Článek je pojmovou a teoretickou syntézou založenou na zkoumání metaforičnosti, narativity a dialogičnosti, které bylo autorem realizováno v průběhu posledních 15 let. V těchto výzkumech se postupně objevila potřeba jednotícího teoretického rámce, který byl nalezen v konceptu aktivní imaginace. Je pojednáno o klíčových konceptech navrženého konceptuálního systému, k němuž vedle aktivní imaginace patří také transcendentní funkce a sémantická inovace. S využitím těchto pojmů je navrženo několik dimenzí pomyslného prostoru, v němž lze uvažovat o rozmanitosti různých forem aktivní imaginace, jimiž jsou: 1) rovina ztvárnění, 2) orientace přesahu, 3) prostředkující relace, 4) režim věrohodnosti, 5) modus identifikace. V kontextu přijatých východisek a navržených dimenzí je vymezena řada pojmů označujících různé formy aktivní imaginace, jimiž jsou: 1) metafora a symbol, 2) vyprávění a mýtus, 3) dialog a dramatická hra, 4) žánr a styl. and Shapes and forms of active imagination: proposal of conceptual framework
The article deals with conceptual and theoretical synthesis based on research on metaphor, narrative, and dialogue realized by author in last 15 years. In these researches, a need for unifying theoretical framework appeared. This framework was found in concept of active imagination. The article deals with key concepts of proposed conceptual system which include active imagination, transcendent function and semantic innovation. There were proposed five dimensions of conceptual space, in which it is possible to consider about varieties of different forms of active imagination: 1) level of enactment, 2) orientation of transcendence, 3) mediating relation, 4) regime of veracity, 5) mode of identification. In the context of accepted assumptions and proposed dimensions, a set of concepts denoting various forms of active imagination is defined: 1) metaphor and symbol, 2) narrative and myth, 3) dialog and dramatic play, 4) genre and style.
This article deals with the Hindu cosmological imagery of water as presented in the Indian novel in English. The writers show a great interest in water as a means of depicting a transformation and/or re-birth of both the Indian society and the individuals in it relying on the water as symbolizing a beginning of a new life/identity in the Hindu cosmology. This is rendered vividly, for example, through the Nārada and Mārkandeya myths, where the two sages, after a passage through water, experience a new identity or a world perception totally different from that known to them before. R. K. Narayan, an author who lived all his life in India, deals in his novel The English Teacher with the spiritual transformation of the main character, Krishnan, which is accompanied and accomplished by different entities of water. He is oppressed both by the colonial condition and by personal tragedy, whereas Saleem, the main character of Salman Rushdie’s Midnight’s Children, who is made to represent the country, acquires in the jungle of the Sundarbans an understanding of the necessity of adopting elements of other cultures. Two other authors, Anita Desai and Chitra Banerjee Divakaruni, develop the theme of the woman’s condition as a representation of the counterpart and contradictory images of water and sun/fire. Desai’s Fasting, Feasting relates the Indian condition to that of another culture and Divakaruni’s The Mistress of Spices addresses the problems of the Indian concept of marriage in the diaspora while using mythological imageries of other cultures.