Search results

1

Sova a papír na hřebíku : Zátiší Karla Purkyně jako skrytá alegorie?

100%

Winter T.

Umění (Art)

|

2018

|

vol. 66

|

issue 1-2

36-42

EN

In 1862 Karel Purkyně painted one of his best-known pictures: the still life Snowy Owl. The aim of this article is a fresh interpretation of this canvas. On the basis of older explanations of the painting, certain theoretical concepts including Purkyně’s own opinions and knowledge of the artistic practices of the time the question arises as to whether the painting might not be interpreted as a hidden allegory. This means revealing its hitherto unknown content, encoded in a specific manner differing from symbolic expression. The text recapitulates how Purkyně’s work was received in the past by art critics and his personal attitude to painting as a specific medium, differing from other types of art. In these connections attention is drawn to one of the characteristic traits of the canvas Snowy Owl: the strikingly emphasised flatness of the part with the nocturnal predator and the written paper nailed to the wall. The author of this article proposes identifying this part as the motif of a "picture within a picture", which Purkyně also worked with in other paintings (Politizující kovář [The Political Blacksmith], Okno [Window], Malířovo zátiší [The Painter’s Still-life]). On the basis of further analysis and the use of the theories of Walter Benjamin, Craig Owens and Benjamin H. D. Buchloh the Snowy Owl is interpreted not only as the depiction of reality, executed with masterly painting technique, but also as a hidden allegory, relating to the nature of modern painting.

CS

V roce 1862 namaloval Karel Purkyně jeden ze svých nejznámějších obrazů: zátiší Sova sněžná. Cílem příspěvku je nová intepretace tohoto plátna. Na základě starších výkladů obrazu, určitých teoretických konceptů včetně Purkyňových vlastních názorů a znalosti dobové umělecké praxe klade otázku, zda nelze malbu vyložit jako skrytou alegorii. Znamená to odhalit její dosud neznámý obsah, zašifrovaný specifickým způsobem, odlišným od symbolického vyjádření. Text rekapituluje, jak Purkyňovo dílo přijímala v minulosti výtvarná kritika a jak se on sám stavěl k malbě jako specifickému médiu, odlišujícímu se od jiných druhů umění. V těchto souvislostech je poukázáno na jednu z charakteristických vlastností plátna Sova sněžná: nápadně zdůrazněnou plošnost části s nočním dravcem a popsaným papírem přibitým na zdi. Tuto partii autor příspěvku navrhuje identifikovat jako motiv "obrazu v obraze", s nímž Purkyně pracoval i v jiných pracích (Politizující kovář, Okno či Malířovo zátiší). Na základě dalšího rozboru a využití teorií Waltera Benjamina, Craiga Owense a Benjamina H. D. Buchloha je Sova sněžná interpretována nejen jako zobrazení aktuální skutečnosti, zvládnuté mistrnou malířskou technikou, ale jako skrytá alegorie, vztahující se k povaze moderního obrazu.

2

Верш Яна Чыквiна “Даўно нежывы бацька полем iдзе”: моўныя i сэнсавыя перакрыжаваннi

51%

Машчэнская Л.

Białorutenistyka Białostocka

|

2017

|

vol. 9

PL

W artykule omówiono treść komunikatywno-pragmatyczną i kulturoznawczą wiersza Jana Czykwina „Dawno umarły ojciec polem idzie”. Przedmiotem badania są różne rodzaje antynomii, środki stylotwórcze, struktura tekstowa i znaczeniowa, organiczna więź z przypowieścią o siewcy (Łk 8, 5–15), sztuka staroruska i synergiczny obraz świata antropologii chrześcijańskiej.

EN

The author of the article discusses communicative-pragmatic and cultural information in the poem “Dauno nezhyvy batska polem idze” by Jan Chykvin. The following problems are analyzed: types of antinomy, style-forming devices, textual structure and meaning, organic link with the Parable of the Sower, Old Ruthenian art and synergic image of the world in Christian anthropology.

3

1929. Rok (nejen) Lazebníka: Poetika, sen, polemika

26%

Málek P.

Slovo a smysl - Word & Sense

|

2019

|

vol. 16

|

issue 32

32-108

EN

Drawing its methodological inspiration from A History of New Modernism. Czech Literature, 1905–1923 (2010), this study aims to present the development of Czech literature over the course of a single year: 1929. The objective, however, is not to portray the literary events and literary production of this year in the manner of a chronicle, nor in their entirety, but to capture certain ‘nodal’ characteristics of the imagination and literary language. There is one event that allows the author to take this approach — i.e. to identify themes, images and figures that are typical of the artistic discourse of the period —, namely the publication of Richard Weiner’s The Barber-Surgeon. The themes, motives, and figures found in this text (dream and dream writing, language, failure, literary polemics) constitute a point of departure for grasping the dominant features of a literary period which is otherwise rather amorphous. By virtue of Weiner’s poetics, a thread of sense begins to emerge, and eventually the ‘story’ or ‘drama’ of 1929, out of the re-constructed configurations and correlations of several different literary texts. Through its ‘otherness’, Weiner’s ‘dream poetics’ separated itself from the universalizing aesthetic concept of its time, thus falling ‘out of the picture’ from the perspective of literary history. By contrast, the author considers it as the central feature of a network of relations among a number of texts published in 1929: the short story AM from Jakub Deml’s collection My Purgatory; the poem The New Icarus by Konstantin Biebl; Karel Čapek’s Tales from Two Pockets; Jaroslav Durych’s essay on Poetics; and Vladislav Vančura’s novel The Last Judgement. The themes and figures under consideration here — poetics, dreams, dream writing and literary polemics — are all related to the writer’s self-consciousness in the creative process and the attention paid by the writer to material elements of the work. This manifests itself as an interest in the question of poetics and in a vivid ‘linguistic awareness’, which is also manifested in the widespread interest in questions of language and the culture of language that Czech linguists, especially those associated with the Prague Linguistic Circle, studied in accordance with — and in dialogue with — contemporary trends in modern art.

Refine search results

1 Białorutenistyka Białostocka

1 Slovo a smysl - Word & Sense

1 Umění (Art)

1 2019

1 2018

1 2017

1 Málek P.

1 Winter T.

1 Машчэнская Л.

Sova a papír na hřebíku : Zátiší Karla Purkyně jako skrytá alegorie?

Верш Яна Чыквiна “Даўно нежывы бацька полем iдзе”: моўныя i сэнсавыя перакрыжаваннi

1929. Rok (nejen) Lazebníka: Poetika, sen, polemika