Stůňu touž nemocí. Julius Zeyer a Jan Lier v zrcadle vzájemných dopisů.
This article is a review on the book title Obležen národem dramatiků from the author Petra Ježková.
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This article is a review on the book title Obležen národem dramatiků from the author Petra Ježková.
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This paper is a report from the conference „Marxism as a Method and Project Literary Theory — Aesthetics — Politics“. which has been held on October, the 16. - 17., 2018 at the Instute for the Czech Literature. .
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Michal Kosák — Jiří Flaišman et al.: Editologie (Od náčrtu ke knize). Praha,Ústav pro českou literaturu AV ČR 2018. 296 stran.
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The review of the book title: Přibáň, Michal a kol. Český literární samizdat 1949-1989: edice, časopisy, sborníky. Vydání 1. Praha: Academia, 2018. 612 stran. ISBN 978-80-200-2903-4.
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Ve znamení „jadis“: Vzájemná korespondence Jana Zahradníčka a Františka Hrubína z let 1937–1950. Edd. Jan Wiendl, Zdena Wiendlová. Příbram, Pistorius & Olšanská 2018. 204 strany.
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Jaroslav Vostrý — Zuzana Sílová: České drama a český hrdina. Praha, Kant 2017. 222 strany.
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Lukáš Prokop, Ivo Říha, Jan Šulc (edd.): S iniciálami V. V. Studie, vzpomínky, korespondence, dokumenty. Praha, Památník národního písemnictví 2018. 364 strany.
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Kateřina Šimová — Daniela Kolenovská — Milan Drápala (edd.): Cesty do utopie. Sovětské Rusko ve svědectvích meziválečných československých intelektuálů. Praha, Prostor 2017. 871 strana.
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In the novel Seventh Autobiography, writer Ota Filip established a wide range of strategies for using quotes from archival documents from the State Security Archive. The writer attempted to respond to public accusations of his collaboration with agents of Czechoslovak military intelligence in the 1950s when he betrayed his colleagues who were planning to escape to West Germany. In the late nineties this scandal led to the writer’s son’s suicide and forced Filip to write his autobiographical novel to deal with the burden of guilt. By using this quotation strategy the writer was able to reassess past events from the perspective of his current position to follow his personal and artistic development and redefine his identity following this chain of traumatic experiences. Quotation also allows us to follow the gradual interlinking of individual autobiographical motifs in wider structures and to observe the relations functioning between them, which enable the autobiographical space of the writer’s literary work to be established. An important and simultaneous process in this context is the development of literary communication between the writer and the recipient of his novel. For the first one, this is an opportunity to share his personal experience and observe how it influences the process of dealing with the problematic past. The main goal of the article is to present the essential strategies for quoting from archival documents in the text of Seventh Autobiography. The author of the study particularly emphasizes the influence of quotation in the field of relations between the actual author of the literary text and the agents holding his security files in the past and the way the disproportion in accessibility of source material on the part of the recipient of the novel influences the process of literary communication. The final result of conducting analytical activities in these fields creates a broader picture of the writer’s methods for dealing with his experiences.
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This article reflects on three recent publications dealing with broadside ballads in the Czech lands. These include a publication from regional museum collections and two exhibition catalogues. It presents the various ways of comprehending this interdisciplinary phenomenon and current research trends (research into the materiality of the prints, reflection on the musical component, multilingualism and the like). It also presents terminological considerations and reflects on the broadside ballad as part of 18th and 19th century popular culture.
More...Ohlas Máchova díla v literární publicistice po roce 1858
This study seeks an answer to the question when and how the Czech romantic K. H. Mácha (1810–1836) started to be seen as a “modern” poet who could inspire authors writing decades after his death. Traditionally, Mácha’s well-known influence among Czech decadents, symbolists, and impressionists of the 1890s and the 1900s leads critics to the assumption that the “real” cult of Mácha occured as late as in correspondence with Czech Modernism. However, it is also well-known that Mácha’s work was publicly acknowledged no later than in the 1850s, demonstrably e.g. by the “Máj” almanac in 1858, then by the publication of Mácha’s complete works in 1861, and by the output of poetry influenced by Mácha’s legacy in the following years. The study proves that the image of “modern” Mácha as the first Czech poet to achieve the autonomy of art already existed between 1860 and 1890, and that Mácha’s artistic reputation grew constantly throughout the second half of the 19th century. This argument is based on a vast amount of evidence, mostly taken from literary journalism and criticism between 1858 and1910 (the latter year seeing the centenary of Mácha’s birth).
More...Kontradějiny v básnické skladbě Ivana Diviše Moje oči musely vidět (1987–1989)
Ivan Diviš’s My Eyes Must See (1987–1989) can be considered one of the finest poetic creations and performances of Czech poetry at the end of the 20th century. Its powerful effect lies in the fact that it combines poetic testimony, (auto)biographical intimacy, a suprapersonal, generally applicable message and a reflection on universal history and the modern Czech history of the last century in both fiction and fact. It is as if the identity of the poet is actually determined by the testimony: the poet is the one who sees, must see, and bear witness to what he sees. In Diviš's work, this witness has the character of a dramatic testimony, where the position of the poetic self overlaps in several places with the role of characters from ancient tragedy. Diviš’s work is at the same time a remarkable example of how poetic language can lend certain events their historicity, but also that poetic texts are not just about conveying historical “knowledge” or “knowing”, but about conveying an experience of history and at the same time a critique of historical existence and historicism.
