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In search of a euphony unit : a case study in Czech 1830s poetry

100%
Místecký M., Čech R., Plecháč P.
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 1
27-38
EN
The study examines selected samples of Czech 1830s poetry production through the prism of a quantitative conception of euphony. Stemming from Jan Mukařovský’s reflections on the topic, it tries to strengthen the notion through the creation of exact figures with intersubjective validity. To this end, the count of this property devised by Gabriel Altmann is utilized and innovated by a new unit – the consonant set – which endeavours to grasp the phonetic reality of language more effectively than the casually used concept of sound. The analysis proves the solid character of the new unit, shows interrelations between the two calculations, and proposes a few interpretations of the euphony situation in Czech poetry of the 1830s. Moreover, it demonstrates effective ways of displaying data results by means of scatter plots and cluster analyses. As a spinoff of the core idea, the paper also explores Mukařovský’s high evaluation of Mácha’s use of euphony.
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Yelling into the Silence and its Echos. Czech Shoah Poetry Written till 1960s and its Reception

99%
Balík Š.
Poznańskie Studia Slawistyczne
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2017
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issue 12
29-45
PL
The literary reflection of the Shoah in Czech war and post-war poetry is very limited. Only a few non-Jewish poets have ever returned to thistheme (e.g. František Halas,Jiří Kolář,Jaroslav Seifert, Jan Skácel, Karel Křepelka, Radek Malý). Additionally, literary “testaments” of Jewish authors (Karel Fleischmann, Pavel Friedmann etc.) resulted in only two collections of poems entirely dedicated to the suffering of the Jews during the Nazi oppression (Ota Reich and Michal Flach). On the other hand, there are several books of poetry about Lidice and suffering of the Czech people during the World War II by Viktor Fischl, Karel Šiktanc, Libuše Hájková, Miloš Vacík and others. After the war there were only Jaroslav Seifert and Jiří Kolář among well-known poets who refered to the Shoah in a more significant way. Seifert created a figure of a Jewish girl, Hendele, in his collection of poems Koncert na ostrově (Concert on the Island), which develops the literary narration of the Shoah. Jiří Kolář referred to the Shoah repeatedly, however, he only had a limited chance to publish his work. As a result of this fact, the reception of Czech post-war poetry about the Shoah is almost absent. In my article, I concentrated on some reviewers’ remarks that have already been published since the war-time and other reflections of this kind such as editions of books by Jiří Orten, Hanuš Bonn, Jiří Daniel. A hypothetical reaction on the Shoah verses by Pick’s cabaret audience or Halas’s anonymous poetic obituary paying tribute to Jiří Orten are rather specific sorts of reception. The critical reflection of Kolář’s work in the context of the mass murder commited during the WW II is exceptional. However, the specific motifs of the Shoah were significantly focused on only in recent years by three foreign reviewers (Leszek Engelking, Hanna Marciniak and Anja Golebiowski). Czech Shoah poems printed or reprinted in Jewish periodicals (e.g. annual “Židovská ročenka”, published since 1954) represent a commemorative function, even though sometimes with informative commentaries. They miss any analytical aspect.
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Dlouhé trocheje v české poezii

86%
Sgallová K.
Česká literatura (Czech Literature)
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2012
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vol. 60
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issue 3
321-337
EN
This article presents an overview and an explication of long-trochaic verse in Czech poetry, particularly of the nineteenth century. It seeks to supplement Miroslav Červenka´s explication of Czech syllabotonic verse from Kapitoly o českém verši [Chapters on Czech verse], which Červenka was unable to finish. The author takes advantage of material which had been elaborated for international researchers working on Slavic verse, but in many respects has been expanded by other collections of work. Long-trochaic verse is explored here from the point of view of its inner structure and the history of literature. In the National Revival, trochaic pentameter was the meter employed most frequently after trochaic tetrameter; it was the high-style meter trating serious topics, but from the second half of the nineteenth century onwards it began to lose its status. What was fundamental to trochaic hexameter was whether or not it kept to the rule that it was divided into two symmetrical units in a line. During the National Revival it was used a great deal, particularly in celebratory and reflective verse and in translations. It appears later in most epic verse and lyrical-narrative verse, and often also in polymetric verse. Trochaic heptameter occurs least frequently in Czech verse, and usually in combination with other metrical forms (trochaic pentameter and hexameter). Trochaic octameter from Milota Zdirad Polák´s Vznešenost přírody (1819) was used for the portrayal of natural phenomena or in pathos-filled meditations. Twentieth-century authors were no longer interested in this meter, because for them free verse had become an alternative to long metrical line.
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The Power of Silence: Jan Skácel, the Banned Man

