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Poetismus a kýč : úvodní diagnóza

100%
Stefański M.
Česká literatura (Czech Literature)
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2013
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vol. 61
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issue 4
502-522
EN
Until the mid-1950s and the advent of pop-art, kitsch objects mostly gave rise to a sense of revulsion both among eminent artists and the experienced public. Kitsch was considered to be a secondary phenomenon in relation to "good" art, a poor imitation of art or at best art reduced to the level of banality. In spite of the famous statement made by Clement Greenberg that cultural phenomena like kitsch and the avant-garde were separated by an insuperable abyss, we can easily find distinctive traces of a fascination with "degraded art" in several poems and theoretical texts by leading poetists. Studies show that Czech anavt-garde poets were not just great lovers of film, circus, variety theatre and adventure books. In order to make their poetry into more accessible works which did not demand intellectual effort and which the readers would enjoy, they sometimes made use of expressive menas normally ascribed to popular kitsch. Close ties between poetist works and the basic principles involved in the creation of kitsch are illustrated in this study of examples from the poetry of Jaroslav Seifert, Vítězslav Nezval, Adolf Hoffmeister and Konstantin Biebl. Selected verses, or rather the poetic images found in them, were divided into three separate categories within Abraham Moles's typology of kitch, e.e. religious kitsch, patriotic kitsch and exotic-erotic kitsch.
CS
Až do poloviny padesátých let 20. století a do nástupu pop-artu budily předměty kýče jak mezi věhlasnými tvůrci, tak i v zkušeném publiku nejčastěji odpor. Kýč byl považován za jev druhotný vůči „dobrému“ umění, za mizernou imitaci umění a v nejlepším případě za umění redukované na úroveň banality. Navzdory známému tvrzení Clementa Greenberga, že takové kulturní jevy jako kýč a avantgarda dělí nepřekonatelná propast, můžeme ale výrazné stopy fascinace „degradovaným uměním“ bez námahy najít už v některých básních a teoretických textech čelních poetistů. Studie dokazují, že básníci české avantgardy byli nejen velkými milovníky filmu, cirkusu, bulvárních divadel a dobrodružných románů. Aby z poezie učinili přístupnější dílo, které nevyžaduje intelektuální námahu a dělá čtenáři dobře, sami někdy také sáhli po výrazových prostředcích přiřazovaných výhradně populárním předmětům kýče. Silné vztahy mezi poetistickými díly a základními principy tvorby kýče ilustrují ve studii příklady z básní Jaroslava Seiferta, Vítězslava Nezvala, Adolfa Hoffmeistera a Konstantina Biebla. Vybrané verše nebo spíše v nich nalezené poetické obrazy byly rozděleny do tří samostatných kategorií podle typologie kýče Abrahama Molesa. Jsou to: kýč náboženský, kýč patriotický a kýč exoticko-erotický.
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Skandalista Jindřich Štyrský i świat jego zmysłów

84%
Woźniak K.
Slavica Wratislaviensia
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2015
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vol. 161
293-303
EN
This article presents Jindřich Štyrský, arepresentative of the Czech interwar avant-garde, the creator of theory of art, poet, literary theorist, scandalist of his era. The analysis of two of his literary works is based on the terms of depth psychology, and refers to the concepts of archetypes, the anima and the process of individuation, which constitute the key to understanding certain motifs in the sensual, saturated with eroticism, sometimes bordering on pornography, works of Štyrský. This sensuality, saturation with eroticism are essential components associated with the recurring motif of woman-anima, aguide of the soul of the artist. Jindrich Štyrský fit in perfectly in the currents of his era by using those motifs.
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Básník a lid :  Bedřich Václavek mezi literaturou a folklorem

