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1
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Poznámky k zvukomalbě

100%
Langerova M.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 2-3
175-185
EN
An interpretation of Karel Hynek Macha's short story 'Pout krkonosska', inspired by post-structuralist concepts of the relationship between language (the spoken word), human experience, subjectivity, and corporeality.
2
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Několik poznámek a úvah o vzniku Máchova Máje

100%
Prokop D.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 2-3
204-217
EN
A thorough analysis of textual sources and anticipatory elements of Macha's 'Maj', including an assessment of the nature of shifts and changes.
3
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Máchova báseň Čech

80%
Tureček D.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 4
501-528
EN
This article is a discussion of the poem Čech by Karel Hynek Mácha (1810–1836), which is concerned with the mythical arrival of the Czechs to their new settlements in the Bohemian basin. For early nineteenth ‑century culture this was a highly important theme with many cultural and ideological implications and contexts. The supposedly peaceful arrival of the Czechs in a deserted land appeared particularly important. In the spirit of Herder’s ideas the non-belligerent, passive nature of the Slavs appeared thus to be confirmed. Czech national culture sought to oppose this image and in several variants created the motif of the victorious battles of ‘occupation’ of the Czechs. The most radical versions even represented the mythical Czechs as victors over the roman legions – these interpretations were clearly inspired by the German legend of Arminius (Hermann) and his struggle against the legions of Publius Quinctilius Varus in the Teutoburg Forest. Mácha strips the matter of the arrival of the Czechs of external contexts. He does not specify even the nature of the enemy or the area from which the ancestral Czechs allegedly came to the Bohemia. Instead, he limits himself to a depiction of the height of the victorious battle. Three texts, highly prestigious at that time, were an inspiration to him: the Rukopis královédvorský, the poems of Ossian in Czech translation, and the Iliad of Homer. The inspirations that Mácha found here, however, he combined into a relatively sophisticated, artistically demanding form. This is particularly evident in the form and manner of using verse of this kind. Because of its artistic quality, the poem Čech, which some experts considered a later forgery, turns out really to be Mácha’s work. It can reasonably be situated in the later period of the poet’s work. This chronology also demonstrates an essential feature of Mácha’s works, in which different elements of literature (particularly patriotic and subjective elements) existed side by side. The common denominator is the author’s endeavour radically to make aesthetic motifs that were common in the period, and to create an exceptionally artistic form.
4
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Marinka

80%
Prochazka M.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 2-3
198-203
EN
An interpretation of Macha's tale 'Marinka', focusing on some of its musical elements (for example, the inclusion of verse in composition, the harp motif). It points to factors made complicated by the development of Romantic idealization.
5
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Rýmové útvary a konfigurace Máchova Máje

80%
Prokop D.
Česká literatura (Czech Literature)
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2005
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vol. 53
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issue 6
769-797
EN
The article considers the rhyme structure of Mácha's 'Máj'. It first describes the rhyme forms as passages from which the overall rhyme patterns of the sections are then composed. It then analyzes the morphology and types of these forms and patterns, and discusses their unusual diversity. In 'Máj' Mácha employs rhyme forms between two and seven lines in length (and sometimes, though rarely, even longer ones), from which particularly those from four to seven lines are usually of several types and variations, in part regular, in part irregular. The rhyme patterns are shorter (up to ten lines), utterly individual, that is to say, they always have a different rhyme sequence and combination of rhyme forms. Apart from the length, one can discern also odd and even patterns (with the odd or even number of lines) and especially regular and irregular ones. In terms of syntax and motif the pattern boundary overlaps with the section boundaries; the boundaries of the rhyme forms alternate without apparent regularity with the syntactical units or motifs.
6
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Poznámky k máchovské literatuře

80%
Mukařovský J., Havránková M.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 2
232-242
EN
A hithero unpublished review of Vojtěch Jirát's book Karel Hynek Mácha, written by Jan Mukařovský (edited by Marie Havránková).
7
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Aspekty prostoru v Máchových Cikánech

80%
Hrbata Z.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 2-3
186-197
EN
This article analyzes Karel Hynek Macha's tale 'Marinka', which, it is argued, is distinguished by numerous features of Romanticism. The artistic power of this work, according to the article, is based on the confrontation between the Romantic ideal on the one hand and drastic scenes of the life of the poor, romantic love, and disillusion on the other. The analytical part of the article considers the genesis of the work in connection with the original sketches in Macha's Notebook and with aspects of real life and institutions appearing there. In conclusion the author points out the link between 'Marinka' and the verse of 'Die Gruendung Prags', a lesedrama by Clemens Brentano (1778-1842).
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Vojtěch Jirát a Jan Mukařovský aneb Příběh jedné nevydané recenze

80%
Sládek O.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 2
218-232
EN
Introduce to the history of the Jan Mukařovský's text Remarks of Mácha Criticism.
9
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Po smyslu Máchova Kata

