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dc.contributor.authorÉbert-Zeminová, Catherine
dc.date.accessioned2025-01-16T14:22:16Z
dc.date.available2025-01-16T14:22:16Z
dc.date.issued2024
dc.identifier.issn2336-6680
dc.identifier.urihttp://hdl.handle.net/20.500.11956/196179
dc.language.isoencs
dc.publisherUniverzita Karlova, Filozofická fakultacs
dc.subjectspecularitycs
dc.subjectauto-specularitycs
dc.subjectcomparisoncs
dc.subjectambiguity between tenor and vehiclecs
dc.subjectcognitive and ontological consequences of their undecidable/floating statuscs
dc.titleThe Upside-Down Mirror, or Reality Caught in the Actcs
dc.typeVědecký článekcs
dcterms.accessRightsopenAccess
dcterms.licensehttp://creativecommons.org/licenses/by-nc-nd/2.0/
uk.abstract.enThe present contribution, as part of this line of Proustian research that focuses on the specularity and auto-specularity of . la recherche du temps perdu, examines self-reflexive comparisons at a micro- or even nano-level. It emphasizes the examples that bring together an artistic and non-artistic element, but at the same time give rise to a blurring of the boundary between what I. A. Richards referred to as the tenor and vehicle, and consequently to a subtle interplay of their status. By using these categories to better understand the free movement between art and non-art, and the back-and-forth that takes place between them, we may arrive at more nuanced answers to the seemingly eternal question of Marcel Proust’s relationship between ‘art’ and ‘reality’, one of the pivots of his work.cs
dc.publisher.publicationPlacePrahacs
uk.internal-typeuk_publication
dc.identifier.doihttps://doi.org/10.14712/23366680.2024.2.10
dc.description.startPage203cs
dc.description.endPage214cs
dcterms.isPartOf.nameSlovo a smyslcs
dcterms.isPartOf.journalYear2024
dcterms.isPartOf.journalVolume2024
dcterms.isPartOf.journalIssue45
dcterms.isPartOf.issn2336-6680
dc.relation.isPartOfUrlhttps://wordandsense.ff.cuni.cz


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