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The study focuses on three authors of contemporary Hungarian literature who enter into a dialogue with Kafka’s texts through intertextual references and elevate these intertexts to the level of textforming elements in their own works. It examines Kafkaesque intertexts in Péter Esterházy’s Indirect (Függő) and The Book of Hrabal (Hrabal könyve), Mihály Kornis’s drama Punishments (Büntetések), Szilárd Borbély’s poetry collection Berlin — Hamlet and his posthumously published fragmentary novel Kafka’s Son (Kafka fia). Based on the analyses carried out, it can be concluded that Kafka’s significance for contemporary Hungarian literature is not limited to the simplistic category of literary influence, but involves multifaceted and complex interactions that, in the case of all three authors under study, are related to the desire to transcend the prevailing literary discourse.

The study focuses on three authors of contemporary Hungarian literature who enter into a dialogue with Kafka's texts through intertextual references and elevate these intertexts to the level of textforming elements in their own works. It examines Kafkaesque intertexts in Péter Esterházy's Indirect (Függő) and The Book of Hrabal (Hrabal könyve), Mihály Kornis's drama Punishments (Büntetések), Szilárd Borbély's poetry collection Berlin -- Hamlet and his posthumously published fragmentary novel Kafka's Son (Kafka fia). Based on the analyses carried out, it can be concluded that Kafka's significance for contemporary Hungarian literature is not limited to the simplistic category of literary influence, but involves multifaceted and complex interactions that, in the case of all three authors under study, are related to the desire to transcend the prevailing literary discourse. [ABSTRACT FROM AUTHOR]

This study offers a selective overview of the most important methodological approaches and theoretical concepts relevant to the study of musical meaning which have emerged in the Anglo-American musicological tradition since the 1990s. It takes as its starting point the work of Lawrence Kramer, which represents the conceptual underpinnings of New Musicology, and continues with Michael Klein's study of musical intertextuality, which helps to further illustrate the implications of post-modern philosophy for the hermeneutical interpretation of music. A significant portion of the text is dedicated to Robert Hatten's work on markedness, correlation, gestures, topics, and tropes. The discussion of the topic theory also covers the contributions made by Raymond Monelle, Danuta Mirka, and others. The overview continues with Esti Sheinberg's theory of musical incongruities and her typology of modes of semantic ambiguity, including irony, satire, parody, and the grotesque. To complement the traditional text-based approach to musical meaning, this overview also considers meanings communicated through the movements of the human body, referencing Nicholas Cook's thoughts on embodied cognition and Robert Hatten's approach to interpreting musical gestures encoded in a musical text. Attention is also paid to the line of thinking leading from Edward T. Cone's ideas on the presence of different voices and personae in seemingly singular musical works, through Fred Maus's conception of music in terms of dramatic interaction of musical agents, to Hatten's theory of virtual agency. This is followed by the summary of Byron Almén's theory of musical narrative, i.e. the capacity of music to articulate a trajectory leading from one state to another, propelled by the dynamic forces of conflict and resolution. Subsequent chapters discuss the relevance of recent approaches to the study of musical form (William Caplin, James Hepokoski, Warren Darcy) and the possibilities/limits of musical narrative in music since 1900, in which the conventional principles of syntax (tonality, form, motivic/thematic structure) are often questioned. In the closing section, the author returns to Kramer's ideas, takes a stance with regard to the opposition of semiotic and hermeneutic approaches, and discusses ethical issues associated with the act of interpretation (and misinterpretation). [ABSTRACT FROM AUTHOR]

Marek Mitka's study deals with the interpretation of the short stories of two important Slovak writers who debuted after 1989 - Tomáš Horváth and Balla. In their work he finds diagnistical stimulus for the research of intertextuality - a typical phenomenon of literary postmodernism. Horváth's short story production is practically entirely built on the principle of imitation, parody or, more generally, more or less faithful imitation of foreign textual prefaces or writers' poetics. The situation is different with Balla, as he applied intertextual procedures in an explicit sense, especially in his collection of short stories Unglik, and he called his specific textual formations Tekuté poviedky. This is literally textual sampling, since Balla composed these short stories exclusively from sentences he had already written. Mitka has also used some theoretical background and opinions of the French literary scholar and semiotician Gérard Genette to determine in more detail the typology of these intertextual practices in Horváth and Balla. For example, Mitka productively considers the possibility of using Genette's terms transtextuality and hypertextuality as equivalents for the more frequently used notion of intertextuality. Last but not least, Mitka reflects on Horváth's and Balla's texts from a receptive or purely aesthetic point of view, considering what feelings these intertextual constructs evoke in the ordinary readers and in the professional literary critics. [ABSTRACT FROM AUTHOR]

