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Estetická funkce, norma, hodnota jako spletité fakty

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The essay focuses on a critical analysis of Jan Mukarovsky's 'Aesthetic Function, Norm and Value as Social Facts' (1936). This key work of Mukarovky's, frequently referred to, has substantially influenced Structuralism in literary studies all over the world. The critical analysis of some aspects of this work demonstrates that despite its clearly having inspirational qualities the article manifests some methodological and systemic shortcomings, which somewhat hinder its overall contribution to literary studies.
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Jak je to dál

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This article considers things related to the question ‘How Does It Go On?’ in the works of Věra Linhartová (b. 1938). The author follows on from her article ‘Proměny subjektu v díle Věry Linhartové’ (Changes in the Subject in the Works of V.L., 1975), and explores the nature of the subject in Linhartová’s later works as well.
Filozofia (Philosophy)
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2007
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vol. 62
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issue 10
853-869
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The 'Association for Scientific Synthesis' (1937 - 1940, 1945 - 1950) gathered a group of Slovak intellectuals, who tried to introduce the modern scientific attitudes and structural methods into Slovak culture. In their systematic effort for a coordinated and convergent scientific research, for an exact scientific language and the methods they were inspired by logical empiricism of 'Wiener Kreis', Czech Structuralism and Russian 'formal' school. Much of their attention was paid to such problems as the philosophy and methodology of science, concept of empirical knowledge, the questions of logical syntax and semantics, scientific verification, the problems of causality and rational induction as well as to the question of the development of personality. They presented the problems of art and literature from a structuralist point of view. When comparing the poetic language with the scientific language and its function they saw the former as a specific kind of sign. In the post-war period they confronted their non-etical attitudes with philosophical intuitivism and tried to bring together their scientific meta-theory and marxism.
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The present paper deals with the relationship between Czech structuralism and Avant-garde. Jan Mukařovský’s effort to constitute a universally valid model of art can be understood as an implicit apology for the avant-garde concept of art, as making its principles into the trans-historicaly valid “essence” of art. His project to formulate a dynamic structuralism by means of the connection of the idea of structure with the idea of dialectical antitheses, can be regarded as an attempt to justify the validity of the basic contradiction of the inter-war Avant-gardes: their efforts to liquidate art as an autonomous institution and transform art into life itself on one side, while on the other retaining the demiurgic ability of art and so its privileged position in social life, giving it an irreplaceable role and a new active autonomy. Also Mukařovsky´s idea of the semiotic nature of art, his model of art as an autonomous sign was a means of dialectical synthesis of autonomy and heteronomy. Nevertheless, Mukařovský’s model of art was not ideologically critical. It contained an implicit theoretical apology of the socially affirmative nature of Czech avant-garde art. Moreover, Mukařovský attempted to remove the antagonism, which had arisen between the academic study of art and anti-bourgeois Avant-garde.
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AIn the overview study the author outlines 'the poetics of chaos', which is programmatically present in Polish, Czech and Slovak cultural context approximately from the 1960s. He also asks whether this term can be understood as a legitimate and a correct literary-aesthetic category or whether we should rather speak about an estranging metaphor which arches over the problematic of dynamic, non-linear and pulsating structures. Although it is a term describing processes in natural sciences (quantum physics, deterministic chaos and fractal geometry) it is gradually emerging in human sciences (especially in philosophy, aesthetics and literary science). In a short historical sketch, the author of the study follows the beginnings of this poetics in modern art, in the avant-garde, in formalism and in Czech structuralism. He considers Mukarovský's article 'Intentionality and Non-Intentionality in Art' (Zámernost a nezámernost v umeni) to be the key text in which Mukarovský argues that a work of art as a whole is not only a product of an intentional creative process but of many things that transcend intentionality. The article further explores the influence of 'the poetics of chaos' on theoretical thinking in the 1980s and in the 1990s. From the diachronic point of view the author calls the attention to the oscillatory character of this poetics. There are periods in which the need for a formal and semantic unification stresses the basic creative principle. At other times this formal and semantic unity is disturbed. The preference for aesthetic categories which are closer to 'the poetics of chaos' is typical of transitory periods. After they have gradually faded, came the need for synthesis, harmony and wholeness.
