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Nové mýty o starých bozích. Ze stěn pohřební komory kněze Iufay

100%
Landgráfová R., Míčková D.
Pražské egyptologické studie (Prague Egyptological Studies)
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2018
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issue 20
57-70
EN
The study focuses on four hitherto unknown mythological texts that accompany the text of the Royal purification ritual on the northern wall of the burial chamber of the shaft tomb of Iufaa at Abusir. These include a text describing the appearance and functions of the Hayshesh sea serpents, a cosmogony involving the uroboros, a myth of the glorifier of the Nun and an aetiological myth of the origin of divine awe. These texts further illustrate the nature of the sacred “library” that Iufaa accumulated in his tomb and elucidate the meaning of the originally royal purification ritual that adorns the northern and part of the eastern wall of Iufaa’s burial chamber.
2
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Preferované rodinné vztahy a jejich nesamozřejmost v prózách Jana Balabána

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Markoš M.
Česká literatura (Czech Literature)
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2021
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vol. 69
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issue 3
343-360
EN
This paper deals with the prose works of Jan Balabán. It focuses mainly on the contradictions between idealized notions of the family and relationships within it and the “reality” of the fictional world, which does not match these ideas. The methodological contribution is based on anthropological literature, mainly regarding Wolfgang Iser’s idea (literature as a medium which facilitates anthropological experience that is otherwise unattainable), but also considers the sociological theories of Zygmunt Bauman involving liquid modernity and the fixed and pure relationships of Anthony Giddens.
3
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Hudební narativita a mytologické reference Picassiády Karla Kupky

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Kozel D.
Hudební věda (Musicology)
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2024
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vol. 61
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issue 1
42-72
EN
The study analyses the orchestral piece Picassiáda (1958) by Ostrava-based composer Karel Kupka (1927–1985), focussing on the part Smrt Orfeova (in English: The Death of Orpheus). Kupka uses the method of editing assembly, causing a specific excited expression. An important moment of the piece is the inspiration by Pablo Picasso’s illustrations accompanying the edition of Ovid’s Metamorphoses. The analysis looks for elements of musical narrative, which create a unique narrative programme by means of references to the artistic and mythological component. Pieces inspired by ancient themes represent an important part of Kupka’s work. Picassiáda is his most famous piece. The editing assembly method is used throughout Picassiáda; it has a form-creating function within the layout of the piece’s various forms. The inspiration by Picasso’s illustrations is rather free, reflecting the world of ancient culture and mythology with a symbolic background in a modern way. The parallel of both artists’ musical and artistic expression demonstrates itself in Kupka’s work in the form of contrasting cuts of musical surfaces, and in Picasso’s work by the contrast of his monumental and lyrical paintings. Both Kupka’s and Picasso’s work captures the dramatic and ambiguous death of the mythical Orpheus. The narrative analysis of the piece is carried out with a modified methodology of narrative analysis according to Eero Tarasti, who perceives musical narrative as a specific succession of musical events and the creation of tension among binary musical elements. The organising narrative principle of music is isotopy. The articulation of the musical narrative of Picassiáda takes part at three levels of spatiality, temporality and actoriality. The music is modalised through the relationship of the musical structure to myth and artistic inspiration. The narrative analysis of Picassiáda points to a specific, meaningforming alternation of contrasting isotopies, following the narrative structure of the Orpheus myth. The method of editing assembly is the narrative element in music. Modalisation of music through a myth is a supporting method of its interpretation; it points to the deep meaning-related interconnection of the musical and mythological components of the analysed work.
CS
Studie analyzuje orchestrální skladbu Picassiáda (1958) ostravského skladatele Karla Kupky (1927–1985) se zaměřením na část Smrt Orfeova. Kupka používá metodu střihové montáže, zapříčiňující specificky vzrušený výraz. Důležitým momentem je inspirace skladby ilustracemi Pabla Picassa k vydání Ovidiových Metamorfóz. Analýza hledá prvky hudební narativity, které prostřednictvím referencí k výtvarné a mytologické složce vytvářejí jedinečný narativní program. Významné místo v Kupkově tvorbě představují skladby na antické náměty. Picassiáda je jeho nejznámější skladbou. V celé Picassiádě je užita metoda střihové montáže s formotvornou funkcí na půdorysu různého formového řešení skladby. Inspirace Picassovými ilustracemi je spíše volná, reflektující moderně cítěný svět antické kultury a mytologie se symbolickým pozadím. Paralela hudebního a uměleckého vyjadřování obou umělců se u Kupky projevuje kontrastními střihy hudebních ploch a kontrastem monumentální a lyrické kresby u Picassa. Kupkovo i Picassovo dílo zachycuje dramatickou a významově víceznačnou smrt mytického Orfea. Narativní analýza skladby je provedena modifikovanou metodologií narativní analýzy dle Eera Tarastiho, který hudební narativitu chápe jako specifickou sukcesivnost hudebních událostí a vytváření tenze mezi binárními hudebními prvky. Organizujícím narativním principem hudby je izotopie. Artikulace hudební narativity Picassiády proběhla na třech úrovních spaciality, temporality a aktoriality. Hudba byla modalizována skrze vztah hudební struktury k mýtu a výtvarné inspiraci. Narativní analýza Picassiády poukázala na specifické významotvorné střídání kontrastních izotopií, sledující narativní strukturu mýtu o Orfeovi. V hudbě narativně figuruje metoda střihové montáže. Modalizace hudby pomocí mýtu je podpůrným způsobem její interpretace, poukázala na hluboké významové propojení hudební a mytologické složky analyzovaného díla.
4
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O konstruktivistce a esencialistovi: ke stylu a motivům dvou reinterpretací mýtu o Libuši

88%
Jelínek J.
Česká literatura (Czech Literature)
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2021
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vol. 69
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issue 3
312-342
EN
The paper aims to show how two of the contemporary Czech postmodern writers deal with the fictional renarration of the princess Libuše myth. Pole a palisáda (The Field and the Palisade, 2006) by Miloš Urban brings forth a traditional conception of the story. Vilma Kadlečková wrote her story O snovačce a přemyslovi (Of the Weaver and the Premeditator, 2007 AND 2015) as a direct answer to Urban’s adapation and offers a completely different approach, setting the story into the future and reversing many of its elements. The differences between the two texts are shown in various areas: the concept of uncertainty, the role of nature, the usage of number and color symbolism and the approach to the problems of gender and sexuality.
5
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Antigona je mrtvá? Ať žije Isména?

88%
Matějčková T.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 29
87-98
EN
Who is Antigone for modern man? The author takes the Hegelian interpretation as the background against which contemporary readings of Antigone appear. She emphasizes the fact that in the now popular readings, Antigone is — as in Judith Butler’s interpretation — a spokeswoman of the wretched and disadvantaged. Even though Butler retains Antigone’s heroic nature she places it in the service of the disadvantaged. In Mary C. Rawlinson’s reading, her heroic individuality is openly criticized, or this aspect is tempered as in the case of Bonnie Honig’s interpretation. In this context, Ismene’s rehabilitation is especially telling. Stressing Ismene as the true heroin, the authors focus on the openness for compromise and willingness to transform Antigone’s rage into new opportunities. The author takes this to be a confirmation of Hegel’s death of tragedy in modernity. Despite the popularity of Antigone today, the Greek heroin loses its grandiosity and monstrosity. The (post) modern Antigone now appears as a prosaic character fit to inhabit a modernity that shows more understanding for the innocence of the victim than the ambiguity of the hero.
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