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

Results found: 8

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  NARRATIVE STRUCTURE
help Sort By:

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

NARATÍVNE ŠTRUKTÚRY V PRÍBEHOCH Z DIVOKÉHO ZÁPADU. PRÍPAD PETROLEJOVÉHO PRINCA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 6
462 – 487
EN
The article is based on the analysis by John G. Cawelti saying that the western formula cannot be attached to a single plot pattern but rather to a symbolic chronotope and its influence on the type of a hero who operates within the chronotope. The author uses examples of some writings (M. Bird, F. Parkman, O. Wister, J. Altsheller, M. Brand, E. Haycox, Z. Grey and others) to demonstrate several narrative structures used in westerns: the schemes of chasing, revenge, an armed conflict between groups of characters (or a duel), the scheme of hunting for a treasure, the travel scheme as well as the scheme of a detective novel, which may be incorporated into the western. The author includes a detailed analysis of Karl May´s novel “The Oil Prince” (Der Ölprinz, 1893). Two types of stories can be identified within May´s text corpus: the ones having the paratactic narrative structure (inherited from the picaresque novel) and those having a central plot, which also include “The Oil Prince”. Its narrative structure is organized by the central motif of a fake oil lake trap. The narrative line of the bad guys is opposed by the narrative line of the positive characters, who want to save a banker´s life. Both narrative lines are interrelated by means of the manifold chasing/tracking narrative structure depicted by the alternate storyline composition switching between that of the good backwoodsmen and that of the bad guys. On the level of narrative point of view the alternate storyline composition is reflected in alternate focalization, which makes the model readers identify themselves alternately with either the good or the bad characters. Both of the narrative lines are – on the micro level – constructed as the solutions of the narrative problems: the positive characters deal with ad hoc tasks, problems, which they are faced with, using their common sense so as to assess and solve a particular situation, and their skills and physical condition. The author includes a detailed analysis of the trick pattern in the case of the Old Shatterhand character. On the other hand, the negative characters deal with being in danger by telling lies or killing. In conclusion he brings inter textual examples of the Mayesque fictitious world in the proses by J. F. Cooper, F. Gerstäcker, G. Ferry, T. M. Reid, Ch. Sealsfield on the level of motifs, on the level of the hero construction as well as on the level of the narrative structure.
2

NARATÍVNE ŠTRUKTÚRY V PRÍBEHOCH Z DIVOKÉHO ZÁPADU. PRÍPAD PETROLEJOVÉHO PRINCA – II.

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 1
38 – 49
EN
The article is based on the analysis by John G. Cawelti saying that the western formula cannot be attached to a single plot pattern but rather to a symbolic chronotope and its influence on the type of a hero who operates within the chronotope. The author uses examples of some writings (M. Bird, F. Parkman, O. Wister, J. Altsheller, M. Brand, E. Haycox, Z. Grey and others) to demonstrate several narrative structures used in westerns: the schemes of chasing, revenge, an armed conflict between groups of characters (or a duel), the scheme of hunting for a treasure, the travel scheme as well as the scheme of a detective novel, which may be incorporated into the western. The author includes a detailed analysis of Karl May´s novel “The Oil Prince” (Der Ölprinz, 1893). Two types of stories can be identified within May´s text corpus: the ones having the paratactic narrative structure (inherited from the picaresque novel) and those having a central plot, which also include “The Oil Prince”. Its narrative structure is organized by the central motif of a fake oil lake trap. The narrative line of the bad guys is opposed by the narrative line of the positive characters, who want to save a banker´s life. Both narrative lines are interrelated by means of the manifold chasing/tracking narrative structure depicted by the alternate storyline composition switching between that of the good backwoodsmen and that of the bad guys. On the level of narrative point of view the alternate storyline composition is reflected in alternate focalization, which makes the model readers identify themselves alternately with either the good or the bad characters. Both of the narrative lines are – on the micro level – constructed as the solutions of the narrative problems: the positive characters deal with ad hoc tasks, problems, which they are faced with, using their common sense so as to assess and solve a particular situation, and their skills and physical condition. The author includes a detailed analysis of the trick pattern in the case of the Old Shatterhand character. On the other hand, the negative characters deal with being in danger by telling lies or killing. In conclusion he brings inter textual examples of the Mayesque fictitious world in the proses by J. F. Cooper, F. Gerstäcker, G. Ferry, T. M. Reid, Ch. Sealsfield on the level of motifs, on the level of the hero construction as well as on the level of the narrative structure.
3

VILIKOVSKÉHO PÁTRANIE PO SKUTOČNOSTI: FOTOGRAFIA A TRPKASTÁ CHUŤ SKUTOČNÉHO

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2017
|
vol. 64
|
issue 1
33 – 42
EN
The paper interprets the radical way of rewriting the detective fiction in the short story by Pavel Vilikovský Celkový pohľad na Máriu B. (The Overall View of Maria B., 1968) and in his novel Prvá veta spánku (The First Sentence of Sleep, 1983). The two texts are in a mutual relation of variants, while their intertextual illumination generates more meanings. In the short story the narrator tells the whole story in the modality of possibility. Several events of the narrative structure are of an ontic nature. The text of the short story provides only the reader with one side of the communication process of investigation – the sender, the detective asking questions, i.e. the text offers the base of the evidence, not the core. The veil of the detective´s hypotheses conceals or at least obscures the reality – and the detective has to use simple existential statements in order to ensure what is real. Here the detective becomes a machine to generate hypotheses about the reality after the reality (the past murder) has disappeared. The novel Prvá veta spánku is disappointing in terms of genre expectations raised by itself – a seemingly detective novel becomes a novel featuring an external perpetrator. This genre method is motivated by the composition structure itself – the trifold consecutive focalization of the narration and two fake solutions. The criminal solution of the case is enabled by the unexpected abduction of the detective: the scene of crime and the weather – the remote stone-pit during the rain – help the detective draw the conclusion as to the fundamental characteristic of the perpetrator.
4

