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Expresionistické směřování Josefa K. Šlejhara. K poetice autorovy povídkové tvorby

100%
Stedronova E.
Česká literatura (Czech Literature)
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2006
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vol. 54
|
issue 5
20-52
EN
The article analyzes the way in which subjective elements gradually penetrate the Naturalist picture of reality in the works of Josef K. Slejhar (1864-1914). It also describes the manifestations of the gradual intensification of these elements in his style. The article attempts to demonstrate how meanings are structured in connection with stylistic elements. The authoress' research has led her to two conclusions. The first is that the signs of Expressionist style, admittedly ambiguous and diverse, are visible in Slejhar's peculiarly subjective stylization of depicted reality. An integral part of this is defining his judgement as it is manifested in all elements of the text. The second conclusion is that if one chooses an aesthetic code other than the Naturalist, then Slejhar's clear tendency to schematize, to construct and deform the picture of reality, and to seek precision of expression can be understood as a distinctive effort to develop a literary style of his own to convey his own cheerless experience of life. The dreadful ideas that the reality surrounding us is degenerating into chaos, that existing models of life are in decay, and that recognized values are irrevocably disappearing, points to the Expressionist experience, integral parts of which are doubts about the point of human existence and the search for that point in an otherworldly order. Slejhar's orientation to meanings impercetable by the senses or reason also comports with the Expressionist stylistic intention, as do the blurring of the boundary between reality and the irrational (which Naturalism did not dare to cross) and unignorable signals of his orientation to the lower levels of the human psyche. Other typically Expressionist features of his work are the acute perception of opposites and the absolutization of the phenomena of evil and love, which even assumes mystical forms. Stating that Slejhar's fiction comports with that of the pre-Great War Expressionists is justified owing to the kind of author he was - namely, one who expressed his experience of life with striking emotion and profound pessimism.
2
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Česká literatura a německý expresionismus v letech 1910–1920

80%
Med J.
Česká literatura (Czech Literature)
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2005
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vol. 53
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issue 5
688-693
EN
An essay, based on a paper given at a conference of Czech-German historians in Prague in September 2004, first indicates the problematic nature of the term 'Expressionism' in literature, then traces its use in Czech literature, considering in particular the translations Bohuslav Reynek did for Josef Florian's 'Dobré dilo' publishing house.
3
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HESSE V ARKÁDII (CHARAKTERISTIKA VÝTVARNEJ ČINNOSTI LITERÁTA HERMANNA HESSEHO)

80%
Migašová J.
ESPES
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2015
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vol. 4
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issue 1
39 – 46
EN
The paper deals with the auxiliary field of Hermann Hesse work – fine art. Particular parts of the text map, analyse and interpret his fine art expressions. They are interpreted in the context with contemporary, developing German expressionism as well as in comparison with his literary language. Methods chosen for interpretation of his work are iconography analysis and psychology of depiction.
4

MAYAKOVSKY'S EARLY DRAMA IN EUROPEAN CONTEXT (Vladimir Majakovskijs dramatisches Frühwerk im Kontext des europäischen Dramas)

80%
Ulbrecht S.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue 1
71-85
EN
The text analysis of V. Mayakovsky's tragedy 'Vladimir Majakovskij' (1913) demonstrates moments of similarity and differences in the text constitution on the basis of a comparison with other works of the European dramatic production. The author of the study utilizes Wolfgang Schwarz's structural method which helps to distinguish a language functional, motif and 'suzhet' construction layer in the complementarity of the expressive and the content aspect of a textual sign. Convergencies and divergencies between Mayakovsky's drama and works of other authors shine through from these layers. The author of the study analyzes the motivics, the thematics, the story structure, the depiction of dramatic characters, and the relationship of monologue and dialogue. V. Mayakovsky's tragedy 'Vladimir Majakovskij' draws on the symbolists' lyric drama (e.g. A. Blok) and on the so-called monodrama of Nikolai Jevreinov which in many respects resembles the works of German expressionists. Thus we can see the work of the early V. Mayakovsky as situated between the 'Russian' and the 'European' tradition.
5

