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Diachronní naratologie a realistická objektivizace vyprávění

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Koten J.
Česká literatura (Czech Literature)
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2016
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vol. 64
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issue 5
731-745
EN
This article deals with the historical poetics of narrative (inter alia in line with the programme of ''diachronic narratology'', which focuses on describing and analysing the development of narrative forms and devices). Attention is also focused on the techniques that are characteristic of realism, which is understood to be a discourse phenomenon in literary history (i.e. not as some timeless phenomenon) and primarily as the suppression of novel dialogicality resulting from the aesthetic norms of 19th century realism. In line with Mikhail Bakhtin and Patricia Waugh's theories, dialogicality is presented as a trend that is typical of the novel genre. Quite characteristic of the pre-realist novel is the conflict between the depicting (author's) and the depicted (narrator's) voice. The requirement for more realistic narration resulted in the suppression of this dual voice, i.e. in a trend towards the objectivization of narrative, which manages to conceal its literary nature and aim for the illusion of directly depicting reality. The objectivization of narration is based on Czech historical prose material (Linda, Klicpera, Tyl and Jirásek), in which the orientation towards a neutral perspective was made evident inter alia in the gradual elimination of narrative commentary, which had originally fulfilled both an interpretational and a formative (patriotic rhetoric) function. A similar phenomenon involving concealment of literariness also appears in personal narration, in which the fictional narrator progressively suppresses the originally evident authorial authority (obvious, for example, in the forewords to novels). Realist novels frequently mask themselves as authentic speech genres (with written or oral narration).
CS
Příspěvek se zabývá historickou poetikou vyprávění (mj. ve shodě s programem tzv. diachronní naratologie, která se zaměřuje na popis a analýzu vývoje výpravných forem a prostředků). Pozornost je soustředěna na prostředky příznačné pro realismus, jenž je chápán jako diskursivní jev v literárních dějinách (tj. nikoliv jako nadčasový jev), resp. především na potlačování románové dialogičnosti v důsledku estetických norem realismu 19. století. Ve shodě s teoriemi Michaila M. Bachtina a Patricie Waugh je dialogičnost objasněna jako tendence typická pro románový žánr. Pro předrealistický román je zcela příznačný konflikt mezi zobrazujícím (autorským) a zobrazeným (vypravěčovým) hlasem. Požadavek po realističtějším vyprávění vyústil v potlačování tohoto dvojhlasí, tj. v tendenci k objektivizaci vyprávění, které dokáže zastírat svou literárnost a směřuje k iluzi bezprostředního zobrazení skutečnosti. Objektivizace vyprávění je doložena na materiálu české historické prózy (Linda, Klicpera, Tyl, Jirásek), v níž se směřování k neutrální perspektivě projevovalo mj. postupnou eliminací narativního komentáře, jenž původně plnil jednak interpretační, jednak formativní (vlastenecká rétorika) funkci. Podobný jev zastírání literárnosti se objevuje i v osobním vyprávění, kde fiktivní vypravěč postupně zcela potlačuje původně zjevnou autorskou instanci (mj. zřetelnou v románových předmluvách). Realistické romány se hojně maskují jako autentické řečové žánry (vyprávění písemná, příp. i ústní).
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Fikčnost ve faktuálním vyprávění : případ fikčních metaautobiografií

