Obscénnosť v textoch Honzy Krejcarovej
Obscenity in the Texts of Honza Krejcarová
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The starting point for this reflection on the poetry by Honza Krejcarová are two proposals by Roman Jakobson about obscenity. According to Jakobson, function is the ‘fundamental and intentional organizer’ of a text and the crucial marker or attribute of its ‘poeticity’. Jakobson demonstrates this on the example of the diaries by Mácha, i.e., autobiographical texts, which for him acquire a poetic function. Their obscenity is acceptable for him not on a cultural-historical, but poetological basis. Jakobson rehabilitates the poetic function of obscenity, but at the same time passes up the opportunity to demonstrate the functional difference between poetry and prose, lyrical and autobiographical genres. This reflection on the function of obscenity in Krejcarová’s poems V zahrádce otce mého (In My Father’s Garden, 1948) and in her letter to Zbyněk Fišer (Egon Bondy) and Julie Nováková (probably from 1962) is based on the double meaning of obscenity as an erotic, bodily function and as the basic existential attribute of an infamous, disreputable and/or insignificant person. Through this doubleness, Honza Krejcarová unexpectedly alludes to obscenity in the work by Božena Němcová. Finally, this reflection looks closely at the poetological difference between Krejcarová’s poetic texts and her letters as examples of the autobiographical genre. In addition, it shows how Krejcarová’s poetry, by turning around the relationship between the metaphor and the metonymy, creates a poetry of total realism.
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