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Kunderovy romány psané ve Francii

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Haman A.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
56-61
EN
The contribution characterises the poetics of the last four novels written by Milan Kundera (Slowness, Identity, Ignorance, The Festival of Insignificance). Despite certain differences the author of the essay particularly pays attention to elements in which “the French series” follows the poetics of the novels written in Czech (existential theme, sarcastic humour etc.)
2
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Druhý život Philipa Rotha: nástin interpretace

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Sýkora M.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 57
74-86
EN
The present study deals with the interpretation of Philip Roth’s most experimental novel The Counterlife, considered by many critics as the best text of Roth’s postmodern period. The novel is an exploration of various attempts to start a new — different life, and each of its five chapters presents a new way, thus denying the preceding chapter. There are several key themes in the novel: the exploration and defence of the writer’s own poetics, and, above all, reflections on Jewish identity, its roots, and by what it is formed.
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Naše živá i mrtvá minulost po padesáti letech : (Imprese nad osmi eseji z roku 1967)

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Čornej P.
Český časopis historický (The Czech Historical Review)
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2018
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vol. 116
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issue 2
402-425
EN
This study was written for the occasion of the fiftieth anniversary of the publication of Naše živá i mrtvá minulost/Our Living and Dead Past (Praha, Svoboda 1968), which was instigated by then leading historian František Graus, and in which eight key essays on core problems of Czech history were published, mainly written by younger talented researchers. The study combines a reader witness approach and an analysis of the wider context of the book’s publication which in many regards (its criticism of dogmatic Marxism and its erosion of the traditional picture of Czech history) is one of Czech historiography’s milestones. It characterises and assesses all eight papers (with particular focus on Graus’s introductory essay), looks at its reception at the time, which was not wholly positive, and endeavours to answer the question of whether the team of authors’ work fulfilled the tasks it had set itself.
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Subjekty a fragmenty : K teoretizaci a interpretaci literárního postmodernismu

80%
Kanda R.
Česká literatura (Czech Literature)
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2017
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vol. 65
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issue 6
877-901
EN
This study deals with a conception of postmodernism that is based on the ideas of the American Marxist theorist Frederic Jameson. The first, theoretically-based section does not define literary postmodernism as a particular style, but as a cultural landmark, basically associated with the broader socio-economic, epistemic and ideological context. The basis of postmodern epistemology, which critically opposes the epistemology of modernism comprises a critique of the Carthesian subject and the concept of reality as a whole. This critique results in the problematization of the subject as an autonomous entity and the fragmentation of reality. My study asserts that the ideological function of this postmodern critique also works to delegitimize all ''totalitarianizing'' tendencies, while legitimizing a particular kind of cultural reproduction. The second part of the study focuses on interpreting prose works by Emil Hakl (Skutečná událost, An Actual Event, 2013) and Václav Kahuda (Vítr, tma, přítomnost, Wind, Darkness, Presence, 2014), which I believe artistically portrays the consequences of conceptualizing the subject and reality that are typical of postmodern culture. The fragmentation of reality, the self-alienation of the subject and the collapse of historicity in Hakl's prose does not allow for the creation of a space in which radical acts are possible. Václav Kahuda's prose is a fragmentation of reality, and the loss of the essence of the subject is overcome by the construction of a paranoid universe and a shift towards a monistic view of an all-pervasive transcendental principle.
CS
Studie pracuje s pojmem postmodernismu, který vychází z koncepce amerického marxistického teoretika Fredrika Jamesona. V první, teoreticky založené části není literární postmodernismus definován jako určitý styl, nýbrž jako kulturní dominanta, jejíž povaha souvisí s širším socioekonomickým, epistemickým a ideologickým kontextem. Podstatou postmoderní epistemologie, která se kriticky vymezuje proti epistemologie moderny, je kritiky karteziánského subjektu a pojetí reality jako celku. Důsledkem této kritiky je problematizace subjektu jako autonomní entity a fragmentace reality. Ve studii tvrdím, že uvedená postmoderní kritika působí zároveň svou ideologickou funkcí jako delegitimizace všech „totalizujících“ tendencí a zároveň legitimizace určité typu kulturní reprodukce. Druhá část studie je zaměřena na interpretaci próz Emila Hakla Skutečná událost (2013) a Václava Kahudy Vítr, tma, přítomnost (2014), v nichž jsou podle mého názoru umělecky zachyceny důsledky konceptualizace subjektu a reality, typické pro postmoderní kulturu. Fragmentace reality, sebeodcizení subjektu a zhroucení historicity v Haklově próze znemožňuje vytvoření prostoru, v němž je možný radikální čin. V próze Václava Kahudy je fragmentace reality a ztráta esence subjektu překonávána konstrukcí paranoidního univerza a příklonem k monistické představě všeprostupujícího transcendentního principu.
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O konstruktivistce a esencialistovi: ke stylu a motivům dvou reinterpretací mýtu o Libuši

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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.
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