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1

Rozpadající se dvoukolka na blátivé cestě. Prostor domu v románu Carlose de Oliveiry Včela v dešti

100%

Válová K.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2017

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vol. 56

111-127

EN

The study offers an interpretation of the novel A Bee in the Rain (1953) from the perspective of a house. The novel is the last in the so-called Gandara tetralogy, a collection of neorealist prose which Carlos de Oliveira set in his childhood country, a poor and barren land of sand dunes in central Portugal. The house of the declining Silvestre family becomes a battleground between a man and a woman and in the end also between social classes. A barrow heavily making its way on a muddy road, in which the Silvestres are fighting for space, becomes a miniature of the house and a reflection of its fate. Next the house is compared to a beehive with a decaying swarm inside whose bees, blinded with spite, make bile instead of honey and spread it around. The neorealist level of the novel gives way to the symbolic level. The author works primarily with the symbols of honey, fire and gold, which he juxtaposes with the symbols bile, water and mud.

2

Prostor pod Zemí v iónských archaických kosmologiích

84%

Kočandrle R.

Filosofický časopis (Philosophical Journal)

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2019

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vol. 67

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issue 5

767-785

EN

Among the characteristic features of Ionic archaic cosmologies we can usually find, alongside a flat Earth, the meteorological nature of the heavenly bodies together with the fact that these bodies only orbit above the Earth. It is, however, possible to suppose that a further, key element was the absence of space underneath the Earth. Although Aristotle attributes to the Ionic archaic thinkers various explanations for the motionlessness of the Earth in the universe, in which space existing under the Earth is implicitly assumed, it is possible to conclude that this problem didn’t start to be thematized until the emergence in the Italian philosophical branch of the idea of the universe in the shape of a sphere. Against this, the Ionic archaic cosmology does not assume in any way the existence of space under the Earth. The universe thus only stretches from the surface of the Earth to the sky. For just this reason the heavenly bodies had a meteorological nature and only orbited above the Earth.

CS

Mezi charakteristické momenty iónských archaických kosmologií patří obvykle vedle ploché Země meteorologická povaha nebeských těles spolu s jejich oběhy pouze nad Zemí. Lze se však domnívat, že dalším klíčovým prvkem byla absence prostoru pod Zemí. Ačkoli Aristotelés připisuje iónským archaickým myslitelům různá zdůvodnění nehybnosti Země v univerzu, kde je prostor pod Zemí implicitně předpokládán, lze soudit, že tento problém začal být tematizován až s nástupem koncepce univerza tvaru sféry v italské filosofické větvi. Iónské archaické kosmologie naproti tomu prostor pod Zemí vůbec nepředpokládaly. Univerzum se tak rozkládalo pouze mezi plochou Zemí a nebem. Právě z toho důvodu měla nebeská tělesa meteorologickou povahu, přičemž obíhala pouze nad Zemí.

3

Krize sousedství? Narušení prostorovosti kultury argentinského zahradního města Lomas del Palomar

84%

Hodúlová T.

Český lid: etnologický časopis (Český lid: Ethnological journal)

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2021

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vol. 108

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issue 4

431-453

EN

The Argentinian garden city of Lomas del Palomar was formerly, socially and spatially, a very specific neighbourhood in Argentina. It was designed by the German architect Zeyen and was built on a human scale with a selfcontained community. Recently, it has been undergoing a material and inner transformation. Elements such as high fences, security cameras and multi-storey buildings that do not respect the original character of the place have had an impact on the residents’ attachment to the place of their home. Employing Setha Low’s theoretical approach of spatialized culture (2017), the aim of this paper is to show how the residents of Ciudad Jardín Lomas del Palomar are attached to the place of their home and neighbourhood and how this attachment is reconceptualized through the current socio-spatial changes of the place. Based on ethnographic research, this paper seeks to explore how these changes affect the spatialized culture of a place through the residents’ everyday perception, understanding and experience of the place.

4

Vztah mezi příbytkem a niterným světem fikčních postav v díle Arnošta Lustiga

84%

Chytilová I.