80%
Charypar M.
Česká literatura (Czech Literature)
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2010
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vol. 58
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issue 3
277-293
EN
This article provides the first comprehensive interpretation of the surviving texts and fragments of Kat, the unfinished series of stories by Karel Hynek Mácha (1810–1836). It combines known textological facts with an interpretation of semiotic aspects of the individual texts. It thus brings up to date our knowledge of Mácha’s conception of Czech history. Apart from purely Romantic themes and motifs, which link all parts of the series (and not just its first, Křivoklad – the only one to be published) with his later works (particularly Máj and Cikány), these texts also contain Mácha’s criticism of the policies of Wenceslas IV, King of Bohemia (d. 1419), which led to the Hussite movement and then, in consequence, the end of Czech sovereignty, a state of affairs that lasted to Mácha’s days. This unified interpretation of the Kat series also presents strong arguments supporting Mácha’s authorship of its unpublished fragments and outlines, which had previously been questioned (particularly by Oldřich Králík).
10
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Sabina-Sojak: Naši mužové (Poznámky k studii Alexandra Sticha Sabina-Němcová-Havlíček)

61%
Charypar M.
Česká literatura (Czech Literature)
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2009
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vol. 57
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issue 1
26-53
EN
The article has two aims. First, it endeavours to define the limits of authorship in Karel Sabina (1811-1877) and Jan Erazim Sojka's (1826-1887) Nasi muzove (Our fighters, 1862-63), a set of twenty biographical sketches of Slav writers (and one Irishman). Since it has to have as its starting point the most important analysis of this work - Alexandr Stich's Stylisticke studie III: Sabina, Nemcova, Havlicek (1976) -, the article also constitutes a critical commentary on Stich's book. Stich analyzes only two chapters of Nasi muzove in detail - those about Havlicek and Nemcova. In addition to Stich's remarks on the Havlicek essay, this article discusses the origin of the essay with reference to important material that Stich either did not know or ignored - namely, Sojka's original version of the article in Zabavnik Lipy ceskomoravske, which Sabin comprehensively edited for Nasi muzove, as well as Sabina's manuscript criticism of Havlicek's biography by Alfred Waldau (1837-1882) and Waldau's Die Bewegungen in Prag im März 1848 (1859). Sabina's considerable share in writing the text is thus more precisely determined; Stich's argument that the quotations from Havlicek's articles in Nasi muzove may have been deliberately altered is not challenged. The article also reproduces Stich's analysis of the volume's essay on Nemcova, but takes issue with some of his conclusions. It also mentions various polemics with Stich on his method (particularly, Josef Sebek's) and his sources (Jaroslava Janackova's taking issue with Stich's suspicion that four letters of Nemcova's, which we know only from Nasi muzove, were forgeries). In particular, the author of the article agrees with Stich's unfinished argument about the possible interpolation of literary allusions in the four letters, and presents an analogous example of Sabina's changes to Eduard Hindl's (1811-1892) letter to the publican Svoboda in Sabina's 'Uvod povahopisny' (Character sketch by way of an introduction, 1845) to Macha's Collected Works. On the basis of style analysis and other tools of textual criticism the article concludes by attributing the individual parts of Nasi muzove to Sojka or Sabina, and considers the circumstances in which the book was written. The author, in contrast to Stich, reconfirms that the editor of the volume was Sojka, who for the most part, however, used material sent to him by Sabina; Sojka then frequently altered this material, particularly in each essay's introduction or conclusion, usually to their detriment. On the whole, one may attribute to Sojka the authorship of about one-third of Nasi muzove, but the principal author was Sabina. The fact that Sabina was not involved in the final manuscript of Nasi muzove and remained anonymous probably demonstrates that Stich was mistaken in saying that Sabina was clandestinely using the book as a contribution to the Sabina cult.
11
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Lexikální opakování v Máchově Máji

51%
Prokop D.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 2
182-201
EN
By ‘lexical repetition’ the author of this article means simple or multiple repetition of individual words or groups of words. The most frequent kind is the repetition of words in various positions in a line, in an identical or inflected form, as much as twenty lines away; the most frequent kind is repetition between five and ten lines away. The second kind is repetition in rhetorical figures, for example in the anaphora, the epiphora, the climax, and word play. The normal distance here is one to two lines, but the author examines greater distance (for example, seven to eight lines) and also instances of approximate repetition. An unusually large number of both occur in Mácha’s Máj (1836), particularly in anaphoras and epiphoras. The third kind is repetition at large and very large distances, within a part of Máj or between its parts, and, mainly, longer passages, for example the oxymora (metaphors) in Cantos II and IV. Apart from repetition, the passages also often contain variation, the shortening or expanding of the initial passage. The proportion of repeated words in the poem is such that one must consider them to be Mácha’s chief marked means and approach (almost half the total 4,280 lexical units are repeated words). From the large number of occurrences the author of the article selects representative examples of various repetitions. In both his commentary and overall conclusions he points out their formal and semantic references.
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