Drawing on the first part of the article, the second part demonstrates the internal dynamics of realistic descriptions (which are often linked with superordinated epic models, particularly of composition) based, for example, not 'on the evocation of landscape', but on the evocation of the multisensory perception of the landscape, the 'dissolution' of description in the flow of narration, and the 'temporalization' of the description of the landscape by linking up with its transformations under the influence of the seasons the narratological thesis of 'description as suspension' of narration is thereby rebutted. Besides making a thorough distinction between, on the one hand, descriptive approaches and descriptive function (which draw, for example, on the ideas of Felix VodiДЌka) and, on the other hand, the thoroughly contextual interpretation of literary description, a way out of the confusion is offered by the intermedial (or intermedially cognitive) approach to description as a 'representational macro-mode', as was methodologically laid out by Werner Wolf. As is clear from the analyses in the second part of the article, numerous examples can be found both to refute the existence of this opposition and to demonstrate it. In the interpretations offered in literary history and diachronic poetics until the 1980s, one encounters the generalizing opposition of realistic description, that is to say, 'objective', 'static' description, to modernist, that is to say, 'subjectivized', 'dynamic' description.

The former has, in the endeavour to document types of text, sometimes tended to an implicit axiology of alternative functional forms of descriptiveness with their concrete historical forms this state of affairs has continued in recent stylistics. The article seeks to demonstrate that modern Czech stylistics and literary history, or the historical poetics of prose fiction, have to a certain extent helped to create these prejudices. This article uses intermedial poetics to argue for the evocative potential of traditional prosaic description and to reveal the sources of the prejudices of both the general reader and the scholar, which have usually been linked with this stylistic approach or type of text. While in many cases displayed by the author of the concept, Tamar Yacobi, pictorial models function as inset partial schemes and mere allusions carrying accessory cultural meanings, JirГЎsek's novelette may be considered a salient example of their employment in construing the entire (rococo) storyworld as well as in the narrative discourse. candle-lit intimate scenes of Flemish and French masters of the 17th c.) may be found also in Alois JirГЎsek's novelette ZahoЕ™anskГЅ hon (1885) nevertheless, the crucial scheme is the employment of the gallant scenes typical of rococo paintings (particularly its prototypes which may be identified in Fragonard's works), including not only their topics and props but even techniques (such as scene lighting), which are applied here both as story components and discourse devices. Ekphrasis (of a fictional painting) and various more or less explicit, sometimes narratively diffused representations or even subtle allusions of several pictorial models (e.g. The latter is demonstrated in FrantiЕЎek Langer's short story 'Susanna and the elders' (1921) where the explicit quotation as well as latent presence of the eponymic pictorial model functions both as a plot scenario and as an interpretive matrix.

Adding further examples from John Fowles's fiction we aim at distinguishing between singular (illustrative) and structural use of pictorial model.

Adopting the notion of pictorial model as introduced by Tamar Yacobi we revisit and explicate her analysis of its employment in Nabokov's short story 'Spring in Fialta' (1936) to demonstrate its interpretive potential (provided it is contextualized both with other intermedia devices in the particular narrative and in Nabokov's poetics). The focus is on such cases, where individual components of story comply with the general conditions of narrative structure and particular requirements of the plot, while representing a verbal form (or linguistic update) of a pictorial model, which often refiects a typical cultural scheme of the period concerned. literature and narrative fiction in particular. Following the path of research inquiring into the mutual relations of fine arts and literature, our intention is to investigate the alternatives of transfering certain ready-made structures from one media representation to another one, as well as the strategies of its adaptation to the capacity of the media taking over the new structure, i.e.

Pictorial models examples