84%
Grim Feinberg J.
Česká literatura (Czech Literature)
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2017
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vol. 65
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issue 6
823-845
EN
This study attempts to reconstruct key elements in the thought of literary critic and folklorist Bedřich Václavek. Václavek is generally recognized as a prominent figure in interwar literary development and as a researcher who examined genres of popular tradition that had previously eluded scholarly attention. Yet his thought is not well known as a synthetic whole. The reception of his work is divided into two separate fields, and interpreters have paid little attention to the importance of his folkloristic work on his understanding of literature, and to the importance of his literary theory on his understanding of folklore. Václavek’s work as a whole remains little known. Nevertheless, Václavek dealt with parallel issues in his two main fields, elaborating complementary conceptual frameworks, each of which contributed to the originality of the other. If we view Václavek only as a literary critic, we may see him as a figure who voiced and confronted crucial challenges of his times, but who does not particularly stand out from among the many other critics of his day who made similar attempts to bridge the experimental literary ambitions of the avant-garde and the social objectives of those political movements that the avant-garde most frequently embraced. And if we view Václavek only as a folklorist, we may see him as a careful scholar who contributed to the development of his discipline, but who did not go beyond its boundaries to lay out the more general social importance of this work. It is only when we look at Václavek’s work in its entirety that we perceive the conceptual innovation he brought to literary criticism from folklore studies, as well as the social importance acquired by folklore studies when it is connected to the overall aesthetic expression of the people in society. What emerges from a synthetic reconstruction of Václavek’s thought is his systematic attempt to explain the concept of "people" and its role in aesthetic development, both in the literary sphere and in the sphere of oral tradition - and (perhaps even more importantly for Václavek) in the space between the written and the spoken word, where literature and folklore meet and general “culture” emerges from this fusion.
CS
Studie usiluje o rekonstrukci klíčových momentů myšlení literárního kritika a folkloristy Bedřicha Václavka (1898–1943). Václavek je obecně uznáván jako významná osoba meziválečného literárního vývoje a rovněž jako badatel, který zkoumal žánry lidové kultury, jež dříve unikaly vědecké pozornosti. Jeho myšlení však není intepretováno jako syntetický celek. Přítomná studie usiluje o vnímání jeho díla v jeho celistvosti. Pouze tal se plně vyjevuje originalita Václavkova příspěvku k estetické teorii, resp. k obecné sociální sémiotice. Podle autorova soudu se Václavek stává zajímavějším marxistou ve chvíli, když je jeho marxistická práce nepřímo doplňována jeho svéráznou teorií lidové tradice; a stává se zajímavějším folkloristou tehdy, když bereme v úvahu politicko-kritický význam jeho výzkumu folkloru. Navrhuje vnímat toto dílo jako na snahu o vnímání písemnictví a lidové tradice coby dvou stránek jediného sociálně-estetického procesu.
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„Znamená to však výboj.“ Dizertační práce Jiřího Weila a její kontexty

67%
Kittlová M.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 30
54-70
EN
This paper presents the dissertation of writer Jiří Weil, defended in 1928, in which Weil considers the work of N. V. Gogol in its connection to the English novel of the 18th century. The contribution presents Weil’s work in its historical context and in the context of the author’s interwar output and activity. It also draws attention to Weil’s inspiration — the concepts and beliefs of Russian formalism —, exploring its conditions and consequences, and on Weil’s connection with (Russian) avantgarde and Russian revolutionary literature and culture, demonstrating how Weil’s uncommon familiarity with this environment, together with his fascination for the Russian Revolution, in both the social and artistic sphere, significantly influenced the resulting form of his work.
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Hledání krásy a harmonie v hispanoamerickém modernismu

67%
Poláková D.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2019
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vol. 60
89-97
EN
Hispano-American modernism, the period of the turn of the 19th and 20th centuries, brings about a major renewal of literary creation, which allows a self-confident and decisive input of this region’s literatures into modernity. The article briefly examines the key moments of this renewal, based on the search for beauty and harmony and the desire for a perfect rhythm of the language to reflect the rhythm of the universe; it also points out the connection with the incoming avant-garde.
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"Křičel jsem: - Mrdat, mrdat!": Vítězslav Nezval a jeho poetika Moskvy

