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1

Z AKTUÁLNYCH ŠTYLISTICKÝCH OTÁZOK ŽURNALISTICKEJ ŽÁNROLÓGIE (NAJMÄ NA POZADÍ KNIHY I. JENČU ÚVOD DO TEÓRIE ŽÁNROV)

100%
Mlacek J.
Slovenská reč (Slovak Language)
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2016
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vol. 81
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issue 1-2
39 – 54
EN
The base of author’s contemplation is Jenča’s publication titled „Úvod do teórie žánrov – The Introduction into the Theory of Genres“ which consists of the analysis of several Slovak stylistic conceptions. The goal of this paper is a revaluation of Jenča’s approach compared to other existing stylistic theories (the older or current ones). The author follows Jenča’s interpretation, stresses and modifies it for purpose of a complex journalistic genre theory.
2

TO THE BEGINNINGS OF MARGITA FIGULI'S PROSE WORK 'PIESEN OTROKOV' (THE SONG OF SLAVES)

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Sutovec M.
Slovenská literatúra (Slovak Literature)
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2007
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vol. 54
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issue 3
179-195
EN
The article analyses and interprets the first published piece of literary prose by the Slovak author Margita Figuli. Its aim is to investigate and determine the prose's genre, thematic and semantic structure, as well as to establish its aesthetic and historical value. The methods and procedures used in the study derive primarily from the methodological tradition of Slovak and Czech structuralism. They represent a further development of those semiotic research principles and methods, which the author defined on a theoretical level and put to practice in his books 'Romany a myty' (The Novels and myths) (1982) and 'O epickom diele' ( On epics) (1999). The plot of the novelette 'Piesen otrokov' ( The song of slaves) (1930) is rooted in the popular literary tradition of adventure calendar fables, which were based on the genre of the historical legend. Into a neo-romantic interpretation of the story of family revenge, which is modulated as 'high' on the level of language and style, the author inserts social motives in a naive manner. The resulting text and its semantic ambiguity are therefore the result of an artificial contamination of several different paradigmatic sources: 'low' genre base, 'high' verbal presentation, and a naive interpretation of fragments of utopian social beliefs and ideologies of the time. The analysis of the novelette's characters, topos and several key points of the plot shows a number of semantic contradictions as well as incoherencies in the plot and composition. These are partly attributable to a writer still learning her craft, but also point to some longer term characteristics of Figuli's writing, which can be detected also in the literary prose of her mature and classical periods. The study of 'Piesen otrokov' demonstrates how from the very start of Figuli's career her writing contained assumptions about the elementary and leading role of genetic determination and implications that her characters' actions were 'naturally' predestined in certain different ways, so that different ideologies (ethical, social, religious) gain precedence over those features of the plot which might be generated by substance, characters and surroundings.
3
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Žánr a ideologie Rudoarmějců Vladimíra Holana

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Steiner P.
Česká literatura (Czech Literature)
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2007
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vol. 55
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issue 3
343-364
EN
In Holan's post-War poetic output, the cycle 'The Red Army Men' (1947) enjoys high critical acclaim while the trio of his other works 'Thanks to the Soviet Union', ' A Memorial Service', and 'To You' is regarded as a crude exercise in propaganda. The main reason for this evaluative difference, my paper argues, is that the genre of the cycle enables the author to disseminate an ideological message similar to that of the unappreciated trio in a more subtle, less ostentatious manner. The first part of the essay analyzes the various techniques of portraiture employed by Holan to represent ordinary Russian soldiers (prosopopeia and ethopoeia). In the second part the ideological potential of the genre is discussed. Since portrait by definition must depict an actual human subject, the very selection of the model and his/her features embroils such a work in a social reality and reflects the author's attitude toward it. This worldview, however, is not added to the text mechanically, from without, but comprises an integral part of the very mimetic apparatus that generates its overall meaning.
4

