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UNFAMILIAR POINTS. JOSEF SIMA, RICHARD WEINER AND THE GROUP 'LE GRAND JEU'

100%
Srp K.
Umění (Art)
|
2004
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vol. 52
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issue 1
11-36
EN
One of the most productive artistic encounters between Czech modern artists and the emerging French avant-garde took place in the second half of the 1920s within the group 'Le Grand Jeu'. Members of the group were in close contact with the much older poet and journalist Richard Weiner, a long-time resident of Paris, and with the painter Josef Sima, who also lived in Paris from the beginning of the 1920s on. Sima came to be one of the key members of 'Le Grand Jeu', as well as one of its most important artists, at the centre of the group's journalistic and exhibition activities. There was a great similarity, in terms of outlook and theme, between the poetic and thematic work of René Daumal and Roger Gilbert-Lecomte on the one hand and Richard Weiner on the other. They inspired one another and made a similar critique of rationalist civilisation, to which each of them brought his own experience and point of view to bear. They were particularly interested in the concept of paradise and criticised the simplified interpretation of the cognitive process as cerebral analytical judgement. Such judgement cut the contemporary individual off from contact with wholeness, miracles and grace, central concepts that 'Le Grand Jeu' tried to revive. In the extensive poetics, entitled The Barber-surgeon, which Weiner developed at the same time as the manifestos and other declarations of 'Le Grand Jeu', the contemporary individual, robbed of paradise, was distinguished from the surviving non-European cultures of primitive peoples. The latter were still living in paradise and the world of miracles, but were, paradoxically, unaware of these. After 1927, Sima became the main representative of these views in the visual arts. Contact with the representatives of 'Le Grand Jeu' opened up for him a 'second' sight, distinct from the purely sensuous sight that he had devoted himself to completely until then. Paintings such as 'Lightning', 'Double Landscape' and 'Meridian' in particular constitute key visualisations of the poetic and programmatic principles of 'Le Grand Jeu'. Although it resisted discursive approaches, in the end the group was compelled to turn to them in order to make its own programme comprehensible.
2
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Korunní slovo "Milost" : Ivan Slavík jakožto čtenář a pokračovatel Weinerův

100%
Svanovska H.
Česká literatura (Czech Literature)
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2005
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vol. 53
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issue 1
62-77
EN
This article is concerned with texts by Ivan Slavik which are similar in style to the writing of Richard Weiner, particularly his verse 'Mezopotámie' (Mesopotamia) and the two collections of short stories 'Lazebnik' (The barber-surgeon) and 'Hra doopravdy' (A real game). Typical of the works of Slavik, who was an enthusiastic interpreter of Weiner's works, is the attempt to attribute to Weiner's work theological meaning or at least a religious dimension, which is then reflected in Slavik's own verse. The article initially focuses on the intertextual links between Weiner's Mezopotámie and Slavik's first collection'Snimáni z krize' (Descent from the Cross, 1945). It discusses the similarity between the character Frantisek in Mezopotámie and the main character of several of Slavik's poems, which can be understood as a new interpretation or even literary treatment of Weiner's hero. It also considers the linguistic side of the two works, but finds striking differences between the experimental nature of Weiner's poetic expression and thoroughly stripped-down vocabulary of Slavik writing. The article also discusses the suggestive imagery of some of Slavik's verse, which is in some ways reminiscent of the style of Weiner's collection 'Mnoho noci' (Many a night). The article argues that the poems Slavik dedicated to Weiner, the ones in his first collection as well as those in the excellent collection from the 1960s - 'Já A. J.: Druhý dil deniku Arnosta Jence' (I, A. J.: The diary of Arnost Jenc, Pt 2) - are important for an original interpretation of Weiner's works. The second part of the article discusses allusions in Weiner's fiction which frequently appear in Slavik's verse and fiction in the collection 'Osten' (Thorn, 1968). Great emphasis is placed on their temporal and contextual reinterpretation in Communist 'timelessness', of which numerous examples are provided. The article concludes that a number of elements that Slavik adopted from Weiner and transposed into his own writing have strikingly added to approaches to interpreting the works of both authors.
3
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Dialog jako způsob existence v díle Richarda Weinera

100%
Jirsa T.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 1
73-101
EN
The article is concerned with dialogical approaches in the works of Richard Weiner (1884–1937), which the author considers a constitutive feature of Weiner’s fiction. Similarly it considers dialogues between the implied author and the authorial narrator (whose voices, however, often overlap) on the one hand, and the reader and the characters on the other hand, and two-way dialogues between the real world and the fictional world. The author demonstrates that a characteristic feature of Weiner’s fiction, dialogicality, is not a self-serving figure of speech of Weiner’s style, but a means of enabling the reader to become actively involved in the creation of the fictional world.
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