Česká literatura (Czech Literature)

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2014

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vol. 62

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issue 3

410-433

EN

In our study we have focused on the space of the attic room, which presented the characters not only with a vision of refuge from the outside world, but also a place for dreaming and remembering the times before World War II. Since somebody else´s intervention they have lost their birthplace, background, and sense of security, so little by little they are coming to find and create an existence in a new space, where they usually experienced feelings of anxiety, but also fear of what will happen in the coming days. The mental pain and emptiness are very profound in the attic, which is characterized by a darkness and uninviting appearance. The room or small chamber with a dormer window in Arnost Lustig´s openings becomes a dominant space where the stories take place of characters who reflect on the meaning of their lives. The attic room, or if we want to use the term, dwelling, is a provisional/temporary place in the author´s works, where the characters will not remain forever and will never have the opportunity to settle permanently. This area is mainly inhabited by the characters of Jewish victims whose existence has no meaning, which is reflected in its own way in the room´s furnishing. The room is furnished simply, and we find only the necessities for survival. There is never a lack of a table, chairs and a bed, but we will hardly ever find other props there. The parts of each space involve things which are also involved in the overall nature of the space and thus this object enters the awarness of the characters who will use the things not only for their own needs, but these things also become a means enabling the characters to think back to past times. In accordance with the performed analysis we can conclude that the objects are not mere props that fill the almost empty space, but they are bearers of substance and they also have their own ontological existence.

5

Inercialita v kontextu Leibnizovy korespondence s Clarkem:

84%

Lochmanová K.

Teorie vědy (Theory of Science)

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2020

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vol. 42

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issue 2

201-229

EN

This study deals with a controversy between Leibniz and Clarke concerning the relativity of space. Although substantivalism, i.e. an approach treating space as a substance, is to be indicated as the main target of Leibniz’s attack, it has usually been replaced by Newtonian absolutism instead, as a proper opposition to Leibniz’s relationalism. However, such absolutism has not been defined ontologically, but dynamically, as if the difference between their conceptions consisted of a different approach to the inertiallity of motion. However, this would mean that while Leibniz intended to reduce all motion to an inertial one, Newton reduced it to a noninertial one instead, or that only one of them acknowledged the existence of noninertial motion at all. Nevertheless, none of them actually denied the existence of noninertial motion, and although all motion indeed seemed noninertial to Newton, Leibniz never responded to such a challenge in the course of their correspondence.

CS

Předmětem této studie je polemika mezi Leibnizem a Clarkem ohledně relativity prostoru. Přestože za cíl Leibnizova útoku by se v kontextu této polemiky patřilo označit v prvé řadě substantivalismus, tj. přístup nakládající s prostorem jako se substancí, obvykle bývá do opozice vůči Leibnizovu relacionalismu kladen spíše newtonovský absolutismus. Vzhledem k tomu, že takto pojatý absolutismus nebývá vymezován ontologicky, nýbrž dynamicky, musel by v takovém případě rozdíl mezi jejich pojetími spočívat v odlišném přístupu k inercialitě pohybu. To by tudíž jinými slovy znamenalo, že zatímco Leibniz veškerý pohyb redukoval na inerciální, Newton jej redukoval naopak na neinerciální, případně, že pouze jeden z nich uznával existenci neinerciálních pohybů. Existenci neinerciálních pohybů však ve skutečnosti nepopíral žádný z nich, a přestože Newtonovi se neinerciálním jevil být vskutku veškerý pohyb vůbec, Leibniz na takovou výzvu v rámci clarkovské korespondence již nereagoval.

6

Stereotyp Słoweńca „ofiary” w przekładzie powieści Vlada Žabota "Wilcze noce"

59%

Gruda M.