LITERÁRNA VEDA A ZÁKONITOSTI

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Horváth T.
Slovenská literatúra (Slovak Literature)
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2018
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vol. 65
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issue 6
419 – 446
EN
Over the years of its troubled evolution literature has shown a high degree of repetition: individual literary texts have mutually identical as well as different properties. What dominates in literary science is the structural, systematic and typological process of establishing patterns of regularity in form i.e. structural types, and the result of the process is literary forms, genres, movements and types of narrative structures, types of composition, chronotopes etc. Jakobson´s structuralism with its universal ambition establishes isomorphic phenomena typical of literature as a whole – it aspires to define literariness and poetic function through the model of its mechanism. In the course of its history literary science has attempted at formulating diachronic patterns. E.g. within Darwin´s theory of evolution Ferdinand Brunetière attempted to disclose the „laws and conditions controlling genre evolution“. The Darwinesque pattern is also used by Franco Moretti in the process of establishing patterns of competition of literary genres trying to acquire their share in the book market. What was formulated by Russian formalists as a pattern of literary evolution is the principle of tension between automatization and de-automatization of literary techniques. Then, there is Jakobson´s productive conception of invariants as a constant scheme in relation to fluctuations, variants. It focuses on investigating the different within the same (different variants in various literary works by the same writer) and the same within the different (invariants in different literary works by the same writer or different writers of the same literary movement). We analyse the methods of establishing patterns of repetition and schemes in selected literary scientific works: for instance in that by Northrop Frye the subject was repetition on the highest level – the whole literature seen as a specific system – to repetitions on lower levels of subsystems, where texts are grouped into particular classes, e.g. genres.
5

SOME WEIRD EVENTS HAVE BEEN TOLD IN THE BAKER STREET - THE 1ST PART (Niekolko cudnych udalosti vyrozpravanych na Baker Street - 1. cast)

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Horvath T.
Slovenská literatúra (Slovak Literature)
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2009
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vol. 56
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issue 1
28-56
EN
The study analyses composition, motifs and stylistic structure of Doyle's Holmes detective stories. The author tries to determine their value in the context of their development within transformations of the detective genre. He studies the Doyle's texts in regard with the Victorian cultural code and parallel literary worldview movements. For the most important category of the construction of Holmes' rebuses he determines a category of weird and bizarre, sometimes even grotesque. The evil plan or breaking an order (natural or social) comes forth onto phenomenal level in the form of series of weird and absurd events appearing the way to a person, who is trapped in 'hands' of criminals. If the intellect embodied in the person of a genial detective reveals the right motivation, the odour of strange disappears: detective's achievement (searching and resolving) brings back the rational order to absurdly looked world. Only minority of later texts fulfil the rules of the 'standard' type of a classical detective prose. Progressing schematisation of the genre eliminated the most characteristic part of Doyle's heritage: category of strange which is finally suppressed by operation of shifting and reduction: in the further development of the genre which is applied to motif of murder (it makes murder more peculiar and masks it). It is not applied the general motif of rebus as it was in case of Doyle.
6

THE BIRTH OF A DETECTIVE STORY FROM THE SPIRIT OF FANTASY

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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.
7

THE DYNAMICS OF GENRE IN VASILY ROZANOV'S WORKS [Dynamika zanru v tvorbe Vasilije Rozanova]

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Nykl H.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 1
54-62
EN
In his works 'Solitaria', 'Fallen Leaves' and 'The Apocalypse of our times', Russian thinker and publicist Vasily Rozanov created a remarkable type of text which, for its radically innovative nature, was marked as a new genre by V. Shklovsky. The study deals with the evolution of this 'genre' in Rozanov's works and identifies its three phases. In his early works ( ponimanii, Dostoevsky and the Legend of the Grand Inquisitor), Rozanov was trying to write classical discursive texts. At the turn of the 19th century, he started editing dictionaries (Sumerki prosveshchenia, semeinyi vopros v Rosii, Metafizika khristianstva and others) which attain characteristics of a specific genre. From this perspective, the genre of 'Solitaria' represents the culminating phase of the evolution of this literary form. The dynamics of the genre of 'Solitaria' is not exhausted; the study summarizes the results of the leading researchers in this field, from which follows that other changes occurred in the genre itself. The poetics of Rozanov's works grew by its own dynamics to the personalisation of the synthetic efforts of the Russian post-symbolism.
8
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PROMĚNY ŽÁNROVÝCH DISKURZŮ: INTERTEXTOVÉ FILMY, REMAKY A POKRAČOVÁNÍ. ITALSKÝ FILMOVÝ PRŮMYSL A POPULÁRNÍ ŽÁNRY OD 90. LET PO 10. LÉTA NOVÉHO MILÉNIA

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Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 1
53 – 65
EN
This study examines transformations of genre discourses in relation to the sociocultural background and film industry in period from 1990 to 2012. The main intention of essay is reasoning and explanation of factors that co-formulate criteria, system and various strategic operations in Italian film industry in the context of popular film genres after a long period of great popularity of popular Italian genres regarding audience and various foreign distributions in the 50's – 80's. The important method of contemporary Italian popular cinema in the framework of dialogue with film audience and also new concepts of popular spectacle is return to some tested forms of genres from previous periods of Italian cinema. The author ś analysis is based on the academic resources of Italian film historian and theorist Gian Piero Brunetta, who examines Italian cinema as a complex of interdisciplinary system.
9

