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Kolářův experiment s uměním: příklad futurismu

100%
Richterova S.
Česká literatura (Czech Literature)
|
2006
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vol. 54
|
issue 2-3
289-303
EN
This essay establishes the essential aspects of the work of Jiri Kolar (1914-2002). From the perspective of Futurism and by comparing him to Marinetti, it then considers the key theme of Kolar's work, evil, and his method of experimental interpretation.
2
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Mezi fenomenologií a futurismem: Meziválečná poetika Romana Jakobsona

80%
Steiner P.
Česká literatura (Czech Literature)
|
2008
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vol. 56
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issue 6
769-785
EN
The current article is based on a chapter from the author's book Russian Formalism: A Metapoetics (1984). It deals with the poetics of Roman Jakobson formulated during his stay in Prague from 1920 to 1938 and treats this subject from an epistemological perspective outlining three incompatible scholarly/artistic trends which informed it: Husserlian Phenomenology, Saussurian linguistics and Russian Futurism. From Husserl, Jakobson borrowed the concept of 'expression' (Ausdruck) - the sign whose self-sameness was absolute. But he departed from the German philosopher by conceiving of this semiotic identity in terms of a Saussurean 'social consciousness.' And he further relativized it through the modernist notion of 'de-familiarization' - an incessant drive of poetic signs for an aesthetic rejuvenation. To mitigate the tension between Phenomenological stability and Futurist instability, the essay concludes, Jakobson grounded his poetics in phonology: the sound system universal to all languages that is impervious to any violations.
3

THE THEME OF TECHNOLOGY IN AVANT-GARDES AND ITS SIGNIFICATION

80%
Bzoch A.
Slovak Review. A Review of World Literature Research
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2004
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vol. 13
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issue 1
77-90
EN
The paper is an attempt of the systematic presentation and explication of diversity in attitudes towards various contemporary technological phenomena in classical avant-gardes. The point of departure is the anthropological consideration of the sense of technology in general, according to A. Gehlen. The positive and negative accentuation of technology ('fascination' and 'nausea') in German Expressionism, its adoration in Futurism and Meyerhold's theater and its interiorization in post-Expressionism and Surrealism indicate not only different perception of various phenomena of civilization but also different and progressing understanding of the creative, traditional culture and politics.
4
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Totalitní stát jako umělecká syntéza

80%
Guenther H.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 4
106-119
EN
Study, characterizing key features of the totalitarian art conceptions (hyper-realism, monumentality, classicism, popularity, heroism), including the attempt to distinguish national particularity.
5
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FUTURIST CREATIONS OF THE MAN-MACHINE IN THEATRE. THE STAGE HISTORY OF 'L'ANGOSCIA DELLE MACCHINE' BY RUGGERO VASARI AND ATTEMPTS TO PRODUCE THE PLAY AT THE POLSKI THEATRE IN THE SEASON OF 1926/27 (Polish title below)

80%
Strozek P.
Pamiętnik Teatralny
|
2011
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vol. 60
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issue 1-2(237-238)
125-142
EN
(Polish title: Futurystyczne kreacje czlowieka-maszyny w teatrze. Dzieje sceniczne i próby wprowadzenia 'L'Angoscia delle macchine' Ruggera Vasariego do repertuaru Teatru Polskiego w sezonie 1926/27). The article is an attempt to answer the question to what degree a group of people associated with the Polski Theatre in Warsaw was interested in introducing an Italian Futurist drama into the theatre's repertory. Popularity of mechanical ballets in Europe and the ubiquitous ideas of fusing man and machine on the stage had, in the case of Italian Futurism, reached its highpoint in the drama by Ruggero Vasari, L'angoscia delle machine (1925), which talks about a conflict between men-machines and women, the last human beings in existence. The play gained considerable fame and was translated into several languages, including Polish. The Polish translation was completed by Irena Krzywicka, and letters by Krzywicka, Vasari and Jalu Kurek kept in Polish and Italian archives testify that there were plans to stage the play at the Polski Theatre in Warsaw in the season of 1926/27. Based on this body of correspondence, the article describes Krzywicka's and Szyfman's preparations for the premiere and Vasari's contacts with the literary and artistic circles in Poland. It analyses the factors that led Szyfman to abandon the production which could have become the world premiere of L'angoscia. In the end, the premiere took place at the Art et Action Theatre in Paris in 1927.
6
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Almanach na rok 1914, czyli kłopoty z czeskim futuryzmem

70%
Stefański M.
Bohemistyka
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2010
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vol. 10
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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.
7
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HOMO ARTEFACTUS AND PROMETHEAN SHAME: REFLECTIONS ON JOSEF ČAPEK, FUTURISM, TRANSHUMANISM, POST-HUMANISM, AND THE OBVIOUS

61%
Odorčák J.
World Literature Studies
|
2021
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vol. 13
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issue 1
68 - 80
EN
This paper is focused on an analysis of Josef Čapek ’s notion of technology and his scrutiny of the conflicting nature of the avant-garde movement of Futurism in relation to the contemporary assumptions of the processual philosophies of transhumanism and post-humanism. The analysis is reconstructed in the narrative setting of the technological and methodological hybridization of the categories of the human and post-human (Homo artefactus) and is inspired by Josef Čapek’s approach to a specific philosophical question: Why would anyone want to create a post-human, a “robot Picasso”? It is argued that Josef Čapek projected that some of the motivational assumptions about the creation of post-humans would be built upon the inconsistent stigmatization of the human by humans that envy the hypothetical superiority of post-humans (i.e., Promethean shame).
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