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Pragmatismus Johna Deweyho a literární teorie Wolfganga Isera

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Kaplický M.
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
102-112
EN
The main aim of the text is to show the close relations between John Deweyʼs pragmatist theory of art and Wolfgang Iserʼs literary theory. Although there is a little theoretical attention paid to the connection of Deweyʼs and Iserʼs theories, the study tries to show that there are striking similarities between both theories. The study traces them in two subsequent parts. The first one shows the urge of both authors to overcome traditional dualities in philosophy and literary theory and to point out the underlying processes, which make such dualities possible. The second part tries to concretize the effect of an experience of an artwork on its recipient in the theories of both authors.
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Literárněvědná bohemistika a dějiny kulturních zprostředkování (k nedávným příkladům ve Francii)

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Servant C.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 23
187-191
EN
The paper offers several remarks on the history of cultural mediation and cultural mediators in connection with the current state of Czech literary studies in France. Within the given field, more and more productive also in the area of Central European Studies, there are several research programs conducted in France, repeatedly including topics from Czech literature.
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Komparatistika a bohemistika z maďarského úhlu pohledu

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Berkes T.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 23
178-186
XX
In the field of comparative literature there is no theoretical solution for bridging the rift between the historical process and the individuality of the work of art. Thus, it is improper to exclude the earlier conception focusing on literary trends which concentrates on some common semantic and poetic traits, and it can be harmonized, in the practice of the analysis, with comparative operations based on intertextuality and reception research. It is argued, on the basis of these presuppositions, that comparative studies in Central Europe must cross the methodological barriers which restrict the literary histories of the region merely to a juxtaposition of singular national literary histories. In this framework, Hungarian Czech Studies can bring new information not only about the region but also about the processes of the Czech culture in general.
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Na okraj Heterocosmica II

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Doležel L.
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
9-12
EN
The essay summarizes the theoretical effort of the author which led to the connection between fictional worlds of narrative literature and the concept of possible worlds which was developed in modal logic. The author explains the concept of the book Heterocosmica II and the criteria of the selection of the incorporated postmodernist novels. In the conclusion he thinks about the prospect of fictional world semantics and contemporary Czech literary criticism.
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Mezi analýzou, revizí a popularizací: historie literární teorie podle Lubomíra Doležela

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Fořt B.
Česká literatura (Czech Literature)
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2024
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vol. 72
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issue 2
185-203
EN
This study focuses on one of the most central leitmotifs in Lubomír Doležel’s lifetime work, the history of literary theory. This leitmotif offers an opportunity to follow the development of a substantial part of the work delivered by one of the most prominent theoreticians of Czech origin. Hence this leitmotif is followed from the author’s early involvement in analyses of contemporary and historic linguistic concepts, through his analyses of concepts based on the traditions of formalist and structuralist poetics and aesthetics, to his insights into post-modernist and post-structuralist theoretical issues. The study is based on the author’s studies and monographic works of which Occidental Poetics: Tradition and Progress, published in 1990, is the most highly acclaimed in the international context. All the concepts and terms used in the study are viewed and analysed in the broader context of the development of Doležel’s own theoretical work.
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Vladimír Svatoň: literatura prizmatem binárních opozic

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Pelán J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2020
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issue 62
92-96
EN
The author analyzes Svatoň’s reflection of literature, paying attention to the dialectic of a potential dual approach to literary facts being so constantly offered in his books and articles. This examination of interpretative options is not performed directly either as the Socratian quest for the only truth, or as the Hegelian transposition of binary opposites into triads, wherein the third member abolishes the original antagonism. The opposites under scrutiny — factual description and context, irony and hermeneutics, work and genre, monologue and dialogue, linearity and cyclicity etc. — are expounded by Svatoň as anthropologically conditioned vantage points.
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Literary Theory and Literature Education in Finnish Upper Secondary School: A Historical Survey

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Mäkikalli A.
Slovo a smysl - Word & Sense
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2023
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vol. 20
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issue 2
79-94
EN
This article examines how literature education has changed in Finnish upper secondary school and what kind of theoretical background assumptions are made in the processing of literature. Early on, the aim of teaching literature in Finnish upper secondary schools was to emphasize national identity. Literary works about Finnish people were considered the strength of the young nation. The teaching of literature focused on learning national literature, and on knowing the authors and their works. From the 1950s onwards, new criticism influenced the teaching of literature, and close reading became the key tool for approaching literature. Gradually, the teaching of literature expanded from national literature to young adults’ literature, popular literature, and contemporary literature. In the 1980s, various literary approaches and background theories were emphasized in the learning materials. However, current literary teaching is still tied to new critical and formalistic theory. At the end of the article, the question is asked whether it would be necessary to change this approach so that literature would continue to attract young readers.
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Proměnné a konstanty v díle Lubomíra Doležela aneb Stručná bilance před výročím

