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Revoluce proti sob ě sam ým IV. sjezd Svazu československých spisovatelů 27.–29. června 1967, projevy a debaty v trojúhelníku spisovatelé, národ a moc

100%
Vörös I.
Slavia Occidentalis
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2013
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issue 70/2
157-165
PL
1968 is a very controversial date these days. I start my research about 1968, by looking at 1967 first. Why? Because this congress was almost an exact projection of what happened during the Prague Spring, however, more was said there. The writers there were discussing the big questions, about a whole country and the destiny of a nation. Therefore, the importance of Kundera’s speech is quite significant. Havel, Vaculík, Ivan Klíma all gave politically important speeches. Regarding poetic power, Jan Skácel seemed especially strong. Even though Hrabal was not present, we have to give him some credit as well. Not only the positive, but also the negativeside of 1968 was predicted. Mainly the Communist Party’s attempt to intervene. The Czech Spring of 1968 wasnot a student-movement, but a struggle by middle-aged and mature intellectuals, mostly against what they hadinstigated in their youth. So this was an exceptionally self-critical revolution.
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“A novel that does not uncover a hitherto unknown segment of existence is immoral”. A Conversation with Marek Bieńczyk on Milan Kundera’s Works (Conducted by Olga Żyminkowska)

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Bieńczyk M., Żyminkowska O.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
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issue 8
421-433
EN
The interview with Marek Bieńczyk covers, in general, the subject of the philosophy of novel by Milan Kundera and the reception of his works nowadays in Poland and abroad. Marek Bieńczyk – the French translator of Milan Kundera’s novels – talks about the history of his first translations and the beginnings of scientific thinking about Kundera. Moreover, he explains the problems connected with Kundera’s authorial and elaborate philosophy of novel: the conception of narrator, hero and composition. Bieńczyk also narrates his own memories with M. Kundera. What is more, he indicates the inspirations he draws in his own work from innovative prose by Czech novelist, who is celebrating his 91st anniversary this year.
3
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„Kłamstwo kiczu”

86%
Rogucki J.
Kultura-Społeczeństwo-Edukacja
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2015
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vol. 8
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issue 2
101-110
PL
Many authors agree that kitsch as an esthetic conc ept has its roots in the romanticism. Its negative meaning places kitsch in opposition to high art and other concepts of beauty. This paper deals with this issue and puts a significant question on the alleged and paradox conservative character of this esthetics. Kitsch as a caricature of art itself is here being analyzed critically on the basis of fundamental theories of modern art and esthetics by Theodor Adorno, Roland Barthes or Milan Kundera.
4
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Césure et sublime

86%
Bieńczyk M.
Czytanie Literatury. Łódzkie Studia Literaturoznawcze
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2019
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issue 8
327-331
EN
Having written The Joke, Kundera changed the modus vivendi of the novel’s narrator who, with time, became a separate protagonist. This is connected with the appearance of the ellipsis as the main plot device, which is not yet present in The Joke. This change in the way of narrating represents another and, perhaps, a deeper dividing line in Kundera’s writing than switching to another language (from Czech to French), the change of the setting (from Czechoslovakia to Western countries) and the change of the political system (from communist to ‘imagological’) as an instrument of oppression.
5
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Don Quijote: jiná modernita

71%
Sánchez Fernández J. A.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
116-124
EN
Is it possible to read Don Quijote de la Mancha as a work representing modernity, and if so, in which sense? So sounds the question that this essay tries to answer. On the one hand, Close has warned about the problems of the romantic reading of Don Quijote, like, for instance, to assert that the book symbolizes Spain or an epoch. But, on the other hand, Cervantesʼ major work is in contact, through Huarte de San Juan, with the problem of truth, developed by renaissance thought in 16. century. That problem of truth, and the origin of knowledge criticism, is interpreted by Kundera as characteristic of modernity, even if different to the tradition founded by Descartes.
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Dlouhé loučení Milana Kundery s Julkem Fučíkem a odpovědnost žánru První verze Umění románu a druhá verze Posledního máje

58%
Meyer H.
Slovo a smysl - Word & Sense
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2015
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vol. 12
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issue 23
36-65
EN
The article focuses on Milan Kundera’s works from the mid-1950s to the early 1960s, particularly on Poslední máj (The Last of May) in the versions of 1955 and 1961, and Kundera’s first Art of the Novel (Umění románu), a study on the works of Vladislav Vančura, finished in 1959. The article argues that these works are interesting not only from the point of view of Kundera’s then Marxist-Leninist political stance, but also with respect to genre theory and practise as it can be retraced in his writing before the appearance of the famous novels of the mid-1960s. The article demonstrates that the relationship between lyricism and the novel in these early works exhibits many features which are to be found in his later work. The novel takes up a privileged position — albeit with a different and more explicitly political, party-bound motivation, representing the “great epic” required by “the people”. The article also contains reflections on Kundera’s role in the Czechoslovak Stalinists cult of Julius Fučík, related to the genre issues mentioned insofar as Fučík is placed by Kundera in the same category as Vančura in the first Art of the Novel.
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