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1

BETWEEN TELLING, WRITING AND BECOMING: FLUIDITY AND TRANSCENDENCE IN ʿALAWIYYA SUBH’S MARYAM: KEEPER OF STORIES

100%
Čižmíková D.
Asian and African Studies
|
2022
|
vol. 31
|
issue 2
358 – 378
EN
This article explores literary representations of fluidity in the novel Maryam: Keeper of Stories (Maryam al-Hakāyā) by the Lebanese writer ʿAlawiyya Subh. It discusses the subtle ways in which the form and imagery as well as the thematic focus of the novel all contribute to establishing and further illuminating the fluid boundaries between telling, writing and becoming. It explores how the blurring of the lines between storytelling and writing, between the past and the present, between the author and the character, and, last but not least, between the creation of a work of literature and the construction of the subject, all play a vital role in creating the narrative flow that transcends rigidity of structure in favour of the fluidity of structuration. To this end the article also provides an extensive discussion on the role of water symbolism present in the novel, which further enhances the notion of fluidity that is sustained not only through the structuration and plotting but also through the imagery employed throughout the novel.
2

POWER AND SPELLING

100%
Balazs G.
Magyar Nyelvor (Hungarian Language Guardian)
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2007
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vol. 131
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issue 4
402-413
EN
This paper discusses certain phenomena, features, and signs of power or hierarchical roles in writing, writing habits, and especially in spelling (including the regulation of orthography and its everyday practice in offices as well as in popular contexts). The overall framework is anthropo- and socio-semantic, and the material investigated is based on concrete observations, especially data drawn from Hungarian sources. The major manifestations, mechanisms, and signs of power discussed here include the following: belief in the magic power of writing, choice of type of writing, regulation of orthography (spelling reform, language reform), nostalgic romanticism, degradation, ways of catching readers' attention, discrimination, and counter-cultural forms of expression.
3
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MIZNUTIE AUTORA A UTVÁRANIE VÝZNAMU

100%
Debnár M.
World Literature Studies
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2016
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vol. 8
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issue 3
115 – 124
EN
The study is aimed at the analysis of the consequences of the disappearance of the author as a unifying principle organizing meaning and determining the interpretation of the text in the era of digital media and hypertext. It is based on the movement aimed at the displacement of the concept of the author from this dominant position, reflecting the approaches of thinkers such as U. Eco, R. Barthes and M. Foucault. These authors particularly understand the text as a space in which intertextual relations dominate and readership perception replaces the principle of the author. More than a natural extension of these considerations is the area of texts published in electronic version, which, according to J. D. Bolter, allow significantly greater fragmentation and differentiation than printed texts, which even more reinforces their perceptual aspects. Reconstruction or rather making of meaning in the process of reading is subject to certain specifics that are at the centre of our consideration because there also appears the spectre of what remained of the author, as some of his features are still present in the text. Consequently, we move to the description of double writing: writing the self and writing culture. Relying on Bolter’s as well as Foucault’s analysis, we can say that hypertext writing is an ongoing process of eclectic writing and self-publishing. It is exactly the way we acquire a new virtual identity that enables and stands in the basics of digital communities. If hypertext is a place of this constitutive practice of subjectification, this means not only a return to the origins of philosophy, that is to the practice of the care for the self, which it always has been, but also the beginning of a new era of reading, writing and thinking.
4

BRAILLOVO PÍSMO – VÝZNAMNÝ FENOMÉN V KOMUNIKÁCII NEVIDIACICH A ŤAŽKO ZRAKOVO POSTIHNUTÝCH

100%
Lopúchová J.
Slavica Slovaca
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2024
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vol. 59
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issue 3
604 - 609
EN
Braille is an internationally recognised writing system that enables the visually impaired to access documents, thus promoting their education, independence and autonomy. The accessibility of Braille is ensured by modern technology and it is still a relatively vibrant communication system today. It serves as a valuable tool for preserving the cultural heritage, identity and linguistic culture of the blind and severely visually impaired. Proficiency in Braille has a positive impact on the educational achievement, employability and self-esteem of its users. Despite the growing popularity of digital technologies, writing remains an important means for the inclusion and participation of severely visually impaired individuals in a wide spectrum of social life.
5