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Karel Horálek – folklorista

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Horálek’s position as a leading folklorist resulted from the situation after WW2. The pre-war tradition of Folklore Studies (represented by Polívka, Tille, Horák, Murko) came to an end when the Slavonic Institute was closed and the grand editorial project Slavonic Folklore never got off the ground. In the late 19th century and the early 20th century, Prague was a world-known centre of Folklore Studies, especially Fairy-Tale Studies, thanks to its original geographical-historical research method. The Prague folklorists resisted the structuralist theoretising schemata and Russian formalism. Although Horálek, who attempted to fill the gap, called for a structuralist approach to folklore, he had no contacts with folklore structuralists, never wrote any major work on structuralism in folklore and confined himself to writing textbooks for students.
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The paper focuses on a textual analysis of Jiří Drašnar´s novel Desperados of the information age, attempting to determine the devices and narrative mechanisms by means of which the double, or rather triple cultural space is configured in the text – a space which is in its basic role manifests itself as an oscillation between indigenous and foreign spaces. The spatial aspect is discussed with respect to one of the contemporary trends of literary theory, the so-called spatial turn, which presents a methodological-thematic link in the post-colonial thought.
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Naratologické marginálie české teorie literatury

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This essay, an outline of the history of Czech 'protonarratology', focuses on the contributions made to the field by Jan Mukarovský, Felix Vodicka, and Lubomir Dolezel, but also considers the contributions of Miroslav Cervenka, Jaroslava Janácková, Vladimir Macura, Daniela Hodrová, and Alice Jedlicková.
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The study strives to represent a connected system of semantic construction proposed by Prague structuralism, and mainly by Felix Vodicka. This system was never presented in a form of a single study, but its suggestions are scattered in various studies that deal with the questions of semantic construction and questions of the literary work's identity. Prague structuralism in the form of Vodicka's or Mukarovsky's suggestions did not strive for the presentation of an integral system (such as that proposed by Roman Ingarden), because the need was not felt to make such statements, nor did the contemporary literary theory aim yet to similar designating projects. Still this complex system of structural semantic construction of the work was an enduring part of the studies that were arising in the 30's and 40's, it had recognizable, rather solid and stable outlines and rules, and de facto it represents a methodological resource for the structural analysis of a literary work. In this form, it is possible to consider it one of the essential contributions of the Prague school not only to the Czech literary theory. This study attempts at proving incorrect the traditional apprehension that the Prague structuralism did not present a sustained system of semantic construction, and obversely, to prove that such a system did exist and was a conscious part of the Czech structuralists' works, and it only was not proclaimed.
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The paper analyses the semantic theories of empirical sciences, mainly their newest, structuralist version from the philosophical perspective. It is proved that structuralism interprets in various ways its fundamental categories: of model, of empirical theory, and of satisfaction relation. Some of the interpretations are inconsistent with the initial basis, that is, with the logical model theory. In constructing the conception of empirical theory, structuralists transgresses in a special way the logical model theory.
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The authoress discusses the consecutive stages of evolution of the thought of Tzvetan Todorov, the Bulgarian-French structuralist. She uses the word 'transfiguration' on purpose, as the notion may stand for metamorphose or conversion - something that concerns scientific views only to a small extent, primarily acting in the spheres of emotion and belief. Todorov has parted with structuralism for two reasons: (1) resulting from his afterthought on the method's effects in teaching literature (literary education being limited to analysing single pieces or, at best, fragments thereof; and, (2) as a protest against suspension of the question about the sense of the dealings employed, against literature being cut off from its actual genesis and functions. Having broken off with the sciences, Todorov advocates the need for humanism: in order to get to the sense, or meaning, the text's 'interior' should be investigated; in the first place, however, the text should be placed within the context of the history of ideas.
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Česká setkání

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Drawing in part on his own personal involvement the author looks back at Czech-Polish relations in literary studies from the 1950s on, and recalls the lives and works of Miroslav Prochazka and Miroslav Cervenka.