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Sládek O.
Česká literatura (Czech Literature)
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2012
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vol. 60
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issue 1
76-86
EN
The study is devoted to the work of Lubomír Doležel, a linguist and literary theoretician, in light of his ninetieth birthday. Based of an analysis of two of his books, Studie z české literatury a poetiky (2008) and Fikce a historie v období postmoderny (2008) the study maps key concepts in his scholarly inquiry in the fields of Czech literature, history and metodology of the investigation of the Prague School, narrative semantics of fictional worlds and an application of the semantics to historical worlds.
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Kombinace, nebo doplnění? O dvou typech procesu v literární teorii Romana Ingardena a Wolfganga Isera

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Kaplický M.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 32
203-214
EN
There can be no doubt that Wolfgang Iser’s literary theory was strongly influenced by Roman Ingarden’s writings on literature. Iser often quotes from Ingarden and develops some of his key ideas. The main aim of this article is to show that even in the cases where Iser develops Ingarden’s ideas and concepts he significantly changes their meaning and function. This tendency is not arbitrary but rather mirrors the difference of aims between the two theories. In this article, the author tries to show how Ingarden’s theory revolves around his consideration of the differences between the real and purely intentional object. Here, the literary work serves as an example of the purely intentional object. By contrast, Iser’s work revolves around his opposition to any theory which emphasizes the essential meaning of a work of literature without considering the reading process itself. This attention to the reading process is the main aim of Iser’s theory. The article develops the thesis that the two opposing definitions of the literary work arise from this essential difference, which in turn explains the dissimilarity, in terms of both meaning and function, between such seemingly similar concepts as Ingarden’s ‘places of indeterminacy’ (die Unbestimmtheitstellen) and Iser’s ‘blanks’ (die Leerstellen).
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Tradice, diskontinuita a etická dimenze literární historie

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Holeček L.
Česká literatura (Czech Literature)
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2016
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vol. 64
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issue 3
392-407
EN
This article focuses on aspects of the theoretical issues involved in writing literary history. These reflections are based on the apparently acute conflict between historical analyses which promote discontinuity as an instrument and object of research (Michel Foucault) and concepts of literary history, which endeavour to base themselves on some kind of continuity. The author sees a way out from this stark theoretical contradiction represented by the terms ''tradition'' and ''discontinuity'' in a shift of attention towards the ethical aspects of literary history, finding arguments for seeking an ethical dimension in literary-history work, particularly in the hermeneutics of Hans-Georg Gadamer, Paul Ricoeur, a book by Polish researcher Ewa Domańska Historia egzystencjalna (2012) and the New Historicism of Stephen Greenblatt. Based on his analysis of the ethical aspects behind the ideas of these theorists, the author concludes that the essence of the past makes itself felt in its disturbing uncertainty, mutability, multiplicity and otherness. Any text from the past that becomes the subject of historical research is based on an ethical relationship involving the idea of debt. Literary history does not consist in the confirmation of continuity (e.g. national historiography), but quite the reverse in its constant querying and pursuit. Every text may be perceived as a resonating board (a ''trace'' of the past) that facilitates a confrontation with otherness. In this way attention might be focused on neglected phenomena, such as human emotions, desires, fear, pain and corporeality through marginal or forgotten texts, as records of the ''movements'' of living human beings who strove for something and who actually lived.
CS
Článek se věnuje teoretickým problémům psaní literární historie. Východiskem úvah je zdánlivě ostrý konflikt mezi historickými analýzami, které prosazují diskontinuitu jako nástroj i předmět výzkumu (Michel Foucault) proti koncepcím literární historie, jež se snaží vycházet z nějakého typu kontinuity. Autor spatřuje východisko z této ostré teoretické kontradikce zastoupené pojmy „tradice“ a „diskontinuita“ v přesunu pozornosti k etickým aspektům literárních dějin. Argumenty pro hledání etické dimenze literárně-historické práce nachází zejména v hermeneutice H. G. Gadamera, P. Ricoeura, v knize polské badatelky E. Domańské Historia egzystencjalna (2012) a v Novém historismu S. Greenblatta. Na základě analýzy etických aspektů v koncepcích těchto teoretiků autor vyvozuje, že podstata minulosti se ohlašuje svou zneklidňující nejistotou, nestálostí, mnohostí, jinakostí. Jakýkoliv text minulosti, který se stává námětem historického výzkumu, zakládá etický vztah vedený ideou dluhu. Literární historie nespočívá na potvrzování kontinuity (např. nacionální historiografie), ale naopak z jejího neustálého hledání a zpochybňování. Každý text může být vnímán jako rezonanční deska („stopa“ minulosti) zpřístupňující setkání s jinakostí. Do centra pozornosti by se tak mohly dostávat opomíjené fenomény, jako jsou lidské emoce, touhy, strach, bolest, tělesnost, a to i skrze okrajové či zapomenuté texty, jakožto záznamy „pohybů“ živých lidských bytostí, které o něco usilovaly a skutečně žily.
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Komunikace a roztok. K pojetí média u Raymonda Williamse