PROTECTION OF THE POLISH WRITTEN AND PRINTED HERITAGE – NATIONAL LIBRARY RESOURCE

88%
Fluda-Krokos A.
Muzeológia a kultúrne dedičstvo
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2020
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vol. 8
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issue 3
111 – 128
EN
Written and printed works are one of the most important cultural achievements of every country and nation. This often priceless heritage is protected, among other things, by libraries which are responsible for collecting, preparing, storing, protecting and sharing their collections. The article focuses on one form of protection of these resources – the Polish National Library Resource (NLR), which has a legal basis and gives examples of good practice. The analysis presented in this paper covers the normative Acts that cover only those collections which are unique and exceptionally valuable for Polish culture. It was found that perception of these special collections has changed and that nowadays there are only a small number of libraries that take part in the NLR programme.
6

TRI POZNÁMKY K POETIKE PRÍPRAVY TEXTU

88%
Kazalarska Z.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 3
201 – 207
EN
The paper follows the current boom of using the term poetics in the humanities and gives examples mainly from the German context. With regard to this poetic turn, the author goes on to deal with new uses of the term in literary science, which are mainly related to the instrumental and technical, as well as physical and gestic aspects of literary production and their summary into a traditional set of poetic issues. The paper builds on poetic synergy of the „scenes“ of writing (R. Campe) during literary production and, in conclusion, it deals with the scenes of autobiographical writing in the literatures of Central and Eastern Europe. The concept of „poetics of preparation“ is suggested in order to characterize literary works which are oriented at aesthetic and poetic dimensions of manuscripts. In the author´s opinion, distinct poetics can be typically found, for instance, in small forms of the note-taking style of writing, which dominates in the field of unedited literature of the 1970s and the 1980s.
7

Czym może być dekonstrukcja?

88%
Kopka A.
Kwartalnik Filozoficzny
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2013
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vol. 41
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issue 3
81-99
EN
In my article I consider deconstruction as a philosophical strategy. The problems which arise with the explication of what deconstruction might be result from the fact that deconstruction escapes full conceptualization and does not allow itself to be presented as a philosophical method. Such resistance does not mean that we cannot recognize manifestations of deconstruction in the body of a text whose structural incoherence will not allow us to recover one rightful meaning, since every text is constantly in deconstruction, opening itself to innumerable interpretations. Therefore, deconstruction is something that one cannot control, but at the same time it makes every textual operation possible.
8

THE CHURCH AS FRATERNITAS IN CYPRIAN OF CARTHAGE' S WRITINGS (Kosciol jako fraternitas wedlug Cypriana z Kartaginy)

88%
Pietrusiak P.
Rocznik Teologii Katolickiej
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2011
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vol. 10
67-87
EN
To stress the idea of the Church as a community, the Second Vatican Council sometimes used the term fraternitas. It means not only a brotherly relationship among the faithful, but also the community of Christians. The very word i rst appeared in Christian Latin and in the 2nd-century translations of 'Vetus Latina', then in Tertulian's writings and, i rst of all, in Cyprian's. The bishop of Carthago used the term as the synonym of 'community' and 'church'. This way he stressed the identity of the Christian community and family-like ties among the believers. The Church is a community of brethren because everyone is a brother of Jesus Christ through the baptism and faith. Such sense of identity makes the Church the community of its members, whose relationships may be compared to those in a family.
9

