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1

Publicistická tvorba Jany Krejcarové z druhé poloviny čtyřicátých let

100%

Militz A.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

32-37

EN

The paper provides a brief analysis of three articles written by Jana Krejcarová in the years 1946–1947 (her oldest known texts, published in book form for the first time in 2016), attempts to place them into the context of other work by Krejcarová-Černá and compares them with texts produced by her mother, Milena Jesenská.

2

Das dunkle Kochbuch einer Heldin: Janas Mutterfiguren in Adresát Milena Jesenská und Hrdinství je povinné

89%

Colombi M.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

38-50

EN

The article deals with two prominent representations of the mother in Jana Krejcarová’s written production: first Milena Jesenská’s portrait in Jana’s biography of her mother, Adresát Milena Jesenská [Addressee Milena Jesenská] (1969) — and secondly the character of Petr’s mother in the short novel Hrdinství je povinné [Heroism is compulsory] (1964), a fictional story with an apparent autobiographicbackground. The study shows that both representations are based on the child’s ambivalent attitude toward its mother: the analysis works on the hypothesis that the topic of social engagement is in both texts at the very core of this ambivalence. Public commitment is both for Jana as a biographer and for her fictional character Petr a reason for admiring the mother on the one hand and a great emotional and ethic challenge on the other hand — for the child is jealous of the mother’s social engagement and considers it as the very force not only keeping her away from him but also causing, eventually, her death. Moreover, the child feels split, becoming an adult, between the perspective to be as socially engaged, or even heroic, as the mother — and the refusal of a behaviour that seems to give priority to the social rather than to private sphere. Indeed, this ambivalence in the child-mother-relationship brands a depiction of the mother which is as subtly nuanced as emotionally and ethically demanding.

3

Obscénnosť v textoch Honzy Krejcarovej

71%

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.

4

„…s použitím všech sprostých a obskurních slov“: Jana Krejcarovás Poetik des Obszönen zwischen Revolte und Melancholie

71%

Vojvodík J.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

25-31

EN

Against the backdrop of the outright phobic tabooisation and removal of eroticism and sexuality from the arts and from all areas of public life in the ‘socialist society’ following February 1948, the erotic texts of Jana Krejcarová represent a ‘total’ provocation and subversion of the sexless socialistic realism and its petty prudishness. The extreme obscenity of Jana Krejcarová’s erotic texts, which also contain elements of parody and irony, coupled with the high degree of aggressivity and fierceness (especially the ‘Letter’ addressed to Egon Bondy from the year 1962), can be read and interpreted also as ‘revenge’ for the devaluation of physicality and sexuality. Nevertheless, the subversive excesses in her ‘poetry of the obscene’ constitute another, latent plane, on which obscenity appears as an ambivalent phenomenon: as an excess and the tearing down of all boundaries it refers to its ‘opponents’: order, the setting of boundaries, and melancholy.

5

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

62%

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

Honza Krejcarová: Existentialistische Zusammenhänge (Violette Leduc, Jean Genet)

62%

Galmiche X.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

88-95

EN

The attractiveness of Honza Krejcarová’s literary work is partially due to its fragmentary character and its role in the development of underground literature. From this point of view, it is difficult to compare to her the famous and scandalous authors of the French existentialist generation, in particular Jean Genet, cult author of France from the end of the Second World War until the decolonization, or Violette Leduc, who stood out as a name mattering in the initiation of the young generations to homosexual literature and one of the founders of self-fiction. In spite of all these differences, the kinship of the texts of these ‘unruly childrenʼ, at the same time ‘enfants martyrsʼ and ‘enfants prodigesʼ, with those, contemporaries, of Krejcarová is striking. The texts of their two more famous commentators, Jean-Paul Sartre for the first one and Simone de Beauvoir for the second one, helps to understand how the myth of these authors was born in a time fascinated by the principle of pleasure up to the death drive.

7

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

54%

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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7 Slovo a smysl - Word & Sense

1 Colombi M.

1 Drubek N.

1 Galmiche X.

1 Militz A.

1 Vojvodík J.

1 Zajac P.

1 Zand G.

7 2017

Publicistická tvorba Jany Krejcarové z druhé poloviny čtyřicátých let

Das dunkle Kochbuch einer Heldin: Janas Mutterfiguren in Adresát Milena Jesenská und Hrdinství je povinné

Obscénnosť v textoch Honzy Krejcarovej

„…s použitím všech sprostých a obskurních slov“: Jana Krejcarovás Poetik des Obszönen zwischen Revolte und Melancholie

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

Honza Krejcarová: Existentialistische Zusammenhänge (Violette Leduc, Jean Genet)

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