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Prague Linguistic Circle in English : semantic shifts in selected texts and their consequences

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Ambros V.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2014
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vol. 17
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issue 2
148-161
EN
The author examines selected scholarly studies available in English translation, and the ways in which they form or deform the understanding of the Prague Linguistic Circle for the English speaking reader. The contribution aims to show how the semantic shifts alter some theoretical concepts of the Prague School theorists. The semantic shifts mentioned here are indicative of both individual concretization in the sense introduced by Roman Ingarden, and in its broader meaning formulated by Felix Vodička. The selected texts are mostly present in collections chosen by scholars, who are not necessarily specializing in drama or theatre. They contain three sorts of semantic shifts: terms, titles and editorial interventions.
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Echo and Pretence in Communicative Irony

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Studia Semiotyczne
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2019
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vol. 33
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issue 2
EN
In the article we present a model of communicative irony formulated within the framework of speech act theory. We claim that acts of verbal irony are special cases of phenomena that John L. Austin referred to as “etiolations of language”. After discussing the concept of communicative irony understood in the spirit of Mitchell S. Green’s expressive communication model, we propose to develop the Austinian idea of etiolation and show how cases of etiolative use of language parasitize the mechanisms of its serious or ordinary applications. In particular, we argue that echoing and overt pretence are two etiolation techniques that allow the sender to express a negative attitude towards contextually available mental or linguistic representations. We also show that the proposed model allows the explanation of verbal forms of communicative irony.
3
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Echo i udawanie w ironii komunikacyjnej

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Mękarska J., Witek M.
Studia Semiotyczne
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2019
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vol. 33
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issue 2
EN
The paper develops a speech-act based account of communicative irony. A central idea behind the proposed model is that verbal acts of ironizing fall under what John L. Austin called the doctrine of the etiolation of language. After discussing the notion of communicative irony construed along the lines of Mitchell S. Green’s model of expressive communication, we elaborate on the Austinian idea of linguistic etiolation by contrasting the serious and etiolated uses of language, where the latter are parasitical on the mechanisms of the former. We argue that echoing and overt pretending are two complementary techniques of linguistic etiolation that enable one to perform acts of expressing one’s negative attitudes towards contextually available mental or linguistic representations. We also show that the proposed model of linguistic etiolation allows us to account for a number of verbal cases of communicative irony.
PL
W artykule przedstawiamy model ironii komunikacyjnej sformułowany w ramach teorii aktów mowy. Twierdzimy, że akty ironii werbalnej stanowią szczególne przypadki zjawisk, które John L. Austin określał mianem etiolacji językowej. Po omó- wieniu pojęcia ironii komunikacyjnej rozumianego w duchu Mitchella S. Greena modelu komunikacji ekspresywnej, proponujemy rozwinięcie Austinowskiej idei etiolacji i pokazujemy, jak przypadki etiolacyjnego zastosowania języka pasożytują na mechanizmach jego poważnych lub zwykłych zastosowań. W szczególności argumentujemy, że przywołanie echem oraz jawne udawanie są dwoma technikami etiolacji, które umożliwiają nadawcy ekspresję negatywnego nastawiania do kontekstowo dostępnych reprezentacji mentalnych lub językowych. Pokazujemy też, że proponowany model pozawala na wyjaśnienie werbalnych form ironii komunikacyjnej.
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Ozvěna ve svatoivanské legendě F. Bridela (1656)

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Smyčková K.
Slovo a smysl - Word & Sense
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2020
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vol. 17
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issue 2
48-56
EN
Tis study focuses on the motif of the echo in Baroque literature. It is based on an analysis of the Latin legend of Saint Ivan by Fridrich Bridel (1619–1680), Vita sancti Ivani, primi in regno Boëmiæ eremitæ (Te Life of Saint Ivan, the First Czech Hermit; Ludmila Sedlčanská, Prague 1656). Tis book was written as a prosaic biography with occasional lyrical passages, one of which is a dialogue between the hermit Saint Ivan and his own echo. As St. Ivan meditates on life in the wilderness and on the vainness of the world, his echo consoles him and gives him advice. Tis text refects a popular motif in other European literature of its time, characterized by a renewed interest in ancient myths and their philosophical and Christian interpretations. In the secular literature, the motif of the echo could be found mainly in love poetry, typically involving an unhappy lover who roams a deserted landscape (locus terribilis) until he is met by his own echo, which responds to his lamentation and gives him comfort. In religious poetry, by contrast, this echo would be understood as the voice of God, responding to a character — ofen in the allegorical fgure of the ‘spiritual bride’ — who has gone in search of God. While Bridel’s legend presents the echo as a spiritual voice, it is also indebted to older myths based on the theme of romantic love, so that the dialog between St. Ivan and his echo efectively produces the motif of the spiritual marriage. Te fgure of the echo was used mainly in the literature of Bridel’s time in connection with popular conceptual poetics. In the fnal analysis, Vita sancti Ivani demonstrates how Bohemian literature was infuenced by the aesthetic theory of its period.
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George Crumb - between reflection upon nature and contemplating it

