http://hdl.handle.net/20.500.11956/96307 Issue 55 2026-04-08T12:05:16Z http://hdl.handle.net/20.500.11956/97209 Václav Černý a strukturalismus; VÁCLAV ČERNÝ AND STRUCTURALISM ; ; The essay mentions Černý’s hostile relationship to Jan Mukařovský, sums up its causes, and recapitulates the texts in which Černý comments on Mukařovský’s works and on structuralism in general. On the basis of these texts, the author concludes that Černý’s contributions on the topic of “structuralism” betray an a-priori polemic bias and show that his reading of structuralist works was slightly superficial. However, these texts should not be interpreted purely as an expression of personal antipathy. Černý’s critique of structuralism points out its resignation on value judgement. According to Černý, this lack leads to the inability of structuralism to turn to criticism or literary history. The author analyzes Černý’s understanding of these two disciplines, and tries to point out the deeper causes of the polemics. The core of the dispute still seems valid today. 2017-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97071 Goethovy italské krajiny; Goethe’s Italian Landscapes ; ; The article focuses on The Italian Journey (Italienische Reise) of Johann Wolfgang von Goethe, and its artistic accents or significations, focusing particularly on the comparison of the main traits and intentions of the poet’s drawings that he created in Italy, in an effort to screen observing faculties, with, on the other hand, his parallel literary landscapes. Such comparison permits to consider the transformation of descriptions into a verbal aestheticization of sight or the seen. 2017-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97059 Symbolismus jako inspirace pro 20. století. Pojem „kulturního paradigmatu“; SYMBOLISM AS INSPIRATION FOR THE 20TH CENTURY:A CONCEPT OF A CULTURAL PARADIGM ; ; Literary history commonly grounds itself in the heritage of philosophical positivism. It is not only its predilection for facts, but also a belief that the facts themselves can provide for the contours of syntheses and concepts of major styles and genres. The era of symbolism marked the renewed interest in philosophical hermeneutics, and, consequently, the realization that empirical knowledge is structured by a ground of a-priori assumptions (the rehabilitation of “prejudice”). This ground gave rise to a series of major concepts, the best known of which are Ferdinand Saussure’s “langue” and “parole”, but there are many more of similar pairs: Viktor Shklovsky “story” (fabula) and “plot” (syuzhet), Jan Mukařovský’s “semantic gesture” and “structure”, or Yury Tynianov’s “tightness of a verse line” and “syntax”. In the field of philosophy it is Arnold Toynbee’s pair of terms “challenge” and “answer”. Husserl’s concept of “Lebenswelt” is the most important explication of this approach in philosophy. 2017-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97054 Modality ostenze; MODALITIES OF OSTENSION ; ; The essay argues for broader understanding of “ostension”, introduced into semiotics by Ivo Osolsobě and Umberto Eco, in a gamut going from the “ostensive” (biosemiotic) language, through “ostensive definition” and showing of an “object” or a “thing” as a part of human communication, to symbolic transformation of something/somebody into a sign of something else. This broader concept permits, then, a subtler view of (theatrical) communication, semiotics, semiosis, and the very phenomenon of processes covered by “ostension”. 2017-01-01T00:00:00Z