This reflection is inspired by a discussion among leading intermedialists organized by UNISC, Brazil, fall 2021. It included contextualization and conceptualization, i.e. setting the current research within the context of the discipline’s development and the synchronic study of culture, proposing new concepts or defending old ones. The key term ‘in-between’ expresses both a trend in art, and in the self-reflecting intermedial methodology. It becomes obvious that intermedial research opens up wide to analyzing issues of social importance. In our exposition, we assess the debated concepts in terms of their analytical and educational potential in literary and cultural studies, and relate the debate to the Czech environment.
Autor analyzuje možnou ekvivalenci literárního textu a jeho výtvarné ilustrace. Jaké jsou vlastnosti dobré ilustrace? Jaké je kritérium lepší ilustrace? Které faktory rozhodují o ekvivalenci obrazu a textu? Je možné ilustrace číst podobně jako text? Tyto a další otázky jsou v centru autorovy pozornosti. Kniha nabízí témata z estetiky, intermediálních studií, dějin umění a psychologie. Vybrané kapitoly jsou završeny autopsií autora, který je sám knižním ilustrátorem dobrodružné a vědecké literatury. ,The book maps and illuminates the means via which artistic illustration is capable of expressing the meaning of the narrative text. The aim is to analyze the processes through which literary elements are adapted into artistic form. The description of the process of adaptation is based on analysis of both semantic properties of text and the images´visual layout (those which analogically predetermine how the illustrations are read). Within the work key arguments from the field of aesthetics, intermedia studies, the arts disciplines and psychology are reflected. Selected chapters are supplemented with an autopsy of the authors’ own work, he himself being an illustrator of adventure books and scientific texts.
Alice Jedličková - Stanislava Fedrová (eds.)., Autoři: Stanislava Fedrová, Martina Janáková, Alice Jedličková, Matěj Kos, Michaela Koutská, Veronika Kubecová, Tereza Nahodilová, Lucie Petreková, Anastasia Syrota, Veronika Šašalová, Šárka Švihálková, Ondřej Trojan, Adam Vrchlabský, Obsahuje bibliografii a bibliografické odkazy, and born digital
Alice Jedličková (ed.) ; překlady Mikuláš Ferjenčík a Olga Richterová., Obsahuje bibliografie a bibliografické odkazy, and Část. slovenský text, anglické resumé
Alice Jedličková (ed.) ; translation Melvyn Clarke, Martina Kurtyová ... [et al.]., Obsahuje seznam citovaných děl, and Obsahuje český text, částečně přeloženo
The transformation of legal culture from oral to written, which was taking place at a different pace and with varying intensity throughout Europe starting in the twelfth century, is the subject that has been regularly neglected by the Czech historiography. Similarly, little attention has been paid to the co-existence of legal ritual and its written records in diplomatic documents. Based on the analysis of the case from the late thirteenth century, the aim is to determine the way in which ritual circuicio was represented in charters. The question is: What strategies were chosen by the new written legal culture facing the tenaciously resisting old world of rituals? To be able to address the issue, the nature of the above mentioned sources will be defined along with the reconstruction of the intertextual network which they form.
This study makes a contribution towards resolving the issues surrounding the interpretation of intermedia works that experimentally combine poetry, word, music and sound. The particular subject of this analysis is a project known as Scribbles by writing duo Jaromír Typt and Michal Rataj, which has seen the light of day both in the form of live performances and on two albums (Škrábanice [Scribbles], Zaškrábnutí [Scribbles more]), on which the present essay is also based.
The present study offers a general overview of Byzantine visual poetry, based on older studies including works by Paul Speck (1964; 2003), Odysseas Lampsidis (1982), Wolfram Hörandner (1990; 2009) and Ulrich Ernst (1991), focusing on a special poetical form where the text is interwoven with other intexts (e.g. acro-, meso- and telestics). These poetical forms are called carmina cancellata or carmina quadrata in Latin and Gittergedichte in German. The Greek term "woven verses" [στίχοι υφαντοί] was introduced by Eustathios of Thessalonike (c. 1110–1195). But this type is scarcely known in modern studies of visual poetry. One of the main aims of the present study is therefore to emphasize the importance of the Greek term στίχοι υφαντοί as a terminus technicus for the Byzantine examples, as they differ in their metric construction from the Latin ones. The study associates the form with the general metaphor of text as a woven texture. The paper compares Byzantine and Latin examples as well as Modern Greek visual poetry. In addition, it examines the instrumentalization of the genre as a tool of propaganda, as an imperial and mannerist form, raising questions concerning the mediality and public presentation of Byzantine visual poems.