Search results

1

Ironiczna bezdomność Bohumila Hrabala a tłumiona tęsknota za domem Milana Kundery

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Češka J.

Porównania

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2012

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vol. 11

87-99

EN

By means of using the topic of sentiment, the contrast between the writing of Milan Kundera and Bohumil Hrabal is shown. All the typically acknowledged characteristics are reversed. Although Kundera is assigned a label of a cynical, unromantic and antisentimental author and Hrabal is often classified as an author of sensitive understanding, it is through the topic of the home that the reversed can be shown. The arguments can be found on the level of écriture: Kundera’s writing is distinctive, semantically detailed and possesses internal focalisation. These characteristics allow him to enter the topic of condemnation, renegation and the polarisation of the alternative between the home and the foreign. Each of the authors proposes a different answer to the question on homelessness: Hrabal uses the figure of cynically accepted homelessness whereas Kundera a suppressed sentiment which emanates with homelessness.

PL

Posługując się tematyką sentymentu odsłaniamy kontrast między pisarstwem Milana Kundery i Bohumila Hrabala, przy czym odwracamy powszechnie przyjęte charakterystyki. Chociaż Kunderze przyczepia się etykietkę autora cynicznego, nieromantycznego, antysentymentalnego, Hrabal zaś bywa klasyfikowany jako autor wrażliwego zrozumienia, to jednak przez tematykę domu można pokazać, że jest właściwie odwrotnie. Argumenty znajdujemy na poziomie écriture: Pisanie Kundery odznacza się dystynktywnością, znaczeniowym dookreśleniem i specyficzną wewnętrzną fokalizacją. Tymi rysami wpisuje się w tematykę potępienia, renegacji, polaryzacji alternatywy dom – obczyzna. Każdy z autorów proponuje inną odpowiedź na pytanie o tęsknotę za domem: Hrabal stosuje figurę cynicznie akceptowanej bezdomności, podczas gdy u Kundery znajdujemy tłumiony sentyment, z którego wywiera tęsknota za domem.

2

„Słuchajcie, co wam teraz powiem…”, Obsługiwałem angielskiego króla Bohumila Hrabala – fikcja literacka a „historia opowiadana”

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Uczkiewicz-Styś K.

Wrocławski Rocznik Historii Mówionej

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2012

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vol. 2

73-100

EN

Oral history accounts area natural object of research for anthropologists, sociologists, researchers of cultural studies, ethnologists, as well as psychologists engaged in memory studies. As narratives of experience they became the antipositivist rebellion against the monopoly of major historical narratives that, according to the reflection of the second half of the 20th century, were supposed to lead to the catastrophes of war and genocide. In historiographic research the questioned positivist discourse based on the corresponding theory of the truth has become counterbalanced by the discourse of memory. As a consequence, also in historical research there is noticeable appreciation for other, non-classic, forms of historical narratives which include oral history accounts. What can a researcher of literary fiction contribute to reflections on oral history whose greatest value should be authenticity, this “truth of experience”? To what extent can literary texts in the convention of a narrative of appeal, first-person narrative, monologue (in which crucial roles are played by dialogue, orality and rhetoric of the text) be read in the perspective of oral history? When analyzing I Served the King of England novel by Bohumil Hrabal – author who by default rejects ‘the macrocosm’, the world of great politics, historical necessities, social processes, for the world of microcosm, i.e. a life of each person and what is more, he rejects any need for psychological or sociological (or any other) analysis of this microcosm – one can notice that the dichotomy of literary fiction and the authentic experience of oral history is not that obvious as it may seem. Categories of text, narration and memory, although analyzed from different research perspectives, are common for both forms.

PL

Oral history accounts area natural object of research for anthropologists, sociologists, researchers of cultural studies, ethnologists, as well as psychologists engaged in memory studies. As narratives of experience they became the antipositivist rebellion against the monopoly of major historical narratives that, according to the reflection of the second half of the 20th century, were supposed to lead to the catastrophes of war and genocide. In historiographic research the questioned positivist discourse based on the corresponding theory of the truth has become counterbalanced by the discourse of memory. As a consequence, also in historical research there is noticeable appreciation for other, non-classic, forms of historical narratives which include oral history accounts. What can a researcher of literary fiction contribute to reflections on oral history whose greatest value should be authenticity, this “truth of experience”? To what extent can literary texts in the convention of a narrative of appeal, first-person narrative, monologue (in which crucial roles are played by dialogue, orality and rhetoric of the text) be read in the perspective of oral history? When analyzing I Served the King of England novel by Bohumil Hrabal – author who by default rejects ‘the macrocosm’, the world of great politics, historical necessities, social processes, for the world of microcosm, i.e. a life of each person and what is more, he rejects any need for psychological or sociological (or any other) analysis of this microcosm – one can notice that the dichotomy of literary fiction and the authentic experience of oral history is not that obvious as it may seem. Categories of text, narration and memory, although analyzed from different research perspectives, are common for both forms.