67%
Glanc T.
Soudobé dějiny (Contemporary History)
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2020
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vol. 27
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issue 3-4
576-590
EN
In August 1934, poet and writer Vítězslav Nezval (1900–1958), a leading personality of the Czechoslovak inter-war art avant-garde and also a member of the Communist party, visited Moscow as one of the Western guests invited to the founding congress of the Union of Soviet Writers; one year later, he published a prosaic-essayistic reflection of his visit under the title The Invisible Moscow (Neviditelná Moskva. Praha: F. Borový, 1935). The purpose of the present study approached from a semiotic angle is to obtain access to the intentional meaning of this specific testimony concealed behind a factual description of events and environments. The author first outlines a broader socio-political context consisting in an intensive interest of Western left-wing intellectuals in the Soviet Union between the world wars and, on the other hand, in systematic efforts of the Soviet leadership to make use of this potential for their own benefit. Nezval ranked among artists who felt a priori sympathies toward the Soviet social experiment, and they are clearly seen in his text, although he himself declared that his intention was not to provide a testimony about the Soviet “objective reality”, which is what media reports or articles do. To understand Nezval’s work, the author believes it must be kept in mind that Nezval, while in the Soviet Union, was looking for, first and foremost, inspiration and connections with poetic and ideological principles he professed. Nezval’s cognitive method is intuition, free of any rational and critical reflections, and his creative principle is imagination, whose incarnation Nezval found in surrealism. The reality around him serves as a matter for a distillation of experiences occurring in a dream mode. This allows him to overlook or willfully interpret various phenomena related, for example, to the repressive aspect of Stalin’s regime or the onerous everydayness of the Soviet Union’s citizens. The author sees the dominant feature of this dreamlike experience and the line connecting seemingly incompatible segments of reality into all-embracing lyrical intoxication in an erotic principle. Nezval is excited by Moscow as an object of bliss, as a source of sexual arousal. This principle is offered to him as a key enabling an individual to cross the boundary of individualism and blend into the society as a bridge between the eternity of sexual ecstasy and the eternity of the classless Communist society, thus promising the fulfillment of human utopias. The author provides an analysis of the text of The Invisible Moscow in support of his conclusions, and links them to some period esthetic and philosophical concepts.
CS
Básník a spisovatel Vítězslav Nezval (1900–1958), vůdčí osobnost československé meziválečné umělecké avantgardy a zároveň příslušník komunistického hnutí, v srpnu 1934 navštívil Moskvu jako jeden ze západních hostů ustavujícího sjezdu Svazu sovětských spisovatelů a v následujícím roce vydal prozaicko-esejistickou reflexi tohoto pobytu s názvem Neviditelná Moskva. Cílem předložené sémioticky pojaté studie je zjednat přístup k intencionálnímu smyslu této osobité výpovědi, který se skrývá za faktickým popisem událostí a prostředí. Autor nejprve přibližuje širší společensko-politický kontext, spočívající v intenzivním zájmu západních levicových intelektuálů o Sovětský svaz mezi světovými válkami a současně v systematické snaze sovětského vedení využívat tento potenciál ve svůj prospěch. Nezval patřil k umělcům, kteří cítili k sovětskému sociálnímu experimentu apriorní sympatie, a toto naladění je v jeho textu jasně patrné. Přitom ale sám deklaroval, že mu nejde o to poskytnout svědectví o tamní „objektivní skutečnosti“, jak tomu bývá v reportáži nebo publicistice. V zájmu porozumění je podle autora třeba vzít na vědomí, že Nezval hledal v sovětském Rusku především inspiraci a souvislost s poetickými a ideovými principy, které vyznával. Metodou poznání je pro něj intuice, osvobozená od racionální a kritické reflexe, a tvůrčím principem imaginace, jejíž ztělesnění našel Nezval v surrealismu. Vnější realita mu slouží jako materie k destilaci zážitků, jež se odehrávají v režimu snu. To umožňuje přehlížet nebo svévolně interpretovat různé jevy, související třeba s represivní stránkou stalinského režimu nebo s tíživou každodenností obyvatel. Dominantu tohoto snového prožívání a spojnici propojující zdánlivě neslučitelné oblasti reality do všeobjímajícího lyrického opojení nachází autor v erotickém principu. Pisatele Moskva vzrušuje jako objekt slasti a odhaluje v ní erotické vzrušení. V posledku se mu tento princip nabízí jako klíč umožňující jedinci překročit hranici individualismu a splynout se společenským celkem, jako most mezi věčností sexuální extáze a věčností beztřídní komunistické společnosti, a slibuje tak naplnění lidských utopií. Tyto své závěry autor dokládá textologickým rozborem Neviditelné Moskvy a vztahuje je k některým dobovým estetickým a filozofickým koncepcím.
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Velká eliotovská báseň : k Mluvícímu pásmu Milady Součkové