Three vernacular texts from late-13th-century Bohemia, in Middle High German and Old Czech, integrate motifs associated with the Holy Land, pilgrimage and the crusades. The romance Wilhalm von Wenden manifests the late Přemyslids' royal ideology by portraying an independent, pious ruler who derives authority from Jerusalem. The Alexandreis explores the psychology of a military expedition to provide ground for moral reflection and draws on cartography to exploit the symbolism of Jerusalem's geographic centrality. The crusade-related details in the Legend of Saint James the Less attest to an informed use of intertextual practices. [ABSTRACT FROM AUTHOR]

The article analyses the function of intra- and intertextual references in Ivana Dobrakovová's first book Prvá smrť v rodine (First death in the family, 2009), taking the principle of disintegration as the basic principle of Dobrakovová's writing. As a result of author's intratextual work, the texts transgress the genre of short story and foreground the monoperspectival narrative consciousness. This in turn leads to a pronounced relativisation of the position of the narrative category of character and to situationally constituted narrative forms as related to the "theme-problem" horizon of the work. Intertextual work, on the other hand, contaminates the monoperspectival narrative consciousness and in this way disqualifies it. The principle of disintegration leads to an accentuation of the presence of the implied author which in turn makes the text seem more autobiographical. The figure of the implied author (which can never be identified with the empirical writer) is aesthetically productive: although it is fully governed by the poetics of the text, it also allows the readers to evoke the empirical author. The poetics thus creates conditions for ambivalence - the analysed texts can be read both as fiction and as autobiography. [ABSTRACT FROM AUTHOR]

The study analyses Vrchlický’s short story Růže (Povídky ironické a sentimentalní, 1886) which is an original interpretation of a passage from Dante Alighieri’s Vita Nuova. It shows Vrchlický’s elaborate work with intertextual references to Dante’s literary work, which simultaneously construct a unique portrait of Dante’s life and work. The creation of this image was intentional as is showed in connection with Vrchlický’s poetry, where he often deals with Dante Alighieri as a subject.

Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims — in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík — to present a form of thinking about literature and its studies that would belong in some ways to the ‘slow reading culture’. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the ‘rhythm of constantly renewed acceleration’. The first part of the study, dedicated to Benjamin’s reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka’s short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin’s tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík’s reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík’s Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader’s interest. Opelíkʼs methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading.

This study offers a selective overview of the most important methodological approaches and theoretical concepts relevant to the study of musical meaning which have emerged in the Anglo-American musicological tradition since the 1990s. It takes as its starting point the work of Lawrence Kramer, which represents the conceptual underpinnings of New Musicology, and continues with Michael Klein's study of musical intertextuality, which helps to further illustrate the implications of post-modern philosophy for the hermeneutical interpretation of music. A significant portion of the text is dedicated to Robert Hatten's work on markedness, correlation, gestures, topics, and tropes. The discussion of the topic theory also covers the contributions made by Raymond Monelle, Danuta Mirka, and others. The overview continues with Esti Sheinberg's theory of musical incongruities and her typology of modes of semantic ambiguity, including irony, satire, parody, and the grotesque. To complement the traditional text-based approach to musical meaning, this overview also considers meanings communicated through the movements of the human body, referencing Nicholas Cook's thoughts on embodied cognition and Robert Hatten's approach to interpreting musical gestures encoded in a musical text. Attention is also paid to the line of thinking leading from Edward T. Cone's ideas on the presence of different voices and personae in seemingly singular musical works, through Fred Maus's conception of music in terms of dramatic interaction of musical agents, to Hatten's theory of virtual agency. This is followed by the summary of Byron Almén's theory of musical narrative, i.e. the capacity of music to articulate a trajectory leading from one state to another, propelled by the dynamic forces of conflict and resolution. Subsequent chapters discuss the relevance of recent approaches to the study of musical form (William Caplin, James Hepokoski, Warren Darcy) and the possibilities/limits of musical narrative in music since 1900, in which the conventional principles of syntax (tonality, form, motivic/thematic structure) are often questioned. In the closing section, the author returns to Kramer's ideas, takes a stance with regard to the opposition of semiotic and hermeneutic approaches, and discusses ethical issues associated with the act of interpretation (and misinterpretation). [ABSTRACT FROM AUTHOR]

