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Český literární kyberpunk a otázka žánru

100%
Kotásek M.
Česká literatura (Czech Literature)
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2018
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vol. 66
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issue 3
395-422
EN
This article attempts to outline the “genre field“ of cyberpunk. It is argued that several aspects have to be taken into consideration when the field is being mapped out. In the specific case of Czech cyberpunk it is the way science fiction in general is conceived in society (both by fans and academic discourse), the level of knowledge as far as its Anglo-American counterparts are concerned, the position of computer technology within society, the publishing opportunities, and the pressure from other sub-genres of the fantastic. All this and more amounts to what the article labels as “subgenre” and concludes that, at least in the case of science fiction, a genre involves not only a reservoir of aesthetic and plot devices, but above all it is to be viewed as a culturally specific sedimentation of a historically specific cultural situation.
2
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Jungmannova Slovesnost jako genologie

84%
Šidák P.
Slovo a smysl - Word & Sense
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2022
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vol. 19
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issue 40
13-45
EN
Jungmann’s Slovesnost as Genre Theory This study considers Jungmann’s Slovesnost (‘Belles-lettres’; 1820) as a comprehensive theory of literary genres, examining the work on its own merits but also as part of the contemporary discussion on genre theory. Attention is also given to the development of this discussion in the 18th century, particularly in the German-language context at the turn of the 18th and 19th centuries. Jungmann’s work on genre is presented as an independent contribution to contemporary thinking in the field, covering a number of aspects of genre theory: linguistic, hierarchical, historical, intermedial, and modal.
3
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Teorie fikčních světů a genologie

84%
Šidák P.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
38-46
EN
The article examines the possibility and the merits of a dialogue between genology and the theory of fictional worlds. It focuses particularly on the areas where Czech or Czech-related theory of fictional worlds (Zuska, Doležel, Traillová) offers a typology of fictional worlds, and it evaluates the potential application of such typology in genology. The types of fictional worlds, or the groups of texts defined by these types, cannot be seen quite as genological units (taxons), but they can play an important role for genology as the s.c. modus.
4
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Problém žánrů odborné právnické literatury

59%
Tuláček J.
Právník. Teoretický časopis pro otázky státu a práva (The Lawyer - Scientific Review for Problems of State and Law)
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2021
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vol. 160
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issue 4
261-272
EN
Lawyers were then coined among the best stylists, alongside writers, playwrights and poets. They were aware of this and showed their affinity with the world of literature in their works. Who among today’s lawyers would think of quoting poems in support of their claim? For example, the verses of Homer’s Iliad were cited by the lawyer Massurius Sabinus as evidence for his theory of the market contract. Then there is the question of whether we should pay attention to the texts of legal norms when examining the genre of professional legal literature. Here I chose a negative opinion. I am based on the opinion that the texts of legal norms are material, the object of legal literature, not its subject. As the subject of artistic prose is life as such, the subject of legal literature is the life of legal norms, i.e. their application to specific life situations. In the same way I look at court (and the other official) decisions as well. I analyse the individual subgenres in the article, as they separated from the unified concept of legal literature in ancient Rome and supplement the current border subgenres, which is popular legal literature.
CS
Byli si toho vědomi a svou spřízněnost se světem literatury projevovali i ve svých dílech. Koho z dnešních právníků by napadlo citovat na podporu svého tvrzení báseň? Například verše Homérovy Iliady uváděl právník Massurius Sabinus jako důkaz pro svou teorii smlouvy trhové. Pak je ještě otázka, jestli máme při zkoumání žánrů odborné právnické literatury věnovat pozornost i samotným textům právních norem. Zvolil jsem negativní stanovisko. Vycházím z názoru, že texty právních norem jsou materiálem, předmětem právní literatury, nikoli jejím subjektem. Jako je předmětem umělecké prózy život jako takový, je předmětem právní literatury život právních norem, tj. jejich aplikace na konkrétní životní situace. A stejně tak se dívám na soudní (a jiná úřední) rozhodnutí. Rozebírám v článku jednotlivé podžánry, tak jak se vyčlenily z jednotného pojetí právní literatury už ve starověkém Římě, a doplňuji je o aktuální hraniční podžánr, jímž je populární právnická literatura.
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