3

Hrabalova Příliš hlučná samota v anglickém překladu

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Rufferová A.

Slovo a smysl - Word & Sense

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2018

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vol. 15

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issue 29

150-170

EN

The aim of the study is to outline findings and conclusions of the research project the author conducted within her thesis. The thesis deals with Hrabal’s novella Too Loud a Solitude in the English translation, which was analysed, and it also discusses the historical context creating both the translation and the original text written in three variations. One of the aims of the translation analysis was to determine which text is the translation based on, because the English text is significantly different from the mostly published Czech text. The thesis also deals with reception of Too Loud a Solitude by both ‘common’ readers and academics and it compares the approach to the novella in the English and the Czech discourse. Shifts in the translated text and differences in academic reception are discussed on the background of the theory of cultural manipulation.

4

"Člověk se nemůže odpárat od epochy": Bohumil Hrabal a světový názor

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Kanda R.

Filosofický časopis (Philosophical Journal)

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2023

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vol. 71

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issue 1

87-102

EN

The paper focuses on the intellectual aspects of Bohumil Hrabal’s work and also on the concept of worldview. The starting point is Josef Zumr’s article “The Intellectual Inspiration of Bohumil Hrabal” (1989); the approaches of Jan Patočka (1942) and Jan Mukařovský (1947) are also mentioned. In his article Zumr presents Hrabal’s worldview as a mosaic of constitutive and affirmative influences. He formulates a thesis on the post-war continuity of the avant-garde, of which Hrabal’s work is a part. In this paper, Zumr’s interpretation is subjected to partial revision: it is not only about ideological influences, but also about their individual creative transformation. Hrabal has lost the optimism of the avant-garde, his work testifies to the turn of an epoch and combines humour with melancholy and historical scepticism.

CS

Příspěvek se zaměřuje na ideové aspekty díla Bohumila Hrabala a také na pojem světového názoru. Referenčním textem je studie Josefa Zumra „Ideová inspirace Bohumila Hrabala“ (1989). Zmíněny jsou rovněž přístupy Jana Patočky (1942) a Jana Mukařovského (1947). Zumr ve své studii představuje Hrabalův světový názor jako mozaiku konstitutivních a konfirmativních vlivů. Formuluje tezi o poválečné kontinuitě avantgardy, které je Hrabalovo dílo součástí. V tomto příspěvku je Zumrova interpretace podrobena dílčí revizi: nejde jen o ideové vlivy, nýbrž také o jejich individuální tvůrčí transformaci. Hrabal ztratil optimismus avantgard. Jeho dílo je svědectvím o přelomu epoch a spojuje humor s melancholií a dějinnou skepsí.

5

Emoční zakotvení poetiky Milana Kundery

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Češka J.

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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2020

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vol. 81

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issue 2

126-144

EN

This study aims to highlight the emotional foundation of the poetics of Milan Kundera, a topic often overlooked as a result of the exaggerated emphasis placed on the intellectual aspect of Kundera’s novels. It is evident here that we can infer Kundera’s poetics from three sources – lyricism, his dramatic work (plays, the construction of dramatic conflict, the function of on-stage speech) and essay writing. The study therefore focuses on rehabilitating the lyrical inspiration generally considered to have been surpassed at the moment of Kundera’s transition from poetry to novel writing. Here it is possible to demonstrate that not only Kundera’s poetic work, but also his specific grasp of the lyrical principle, is present in his later novels. I characterize Milan Kundera as a writer with a distinctive emotional insight, regardless of whether this is a genuine authorial quality or merely an ability evoked within the world of the novel. That is, in the analysis of Kundera’s work, we cannot insist upon any further interpretation.

6

Wizerunek Romów w prozie Bohumila Hrabala

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ZNOJEK P.