More...Literární zdroje v Dětech čistého živého Terézy Novákové jako prostředek konstruování národní paměti
This study offers a revised classification of the movements involved in Teréza Nováková’s work, with specific reference to the novel Děti čistého živého (Children of Pure Living Spirit). Reference is made to the literary-historical and period meta-narrative, emphasizing the pres-ence of the ideal in the author’s work, which, however, was somewhat sidelined in the histori-cal context, so that with the passage of time, Nováková was categorized under documentary realism. In the context of recent literary-history debates over the term ideal realism, with the interdis-ciplinary support of memory studies research, and making use of the reception at that time, we demonstrate the stylization techniques Nováková used to construct, through her acknowl-edged work with oral and written documents, a text referring to the idea of nation-building based on culturally accepted paradigms. The study also reflects intertextual issues, together with the historical contexts of the works used by the author. By analysing the reception during that period, it is shown that the need to relate the interpretation of the novel to an ideal was also evident at the time of the work’s creation. The article concludes with a proposal to view the novel Děti čistého živého as a nodal point where three forms of realist techne meet: docu-mentary realism, ideal realism and naturalism.
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The aim of this study is to describe and examine eight typescript variants of Ludvík Vaculík’s novel Czech Dreambook. The analysis is part of the textological preparation for the forthcoming two-volume edition of Czech Dreambook in the Czech Library. It presents hitherto unanalysed and for the most part unknown typescript material, which provides a unique insight into the genesis of the text. The study shows the strategies used by the author in the reworking process and notes the variable extent of the documentary features.
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The Lumír literary magazine, which in 1873 was revived for a third time, soon acquired the reputation of a somewhat exclusive periodical, intended for educated readers. Its existence and ‘cosmopolitan’ orientation to the arts led to the establishment of the poet or the artist as a character in Czech literature, one who typically had a broad understanding of (West-)European literature, sought to create works that would be independent of non-aesthetic functions, and declared the ambition to rise above the ‘petty’ Czech milieu. This type led to considerable aversion amongst nationally oriented critics, particularly those of the ‘Moravian School’ of criticism, and in its day also met with considerable parody. In this contribution, the authors seek to provide several typical examples of writers associated with Lumír – Julius Zeyer (1841–1901), Jaroslav Vrchlický (1853–1912), and Jan Lier (1852–1917) – and their portrayal as satirical or parodic characters, created by Svatopluk Čech (1846–1908), Václav Řezníček (1861–1924), and Eliška Krásnohorská (1861–1924), as well as their contribution to making Czech literature autonomous.
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The polemics of 1893, between the Lumír literary magazine and the young generation, appearing mainly in the Literární listy (Literary news) fortnightly and the Niva (The mead) monthly, have hitherto remained peripheral to the interests of scholars. None the less, they occupy an important place in literary events of the early 1890s. By means of this clash with the ‘older’ generation, young writers clarified their positions on questions of art, defended the modern form of literary criticism; and individual members of the young generation defended their idea of artistic individualism, gradually forming a more or less common view that served as the basis of long polemics in the years to come.
More...Kritik Karel Sezima ve válečných letech
The study looks at Karel Sezima’s (1876–1949) criticism during the Great War, 1914–1918. It seeks to demonstrate how Sezima opposed concepts that tried – from the outbreak of war – to identify the impact that current epoch-making events had on literature. Sezima preserved this mindset throughout the war, ignoring or criticizing the later changes in public discourse, the ethical shift in literature, and changes in other critics’ approaches. His insistence on the autonomy of art and his rejection of everything even suspected of putting pressure on the creative act were manifested as a continuation of the analytical model of criticism, which focuses on form. It resembled conservatism, enshrining modernistic attitudes to literature at a turning point in history. The author also seeks to explain how Sezima’s approach differed from Arne Novák’s (1880–1939).
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In its last two years (1938–1939, 1939–1940), the Lumír literary magazine joined in efforts to determine the new orientation of the Czech nation. In the periodical, the debate over the conception of the state escalated in connection with the Munich Agreement in autumn 1938, with some contributions highly critical of the policies of the first president, Tomáš Garrigue Masaryk (1850–1937), and his partner and successor, Edvard Beneš (1884–1948). Beginning in 1939, efforts in Lumír to come up with a new conception of the Czech nation were no longer taking place in politically oriented articles, but rather in articles about culture. After the German invasion and establishment of the Protectorate of Bohemia and Moravia in mid-March, contributors to the periodical tried to avoid political topics. None the less, Lumír was closed down by the authorities at the beginning of 1940; its last issue came out on 31 January 1940.
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This study commemorates the last two editors-in-chief of the Lumír literary magazine, whose lives and works have so far been largely neglected in the history of Czech literature. The critic Štěpán Jež (1885–1970) began writing for Lumír while still at university, and during his long life he held a number of posts in the literature section of the Umělecká beseda (Art forum), in the Kruh českých spisovatelů (Czech writers’ circle) and on the editorial board of Lumír. In autumn 1939, a member of the younger generation, Josef Hobzek (1908–1989), took over from Jež as editor-in-chief of Lumír. It was assumed that with his training as a lawyer he would be better suited for official negotiations with the Nazi German authorities occupying the country. Hobzek, brought up in circles close to the upper levels of the Roman Catholic hierarchy, shared their conservative views of politics and the arts. In the Roman Catholic press he devoted himself to promoting the intellectual legacy of the historian Josef Pekař (1870–1937), even marrying one of Pekař’s relations towards the end of the Second World War. Hobzek and Jež devoted most of their professional energy to the required organizational and editorial work, which helped to create the cultural environment and literary operations, but remained in many respects concealed from the general public. Later, after the Second World War, they no longer had an opportunity to realize publicly their literary ambitions or apply their broad learning and interests. In the new circumstances of Communist Czechoslovakia they were forced to give up their plans as writers and editors.
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