Předpoklady generativní poetiky

• Autor: LEVÝ, JIRÍ
• Assuntos: STATI
• É parte de: Česká literatura, 1970-01, Vol.18 (5/6), p.419-449
• Descrição: Until recently there has been an inevitable eidocentric tendency in literary criticism whicht is now time to overcome by an effort to formalise pragmatic meaning (the relation of the work to the creator and the receiver). Here we shall be concerned with the structure of the genesis of a work of literature and the structure of its concretisation. 1. The genesis of a translation. Translating is a decisional process therefore for its description it is legitimate to use the apparatus , of the theory of games and statistical decisions. Each „move“, i. e. each decision taken by the translator, predextermines a certain set of further decisions The decision is determined by a) definitionai instruction which delimits the paradlgm of fitting elements (the meaning of the word to be translated in the original), and b) selectional instruction by which the translator chooses a specific element from the paradigm. Selectional instructions are in particular: context (the objective instruction), the structure of the linguistic memory of the translator (the subjective instruction) and the esthetic norm (the intersubjective instruction). Selectional instruction becomes itself the definitional instruction for the narrower paradigm of elements from which choice is again made on the basis of a further selectional instruction several times until the terminál symbol is reached. The interpretation of the meaning of the word may also be visualised as a multi-stage deciding process. Decision in the translating of signs of a higher order is governed by complex instructions; these may be interpreted synthetically or analytically. The practise of translation is as a rule pragmatic, i. e. the translator does not set himself the requirement of a maximal solution but adopts the so-called maxi-minimal strategy (maximum effect with minimum effort). An analysis employing the apparatus of mathematical games theory can establish the degree of importance which the translator ascribes to the preservation of a given stylistic means in particular having regard to the function of this means, to its relation to the language norm, and to the specific social and historical background of the reading public envisaged by the translator. 2. The genesis of a literary work. The creation of a work of literature is a process which can be split up into a finite number of steps; some steps are a component of the author’s stratégy, others are chance (intuitive). Poe in his article on the origin of „The Raven" presents a deterministic exposition of the genesis of a poem; however it is not causality which is decisive, but rather the structure of the decisional processes. To each work may be ascribed a whole series of its generative models. Reconnaissance models set out from the final version and from hypothesses going “against the current" of the generative process. To study the steps immediately leading up to the establishment of the terminal symbol one may employ stylistic variants of the text. Thereby we establish: a) the invariant of the given situation (the complex of instructions which the solution must satisfy), b) variable elements from which the author makes his choice on the basis of the esthetic instruction. a) is a component of the given work, b) a component of the esthetic norm. The esthetic norm is the strategy from which flows the complex of instructions for the choice of the solution out of the possible alternatives. As an example of code is given as a rule the generation of verses having different metri cal forms. The functional viewpoint in classical structuralism lacks the Control of practice ; the generative viewpoint affords such Control: the analysis of the division into elements and of the rules of their combination can be checked by an inspection as to whether the text can be reconstructed from these elements and with the use of these rules. The question presents itself whether it is possible to carry out a structural analysis of the esthetic norm, i. e. to break it down into a system of rules by which a certain type of art is generated, and then to discover in what norm a certain work fits and then what value it has from the point of view of the norm. The foundations of the semiotic conception of the esthetic norm were laid by Jan Mukařovský. Linking on to his work, the problematics of the general and individual validity of the esthetic norm may be for mulated thus: the invidual, group, time norm is the individual, group, time idiolect; the evaluatory act of the individual norm is the functioning („parole") of the abstract system of esthetic requirements („langue"); the structure of this system must be established by an analysis of the concrete norms. If we accept the hypothesis that the splitting up of the norm into instructlons can be carried out down to the elementary binary form of permitted-forbidden, then the patial requirements may be considered as „normemes", units of norm, by the combination of which arise partial norms (syntagmas). The set of similar requirements forms a single wider paradigm defined by a common instruction.
  
• Editor: Ceskoslovenská Akademie Ved
  
• Idioma: Tcheco