Bohemistyka

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2020

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issue 3

409-424

EN

The purpose of this article is to show the stereotypical perception of the Romany minority inhabiting Prague the capital of Czechoslovakia in the 1960s and 1970s. Hrabal presented the image of Romany on the cards. The most visible in Romanca’s works (in the 1964 Pábitelé collection) and Too Loud a Solitude (Příliš hlučná samota from 1976). As part of the implementation of the paper, a detailed analysis of literary material will be carried out, as well as cultural and historical reflection. My idea is to try to present the fate of the Romany community, which was close to the Czech writer.

PL

Celem niniejszego artykułu jest ukazanie stereotypowego postrzegania mniejszości romskiej zamieszkującej Pragę, stolicę Czechosłowacji w latach sześćdziesiątych i siedemdziesiątych XX wieku. Wizerunek Romów prezentował na kartach swych opowiadań Bohumil Hrabal. Najbardziej widoczny jest w utworach Romanca (znajdującej się w zbiorze Pábitelé z 1964 roku) oraz Zbyt głośna samotność (Příliš hlučná samota z 1976 roku). W ramach realizacji referatu przeprowadzona zostanie szczegółowa analiza materiału literackiego, jak również refleksja kulturoznawcza i historyczna. Moim zamysłem jest próba przedstawienia losów społeczności rom- skiej, która bliska była czeskiemu pisarzowi.

7

To See Oneself Through the Eyes of Others and Through the Eyes of Books: Perspective in Bohumil Hrabal’s Autobiographical Texts

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Tlustý J.

Prace Filologiczne. Literaturoznawstwo

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2018

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issue 8(11) cz.1

85-98

EN

This study analyses the use of perspective in the autobiographical trilogy (In-House Weddings, Vita Nuova and Gaps) and the late “journalistic” texts by the Czech writer Bohumil Hrabal. The article examines Hrabal’s play with perspective on several levels: on the narrative level, Hrabal experiments with the narrative voice and focalization, and views himself through the eyes of his wife Elisˇka, who is also the narrator of the whole trilogy; this strategy allows him to gain distance from the “I-perspective” and to touch upon sensitive moments of his life (particularly auto-censorship, his relationship with the Communist authorities, and various fears). Furthermore, Elisˇka’s view clashes with the view of Hrabal as a character in the narrative world, which results in an original autobiographical polyphony; the article presents a detailed scrutiny of these perspectives with regard to time. Drawing from hermeneutics as a way of self-understanding shaped by texts and culture, the analysis of perspectivity will demonstrate that Hrabal also views himself through the eyes of books and cultural images; additionally, the article points to parallels with Hrabal’s other works, particularly Too Loud a Solitude. Finally, Hrabal’s playful use of perspective concerns the question of identity: the textual self that appears in the stream of images manifests itself in constant motion, thus unveiling the non-substantiality and openness of human identity. In this way, Hrabal’s writing about himself approximates the view of self in Eastern philosophies (esp. Buddhism and Taoism − Hrabal’s sources of inspiration) as well as contemporary cognitive approaches to the theory of autobiography (Paul John Eakin).

8

Evangelium za časů normalizace : "nový" Hrabal překonává "starého" Hrabala

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Češka J.

Česká literatura (Czech Literature)