THE THEME OF TECHNOLOGY IN AVANT-GARDES AND ITS SIGNIFICATION

80%
Bzoch A.
Slovak Review. A Review of World Literature Research
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2004
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vol. 13
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issue 1
77-90
EN
The paper is an attempt of the systematic presentation and explication of diversity in attitudes towards various contemporary technological phenomena in classical avant-gardes. The point of departure is the anthropological consideration of the sense of technology in general, according to A. Gehlen. The positive and negative accentuation of technology ('fascination' and 'nausea') in German Expressionism, its adoration in Futurism and Meyerhold's theater and its interiorization in post-Expressionism and Surrealism indicate not only different perception of various phenomena of civilization but also different and progressing understanding of the creative, traditional culture and politics.
6

Erasing identity: Harriet von Rathlef-Keilmann

80%
Stonge C.
Makslas Vesture un Teorija
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2013
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vol. 16
49-57
EN
Born in Riga, Harriet von Rathlef-Keilmann was a Jewish artist and author. Virtually unknown today, she was one of the most successful woman sculptors in Germany who produced religious art in the early twentieth century. Today, all but a few of her works have vanished, erased from art history. Raised and educated in an affluent Latvian family, she benefitted from private art lessons. She had studied with the sculptor August Volz in Riga prior to studying art in Berlin and Munich in 1906-08. Upon returning to Latvia she married a Christian, Harald von Rathlef, a botanist, and they produced four children between 1909 and 1914. Despite domestic and childrearing responsibilities, she continued drawing and sculpting. Up until the first war, the Rathlefs lived in the Latvian countryside, where she made small-scale sculpture, both modelled and carved, and also participated in two exhibitions in Riga. Influenced by Medieval art, Russian icons, and folk art, she focused on creating simplified religious imagery. Rathlef-Keilmann's sculptures fit in with German Expressionist tendencies. Her works were mainly carved, and occasionally modelled in plaster and terracotta. In 1918 she fled Latvia and immigrated to Germany, where her turbulent life became intertwined with the complexities of women's emancipation during the Weimar Republic and the rise of Nazism. After relocating to Germany, the Rathlefs settled in Weimar. Despite severe financial difficulties, Harriet enrolled at the Weimar Academy of Fine Art, where she studied with the German-Jewish artist/teacher Richard Engelmann, and later briefly at the Bauhaus in Weimar. Between 1921 and 1933 her works were featured in several exhibitions throughout Germany. In 1923 von Rathlef moved to Berlin, where her reputation as a sculptor became increasingly visible. Her sculptures were featured in several exhibitions as well as German art and religious journals. Highly regarded and on the brink of success, von Rathlef planned to leave Germany in 1933 to escape Nazi persecution. Unfortunately, she was thwarted by a Nazi sympathizer, her landlord, who barred medical access to von Rathlef and she died from medical complications while she lay bedridden and helpless.
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EXPRESSIONISM ONE MORE TIME, OR A FRESH LOOK AT THE HISTORY OF GERMAN CINEMA (Ekspresjonizm raz jeszcze, czyli na nowo o historii filmu niemieckiego)

80%
Klys T.
Kwartalnik Filmowy
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2009
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issue 67-68
127-141
EN
Traditionally expressionism was identified as yje main feature of the style of the silent era of German film. However, this was questioned by Thomas Elsaesser and Barry Salt. Elsaesser demonstrated the role books by Siegfried Kracauer (From Caligari to Hitler) and Lotte H. Eisner (The Demonic Screen) played in the mixing up of the stylistic and thematic arenas in reviews of the Weimer era cinema. Whereas Barry Salt argued that expressionism as a motion picture style, where expressionism is understood to have grown out of its earlier application in theatre and fine arts, is present in very few films, whilst other solutions, commonly identified as examples of 'expressionism', were present not only in German film, but in world cinema. The author tries to define the works that truly represent German expressionism. He widens the list proposed by Salt by titles named by Kristin Thompson and David Bordwell, and other titles identified by himself. He also questions the view that expressionism in film was to serve subjectification of the world presented as an expression of inner states of the authors or the protagonists portrayed in the film. Following Elsaesser the author argues, that expressionism in film was above all a question of fashionable design, accepted in fine arts, and it was used in film in order to give the medium the status of an art.
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VOJNOVÝ VETERÁN AKO VIZIONÁR: K POETIKE A METAFYZIKE V DIELE J. HRUŠOVSKÉHO

