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Raný a pozdní Gellner: poznámky k metrice

100%
Kolár R.
Česká literatura (Czech Literature)
|
2020
|
vol. 68
|
issue 3
332-355
EN
This study focuses on the poetic work of František Gellner. Its objective is to confirm or refute the assumption that Gellner’s work can be divided into two distinctive periods. By means of statistical tests it establishes the relevance of the differences between early (1894–1906) and late (1910–1914) Gellner, concluding that within the observed parameters (the proportion of binary and trinary metres; iambs and trochees; fourfoot and five-foot iambs; monosyllabic and polysyllabic iambic incipits; verses with and without enjambement; strophic and non-strophic poems; four-verse and twoverse strophes; alternating and couplet rhymes), statistically significant differences are identified. The difference in his first work Po nás ať přijde potopa! (After us the Flood!) and its inclination towards 1890s (and Lumír) poetics was also established. Attention was also focused on the difference between Gellner’s poems included in his collections and those that remained in journal publication form (triple metres as a factor supporting the inclusion of a poem in a book publication), as well as the specific nature of the epic verses (more polysyllabic incipits, more enjambement). In several places the metric similarity was pointed out between specific poems and poems by other authors (Otokar Březina, Svatopluk Čech, Josef Svatopluk Machar, Jan Neruda and Jaroslav Vrchlický).
2
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Polská a německá versologie z českého pozorovacího stanoviště

80%
Čermochová K.
Slovo a smysl - Word & Sense
|
2019
|
vol. 16
|
issue 31
191-208
EN
The main subject of this text is a description of the Polish and German theory of verse in comparison to the Czech research tradition. It deals in detail with the Polish concept of versification and presents possible reasons for the similarities and differences between Czech and Polish literary theory and practice in this field. The paper also considers other differences that have yet to be systematically investigated, as framed by the comparison of Czech and German theories of verse. A fundamental difference can be found in the use of the category of versification, and in a terminology strongly influenced by the tradition of accentual verse in the German tradition. The text also describes the evolution of versification in German literature from accentual to syllabotonic (accentual-syllabic), in contrast to Czech literature, which evolved from syllabic to syllabotonic versification.
3
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Verš a žánr. Skica k předválečné tvorbě Viktora Dyka

70%
Kolár R.
Slovo a smysl - Word & Sense
|
2021
|
vol. 18
|
issue 37
29-42
EN
The article deals with versified works of Viktor Dyk from the pre-war period (1897–1914) written in iambic pentameter. It analyses the relationship between the texts’ genre (lyric, satire, drama) and their rhythmic features (frequencies of stressing the line-initial and line-final syllables, frequencies of enjambment). The article concludes that Dyk’s lyric poems as well as his drama tend to employ features generally perceived as more literary compared to his satire.
4
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Verš raného Karla Tomana

61%
Kolár R.
Česká literatura (Czech Literature)
|
2021
|
vol. 69
|
issue 1
33-53
EN
Following on from work by Miloš Sedmidubský, this study deals with syllabic irregularity (heterogeneity) in Toman’s (and Vrchlický’s) verse. It focuses on Toman’s early work, analysing individual poems and collections (particularly Pohádky krve, Tales of Blood, 1898 and Torzo života, Torso of Life, 1902). The material base is made up of 350 poems, and the differences between individual sets are checked by means of statistical tests. Syllabic irregularity is expressed in terms of entropy.
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