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Fonioková Z.
Česká literatura (Czech Literature)
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2018
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vol. 66
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issue 6
841-869
EN
This study focuses on the issues surrounding texts that refer to an author’s life while deliberately including fictionality within the autobiographical testimony, i.e. via autofiction and fictional meta-autobiography. The fictional elements in this kind of writing often serve as a tool for self-reflection. Using specific narrative techniques, for example, these works comment on the issue of autobiographical memory, the epistemological (in)accessibility of the past, and the narrative construction of identity. This study endeavours to link the reflections of contemporary narratologists on fictional and non-fictional narration with an analysis of autofictional and meta-autobiographical works. The first section deals briefly with the issue of fictionality, presenting the rhetorical theory (of H. S. Nielsen, J. Phelan and R. Walsh), which enables us to perceive fictionality outside fiction as a component of factual communication about the real world. The following section focuses on the meta-autobiographical text Montauk by the Swiss author Max Frisch: it illustrates the method of including fictionality in an autobiographical text as a way to reflect on remembering, and on the possibilities of depicting one’s own life and creating one’s own I by writing. This analysis is linked to a brief excursus into narrative construction in autobiographical narration, primarily in connection with personal identity. The next section of the article briefly summarizes the differencs between classial autobiographies and contemporary self-reflectively inclined autobiographies and autofictions. It presents the category of fictional meta-autobiographies, which it includes in the broader framework of autofictional texts, and presents an (incomplete) summary of the many definitions and forms of autofiction. This is followed by an analysis of the second example of fictional metaautobiography, A Heartbreaking Work of Staggering Genius by American author Dave Eggers, which ironically deconstructs the convention of autobiographical writing. The conclusion of the study points out the differences in the way fictionality is included in the works presented, forming the basis for a division of fictional meta-autobiographies in accordance with the kind of reading instructions which they present to readers: Montauk represents works that help the reader to switch between a fictional and an autobiographical interpretation method by indicating which parts or aspects are invented and which stay true to real events; on the other hand, texts like A Heartbreaking Work of Staggering Genius provide relatively few indications to help readers distinguish fictional elements and identify authentically autobiographical moments.
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Proměna funkce posla v dramatu

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Kačer T.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2014
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vol. 17
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issue 1
286-300
EN
The present paper deals with the messenger character from the perspective of transformation of its function in drama regarding its presence and use in the history of drama where it focuses on messenger figures in Sophocles' Oedipus King and Shakespeare's Antony and Cleopatra, and in the context of contemporary mainstream British drama in the plays Arcadia by Tom Stoppard and Copenhagen by Mychael Frayn. Based on the contrasts between examples from classical and contemporary plays, the study shows that Messenger disappears as an independent character while its functions within dramatic narrative strategies remain preserved as other main dramatic characters take on this function, which had belonged to nameless Messenger figures. It also focuses on formal aspects of messengers' narratives, the 'reportage', and it shows the ways these narratives are incorporated into the drama as a whole.
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Vykolejené vyprávění ve středoevropské literatuře po roce 1989

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Galmiche X., Košnarová V.
Česká literatura (Czech Literature)
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2013
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vol. 61
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issue 3
337-350
EN
Based on an analysis of three novels: Melancholy of Resistance (Melancholie odporu) (1989) by Hungarian writer László Krasznahorkai (born 1954), Twelve Rings (Dvanáct obručí) (2003) by Ukrainian Yuri Andrukhovych (born 1960) and Gargling with Tar (Kloktat dehet) (2005) by Jáchym Topol (born 1962), this study endeavours to highlight the aesthetics that have emerged since the 1980s. These works have been selected with deliberate care because although they are separated by a certain distance in space and time, they are distinguished by poetics whose description disjointed fiction (romanesque déjanté) expresses the stampede of collective and individual history in a world turned upside down at the end of Communism. This narrative over a number of small apocalypses, fragmentarized to the very brink of incoherence, can be understood as the realism of a disrupted epoch and the transposition of intermedia (with the pithiness of its visual elements, particularly cinematographic) and multimedia (hypertext and online reading) aesthetics, just like a modern form of burlesque.
CS
Na základě analýzy tří románů, a sice Melancholie odporu (1989) maďarského spisovatele Lászlóa Krasznahorkaiho (narozeného v roce 1954), Dvanáct obručí (2003) Ukrajince Jurije Andruchovyče (narozeného v roce 1960) a Kloktat dehet (2005) Jáchyma Topola (narozeného v roce 1962), se studie pokouší analyzovat estetiku objevující se od osmdesátých let. Analyzovaná díla jsou vybrána s pečlivým uvážením, neboť, ačkoli je od sebe odděluje jistá vzdálenost časová i prostorová, jsou určována poetikou, jejíž pojmenování jako vykolejeného vyprávění (romanesque déjanté) vyjadřuje splašení kolektivních i individuálních dějin ve světě rozvraceném koncem komunismu. Tato vyprávění o řadě malých apokalyps a fragmentarizovaná až na samu hranici inkoherence můžeme chápat jako realismus rozvrácené doby, jako transpozici intermediální (pregnantnost vizuálních prvků, zvláště kinematografických) a multimediální (hypertext a čtení na síti) estetiky stejně jako současnou podobu grotesky.
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Krajina jako atmosféra. Co mě nasila Jarka Janáčková

