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Charakter construction : character within fictional worlds and storyworlds
Staniševská, Aneta ; Zuska, Vlastimil (advisor) ; Dadejík, Ondřej (referee)
The thesis being presented aims to stress the differences between characters in fictional worlds and characters in storyworlds by means of question of possibilities and limits of reader's inferences. The aims of this thesis is to prove that storyworld construed as a mental model manages to avoid some problems that relate to fictional worlds theories. First chapter provides an insight into the issue of definitions and theories of character and places cognitive approaches to character within it. Since a concept of fictional world and a concept of storyworld are often construed as very alike, in the second chapter, there are two opposed opinions concerning reader's activity during a construction of fictional world; that is theories of Lubomír Doležel and Marie-Laure Ryan. By means of their mutual comparision, the distinctive status of fictional character concerning reader's inferences is being emphasized that further bears a decisive role within theory of Umberto Eco of which a core is presented in chapter three. The link between story comprehension and construction of fictional character is a centre of interest of chapter four, where cognitive approaches are represented by theories by Alan Palmer and David Herman. This chapter presents storyworld and character within it as open and fluid flexible....
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Charakter construction : character within fictional worlds and storyworlds
Staniševská, Aneta ; Zuska, Vlastimil (advisor) ; Dadejík, Ondřej (referee)
The thesis being presented aims to stress the differences between characters in fictional worlds and characters in storyworlds by means of question of possibilities and limits of reader's inferences. The aims of this thesis is to prove that storyworld construed as a mental model manages to avoid some problems that relate to fictional worlds theories. First chapter provides an insight into the issue of definitions and theories of character and places cognitive approaches to character within it. Since a concept of fictional world and a concept of storyworld are often construed as very alike, in the second chapter, there are two opposed opinions concerning reader's activity during a construction of fictional world; that is theories of Lubomír Doležel and Marie-Laure Ryan. By means of their mutual comparision, the distinctive status of fictional character concerning reader's inferences is being emphasized that further bears a decisive role within theory of Umberto Eco of which a core is presented in chapter three. The link between story comprehension and construction of fictional character is a centre of interest of chapter four, where cognitive approaches are represented by theories by Alan Palmer and David Herman. This chapter presents storyworld and character within it as open and fluid flexible....
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Cognitive Sciences and the Paradox of Fiction
Staniševská, Aneta ; Zuska, Vlastimil (advisor) ; Kulka, Tomáš (referee)
The thesis being presented concerns an issue of the paradox of fiction viewed as a theme of anglo- american aesthetics of a second half of the twentieth century in a reflection of Colin Radford's thoughts and considerations of his critics. It also tries to regard emotional responses to fiction, disputable and paradoxical from Radford's point of view, within a "foreign" context of cognitive sciences, fragments of Antonio Damasio's theories especially, which could be able to provide a new perspective for the problem in question. Thesis definitely does not present itself as ambitiously reaching for a goal neither of grasping these theories in their complexity nor of solving the paradox but wants to elucidate the basis of it and put them in motion. For doing so, it uses selected and particular thoughts of a scientist who concerns with a phenomenon of emotions and their fundamental role in a human cognition and thinking. First chapter thus deals with Radford's formulation which is fundamental for whole problem as we assume. Second chapter provides insight to the complex of the criticism surrounding Radford's formulation in question. Some considerations appear significant for later synchronization with fragments of Damasio's theories in a way shown in the third chapter. Key words emotion, quasi-emotion,...
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