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Šebek J.
Česká literatura (Czech Literature)
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2019
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vol. 67
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issue 5
684-710
EN
This study deals with the concept of media in the work of British literary and cultural theorist Raymond Williams. It is based on the observation that the concept of media never predominated in Williams's work, but that together with such associated concepts as communication, transmission and process this concept is constantly present within it, offering the option of interpretations different to those presented by Williams himself. The first part briefly presents the media aspects of Williams's books Culture and Society, 1780–1950 (1958), The Long Revolution (1961) and Communications (1962): the key term in these works is communication, with literature and art as specific cases. Williams believes that communication needs to be understood in a broad sense as a creation of societies and communities, and that it cannot be reduced to the technical aspect of the communication mechanisms. Media are conceived here as the established means of communication that have emerged historically, and the conception is highlighted whereby they are of key importance for an understanding of culture as currently lived, as a "solution" in contrast to a "precipitate". The second phase of Williams's thinking on media is characterized by an explicit focus on this term and the comprehensive examination of specific "new" media, particularly in the book Television: Technology and Cultural Form (1974). At the same time, however, Williams comes to terms with the most influential media theory of that period, expounded by Marshall McLuhan. Williams rejects McLuhan's notion that considers "technological determinism" to be of central importance, though he subsequently does identify "medium" with the narrowly conceived technological aspect, while making particular use of the term "means of communication", which he separates into amplificatory, durative and alternative means. On the basis of a more detailed argument, the third section of the study proposes a reading which, in spite of Williams's explicit rejection of the term "medium", understands that his thinking continues to be highly "medial". It is from this standpoint that Williams's two most important theoretical books Marxism and Literature (1977) and Culture (1981) are interpreted. Particularly thought-provoking is Williams's understanding of culture as a "solution", whereas the media can actually be considered to be the means of "dissolution", facilitating the fusion of "signifying systems" and of various (artistic and non-artistic) areas of human activity and experience. In his book Marxism and Literature this view can also apply to Williams's understanding of literature. Hence this study provides a deeper insight into media issues in Williams's work and shows that they form the inspirational axis for Williams's thinking on literature and culture.
CS
Studie se zabývá pojetím média v díle britského literárního a kulturního teoretika Raymonda Williamse. Vychází z pozorování, že pojem médium se sice ve Williamsově myšlení nikdy nestal dominantním, ale je v něm – spolu s příbuznými pojmy jako komunikace, přenos, proces ad. – trvale přítomný a nabízí i možnost odlišných interpretací, než které předkládá sám Williams. V první části jsou stručně představeny mediální aspekty Williamsových knih Culture and Society, 1780–1950 (1958), The Long Revolution (1961) a Communications (1962): klíčovým konceptem v nich je komunikace, jejímiž specifickými případy jsou i literatura a umění. Komunikaci je podle Williamse třeba chápat v širokém smyslu jakožto tvorbu společnosti a komunit a není možné ji redukovat na technickou stránku komunikačních aparátů. Média jsou zde pojata jako historicky vzniklé ustálené komunikační prostředky a naznačeno je už i pojetí, podle nějž jsou klíčová pro chápání kultury jakožto aktuálně žité, jako „roztoku“ (solution) oproti „usazenině“ (precipitate). Pro druhou fázi Williamsova myšlení o médiu je příznačné explicitní soustředění na tento pojem a komplexní zkoumání konkrétních „nových“ médií, zejm. v knize Television: Technology and Cultural Form (1974). Současně se ovšem Williams vyrovnává s dobově nejvlivnější teorií médií Marshalla McLuhana a jeho pojetí, které považuje za ústřední případ „technologického determinismu“, odmítá. Od tohoto momentu tak bude médium ztotožňovat právě s úzce chápaným technologickým aspektem, a namísto něj bude užívat zejm. pojem „komunikační prostředky“ (means of communication), které dělí na prostředky amplifikační, durativní a alternativní (amplificatory, durative and alternative). Ve třetí části studie je na základě podrobnější argumentace navrženo čtení, které navzdory Williamsovu explicitnímu odmítnutí pojmu média chápe jeho myšlení i nadále jako výsostně mediální. Touto optikou jsou pak interpretovány dvě nejvýznamnější Williamsovy teoretické knihy, Marxism and Literature (1977) a Culture (1981). Jako podnětné se jeví zejména dále rozvíjené Williamsovo chápání kultury jakožto „roztoku“, přičemž právě média lze považovat za prostředky „rozpouštění“ (dissolution), umožňující prolnutí jednotlivých „signifikačních systémů“ (signifying systems), resp. různých (uměleckých i mimouměleckých) oblastí lidské činnosti a zkušenosti. Tento pohled lze vztáhnout také na Williamsovo chápání literatury v knize Marxism and Literature. Studie tak poskytuje hlubší vhled do problematiky média ve Williamsově díle a ukazuje, že tvoří inspirativní osu Williamsova uvažování o literatuře a kultuře.
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K estetickému myšlení Roberta Kalivody : Kapitola z archeologie českého marxismu

