http://hdl.handle.net/20.500.11956/96256 Issue 26 2026-04-18T08:04:51Z http://hdl.handle.net/20.500.11956/97180 Existence a ten, kdo omdlívá ve V(v)ěci Makropulos, Tažení stínů (moderny) a v Duchu (středoevropské) země; Existence and He, Who Faints at The Makropulos Affair, The Campaign of Shadows (Modernism) and The Spirit of the (Central European) Land ; ; This study is concerned with the swooning as one of the characteristic motifs of modernism, arising from a period of reflexive attention. First it will examine this in the dramas of Arthur Schnitzler Zug der Schatten and Frank Wedekind’s Erdgeist, then will turn to the demarcated realm of Central European Modernism (with support from Moritz Csáky’s characterization of Zentraleurope) as located in the works of Karel Čapek. Janáček’s libreto The Makropulos Affair comments on the basic polemics in whose background are shown the crucial importance of the motif of fainting in the overall construction of Čapek’s early works. 2016-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97078 Rozkladná zkušenost šílenství. Destratifikace zvuku v „anti-psychiatrických“ filmech; Disruptive Experience of Madness. Destratification of Sound in ‘Anti-psychiatry’ Films ; ; This study aims to theorise a sonic experience that is informed by psychotic, or more specifically schizophrenic, perception. This kind of experience, characterised mainly by dissipation of recognisable sounds into a multiplicity of fragments, manifests itself in certain experimental films from the 1960s and 70s. With the help from certain works of ‘anti-psychiatry movement’ and like-minded philosophers such as Michel Foucault or Gilles Deleuze, the study addresses how the auditory perception in schizophrenia can be expressed in cinema and in what ways it can problematise the dominant regime of signification. Two distinctive films, Jane Arden’s The Other Side of the Underneath (1972) and Frans Zwartjes’s Pentimento (1979), serve as case studies. 2016-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/96892 Mluvím, a tedy jsem; I Speak, Therefore I Am ; ; In 1960s Czechoslovakia, experimental poetry became an important part of the conceptual turnaround in art. The language in this poetry had its own weight as an object, which, however, lost its function and participated the programs of its own self-destruction. The language of poetry interceded in various fields — the creation of art, new music, sciences. From the end of the 1950s, the poems (‘written by voice’) of Ladislav Novák arose analogously to visual poetry. These unique magnetic tape records were, in the course of the 1960s, put into the international context of vocal poets — Henri Chopin, Ilse and Pierre Garnier, Bernard Heidsieck, Franz Mon, Gerhard Rühm, and so on. This phonetic poetry became part of the search for a universal language of experimental poetry, yet, at the same time opened a new conception of the relationship between poetry and music. 2016-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/96767 Co dokáže náš hlas? Fonetický pohled na variabilitu řečové produkce; What are our voices capable of? Phonetic perspective on the variability of speech production ; ; The paper surveys the plasticity of the speech production mechanism. At the level of phonatory behaviour, a distinction is made between the frequency of vocal fold vibration, which is reflected in the pitch of the voice, and the manner in which the vocal folds vibrate, which lends our voice different qualities. The main types of phonatory modifications are described and some of their uses in everyday communication, as well as their perceptual effects, are documented from literature. Modifications of the primary makeup of speech sounds in the supraglottal vocal tract, such as rounding or spreading of the lips, hyper- or hyponasality, and palatalization, are discussed in the following section. The two levels of description — phonatory and articulatory — are formally anchored in Nolan’s model of the sources of variability in speech. The final part of the paper examines speech variability from the perspective of the listener, regarding one’s speech as their auditory face which signals biologically, psychologically, and socially conditioned information about the speaker. 2016-01-01T00:00:00Z