In this study we focus on those theoretical concepts that explain the concept of influence in relation to intertextuality. In post-structuralist conceptions, the notion of influence is considered part of the positivist past. On the other hand, some contemporary comparative conceptions (A. Corbineau-Hoffmann) actualize the notion of influence in broader metacommunication processes. In relation to the concepts of intertextuality and influence there is also the concept of latent intertextuality, which, in Kazalarska’s opinion, is perhaps a form of influence since it is objectively “elusive” just like the concept of influence. We look at these theoretical concepts through an analysis of the forms of intertextuality in the works of V. Hronec. We find a possible explanation of latent intertextuality in the wider context of the works of V. Hronec by comparing it with parts of the text in which intertextuality is not hidden. We conclude that the notion of influence is actualized in contemporary theoretical thought as a legacy, in relation to which new theoretical considerations are formed and new concepts are defined that enable a deeper knowledge of a literary work. [ABSTRACT FROM AUTHOR]

In April 1960, Milada Součková left her exile in America on a trip to Rome, a trip that would inspire the poems collected in her fourth book of poems, Alla Romana, published in exile by a Roman publisher (1966). Součková’s time in Rome had a special significance for the poet — the poet in exile and the poet of exile — representing not only a return to Europe, but more importantly, a revitalizing return to the world-city of cultural memory. While the city’s architecture plays a leading role in Alla Romana, the city (and Italy as a whole) is also evoked by references to painters (Poussin, Angelika Kauffmann, Bronzino, Canaletto, etc.), direct intertextual quotes (Goethe, Chateaubriand, Stendhal, Byron, etc.), and indirect allusions (Ovid, Virgil, Dante, etc.). Součková’s ‘Roman’ poems thus fuse together past and present, real with imagined pictures, and actual sensory experience with aesthetic reflections in mirror-like complementarity. Sense impressions evoke memories, or set in motion aesthetic reflections and intertextual and intermedial relations, in dialogue with foreign texts and images. The city becomes a kind of ‘palimpsest’ and a Freudian ‘Mystic Writing Pad’ (Wunderblock), inscribed with experiences, impressions and memories. The actual architecture of the city, combined with other traces of past epochs, literary works and paintings, and transfigured into poetic images, is again made legible by an aesthetic staging within the poetic text. This poetic strategy is thematically exemplified by two poems: Torquato Tasso and U Via Appia. [ABSTRACT FROM AUTHOR]

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Copyright of Slovo a Slovesnost is the property of Academy of Sciences of the Czech Republic, Czech Language Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present study concentrates on the phenomenon of intertextuality in one of Bohumil Hrabal's key early works, namely, the "existential" short story entitled Kain. The author examines especially the intertextual resonances between Hrabal's work, Camus's The Stranger, Dante's Vita nuova and Goethe's Sufferings of Young Werther. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Litteraria is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The study analyses Vrchlický's short story Růže (Povídky ironické a sentimentalní, 1886) which is an original interpretation of a passage from Dante Alighieri's Vita Nuova. It shows Vrchlický's elaborate work with intertextual references to Dante's literary work, which simultaneously construct a unique portrait of Dante's life and work. The creation of this image was intentional as is showed in connection with Vrchlický's poetry, where he often deals with Dante Alighieri as a subject. [ABSTRACT FROM AUTHOR]

This article analyzes the monograph Intertextuality in Viťazoslav Hronec's literary work (Podoby intertextuality v tvorbe Viťazoslava Hronca) by Marina Šimáková Spevákova, in which she interpreted Hronec's literary work systematically from the perspective of intertextuality. The emphasis is on the theoretical and methodological problematics of intertextuality itself, i.e. her explicit and implicit nature and the theory of citation, which is effectively applied in Šimáková Speváková's work. Parallel to these theoretical problematics, the article discusses Šimáková Speváková's method for her thorough and nuanced analysis, which is based on Hronec's literary tendencies in the context of a change in European literature, especially through the transition period from modern to postmodern literature in the second half of the twentieth century. Through an analysis of Hronec's poetic, prose and autoreflexive work, Šimáková Speváková manages to prove to a large extent her initial thesis according to which intertextuality is the basic creative method, the semantic and ontological principle, and also the aesthetic norm in Hronec's literary work. [ABSTRACT FROM AUTHOR]

Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims -- in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík -- to present a form of thinking about literature and its studies that would belong in some ways to the 'slow reading culture'. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the 'rhythm of constantly renewed acceleration'. The first part of the study, dedicated to Benjamin's reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka's short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin's tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík's reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík's Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader's interest. Opelík's methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading. [ABSTRACT FROM AUTHOR]

This study focuses on the issues surrounding artistic influence in high literature and the ways that the extent and relevance of this influence can be comprehended. It is loosely associated with intertextual and comparative examination of fiction and in this context it attempts to redefine and revive the little used concept of influence, working with the idea of the (literary) reference and distinguishing between the principle of the proximity of references, which examines the analogy between pretext and posttext, and the principle of the individuation of references, which reflects the innovative share of the poet or writer in the creative treatment of the pretext. The examples to which these hypotheses relate are taken from the literary reception of the Dvůr Králové and Zelená Hora manuscripts in 19th century Czech literature. [ABSTRACT FROM AUTHOR]

The introductory section of this study describes the differing conceptions of literature in literary studies and ethnography, distinguishing three ways in which folklore material changes as it enters standard literary communication: ideal and practically impossible literal adoption, imitation and inspiration. The latter is described in considerable detail while its motivation is also examined (the literary potential of folklore usable in authored literature). The main section of the study focuses on one specific case of the inspired adoption of folklore material (i.e. a demonological tale) in an authored text of high literature (a novella by K. V. Rais entitled Konec života-- Life's End). The method of adoption is described in detail, with its two opposing energies („extensive“ and „intensive11), and its function, while the mechanism is described in terms of intertextuality theory (with the emphasis placed on the axiological aspect), when the transfer of one text into another is generalized as a case of the intrusion of popular culture in general into high literature as a whole. [ABSTRACT FROM AUTHOR]

This study focuses on the interpretation of Holan's poetic composition Boskána from an intertextual perspective, primarily following the intertextual relations and connections with Dante's Divine Comedy. The wanderings of the lyric hero of Boskána can be interpreted as a journey of initiation to the South, on which he is summoned and subsequently guided by letters from the mysterious Gordana. However, at the end of the story, when it now seems that this "belle dame sans merci" is unattainable for the lyrical hero, she appears in the form of Death. The hero's death in Mozartsburg opens up a broader semantic context, i.e. the relationship between poetry and music in Holan's reflections on Mozart and music in general. [ABSTRACT FROM AUTHOR]

This paper analizes the problem of genre definition of postmodern proze using the example of the proze book The Lord of Air and the King's Son by Víťazoslav Hronec. Two groups of factors are observed, those that enable genre consistency and those that destabilize it. The main factor of genre destabilization in Hronec's works is intertextuality precisely because it, via the use of self-quotes, creates a consistency. The multifunctionality of intertext in Hronec's work not only dissolves the boundaries of genre but also those of literary types. The book The Lord of Air and the King's Son represents a paradoxically rounded whole but is also a segment of a mozaic made up of three prose books as well as the complete poetry of Víťazoslav Hronec. Included in this are journal entries of Hronec's character Vladimír Lutrov. Due to intertextuality and self-quotation the entire work of V. Hronec, including that of the late modernist period, is defined according to principles of postmodern geneological theory. [ABSTRACT FROM AUTHOR]

Th e paper diversely discusses how humanistic scholars, who worked in the literary field of the Prague University in the second half of the 16th and at the beginning of the 17th century, treated Ancient texts. In the opening part, the author briefly introduces some of these methods typical for Czech university Humanism, e. g. so-called excerpt reading, combinatorial writing and editorial practise for school requirements. Th en, she focuses on how Matthaeus Collinus worked with Ancient texts in his uniquely preserved manuscript Specimen studii ac laborum (1557) that is outstanding except for excerpt reading also because of the ethical explanation in a spirit of simplifi ed melanchthonism. In a preface to the explanation of Iliad, he already mentions some of mutually connected interpretative ways influenced by simplified melanchthonism, which he shows in a relation to both epic poems. Th e first one is presented from the point of view of the divine providence and punishment (locum communis theologicum) and the second one is related to individual passions and their overcoming by the ethical work on oneself. Furthermore, the paper provides another interpretation - according to social order, its working and institutions. Collinus' university reading demonstrates that rather than a category of "Ancient traditions" itself, it is useful to aim to concrete and specifically situated reinterpretations of Ancient pre-texts for the research of Latin Humanism. [ABSTRACT FROM AUTHOR]

