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The paper focuses on the problematics of translation of toponyms used in a particular litterary text, Devatero pohádek by Czech author Karel Čapek. First we will try to give a general definition of a fairytale, its origins and characteristics. Next we will focus on the differences between the concepts of time and space in the traditional fairytales and in those written by Capek. The following part analyses the use of the toponyms in the Czech original text and its English and Italian translations. The analyzed toponyms were divided in three main groups according to their provenience, i.e. domestic czech and foreign with international forms, domestic czech without international forms, imaginary toponyms. In each of these groups the terms were subsequently categorized by the following criteria: untranslated, translated and replaced. We have seen how both of the translators treat the toponyms differently and that the ratio of toponyms in the three main groups divided by the default criteria differ to some extent.

Literary genre cannot be conceived of as an unequivocal and unidimensional notion. It appears in the field of literature and criticism in a multiplicity of ways, meanings and functions. One aspect creating the variety of manners in which genre occurs, is that of duration, i.e. the extent to which genre is determined by co-ordinates of time (historical moment) and space (cultural environment). Together with duration varies the measure in which a genre is specified by distinguishing features: the novel is characterized by more specific features than the novellistic, but less specific than the naturalistnovel. These dimensions of time and space are here called "genre", "mode", "poetics". The time-space dimensions of literary genre play an essential role in critical discourse, both historical and contemporary. In critical studies different dimensions of genre should not exclude one another but rather be integrated in a pluridimensional concept. Moreover, adeguate reconstruction of his-torical debates requires an analysis of the ambiguity and complexity caused by diverse meanings of genre. These assumptions are illustrated by analyzing the use of the notion of prosa d'arte in the anthology Capitoli (1938) by Enrico Falqui, in which polemic argumentation depends in part on the intertwining of different dimensions of prosa d'arte.

The aim of presented research is to analyse the notion of time, which is, as some people affirm, a human mind's creation. It is possible to interpret this creation as metaphoric mapping of a physical experience of space. In the same way, the notion of time gave origin to numerous mental (and linguistic) constructions which illustrate human progress in the field of science and knowledge. The aim of presented research is to analyse the notion of time, which is, as some people affirm, a human mind's creation. It is possible to interpret this creation as metaphoric mapping of a physical experience of space. In the same way, the notion of time gave origin to numerous mental (and linguistic) constructions which illustrate human progress in the field of science and knowledge.

Literary genre cannot be conceived of as an unequivocal and unidimensional notion. It appears in the field of literature and criticism in a multiplicity of ways, meanings and functions. One aspect creating the variety of manners in which genre occurs, is that of duration, i.e. the extent to which genre is determined by co-ordinates of time (historical moment) and space (cultural environment). Together with duration varies the measure in which a genre is specified by distinguishing features: the novel is characterized by more specific features than the novellistic, but less specific than the naturalist novel. These dimensions of time and space are here called ‘genre’, ‘mode’, ‘poetics’. The time-space dimensions of literary genre play an essential role in critical discourse, both historical and contemporary. In critical studies different dimensions of genre should not exclude one another but rather be integrated in a pluridimensional concept. Moreover, adeguate reconstruction of historical debates requires an analysis of the ambiguity and complexity caused by diverse meanings of genre. These assumptions are illustrated by analyzing the use of the notion of prosa d’arte in the anthology Capitoli (1938) by Enrico Falqui, in which polemic argumentation depends in part on the intertwining of different dimensions of prosa d’arte. [ABSTRACT FROM AUTHOR]

The aim of presented research is to analyse the notion of time, which is, as some people affirm, a human mind’s creation. It is possible to interpret this creation as metaphoric mapping of a physical experience of space. In the same way, the notion of time gave origin to numerous mental (and linguistic) constructions which illustrate human progress in the field of science and knowledge. The unidirectionality hypothesis that is one of the most important aspects of the cognitive metaphor seems to be in perfect harmony with the above intuitions. The article tries to illustrate the metaphorization process, which starts with the most immediate space experience, goes through time expressions and finds its final realization in the most abstract and indirect expressions – those of human mind progress on the way of knowledge acquisition. The examples chosen for the analysis come from different time periods, so that they might confirm the persistence of this linguistic mechanism. At the base of intuitions presented in the article lays a conviction that the language is nothing but the externalization of mental structures and the reflection of cognitive mechanisms – aspects that have not changed since the most remote times of human history. [ABSTRACT FROM AUTHOR]

The paper focuses on the problematics of translation of toponyms used in a particular litterary text, Devatero pohádek by Czech author Karel Čapek. First we will try to give a general definition of a fairy-tale, its origins and characteristics. Next we will focus on the differences between the concepts of time and space in the traditional fairy-tales and in those written by Čapek. The following part analyses the use of the toponyms in the Czech original text and its English and Italian translations. The analyzed toponyms were divided in three main groups according to their provenience, i.e. domestic czech and foreign with international forms, domestic czech without international forms, imaginary toponyms. In each of these groups the terms were subsequently categorized by the following criteria: untranslated, translated and replaced. We have seen how both of the translators treat the toponyms differently and that the ratio of toponyms in the three main groups divided by the default criteria differ to some extent. [ABSTRACT FROM AUTHOR]