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Kanda R.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 4
527-548
EN
Using the method of archeological description and inspired by the ideas of Michel Foucault, the author of this study presents the aestethics thinking of Marxist theorist Robert Kalivoda (1923-1989). This study focuses particularly on an analysis of Kalivoda´s text „Dialektika strukturalismu a dialektika estetiky“ – „The dialectic of structuralism and the dialectic of aesthetics“, which makes up the first part of his book „Moderní duchovní skutečnost a marxismus“ – „Modern intellectual reality and Marxism“ (1968). Together with Karel Kosík and Ivan Sviták, Robert Kalivoda belonged to a generational group of Marxist philosophers who from the latter half of the 1950s endeavoured to open up Marxism to critical stimuli as well as to other non-Marxist methodologies over the course of time. Kalivoda´s aesthetic thinking developer at the crossroads of two discourses: Marxist and structuralist. Using structuralism Kalivoda criticizes the Hegelian foundation of Marxist aesthetics and the principle of „reflective reading“ – while stressing the semiotic nature of the artistic work. On the other hand Kalivoda also uses Marxism as an instrument for criticizing structuralism wherever he believes that Jan Mukařovský diverges from a radically formalistic standpoint and espouses phenomenological inspiration in an undesirable manner. Kalivoda was not attempting a historical reconstruction of the theoretical development of structuralism, but he was presenting his own interpretation of this scholalry view. Kalivoda´s efforts were motivated by the philosophical aim of destroying metaphysics and creating a post-metaphysical dialectical theory. This study attempts to set Kalivoda´s aesthetic thought in context inter alia by means of short comparisons with 1960s structuralist thinking, particularly with the ideas of Květoslav Chvatík and Milan Jankovič.
CS
Autor studie metodou archeologické deskripce, inspirované koncepcí Michela Foucaulta, přibližuje estetické myšlení marxistického teoretika Roberta Kalivody (1923−1989). Studie se soustředí zvláště na analýzu Kalivodova textu „Dialektika strukturalismu a dialektika estetiky“, který tvoří první část jeho knihy Moderní duchovní skutečnost a marxismus (1968). Kalivoda patřil spolu s Karlem Kosíkem či Ivanem Svitákem ke generační skupině marxistických filozofů, kteří od druhé poloviny 50. let usilovali o otevření marxismu kritickým podnětům a postupně také jiným, nemarxistickým metodologiím. Estetické uvažování R. Kalivody se rozvíjelo na křižovatce dvou diskurzů: marxistického a strukturalistického. Prostřednictvím strukturalismu Kalivoda kritizuje hegelovské založení marxistické estetiky a princip „odrazového čtení“ − zdůrazňuje znakovou povahu uměleckého díla. Z druhé strany marxismus slouží Kalivodovi jako nástroj kritiky strukturalismu tam, kde se podle Kalivody koncepce Jana Mukařovského odklání od radikálně formalistického hlediska a přimyká se – nežádoucím směrem − k inspiracím fenomenologickým. Kalivoda neusiloval o historickou rekonstrukci teoretického vývoje strukturalismu, nýbrž předložil vlastní interpretaci tohoto vědeckého názoru. Kalivodovo úsilí bylo neseno filozofickým záměrem destrukce metafyziky a vytvoření postmetafyzické dialektické teorie. Studie se snaží Kalivodovo estetické myšlení zařadit do kontextu mimo jiné pomocí krátkých komparací s dobovým strukturalistickým myšlením 60. let, konkrétně s pojetími Květoslava Chvatíka a Milana Jankoviče.
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