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Iniciační cesta na Jih : příspěvek k intertextové interpretaci Holanovy Toskány

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Flanderka J.
Česká literatura (Czech Literature)
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2015
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vol. 63
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issue 4
541-558
EN
Studie se zaměřuje na interpretaci Holanovy básnické skladby Toskána z intertextové perspektivy a sleduje především intertextové vztahy a souvislosti s Dantovou Božskou komedií. Putování lyrického hrdiny Toskány lze interpretovat jako iniciační cestu na Jih, na níž je vyzván a postupně dále veden dopisy od tajemné Gordany. Tato „la belle dame sans merci“ se však v závěru příběhu, kdy už se zdá, že je pro lyrického hrdinu nedosažitelná, objevuje v podobě Smrti. Hrdinova smrt v Mozartsburku otevírá další významový kontext, a sice vztah mezi poezií a hudbou a Holanovy úvahy o Mozartovi a hudbě vůbec.
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Dantovská povídka Jaroslava Vrchlického

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Hubáček J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 58
100-112
EN
The study analyses Vrchlický’s short story Růže (Povídky ironické a sentimentalní, 1886) which is an original interpretation of a passage from Dante Alighieri’s Vita Nuova. It shows Vrchlický’s elaborate work with intertextual references to Dante’s literary work, which simultaneously construct a unique portrait of Dante’s life and work. The creation of this image was intentional as is showed in connection with Vrchlický’s poetry, where he often deals with Dante Alighieri as a subject.
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Umělecký vliv, jeho průkaznost a relevance : K typologii odkazů v beletrii 19. století

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Charypar M.
Česká literatura (Czech Literature)
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2016
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vol. 64
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issue 5
668-695
EN
This study focuses on the issues surrounding artistic influence in high literature and the ways that the extent and relevance of this influence can be comprehended. It is loosely associated with intertextual and comparative examination of fiction and in this context it attempts to redefine and revive the little used concept of influence, working with the idea of the (literary) reference and distinguishing between the principle of the proximity of references, which examines the analogy between pretext and posttext, and the principle of the individuation of references, which reflects the innovative share of the poet or writer in the creative treatment of the pretext. The examples to which these hypotheses relate are taken from the literary reception of the Dvůr Králové and Zelená Hora manuscripts in 19th century Czech literature.
CS
Studie se zaměřuje na problematiku uměleckého vlivu v krásné literatuře a na způsoby postižení míry a relevance tohoto vlivu. Volně se přidružuje k intertextuálnímu a komparativnímu zkoumání beletrie a v tomto kontextu se pokouší redefinovat a znovu oživit nepříliš užívaný pojem vliv. Pracuje s pojmem (literárního) odkazu a rozlišuje mezi principem proximity odkazů, který zkoumá analogie mezi pretextem a posttextem, a principem individuace odkazů, který zohledňuje inovativní podíl básníka či spisovatele při tvůrčím nakládání s pretextem. Příklady, na nichž se tyto hypotézy dokládají, jsou brány z oblasti literární recepce Rukopisů královédvorského a zelenohorského v české literatuře 19. století.
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Město jako „zázračný zápisník“: Římské procházky Milady Součkové. K estetice a poetice básnického obrazu

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Vojvodík J.
Slovo a smysl - Word & Sense
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2019
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vol. 16
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issue 32
109-126
EN
In April 1960, Milada Součková left her exile in America on a trip to Rome, a trip that would inspire the poems collected in her fourth book of poems, Alla Romana, published in exile by a Roman publisher (1966). Součková’s time in Rome had a special significance for the poet — the poet in exile and the poet of exile — representing not only a return to Europe, but more importantly, a revitalizing return to the world-city of cultural memory. While the city’s architecture plays a leading role in Alla Romana, the city (and Italy as a whole) is also evoked by references to painters (Poussin, Angelika Kauffmann, Bronzino, Canaletto, etc.), direct intertextual quotes (Goethe, Chateaubriand, Stendhal, Byron, etc.), and indirect allusions (Ovid, Virgil, Dante, etc.). Součková’s ‘Roman’ poems thus fuse together past and present, real with imagined pictures, and actual sensory experience with aesthetic reflections in mirror-like complementarity. Sense impressions evoke memories, or set in motion aesthetic reflections and intertextual and intermedial relations, in dialogue with foreign texts and images. The city becomes a kind of ‘palimpsest’ and a Freudian ‘Mystic Writing Pad’ (Wunderblock), inscribed with experiences, impressions and memories. The actual architecture of the city, combined with other traces of past epochs, literary works and paintings, and transfigured into poetic images, is again made legible by an aesthetic staging within the poetic text. This poetic strategy is thematically exemplified by two poems: Torquato Tasso and U Via Appia.
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Transformace folklorní látky v umělecké literatuře : případ démonologické pověsti a díla K. V. Raise

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Šidák P.
Česká literatura (Czech Literature)
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2015
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vol. 63
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issue 5
707-723
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„Smutná píseň je ve vzduchu” : Opakování jako textová strategie zpřítomňování skrytého