SOCIÁLNA FUNKCIA HISTORICKÉHO POZNANIA A VEDECKÉ PÍSANIE DEJÍN V 21. STOROČÍ

88%
Vörös L.
Historický časopis (Historical Journal)
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2016
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vol. 64
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issue 4
619 – 629
EN
In the 21st century historiography remains epistemologically diverse like no other discipline in the social sciences and humanities. Theoretically uninformed, often nationalist, and objectivist (reconstructionist) narrative historians coexist with constructionist and deconstructionist historians who work with social theories and conduct critical analyses within the same institutional frames of regional or national historiographies. In spite of decades of intense plausible criticism – at least in the countries of Central and Eastern Europe – the national/nationalist history writing based on rather naïve objectivist epistemology remains influential and forms an important, if not dominant, part of the respective national historiographies. The present paper suggests that there are several factors in the lasting reproduction and even thriving of the obsolete epistemological positions that traditional, narrative national/nationalist historiographies are based on. These might be categorized as cognitive, social, and institutional in their nature. The paper analyses particularly the social purpose of knowledge about the past and the social functions of institutionalized professional history writing. National histories play an important part in the politics of memory and identity; they provide a historical dimension to the ideal national community, they also serve as legitimizing or delegitimizing narratives – these functionalities require a strongly objectivist epistemology. In fact, the epistemological points of departure of the traditional narrative national/nationalist historians are very similar to the intuitive “pre-cognitive” theories of the past shared by most ordinary people. Both are based on the idea that the past can be narrated in a form of one true story. The paper comes to the conclusion that historiographies – at least in the Central and Eastern European countries – are formatively influenced by social determinants coming from outside the discipline to much larger extent that most of the historians are ready to admit.
10

PÍSEMNÍ AKT. DERRIDA A SEARLE O PARAZITICKÉ PERFORMATIVITĚ

75%
Fišerová M.
Filozofia (Philosophy)
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2018
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vol. 73
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issue 1
63 – 74
EN
The article introduces handwritten signature as a sort of performative. Contrary to the theory of speech acts, the author proposes to grasp it not as a speech act, but as a writing act inspired by Derrida’s deconstructive conception of parasitical iterability of the writing. In this perspective, the writing act is habited by an aporetical double bind, where ontologically “similar” and logically “identical” are pervading. The unsatisfiable metaphysical obligation of the civil identification via signature can be understood only thanks to the aporia of deferred meaning, where the only original is actually the deferral. As the analysis of the well-known polemics between Derrida and Searle shows, the deconstructed writing produces writing acts as parasitical performatives, which are far from communicational, citation and identification claim of Searle’s conception of speech acts. Finally, the article proposes a new revision of the differences in performative conception of sign in Austin, Searle, Derrida and Ronell.
11

DVE DISKUSIE O DVOCH SLOBODOVÝCH ROMÁNOCH

75%
Prušková Z.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 5
418 – 422
EN
The article written on two discussions of the 1980s is a commentary of the literary-historical changes in that period of time. The author using two novels by the controversial writer Rudolf Sloboda tries to show how critics of the 1980s dealt with their presence in literature. The 1980s were the natural backgrounds for the problem. It is also important to realize how ambiguous they were. What is interesting in this context is the unstated presence of the notions author, subject, author´s subjectivity, authenticity and autobiography in the discussions about Sloboda´s writings. There, in two of the discussions appear names which represent rigid or more moderate criticism. At the same time, they are the accurate reflection of the literary criticism in the 1980s ranging from censorship to self-censorships methods.
12
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STOPY AUTOBIOGRAFIE VO FIKCII (AUTENTICKOSŤ DIELA DOMINIKA TATARKU)

75%
Bátorová M.
World Literature Studies
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2011
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vol. 3 (20)
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issue 2
46 – 60
EN
The article considers selected “autobiographical” works by Dominik Tatarka and his fiction with autobiographical elements. As a typical modernist author, Tatarka focuses on the personal experience of the authorial subject. However, the writing is ambiguous and often contradictory in factual information. Comparisons with memoirs by his contemporaries clearly document Tatarka ś strategic shift from autobiography to creative fiction. In thinking about “autobiography-auto-fiction-fictional (novelistic) discourse”, that is not at stake just the type of theory that deals with the category of the author, but also the type of interpretation that the interpreter will accept and put to practice. We are dealing not only with a stereotypical distinction between post-structural and hermeneutic approaches of the interpreter, but with the finer differentiation of the multiple roles of the author. We are dealing with the relationship of the author – text, the text as the basis of interpretation, as the platform of the author, as the mirror of the author, the text with an evident stamp of the author. We are dealing with autobiography as a fiction (focus on the self – self-exhibition – brings with it a shift from own biography – in memories – to a desired image of oneself, a shift that is however difficult to identify).
13

