Simultaneously, it specifies the peculiarity of theme interpretation by Slavic authors: the greater value of ethnic elements in the plot of works, the consideration of national historical and cultural contexts in creating individual author's models of the Universe of Afterlife.
6
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Chaos i ład — odwieczna wojna w światach fantasy

80%
Rudolf E. I.
Literatura i Kultura Popularna
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2010
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vol. 16
23-36
EN
Chaos as a religious, philosophical or mathematical concept, is very important in culture. Initially a part of myth, the notion of chaos was transformed throughout the ages by many legends and stories and thus its basic idea was differently interpreted. In simple terms, chaos designates a situation or condition whereby there is no order between elements and nothing works correctly. Fantasy literature makes use of chaos as struggle between antagonistic powers, between aspirations to establish harmony in the domains of the physical, the intellect and the spirit. The present article is concerned with the functioning of chaos as an element of the world represented in fantasy literature. Among other issues taken up here are: chaos and the problem of good and evil; personal chaos; chaos in the structures of the universe and of the world. As for the structure of text, the composition pattern of fantasy books – with its variants and invariants – is essential for the very functioning of the genre since what the reader recognizes and accepts is the structure itself.
7

OD LITERATÚRY K DIGITÁLNYM HRÁM, OD ČÍTANIA PRÍBEHOV K ICH HRANIU

70%
Boszorád M., Malíček J.
Slovenská literatúra (Slovak Literature)
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2020
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vol. 67
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issue 6
584 – 583
EN
The main ambition of the paper is a reflection on the relation between literature and digitality, or verification of the potential of research into literature seen in the context of the (post)digital civilizational and cultural situation, which decisively influences the way literature as such exists, or the way it circulates and resonates in culture. The subject of the interest is digitalized literature, i.e. converted into numbers, in a narrow or specific sense, new-medium literature. The authors use the example of Andrzej Sapkowsky´s fiction and its video game post-texts produced by the developer CD Projekt Red to find out what happens to literature converted into the form of a digital game. The leitmotif of the reflection is the binary opposition of the iconic (defining literature) and the operative (defining digital games) as well as the very literary scientific and fundamental issues such as the issue of a story and its relation to narration. In terms of the concept and the method, the key question is the question of the genre, i.e. fantasy, where the authors reflect on the specific form of digital literature from the perspective of pop culture, i.e. the optics which makes it possible to view the matters not through the prism of literary types but through the prism of genres.
8

ŠVANTNER, HOROR, FANTASTIKA: ŽÁNROVÉ PARAMETRE

70%
Horváth T.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 2
122 – 138
EN
The analysis of the texts in the study seeks to prove the hypothesis that most of František Švantner´s short stories from the collection Malka (1942) belong to the genre of fantasy as it is defined by Tzvetan Todorov: the endings of the most stories leave the reader oscillating between the natural and supernatural interpretations of the plot. The epistemological status of numerous events in the story is ambivalent. Švantner´s texts generate the fantasy effect by means of motif focalisation: each hypothetically supernatural motif is focalised through a literary character´s perspective. The suyzhet must be reconstructed by a model reader in the text – this suyzhet is set in the crossing point of the different characters´ (contradictory) dialogue perspectives. Another method of generating the fantasy effect is a blank space in the text, a missing story syntagm (a data concealing approach) and the inversion of time coordinates, when e.g. the emergence of a character who was already dead at that time (which the reader does not learn until the end) allows the „psychic“ interpretation, too. Emphasising the genre dimensions of Švantner´s texts may also fulfil an important role in the literary life when translating these texts into a foreign literature: hypothetically, they could be introduced into a new literary context as a sample of a particular genre rather than as a sample of Slovak literature.
9

OBRAZ MYTOLÓGIE V DIELE ROBERTA HOLDSTOCKA

61%
Pevčíková J.
Motus in verbo: časopis mladej vedeckej generácie
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2016
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vol. 5
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issue 2
27 – 34
EN
This paper analyses depiction of mythology in novel Mythago Wood written by British fantasy author Robert Holdstock. It points out the fact that author consciously worked with the theory of archetypes and myth structures elaborated by Carl Gustav Jung. Simultaneously, it takes into account cultural background of the story as well as it analyses symbols used in the novel. The paper also defines three levels of the story: familial, meta-mythological and metaphoric and examines use of archetypes and symbols on each of the levels. The results of this analysis are afterwards compared and analysed for similarities and differences, as well as for level of connection with non-fictional mythology of British cultural area. The paper also points out universality and great variability of use of archetypes and symbols in mythologies outside British Isles.
10
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Dlaczego tęsknimy do opowieści mitycznych? Literatura fantasy - próba określenia źródeł