70%
Kročanová D.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 2
105 – 114
EN
The images of the world created in the consciousness of the „revolution“ generation (of the years 1830 and 1848) and the „war“ generation (of the years 1914 -1918) had a few elements in common. The goal of the article is to show how the legacy of „Black“ Romanticism of the 1920s made it possible to communicate the trauma caused by World War I. The first part of the article therefore presents World War I from the perspective of social history. The author uses a monograph by the American historian Eric J. Leed. Then she suggests that certain frequent literary motifs might be related to the way how World War I was waged. The second part of the article interprets the war proses written by the Slovak writer Ján Hrušovský (1892-1975) in the 1920s and offers four „images“ which are his „insight“ into the physical world as well as metaphysical reality.
9

PREMENY POSTAVY A PRIESTOROVÉ KONTRASTY V ROMÁNE PETRA JILEMNICKÉHO VÍŤAZNÝ PÁD

70%
Kubusová Z.
Slovenská literatúra (Slovak Literature)
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2023
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vol. 70
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issue 3
260 – 267
EN
The novel Víťazný pád ([The victorious fall] 1929) is the last work in the first phase of the oeuvre of the Slovak writer of Czech origins, Peter Jilemnický (1901 – 1949). Literary historiography has most often discussed the novel in the context of Slovak interwar fiction primarily in relation to expressionism and the lyricisation of prose. The paper focuses on the transformation of the main character as the determining element in the development of the plot and on spatial contrasts in the novel. It identifies the plane of the material world, through which the author reflects the social tragedy of life in the Slovak region of Kysuce, and the plane of the imaginative world, represented especially by the main character Maťo Horoň. With regards to the imaginative world, the article proposes the hypothesis that the novel’s poetics has ties with the aesthetics of Czech poetism. The novel was written between 1925 and 1926, a period that witnessed an ongoing debate about the suitability of the poetic programme as blueprint for art and literature for the new society. The article views the novel as a transitional work in the development of the author’s poetics.
10

IS BLACK A COLOUR OF DESPAIR? (POETRY OF PAUL STRAUSS IN THE CONTEXT OF GERMAN, CZECH AND SLOVAK MODERNISM)

61%
Batorova M.
Slovak Review. A Review of World Literature Research
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2006
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vol. 15
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issue 1
32-45
EN
The study is concerned with Paul Strauss' poetry which was written in the '30s in German language. It was Strauss' bilingualism that helped him to deal with works of his German and Czech modernist contemporaries. His first collection of poetry 'Die Kanone auf dem Ei' (The Gun on the Egg) was apparently inspired by global and local historical processes. In his second and third collection of poetry called 'Schwarze Verse' (Black Verses) and 'Worte aus der Nacht' (Words from the Night) respectively, the reflection of the world of inner experience became prominent. The fear of mother's death, which haunted him from the time of his childhood, is strongly pronounced. The uneasiness he felt after her death was enhanced by another existential uneasiness - the revelation of his Jewish roots during WWII, although he was already Christianised at that time. The theme of 'Worte aus der Nacht' is the search for a way out of the existential crisis. It is not difficult to determine Paul Strauss' place in the literary context of the '30s. It is possible to use the explanation of the contemporary context proposed in M. Kundera's preface to 'Die Prager Moderne' (Prague Modernism). One is tempted to prove Kundera's theses on Strauss' works. It is also supported by all techniques of the traditional literary comparatistics, including the genetic relations. Similarly to Rilke, in Strauss' poetry one can find the first phase of poetic expression of the aesthetic ideal. Strauss encountered Rilke's work in its final phase, as a whole. In Strauss' times, i. e. between the two World Wars, the status of poetic expression is naturally confronted with a different reality. Rilke's 'Dinggedicht' , which is related to Husserl's phenomenology, is concerned with a new view of looking at the objects of the real world. The central theme of Rilke's relation to fright and beauty can also be seen in the Strauss' poetics. The poetry means mainly a relation to oneself and by the means of it to the world to Paul Strauss, as it does to Rilke and Valery. Strauss registers the outside world of the things through his own inner experience. The motive of death, which is considered essential to Rilke's poetry, is the principal theme in Strauss' poetry, the initial impulse to write. The motive of death is also present in Franz Werfel's works, but not as an existential entity, as part of the speculations about one's existence as is the case with Rilke and Strauss. Strauss is close to Werfel in motives of pain and childhood. One can also find the common themes or motives in Rilke's and Strauss' poetry: death, God, time, loss, pain. Strauss came from Vienna to Prague at the beginning of the '30s (1932-37). He brought with himself a compact bound form, Rilkian 'impressionism' and eflectiveness, Werfelian expressionism. To sum up, one can conclude that Strauss' collections of poetry, on account of their form, language and poetics, definitely belong into the context of the Central European lyrical poetry.
11