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2017

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vol. 65

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issue 5

689-725

EN

This study focuses on the Československý spisovatel publishers’ reading procedures for Hrabal’s output in the latter half of the 1970s. To be specific, it deals with their reading of Postřižiny (Cutting It Short, 1975), Slavností sněženek (Snowdrop Festival, 1977), Krasosmutnění (Joyful Blues/Beautiful Sadness, 1977-8) and the short story collection Každý den zázrak (Every Day a Miracle, 1978). As these procedures took place against a backdrop of dispersed censorship supervision (with socially ‘unreliable’ authors, such as Hrabal, being read by ‘superreaders’, who were representatives of focused ideological supervision) I compare their structure with that of reading procedures in the 1960s. Whereas censorship in the 1960s was an external supervision institution (i.e. the Central Press Supervision Authority), the proofreaders and editors intuitively anticipated its possible objections and reflected them to some extent in their standpoints, during the 1970s the supervision institution in the form of superreaders moved right into the editorial office. However, one should not assume there was a conflict between the editors and the superreaders purely from the definition of their roles. In the three cases under review, two superreaders were assigned to one title (only one in the case of Postřižiny), but their opinions differ – what would have got past one of them is pulled up by the other one (this is particularly the case for the short story collection Každý den zázrak – Every Day a Miracle). Hence not even the superreaders can be considered a priori to be critics of Hrabal’s apolitical style, and in the given case it is Vítězslav Rzounek who surprisingly becomes an apologist for Hrabal’s 1960s short story work. Hence this study follows the readers’ assessments in detail: their argument structure, apparent and hidden apologetics (necessarily ambivalent due to the very nature of the reading procedure) and their thematic synopsis; of course, it also focuses on the overall reading procedure mechanism. I endeavour to reveal the significant way (but nothing like as significant as normally supposed) in which the readers’ objections were reflected in Hrabal’s subsequent work. It can even be said that in the 1970s Hrabal is a different kind of writer than he was during the 1960s (when he repeatedly reworked his entire oeuvre). Now he was very sparing in his text interventions, while it can be said that in no significant way do these changes diminish the artistic value of his work. A look at the reading procedure in the latter half of the 1970s lets us see the extent to which Hrabal became a compact writer, who only slightly retreats before the pressure of the times (and the editors, including the superreaders’ opinions). The primary topic of the reading procedure turns into the ongoing replacement of the ‘old’ (meaning the 1960s literary output) Hrabal by the ‘new’ one who wrote his works in the 1970s. Those who have assessed this find him more sensitive without being unhealthily sentimental, offering a more socially aware standpoint, criticizing the petty bourgeoisie while jettisoning decadent trends that were now passé, i.e. existentialism, late surrealism and not least eccentrically erotic motifs. Using the superreaders’ metaphors, we can detect a more general literary topos behind this subject matter, which points the way towards a New Deal (or Testament) which supersedes the old one by showing it in a new light. Hence the ‘new’ Hrabal presents readers at that time with the promise of the arrival of a better society.

CS

Studie se zaměřuje na lektorské řízení Hrabalovy tvorby v druhé polovině sedmdesátých let v nakladatelství Československý spisovatel. Konkrétně se věnuji lektorátu Postřižin (1975), Slavností sněženek (1977), Krasosmutnění (1977-8) a povídkového výboru Každý den zázrak (1978). Jelikož tato řízení probíhají v podmínkách rozptýleného cenzurního dohledu (společensky „nespolehlivé“ autory, mezi něž Hrabal patřil, lektorovali tzv. superlektoři, kteří představovali zostřený ideový dohled), porovnávám je, co do jejich struktury s lektorským řízením šedesátých let. Zatímco v šedesátých letech cenzura představovala vnější institut dohledu (Hlavní správa tiskového dohledu), třebaže lektoři a redakce intuitivně předjímali její možné námitky a do svých stanovisek je v určité míře promítali, v sedmdesátých letech se institut dohledu v podobě superlektorů přesouvá přímo do redakce. Přesto nelze čistě z definice rolí zavádět konflikt mezi redakci a superlektory. Ve třech sledovaných případech jsou k jednomu tituly stanoveni dva superlektoři (u Postřižin pouze jeden), jejichž stanoviska se ovšem liší – to, co by prošlo u jednoho „narazí“ u druhého (to je zejména případ povídkového výboru Každý den zázrak). Tudíž ani superlekotry nelze apriori chápat jako kritiky Hrabalova apolitického stylu, ve jmenovaném případě se právě Vítězlsav Rzounek stává překvapivě apologetou Hrabalovy povídkové tvorby šedesátých let. Ve studii tudíž detailně sleduji lektorské posudky: jejich argumentační výstavbu, zjevnou či skrytou apologetiku (z povahy lektorského řízení nutně ambivalentní), jejich tematickou osnovu; zaměřuji se ovšem také na celý mechanismus lektorského řízení. Autor se snaží odkrýt, jak výrazným způsobem se promítnou námitky lektorů do výsledné podoby Hrabalových děl (zdaleka ne natolik výrazným, jak se obvykle tvrdí). Dokonce lze říci, že Hrabal představuje v sedmdesátých letech jiný typ spisovatele, než jakým byl v letech šedesátých (kdy svá díla opakovaně celá přepracovával). Nyní do textu zasahuje velmi úsporně, přitom lze říci, že žádným výrazným způsobem tyto změny nedevalvují uměleckou hodnotu díla. Pohled do lektorského řízení druhé poloviny sedmdesátých let umožňuje nahlédnout, nakolik se z Hrabala stal kompaktní spisovatel, který jen nepatrně ustupuje dobovému (redakčnímu, do něhož zahrnuji také stanoviska superlektorů) tlaku. Základní tematickou linií lektorského řízení se stává překonávání „starého “ (míněna je literární tvorba šedesátých let) „novým“ Hrabalem, autorem, který píše svá díla v sedmdesátých letech. Ten je podle hodnotitelů citovější, nikoli však nezdravě sentimentální, nabízí sociálně uvědomělejší pohled – kritizuje maloměšťáctví, přitom se zbavuje překonaných dekadentních směrů – existencialismu, opožděného surrealismu, v neposlední řadě také výstředně erotických motivů. Za touto tematikou lze – a to na základě metafor užitých superlektory, nahlédnout obecnější literární topos, který poukazuje k Nové smlouvě (novému zákonu), který završuje starý zákon tím, že jej ukazuje v novém světle. Tudíž „nový“ Hrabal představuje pro dobové lektory příslib příchodu lepší společnosti.

