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Apokryfní přepisy fikčních světů: trojí zpracování příběhu o babylonské věži v současné české próze

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Hrtánek P.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 5
713-726
EN
The article is concerned with special forms and modifications of the intertextual relations on which prose works are based. In modern literature these are usually characterized in various secondary texts by means of the woolly term ‘apocrypha’. The article focuses on three works of Czech fiction, which ‘apocryphally’ follow on from the Old Testament myth about the erection of the tower of Babel – namely, the story ‘Záhadná věž v B.’ (The Enigmatic Tower of B.) by Milan Uhde (b. 1936) from the 1967 anthology of that name, the novel V jámě lvové (In the Lion’s Den, 1997) by Jan Jandourek (b. 1965), and the story ‘Babylonská věž’ (Tower of Babel) by Viktor Fischl (1912–2006), from his collection Apokryfy (Apocrypha, 2004). On the basis of analyses and comparison of these works with each other and further works with the same trope the essay searches for characteristics of their intertextual dimensions and contrasts them. Using Doležel’s typology of the transduction of fictional worlds the article explores how these characteristics are expressed in the structuring and semantic transformations of fictional worlds, which arise with the transcription of a fictional world of the pre-text: the essay reveals how the trope varies in the associated texts, how, and to what extent, the motif is embellished or is, by contract, simplified and demythicized, sometimes ironized. The article also considers the thematic foregroundings of the trope in the associated texts, its allegorization, that is, the intertextual changes in which the mythic event is enhanced by hidden unoriginal semantic levels (thus, for example, the Tower of Babel becomes the starting point for allegorical social hyperbole, artistic reflections on a crisis of communication or for the literary expression of epistemic scepticism). The article ultimately also reveals how ‘apocryphality’ as a distinctive intertextual quality of the fiction examined corresponds to the semantic transformations of the dioecious fictional world of the myth, by which Doležel defines his conception of the myth of ‘the modern’.
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Postmoderní obraz Smrti v románu Martina Komárka Dřevĕná panenka

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Hrtánek P.
Slavica Wratislaviensia
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2019
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vol. 168
373-380
EN
Postmodern image of Death in the novel Dřevĕná panenka by Martin Komárek The presented analytic-interpretative study deals with the image of Death in the work of fiction Dřevěná panenka (Wooden Doll, 1990) by Czech writer Martin Komárek. This book opens the series of four novels (published during the last decade of the 20th century) in which this author repeatedly returns to the theme of death and dying. This article focuses primarily on the theme of the fight with death and the possibilities of overcoming mortality. The essay pays special attention to the specific modality of Komárek’s work of fiction that is based on intertextual relations (mostly on the level of motifs) with Gothic novels. The study also registers the grotesque dimension in the personification of death in the form of a terrible doll-puppet, and attempts to interpret the theme of death in Komárek’s novel in the context of postmodern poetics.
PL
Postmodernistyczny obraz Śmierci w powieści Martina Komárka Dřevĕná panenka Prezentowany analityczno-interpretacyjny artykuł dotyczy obrazu Śmierci w powieści Dřevěná panenka (Drewniana lalka, 1990) czeskiego pisarza Martina Komárka. Książka ta otwiera serię czterech powieści (wydanych w ostatnim dziesięcioleciu XX wieku), w których autor wielokrotnie powraca do tematu śmierci i umierania. W niniejszym tekście badania koncentrują się przede wszystkim na motywie walki ze śmiercią, na jej przezwyciężaniu, dostrzegając jednocześnie cechy wspólne analizowanego dzieła (szczególnie na poziomie motywów) między innymi z gatunkiem powieści gotyckiej. W artykule zwrócono uwagę na groteskowy wymiar uosobienia śmierci w postaci budzącej lęk lalki-kukiełki. W analizie utworu wzięto również pod uwagę wcześniejszą interpretację tematu śmierci w prozie Komárka w kontekście poetyki postmodernistycznej.
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Politics, sex and eroticism – towards the fictional picture of “normalization” in Jaroslav Čejka’s novel Most přes řeku zapomnění

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Hrtánek P.
Studia et Documenta Slavica
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2019
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vol. 9
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issue 3
7-15
PL
Novels with the intention to create a comprehensive and recapitulative “chronicle” picture of Czech society in contemporary history present one of the productive thematic tendencies in Czech fiction. Their plots are usually based on confrontations between political events and private stories. In dramatic clashes between “big” and “small” histories, sex and eroticism come to play an important role. They are also essential elements in the novel Most přes řeku zapomnění (The Bridge over the River of Oblivion) (2015) by Jaroslav Čejka. The story tracks the life of the protagonist (and that of his brother) over the course of several decades and shows how numerous love affairs and erotic escapades frame his political career. The present analytical essay focuses on the erotic motifs as realisation of the erotic mode in Čejka’s fictional picture of the “normalization” period during the communist era.
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Pohádky jako prototexty apokryfních reprodukcí v současné české próze

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Hrtánek P., Knesplová P.
Český lid: etnologický časopis (Český lid: Ethnological journal)
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2012
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vol. 99
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issue 4
463-478
EN
The present study focuses on the intertextual relations between fairy-tale patterns and their artistic adaptations that are in contemporary literary communication and meta-communication denominated apocrypha. The study analyzes and compares the short story anthologies of Přemysl Rut V mámově postýlce (In Mummy’s Bed, 2000) and Květa Legátová Mušle a jiné odposlechy (Shell and Other Eavesdroppings, 2007). Both authors in some of their stories reproduce in specific way the classical adaptations of folklore tales, or better to say components of their typical plotlines. The study shows how the intertextual relations between apocrypha and its fairy-tale prototexts are established and aims to identify the nature of intertextual transformations of the original tale plots, motives and characters. The basic procedure of apocrypha writing is the motivic amplification of the fairy-tale that enters the text either through the quotation or through the basic plotline that is then rewritten anew. The fairy-tale prototext or the general acquaintance with it constitutes the indispensable perceptual background of the apocrypha and upon this background the ironic intertextual game with allegorical or variously actualized meanings is being played. This game “it happened some other way” is focused on adult recipients, something that sets the fairy-tale apocrypha apart from the range of post-modern variants of authorial tales.
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