POETIKA V MNOŽNOM ČÍSLE (POZNÁMKY K NAJNOVŠEJ LITERATÚRE PREDMETU)

75%
Kazalarska Z.
Slovenská literatúra (Slovak Literature)
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2019
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vol. 66
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issue 2
103 - 113
EN
The paper deals with the latest literature concerning the concepts of poetics and event. The searches conducted by the author are based on Petrer Zajac´s conceptual reflexion on new poetics, which is understood by him as poetics of text and poetics of event. In recent German (and partly also Czech) publications Kazalarska is seeking impulses for further development of theoretical background which would make it possible to grasp interconnections between poetics of text and poetics of event and track the points of transition between them as well as their potential overlaps and entanglements. The first part of the paper shows the current use of the conceptual dimensions of poetics, which is related to both the process of developing literary science into a cultural science and the process of establishing the concept of performativity. A comparably big „boom“ can then be recognized in case of poetics of event, which has been closely examined by literary science lately. The other part of the paper is focused on the question asking to what extent it is possible to talk about „eventness“ on the level of a literary text. What becomes the centre of attention is the materiality of writing, which belongs to the newest fields of poetics and which fulfils its poetic potential exactly on the interface between poetics of text and poetics of event and oscillates between the two types of poetics. The subject of the final thought is the literary historical place and poetological significance of the materiality of writing within Slovak literature after 1945.
14
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„MY NEVYDÁVAME ŽENSKÚ LITERATÚRU”: CENZÚRA A AUTOCENZÚRA LITERÁRNEJ TVORBY ŽIEN V UGANDE

75%
Pucherová D.
World Literature Studies
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2018
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vol. 10
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issue 4
102 – 122
EN
The article analyses cultural prejudices faced by women writers in Uganda since their belated entry into Ugandan literature in the 1990s, facilitated by the non-governmental literary organization FEMRITE. The censorship discussed is not official or institutional, but is part of traditional cultural discourses about women. Drawing on Judith Butler’s (1998) theorization of implicit censorship present in the social regulation of discourse and her term foreclosure, the article analyses the ways in which this censorships works to create norms of constructing a social and political female subject. It is created, on the one hand, by an atmosphere of trivializing women’s experience (which simultaneously masks and normalizes patriarchal violence against women) and on the other by perceiving fiction as personal confession, i.e., overvaluing its meaning. The article shows that despite the explicit feminist orientation of FEMRITE publications, these texts often reveal the authors’ internalization of traditional patriarchal dis-courses.
15

MEDIÁLNA HYBRIDNOSŤ NA POLI INTERNETOVÝCH TEXTOV

75%
Jurečková A.
Motus in verbo: časopis mladej vedeckej generácie
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2017
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vol. 6
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issue 2
7 – 13
EN
This article depicts the communication between orality and writing in the field of electronic media. In this area the borderlines between them appear to be unclear and these language forms are combined and mixed up. The analysis describes also other relevant opposition factors influencing communication and texts that were presented by J. Findra (2009, p 12) namely oral vs. written, official vs. non-official, public vs. private, prepared vs. non-prepared, monological vs. dialogical. Medial hybridity is present in the mixed codes used within one platform. Features exclusively characteristic for orality in the past are nowadays present in writing as well.
16

SCIENCE OR PSEUDOSCIENCE? ROBERT SAUDEK'S GRAPHOLOGY REVISED BY DECONSTRUCTION

75%
Fišerová M.
Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied
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2025
|
vol. 28
|
issue 1
1 - 11
EN
This article focuses on the discursive changes that led to the revaluation of the “scientific” status of graphology in the 20th century. While graphology was established as a serious science in the 19th century and during the first three decades of the 20th century, it was later reconsidered. In the second half of the 20th century, graphology was removed from the realm of esoteric pseudo-sciences, such as palmistry, and replaced by the scientifically justified forensic analysis of handwriting. The article aims to challenge the case study of Robert Saudek, a Czech interwar graphologist whose ambition was to make graphology a rigorous “science”; the author questions his “scientific” justification. By recalling Jacques Derrida’s formulation of the philosophical problem of the semantic instability of writing, the author examines the “scientific” bias in graphological analysis of handwriting. The article identifies a double bind in Saudek’s psychological analysis of “brainwriting”. On the one hand, Saudek believes no living being can repeat their bodily traces identically. On the other hand, phonocentrically interprets them as forming recognisable personal styles, allowing for the classification of the writers according to the expected resemblance, authenticity, and identity of written traces and writing brains. Saudek also logocentrically judges the supposed psychological qualities of writers according to his own typology of human “brains”.
17