9

Intertextualita Hrabalova „Kaina“

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Pelán J.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2019

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vol. 59

15-21

EN

The present study concentrates on the phenomenon of intertextuality in one of Bohumil Hrabal’s key early works, namely, the “existential” short story entitled Kain. The author examines especially the intertextual resonances between Hrabal’s work, Camus’s The Stranger, Dante’s Vita nuova and Goethe’s Sufferings of Young Werther.

10

Literatura a život : sebestylizace jako strategie v autobiografických a esejistických textech Bohumila Hrabala

82%

Just D.

Česká literatura (Czech Literature)

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2019

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vol. 67

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issue 1

60-83

EN

Hrabal often emphasizes that his work is firmly anchored in reality. He says that it is based either on what had happened to him, or what he had heard from other people and had identified with to such an extent that he merged in with it. This emphasis on the indivisible link between literature and real life is strongest in his later autobiographical and essayistic texts in which he writes directly about himself and not through narrators or literary characters as he did previously. In these texts he also thinks more systematically about what it means to be a writer, how he himself developed as a writer and what his objectives were in writing and in life in general. Characteristically, these texts cannot be reduced to what Hrabal says to us in them, as he frequently stylizes himself in various forms and makes use of a number of other typically literary techniques. What Hrabal writes about and how and why he keeps coming back to the problem of the relationship between literature and life is a sign of his efforts to come to terms with what is weighing him down. For him literature becomes a kind of adaptive strategy to deal with his chronic inability to be in the present moment.

70%

Sriratana V., Polišenská M.

Poznańskie Studia Slawistyczne

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2018

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issue 14

PL

Censorship has often been regarded as the archenemy of artists, thinkers and writers. But has this always been the case? This research paper proposes that censorship is not a total evil or adversarial force which thwarts and hinders twentieth-century writers, particularly those who were part of the artistic, aesthetic, philosophical and intellectual movement known as Modernism. Though the word “censor” originally means a Roman official who, in the past, had a duty to monitor access to writing, the agents of censorship – particularly those in the modern times – are not in every case overt and easy to identify. Though Modernist writers openly condemn censorship, many of them nevertheless take on the role of censors who not only condone but also undergo self--censorship or censorship of others. In many cases in Modernist literature, readership and literary production, the binary opposition of victim and victimiser, as well as of censored and censor, is questioned and challenged. This research paper offers an analysis of the ways in which Virginia Woolf (1882–1941), Allen Ginsberg (1926–1997), Czesław Miłosz (1911–2004) and Bohumil Hrabal (1914–1997) lived and wrote by negotiating with many forms of censorship ranging from state censorship, social censorship, political censorship, moral censorship to self-censorship. It is a study of the ways in which these writers problematise and render ambiguity to the seemingly clear-cut and mutually exclusive division between the oppressive censor and the oppressed writer. The selected writers not only criticise and compromise with censorship, but also thematise and translate it into their works.

17

Üksinduse maastikud Milan Kundera, Bohumil Hrabali ja Mati Undi teostes: "Olemise talumatu kergus", "Liiga vali üksindus", "Sügisball"

70%

Lõhmus E. L.