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The concept of philology seems awkward and obsolete nowadays and, therefore, we cannot bring it back into use without endowing it with an explicit and positive programme. The author’s programme is a consciously structuralist one, based on the polarity between language as an abstract sign system and concrete texts (including utterances) as sign formations. Signs are studied by oppositional differentiation, which leads, when applied to the abstract system of language, to their meaning, and when applied to concrete texts, to their sense. Meaning and sense are values philology must never cease searching for, while philologists must always be aware that the abstract system of language is (i) an intellectual construction only, whereas concrete texts are real, and (ii) the key to understanding any concrete text. The different size of linguistic signs is recognized and taken into consideration: not only morphemes, but also sentences are signs. Even concrete texts themselves may at least in one aspect be conceived of as signs, for they are also studied by oppositional differentiation. Since the value of a sign depends on the definitional domain of the other signs to which it is compared, a concrete text, be it a historical document or a poetic work, is not graspable if not read oppositionally in contrast to others. Yet, definitional domains of texts do not exist by themselves as natural phenomena. They are created by philologists who are responsible for their own choices. This will be illustrated, in a further paper, by a new esquisse of historical Baltic philology.
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Zázrak rozumění?

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An essay on the relationship between language (mother tongue) and the human subject and its existence. It develops ideas of the Prague School of structural literary analysis (in particular, those of Bohumil Trnka, Vladimir Skalicka, and Jan Mukarovsky), cognitive linguistics, and hermeneutics, employing the concept of cultural competence, including criticism of its state in contemporary Czech society.
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In confronting F. de Saussure's 'Cours de linguistique générale' with S. Kauffman's 'Investigations', it is possible to observe a hint of convergence of understanding the system, its development. Nevertheless, in grasping the language metaphor of life, what I primarily find is a clear correspondence between neo-Darwinism and linguistic structuralism (in relation to evolution, or more precisely to language development/speech behaviour). What is chaotic for neo-Darwinism and linguistic structuralism (again in relation to the development of life/speech) can be self-organized for biological structuralism. This text demonstrates the relations between the methodologies of the appropriate sciences and the types of order that can be described/discovered by them.
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The paper deals with the relationship between the Prague School and the “empirical functionalists”, or “Greenbergians”, i.e. linguists such as Talmy Givón, William Croft, Bernard Comrie, Martin Haspelmath or Joan Bybee. Common concepts are pointed out, primarily those elaborated by Josef Vachek (synchronic dynamism, interaction of language levels, interplay of external and internal factors in the shaping of language). Further, aspects are mentioned in which these current trends can enrich each other: e.g., a broad empirical basis, the methodology of explicative comparison of languages, grammaticalization and iconicity offered by empirical functionalism; on the other hand, the methodology of detailed holistic description of individual languages, questions of language cultivation, topics leading beyond linguistics, etc, provided by the Prague School. Finally, work to make classical Praguean texts accessible is urgently needed.
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The study is a comparison of the concept of a literary work, which represents an independent 'world', according to which that concept was created by the representatives of the Prague school - J. Mukarovský and F. Vodicka - in the context of the structural poetics and also in Lubomir Dolezel´s theory of the fictional worlds. The purpose is (a) to analyse Mukarovský's and Ingarden's concept of the 'intentional reality'; (b) critically compare Dolezel's concept 'the fictional world' with Vodicka's 'the fictive world' and (c) to explain Jungmann's concept of the fantastic poetry. The wider frame of the research is an attempt to answer the question what influenced Lubomir Dolezel that instead of 'the world' of literary work he began to think about 'the fictional world'. The author of the study wants to point out the significance of the University papers written by J. Mukarovský - 'Filozofie jazyka básnického' (The Philosophy of Poetic Language); there Mukarovský for the first time expressed his opinion that a language expression includes a double reference to the reality. Comparing F. Vodicka's and L. Dolezel's theoretical approaches to a literary work the author of the study added the opinion that 'the fictive world' cannot be identified with 'the fictional world'. While Vodicka's conception of a literary work as 'the fictional world' makes an accent on the aspect that while a literary work is a world representing a unique (literary) reality, it is also measured and compared with a concrete empiric reality; the L. Dolezel's term 'the fictional world' characterises a literary work as a world completely generated from a narrative text. On the setting of these analyses author shows that the source of Vodicka's conception of a literary works as a fictional world comes from an older conception of a fantasy poetry and 'the fictional (fantasy) world'. The author of it is an important Czech scholar Josef Jungmann (1773-1847). An extra attention is paid to comparing Jungmann's and Dolezel's suggestion of a typology of the fictional and the fictive worlds. The study brings a detailed analysis of the terms 'the fictive world' (F. Vodicka) and 'the fictional world' (L. Dolezel). It points out that they cannot be used as synonyms as they differ from each other in the references. He also look in a new way at forgotten Jungmann's project of the fantasy poetry and suggests its further research and in the ranks of the theory of the fictional worlds.