ÉDOUARD MANET A JEHO OLYMPIA

100%
Michalovič P.
ARS
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2023
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vol. 56
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issue 1
22-31
EN
The paper entitled Édouard Manet and his Olympia attempts to justify why this painting can be considered one of the founding paintings of modernism in painting. On the one hand, Manet adheres to some of the basic conventions applicable to the genre of the “nude,” as evidenced by the inter-iconic reference to Titian’s painting Venus of Urbino. On the other hand, he partly departs from these conventions and partly enters into open conflict. The image of Olympia does not represent a divine, ideal beauty but a woman’s body, even the body of a prostitute. Manet attempts to represent with the painting what is symptomatic of the present and what is indexical of this present. The painting of Olympia has sparked controversy, sparked by its subject matter and artistic articulation. The paper attempts to interpret this controversy’s thematic and formal causes.
10

MARIAN MOTIFS IN TRADITIONAL GENRES: LEGEND SONGS AND PAINTINGS ON GLASS (Marianske motivy v tradicnych zanroch: Legendicke piesne a malba na skle)

100%
Urbancova H.
Slovenský národopis (Slovak Ethnology)
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2008
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vol. 56
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issue 4
399-418
EN
The Marian motifs in legend songs and in paintings on glass result from the complex relations established by the model, actual style context, subjective experience and expressive means of the medium. They are associated with the active reception of the Marian cult in a traditional environment as well as with the reflection of biblical and apocryphal themes. They are integral part of narratives (legends-tales) and are also formed into iconographic types (pictorial representations). Besides a narrow circle of parallel themes and pictorial types they are only complementary in both genres (media); complementation is also the way how to render them. They are components of folk belief as the two modes of formulating religious images.
11

SOME WEIRD EVENTS HAVE BEEN TOLD IN THE BAKER STREET - THE 2ND PART (Niekolko cudnych udalosti vyrozpravanych na Baker Street - 2. cast)

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
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2009
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vol. 56
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issue 2
98-124
EN
The author goes on with analysis of composition, motifs and stylistic structure of Doyle´s Holmes detective stories (see the first part of it in Slovak Literature, 2009, vol.: 56, number: 1, pages: 28 - 56).
12

THE CRIMINAL GENEALOGY OF A DETECTIVE STORY (Pitaval. Vidocq. Literature on Crime. Aesthetics and London Murders in Fog)

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
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2005
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vol. 52
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issue 6
377-393
EN
In the study we are constructing one branch of genealogical root in the development of detective genre - narration on criminal cases (Vidocq, De Quincey, Newgate Calendar) and famous trials (Pitaval). Pitaval is not only a collection of 'causes célébre' like it is in old literature about crime but the main topic is investigation and conviction of a criminal and finding him guilty by means of proves - at this stage legal knowledge takes effect. By means of Pitaval the connection of criminal topic and rational reflection applied by investigation of crime and proving guilty begins in literary discourse. In Pitaval's work particularly Enlightenment type of rationality connected with the conception of naturalness is concerned. The means of rational reflection allow come to conclusion about what natural acting is like. It is with respect to circumstances and this naturalness is a part of a rational argument. The naturalness and rational argument together produce truth. The voice of truth speaks first of all through the contradictions in the suspects' utterances (through their offends against the rules of reason) and not according to an eyewitness account. Here we read the initiative of the Enlightenment discredit of prejudice (Gadamer). This discourse transformation has been a necessary but not a sufficient condition of establishing the detective genre. Pitaval differentiates from a detective story by its linear composition although in Pitaval we can sometimes also come across the tendency to linear-reversible (detective) composition.
13
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Uwagi o tłumaczeniu dokumentów

100%
Dambska-Prokop U.
Studia Iberystyczne
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2009
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vol. 8
343-354
EN
This paper examines the Conditions of Use of the British Library Reading Rooms and their translations into Polish by the students of the Jagiellonian University doctoral studies. It stresses out the specific characteristics of the text and the difficulties met by translators, resulting from differences of cultural and stylistic approach in English and in Polish.
14
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THE SECRET BY YURI ANDRUKHOVYCH: AN AUTOBIOGRAPHICAL NOVEL IN THE FORM OF AN INTERVIEW

100%
Dzyk R., Shutiak L.
World Literature Studies
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2023
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vol. 15
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issue 4
110 – 120
EN
This article examines the novel Taiemnytsia. Zamist’ romanu (The Secret. Instead of a novel, 2007) by Yuri Andrukhovych, one of the most famous contemporary Ukrainian writers. It analyses the expressive autobiographical nature of the author’s entire work, particularly in the context of his previous novels, which positions Taiemnytsia as the final stage in a progressive movement toward the genre of the autobiographical novel. It also examines the central issue of this genre – combining truth and invention, reality and fiction – to establish that combining both elements results in the emergence of a new genre, straddling the boundary between autobiography and novel by using the form of an interview.
15