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Szoka M.
Interdisciplinary Studies in Musicology
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2009
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issue 8
203-216
PL
The author investigates the unique aesthetic program of George Crumb, one of the most important contemporary American composers. Crumb certainly occupies a unique place in the music of 20th century, not only because of his cultural background, or originality of artistic expression, but first of all, due to the presence of most dilemmas of the contemporary culture in his music. The question about the form of a relationship between human beings and nature at the turn of 20th/2ist century is one of them. In his artistic output Crumb remains an advocate of a concept of music which, as the most spiritual and magical of all arts, derives from deep reserves of human psyche on the one hand and from primal forces of nature, on the other one. The analytical aspects of the paper concern the problems of onomatopoeic imitation of the sounds of birds and a whale, symbolic allusions to the other composers (Debussy, Mahler), the concept of “larger rhythms of nature”, the phenomenon of echo and its forms in Crumb’s music, his search of natural pre-sounds of music (resulting in using non-traditional instruments), the idea of distant music, etc. Especially three pieces: An Idyll of the Misbegotten, Vox balaenae and Echoes of Time and the River are considered as the most characteristic.
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Drzewo figowe, osioł i woda żywa : rola Księgi Zachariasza w Ewangelii Janowej

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Kubiś A.
Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej
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2015
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issue 22
211-238
EN
In four sections, the article deals with four specific issues related to the use of the Book of Zechariah in the Fourth Gospel. First, nine different ways in which the Old Testament is employed in John’s Gospel are presented. In this section the article aims to justify focusing on the use of a single OT book in John’s Gospel, an approach which appeals to many scholars as the most appropriate way of dealing with the broader issue of the use of the OT in the Fourth Gospel. Such a seemingly narrow methodological choice enables the exegete to investigate virtually all possible uses of a particular OT text (book), applying the appropriate attention and thoroughness. Second, the article discusses two major methodological problems connected with the study of the OT in the Fourth Gospel, namely (1) the absence of careful, widely accepted definitions for the literary devices of quote, allusion, and echo; and, related to this, (2) the elusive nature of any objective criteria for identifying allusions and echoes. The article also broaches the issue of the rightly questioned legitimacy of using the term “intertextuality” within the realm of biblical studies employing the historical-critical method. As to the problem of definitions, Ben-Porat’s definition of literary allusion, together with Sommer’s approach to the phenomenon called an echo, are adopted in this article. Thirdly, the article presents a case study of one particular allusion in the Fourth Gospel, namely the mention of the fig tree in the narrative of the call of the first disciples in John 1:45-51. Indeed, the question of why Nathaniel confesses Jesus to be the Son of God and the king of Israel (1:49) following Jesus’ statement that he saw him under the fig tree (1:48) stands as a perennial crux interpretum in Johannine studies. Seeing an allusion to the prophecy of Zec 3:10 seems to solve this problem convincingly. Fourth, the article discusses the use of explicit quotations from Zechariah in the Fourth Gospel. The current study reveals that there are two basic focal points of the major Johannine references to Zechariah: (1) the cleansing narrative (Jn 2:13-22), with its references to Zec 6:12-13 and 14:21, and the triumphal entry narrative (Jn 12:12-16), which quotes Zec 9:9, both refer to the rebuilding of the temple; and (2) Jn 7:38, quoting Zec 14:8, and Jn 19:30-37, quoting Zec 12:10 both relate to the gift of the Spirit. Taken together, the references to Zechariah in the Fourth Gospel express two facets of a single, fundamental Johannine theological paradigm, i.e. that Jesus is the new temple: (1) the cleansing and rebuilding of the temple, understood as both Jesus’ body and the community of believers, and (2) the gift of the Spirit flowing out of the new temple, Jesus’ body.
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