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Motiv dvojníka v dialogu Egona Hostovského s Dostojevským

100%

Zetová M.

Česká literatura (Czech Literature)

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2017

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vol. 65

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issue 5

659-688

EN

This study attempts to present a comparative interpretation of the motif of the double in selected works by Dostoyevsky and Hostovský. Attention is focused on the way the double motif is involved in the construction of the literary work as a unit of dialogic speech, as conceived by Mikhail Bakhtin. The psychological motivation behind dialogue with a double, which is indicated by Bakhtin, is complemented by an exposition from the standpoint of Girard’s concept of unspontaneous desire and Freud’s conception of the double as a symptom of disturbing strangeness. The thematization of doubleness accordingly appears to be a criticism of the disrupted experience of intersubjectivity, as characterized by Julia Kristeva, but also in a broader sense by Edmund Husserl. Although on the one hand the double emerges as an ally, confirming the existence of the original hero as correct and good, at the same time he always threatens the sovereignty of the original subject, just like Girard’s intermediary. It turns out that the ambivalent nature of the double motif gives rise to the aesthetics of Dostoyevsky’s and Hostovský’s texts, in which doubles often take control of their prototypes’ lives, attempt to eradicate them and take their place in the world. In the case of both authors, this threat manifests itself in particular at the level of language, when the double appropriates (and alienates) the speech of the prototype. Analysis of the selected motif then also illustrates that Hostovský, like Dostoyevsky, is an author who can be classified in the polyphonic tradition of novel writing.

CS

Studie se snaží podat komparativní interpretaci motivů dvojníka ve vybraných dílech F. M. Dostojevského a Egona Hostovského. Pozornost je věnována tomu, jak se dvojnický motiv podílí na výstavbě literárního díla jakožto dialogického řečového útvaru, tak jak je pojímá Michail Bachtin. Psychologická motivace dialogu s dvojníkem, která je u Bachtina naznačena, je doplněna o výklad z perspektivy Girardova konceptu nespontánní touhy a o Freudovo pojetí dvojníka coby symptomu znepokojivé cizoty. Tematizace dvojnictví se v těchto intencích jeví jako kritika narušeného prožívání intersubjektivity, jak ji charakterizuje Julia Kristeva, ale v širším smyslu také Edmund Husserl. Dvojník sice na jedné straně vystupuje jako spojenec, který potvrzuje existenci původního hrdiny jako správnou a dobrou, ale zároveň vždy již ohrožuje svrchovanost původního subjektu, tak jako girardovský prostředník. Ukazuje se, že z této ambivalentní povahy dvojnického motivu těží estetika Dostojevského a Hostovského textů, kde dvojníci často přebírají kontrolu nad životy svých předobrazů, usilují o to je zlikvidovat a zaujmout jejich místo ve světě. Toto ohrožení se u obou autorů manifestuje zejména v rovině jazyka, kdy si dvojník osvojuje (a zcizuje) řeč originálu. Analýza vybraného motivu pak zároveň ilustruje, že Hostovský je, stejně jako Dostojevskij, spisovatelem zařaditelným do polyfonní tradice románové tvorby.

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The Mirror Image of Josef Bašek: On Human Metamorphosis in Egon Hostovský’s Novel Ztracený stín (1931)

85%

Kopecká Z.

Slovo a smysl - Word & Sense

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2022

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vol. 19

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issue 39

161-172

EN

The sphere of art, which became highly personalised after the First World War, reflects the state of fragmentation of society into individuals and their inner world. In Egon Hostovský’s novel Ztracený stín (Lost Shadow, 1931), this phenomenon appears on various textual levels, but the dominant realm, reflecting the chaos of the world as well as of the inner self, is the level of motifs in the author’s poetics. In the process of self-identification of the main protagonist Josef Bašek, the rupture in his psychological experience is encoded in the recognition of his own deformed image, the new identity of the double, in the mirror. The author thus reflects the disintegration of an integrated structure in two directions. On one hand, the external world foments an individual metamorphosis of personality, while on the other this is no longer merely a matter of the human inner self and psychological experience, but in its deformed aspect becomes a visible component of the fragmented society within which the protagonist operates.

3

Poutníci a vyprávění. Adaptace chasidské legendy v díle Ivana Olbrachta, Jiřího Mordechaje Langera a Egona Hostovského

70%

Pavlík O.

Slovo a smysl - Word & Sense

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2021

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vol. 18

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issue 36

79-98

EN

This study aims to compare three prose adaptations of a Hasidic legend published in 1937: Devět bran (‘The nine gates’) by Jiří Langer, Golet v údolí (‘Golet in the valley’) by Ivan Olbracht, and Dům bez pána (‘The house without a master’) by Egon Hostovský. The first part focuses on characterising the genre of Hasidic narration, with descriptions of its earliest Czech-language realisations on the pages of Czech periodicals. These investigations demonstrate that the acceptance of Hasidic narrativity by the authors in question is based not only on direct experience of the Hasidic environment, but also on the tradition of literary fiction in translation, which had been prevalent in the Czech context for several decades. The second section deals with specific ways the Hasidic legend and its semantic implications are integrated in the primary texts. The conclusions show, among other things, that the Hasidic stories allow Ivan Olbracht to follow the individual characters in interaction with the narrative as a social act. In Egon Hostovský’s novel, meanwhile, the Hasidic short story becomes part of a world of hidden meanings; the narrator of Devět bran integrates legends into the context of Hasidic everyday life, thus giving specific form to the community of anonymous narrators and listeners.

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Motiv dvojníka v dialogu Egona Hostovského s Dostojevským

The Mirror Image of Josef Bašek: On Human Metamorphosis in Egon Hostovský’s Novel Ztracený stín (1931)

Poutníci a vyprávění. Adaptace chasidské legendy v díle Ivana Olbrachta, Jiřího Mordechaje Langera a Egona Hostovského