61%
Walczak J.
Literatura i Kultura Popularna
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2010
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vol. 16
5-21
EN
Article is an attempt of answer for the question about reasons of today’s longing, in day of following scientific and technological revolutions, for mythical stories. As the author judges, Professor Tolkien is right when he stresses, that at least one kind of mythical stories – fairy tale – grants two or three important functions for its recipient. Firstly, it is about justice – evil is punished, good is indemnified. Secondly, it is about consolation (eucatastrophe) in the completion of story: that means that it is Good, not only in moral or ethical meaning, but also on physical plan. Thirdly, it is about order in the Universe; in the Universe there is somebody (or something), e.g. law, who takes care of harmonious (i.e. ethically and also morally regularized) course of all events. The return for such a vision of world exactly today can be strange, and cause impression of complete anachronism. However, it is about finding something that can be called – because of the lack of a better term – Harmonia Mundi. Our place in it is definited very well. Conviction that it is real was popular in our world more or less 1200–700 years ago. Clive Staples Lewis, who described it, called it Medieval Model. Such a model assigned all pople to the Universe order and it explained all other problems: scientific, theological, philosophical, and practically-vital. The article shows too, that this task in literature was realized by epos; nowadays its functions has been taken over by fantasy, but more widely – literature, which roots can be found in tradition of romance.
11
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INTERACTION OF CANONS: CONFLICT OR SYMBIOSIS? REREADING AND RELATIVITY OF TRADITIONS IN DAVID GEMMELL Ś “TROY SERIES” AND DAN SIMMONS Ś “HYPERION CANTOS”

61%
Nagy P. H., Keserű J.
World Literature Studies
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2015
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vol. 7 (24)
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issue 3
87 – 99
EN
The starting point of the study is the conflict between classical and alternative canon. Some prominent texts of speculative fiction can notably stage this conflict by confronting us with the experience that mainstream literature and popular registers are inseparable. The reading of these texts can prove that the aesthetical canon is not equivalent to cultural elitism. In contemporary literature, some works of speculative fiction – works of science fiction and fantasy in particular – support this idea. The study – by reading David Gemmell ś “Troy Series” and Dan Simmons ś “Hyperion Cantos” – exemplifies the fact that the principle of innovation does not necessarily destruct the existing canon but integrates itself into the canon while rearranging it. The works of Gemmell and Simmons employ such poetical and rhetorical techniques that are able to modify the system of expectation created by the evoke genres and also lead us to reconsider the classical literary canon. They both indicate that an artificially created cultural hierarchy can be set in motion by rereading works of popular literature.
12
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Nowe i stare mapy piekła w literaturze fantasy i science fiction

61%
Trocha B.
Literatura i Kultura Popularna
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2010
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vol. 16
53-69
EN
This article takes up an issue of Hell and its sources of attraction in popular literature. The article is divided into four parts. The first part is concerned with the Hell’s images which exist in various mythologies. The second part is dedicated to many examples of mythopoeic Hells in fantasy. The author is focused on Hell’s source, structure, form and its fictional schemata. What is more he characterizes the creatures who live in Spirit World. The maps of the hells in science fiction are another problem of this article. The author states that while the Hell in fantasy has mythic dimension, the Hell in science fiction is described as technological here and now. The last part considers unholy functions beyond the formal and content structure of the literary work. Moreover, the author attempts to consider these functions on anthropological horizon.
13

HVIEZDOVEDA A NÁRODNOOBRODENECKÝ IDEÁL

61%
Schmarcová Ľ.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
|
issue 4
395 – 407
EN
The article provides an interpretation of the educational publication Hviezdoveda, alebo Životopis Krutohlava, čo na Zemi, okolo Mesiaca a Slnka skúsil a čo o obežniciach, vlasaticiach, pôvode a konci sveta vedel [Star-science, or The biography of Headshaker: his travels on the Earth, around the Moon and the Sun, his knowledge of planets, comets, the beginning and the end of the world]. Gustáv Reuss (1818 – 1863) wrote the piece in 1856, but it was only published more than a century later, in 1984. The author drew on the tradition of tractates and educational and popularising texts of the Enlightenment phase of the Slovak National Awakening and attempted to present educational contents – information about the universe, especially the solar system – to the lay audience by means of an appealing narrative. The text is considered to be the first representative of the science fiction genre in Slovak literature, but fantasy elements do not form a coherent layer in it. In a sober Enlightenment spirit, Reuss accentuates rationalism (even scepticism) in his work. At the same time, he is ironic towards the fabricated national ideal of the engaged Romantic nationalists and the messianic conception of the Slavic predestination according to which all temporal and spatial obstacles can be overcome by all-embracing pan-spirituality. Owing to these elements, Reuss’s authorial strategy gains the air of Romantic irony.
14
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Czas i przestrzeń w cyklu powieściowym Joanne K. Rowling o Harrym Potterze

51%
Rogoż M.
Literatura i Kultura Popularna
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2010
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vol. 16
37-51
EN
Time and space constitute basic structural elements of the work of literature and define scope of its composition. In Joanne K. Rowling’s series they refer mainly to the fantasy genre which mostly demonstrates itself by duality of the presented world, in two types of time – cyclical and linear and in showing decisive moment for that world. Harry Potter story also follows the same patterns, so characteristic for Entwicklungsroman, school story or even RPG game. Time and space issue of the discussed work can be viewed in three aspects: narration, presented world and references. Characteristic feature presented here is enlivening of the space-time relations through usage of elliptical structures, frequent changes of perspective and sometimes also through simultaneity of the story. Time and space components in the presented world are subjects to multiple metamorphoses which refer to magic as specific, immanent dimension of reality; whereas vicissitude recalls classical space-time themes like road and labyrinth. Consonance with reality manifests itself both in the realistic „Anglo-Saxon” pattern of the „Potterverse” and in direct references – to Nicolas Flamel, alchemist from Pontoise for example. Time and space management constitutes one of the major elements of literary expression in this novel cycle, extremely popular around the world.
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