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K ČESKO-NĚMECKÝM JAZYKOVÝM KONTAKTŮM V SOUČASNÉ ČESKÉ PRÓZE
The aim of this paper was to analyze the Czech and German language contacts in contemporary Czech prose. We focused on forms of multilingualism and how they are used in the texts. Analysis of the material ( R. Denemarková: Peníze od Hitlera; J. Vrak: Obyčejné věci a Dokonalost nože; M. Kozelka: Semeniště zmrdů a J. Rudiš: Pankáči na Baltu) showed that it is necessary to distinguish between the use of authentic German in the characterization and value function, German quotations and paraphrases with the function of ironic allusions and germanisms whose usage does not indicate national, but social affiliation. We noticed a shift from interlingual heterogeneity, in terms of the opposition between Czech and German, to introlingual heterogeneity, in terms of functional stratification of Czech, therefore the opposition of standard vs. substandard. We concluded that German cannot be identified German with „the foreign“ and the Czech with „the ours“ in language, because the border is permeable and flexible as a consequence of mutual contacts.
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The article concerns the problem of allegory in two Czech historical novels from the beginning and the end of the 60s of the twentieth century: {Kladivo na čarodějnice} by Václav Kaplický and {Tovaryšstvo ježišovo} by Jiři Šotola. Both novels are also considered to be important political ‘clearing accounts’ novels. Application of allegory as a method of reception allows us to answer the question about the participation of the reader in the setting up of allegory in the Czech prose of the twentieth century. Artykuł dotyczy problemu alegorii w dwu czeskich powieściach historycznych z początku i z końca lat 60. XX wieku: {Kladivo na čarodějnice}, Vaclava Kaplickiego i {Tovaryšstvo ježišovo} Jiřiego Sotoli. Obie powieści są uznawane także za ważne powieści rozrachunkowe. Zastosowanie alegorezy jako metody recepcji pozwala odpowiedzieć na pytanie o udział czytelnika w ustanawianiu alegorii w czeskiej prozie dwudziestowiecznej.
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Alena Fialová (ed.): V souřadnicích mnohosti. Česká literatura první dekády jednadvacátého století v souvislostech a interpretacích. Praha, Academia 2014. 817 stran.
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Aleš Haman — Dalibor Tureček et al.: Český a slovenský literární parnasismus. Synopticko-pulzační model kulturního jevu. Brno, Host 2015. 426 stran.
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Alex Goody: Technology, Literature and Culture. Cambridge, Polity Press 2011. 193 strany
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Alexander Kratochvil (ed.): Paměť a trauma pohledem humanitních věd. Komentovaná antologie. Praha, Ústav pro českou literaturu/Akropolis 2015. 341 strana.
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Ann Komaromi: Uncensored. Samizdat Novels and the Quest for Autonomy in Soviet Dissidence. Evanston, Northwestern University Press 2015. 254 strany.
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Helena Kokešová (ed.): Politici, umělci a vědci ve veřejném prostoru na přelomu 19. a 20. století; Petr Roubal: Československé spartakiády; On Marxism from a revisionist standpoint; Deml between the (gymnastic) rings
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Vladimír Macura: Znamení zrodu a české sny (Martin Tomášek); Zuzana Zemanová: Písničky pro (ne)všední den. Písňové textyv české populární hudbě 60. let (Stefan Segi); Za Lubomírem Doleželem (Bohumil Fořt); Obhájené disertace (ed. Veronika Jáchimová); Informatorium (Iveta Mindeková)
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Jana Čeňková (ed.): Válečné dětství a mládí (1939–1945) v literatuře a publicistice (Jiří Poláček); Zemřela Jarmila Víšková (Michal Kosák — Jiří Flaišman); Informatorium (Iveta Mindeková)
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Article about conference „Soumrak tradiční společnosti. Český venkov a maloměsto na přelomu epoch“; Article about symposium „Česká literatura a kultura za protektorátu“; Article about Adolf Scherl
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Eva Štědroňová: Hledání nové modernosti. Studie o nové literatuře na počátku dvacátého století. Brno, Host 2016. 396 stran. ; The literature of Bohumil Hrabal in the historical twists and turns of the short twentieth century ; Czech Library series for schools and colleges ; Information
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Fifth World Czech Literary Studies Congress; „Booked“ Zábrana: the first conference in Academe on Jan Zábrana
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Erik Gilk: 1914 Almanach; International conference on fantasy literature; Guest at the Rajhrad Monastery
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We the enlighteners; Jakub Říha — Petra Hesová — Robert Kolár (edd.): Prozodické spisy raného obrození; Czech literary realism
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Contemporary Czech writers in secondary literary communication; Czech literary theory in Poland; „The great artist of tomorrow will go underground.“ About the conference Reflections on the underground
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Jan Amos Komenský et al.: Dílo Jana Amose Komenského 9/II: Historia Lasitii, Historie Lasitského, Lesnae excidium, Carolo Gustavo votiva acclamatio; Mirna Šolić: Slovo a obraz: Karel Čapek a žánr cestopisu; Eva Hahnová: Od Palackého k Benešovi. Německé texty o Češích, Němcích a českých zemích; Ad Zdeněk Smolka: Historie polské literatury českého Těšínska
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Bartosz Kaliski: Kurierzy wolnego słowa (Paryż — Praga — Warszawa 1968–1970). Warszawa, Instytut Historii PAN 2014. 353 strany.
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Josef Kainar’s verse draws on a seemingly bottomless source of subject matter, contemplation, poetic imagination, and also inspiration for further artistic interpretation. A number of composers have set his poems to music, not only as songs, but also as melodramas. A form of composition representing a synthesis of music and spoken word, melodrama has enjoyed a long tradition in Czech music: as early as in the eighteenth century, for example, melodramas were composed by Jiří Antonín Benda (1722–1795). Melodramas were composed as adaptations of verse and prose works by great writers from all over the world, including Czechs. In the twentieth and twenty-_rst centuries, composers have also found inspiration in the verse of Josef Kainar (1917–1971). Among them are, for example, Jiří Matys (1927–2016), Jan Schneeweis (1904–1995), Jitka Snížková (1924–1989), Josef Marek (b. 1948), and Antonín Vaigl (b. 1932). Thanks to the project ‘Melodram do školy’ (Melodrama for School), initiated in 2015 in the Music Education Department of the Faculty of Education at Jan Evangelista Purkyně University, in Ústí nad Labem, a number of melodramas based on Kainar’s collection of verse entitled Nevídáno, neslýcháno (Unimaginable, unheard of) were written, especially in that first year, by Zdeněk Zahradník and Petr Ježil. Melodramas made using Kainar’s verse have been well received by both adult and child performers and audiences.
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