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Kunderovy romány psané ve Francii

100%
Haman A.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
56-61
EN
The contribution characterises the poetics of the last four novels written by Milan Kundera (Slowness, Identity, Ignorance, The Festival of Insignificance). Despite certain differences the author of the essay particularly pays attention to elements in which “the French series” follows the poetics of the novels written in Czech (existential theme, sarcastic humour etc.)
2
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Lubomír Doležel o románu Podobojí

100%
Hodrová D.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2016
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vol. 53
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issue 26
53-55
EN
In the dialogic contribution the author comments on the analysis and interpretation of the novel Podobojí which Lubomír Doležel included in his book Heterocosmica II. She particularly points out the allegorical nature of the novel and also the fact that the novel occurs at the beginning of her novel production in which originally separated domains of realistic and fantastic world become blended together.
3
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Literáronymá v Pišťankových Rivers of Babylon

100%
Odaloš P.
Acta onomastica
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2016
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vol. 56
166-181
EN
The aim of the article is to introduce literaronyms in the book Rivers of Babylon, Rivers of Babylon 2 and Wooden Village and Rivers of Babylon 3 or Fredy´s End by Peter Pišťanek. Literaronyms are introduced with the focus on the title of the novel and on their function in literaronymic and onymic system of the novel. Literaronyms are mentioned in regard to their function in the novel. This contribution is an introduction, summary and characteristic of the types of postmodern literaronyms which are used in the novel.
4
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Krajina jako atmosféra. Co mě nasila Jarka Janáčková

80%
JEDLIČKOVÁ A.
Bohemistyka
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2020
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issue 3
319-344
EN
Literary historian Jaroslava Janáčková has been inquiring into Czech literature of the 19th century for several decades. In order to pay homage to her substantial contribution to the knowledge of the period and development of fiction poetics on the occasion of her birthday, the author of the paper summarizes some of the crucial approaches of Janáčková´s research to apply them further in analyzing a novel by Alois Jirásek, on whose work she focused mainly in the 1980s.
CS
Literární historička Jaroslava Janáčková zkoumá českou literaturu 19. století již řadu desetiletí. Se záměrem ocenit u příležitosti jejích narozenin její podstatný přínos k poznání tohoto období a vývoje poetiky prózy shrnuje autorka příspěvku některé klíčové přístupy v bádání Jaroslavy Janáčkové a následně je uplatňuje v analýze románu Aloise Jiráska, na jehož dílo se jubilantka soustředila hlavně v osmdesátých letech.
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Paměť živá a zahlazená Traumatický realismus v prózách Patricka Modiana, Georgese Pereca a W. G. Sebalda

80%
Hřídelová N.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2021
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vol. 31
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issue 2
121-138
XX
This study deals with the question of the representation of memory and trauma in the works of Patrick Modiano, Georges Perec and W. G. Sebald. The study focuses on the possibilities and difficulties of representing the traumatic experience of the Holocaust as well as the tension between the authors’ personal memory and the collective and cultural memory expressed in post-war literature. Looking at the individual texts, the study traces various signs of traumatic narrative displayed in them, such as hypertrophied motifs of memory, disruptions of linear chronology or a specific register that makes elements of extreme experience penetrate into the everyday. The study concludes that by means of traumatic narration, the authors find common ground in the ethical imperative of testimony.
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Vladimír Svatoň: literatura prizmatem binárních opozic

80%
Pelán J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2020
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issue 62
92-96
EN
The author analyzes Svatoň’s reflection of literature, paying attention to the dialectic of a potential dual approach to literary facts being so constantly offered in his books and articles. This examination of interpretative options is not performed directly either as the Socratian quest for the only truth, or as the Hegelian transposition of binary opposites into triads, wherein the third member abolishes the original antagonism. The opposites under scrutiny — factual description and context, irony and hermeneutics, work and genre, monologue and dialogue, linearity and cyclicity etc. — are expounded by Svatoň as anthropologically conditioned vantage points.
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Dvojí pohled Jana Mukařovského na Vančurův román Konec starých časů

80%
Poláček J.
Česká literatura (Czech Literature)
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2021
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vol. 69
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issue 5
645-656
EN
The introduction to this study describes the genesis of Vladislav Vančura’s novel The End of the Old Times (1934), which was based on a film script about Baron Munchausen. This is followed by an outline of its critical reception at the time and its historical background. It involves both the phenomenon of emigration from Russia after 1917 and the land reform carried out in Czechoslovakia from 1919 onwards. The core of the study is an analysis of Jan Mukařovský’s study of the novel, published in 1934 in the journal Listy pro umění a kritiku (Art and Criticism) and Mukařovský’s afterword to the fourth edition of The End of the Old Times, published in 1958. The author also considers both analysed texts in the context of the relevant literature.
8
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Co je realismus ve fikci (některé koncepce v angloamerické literární vědě)

80%
Charypar M.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 36
43-63
EN
This study provides analysis and summaries of some of the leading theoretical conceptions of realism in literature in its relation to the ‘real world’, as formulated by American and English critics 1960 to present, including Lillian R. Furst, Harry E. Shaw, George Levine, Michael Riffaterre, Nelson Goodman, and Hayden White — introducing some of them to the Czech milieu for the first time. While several are formulated in clearly apologetic terms, representing realism as an important poetics on par with others (e.g. modernism), most of the theorists here attempt either to rid realism of its dependence on direct mimesis and highlight its creative potential, or else emphasize the realists’ ontological claim to truth in art. In its second half, the study also deals with the main problems of literary history that are linked to, or associated with, these theories, namely, with so-called ‘modern’ realism from its historical beginnings (Erich Auerbach), with the problematic relation between realism and the historical novel, and with the internal classification of 19th century realism and/or plurality of realist poetics.
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Pomlky“ románového vypravěče a „zapovězená“ řeč lidového vypravěče v románech Milana Kundery