86%
Belia M.
Academic Journal of Modern Philology
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2023
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issue 19
25-36
EN
Jan Skácel is a Czech poet whose literary production marked the second half of the 20th century, a particularly difficult historical period. In 1948 the Communist Party had implemented a coup d’état thus conquering the totalitarian management of power and had begun to accentuate the ideological control of cultural life. After a short period of easing of the censorship, in 1968 the harsh period of the so-called “normalization” began: in 1970 Skácel was banned from publishing. In the decade of ban on official publishing he never left his country and never stopped writing verses, declaring his suffering, and tirelessly denouncing, often using refined figures of speech, the difficult condition of the poet reduced to silence. This article proposes an analysis of these texts following some thematic nuclei: first the poems which contain metaphors drawn from the animal world used to represent the figure of the banned poet will be analyzed, to then examine the compositions in which Skácel more explicitly and directly denounces the censorship.
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Changing the World Through Poetry: Confessions, Poems and Banners of Adam Borzič

81%
Kittlová M.
Porównania
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2020
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vol. 27
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issue 2
325-339
PL
Artykuł poświęcony został twórczości Adama Borziča, jednego z najbardziej wyrazistych przedstawicieli współczesnej poezji czeskiej. Poza usytuowaniem jego wierszy w kontekście współczesnej poezji czeskiej autorka dąży do zaprezentowania jego działalności artystycznej (i nie tylko) jako sui generis dzieła sztuki, mającego cechy awangardowe. Na podstawie czterech wydanych dotąd tomów poezji Borziča pokazane zostały zmiany widoczne w jego twórczości, oscylującej pomiędzy przekonaniem, że świat znajduje się w punkcie zwrotnym, a awangardowym pragnieniem jego zmiany przez poezję. Gest ten przyjmuje w poezji Borziča postać zarówno kruchych, intymnych, w tym fizycznych, jak i obszernych obrazów. Materializuje się on w motywach serca, głowy, ręki i ust. Borzič należy do wyrazistych osobowości współczesnej czeskiej literatury. Jego poezję charakteryzuje unikalny gest, jednocześnie jednak reprezentuje on jedną z bardziej zauważalnych tendencji poetyckich ostatnich dziesięciu lat – podkreślenie „społeczenej funkcji poezji” (T. S. Eliot) i roli poety jako jednostki, która za pośrednictwem twórczości powinna opiekować się światem, a wręcz zmieniać go. Autorka określa Adama Borziča właśnie jako poetę, dzięki któremu tematy te i powiązane z nimi kwestie nabierają aktualności pod koniec pierwszego dziesięciolecia XXI w.
EN
This study focuses on Adam Borzič, one of the most distinctive contemporary Czech poets. The study contextualises his work within current Czech poetry but also examines his other work that is not strictly classified as art as though it were cultural work with avant-garde features. It investigates four volumes of Borzič’s work in terms of the changes in the author’s creative gesture, which expands from his conviction that the world is at a turning point and the avant-garde longing to change the world by poetry. In the four volumes of Borzič’s poetry (written so far), this gesture is embodied through delicately intimate, acutely physical, or even gigantically all-embracing positions, where he employs motives of the heart, head, hand and mouth. The study attempts to evaluate the change in Borzič’s work in the lightof T. S. Eliot’s understanding of the social role of poetry and avant-garde longing to change reality through art. The Czech poet, Adam Borzič, is one of the most distinctive figures of the current Czech literary scene. His poetry is distinct because of its unique gesture andalso represents a strong current in the poetry production of the past decade with its emphasis on the social function of poetry7 and the poet’s role as somebody who should nurture the world through his/her work or even change it. This study attempts to portray Borzič’s work as focused on the mentioned topics and related issues of the end of the first decade of the twenty-first century and renew interest in them, contextualise his work within current Czech poetry but also investigate his other work, which is not strictly artistic but which possesses some avant-garde features.
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Iniciační cesta na Jih : příspěvek k intertextové interpretaci Holanovy Toskány

