Stacie Friend’s theory of fiction departs from those approaches that seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flexible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the genre of nonfiction—and only that genre—as its contrast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately depict a specific way of approaching such works.
Poetika prozaického textu v slovenskej literatúre od prelomu štyridsiatych a päťdesiatych rokov 20. storočia odráža v literárnohistorických súvislostiach viacero jednotlivostí. Tie sa postupne napájali na výmenu spoločenských a politických reálií, reagovali na reminiscencie doznievajúceho literárneho života prvej polovice 20. storočia a na štatút autora v medzivojnovej literatúre, na formovanie povojnového konceptu a deklarovaného programu novej, modernej slovenskej literatúry, na autorskú aj literárnovednú generačnú výmenu, na selektovanie dominantnej látky a tematiky popri prozaickej projekcii indivídua v próze debutujúcich autorov na konci päťdesiatych rokov. V názorovo zložitých pohyboch a diferencujúcich sa estetických a poetologických procesoch treba spomenúť genologické pohyby a nimi iniciované morfologické, estetické a noetické ambície debutantov. V zložitom kultúrno-spoločenskom období sa mení postavenie, rola, závažnosť aj spoločenská dominancia spisovateľa, ktorý po skončení druhej svetovej vojny stál pri prameni všetkého "nového", čo malo posunúť slovenskú literatúru do európskeho priestoru. and At the turn of the 1940s and the 1950s poetics of a prosaic text in Slovak literature reflected several individual items in a literary historical context. They were gradually connected to the changes in social and political realities, the reminiscences of a fading literary life of the first half of the 20th century and the status of the author in the inter-war literature, the post-war concept formation and the declared program of new modern Slovak literature, a generational exchange comprising authors and literary history, the selection of the dominant themes in addition to the prosaic projection of an individual in the prose by the debutants at the end of the 1950s. Among the complex changes in opinions and differentiating aesthetic and poetological processes it is necessary to mention the genealogical movements and morphological, aesthetic and noetic ambitions of the debutants initiated by them. In the difficult cultural and social period, the status, role, importance and social dominance of a writer undergo substantial changes. After the Second World War, it is the writer who was the source of all the "new" which should have moved the Slovak literature to Europe.
Zámer kontaktu s najnovšou tvorbou dvoch prozaičiek feministickej literatúry smeruje k vyme-dzeniu ústredných poznávacích stratégií vyhranených autoriek, z ktorých Farkašová sa uzatvorila do látky, tematiky aj problému mravného a myšlienkového vyrovnania sa s rodinnou empíriou a s faktom bolesti, neporozumenia aj smrti. Juráňová má širšiu látkovú aj tematickú základňu, obmieňa historickú postavu a historické spoločenské reálie s literárnou postavou, hľadá hodnotiaci postoj ženskej postavy k anonymite mesta aj jej straty na vidieku, uprednostňuje samotu, osamelosť a dôstojnosť v činoch svojej ženskej literárnej postavy. and The intention of contacting with the latest work of the two women prose writers of the feminist literature leads towards the determination of central cognitive strategies of well-defined women authors of which Farkašová is closed into the subject, theme and the problem of copying with the family empiricism, the fact of pain, misunderstanding and death in morality and reasoning. Juráňová has broader subject and thematic bases, she substitutes a historic character and historic social reality for a literary character, looks for the evaluating attitude of a female character to the anonymity of the city and its loss in rural environment, prefers solitude, loneliness and dignity in the acts of her female literary character.
Etela Farkašová patrí medzi výrazné autorské objavy slovenskej prózy 80. rokov 20. storočia. Profesionálna filozofka, feministka inklinuje k prozaickému rozprávaniu o tom, čo si uchovala vo svojom vnútornom svete. Farkašová porušuje formu prozaického textu, nemí ho na záznam, zápis, na súbor detailov, teda na záznamy toho, čo si jej emocionálna pamät uchovala z detstva a z toho, čo intenzívne prežívala v role dcéry svojich rodičov, alebo v role matky a člena svojej rodiny Farkašová je rozprávačka pomalého tempa, je premýšľavá, kondenzovaná s početnými návratmi k tomu, čo už "vyriešila". and Etela Farkašová ranks among outstanding personalities of Slovak prose of the 1980s. As a professional philosopher and a feminist, she tends to a prosaic narration about what she had preserved in her inner world. Farkašová breaks the form of a prosaic text, thus changing it into a record, report, or a set of details, i.e. changing it into the records of emotional memories of her childhood, of her experience from the role of a daughter in her parents' family or from the role of a mother and a member of her own family. Farkašová is a slow-rate narrator with a contemplative mind, condensed with numerous returns to what she had already "solved".