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Kazalarská Z., Marešová I.
Česká literatura (Czech Literature)
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2012
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vol. 60
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issue 2
147-172
EN
This article is devoted to intratextual, auto-intertextual, and intertextual research on rhetorical figures of literary repetition from the perspective of the 'emotional turn' in contemporary literary studies, based chiefly on the research of Gernot Böhme (b. 1937) and of Hans Ulrich Gumbrecht (b. 1948). A key concept of repetition here is textual strategy, how to evince the latent, concealed, and elusive elements of the text. The staarting point of the text consists not only in the latent phenomenon of atmosphere as a phenomenon of perception, but also, indeed in particular, in the question of the production of the atmospheres of the means of poetic language (the 'textual atmosphere' aspect), the question of the reproduction or quotation of the textual atmosphere (the 'intertextual atmospheres' aspect), and the question of 'intermedia migration' of atmospheres amongst the spheres of music and literature (the 'intermedia atmosphere' aspect). The article seeks to demontrate the operative potential of the proposed concepts first in an analytical part, which considers research on one 'atmospheric' verse from the poem 'Homesick Blues' by Langston Hughes (1902-1967) and its individual repetitions in the lyric verse of Ivan Blatný (1919-1990), Josef Kainar (1917-1971), and Miroslav Holub (1923-1998). The last part of the article focuses on problems of repetition as seen by adherents of structuralism and deconstruction, and proposes to understand repetition more broadly as oscillation not only between the poles of iterativity and iterability, but also between sense (Sinn) and presence (Präsenz).
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Karel Klostermann a diskurz o Šumavě

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Hořejší M.
Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)
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2019
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vol. 80
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issue 2
105-127
EN
This paper deals with a) the role of writer Karel Klostermann (1848?1923) and his work in the protracted debate over approaches to the administration of the Bohemian Forest National Park (BFNP), and b) a description of intertextual relations between three sets of texts: Karel Klostermann’s fiction, discourse on Karel Klostermann/the image of Klostermann’s fiction, and discourse on the BFNP. The material analysed consists of evidence from an extensive corpus of media texts on the BFNP dated 1991?2010, which use the life and work of Karel Klostermann as part of the argument data, both as quotations and simple references. This evidence is classified on the basis of the positions of the speakers and the motifs involved. The results of this analysis indicate not only that motifs from the discourse on Karel Klostermann have only to some extent crossed over into the discourse on the BFNP, depending in particular on the position of the speaker, but also that new motifs continue to cross over from fiction. However, it also reveals the nature of discourse on the BFNP, which is primarily determined by the dominant narrative of the unnatural character of the large-scale decline of mountain spruce trees.
DE
Der Beitrag beschäftigt sich mit der Rolle des literarischen Werks Karel Klostermanns (1848‒1923) in der Diskussion über den Nationalpark Böhmerwald (NPB) sowie mit der Beschreibung von intertextuellen Verhältnissen zwischen Klostermanns Werk, dem Klostermann-Diskurs und dem Diskurs über den NPB. Ausgangpunkt der Analyse ist die an anderer Stelle erarbeitete Erkenntnis (Hořejší, 2017a, 2017b), dass die tschechische Historiographie das Werk Klostermanns unkritisch als Dokument der Zerstörung des „ursprünglichen“ Böhmerwalds durch eine „präzedenzlose Naturkatastrophe“ betrachtet. Diese Behauptung stammt aber nicht aus dem Werk Klostermanns. Ausgehend hiervon verwende ich den Begriff Klostermann-Diskurs, der (teilweise) unabhängig vom Gegenstand des Interesses ‒ der Belletristik Klostermanns ‒ ist. Der Beitrag konfrontiert die Motive aus dem Klostermann-Diskurs mit den Motiven aus dem Diskurs um den NPB. Materialgrundlage ist ein Korpus von Medientexten zum Böhmerwald aus den Jahren 1991‒2010. Diese verwenden Klostermann als Teil ihrer Argumentation. Die Ergebnisse meiner Analyse bringen nicht nur die Tatsache zum Vorschein, dass der Klostermann-Diskurs und der Diskurs über den NPB einige gemeinsame Motive aufweisen. Ich zeige auch, dass die neuen Motive im Diskurs über den NPB unmittelbar aus dem Werk Klostermanns stammen. Die Analyse zeigt ebenfalls auf, dass der Diskurs um den NPB vor allem vom Narrativ über die ‚unnatürliche‘ Zerstörung des Bergfichtenwalds bestimmt wird.
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Wilhalm, Alexandr a Jakub: Jeruzalém v bohemikální literatuře na sklonku přemyslovské doby

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Turek M.
Česká literatura (Czech Literature)
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2022
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vol. 70
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issue 3
263-299
EN
Three vernacular texts from late-13th-century Bohemia, in Middle High German and Old Czech, integrate motifs associated with the Holy Land, pilgrimage and the crusades. The romance Wilhalm von Wenden manifests the late Přemyslids’ royal ideology by portraying an independent, pious ruler who derives authority from Jerusalem. The Alexandreis explores the psychology of a military expedition to provide ground for moral reflection and draws on cartography to exploit the symbolism of Jerusalem’s geographic centrality. The crusade-related details in the Legend of Saint James the Less attest to an informed use of intertextual practices.
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Dvě lekce studia literatury aneb o pomalosti