KRIK NAHEJ DUŠE UMELCA

61%
Horváth T.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
|
issue 6
413 – 431
EN
The paper is an interpretation of the novel Krik (Krzyk/The Scream, 1917) by Polish modernist writer Stanisław Przybyszewski (1868 – 1927) within the context of Przybyszewski´s ideological and aesthetical conception including notions such as the naked soul, sexual instinct (chuć), meta-word and androgyny. The hallucinatory and dreamy fictitious world of the novel, built up using the literary method of discontinuity of chronotopes, is related to Przybyszewski´s view of reality as the reality of the naked soul. The literary production is a scream of a naked soul which is linked to the forces of the unconscious mind including subconscious impulses and instincts. They control the conscious self, who thus becomes unautonomous, and they split it up (the motif of a double in the novel). The narrative structure of the novel is based on the principle of repetition with a difference: the main hero, artist Gaštovt, wants the impossible: he wants to hear again the scream of the prostitute jumping off the bridge. The repetition is, however, – in Nietzsche´s words – the return of the different: Gaštovt first saves the female suicide, but then longing for the repetition of the scream he kills her. The structure of the repetition joins several motifs in the text: the individual characters reappear as different ones in the feverish maze of Gaštovt´s wandering: the jarvey later as the violinist, the female suicide later as the hypnotized actress, the stranger later as Weryho, and eventually Weryho as Gaštovt himself (in the final motif of a double).
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ENTRAPPED BY CONVICTION: KRISTAPS ELIASS' CONTRIBUTION TO LATVIAN ART HISTORY (Parliecibas slazda: Kristapa Eliasa ieguldijums latviesu makslas vesture)

41%
Pelse S.
Makslas Vesture un Teorija
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2006
|
vol. 6-7
71-76
EN
The contribution of Latvian authors not only to the study of the local artistic heritage but also in raising the general cultural level of society is an important aspect of history of this branch. Art historian Kristaps Eliass' (1886-1963) publications are mostly dedicated to the popularization of the most renowned phenomena of 18th - 20th century Western European art and French art in particular. The main sources of Eliass' theoretical principles came from the then influential but today less known writers on art (Julius Meier-Graefe, Richard Muther, Werner Weisbach, Ludwig Coellen etc.); this allows us to define Eliass' approach as scientifically grounded, especially when compared to the local setting of the social sciences. (Karl Marx's ideas, although found in many quotes, could hardly provide him with a consistent example of writing on art). Since becoming a follower of the ideas of social democracy in his early youth, Eliass' leftist stance placed him in almost perpetual opposition to the ruling state system. These ideas were hated in tsarist Russia as well as during the local nationalist authoritarian regime after 1934 and equally under Stalin's rule after the Soviet occupation. After the end of the Soviet era his leftist phraseology also seems outdated. Nevertheless, his books 'French Contemporary Painting' (written together with his brother, painter Gederts Eliass, 1940), 'Dutch Old Masters' (1957) and 'Honoré Daumier and His Time' (1960) belong to the few comprehensive sources on Western European art published in Latvian during the 20th century. Their informative and educational role, unlike scattered articles in periodicals, reaches far beyond the audience of contemporaries.
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