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CESTY ZA ZTRACENOU JEDNOTOU. PŘÍSPĚVEK K AUTORSKÉ POETICE MICHALA AJVAZE

100%
Gilk E.
World Literature Studies
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2016
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vol. 8
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issue 2
76 – 88
EN
The study deals with the poetics of all the prose fiction written by Michal Ajvaz (born 1949), who among contemporary Czech authors shows the greatest affinity towards magical realism, and, what is more, has even commented repeatedly on the connection between his works and this genre. We consider the metaphor of the “other city”, which we borrowed from the title of his best-known novel, to be the key to the interpretation of the ideological framework of his texts. Having been obviously inspired by phenomenology, Ajvaz, in his work, draws attention to the over-accustomed and indolent ways in which people perceive reality that has been reduced to a perspective from which one can see very little. Modified in various forms, Ajvaz’s stories ask the readers to start a journey towards the other, the different, and unknown, hereby emancipating themselves from the slavishly accepted schemes of acting and behaving prearranged by the European Cartesian tradition. However, the journey towards admitting the “other world” alone could be a challenging pilgrimage which is itself meaningful and does not follow any particular aim.
2
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S mimezí v batohu na výlet do různosvětů

100%
Jedlickova A.
Česká literatura (Czech Literature)
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2005
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vol. 53
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issue 2
203-225
EN
An essay inspired by Lubomir Dolezel's 'Heterocosmica: Fiction and Possible Worlds' presents - in part polemically - the essential features of the theory of fictional worlds (including clear definitions of the terms 'actual', 'possible', and 'fictional' worlds), and, following on from this, it interprets the short story 'Muzeum tety Laury' (Aunt Laura's Museum) from Frantisek Langer's collection 'Malirské povidky' (A painter's tales).
3
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Jakub Deml's 'Zapomenuté svetlo' (Forgotten Light)

100%
Balik S.
Česká literatura (Czech Literature)
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2005
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vol. 53
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issue 5
694-709
EN
Interpretation of Jakub Deml's 'Zapomenuté svetlo'.
4
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Vyvolávání z nebytí v Komedii Daniely Hodrové

100%
Jankovic M.
Česká literatura (Czech Literature)
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2007
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vol. 55
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issue 1
1-24
EN
After a break of several years, during which she published two other novels - 'Perunuv den' (1994) and 'Ztracené deti' (1997) - Daniela Hodrová has in 'Komedie' (2003) again taken up the themes of the 'Olsany Trilogy' ('Podoboji', 'Kukly' and 'Théta', all first published in 1991). With its narrative style bordering on fiction and autobiography and with its loose composition 'Komedie' is most like 'Théta'. In the conception of its narrated stories and also the function of the narrator whose speech continuously mixes and overlaps with speech snippets of many characters, however, it employs even more daringly than the other novels a high degree of intentional and unintentional disorderliness, which stems from the use of fragments to tell the story. In a polyphonic stream, with many layers of intertextual references (often made both to Hodrová's own works and to those of other authors), the article seeks to highlight a certain integrating semantic action, which branches out and intensifies despite all the fragmentation of the story line. The dense network of repeating and interconnected motifs, whose parallelism and contrasts, as well as the climatic dynamism of the sentences giving the impression of continuous action, creates their own world in 'Komedie', which maintains its equilibrium while 'on the verge of chaos'. So, for example, two opposite yet mutually complementary codes of the human lot emerge: the barren plain, into which our lives descend, and the auguring little hand of the Libuse doll found among the graves, which points to the darkness while at the same time lighting the way.
5
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Podivuhodný labyrint každodennosti. Fikční svět Povídek malostranských.

88%
Mocna D.
Česká literatura (Czech Literature)
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2007
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vol. 55
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issue 2
145-166
EN
This article is concerned with narrative approaches that Jan Neruda (1834-1891) employed to construct the ambiguous, disorganized fictional world of his 'Povidky malostranské' (Tales of the Lesser Town). First, they are his preference for non-authoritarian narrators, particularly the personal narrator-observer. At many points throughout the text, this narrator changes into a medium through which 'flow' foreign opinions on elements of the fictional world. To this he then also adds his own insights and observations. Second, the implicit nature of the communication is extremely intensified here. Important information is usually provided in the form of vague hints, hidden behind a great quantity of insubstantial detail, in which both kinds of information is presented in the text mostly in the same manner. The connections among the individual items of information are similarly hidden: an explicit expression of causality rarely appears here, and when it does it is usually related to marginal matters. Third, compared to the traditional mode of narration, which organizes information about the fictional world along the axis of the story, here the initial narration branches out in several sides: the basic organizing principle of the narrative text ceases to be the linearity of time, and thus becomes the complexity of space. This special mode of narration is of fundamental consequence to the nature of the story and the characters. The story does not become visible; submerged in the over-sized 'skin' on the surface of the fiction, it makes its presence known only by sparse, not particularly clear signals. The characters comprise heterogeneous, often outright contradictory information of various provenance, making them also ambiguous and sometimes inconsistent. The narrative approaches have much in common with the principles of 20th c. experimental fiction. Unlike the latter, however, they retain the stable outer framework of the fictional world, which the chaotic, ambivalent interior action make understandable. There thus arises a considerable tension between the static macrostructure of the fictional world and its dynamic microstructures, which can be interpreted as a reflection of a world on the borderline between two periods of civilization.
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„JÁ JSEM TO JEN PODLE JEHO ŘEČI SLOŽIL A MALIČKO JSEM K TOMU SÁM PŘIDAL…“ KE STYLIZACI LIDOVÉHO VYPRAVĚČE V PRÓZE NA PŘELOMU PADESÁTÝCH A ŠEDESÁTÝCH LET 19. STOLETÍ

88%
Jedličková A.
Slovenská literatúra (Slovak Literature)
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2019
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vol. 66
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issue 3
188 – 206
EN
The paper prompted by the discussion on the apprehension of ordinary folk and folk character in the 19th century stems from long-term research into narrative techniques of fiction written in the period of time in question. Its central categories include the relation between the architext of folk experience narration and other folk genres to their literary applications, as well as stylization of a skaz-like folk narrator. Such narrator typically identifies her- or himself as homodiegetic, however, she enjoys a higher degree of authority (especially omniscience) than plausible in her position. This may be explained by the author´s need to keep the plot attractive for any kind of audience. On the other hand, alternating the mode of the folk narrator and sophisticated literary techniques points to the effort to address the well-read audience. Based on the comparison of typical examples from the production of three authors (Karolina Světlá, Leopold Hansmann and Vítězslav Hálek), the communication intentions of such narrators and their attitude to the assumed audience can be conceptualized, respectively, as integration, togetherness and confrontation.
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