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The paper examines the discourse of the Czech weekly talk show Uvolnĕte se, prosím (Relax, please). For this purpose, we have chosen an interview of the moderator Jan Kraus with the former chairman of the Social Democratic Party of the Czech Republic, Jiř í Paroubek, who was invited into the studio on the occasion of his appointment as prime minister in 2005. The analysis focuses on the polyphony of voices arising in the talk show and on the intertextual techniques used in the process of positioning the guest, as well as the self-positioning of the moderator. The interview is thus analyzed as an intertext built upon other texts, which are both external and internal to the current speech situation. The host's practices employ allusions to the voices coming from "outside", i.e. through the introduction of quotations of the voices of third parties and the guest's prior words, as well as responses to the voices heard "inside" the current interaction, i.e. the host echoes the guest's utterances and moreover, assumes the guest's voice, positioning the prime minister mostly in an unfavorable, but humorous manner. The guest's work with these voices is also traced. [ABSTRACT FROM AUTHOR]

This paper demonstrates the mutual relations between the various "voices" in Czech folk songs and the way in which these voices can be identified. The introductory section characterizes the specific features of the songs: the concision and condensation of their structure, as well as their emotionality of expression. The second section is devoted to the analysis of a selected corpus of folk songs from the perspective of heteroglossia. Their texture appears as a net of relations and functions which operate on different levels, stand in mutual complementarity, partly overlapping, and show differing relevance. Using methods of text linguistics, the author concentrates on two relations and functions - speech acts and compositional functions - as well as personal attitudes. The analysis focuses on utterances with the communicative function of appeal, i.e. on the interrogative and addressing turns which are quite frequent in Czech folk songs, on their interactive structure and modes of direct and indirect speech. The author shows that the song genre has two faces: it is a compact combination of verbal text and its musical part (the tune) which may appear to be uneven in their mutual relations. The last section deals with the phenomenon of intertextuality in the song structure. [ABSTRACT FROM AUTHOR]

The article analyzes intertextuality and selected related topics, such as communicative perspective and reference to the subjects of the speaker and the addressee, in the early child speech. It describes the analyzed phenomena at three different stages (when the child is one, two, and three years old) and tries to capture their specificity and basic developmental tendencies. At the beginning, the child refers mainly to the utterances of his communicative partner, with repetition playing an important role. Later, the communication becomes less context-bound and the child slowly acquires parts of various "culturally grounded" texts and norms of different "genres" and begins to exhibit the ability to use them creatively for various purposes. The analysis is based on the long-term observation of everyday communication between the child and its caregiver (mother). The communication was regularly recorded on video and the recordings were then transcribed and analyzed using a combination of linguistic methods - in the case of intertextuality, the analysis concentrates on content and formal cues that indicate the child's (usually tacit) knowledge of various types of intertextuality. [ABSTRACT FROM AUTHOR]

The paper deals with attributes of parody as a textual phenomenon, the features of which are substantially determined by the intertextual relationship to the object of parody (pretext). Definitions of parody, though they have a common core (work that imitates pretext and at the same time transforms it to make the final effect humorous or critical and polemical), allow for great variability of conceptions. One pole is constituted by broad delimitations, the other by approaches which try to precisely distinguish parody from other ways of connecting to the pretext (travesty, pastiche, etc.). An especially important differentiation is determined by the question of whether parody is consistently seen as a text focused on another text, or whether works that use pretext operations to make comments on the phenomena of reality are classified as parody. The paper also deals with the description of techniques that are used for the derivation of parody from the pretext and signals used to make recipients aware that they should interpret the text as a parody. In the last part of the article, the concepts introduced are applied in the analysis of two Czech parodic texts written by Jiří Haussmann and Michal Viewegh. [ABSTRACT FROM AUTHOR]

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