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The solipsism of Ladislav Klíma

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EN
Ladislav Klíma introduces the idea of solipsism – “theoretical egoism” – already in his debut work The World as Consciousness and Nothing and already here he connects it to the idea of the divinity of the singular, i.e. “my” own subject. Here, he, however, sets it forth as a mere “tempting notion” and proclaims it officially only several years later, after an involuntary termination of his practising of ecstatic states that lasted an entire year, during which he effectively experienced his own solitary divinity. What is extraordinary is not only the ingenious discourse (panrealisation, ludibrionism, oneirism) through which Klíma explicates his own paradoxical situation, but mainly the existence of a convinced solipsist in society – a living and productive dialogue caused by a rejection of intersubjectivity as such.
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.
EN
Between necrophilia and epiphany: Thanatological fascinations of Ladislav Klíma Thanatological themes often appear in Ladislav Klíma’s prose as a characteristic keystone of his anthropological project. In some of the writer’s novel and short stories (e.g. Utrpení knížete Sternenhocha, Jak bude po smrti, Slavná Nemesis) the topic of death introduces large-scale philosophical or metaphysical speculations. It also functions as a way depicting death which is confirmed in the cultural tradition. In both cases Klíma plays a perverse and complicated game with the typical components of the European eschatological imagination. On the one hand, he shows those components in a grotesque manner, which means treating the human mortality without appriopriate respect and dignity, on the other hand he incorporates thanatological topics into his controversial project of a new cosmogony and deification of man.
CS
Mezi nekrohilií a odhaleným tajemstvím. Mortuální hledání Ladislava Klímy Mortuální tematika v tvorbě Ladislava Klímy tvoří specifický klíč k jeho antropologickému projektu. V některých Klímových románech a povídkách (například Utrpení knížete Sternenhocha, Jak bude po smrti, Slavná Nemesis) téma smrti otevírá cestu k široce pojatým filozofickým nebo metafyzickým úvahám a aktivizuje kódy mortuálních obrazů utkvělých v představách tradiční kultury. V obou případech Klíma vede složitou a určitým způsobem přelomovou hru s komponenty tanatického imaginaria umístěného ve všeobecných, skupinových evropských představách. Těmto komponentům propůjčuje groteskní rozměr, čímž zpochybňuje povinnost zobrazování eschatologických motivů s úctou či respektem a začleňuje je do svého — komplikovaného a kontroverzního — projektu nové kosmogonie a koncepce lidské deifikace.
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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