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Ludvík Vaculík, Josef Škvorecký, Milan Kundera, Pavel Kohout a Václav Havel o češtině

100%
Štěpán J.
Bohemistyka
|
2011
|
vol. 11
|
issue 1
3-13
EN
Author of the article describes statements about Czech language of well-known modern Czech writers: Ludvík Vaculík, Josef Škvorecký, Milan Kundera, Pavel Kohout and Václav Havel. They are speaking about function of mother tongue in a literary composition or in a daily communication.
2
Content available remote

Almanach na rok 1914, czyli kłopoty z czeskim futuryzmem

88%
Stefański M.
Bohemistyka
|
2010
|
vol. 10
|
issue 2
93-107
EN
In previous writings on Czech literature of the 20th century, Futurism has usually only been mentioned in passing, as if it were a shameful matter. At best, it is spoken of as a Futurist episode or as a momentary fascination for a small group of Czech poets and writers. The statements of the leading representatives of the Almanach na rok 1914 (Almanac for the year 1914) generation show, however, that in the period from 1912–1914 the ideas of the Italian Futurists were the most important source of inspiration for many Czech artists. This conception of art and poetry clearly influenced them. This article recalls the relationships to the programme of Italian Futurism which can be found in the works of S. K. Neumann, K. Capek, J. Capek, O. Theer and V. Hofman. It also indicates the three reasons why Czech writers finally disowned Marinetti’s influence and came to the conclusion that the whole concept of Futurism was inappropriate. This happened because the artists gathered around Almanac for the year 1914: (1) did not want to be identified with only one artistic trend; (2) did not accept some of the Futurist projects for the reform of the language of poetry; and (3) could not admit to Futurism because the whole trend was considered anti-Austrian.
3

BONDYHO BRATISLAVSKÁ EPIZÓDA

75%
Passia R.
Slovenská literatúra (Slovak Literature)
|
2021
|
vol. 68
|
issue 3
304 – 313
EN
The introductory section of the article reconstructs the arrival of the Czech writer, philosopher and foremost member of underground culture, Egon Bondy (1930 – 2007) to Bratislava in 1993. There he became part of the city’s intellectual and cultural (literary, musical and artistic) life. The novella Epizódaʼ96 [Episode ʼ96] Bondy wrote in Slovak is an important contribution to the literary identity of the city. The article interprets the close relationship between Bondy’s narrator and space and also looks at the central topoi present in Bondy’s portrayal of Bratislava. He presents the city via “emptiness”. Diachronically, this means putting into spotlight some of the key episodes (unknown territories) of the weakened historical memory of the city (life and work of the sculptor F. X. Messerschmidt and the fates of the Jewish community). Synchronically, the author focuses on the structure of the city formed by socialist planning and on the empty spaces as natural spaces that to a great extent determine Bratislava’s genius loci (the Danube, the Little Carpathians).
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