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K poetice Vyvolávání Daniely Hodrové

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Jankovič M.

Česká literatura (Czech Literature)

2011

vol. 59

issue 2

198-218

This essay considers stylistic changes in Daniela Hodrová’s last novels – Théta, Komedie, and Vyvolávání (Evokings). These works share the stylistic features of the repetition and blending of motifs, whose meeting and interplay give rise to a distinctive vision of the world. ‘Flow’, ‘web’, and ‘textile’ are metaphors the author uses to characterize her own writing in Citlivé město (Sensitive city, 2006), a book-length essay. Here she gives hints of much that distinguishes her recent novels from classic works of fiction and what was probably most consistently achieved in Vyvolávání: ‘the reeling of the text, particularly the woven, into its inner being, into a narrative abyss’. The author first considers the structurally complex action of this text and then indicates the significant countervailing role of the rhythmic articulation into sections of utterance, which preserve the requisite fluency of the author’s sentences. The motifs here always address the reader in certain configurations, whether they are events (fictive or factual), the telling of dreams, or the retelling of myths. Certain characters also appear in them, presenting their actions, thoughts, and feelings. All these epic elements are preserved in Vyvolávání, but each receives its distinctive treatment. Wholeness is disrupted; elements are regrouped, again mixed up in quasi-eternal returns. Arrangements of higher semantic units, in characters’ portraits and stories, always take place with discontinuities, as if it were necessary to search again and again for their unapparent inner links. To keep both creative forces in equilibrium, the clarity of naming and the play of imagination and dreams were clearly the author’s goal during the creation of the work, where one usually talks about the world of characters and composition. The author’s novel has not relinquished these, though it conceives them in its own way. Her aim continues to be the meshing and blending of motifs and the flow of life, its oneiric river.

Identita díla v pohybu

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Jankovič M.

Česká literatura (Czech Literature)

2010

vol. 58

issue 6

790-796

This article discusses the problem of the identity of a work in connection with the role of the reader. It follows on from the ideas of Herta Schmid, who, in 1999, argued that Mukařovský took both a poetological and an aesthetic approach to the literary text. The former emphasized the closed structure of the work as an artefact, whereas the latter focused on the openness of the aesthetic object. Jankovič asks whether the identity of a work is bound only to the immutability of the artistic artefact. In this sense, the Czech structuralism of the younger generation sought its own path (Červenka 1996). In Mukařovský’s aesthetics the identity of a work does not exclude the mutability of the aesthetic object; its centre of gravity is transferred to the potential efficacy of the work, to its semantic dynamism. From the zenith of the work’s potential aesthetic impact, from the perspective of its unique potential to affect and change the perceiver’s relationship with reality, one must inquire into the work’s identity. It is the identity of a work in motion, in which the dynamic assumptions of the work are realized in the course of time (thanks also to the evoked participation of the perceiver, who is not denied a part in the unifying semantic gesture). Mukařovský’s aesthetics do not contest the notion of the work as a formal unity; they merely make it dynamic.

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K poetice Vyvolávání Daniely Hodrové

Identita díla v pohybu