Mäetagused

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2022

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vol. 83

253-274

EN

The feeling of loneliness, the topicality of which is gradually increasing in time, requires more and more different approaches for understanding it. Fiction is one of the possible ways to untangle this feeling in a versatile, poetic manner. The writer Milan Kundera in his novel “The Unbearable Lightness of Being”, Bohumil Hrabal in his story “Too Loud a Solitude”, and Mati Unt in his novel “Autumn Ball” have discussed loneliness from different angles, which, put together, enable us to build up a broad picture of this controversial feeling. As the research method, close reading and text analysis were used. The article introduces the psychological concept of loneliness and its types and analyses the literary works based on American philosopher Rubin Gotesky’s classification of loneliness. The article aims to find out what types of loneliness are discussed in the books and in what way they are manifested. All the books analysed in the article present situations and trains of thoughts in which the presence of loneliness is clearly perceivable. However, the border between the different types of loneliness is somewhat blurred. All these works include situations in which both forced and existential loneliness are present. There are also cases of intertwining physical and voluntary loneliness, but these are not the only combinations. Kundera’s “The Unbearable Lightness of Being” presents the greatest number of philosophical ideas related to loneliness; in Hrabal’s story “Too Loud a Solitude” successive abandonments in human relationships can clearly be noticed, and in Unt’s “Autumn Ball” the urban space bursting with existential loneliness enforces itself at the very beginning, casting a shadow on all the characters and their performance. Each of these works refers to loneliness both in a positive and negative key and the characters are often controversial.

18

Roland Barthes’s Masks in Bohumil Hrabal’s Gaps: Accounts of a Transfer, Transfer of Accounts

66%

Meyer H.

Slovo a smysl - Word & Sense

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2015

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vol. 12

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issue 24

59-89

EN

The mention of Roland Barthes in a key passage of Bohumil Hrabal’s Proluky (Gaps) is read here as an index of a repetition and negotiation of the autobiographical, which should not be confused with holt meyer 89 the text itself being autobiographical, at least not with respect to its author (or the author’s wife, the nominal narrator of the text). Despite Jankovič’s insistence on not differentiating perspectives and collapsing all of the speech of the text into the voice of a ‘single narrator who integrates all [other] voices’, close reading of the passage mentioning Barthes — which is also the passage in which the biological father of Hrabal appears in the form of two representatives and a pack of photographs — makes it clear that exact differentiation of both voices and media is essential, and that Barthes’ studies of the voicing and temporality of the bourgeois novel must be brought to bear on this, while of course accounting for the irony of the post-Marxist entry into a neo-Stalinist setting. These are the conditions for a transferred and transferring Barthes reading of Hrabal’s texts of the 1980s (especially those deemed autobiographical) which has never been systematically and consequently thought through.

CS

Zmínka o Rolandu Barthesovi v jedné klíčové pasáži Hrabalových Proluk je zde čten jako index opakování a vyjednávání autobiografična (které nesmíme zaměňovat s autobiografičností samotného textu, alespoň ne ve vztahu k autorovi, resp. jeho ženě jakožto nominální vypravěčce). Jankovič sice odmítal odlišování jednotlivých perspektiv a zdůrazňoval, že se řeč textu hroutí do textu „jediného vypravěče, který v sobě spojuje všechny [ostatní] hlasy“, avšak pečlivé čtení pasáže obsahující zmínku o Barthesovi — v níž se též objevuje Hrabalův biologický otec ve dvou verzích a v podobě balíčku fotografií — prokáže relevanci přesného odlišení obou hlasů a médií, k čemuž nutno vztáhnout Barthesova zkoumání distribuce hlasoví a temporality v měšťanském románu, zároveň objasňující ironičnost postmarxistického vstupu do neostalinistické scenérie. Tak vypadají podmínky pro (zatím nikdy důsledně provedené) přenesené i přenášející barthesovské čtení Hrabalových textů z osmdesátých let, zvláště těch domněle autobiografických.

19

K variantnosti Hlučné samoty

66%

Češka J.

