During the epoch at the turn of the 20th century — known in the Hispanic area as modernism — the writers had to look for other ways how to make art and gain some money. The solution was often found ...in journalism, where a new genre appeared: the modernist chronicle. Despite the fact the newspapers were symbols of transitoriness the modernists tried even there to create a beautiful, artistic prose which would reflect the main questions and fears of that period. And the authors of chronicles were the key figures of Hispanoamerican modernism like José Martí and Rubén Darío. The modernist chronicle became an instrument of presentation of new, unknown and rare experiences and also a way how to interpret the modern world and human existence.
The article examines the possibility and the merits of a dialogue between genology and the theory of fictional worlds. It focuses particularly on the areas where Czech or Czech-related theory of ...fictional worlds (Zuska, Doležel, Traillová) offers a typology of fictional worlds, and it evaluates the potential application of such typology in genology. The types of fictional worlds, or the groups of texts defined by these types, cannot be seen quite as genological units (taxons), but they can play an important role for genology as the s.c. modus.
The article focuses on Milan Kundera’s works from the mid-1950s to the early 1960s, particularly on Poslední máj (The Last of May) in the versions of 1955 and 1961, and Kundera’s first Art of the ...Novel (Umění románu), a study on the works of Vladislav Vančura, finished in 1959. The article argues that these works are interesting not only from the point of view of Kundera’s then Marxist-Leninist political stance, but also with respect to genre theory and practise as it can be retraced in his writing before the appearance of the famous novels of the mid-1960s. The article demonstrates that the relationship between lyricism and the novel in these early works exhibits many features which are to be found in his later work. The novel takes up a privileged position — albeit with a different and more explicitly political, party-bound motivation, representing the “great epic” required by “the people”. The article also contains reflections on Kundera’s role in the Czechoslovak Stalinists cult of Julius Fučík, related to the genre issues mentioned insofar as Fučík is placed by Kundera in the same category as Vančura in the first Art of the Novel.
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.
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.
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.