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JEDLIČKOVÁ A.
Bohemistyka
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2020
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issue 3
319-344
EN
Literary historian Jaroslava Janáčková has been inquiring into Czech literature of the 19th century for several decades. In order to pay homage to her substantial contribution to the knowledge of the period and development of fiction poetics on the occasion of her birthday, the author of the paper summarizes some of the crucial approaches of Janáčková´s research to apply them further in analyzing a novel by Alois Jirásek, on whose work she focused mainly in the 1980s.
CS
Literární historička Jaroslava Janáčková zkoumá českou literaturu 19. století již řadu desetiletí. Se záměrem ocenit u příležitosti jejích narozenin její podstatný přínos k poznání tohoto období a vývoje poetiky prózy shrnuje autorka příspěvku některé klíčové přístupy v bádání Jaroslavy Janáčkové a následně je uplatňuje v analýze románu Aloise Jiráska, na jehož dílo se jubilantka soustředila hlavně v osmdesátých letech.
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Milada Součková v labyrintu paměti (na základě prózy Vlastní životopis Josefíny Rykrové)

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Woźniak K.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 36
99-114
EN
This article focuses on ‘Josefína Rykrová’s Autobiography’ (‘Vlastní životopis Josefíny Rykrové’) by Milada Součková, dealing in particular with issues related to the motif of memory in the form of labyrinthine prose. The collection of texts that is the subject of this analysis presents a retrospective narration based on the memories of Josefína Rykrová (although it makes multiple references to the biography of Milada Součková). Of particular importance is the fact that, at various times in the text, the subject position is split, suggesting a certain play with identities. Having created the figure of Josefína Rykrová, the author points to the splitting and loss of the self in the memories of others, which in turn become part of one’s own memory. Josefína, the titular heroine and the author of the memoirs, gets to know herself not only through her mother’s stories, but also through photographs. In this case, she draws from descriptions written on the back of the photos as an additional source of information. Součková shapes her text on the basis of an architectural metaphor of memory: the labyrinth. Moving towards the centre of this labyrinth is a complex process of remembering and erasing the traces of the past. The reconstruction of memories is aimed at reaching the first memory which remains entirely untainted. In this labyrinth, it is impossible to find the truth about oneself, yet the multiplicity of voices and images causes the subject to lose any certainty about this ‘self ’. Any certainty regarding the ontological status of the narrator is thus also lost by the reader. The labyrinth of the text, even though it uncovers the reality of intimate memories, never creates any intimate space for the subject, because it is interrupted by other voices — quotes, interjections, comments. Going through the labyrinth of memory is a symbolic attempt to confront one’s own identity and determine who one is.
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Nespolehlivé vyprávění a nemožný fikční svět : Podobojí Daniely Hodrové

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Doležel L.
Česká literatura (Czech Literature)
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2012
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vol. 60
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issue 1
45-54
EN
This article seeks to clarify aspects of unreliable narration, using the example of Daniela Hodrová´s novel Podobojí (In Both Kinds, 1991). The author recapitulates the shift in his own conception of the narrator, originally presented in 'Typology of the narrator: point of view in fiction' (1967) and Narrative modes in Czech literature (1973), respectively. Rejecting the notion of personalized narrator, the author accepts Tomáš Kubíček (Vypravěč, 2007) conception of the narrator as 'textual strategy'. The advantages of this conception most clearly appear in the analysis of modern and postmodern narratives which resist the anthropomorphization of the narator. The unreliable narration appears in several forms, but its most palpable manifestation is the creation ot logically impossible fiction worlds. The fictional world of Podobojí, which is probably the first fictional world of this kind discovered in Czech fiction, is logically impossibble for it contains or implies logical contradictions. Most visible of them is the neutralization of the opposites 'living' and 'dead' in the fictional entity 'the undead'. The logically impossible fictional world can be imagined, but cannot be textually authenticated, so the authoress of Podobojí employs various masking strategies, especially the devices of the mythological world creation. The construction of the logically impossible world is reinforced by the disintegration of narrative time, the fragmentation of texture and by the fusion of the narrator´s and the character´s plans.
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