67%
Říhová Z.
Česká literatura (Czech Literature)
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2017
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vol. 65
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issue 2
213-234
EN
The core of this article is a long poem Mluvící pásmo [Talking Zone], published in 1939 by Czech Modernist poet Milada Součková (1899-1983). Through Součková’s writing, the abyss between Czech avant-garde and Czech Modernism with its references to English modernism is revealed here. This article offers a contextualization of the genre of zone within Czech Modernism while analysing Součková’s large poem as a specific form of English modernism. Through a detailed examination of Součková’s poem Talking Zone and Eliot’s The Waste Land this article reveals the parallels between her writings and the writings of the leading modernists. The first section examines the influence on the poem of radio, both in terms of its thematic register and its form. It then goes on to analyse the dominant thematic discourses of the poem which are also key themes of the genre of zone in the 1930s in the Czech context (these are defined in the article as museum, memory, encyclopaedia and apocalypse). An examination of Talking Zone reveals the process of exhaustion of the genre of zone as a leading genre of the Czech avant-garde poetry and the exhaustion of the avant-garde projects of the new world. The archaeology of modernism (of an era), as conveyed in Součková’s writing is determined by space (Europe), person (writer) and action (modernism). In Součková’s Talking Zone each of these three elements is depicted as extinct.
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Milada Součková v labyrintu paměti (na základě prózy Vlastní životopis Josefíny Rykrové)

67%
Woźniak K.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 36
99-114
EN
This article focuses on ‘Josefína Rykrová’s Autobiography’ (‘Vlastní životopis Josefíny Rykrové’) by Milada Součková, dealing in particular with issues related to the motif of memory in the form of labyrinthine prose. The collection of texts that is the subject of this analysis presents a retrospective narration based on the memories of Josefína Rykrová (although it makes multiple references to the biography of Milada Součková). Of particular importance is the fact that, at various times in the text, the subject position is split, suggesting a certain play with identities. Having created the figure of Josefína Rykrová, the author points to the splitting and loss of the self in the memories of others, which in turn become part of one’s own memory. Josefína, the titular heroine and the author of the memoirs, gets to know herself not only through her mother’s stories, but also through photographs. In this case, she draws from descriptions written on the back of the photos as an additional source of information. Součková shapes her text on the basis of an architectural metaphor of memory: the labyrinth. Moving towards the centre of this labyrinth is a complex process of remembering and erasing the traces of the past. The reconstruction of memories is aimed at reaching the first memory which remains entirely untainted. In this labyrinth, it is impossible to find the truth about oneself, yet the multiplicity of voices and images causes the subject to lose any certainty about this ‘self ’. Any certainty regarding the ontological status of the narrator is thus also lost by the reader. The labyrinth of the text, even though it uncovers the reality of intimate memories, never creates any intimate space for the subject, because it is interrupted by other voices — quotes, interjections, comments. Going through the labyrinth of memory is a symbolic attempt to confront one’s own identity and determine who one is.
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The Persistence of Poetry in Karel Teige’s Outlook

