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Koexistence beletristických a filosofických textů Ladislava Klímy

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Havlová J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 51
84-96
EN
Ladislav Klíma was the controversial Czech author and thinker at the turn of the twentieth century. The study deals with a coexistence Klíma’s fiction texts and his philosophical works. In three fictions of Ladislav Klima are analyzed philosophical concepts, these concepts are compared with parallels from his philosophical works and interpretations by other authors. In this paper is used Klíma’s his first fantasy tale “Osud” (1893), further story “Sus triumfans” (1906–1908), and fantasy novel Slavná Nemesis (1906–1908, finished 1926). The main aim of this contribution is to demonstrate that the content of works of fiction corresponds to the key philosophical concepts Ladislav Klima.
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Jak zabít utrpení. O filozofické praxi Ladislava Klímy

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Pocestný M.
Slovo a smysl - Word & Sense
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2020
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vol. 17
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issue 1
68-84
EN
This article examines Klíma’s concept of so-called egodeism, attempting to interpret it as a rigorous thinking through of the problem of suffering. It’s a problematic that draws from the various traditions (Buddhism, Stoicism, Schopenhauer) that Klíma builds on. The aim is to show that, while Klíma’s egodeism is more problematic thought experiment than coherent theoretical concept, the path by which Klíma reaches egodeism is philosophically legitimate. The author indicates how Klíma develops his ideas by way of modern metaphysical idealism (Berkeley, Schopenhauer), as well as the more problematic stages of his progress (so-called extended Kantianism). As Klíma has been described as an epigone of F. Nietzsche, the author also — using comparative method — focuses on several aspects by which Klíma may be distinguished from Nietzsche. To some extent, J. Patočka’s concerns are discussed as well.
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Literatura a život : sebestylizace jako strategie v autobiografických a esejistických textech Bohumila Hrabala

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Just D.
Česká literatura (Czech Literature)
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2019
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vol. 67
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issue 1
60-83
EN
Hrabal often emphasizes that his work is firmly anchored in reality. He says that it is based either on what had happened to him, or what he had heard from other people and had identified with to such an extent that he merged in with it. This emphasis on the indivisible link between literature and real life is strongest in his later autobiographical and essayistic texts in which he writes directly about himself and not through narrators or literary characters as he did previously. In these texts he also thinks more systematically about what it means to be a writer, how he himself developed as a writer and what his objectives were in writing and in life in general. Characteristically, these texts cannot be reduced to what Hrabal says to us in them, as he frequently stylizes himself in various forms and makes use of a number of other typically literary techniques. What Hrabal writes about and how and why he keeps coming back to the problem of the relationship between literature and life is a sign of his efforts to come to terms with what is weighing him down. For him literature becomes a kind of adaptive strategy to deal with his chronic inability to be in the present moment.
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The philosopher Ladislav Klíma in the eyes of his contemporaries

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Lewis D.
Filosofický časopis (Philosophical Journal)
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2021
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vol. 69
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issue Special_Issue_1
155-172
EN
The article deals with the reception of Ladislav Klíma’s work by his contemporaries, by the philosophers, academicians and authors, including Otakar Březina, Jaroslav Seifert, Karel Čapek, F. X.Šalda and Emanuel Chalupný, Klíma’s patron. The focus is placed on the reception of Klíma by the philosophers of the “younger generation”, such as Ferdinand Pelikán, Karel Vorovka, Vladimír Hoppe, and Tomáš Trnka. The article builds especially on the articles published in the then journals or on the commentaries in the then litterature. Although Ladislav Klíma was ignored by most of the “official” philosophy, the originality of his writing style and the uniqueness of his character gained him much appreciation, if not admiration, from most of the acclaimed academicians of the time. Even though most of Klíma’s supporters and readers did not agree with his philosophy, they certainly respected him for the genuineness of his attempts at living his philosophy.
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To play like Napoleon. Klíma’s Egosolism as a call to active participation in the world

85%
Holodňák R.
Filosofický časopis (Philosophical Journal)
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2021
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vol. 69
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issue Special_Issue_1
141-154
EN
Ladislav Klíma is the enfant terrible of Czechoslovak philosophy. His philosophy of egosolism, first developed in the work The World as Consciousness and Nothing (Svět jako vědomí a nic), contrasts sharply with the predominantly rationalist and scientific orientation of the philosophy of his time. The romanticised image of Klíma as a tortured intellectual remains alive mainly thanks to the widespread popularity of his “grotesque romanetto” The Sufferings of Prince Sternenhoch (Utrpení knížete Sternenhocha), which still resonates in Czech society to this day. His philosophy of egosolism or ludibrionism, however, remains shrouded in a veil of mystery; Klíma himself complained before his death that he was mistakenly interpreted as a solipsist. This paper offers an interpretation of egosolism in The World as Consciousness and Nothing as a form of radical individualism, which, through a surprising “twist”, calls for active participation in the phenomenal through play (ludus, from which the word ludibrionism is derived as a complementary term to egosolism), and which is essentially a practical philosophy for ordinary, everyday life. The focus falls on the concepts of the primary and secondary world, will, play and reflection; the goal of the study is to provide an original interpretation of Klíma’s egosolism in The World without any reliance on previous interpretations. Klíma ascribes a special role to the method of subjective experiencing of his philosophy, which the he considers to be crucial to gaining the right impression and the correct grasp of it. The Klíma chose this method with the view of assuring the highest possible authenticity of the offered interpretation. The reasons for this choice are examined in more detail in the concluding part of this paper, which is dedicated to a methodical and stylistic commentary of Klíma’s work.
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