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Racionalita coby most mezi posvátným a profánním: Rotrouův Genesius a Racinova Esther

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Šuman Z.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 58
74-84
EN
The article focuses on some of the obstacles which the French early-modern dramatists had to face when choosing a sacred subject-matter. Certain of d’Aubignac’s remarks on the period’s theatrical practice allow us to detect the main arguments of conservative churchmen opposed to the theatre. But alongside such opposition, d’Aubignac also raises “practical” questions, especially when it comes to avoiding specific misleading paths such as the ambiguity of rigorously defined theological concepts (e.g. “grâce”) or the dramatic means of theatrical illusion based largely on the ubiquitous claims of verisimilitude. We aim to show in what specific manner Rotrou and Racine integrated those requirements when treating religious subjects. Despite the fact that both dramatists may have relied upon the irrefutable authority of sacred sources (especially Racine, who draws his subject from the Old Testament), we observe that neither of them disrespects the period’s theatrical rules, or their rational context.
2
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La haine de la littérature selon Bernard Lamy

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Šuman Z.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2022
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vol. 32
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issue Special Issue
173-189
EN
The paper focuses on Lamy’s reflections on literary fiction and theatre as displayed in his Nouvelles réflexions sur l’art poétique (1678). Bernard Lamy (1640–1715) was a prolific writer, a major Augustinian thinker and a member of the French Oratory. Today, he is mostly known for his La rhétorique ou l’Art de parler (1st edition dates back to 1675), and his numerous works continue to elicit contributions from specialists on rhetoric and literary fiction. Lamy’s reflections on literature, theatre and aesthetics are based on rigorous moral and religious grounds, hence his overriding aim to dismantle and deconstruct the core of what some continue to call the “classical doctrine”. Lamy systematically treats topics such as embellishment, respect for the unities (time, place, action), paradoxes of aesthetical pleasure, verisimilitude, morality of literary and theatrical fiction, etc., all to demonstrate their radical incompatibility with the principles and values of an exemplary pious person. Lamy’s rigorist moral and religious views might well seem shocking to a modern reader, but we aim to show that his analysis of various creative strategies (especially intricacies of rhetorical adaptation and procedures of arousing an emotional/intellectual response) has a great potential to enrich our understanding of early modern fiction and theatre.
3
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Symbolismus v podání Tancrèda de Visan

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Šuman Z.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
27-31
EN
This paper analyzes Tancrède de Visan’s early views on Symbolism as they appear in his foreword to the poetry collection Paysages introspectifs (1904). We put a special emphasis on some Bergsonian key notions, such as intuition or élan vital, and the way Visan uses them in order to distinguish the Parnass’ methods from those used by the Symbolists.
4
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Wyzewův Wagner: ideál jednoty a realita hranic

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Šuman Z., Ébert-Zeminová C.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2019
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vol. 60
69-82
EN
The article deals with the legacy of Teodor de Wyzewa’s reflexions on Wagner/Wagnerism and their substantial impact on French Symbolist writers. The requirement to actually overcome national boundaries and pertaining ideologies has been a major step in seeking to open up French literature towards major foreign influences. It has also contributed to shape and define modernism, albeit in a rather conservative and largely neo-classical fashion.
5
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Raný Mallarmé v českých překladech

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Šuman Z., Ébert-Zeminová C.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 31
40-62
EN
This article consists in a thorough analysis of various Czech translations of the early poems of French Symbolist poet Stéphane Mallarmé. The main difficulties arise from Mallarmé’s omnipresence in Czech literary culture, together with a tendency to adapt his poetry to fit the mood of changing historical contexts and expectations. Many Czech poets — some of the most prominent — have dealt with Mallarmé’s poetry, and its influence cannot be limited to a simple matter of translation. Among other things, it has thoroughly permeated Czech poetry in a specifically political way, as we see for example with Hrubín’s historic address to the Convention of Writers in 1956. The overall aim of this paper however is to present a detailed examination of two Parnassian poems by Mallarmé as translated by F. Dohnal, E. Lešehrad, K. Čapek, V. Nezval, F. Hrubín, O. Nechutová, V. Mikeš and J. Pokorný. Based on a series of observations that have mainly to do with semantics, prosody and the translators’ overarching strategies, the authors come to the conclusion that the early Czech translations depend too much (if not word-for-word) on the French originals, and on Parnassian poetical principals. A sensible change comes with K. Čapek. It is, however, F. Hrubín, himself an acclaimed poet, who offers the most convincing translation, at least if we take into consideration such traditional or conservative criteria as precision and accuracy
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