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Transgresja jako klucz do odczytania literackiego dialogu Egona Bondy'ego i Honzy Krejcarovej

100%

Kijanka J.

Bohemistyka

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2018

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issue 4

378-395

EN

The article attempts to analyse the literary dialogue between two representatives of Czech underground Culture: Egon Bondy and Honza Krejcarová. The authors were inspired by ideas and subjects which were forbidden in the countries of Eastern Europe under communism. Their focus was eroticism and liberated sexuality, mixing kitsch and transcendency, with use of the Bakhtin's aesthetics of lower stratum of the body. For Bondy and Krejcarová art was a way to find refuge and seek freedom. In my opinion the key to interpret their work is transgression, especially as described in the philosophic work of Georges Bataille. It turns out, that ‘to go beyond’ is for the authors a way to break free from the bonds of socrealistic art. The dialogue held in the so called samizdat, by clandestine copying and distribution, has not lost its scandalous undertone in the course of time.

PL

Artykuł stanowi próbę analizy literackiego dialogu dwojga przedstawicieli czeskiego undergroundu: Egona Bondy'ego i Honzy Krejcarovej. Twórcy ci inspirowali się ideami oraz tematyką zakazaną w krajach Bloku Wschodniego. W centrum zainteresowania stawiali erotyzm oraz wyzwoloną seksualność, mieszając kicz i transcendencję i wykorzystując Bachtinowską estetykę „cielesnego dołu”. Właśnie w sztuce Bondy i Krejcarová odnajdywali swój azyl oraz wolność. Kluczem do odczytania poszczególnych utworów jest, moim zdaniem, transgresja – zwłaszcza ta, o której w swojej filozofii pisze Georges Bataille. Okazuje się, że „przekroczenie” stanowi dla twórców metodę wyzwolenia z okowów sztuki socrealistycznej. Literacki dialog prowadzony w tak zwanym samizdacie, a więc poza oficjalnym obiegiem, do dziś nie stracił swego skandalicznego wydźwięku.

2

Ontologie Egona Bondyho jako anticipace současné filosofie

100%

Hauser M.

Filosofický časopis (Philosophical Journal)

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2021

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vol. 69

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issue 4

815-830

EN

This discussion study addresses the ontological and ethical questions that can be found in Myšlení a tvorba Egona Bondyho (The Thought and Creative Work of Egon Bondy), edited by Petr Kužel. This is the first monograph dedicated to the work of this original thinker. In the introductory part, I deal with the reasons that led to Bondy’s work being neglected up to this point in time by those who interpret philosophy. In the second part, I summarize the axiological and logical arguments put forward by the authors of the section of the book concerned with ontology, which should show that Bondy’s abandonment of the category of substance was justified. Then I explore two possible objections to the axiological justification of a non-substantial ontology and an objection to its logical justification. Nonetheless, in all parts of the study I show that Bondy anticipated a number of the principal themes of contemporary ontology and the theory of artificial intelligence, which have figured, for example, in the work of Slavoj Žižek or Nick Bostrom. In the closing part, I formulate some topics that, I believe, further research on Bondy should focus on.

CS

Tato diskusní studie se věnuje ontologickým a etickým otázkám, jež se objevily v knize Myšlení a tvorba Egona Bondyho, jejímž editorem je Petr Kužel. Jedná se o první monografií věnovanou dílu tohoto originálního myslitele. V úvodní části se zabývám důvody, které vedly k dosavadnímu opomíjení Bondyho díla ze strany interpretů filosofie. V druhé části shrnuji axiologické a logické argumenty předložené autory ontologického oddílu knihy, které mají dokázat, že Bondyho opuštění kategorie substance bylo oprávněné. Pak se zabývám dvěma možnými námitkami proti axiologickému zdůvodnění nesubstanční ontologie a námitkou proti jejímu zdůvodnění logickému. Ve všech částech studie nicméně ukazuji, že Bondy předjímal řadu zásadních témat současné ontologie a teorie umělé inteligence, které se objevují např. v díle Slavoje Žižka nebo Nicka Bostroma. V závěru formuluji několik témat, na něž by se podle mého názoru mělo zaměřit další bondyovské bádání.

3

Evokace, inspirace, dedikace — zmínky o Honze Krejcarové v díle Egona Bondyho

80%

Machovec M.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

81-87

EN

Egon Bondy’s poetry, fiction, and even philosophical essays contain a lot of factual remarks, both explicit and anonymous (albeit quite transparent), on the woman he met by the end of 1948 and with whom he was in a love-affair for many years. However, Honza Krejcarová seems to have inspired Bondy in a number of other cases. Some fictitious female characters in his literary work are likely to be shaped by the image the poet had created about his ‚femme fatale‘. On the other hand, Krejcarová’s own literary heritage is comparatively modest in its scope. The voluminous ‚letter to Egon Bondy‘ (1962), together with the memoir biography on her mother Milena Jesenská are very important among her works. In the letter, she expressed the gist of her aesthetics and ideas; only in her private correspondence — contrary to her works of fiction published in the sixties — could she write openly, without the interference of any censorship and self-censorship.

4

Obscénnosť v textoch Honzy Krejcarovej

80%

Zajac P.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

15-24

EN

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.

5

Mythos Krejcarová: (Re-)Konstruktion und (Re-)Lektüre

70%

Zand G.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

74-80

EN

The first part of this paper tries to examine how and why Honza Krejcarová happened to turn into a mythic figure of Czech underground. The second part discusses the question, why the real person and authoress is ignored by this very myth and — even more — is not met with reception in literary history.

6

Sich (k)einen Namen machen: Die Židovská jména der Honza K.

61%

Drubek N.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

51-73

XX

Even though the anthology Jewish Names, often called the beginning of Czech alternative culture, was published in 1995, several central questions concerning this seminal collection from the early 1950s remain unclear: Who initiated it, when was it assembled, and what is its connection with the causa of the ‘Trotzkyites’ in Prague and later anti-semitic show trials? Answers can be found if one appreciates the pivotal role of Honza Krejcarová in this unique project. The article connects dots between Czech history during the Protectorate when young Honza witnessed her mother Milena Jesenská’s resistance activities, and the late 1940s of Stalinist Czechoslovakia when the State Security started surveilling and persecuting Krejcarová. Based on archival studies the article argues for the parallelism between secret service practices (interrogation, the revealing of names in the form of denunciation) and automatic surrealist writing techniques. Drawing on the example of the name of the Author it analyses the paratextual structure of the anthology connected to its literary models, mainly from France. Jewish Names is a rich collection of fictitious ‘Jewish’ pseudonyms attributed to real Czech writers, stressing the vulnerability of the literary intelligentsia, their mineurité. And it is this paratextual construction which can be considered as the most daring and auto-referential aspect of this illegal publishing project. The article reveals problematic aspects of the chosen path of pseudonymy and anonymity. Changing or omitting one’s name is a common trait of female biographies, complicating the attribution of authorship. The article shows how pseudonymy takes its toll on an existential, gender, political, and historical level — precluding until today the proper names from entering Czech literary history.

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4 2017

Transgresja jako klucz do odczytania literackiego dialogu Egona Bondy'ego i Honzy Krejcarovej

Ontologie Egona Bondyho jako anticipace současné filosofie

Evokace, inspirace, dedikace — zmínky o Honze Krejcarové v díle Egona Bondyho

Obscénnosť v textoch Honzy Krejcarovej

Mythos Krejcarová: (Re-)Konstruktion und (Re-)Lektüre

Sich (k)einen Namen machen: Die Židovská jména der Honza K.