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Od emblematycznej alegorii do symbolicznej hypotypozy — z przemian obrazowania śmierci w liryce czeskiej końca XIX wieku

100%
Gwóźdź-Szewczenko I.
Slavica Wratislaviensia
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2019
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vol. 168
263-274
EN
From emblematic allegory to symbolic hypotyposis: On the changes of depicting death in Czech poetry at the close of the 19th century The paper is devoted to the analysis of depictions of death in Czech poetry created at the end of the 19th century. The author starts her deliberations from the poetry of the 1890s which was created in the spirit of realism. Then, she moves on to the deliberations about modernist poetry which — in this paper — is not considered as a homogenous whole. Starting from decadence, chronologically the earliest, through impressionism to mature modernism manifesting itself in symbolism, the author analyses the manners of depicting death and the figures of speech, pointing to the transition of portraying death from the emblematic and allegoric images of death to the symbolic hypotyposis. The author stresses the deconstruction of the traditional topos in modernism. This deconstruction involved a lack of references to an established set of images and thus to this linguistic ritual which had been active for ages. The Grim Reaper with a scythe could no longer be a simple symbol of death. In the times of modernism, poetry finally freed itself from those types of allegoric depictions. The deconstruction of the topos in its basic frameworks and in the most traditional ritualised formula forced poets to look for their individual languages, to create symbols which would not repeat the conventionalised allegories.
CS
Od emblematické alegorie k symbolické hypotypóze — proměny zobrazovánί smrti v české lyrice na sklonu 19. století Článek je věnován analýze zobrazování smrti v české poezii na sklonku 19. století. Autorka své úvahy otevírá poezií 80. let, která vznikala v duchu realismu, a následně přechází k pojednání o modernistické poezii, jíž však nevnímá jako monolitickou. Autorka chronologicky od nejranější dekadence, přes impresionismus až ke zralé moderně vyjadřující se symbolisticky analyzuje způsoby prezentace smrti a slovní figury poukazující na přechod od emblematicko-alegorických obrazů smrti k symbolickým hypotypózám v zobrazování smrti. Autorka ukazuje rozpad tradiční topiky v moderně, což s sebou nese skutečnost, že se básníci neodvolávají na ustálený soubor obrazů, tedy k takovému jazykovému uchopení, jež bylo po staletí živé. Smrtka s kosou již nemohla představovat jednoduchý symbol smrti. V době modernismu se poezie osvobozuje od tohoto druhu alegorických obrazů. Rozpad topiky v jejich základních rysech a jejích nejtradičnějších a ritualizovaných postav vybízel básníky k hledání individuálního jazyka, k vytváření takových symbolů, které nenásledovaly konvenční alegorii.
2
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Nedostatečnost ve světle měšťanské epochy: Thomas Mann a Hugo von Hofmannsthal

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Sirovátka Š.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
32-36
EN
The paper aims to compare two authors of the Fin-de-Siècle from the German-speaking area (Thomas Mann and Hugo von Hofmannsthal) and tries to offer a specific “German” interpretation of contemporary phenomena like dandyism or estheticism. For the German area, Mann’s concept of the bourgeoisie as a spiritual form of life appears to be relevant. It is the idea of the middle way denying any sort of excess and connected with moral obligation. Therefore, German “decadence” is lacking an explicit anti-social gesture (dandyism) and is merely the expression of the process of “Entbürgerlichung”.
3
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Hlaváček a Kafka