Co to jest soliloquim? W kręgu refleksji teoretycznoliterackiej

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Kulczycka D.
Białostockie Studia Literaturoznawcze
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2013
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vol. 4
171- 186
EN
The author of the article posits a quite frequent misunderstanding of literary experts and theatrologists on understanding soliloquy result from, for example, their not noticing two basic currents, along which the form has developed. She underscores various understandings of soliloquy, its various classifications, for instance, according to genology; she attempts to systematize the knowledge thereof. She verifies erroneous, mutually contracting judgments of some researchers on soliloquy and, in a way, redefines it.
16
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Konstitutivní hodnoty polského lidového snáře

100%
Niebrzegowska-Bartminska S.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
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2010
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vol. 71
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issue 4
310-316
EN
The major function of the dream book as a genre is the evaluation of entities as ‘good' or ‘bad', which is also the basis for the interpretation of dream images. Therefore, on the basis of dream books, it is possible to reconstruct the values of folk culture. The relevant texts are of the following type: eggs mean gossip, lice mean money, a ring - a wedding, in which the first element is a dream image and the second is its explanation. The two elements together constitute the frame of the genre ‘If one dreams of X, in reality Y will happen'. Values are connected with explanations (Y), but evaluation in the dream book is also found in the images themselves. Generally speaking, what is young, light, clear, complete, healthy is explained as signifying life, health, youth, wealth, good harvest, harmony or happiness. On the other hand, what is dead, old, dark, dirty, incomplete, ill is explained as something bad, in particular death, illness, old age, poverty, bad harvest, quarrel, unhappiness or sorrow. The most important values for the folk dream interpreter are practical ones, connected with basic human needs, therefore the center of the folk world is life and its protection.
17

POSLEDNÝ SOVIETSKY EASTERN

100%
Ciel M.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 6
504 – 507
EN
Alexander Proškin along with the screenwriter Edgar Dubrovský changed the Soviet eastern paradigm in 1987. All the previous ones had been set in the times of the Civil War or immediately afterwards. “The Cold Summer of 1953”, as it stands out from the title, does not. Always, the eastern had been set in the wildest period of the Soviet history and the intense heroism of that period in order to create an attractive dramatic situation (Biele slnko púšte /The White Sun of the Desert/, Nikto nechcel umierať /Nobody Wanted to Die/, Transsibírsky expres /Transsiberian Express/, Svoj medzi cudzími, cudzí medzi svojmi /Alone Amongst Strangers, Alone Amongst Fellows/, Svieť, svieť, hviezda moja /Shine, Shine, My Star/ etc. It was not possible to depict the 1950s as a negative „wild“ situation until the mid-1980s (actually, it was, soon after the 20th Party Congress, but it did not last long and it led to persecution of many including Solzhenitsyn).
18

ŽÁNRE NÁBOŽENSKÉHO ŠTÝLU. HOMÍLIA

100%
Pancáková K.
Slovenská reč (Slovak Language)
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2006
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vol. 71
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issue 3
136 – 138
EN
The study is focused on the genres, which are appertaining to religious style, and those are classified into a confessional or a catechistic category. The central attention of the article however is orientated on the sermon as a genre.
19

MISSION AND VISION. THE IMPLEMENTATION OF THE GENRE BY POLISH COMPANIES

100%
Mamet P.
Linguistica Silesiana
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2009
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vol. 30
195-212
EN
Corporate mission statement is a genre used globally by managers to motivate the employees and to create a good image of the firm. The objective of the research is to analyse, from the linguistic point of view, how Polish companies adapt the genre. In particular, the analysis focuses on how the managerial objectives influence register choices and whether the genre has developed any permanent, or recursive, structural features. The study focuses on statements of missions and vision of 81 companies Polish companies listed on the Warsaw Stock Exchange.
20
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FILMOVÝ HOROR A JEHO VÝVOJ

88%
Prohászková V.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 3
359 - 378
EN
Horror is a genre which is gaining more and more popularity and spreads into all media and art fields. The oldest, literary horror is the most popular in the United States of America and Japan, where this tradition has the strongest roots and the longest history. In our country, the film production is preferred. The paper focuses on horror in film production. It defines the genre in general, its dominants and typology variations. It describes the historical development of the genre in this particular field and presents the profiles of the most significant representatives of the horror film. In conclusion, it characterizes the recipients and their reasons for seeking the genre.
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