SPOKEN COMPLAINT IN NARRATIVE STRUCTURE

100%
Wyrwas K.
Stylistyka
|
2005
|
vol. 14
393-402
EN
The authoress presents some remarks on adaptive structure of spoken complaint. The analyses demonstrate the contamination of complaint and narrative structure. In the analyzed spoken texts a narrative seems to be structurally 'stronger' genre because of its structural dominant: narrative scheme, consisting of few elements arranged in turn (Abstract, Orientation, Evaluation, Result and Coda). However, spoken complaint has also a strong dominant which is semantic dominant - negation showing speaker's attitude to events of his life. The negation exists on text surface or in a deep semantic structure of words. Analyses show that most complaint elements are located in Orientation and Coda which often contain speaker's opinion about reported events. The opinion in everyday spoken narratives may be positive or negative, and sometimes it can be even humoristic, but in spoken complaint this final opinion is always negative.
5

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)
|
2005
|
vol. 52
|
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.
6

THE NARRATIVE STRUCTURE OF MILICA JANKOVIC'S MODERNIST SHORT STORIES (ISPOVESTI)

100%
Chaszczewicz-Rydel M.
Pamiętnik Słowiański
|
2007
|
vol. 57
|
issue 1
17-33
EN
This article analyses seven short stories collected in a volume entitled 'Ispovesti' (Confessions) written by Milica Jankovic, a Serbian modernist generally treated by critics as a typical female author who represents 'women's writing' who they consider as a synonym of 'trivial literature'. Undoubtedly, the subjects of her works are first of all main characters' emotions and psychological biographies. Yet in fact the real artistic value of her prose lies in formal experiments. Jankovic combines impressionistic and symbolic elements, and puts together different forms of presentation: the female narrator may sometimes be internally connected to the story, while at other times the story may be conducted from the position of a third-person narrator. Besides these, Jankovic uses a 'point of view' method that leads to a narrative polyphony. Applying various techniques she builds heterogeneous but compact and functional structure that is rather innovative for Serbian modernism.
7
Content available remote

METAPHORS AND HISTORY IN SLOVAK DOKUMENTARY

100%
Ferenčuhová M.
Slovenské divadlo (Slovak Theatre)
|
2016
|
vol. 64
|
issue 3
316 – 322
EN
According to Lakoff’s and Johnson’s theory of conceptual metaphors, metaphors provide a partial understanding of one kind of experience in terms of another kind of experience. Therefore they help us to understand our present and/or our past reality. In his Metahistory, Hayden White states historians often approach their topic topologically pre-figuring it. By choosing a predominant trope they see history through, they choose also the genre for their writing. Referring to these works on tropes, we study several creative methods that appear in contemporary Slovak historical documentary. From “cans of time”, a metaphorical concept of cinematographic memories, presented by Marek Šulík, through the oeuvre of Peter Kerekes in which the metaphor is used as an element of structure, to debuting Anabela Žigová or Vladislava Plančíková who use metaphors to reflect on historical research, Slovak authorial documentaries represent a very inspiring metahistorical material.
8

IN THE HEART OF SECRET. MYSTERIOUS MURDER OF THE LITERARY CRITIQUE

75%
Horvath T.
Slovenská literatúra (Slovak Literature)
|
2007
|
vol. 54
|
issue 4
255-276
EN
The author of the article analyses a classical type of a detective story written by S. S. Van Dine 'The Greene Murder Case' (1928). He uses it as a reference and representative text (as a 'textbook of generic grammar') indicating all formulated genre, referring also to the generic variations in other texts. The description of the characters already in static characteristic introduces elements of iteration, repeating on the successive axis of the text and they form that way a stabile characterization of a hero. In the focal narrative sequence of solution there are two types of a motif set in confrontation: theme distribution of enigmatic motives without their sense and correct arrangement of motives. The detective has to deduce it from enigmaticaly distributed data through his own mechanism of judgement. In the Van Dine novel a holistic type of problem shooting operates: one introduced hypothesis explains 'in one move' all morphemes of the secret and that is why it is correct. (If whoever else murders except of the right murder, it will not be necessary to let the lights switched on in all the rooms, the woman, a murder, would not be found in the lit up room shot in front of the mirror just because to be able to shoot herself etc.) The author shows the strategies of the text through which a model reader is deceived to construct incorrect possible world of the own hypothesis and also to construct an incorrect possible world in the hypothesis excluding a real perpetrator from the list of the suspicious persons. As an illustration the author uses and example from famous Holmes' solution concerning a dog in the short story 'Silver Blaze'.
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.