Przekłady Literatur Słowiańskich

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2013

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vol. 4

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issue 1

154-181

SL

Prevod romana "Wilcze noce" Vlada Žabota je izvir znanja o slovenskem značaju in stereotipih, zlasti heterostereotipih, oblikovanih pod vplivom slovenske kulturne raznolikosti, zgodovinskih dogodkov in družbeno-političnega položaja Slovenije. Karakterološka slovenska neenotnost je očitna tudi v jeziku prevoda, na njegovi semiotično-semantični ravni. Prevod omogoča poljskemu sekundarnemu sprejemniku spoznati stereotip Slovenca kot osebo, ki si prizadeva za samouničitev s potjo ritualnega trpljenja in na ta način z vplivanjem na Drugega z različnimi obredi vsakdanjega življenja, skupnega nasilja in samožrtvovanja. Besedilo prevoda, ki je nastalo 14 let po izidu izvirnika v Sloveniji je oblika obračuna s spremembo predstave Slovenca v poljski in slovenski zavesti.

EN

The novel "Wilcze noce" of Vlado Žabot is the source of knowledge about the Slovene character and stereotype including heterosterotype, formed under the influence of the cultural diversity of Slovenia, its historical and socio-political events. This unevenness of character is plain in the language of translation, in the semiotic and semantic structure. The polish reader can because of the translation of the novel Wilcze noce, come to know the stereotypical of Slovene as a person with strong self-destructive tendencies realized by the means of the ritual suffering at the same time influencing the ‘Other’ in the form of daily life rituals, group violence and self-sacrifice. The text of the translation was shaped 14 years after the first original Slovene edition and is a form of coming to terms with a change of the image of the Slovene in Polish and Slovene mentality.

7

Prostor u Čudnovatim zgodama šegrta Hlapića

59%

Rezo V.

Libri & Liberi

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2013

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vol. Vol 2

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issue No. 2

225-240

HR

Polazeći od teorijskih postavki suvremenih teoretičara poput Henrija Lefebvrea, Edwarda Soje, Michela Foucaulta, Gastona Bachelarda i dr., rad iščitava Čudnovate zgode šegrta Hlapića kao roman ceste (kretanja) i roman prostora (razotkrivanja značenja prostornih uporišta), uz neizbježno isprepletanje dviju perspektiva, uzimajući u obzir autoričino u proslovu višekratno nagoviješteno žanrovsko određenje djela (pripovijest). Protagonist romana napušta sigurno utočište vlastitoga doma prešavši kućni prag, a upravo se ova prostorna minijatura na kojoj se odvija Hlapićev izlazak iz kuće malim recipijentima sugerira kao točka iz koje trebaju stupiti u priču, kao mjesto njihova ulaska u narativni prostor. Našavši se na putu, mali flaner (od trenutka krađe čizmica, tragač za rješenjem problema) osvaja prostor raznim osjetilima, registrirajući mahom pozitivne značajke ruralnoga krajolika, a negativne urbanoga. Hlapićevo se lutanje odvija po nemapiranome prostoru, topografski ispražnjenome, po kojemu su razmještena sporadična spacijalna hvatišta poput štaglja, mosta ili kamenoloma te posebno važna heterotopija sajma i njoj subordinirana heterotopija cirkusa, dva mjesta „izvan svakoga mjesta“ (Foucault), koja je ipak moguće locirati.

EN

Starting from theoretical assumptions of contemporary theoreticians such as Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Bachelard, this paper considers the novel Čudnovate zgode šegrta Hlapića [The Brave Adventures of Hlapich the Apprentice] as a ‘road novel’ and a representative of the ‘space-oriented novel’, taking into account the genre’s specification as implied in the preface by the author. The main protagonist of the novel leaves the safe haven of the only home he has by crossing the doorstep, and it is precisely this space miniature, in which Hlapich’s departure takes place, that is offered to young readers as their point of departure into the story, i.e. their entry point into the narrative space. Finding himself on the road, the little flâneur (from the moment his shoes are stolen, he becomes a problem solver) conquers place with various senses, registering mostly the positive features of the rural landscape and the negative ones of the urban one. Hlapich’s wandering occurs in an unmapped space, topographically emptied, across which sporadic spatial points of reference, like a barn, a bridge or a quarry, are deployed, as well as the particularly important heterotopia of the fair, and the one subordinated to it − the heterotopia of the circus − two places that “are outside of all places” (Foucault), even though it may be possible to locate them in reality.