80%
Galmiche X.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 58
115-122
EN
Milan Kundera poetics is based on a “world of the romantic fiction built on the personal speech of the narrator” (M. Chvatík). Nevertheless, it enters in contradiction with some essays of Kundera himself, who centers on the figure of the storyteller, active figure of the narrative “from Rabelais to Laurence Sterne” (“Speech of Jerusalem”, resumed in The Art of the Novel). Kundera seems to give for task to the modern narrator to resuscitate an atavistic, pre-rational genius, chairing in instinctual desire to tell. Thus there is a contradiction between the ambition of recovery of the lively word — the voice of the storyteller — by the modern novel, and the actual practice of the story adopted by Kundera. This article tries to describe this paradox through one of these mythical categories approached in a recurring way by Kundera: that of laughter.
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Střet tradice s modernitou v arabském světě Román Hlasy Sulajmāna Fajjāda

80%
Jeníková J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 57
160-164
EN
The clash of traditional Arab society with the modernity in a form of colonization served as a source of tremendous confusion. The novel Voices (1972) by Egyptian writer Sulayman Fayyad is the first Arab novel which approaches the topic of the interaction between “Us” and “The Others” in a completely different way. The Voices are unprecedented metaphor of the relationship between “Us” and “The Others” and unlike any other novel before it harshly criticizes the backwardness and the obscurantism of some Arab-Egyptian traditions and celebrate the advancement of “The Others”. It is also a rare testimony of the atmosphere in Arab world after the defeat of the united Arab armies in so called Six Day War in 1967.
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Poslední román Milana Kundery jako reflexe, reinterpretace a pointa svébytné autorské poetiky : studie o slavnosti bezvýznamnosti

80%
Češka J.
Česká literatura (Czech Literature)
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2019
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vol. 67
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issue 2
170-187
EN
This study focuses on the last novel by Milan Kundera La fête de l’insignifiance (The Festival of Insignificance), which came out in Italian quite unexpectedly in 2013, two years after the „definitive“ completion of the author’s work in the prestige La Pléiade series. In this novel Milan Kundera moves resolutely beyond the horizon of his previous poetics, carrying on from his usual motifs, but not in order to repeat them, but quite the reverse, in order to redefine and re-encode them. This novel forms a kind of counterpoint to his previous work. This study focuses on the way the author reconceives his creative output in his last work: whether on the topic of mothers and their previous despotic relations with their sons, a reassessment of eroticism, the newly conceived role of laughter and an era defined as the age following the twilight of the joke, radicalized internal focalization, which no longer plays the role of a kind of semantic anchor and the like. As The Festival of Insignificance holds up a unique mirror to his previous work, we can follow him in the light of motifs from previous novels and prose works such as I, Mournful God, The Farewell Waltz, Jacques and his Master, The Book of Laughter and Forgetting and Life is Elsewhere. Of course, what is also essential here is the newly defined literature as a space in which authors attempt to resist the watchful surveillance of nature (materialized and metaphysically anchored in the novel as the blind eye of the belly button). Kundera’s last novel is thus also treated as a discomforting interpretational challenge that can be answered with an integrative interpretational gesture that attempts to achieve refraction into various lines of meaning, where Milan Kundera’s last novel is dealt with as the vanishing point of his entire work.
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Don Quijote: jiná modernita

71%
Sánchez Fernández J. A.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2015
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vol. 52
116-124
EN
Is it possible to read Don Quijote de la Mancha as a work representing modernity, and if so, in which sense? So sounds the question that this essay tries to answer. On the one hand, Close has warned about the problems of the romantic reading of Don Quijote, like, for instance, to assert that the book symbolizes Spain or an epoch. But, on the other hand, Cervantesʼ major work is in contact, through Huarte de San Juan, with the problem of truth, developed by renaissance thought in 16. century. That problem of truth, and the origin of knowledge criticism, is interpreted by Kundera as characteristic of modernity, even if different to the tradition founded by Descartes.
13
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Minulost a současnost španělského románu-fejetonu

61%
Sánchez J. A.
Slovo a smysl - Word & Sense
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2017
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vol. 14
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issue 27
75-89
EN
The optimal conditions for the creation of a popular novel occurred in the 19th century. With the influence, first of all, of French literature, there was in Spain a huge production of these works, known in Spanish as ‘folletines’ or folletín novel. Its importance for the study of literature is undeniable. It is possible to detect its legacy in the best Spanish novel between 1870 and 1936, for instance in Benito Pérez Galdós or Pío Baroja. But it is also interesting to compare this folletín novel with the modern best-seller. Similar techniques and conception of what should be a novel are to find in modern bestseller Spanish writers such as Carlos Zafón, Eduardo Mendoza or Arturo Pérez-Reverte. In this article, they are compared with the famous ‘folletinistas’ of the second half of the 19th century: Manuel Fernández y González, Wenceslao Ayguals de Izco, Ramón Ortega y Frías, etc.
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