72%
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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Podoby smrti v básnických textech Josefa Svatopluka Machara

72%
Vrajová J.
Slavica Wratislaviensia
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2019
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vol. 168
255-262
EN
Imagination of death in the poetic texts of Josef Svatopluk Machar The study deals with the theme of death in the poetry of J. S. Machar. There are two forms of death: death as a proud alternative to life and death as a concept of historicizing poetry. The beginnings of the 20th century, when Machar’s first volumes of the cycle Svědomím věků were published, can be viewed in the context of efforts of a religiously modern man, confronting the Christian tradition with scientific knowledge. Machar, with his verses, attempted to design a new axiological system, based in particular on the ancient tradition (the highest virtue was virtus). It cannot be overlooked that Machar’s call for a revision of values stemmed from a disappointment in Christianity. He valued the personality of Jesus, according to Machar his message has been changed by the followers and interpreters of Jesus, especially Paul of Tarsus.
PL
Wyobrażenia śmierci w tekstach poetyckich Josefa Svatopluka Machara Artykuł został poświęcony analizie wątku śmierci w twórczości poetyckiej Josefa Svatopluka Machara. Wskazano dwa wizerunki śmierci: śmierć jako dumną alternatywę niewolniczego życia oraz śmierć jako koncept poezji historyzującej. Początek XX wieku, kiedy zostały opublikowane pierwsze tomy cyklu Svědomím věků autorstwa Machara, można postrzegać w kontekście formułowania się pytań religijnych wynikających z doświadczenia człowieka współczesnego, a także konfrontowania tradycji chrześcijańskiej z odkryciami nauki. W swoich wierszach Machar próbował zaproponować nowy system aksjologiczny, opierający się przede wszystkim na tradycji antycznej (najwyższą cnotą była virtus). Nie należy przy tym zapominać, że źródłem apelu Machara o redefinicję wartości było rozczarowanie chrześcijaństwem. Machar szanował postać Jezusa, uważał jednak, że jego przekaz zdyskredytowali jego naśladowcy i interpretatorzy, szczególnie Paweł z Tarsu.
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Slovosled sylabotónického verše v češtině

72%
Komárek K.
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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2021
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vol. 82
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issue 4
289-320
EN
The article analyzes deviations from the neutral word order in Czech poetry composed in the syllabotonic metrical system. The poet may change the neutral word order usual for a stylistically neutral utterance so that he or she keeps the metrical or rhyme scheme chosen. In the article, selected collections of Czech 19th- and 20th-century poetry are examined. Deviations from the basic word order which are used by multiple authors are described: marked positions of attributes, enclitics, predicate verbs, prepositions, connectors and semantically emphasized sentence elements. The analysis also attempts to resolve the question of limitations on Czech free word order to avoid the collapse of a continuous utterance. Some deviations exceed the boundaries of grammatical correctness. The 20th-century authors employ only some of the deviations frequent in the preceding century (the most persistent of these is the postposition of congruent attribute and marked enclitic placement).
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Databáze českých meter a výzkum českého verše 19. století = : Database of Czech meters and research into 19th century Czch poetry

58%
Kolář R., Plecháč P.
Česká literatura (Czech Literature)
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2015
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vol. 63
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issue 2
236-246
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Průhledy do poostravštělého světa: ke stylu a poetice Hruškovy sbírky Auta vjíždějí do lodí

