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Vyvolávání z nebytí v Komedii Daniely Hodrové

100%
Jankovic M.
Česká literatura (Czech Literature)
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2007
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vol. 55
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issue 1
1-24
EN
After a break of several years, during which she published two other novels - 'Perunuv den' (1994) and 'Ztracené deti' (1997) - Daniela Hodrová has in 'Komedie' (2003) again taken up the themes of the 'Olsany Trilogy' ('Podoboji', 'Kukly' and 'Théta', all first published in 1991). With its narrative style bordering on fiction and autobiography and with its loose composition 'Komedie' is most like 'Théta'. In the conception of its narrated stories and also the function of the narrator whose speech continuously mixes and overlaps with speech snippets of many characters, however, it employs even more daringly than the other novels a high degree of intentional and unintentional disorderliness, which stems from the use of fragments to tell the story. In a polyphonic stream, with many layers of intertextual references (often made both to Hodrová's own works and to those of other authors), the article seeks to highlight a certain integrating semantic action, which branches out and intensifies despite all the fragmentation of the story line. The dense network of repeating and interconnected motifs, whose parallelism and contrasts, as well as the climatic dynamism of the sentences giving the impression of continuous action, creates their own world in 'Komedie', which maintains its equilibrium while 'on the verge of chaos'. So, for example, two opposite yet mutually complementary codes of the human lot emerge: the barren plain, into which our lives descend, and the auguring little hand of the Libuse doll found among the graves, which points to the darkness while at the same time lighting the way.
2
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RYTMICKÉ CÍTENIE V SCÉNICKOM DIELE. ESTETICKÁ A MIMOESTETICKÁ FUNKCIA SCÉNICKÉHO UMENIA VYCHÁDZAJÚCA Z RITUÁLNEJ PODSTATY DIVADLA A MYTOLOGICKÝCH ZDROJOV DRÁMY NA POČIATKU 20. STOROČIA

100%
Kovalčíková P.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 2
129 – 144
EN
The study focuses on the penetration of ritual elements into contemporary performance art. Reflection of the discussed topics focuses on the period of modernism and postmodernism in the Western cultural context, while the documentation of phenomena is based primarily on the theatrical experiments of the creators of the first and second theatrical reforms.
3
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SELF-OVERCOMING OF (WESTERN) POSTMODERN AESTHETICS

100%
Cipriani G.
ESPES
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2020
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vol. 9
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issue 1
16 – 25
EN
This essay explores the nihilistic nature of the idea of postmodern aesthetics in the Western world by highlighting its historical and cultural specificity in contrast with non-Western postmodernities, in particular in East Asia and this in spite of their formal similarities. Then we have to question the nature, possibility and implication of Western postmodern aesthetics overcoming itself within the context of globalisation.
4
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HISTORICKÉ PODHĽADY, SEDMOHRADSKÉ ROMÁNY (NARATÍVNE ŠTRUKTÚRY A BIOGRAFICKÉ PRAMENE V PRÓZACH GYÖRGYA DRAGOMÁNA A SÁNDORA ZSIGMONDA PAPPA)

88%
Boka L.
World Literature Studies
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2014
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vol. 6 (23)
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issue 2
78 – 90
EN
This paper investigates the so-called Transylvania novels within the historic branch of contemporary Hungarian prose poetics, with particular regard to the frameworks evoking, or even constructed upon, historical moments, by a generation of authors who have, in recent years, presented the situation in pre-1989 Transylvania and Romania from the plural bottom-view perspective of children or common people. These authors, especially György Dragomán and Sándor Zsigmond Papp, have first-hand experiences of the historic time and space of their works, so they ground fictitious elements in historic fact, while belonging to a larger group of prose writers. Besides the near past of Transylvania as a background, this aforementioned group also often stages earlier periods of Transylvania as an independent Princedom or part of the Austro-Hungarian Monarchy. Most importantly, however, this paper proposes to survey the compositional processes and motifs based on shared sources and authorial precursors, and the generational presence of analogous modes of evocation and recollection.
5

