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The author examines an articles written by the Italian Bohemist Angelo Maria Ripellino during the period from 1963 to 1973 for the Italian magazine L’Espresso, in which he reported on Prague cultural and political events, and asks to what extent his renowned essay Praga magica is conditioned by the trauma of “1968”.
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The present study concentrates on the phenomenon of intertextuality in one of Bohumil Hrabal’s key early works, namely, the “existential” short story entitled Kain. The author examines especially the intertextual resonances between Hrabal’s work, Camus’s The Stranger, Dante’s Vita nuova and Goethe’s Sufferings of Young Werther.
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The essay mentions Černý’s hostile relationship to Jan Mukařovský, sums up its causes, and recapitulates the texts in which Černý comments on Mukařovský’s works and on structuralism in general. On the basis of these texts, the author concludes that Černý’s contributions on the topic of “structuralism” betray an a-priori polemic bias and show that his reading of structuralist works was slightly superficial. However, these texts should not be interpreted purely as an expression of personal antipathy. Černý’s critique of structuralism points out its resignation on value judgement. According to Černý, this lack leads to the inability of structuralism to turn to criticism or literary history. The author analyzes Černý’s understanding of these two disciplines, and tries to point out the deeper causes of the polemics. The core of the dispute still seems valid today.
EN
The author analyzes Svatoň’s reflection of literature, paying attention to the dialectic of a potential dual approach to literary facts being so constantly offered in his books and articles. This examination of interpretative options is not performed directly either as the Socratian quest for the only truth, or as the Hegelian transposition of binary opposites into triads, wherein the third member abolishes the original antagonism. The opposites under scrutiny — factual description and context, irony and hermeneutics, work and genre, monologue and dialogue, linearity and cyclicity etc. — are expounded by Svatoň as anthropologically conditioned vantage points.
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