Publikace se zabývá otázkou produktivity jednoho z děl staroegyptské literatury v kontextu literatury světové, Dialogu zoufalce a jeho duše, s cílem ustavení skupiny tvarově příbuzných děl a vystižení jejich podstaty v rovině výstavbové, stylisticko-poetologické, sémantické a žánrové. Přítomnost archetypálních prvků v Dialogu zoufalce a jeho duše se stala hlavním předpokladem výskytu podobně zaměřených textů i ve zcela odlišných geografických i kulturních podmínkách. Dialog zoufalce a jeho duše je chápán jako prototypický textový model, na jehož základě je – dle vymezených komparativních kritérií – určována míra tvarové příbuznosti s podobnými dialogickými texty vzniklými zejména v nejstarších světových literaturách a v literaturách středoevropského areálu. ,The publication is concerned with the productivity of one of the ancient Egyptian works, The Dispute of a man with his Ba, in the context of a worldwide literature in order to determine the group of works related in their form and to capture their essence on the construction, stylistic and poetological, semantic and genre planes. The presence of archetypal elements in the Dispute of a man with his Ba became a prerequisite for occurrence of other similarly focused texts even in totally different geographical and cultural conditions. The Dispute of a man with his Ba is perceived in the dissertation as an archetypal text model upon which the degree of the form affinity with similar dialogical texts created especially in the oldest worldwide literature and the literature of the Central European area is determined in line with the defined comparative criteria.
The aim of this article is to present a relatively complex linguistic analysis of the three-volume correspondence between Jiří Voskovec and Jan Werich (V+W). Focusing on the dialogic structure of these letters, its remarkable coherence and stylistic uniformity, we examine the research possibilities such text types may offer in the field of dialogue stylistics. This highly private correspondence draws attention to the transitions between written and spoken language, fluctuations between using literary and common Czech, as well as a frequent use of vulgarisms, which we interpret as a natural part of the authors’ shared idiolect. Another building block in the stylistic uniformity of the entire correspondence that is worth highlighting is the linguistic playfulness and languagebased humor, including V+W’s fondness for using, manipulating, and commenting on specific set phrases, in which they also intertwine Czech and English. Although English holds a prominent position both in terms of frequency of use and the variety of expressions, the letters actually display features of multi-lingual texts; this quality comes out also in the form of stating the authors’ opinions about Czech (or other languages). The multi-lingual flavor is not far from issues of intertextuality, which manifests itself in the form of a variety of quotations, paraphrases, references, or ad-hoc created fake proverbs. Another part of our analysis concerns V+W’s creativity in word-formation (especially on the part of Voskovec), as well as various grammatical phenomena. In morphology, the texts show a conspicuously high frequency of participles and the archaic short-form adjectives; in syntax, we observe the stylistic function of certain passive constructions, causativization of non-causative verbs, special kinds of ellipsis, and idiosyncratic patterning in marking information structure.
Tvorba Karola Horáka osciluje neustále medzi prozaickým, filmovým a divadelným princípom. V jeho tvorbe sa interferujú prvky z týchto troch typov umení. Hľadanie nových foriem, experimentovanie s textom, hľadanie nových tvarov – aj takto by sme mohli charakterizovať tvorbu Karola Horáka. Téma a tvar, to sú dva najdôležitejšie segmenty, ktoré Horák až improvizačným spôsobom modeluje, neustále pretvára, je to špecifický pracovný postup pri kreovaní výsledného textu a tvaru. Téma tvorí pôvodné inšpiračné východiská na začiatku procesu, pričom sa postupne transformuje do osobitej formy v konkrétnom tvorivom prozaickom alebo divadelnom prezentovaní. and Karol Horák's oeuvre is constantly oscillating between the prose, film and theater principles. In his work, elements from these three types of art interfere. Looking for new forms, experimenting with text, searching for new shapes, we could characterize the work of Karol Horák. Theme and shape, these are the two most important segments that Horak improves in the improvised way, constantly transforming, it is a specific workflow in creating the resulting text and shape. The theme is the original inspirational basis at the beginning of the process, gradually transforming into an individual form in a particular creative prose or theater presentation.
Three vernacular texts from late-13th-century Bohemia, in Middle High German and Old Czech, integrate motifs associated with the Holy Land, pilgrimage and the crusades. The romance Wilhalm von Wenden manifests the late Přemyslids’ royal ideology by portraying an independent, pious ruler who derives authority from Jerusalem. The Alexandreis explores the psychology of a military expedition to provide ground for moral reflection and draws on cartography to exploit the symbolism of Jerusalem’s geographic centrality. The crusade-related details in the Legend of Saint James the Less attest to an informed use of intertextual practices.