67%
Silverman T.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 36
64-78
EN
Karel Teige’s enduring interest in the essence of poetry may help explain the outward promotion of his 1920s textual-visual works in contrast to his more muted treatment of the Surrealist photomontage collages that he produced from 1935 to 1951. Teige, a central figure of the Czechoslovak avantgarde, demonstrated throughout his voluminous theoretical pieces a continuous fixation on poetry. He wrote and published rationales for his earlier textual-visual works, yet left a lack thereof concerning his 374 Surrealist photomontages. Though Teige declared himself a Surrealist in 1934, Surrealism may not have interested him in the same way as Czechoslovak Poetism or the implementation of aesthetic concepts borrowed from his counterparts in Russia and Germany. In this essay, Teige’s proclamations about pictorial matters, poetry, modern art ideologies, typography, and the ‘inner model’ theory have been applied towards his pre-Surrealist, textual-visual works, in contradistinction to his later photomontages, to suggest why he did not promulgate the latter artworks to the same extent as the former. Examples of his 1920s picture poems in a lucid Poetist style present harmonized layouts of words, symbols, and cut-outs arranged into semiotic order. As a typographer, Teige stressed the importance of the ‘nature, rhythm, and flow’ of poetic texts, and his works also reveal careful reflection on the design of graphemes. It is, however, his fascination with linguistic matters, e.g. poetry and letters — a matter in which many of his Surrealist collages appear not to have taken much interest — that remains most obscure, lacking any contextual explanation. Suffused with fragmented corporeal forms and erotic imagery amid variegated scenery, Teige’s vivid post-1935 photomontages have drawn the attention and speculation of many art historians.
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Vědět a stavět: kontinuity urbánní expertízy na příkladu Bratislavy v "krátkém" dvacátém století

67%
Spurný M.
Soudobé dějiny (Contemporary History)
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2021
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vol. 28
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issue 2
315-352
EN
Between 1918 and 1989, Bratislava witnessed at least four major political upheavals, formed part of different states, and its entire social, political and economic order fundamentally changed several times, as well as the position of the city - from the centre of part of Czechoslovakia to the capital of the formally independent state. The main aim of this study is to analyse the development, planning and construction of Bratislava throughout this entire turbulent period, while pointing mainly to the continuities and connections that go beyond these political upheavals. The study focuses on a largely Slovak epistemic community of architects and urban planners inspired by modernism, who were active in Bratislava or influenced its development during the researched period. The first generational cohort of these urban experts was formed by people who, since the 1920s, had drawn inspiration mainly from the environment of the Prague Czech Technical University, where they had the opportunity to become acquainted with modernism in architecture. After the Second World War, some of these figures created an important expert and academic background, from which, in the local context, emerged another extremely influential generation of architects and designers, which had a fundamental influence over the development of the city in the 1960s and 1970s. While some of them remained active well into the 1990s, it is possible to observe as early as in the normalization period (and this is the focus of the final parts of this study) how the approach towards the urban environment they represented was being gradually challenged and was becoming less important. The author analyses the relationship between the urban experts of several generations, as well as between the urban experts and other important actors who influenced the development of Bratislava. He shows how these experts built their positions and secured the continuity of their own approaches to the construction, or more generally, to the development and operation of the city. He also outlines how the ways they exercised their influence changed over the course of several decades and what factors - on the political, institutional and discursive level - strengthened or weakened this expert community.
CS
Mezi lety 1918 a 1989 prošla Bratislava přinejmenším čtyřmi velkými politickými zvraty, byla součástí různých státních útvarů, několikrát se zásadně změnilo celé společenské, politické a ekonomické uspořádání i pozice města - od pouhého centra části Československa až po hlavní město formálně samostatného státu. Hlavním záměrem této studie je analyzovat rozvoj, plánování a budování Bratislavy po celé toto neklidné období a poukázat přitom zejména na kontinuity a souvislosti překračující zmíněné politické zvraty. Ústředním aktérem studie je (nejen slovenská) epistemická komunita modernou inspirovaných architektů a urbanistů, kteří ve sledovaném období v Bratislavě působili nebo na její rozvoj měli vliv. První generační kohortu těchto urbánních expertů tvořili lidé čerpající podněty od dvacátých let minulého století zejména z prostředí pražského Českého vysokého učení technického, kde měli příležitost se seznámit s architektonickou modernou. Některé z těchto osobností pak po druhé světové válce v Bratislavě vytvořily výrazné expertní i akademické zázemí, z něhož vyrostla v tamním kontextu další mimořádně vlivná generace architektů a projektantů, jež měla zásadní vliv na rozvoj města v šedesátých a sedmdesátých letech. Ač někteří z nich působili hluboko do devadesátých let, je možné již během normalizační éry (a to je předmětem závěrečných pasáží této studie) sledovat postupné zpochybnění a vytrácení onoho přístupu k urbánnímu prostředí, který reprezentovali. Autor analyzuje vzájemné vazby mezi urbánními experty několika generací navzájem i mezi nimi a dalšími významnými aktéry ovlivňujícími rozvoj Bratislavy. Ukazuje přitom, jakým způsobem budovali svou pozici a zajišťovali kontinuitu jim vlastních přístupů k výstavbě, či obecněji k budování a fungování města, ale také nastiňuje, nakolik se způsoby uplatňování jejich vlivu v průběhu několika desetiletí proměňovaly a co tuto expertní komunitu - v rovině politické, institucionální i diskurzivní - posilovalo, nebo naopak oslabovalo.
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Od smutného Pierota k pyšnému vezírovi aneb Honzlovy České písně kramářské