Filozofia (Philosophy)
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2016
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vol. 71
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issue 1
14 – 24
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The article tries to answer the question: Why the publication of The Order of Things aroused the polemics about M. Foucault’s being a structuralist? Unlike structuralism, Foucault’s archaeology introduces semantic structures into history: he examines the dramatic rearrangement of words and things in history to unveil the historical background of the production of the period-related, transitory, discontinued, relative knowledge. In the author’s view, this method is contradictory in itself as it does not consider its own politics of meaning. While describing the three ways of the epistemic generating of representations Foucault nevertheless ascribes the arbitrary representation of things by words to the only episteme, namely the „classical“ one. It is the later Foucault who reflects on the ethics of meaning, which unveils the production of representation in every politics of meaning, even in its own one, creating thus the meta-representations.
Filozofia (Philosophy)
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2011
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vol. 66
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issue 5
452-457
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The article offers an alternative story about the structuralism in science, philosophy, and semiotics based on the exposition of Ch. S. Peirce's philosophical project - pragmatism. Contemporary tendency to consider structuralism as naive and dead is put in contrast with the reassessment of the potential of structuralism in natural sciences and linguistic anthropology.
EN
The objective of the paper is to point at the superficial character of the contemporary sociology and the culture oriented trends in the research of the interliterariness. It has been very often neglected that the object of the literature research is the beauty of literature, as that which causes the changes in the development. There was a Russian-Slovak (and structuralist) chapter in the history of interliterariness. At present it lives as a whole in the world but its findings have been utilized differently. Unfortunately, it appears that the theses of the Russian-Slovak school have been exploited for the utilitarian goals. Instead of the aesthetic essence of a phenomenon in its historical form, which was Durisin's intention, the models of literature subjugated to a cultural interest has become an objective of the research of interliterariness. The paper is also devoted to the various forms in which Durisin is present in the contemporary theory of interliterariness. In this connection, Franka Sinapoli maintains that the hermeneutic value of the history of interliterariness has been increased and that Durisin is the key personality of this encouraging occurrence. Mario Juan Valdés says that interliterariness is the only research project that proves the invalidity of Foucault's episteme theory. It is due to the fact that the hermeneutic value of the history of interliterariness increased after the Russian-Slovak period. The paper also focuses on Earl Miner's theory. Miner maintains that 'comparisons are more stimulating if they place real differences into mutual relationships'. Lotman proves that Durisin found out that a difference in the sign (of a structure) is equally relevant as the difference between the literature of Western Europe and that of Japan. Nowadays, even the thematic criticism (Harry Perkins) holds that literature is based on a difference (distance) of what is actually close. In spite of this, Durisin is conceived of as a founder of the transition of literary research from intraculturality to interculturality, i. e. as a theoretician of 'big differences'. Unfortunately, the idea that only a big difference is a difference, and that only a big difference is worth of examination, and that all minute differences are the forms of identity is so wide-spread that it creates a new situation in the theory of interliterariness in the form of a return to the big literatures, to the big literary phenomena. This idea is dangerous to the Slovak literature, to the Slavonic interliterary community, to the Czecho-Slovak interliterary community, and, generally, to interliterary communities which are a form of existence of the world literature.
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