Česká literatura (Czech Literature)

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2016

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vol. 64

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issue 5

696-730

EN

This study focuses on the prose work of Jiří Gruša Mimner aneb Hra o smrďocha (Atmar tin Kalpadotia) (Mimner or Play about a Stinker). It is based on an interpretation of an imaginary ''Calpadotia'' as a ''state of mind'', and attention is focused in particular on ''Calpadotian'', the fictitious language of the totalitarian society, and especially the steps whereby the gradual adoption of the rules of this language play a role in the disintegration of the protagonist's personality. The key to understanding the role of the fictitious language in the novella is found in the unusual way in which Calpadotian structures reality, both with its more subtle differentiation of individual concepts and in particular with its polysemy. This indicates how the usage of the same term for phenomena that Western readers do not consider to be associated helps to characterize Calpadotian society, which gradually assimilates the chief protagonist, as alien and incomprehensible to the point of absurdity. At the same time it works with the idea that such emphasis on the role of language opens up more general questions on its extraordinary nature. The study also compares polysemy in Calpadotian with polysemy in totalitarian Newspeaks and in natural languages, taking into account their literary usage. In polysemy and the association of the apparently inassociable the study seeks the source of the unease which the prose evokes, as well as the source of the paradox and the alienation which makes it a manifestation of artistic resistance to a dystopian society.

CS

Tématem příspěvku je specifičnost variantnosti Hlučné samoty, především její druhé verze, nad níž vládnou v odborné literatuře rozpaky (bývá označována jako méně hrabalovská). Detailnější analýzou dílčích pasáží se snažím ukázat, v čem spočívá specifičnost každé z variant, jak se tyto varianty (zejména druhé od okolních) odlišují. Jako souhrnné označení specifičnosti druhé varianty volím legitimizační způsob vyprávění, který Hrabal pravděpodobně karikuje. K tomuto zjištění poukazuje důraz na sémantickou konkretizaci (pro Hrabala netypický), který je podvracen nejistotou vypravěče, dále jeho snaha po detailnější vykreslení nejenom reálné scény, ale také Haňťova nitra, důraz na podrobnější vylíčení nástupu normalizace. Haňťa druhé varianty je sentimentální, postrádá smysl pro humor a sebeironii. Bídu světa připisuje na účet nehumánních nebes. Tuto charakteristiku ilustruji na dvojím vztahu Haňti ke skatologické historce (karnevalové veselí první a třetí varianty stojí oproti metafyzice hovna varianty druhé), na odlišném pochopení strýčkovy smrti (zde vyčnívá existenciální poloha druhé varianty), v neposlední řadě na Haňťově představě obřího lisu, kterým by slisoval Německo.

20

Kim jestem Bohumila Hrabala, czyli pytanie o tożsamość w samym sercu Europy

66%

Brodacka M.

Rana. Literatura - Doświadczenie - Tożsamość

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2020

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issue 2

1-18

EN

The article Bohumil Hrabal’s “Who I Am,” or the Question of Identity in the Very Heart of Europe, is an attempt to place Hrabal’s work in the autobiographical current of his prose. At the same time, it is a deconstruction of the writer’s biographical legend by renaming and defining the linguistic procedures and metaphors used by the writer. The main subject matter of the article revolves around the problem of melancholy, the causes of which lie in the writer’s experiences and personality, as well as in the external socio-political context characteristic of Central Europe in the second half of the twentieth century. The entire discussion is illuminated by the philosophy of Karl Jaspers.

PL

Artykuł jest próbą wpisania utworu Hrabala w autobiograficzny nurt jego prozy. Jest to jednocześnie dekonstrukcja legendy biograficznej pisarza poprzez ponowne nazwanie i zdefiniowanie zabiegów językowych oraz metafor przez niego stosowanych. Główna problematyka artykułu oscyluje wokół zagadnień melancholii, której przyczyny leżą zarówno w doświadczeniach i osobowości Hrabala, jak i w zewnętrznym kontekście społeczno‑politycznym charakterystycznym dla Europy Środkowej drugiej połowy XX wieku. Całość rozważań oświetla filozofia szyfrów transcendencji Karla Jaspersa.

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Translating and Transcending Censors: Modernist Appropriation and Thematisation of Censorship in the Works of Virginia Woolf, Allen Ginsberg, Czesław Miłosz and Bohumil Hrabal

Üksinduse maastikud Milan Kundera, Bohumil Hrabali ja Mati Undi teostes: "Olemise talumatu kergus", "Liiga vali üksindus", "Sügisball"

Roland Barthes’s Masks in Bohumil Hrabal’s Gaps: Accounts of a Transfer, Transfer of Accounts

K variantnosti Hlučné samoty

Kim jestem Bohumila Hrabala, czyli pytanie o tożsamość w samym sercu Europy