59%
Šlaisová E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue 1
147-187
EN
At the beginning of the 1940s, Jindřich Honzl inclined to Czech traditional folklore, such as popular songs, poetry, plays, theatre, children's games etc. These were intended for the Theatre for 99 (Divadélko pro 99), which he ran between the years 1939 and 1941. One of Honzl's most successful productions and, in fact, the only one that he staged from the area of folklore, was his dramatic montage Czech Broadside Ballads (České písně kramářské, 1941). In this montage, Honzl endeavored to change the common view of the broadside ballad as a clichéd, lowbrow artistic form, and to reveal its potential for contemporary art (theatre) as well as society. Based on (recently discovered) archival materials, this study reconstructs Honzl's 1941 production of Broadside Ballads, and reveals that the image of the production presented in scholarly literature for decades is rooted in a book version of Czech Broadside Ballads from the 1960s, which does not faithfully reflect the original production. The study explores Honzl's innovative approach to the genre of the broadside ballad in terms of the selection of themes (ranging from sacral to profane, from intimate to social, etc.); forms (lyric, epic, ballad); and staging practice, including montage, projections, puppet, and folk theatre; as well as the use of light and colours, motifs/leitmotifs, and metaphorical political allusions.
CS
Na začátku 40. let 20. století usiloval Jindřich Honzl o scénické zpracování lidového umění; dramatizoval a režijně upravil mnohé folklorní žánry, jako např. lidové písně, balady, dětská říkadla a hry. V souvislosti s Honzlovým zájmem o folklor má jedinečný význam pásmo České písně kramářské (1941), neboť – přesto že mělo být prvním – zůstalo jediným realizovaným Honzlovým představením z této oblasti. Tato studie vychází z archivních materiálů, na jejichž základě autorka rekonstruuje tuto Honzlovu divadelní montáž a odhaluje, že obraz inscenace prezentovaný v odborné literatuře se v mnoha aspektech liší od původní podoby. Studie představuje Honzlův inovativní přístup ke kramářské písni (z hlediska výběru témat, písňové formy a inscenační praxe), jehož prostřednictvím se snažil upozornit na estetické kvality a sociální aspekt tohoto žánru, poukázat na paralely s moderním uměním a společenskou/politickou situací 40. let.
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Spojité nádoby: Etnologie, pražský strukturalismus a česká divadelní avantgarda

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Šlaisová E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2016
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vol. 19
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issue 1
65-85
EN
The study explores the exchange of impulses and ideas between the three fields indicated in the title, presenting Petr Bogatyrev as their mediator. It is concerned, among other things, with Bogatyrev connecting the findings of French sociologically-oriented ethnologists, such as Emil Durkheim and Luciene Lévy-Bruhl, and German ethnologists (Hans Neumann) to the theories of the Prague Linguistic Circle and their influence of Jan Mukařovský’ sociology of art. The author focuses on the way in which Bogatyrev combines the formal and sociological perspectives, and applies them on different cultural phenomena (folk beliefs, folk art, high art) as they move between different cultural strata. Another point of inquiry is the collaboration of Bogatyrev and theatre director E. F. Burian, whose montage of folk poetry is presented in the paper as a theatrical enactment of Bogatyrev’s structural-functional method, i.e. the transformation of function, structure, and meaning in transition between folk and high art.
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