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Málek P.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 29
13-56
EN
Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims — in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík — to present a form of thinking about literature and its studies that would belong in some ways to the ‘slow reading culture’. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the ‘rhythm of constantly renewed acceleration’. The first part of the study, dedicated to Benjamin’s reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka’s short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin’s tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík’s reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík’s Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader’s interest. Opelíkʼs methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading.
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Hudba a význam. Sémioticky a hermeneuticky orientované metodologické přístupy v anglo-americké muzikologii posledních desetiletí

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Čurda M.
Hudební věda (Musicology)
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2023
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vol. 60
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issue 3
323-375
EN
This study offers a selective overview of the most important methodological approaches and theoretical concepts relevant to the study of musical meaning which have emerged in the Anglo-American musicological tradition since the 1990s. It takes as its starting point the work of Lawrence Kramer, which represents the conceptual underpinnings of New Musicology, and continues with Michael Klein’s study of musical intertextuality, which helps to further illustrate the implications of post-modern philosophy for the hermeneutical interpretation of music. A significant portion of the text is dedicated to Robert Hatten’s work on markedness, correlation, gestures, topics, and tropes. The discussion of the topic theory also covers the contributions made by Raymond Monelle, Danuta Mirka, and others. The overview continues with Esti Sheinberg’s theory of musical incongruities and her typology of modes of semantic ambiguity, including irony, satire, parody, and the grotesque. To complement the traditional text-based approach to musical meaning, this overview also considers meanings communicated through the movements of the human body, referencing Nicholas Cook’s thoughts on embodied cognition and Robert Hatten’s approach to interpreting musical gestures encoded in a musical text. Attention is also paid to the line of thinking leading from Edward T. Cone’s ideas on the presence of different voices and personae in seemingly singular musical works, through Fred Maus’s conception of music in terms of dramatic interaction of musical agents, to Hatten’s theory of virtual agency. This is followed by the summary of Byron Almén’s theory of musical narrative, i.e. the capacity of music to articulate a trajectory leading from one state to another, propelled by the dynamic forces of conflict and resolution. Subsequent chapters discuss the relevance of recent approaches to the study of musical form (William Caplin, James Hepokoski, Warren Darcy) and the possibilities/limits of musical narrative in music since 1900, in which the conventional principles of syntax (tonality, form, motivic/thematic structure) are often questioned. In the closing section, the author returns to Kramer’s ideas, takes a stance with regard to the opposition of semiotic and hermeneutic approaches, and discusses ethical issues associated with the act of interpretation (and misinterpretation).
CS
Tato studie nabízí přehled nejvýznamnějších metodologických přístupů a teoretických konceptů vztahujících se ke studiu hudební významovosti, které se objevily v anglo-americké muzikologické tradici od devadesátých let minulého století. Výchozím bodem je dílo Lawrence Kramera, které reprezentuje ideová východiska tzv. Nové muzikologie, a pokračuje studií Michaela Kleina o hudební intertextualitě, která osvětluje některé další implikace postmoderního myšlení pro hermeneutickou interpretaci hudby. Podstatná část stati je věnována dílu Roberta Hattena, tedy konceptům jako příznakovost (markedness), korelace (correlation), hudební topoi (topics) a tropy (tropes). V diskusi o teorii hudebních topoi je rovněž zohledněn přínos autorů jako Raymond Monelle, Danuta Mirka aj. Navazuje výklad o modech významové nejednoznačnosti (semantic ambiguity), tedy o hudební manifestaci principů ironie, satiry, parodie a grotesky, jak je popisuje Esti Sheinberg. Kromě významů obsažených v (hudebním) textu je pozornost věnována též významům komunikovaným skrze pohyby lidského těla. Obecnou charakteristiku pojmu „vtělené kognice“ (embodied cognition) nabízí Nicholas Cook; možnosti studia významu expresivních gest zakódovaných v hudebním textu systematicky demonstruje Hatten. Opomenuta není též pozoruhodná myšlenková linie vedoucí od úvah o přítomnosti různých hlasů či „person“ v hudbě (Edward T. Cone) přes pojetí hudby jako dramatické interakce různých hudebních agentů (Fred Maus) po Hattenovu sofistikovanou teorii virtuální agence (virtual agency). Následuje kapitola představující teorii hudební narativity (Byron Almén), tj. schopnost hudby vyjádřit dějovou trajektorii směřující z počátečního do koncového stavu na základě dynamiky konfliktu a rozuzlení. V této souvislosti je diskutována relevance novodobých přístupů ke studiu hudební formy (William Caplin, James Hepokoski a Warren Darcy) a otázka možností a limitů hudební narativity v hudbě po roce 1900, v níž jsou často zpochybňovány konvenční syntaktické principy (tonalita, forma, motivicko-tematická práce apod.). V závěru se autor vrací k tezím Lawrence Kramera, zaujímá vlastní stanovisko k opozici sémiotických a hermeneutických přístupů a akcentuje etické problémy související s aktem interpretace (a desinterpretace).
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