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Převod řeči do nemluvení a translace ticha do slov aneb Dramatická tvorba Věry Linhartové

100%
Jungmannová L.
Česká literatura (Czech Literature)
|
2010
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vol. 58
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issue 2
231-239
EN
The article discusses two radio plays by Věra Linhartová (b. 1938), including their performance. It demonstrates that the chief means of utterance in both plays becomes the language that Linhartová always explores in relation to man. The first part of the text considers the distinctive critique of 'logocentrism' in the play Překladatel (The Translator, 1969), in which a parallel is posited between the act of translating and man considered ontologically. The second part of the article interprets Linhartová's search for the boundaries of rational representation. The play Přesýpací hodina (The Hourglass, 1970) depicts human thinking as a palimpsest, which, when deprived of the possibility of speech, loses its metaphysical quality. The article also analyses the experimental essence of the plays, which consists in their minimalistic plots, conceptually formulated characters, and 'abstract' settings, but also the playwright's experiment with the essentiality of a literary work intended for radio broadcast, when in her dramas she thematizes the problem of the performativity of verbal expression.
2
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Jinde. Francouzská tvorba Věry Linhartové

80%
Košnarová V.
Česká literatura (Czech Literature)
|
2009
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vol. 57
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issue 5
623-651
EN
This article is concerned with the prose works of Věra Linhartová (b. 1938) written in French in the 1970s and 1980s. Using the first of these works, TWOR (1974), the author of the article seeks to demonstrate the shift in Linhartová’s style and her search for expression in a language other than her mother tongue. Characteristic features in these works are heterogeneity, disunity, and the permanently variable nature of the narrative voice and the text. In the next part of the article, the author occupies herself with the lyrical texts later compiled in the collection Mes oubliettes (1996). Her attention is mainly on the forms of narrator of these texts and on some themes and images (like landscape, habitat, and language). The author demonstrates Linhartová’s increasing interest in Eastern thinking and art (non-selfhood, minimalist expression, and the emptying of language and the persona). This orientation is confirmed in the subsequent collection, Portraits carnivores (1982), comprising three narrative texts, which the author here calls ‘pure narration’, pointing to the transformation, among other things, of Linhartová’s narrative compared to her early prose fiction works, which were written in Czech. The last part of the article is devoted to the inspiration of Japan and a collection of three works of would-be travel literature under the title Les Cascades – Kaskády (2002). The author here finds confirmation that travel in Linhartova’s writing has a primarily metaphorical, spiritual meaning, that it is the expression of spiritual growth and advancement. Travelling is therefore a certain ontological position of the persona, a way of being.
3
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K raným prózám Věry Linhartové

80%
Češka J.
Česká literatura (Czech Literature)
|
2010
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vol. 58
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issue 2
197-218
EN
This article considers anti-illusive elements in Věra Linhartová’s (b. 1938) early work. It focuses on the text strategies that result in the magic, enigma, and mystery of her writing. Such effects are achieved by the continuous subversion of meaning, the frequent use of contradiction, the synecdoche, a penchant for the parlance of the deranged, and the intentional disruption of the continuity of time and space. This, the author of the article argues, is why, despite their plots, these texts are lyrical. Interrupted discourses that are continuously deprived of sense are intended here to affirm the presence of the author.
4
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Prostor básně (triptychy Dům daleko a Ianus tří tváří)

80%
Košnarová V.
Česká literatura (Czech Literature)
|
2010
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vol. 58
|
issue 2
218-231
EN
This article discusses the arrangement of space in Věra Linhartová's (b. 1938) verse. The poet places great emphasis on the visual aspects of her verse, which is also why the poems have been called architectural. The first part of the article focuses on the chief means of achieving this architecture: typeface (size and style), spacing, and punctuation marks. The second part of the article focuses on the thematized spacetime of the fictional world of Linhartová's verse. It analyzes and interprets selected motifs and images: the wall, home, nature, nothingness, and emptiness.
5
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Řeč identity

70%
Křivancová M.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 3
368-381
EN
The works of fiction written in Czech by Věra Linhartová (b. 1938) in 1957–65 and published in 1964–68 – namely, Rozprava o zdviži (1965), a short novella, and Prostor k rozlišení (1964), Meziprůzkum nejblíž uplynulého (1964), Přestořeč (1966), and Dům daleko (1968), four collec- tions of short stories – place extraordinary emphasis on the ontological dimension of utterance. With this writing Linhartová communicates the idea that every fact, by virtue of being named, is ‘summoned to life’ and becomes understandable for the persona; the world manifests itself to humankind in words. Thus, if one succeeds in expressing one’s conception in speech – or, to be more precise, one’s conception of what is being communicated – one becomes conscious of one’s Self, of one’s existence. If one is to express in words one’s immediate conception, one’s speech must be transformed together with one’s Self. The speaking persona thus also becomes conscious of its identity in its plurality in speech, reflecting itself in its various forms and metamorphoses. It is precisely this distinctive function, this differentiation, which is the condition for sovereign selfhood.
6
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K "druhé avantgardě" (teze k diskusi)

70%
Langerova M.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
667-672
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The author is concerned here with what it was that awoke in the Second Avant-garde. She poses the fundamental question of what influence Surrealism has had on art after the Second World War. She also discusses influences and trends in Czech culture from the 1940s to the 1960s, including works, for example, by Vera Linhartova (b. 1938), Vratislav Effenberger (1923-1986), and Karel Teige (1900-1951).
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