58%
Jelínek J.
Česká literatura (Czech Literature)
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2024
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vol. 72
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issue 2
160-184
EN
The study “Openings into an Ostravized World” examines the poetics and style of the poetry collection Auta vjíždějí do lodí (Cars Are Embarking on Ships), written by Czech poet Petr Hruška in 2007. Hruška’s work is analysed using the line of thought and terminology borrowed from the concept of “faerie” or fairyland, a strange world which cannot be easily left once a mortal has wandered into it; in this case, Hruška’s rendering of his hometown of Ostrava and of its surroundings is seen as such a universe. The study explores how the reader is pulled into the fictional universe through vivid colours, kept “magically imprisoned” by meals and drinks, made aware of where they are by seeing openings into other times and places, and, finally, how the world is made more profound and abstract through the usage of more universal names and sceneries.
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"Nedělej tečku za mým rukopisem…": ještě k případu Bieblovy sebevraždy

51%
Tůma Königsmarková J.
Soudobé dějiny (Contemporary History)
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2022
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vol. 29
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issue 1
147-187
EN
This article addresses the last creative period of the poet Konstantin Biebl (1898–1951) in the late 1940s and early 1950s and explores in a broader cultural-political context, taking into consideration the poet’s specific character, the genesis of his last collection of poems entitled Bez obav [Unafraid] (1951) as well as the unexplained circumstances of his tragic death. Biebl was one of the leading representatives of the leftist art avant-garde in interwar Czechoslovakia. In the early 1940s he stopped writing. After the Communist coup in 1948 he tried to adjust to the period’s ideological-aesthetic norms applied to the new literature in the spirit of the socialist realism as reflected in the above-mentioned collection. The text focuses on the events taking place after its publication, which culminated with the poet’s suicide in November 1951. The author presents these events and the relationships between the actors in the light of previously unpublished documents from the archive collection of the poet, translator and cultural official, Jiří Taufer (1911–1986), who was one of the key figures of the cultural policy of the period and the conflicts related to it. The author sees the main value of these documents as being the focus on František Nečásek (1913–1968), the head of the culture and press department of the Office of the President of the Republic and the holder of a number of other posts, whose role in these events – possibly a very important one – has so far been somewhat overlooked. The study includes an annotated edition of texts from the period in question and the subsequent period, mostly of a personal character and unpublished, which illustrate the context of the interpreted events. The article concludes with a summary interpretation of these documents.
CS
Příspěvek se zabývá posledním tvůrčím obdobím básníka Konstantina Biebla (1898–1951) na přelomu čtyřicátých a padesátých let minulého století a zkoumá v širších kulturněpolitických souvislostech – a také s ohledem na básníkův specifický charakter – genezi jeho poslední sbírky Bez obav (1951) i okolnosti jeho tragické a dosud nevyjasněné smrti. Biebl patřil k předním tvůrcům levicové umělecké avantgardy v meziválečném Československu, od začátku čtyřicátých let se jako básník odmlčel a po komunistickém převratu v roce 1948 se snažil vyhovět dobové ideologicko-estetické normě uplatňované na novou literaturu v duchu socialistického realismu, jak to odráží právě uvedená sbírka. V centru zájmu tohoto textu jsou zejména události, které se seběhly po jejím vydání a které vyvrcholily básníkovou sebevraždou v listopadu 1951. Autorka tyto události a vzájemné vztahy aktérů představuje ve světle dosud nepublikovaných dokumentů z archivního fondu básníka, překladatele a kulturního činitele Jiřího Taufera (1911–1986), jedné z klíčových postav tehdejší kulturní politiky a konfliktů, které se v ní odehrávaly. Jejich hlavní přínos spatřuje autorka v zaostření pozornosti na Františka Nečáska (1913–1968), přednostu kulturního a tiskového odboru Kanceláře prezidenta republiky a nositele řady dalších funkcí, jehož úloha v tomto dění – možná velmi důležitá – byla dosud spíše opomíjena. Samotnou studii doplňuje komentovaná edice dobových i pozdějších textů, většinou osobní povahy a dosud nepublikovaných, s názvem „Dokumentární souvislosti případu Konstantina Biebla (1940–1988)“, která dokresluje širší kontext popisovaných událostí. Souhrnnou interpretací těchto dokumentů se také uzavírá tato studie.
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Wilhalm, Alexandr a Jakub: Jeruzalém v bohemikální literatuře na sklonku přemyslovské doby

44%
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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