POETIKA PRÍPRAVY: ČESKÉ A SLOVENSKÉ SCÉNY AUTOBIOGRAFICKÉHO PÍSANIA V 70. A 80. ROKOCH 20. STOROČIA

63%
Kazalarska Z.
Slovenská literatúra (Slovak Literature)
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2016
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vol. 63
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issue 5
364 – 376
EN
This article deals with Czech and Slovak unofficial autobiographical writings (diaries, private letters, notebooks and samizdat sheets) from the normalisation period of the 1970s and 1980s. The author focuses on works by authors such as Ivan Diviš, Ivan Kadlečík, Dominik Tatarka, Ludvík Vaculík a Jan Zábrana and argues that they contribute to a dissident culture of short forms, which was typical for the literature of late socialism in Eastern Europe. Analysing their reflections and meta-reflections on the act of writing, as well as on writing materials, instruments and gestures, she comes to the conclusion that these writers thematise, problematize and make use of the same „scene of writing” (Rüdiger Campe) in their works: the scene of making notes. Defining notes not merely as products, but as a writing praxis with particular instrumental and gestural features, the author draws attention to the following five figures, which are essential for the elaborated programme of making notes: intransitivity, mobility, casualness, tentativeness and excess. In order to illustrate the „poetics of preparation” (Roland Barthes), shared and developed by the examined literary works, she uses as an example a collage by the Czech dissident and exile artist Karel Trinkewitz, in which notes and haiku poems are combined. She concludes that in the interpreted autobiographical writings the scene of making notes comes to the foreground; it is not only an object of narration, reflection and meta-reflection, but turns into a scriptural gesture of resistance towards the writing conditions in the 1970s and 1980s.
18

ON WRITING AND HANDWRITING

63%
Kučera M.
Pedagogický časopis (Journal of Pedagogy)
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2010
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vol. 1
|
issue 2
11 – 28
EN
Writing is often considered secondary to the spoken language, as it is only coded sound-by-sound. But other scholars have demonstrated that writing is similar to ‘arithmetic’: a cognitive structuring, a shift to the meta-level (‘for the eye’). Handwriting (referred to here as the cursive writing in the sense of joined up handwriting, of ‘écriture liée’) differs from writing (in the first analysis): it has its own grammar composed of paradigmatic gestemes and tracemes and its own syntagmatic rules that connect them. In emotional terms, handwriting is designed to provide a special pleasure by its own drive (instinct, ‘Trieb’). But there is also cognitive aspect to it: the rapidity and fluidity of a cursive writing could be (in professional writing, for instance) more important (at the climax of the creative process) than it being legible for all eternity. The project of the new handwriting reform for Czech schools, abolishing the liaison between letters, is shown to be a modern and technically simplified form of calligraphy.
19

CYRILOMETODSKÉ DEDIČSTVO A JEHO ODKAZ SVETU SLOVANOV

63%
Tachiaos A. E.
Historický časopis (Historical Journal)
|
2014
|
vol. 62
|
issue 3
385 – 391
EN
The paper is concerned with the contribution of the mission of the Thessalonian brothers Constantine (Cyril) and Methodius for the Slavonic world in terms of three important points: 1) Brothers Cyril and Methodius worked in the Slavonic world as mediators of the cultural values of the Byzantine Empire. 2) They created not only a means of expression in the form of writing, but also a literary language that had not existed before. 3) They created all the conditions necessary for the free development of national Slavonic cultural life and for the formation of the self-consciousness necessary for its continuation. These three points express not only the contribution of Cyril and Methodius to the development of the culture and national consciousness of the Slavs, but also the cultural message of Byzantium to the Slavs.
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