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Stewart N.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 36
183-200
EN
The following text represents a chapter taken from my 2019 monograph on the journal Moderní revue (Modern Review), which was published in Prague between 1894 and 1925 and significantly contributed to the modernisation of Czech culture at that time. Moderní revue strove to overcome the narrow nationalist focus and ethnic segregation that had characterised so much 19th-century literature and art in Bohemia. The editors specifically sought to acquaint their readership with the Decadent trend then en vogue in Western Europe and one of the journal’s most important contributors, the poet and graphic artist Karel Hlaváček (1874–1898), has indeed been variously described as a typical representative of that particular brand of Modernism. My close reading of his prose poem Subtilnost smutku (‘The Subtlety of Sadness’, 1896), where a captive ‘cretin’ is introduced whose extremely refined sensibility has him metaphorically degenerate into a spider, is an attempt to establish in concrete detail what actually is Decadent about Hlaváček’s writing, how Decadence in literature may be defined in general terms, and what the application of such a label may tell us about a given text and its place in literary history. In order to do so, I contrast this piece with Franz Kafka’s classic story Die Verwandlung (‘The Metamorphosis’, 1912), a thematically comparable work that was written just sixteen years later, also in Prague, but one that cannot be plausibly described as Decadent. In my analysis, I also draw on a famous essay by the French authors Gilles Deleuze and Félix Guattari, who in 1975 presented Kafka and his specific milieu as an example of what they called ‘littérature mineure’ (minor literature). The assumptions of the two postmodernist critics, controversial and partly outdated as they may be, provide us with some methodologically useful cues, most importantly the systematic connection established by them between the historical-cultural context of turn-of-the-century Prague and specific uses of language. In the end, Hlaváček thus emerges from the comparison as a Decadent writer not so much because of his predilection for certain subjects and motifs (many of which are also to be found in Kafka), but because he has a way of taking things literally, of employing and arranging words, most notably his beloved Gallicisms, as if they were not just arbitrary, symbolic referents, but concrete collector’s items: separate and precious objects on public display.
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Motiv sfingy v české poezii druhé poloviny 19. století

80%
Šinclová S.
Česká literatura (Czech Literature)
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2019
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vol. 67
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issue 4
467-496
EN
The sphynx has been one of the most prominent motifs in human history over the past five thousand years albeit with various meanings and degrees of frequency. The aim of this study is to present an examination of the various forms of the sphynx in Czech poetry during the latter half of the 19th century, when it began to expand from Western European culture into other national literatures as an attractive motif at that time. The first appearances of the sphynx took place in Czech literature in romantic works during the 1840s, when under the influence of Orientalism it was part of a dream space in which it emerged in the role of a symbol of eternity. From the 1870s until the First World War we can trace divergent developments in the use of the sphynx motif inspired by the Western European cultural environment, in which the sphynx emerged on the one hand in connection with reflections of human history (Victor Hugo: The Legend of the Ages), while on the other hand from the end of the 1830s it was a prototype for the femme fatale (Heinrich Heine: Preface to the third edition of the Book of Songs). In the context of Czech literature we focus on the form of the sphynx in the works of Václav Bolemír Nebeský, František V. Kvapil, Jaroslav Vrchlický, Adolf Heyduk, Jiří Karásek ze Lvovic, Emanuel z Lešehrad, Karel Dostál- Lutinov and others.
5
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Genesis of Czech Decadence and Symbolism Towards Theurgy

80%
VOREL J.
Bohemistyka
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2020
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issue 3
367-382
EN
The article is focused mainly on metamorphoses of aesthetic-philosophical approaches of the most important representatives of Czech literature at the end of 19th and beginning of 20th century whose work presents gradual heading for modern art, from decadent to symbolist focus using an aesthetic theory of Russian philosopher Vladimir Solovjov based on theurgic substance of art.
6
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„Orlové literární revoluce.“ F. X. Šalda a/versus Arnošt Procházka (a Moderní revue)

61%
Merhaut L.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 30
71-101
EN
The development of a professional network, as well as long-standing disputes, among the most prominent representatives of Czech modernism at the turn of the 19th and 20th centuries — F. X. Šalda on the one hand, and Arnošt Procházka and the Moderní revue (especially Jiří Karásek) on the other — can be traced through several stages. First, 1893–1895, a period of mutual curiosity and emerging factions, from the earliest meeting up to the formal manifestation of Česká moderna, which was preceded by the establishment of the Moderní revue as first independent literary platform of the 1890s. Second, 1895–1900, a period in which various trends converged in the connection of art to life and society, and in a confrontation with other emerging, alternative concepts of modernism, namely Synthetism. Third, 1900–1910, a period that looks back, from the strata of generational polemics, culminating in the controversy surrounding Šalda’s pseudonyms, to the accusation of Karásek in what has come to be known as the anonymous letters affair. Fourth, 1910–1925, when each side declared hostility towards, or simply ignored, the other’s role in Czech modernism, from the conclusion of the anonymous letters affair to Procházka’s death. This study focuses in particular on the two initial periods, on the roots of the polemic, and on key moments in the 1890s: that is, on the onset and gradual differentiation of modernist literary creation and criticism in all its forms, on the transformations and extremes of the polemic as the example of a genre whose essence is dialogue and misunderstanding in equal parts. While the polemic is often rife with personal attacks, it also tends to crystallize in a mirror that reveals the collisions and transformations of Czech modern aesthetic thinking, and that illuminates connections and transitions in the field of literary and cultural production.
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