Nejednoznačná definícia a rozličné uchopenie sémantickej motivácie pojmu memoáre, ako aj pojmov táborová literatúra, koncentračná literatúra, koncentračnícka literatúra a podobne (prikláňame sa k termínu memoáre z prostredia koncentračných táborov), vedú k rozličným interpretáciám a ich diferentnému žánrovému zaradeniu. V talianskej literárnej vede Franca Marianová, Francesco Guerre a Raul Mordenti, konkrétne v diele Literárne formy v dejinách uvažujú o termínoch "memoárová spisba" (v tal. la scrittura della memoria) a "spomienková spisba", resp. "literatúra svedectva" (v tal. la scrittura della testimonianza). Autori k prvému bodu priraďujú práce Giorgia Bassaniho či Natalie Ginsburg, k druhému bodu diela Prima Leviho a podobne. V českom a slovenskom kontexte zdôrazňujeme najmä terminológiu a žánrovú charakteristiku Vlastislava Válka, Iva Pospíšila, Františka Štrausa, Petra Valčeka a i. and The missing or voluntary semantic motivation thus can lead to the wrong interpretation and to the vagueness of a given term. In our works, we prefer the term "memoir literature from the environment of the concentration camps". In the Italian context, the authors distinguish, for instance, the terms "concentration literature" (i.e. literature written during internment in the concentration camp) and "memoir literature" (works written after the liberation). Franca Mariani, Francesco Guerre a Raul Mordenti in the work Literary forms in History consider terms "memoir writing and "recollection writing" or "literature of testimony". The works of Giorgio Bassani or Natalie Ginsburg are assigned to the first group, the works of Primo Levi to the second. We accent mainly a terminology and genre characteristics of Vlastislav Válek, Ivo Pospíšil, František Štraus and Peter Valček in Slovak and Czech context.
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.
Předložený příspěvek se zabývá tím, jak žáci ve svých vyprávěních pojednávají o distribuci moci v kontextu školního prostředí. Koncept moci je nejprve představen v souvislosti s jednotlivými subjekty, které do mocenských vztahů vstupují – sociální mocí školy, sociální a individuální mocí učitele a mocí žáků. Navazující empirická část pak skrze analýzu žánrů žákovských příběhů ukazuje, jak jednotlivá vyprávění umožňují žákům odlišit a popsat různá pojetí mocenských vztahů v prostředí školy. and This contribution comments on how students understand the distribution of power in the context of schools. The concept of power is first presented in regard to specific subjects entering the relations of power: the social power of schools, the social and individual powers of teachers, and the power of students. Through an analysis of the genres of student stories, the subsequent empirical part shows how various kinds of narration allow students to differentiate among and describe varied power relations within schools.
Large synchronic textual corpora of the Czech National Corpus are built as representative: they contain a balanced quantity of texts of various styles, divided into three genre subcorpora: fiction, technical/scientific literature and journalism. Comparisons of these genres have been performed on phonological and morphological level; in this paper, I deal with differences between genres on the surface-syntactic level. I use an automatic syntactic annotation of the SYN2005 corpus in the formalism of the analytical layer of the Prague Dependency Treebank. I compare the frequencies of syntactic functions of nouns in the three genres represented by the corresponding subcorpora of SYN2005. I also present a more detailed analysis of four syntactic phenomena: subtypes of the function of attribute in non-prepositional genitive; frequencies of groups of the type pan Novák (Mr. Novák); frequencies of the function of agent in passive constructions expressed by nouns in non-prepositional instrumental and the ratio of the expression of the nominal part of a verbal-nominal predicate by nominative and instrumental. Significant differences found between genres in all the syntactic phenomena analyzed show that in comparing corpora one should carefully monitor their genre composition.
Since the beginning of the first satire, Juvenal has rejected the use of epic as being too exploitable and too inefficient to describe the monstrosity of the Roman vice. Yet the epic allusions crosses all satire. The paper deals with the idea that the functions of the epic elements in the first satire, often being erroneously restricted to a decorative (i.e. mocking) one, are in a stringent manner connected with Juvenal's choice of satire as genre. The paper shows how Juvenal transfers epic foundings on the ground of the satire and how he uses them to form his programmatic principles.
In this study we consider the comedies of Ignaz Cornova. Locating his plays within the landscape of late 18th century genres, we examine the specific use the writer makes of contemporary dramatic conventions and the way in which he engineers the social reconciliation that characterizes his comedies. First we take a closer look at the dramatic construction of his plays and compare them with the comedic output of his contemporaries active in Bohemia. We then focus on Cornova’s particular use of the language of comedy, of which we find echoes in his many and varied writings on culture and politics. Finally, we address the issue of relations between the social estates or classes. Our conclusion shows that the storylines Cornova rehearses in his comedies are later exploited in his historical writings and may thus be considered as the author’s recipe for pacifying the social conflicts of the period.