ZPÍVEJ, KOVBOJI. SNY, PŘEDSTAVY (A SKUTEČNOST) O DIVOKÉM ZÁPADU

88%
Jareš M.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 6
455 – 461
EN
The author tries to capture how the western, which originally existed as the American form of historical and, actually, realistic novel, took root in the countries where the tradition of winning the Wild West and patriotic tendencies were more or less absent or they were depicted by using different genres and techniques. He contemplates whether the western in its essence exists until now or it is just in the position of a romanticizing and fossilized genre. Alongside the conscious exotism of the western, the genre – from the historical point of view, especially in the territory of Czechoslovakia - is able to function in its transformed meaning as a trigger for the tramp movement (and thus can also be seen as one of many roots of the Leftist Avant-garde), as well as a moral and social solution. Idealizing the „American“ element, which dates back to the 1930s, was also a moving force for liberal and free thinking, which in its black-and-white distinction often helped to overcome oppression and totalitarianism. The stereotypical battle between good and evil complemented by freedom simply works in any totalitarian society better – although with hindsight. He admits it was partly just a precursor of the Ideology of Consumerism. Since the second half of the 20th century the western imagery has moved from the literary form mainly to film adaptations and recently it has reached a stage when the western has de facto lost its opponent as well as its essence and the motivation for existence. Its current form undergoing a worldwide transformation from Romanticism preferably to Realistic-Naturalistic depictions then naturally has to seek its own purpose as well as the users, who often incline to other sources of pleasure in Pop Culture.
6

Telo kao globalizovano odelo: konstrukt telesnosti i tekstualnosti u romanu Mango Ljubice Arsić

88%
Dojčinović B.
Slavica Wratislaviensia
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2011
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vol. 153
145-150
EN
The most recent novel by Serbian author Ljubica Arsić, Mango (2008), thematizes corporeality from the angle of urban life, femaleness and femininity, as well as consumerism, in the postmodern parodic key. Mango is the novel whose intertextual links go all the way to Virginia Woolf and John Updike, via Erica Jong and Margaret Atwood, including Almodovar’s movies and mass-media culture. Those links have been created by appropriation of the motifs and discourses, and are embedded in a multi-level textual construction. The result is a story that depicts the circumstances in which all the choices seem to be globalized merchandise, and emotions feel like cheap, ready-made “thoughts.” The main characters, three self-sufficient, emotional and intelligent women, have their own creative ways of dealing with the everyday life, while the story about them, by the palimpsest of the intertexts, additionally subverts the globalized consciousness of both readers and other characters.
7

SACRIFICE AND THE LUDIC STANCES REFLECTED THROUGH THE THEATRE PRACTICE OF THE 20th CENTURY

88%
Koubová A.
Filozofia (Philosophy)
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2017
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vol. 72
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issue 6
451 – 462
EN
One of the basic concerns of the philosophy and the humanities after the performative turn in the 20th century became thinking afresh about the status of the subject. How to conceive of subjectivity, if we abandon the essentialist idea of an autonomous, self-transparent, and rationalistic individual? The article investigates two different attitudes towards this situation: the stance of sacrifice and the ludic stance. In order to study the problem of the two stances coherently, the paper draws on the theatre practice of the 20th century and its understanding of the actor’s attitude to her role. It concludes that whereas the sacrificing attitude traps an individual in a vicious loop that does not allow for handling the new situation, the ludic subjectivity offers tools for developing effective strategies that not only allow for handling the human condition but even enable agents to profit from it and rejoice in it.
8

MÁRIA A POSTMODERNÉ KRESŤANSTVO. REFLEXIA NA MOTÍVY ELMARA SALMANNA

75%
Hlad Ľ.
Verba Theologica. Teologický časopis
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2017
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vol. 16
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issue 2
39 – 46
EN
After successfully overcoming the post-council crisis, Mariology is unanimously perceived as the „meeting discipline“ of various theological tracts, as „relationship discipline“, and „space for synthesis.“ If the words of the document of the International Papal Marian Academy (The Mother of the Lord, heritage, presence, hope of 2000, p. 22) retain their force, the Blessed Virgin is not only a peripheral element of Christian mystery or the marginal entry of faith and theology. The mystery of Mary studied by Mariology conceals the potential to revive theology (both methodologically and in terms of content) as well as new-evangelistic ecclesiastical proclamation. The article attempts to reveal the ability of Mariology to communicate fruitfully with postmodern theology, analyzed by the fundamental theologian E. Salamann.
9

PLECNIK, PRAGUE, AND PALATINE

63%
Bažant J.
ARS
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2013
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vol. 46
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issue 1
51 -74
EN
The study is aimed at demonstration that palaces of ancient Roman emperors might have been the main source of Josip Plecnik’s imagination when remodelling Prague Castle (from 1920) for T. G. Masaryk, the first president of the Czechoslovak Republic. Plecnik revived (or tried to revive) many of its features – porticoed façade, basilican hall, cryptoportico, vestibule in the form of a rotunda, and park shaped like a hippodrome. He did not hesitate to modify traditional forms in order to revive them, but he always respected tradition. His innovations were bold, but they never countered the spirit of ancient Greek and Roman architectural tradition.
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