DE

Ausgehend von den Ansätzen zeitgenössischer Theoretiker wie jenen von Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Beachelard u. a., wird der Roman Čudnovate zgode šegrta Hlapića [Wunderbare Reise des Schusterjungen Clapitsch] als „Straßenroman“ bzw. Variante des „raumorientierten Romans“ interpretiert. Dabei wird die durch die Verfasserin im Vorwort vorgenommene Gattungsdefinition des Textes als Erzählung berücksichtigt. Der Protagonist verlässt den sicheren Hafen seines Heimes, indem er die Hausschwelle übertritt. Gerade diese räumliche Miniatur, innerhalb der sich Hlapićs Auszug in die Welt vollzieht, dient sowohl als Ausgangspunkt der Geschichte wie auch als Eintrittspunkt für die Rezipienten in den Erzählraum des Romans. Der kleine Flaneur, der Vagabund Hlapić, der nach dem Raub seiner Stiefel zum Problemlöser wird, erobert auf seinem Weg den Raum mit unterschiedlichen Sinnen. Dabei nimmt er die vornehmlich positiven Merkmale ländlicher bzw. negativen Aspekte urbaner Landschaften wahr. Hlapićs Wanderung vollzieht sich durch einen unvermessenen, topographisch entleerten Raum, in dem sporadisch räumliche Bezugspunkte wie die Scheune, die Brücke oder der Steinbruch vorkommen. Darunter ist der Heterotopie des Jahrmarktes, sowie dem ihr untergeordneten Zirkus besonderer Stellenwert beigemessen, denn obgleich sie lokalisierbar sind, handelt es sich um „Orte außerhalb aller Orte“ (Foucault).

8

Lyrický potenciál předmětného světa : Významy věcí, prostorů, dějů…

43%

Kubínová M.

Česká literatura (Czech Literature)

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2016

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vol. 64

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issue 1

3-22

EN

This study, which is freely inspired by the results of thematological and cognitive linguistic research, observes the way the potential for relations between man and the external world of objects is realized in lyric poetry. Object motifs acquire a dimension of mood or value, which grows from practical experience with things and which then adheres to their designations in the form of secondary symbolic meanings. However, this does not just apply to individual objects, but to the entire in-depth time-space structure implied in language. For example, an opposition appears between horizontal and vertical, light and darkness and the like. Moreover, each of the members of these oppositions as a rule also indicates an internal value-ambivalence: e.g. “bright night” and “dark night” have different symbolism, “height” and “distance” are symbols of desire, but also of possible dangers and so forth. On this basis there arise stable but always poetically re-accentuated image parallels between the object world and human existence, as represented e.g. by the topos of the “journey” or the seasonal and diurnal cycle.

CS

Studie volně inspirovaná výsledky tematologických a kognitivnělingvistických bádání sleduje, jak se v lyrických básnických textech aktualizuje potenciál vztahů mezi člověkem a vnějším, předmětným světem. Předmětné motivy nabývají v lyrice náladového, hodnotového zabarvení, které vyrůstá z praktické zkušenosti s věcmi a které poté v podobě sekundárních symbolických významů ulpívá na jejich pojmenováních. To se ale týká nejen jednotlivých předmětů, nýbrž také celkové a hlubinné, v jazyce implikované strukturace časoprostoru. Objevuje se například opozice horizontálního a vertikálního směřování, opozice světla a tmy apod. Navíc se každý z členů těchto opozic zpravidla ještě vyznačuje vnitřní hodnotovou ambivalencí: například „jasná noc“ a „temná noc“ mají odlišné symbolické vyznění, „výška“ a „dálka“ jsou symbolem touhy, ale také symbolem možných nebezpečí, atd. Na tomto základě pak vznikají ustálené, vždy však básnicky nově aktualizované obrazné paralely mezi předmětným světem a lidskou existencí, jaké představuje např. topos „cesty“ nebo cyklus denních a ročních období.

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