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EN
This study contains an interpretation of two novels written by Bohumil Hrabal, Too Loud a Solitude and Harlequin’s Millions, focusing on the poetic rendition of old age on the background of a certain idea about human life as well as an experience and reflection of old age in the consciousness of main characters. In these novels there are two concepts of the run of human life: in Too Loud a Solitude it is a dynamic and dialectical opposition of youth and old age characterizing individual human life, but also the dynamics of historical development; in Harlequin’s Millions we can find the traditional concept of human life as a circle analogous to the seasons and months of the year. Haňťa, the character of Too Loud a Solitude, is living either through his memories, or through his work, by which he is being ritually placed beyond the framework of time. Marie, the protagonist of Harlequin’s Millions, also lives in her memories, and though she emphatically and with interest perceives her surroundings and day to day events in a retirement home, she does not live in the real spacetime, because her imagination transforms her reality so much, so that it becomes an intricately constructed and strongly surrealistic fiction.
SK
V tejto štúdii interpretujem dve Hrabalovej prózy, Príliš hlučnú samotu a Harlekýnovy milióny, so zameraním na poetické stvárnenie staroby na pozadí určitej predstavy o ľudskom živote a na prežitok a reflexiu staroby hlavnými postavami oboch diel. V oboch prózach sú dve predstavy vývoje ľudského života: v Príliš hlučné samote je to dynamická a dialektická opozícia protikladov mladosti a staroby charakterizujúca individuálny ľudský život, ale aj dynamiku dejinného vývoja; v Harlekýnových miliónoch je to tradičná predstava ľudského života podobajúceho sa kruhu mesiacov a ročných období. Haňťa, hrdina Príliš hlučnej samoty, žije buď v spomienkach, alebo svojou prácou, ktorou sa rituálne uvádza do situácie mimo čas. Marie, protagonistka Harlekýnových miliónov, žije tiež spomienkami, a hoci živo a so záujmom vníma svoje okolie a dianie v domove dôchodcov, nežije v reálnych časopriestorových súradniciach, pretože skutočnosť, ktorú vníma, presycuje natoľko svojou imagináciou, že sa jej realita stáva zložito konštruovanou a výrazne kontrarealistickou fikciou.
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