Відповідно до інтерпретації Д.Чижевського, у статті звернено увагу на окремі теми "лабіринт світу" Я. А. Коменського (тема духовних мандр, світу як візії, драми та лабіринту, гнаної правди, "Христа і душі") та функціонуваня у творі певних стилістичних засобів ("негативної алегорії", словесних ланцюгів). Зроблено висновок про те, що інтерпретацію Д.Чижевського можна розглядати як спробу аналізу інтертекстуальності твору Я. А. Коменського до введення цього терміну у літературознавчий обіг. and The article deals with D. Čyževskij's interpretation of Comenius' Labyrinth of the World and the Paradise if the Heart. The accent is laid on the themes and their sources in the history if literature and philosophy intertwined in the Labyrinth. Among the main themes, analyzed in the way, there are: the theme of Spiritual quest, the World as a Vision, the World as a Drama, the World as a Labyrinth, the Expelled Truth, Christ and the Soul, Soul in Heavenly Home / in exile. Among the stylistics devises which realize the themes in the text the function of "negative allegory" and the world chains are analyzed. It is proposed to view this approach as the first attempt at intertextual interpretation.
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.
The present study focuses on the intertextual relations between fairy-tale patterns and their artistic adaptations that are in contemporary literary communication and meta-communication denominated apocrypha. The study analyzes and compares the short story anthologies of Přemysl Rut V mámově postýlce(In Mummy’s Bed, 2000) and Květa Legátová Mušle a jiné odposlechy (Shell and Other Eavesdroppings, 2007). Both authors in some of their stories reproduce in specific way the classical adaptations of folklore tales, or better to say components of their typical plotlines. The study shows how the intertextual relations between apocrypha and its fairy-tale prototexts are established and aims to identify the nature of intertextual transformations of the original tale plots, motives and characters. The basic procedure of apocrypha writing is the motivic amplification of the fairy-tale that enters the text either through the quotation or through the basic plotline that is then rewritten anew. The fairy-tale prototext or the general acquaintance with it constitutes the indispensable perceptual background of the apocrypha and upon this background the ironic intertextual game with allegorical or variously actualized meanings is being played. This game “it happened some other way” is focused on adult recipients, something that sets the fairy-tale apocrypha apart from the range of post-modern variants of authorial tales.
The article draws attention to postmodern practices of I. Otčenáš that apply to its alternative history writing. The literary image of the historical development is largely marked by such procedures as irony, mystification, parodic stylization and networking through which questions the possibility of unilateral interpretation of history.
Based on "reading" the multi-levelled semantics of selected cyberpunk, postmodern texts by Michal Hvorecký, Michal Habaj and Peter Šulej, which are linked with the one-sided technology and consumption-oriented civilisation development together with enstrangement and personality disintegration (the inability to live authentically, in particular), I demonstrate not only the vitality but also the relevance of expression in the literary cyberpunk.
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.