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Práce na postupu: puzzle. Jak nově objevené a složené rukopisy mění obraz Demlova díla

100%
Iwashita D., Kořínková Š.
Česká literatura (Czech Literature)
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2022
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vol. 70
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issue 5
525-559
EN
This study deals with previously unknown manuscripts that the authors have identified and reassembled in an as yet unorganized section of the Jakub Deml fonds in the Museum of Czech Literature. These manuscripts, fragments and variants of some seventy books and dozens of unpublished texts make a significant contribution to our understanding of the genetics and meaning of the work as a whole. They alter our idea of its genre composition and testify to the complex, non-linear chronology of the work. The authors identify three periods in which Deml’s manuscripts have different functions: the first period involves manuscripts and to a limited extent publishing (1896–1911); the second period independent publishing (1912–1941); the third period is the second manuscript period (1941–1961), when manuscripts became the main medium. Subsequently the study comments on the possibilities of a critical edition of the entire work.
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Ekokritika a fáze uvědomění v české literatuře

71%
Hrdlička J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2022
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vol. 32
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issue 66
95-110
EN
Ecocriticism represents a trend of thought that has been gaining ground in the Czech academic milieu, and thinking about it raises a number of questions at the moment: whether there are any local analogues of ecocriticism, whether it makes sense to transfer the theory to the local context, and what the impact of such transfer could be. The main part of the article is devoted to the different phases of ecological consciousness in Czech literature and illustrates three of them with examples: the Romantic (Mácha, Erben, Furch), the early 20th century (Deml, Neumann) and the 1980s (Páral, Juliš). The conclusion of the article focuses on the question of the awareness of the state in these different phases and its inevitable incompleteness.
3
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Korespondence Jakuba Demla na pomezí dokumentu a básnického textu : Poznámky a dilemata z průběžné ediční přípravy

50%
Iwashita D.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 4
619-637
EN
This paper presents an account of the editorial work performed so far on the volumes of The Correspondence of Jakub Deml published in the editorial series launched in 2010 by the Dauphin Publishing House. Over a period of five years (2007–2011) a student seminar at the Faculty of Arts, Charles University in Prague systematically collected unpublished letters written by Czech poet Jakub Deml and prepared their editions. The students’ work (especially by Šárka Kořínková and Iva Mrázková, and other editors) became the foundation for the editorial series which aims at issuing more comprehensive collections of the poet’s letters. Having summarised the first four volumes already published (containing letters to and from the priests Josef Ševčík, Matěj Fencl, Evermod Vladimír Balcárek and the artist František Bílek), the paper gives an overview of specific features of Deml’s epistolography including a great number and variety of addressees and styles, a great dispersion and number of manuscripts (running into the thousands), variants of the same letter (with later copies and printed versions). The paper also outlines some dilemmas faced by the editors involving significant references between Deml’s letters and poetic works, relations between the letters and external events, questions about graphical features of the letters and about editorial principles regarding language and orthography. The paper concludes with an outline of objectives for future research and possible next editions.
4
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1929. Rok (nejen) Lazebníka: Poetika, sen, polemika

41%
Málek P.
Slovo a smysl - Word & Sense
|
2019
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vol. 16
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issue 32
32-108
EN
Drawing its methodological inspiration from A History of New Modernism. Czech Literature, 1905–1923 (2010), this study aims to present the development of Czech literature over the course of a single year: 1929. The objective, however, is not to portray the literary events and literary production of this year in the manner of a chronicle, nor in their entirety, but to capture certain ‘nodal’ characteristics of the imagination and literary language. There is one event that allows the author to take this approach — i.e. to identify themes, images and figures that are typical of the artistic discourse of the period —, namely the publication of Richard Weiner’s The Barber-Surgeon. The themes, motives, and figures found in this text (dream and dream writing, language, failure, literary polemics) constitute a point of departure for grasping the dominant features of a literary period which is otherwise rather amorphous. By virtue of Weiner’s poetics, a thread of sense begins to emerge, and eventually the ‘story’ or ‘drama’ of 1929, out of the re-constructed configurations and correlations of several different literary texts. Through its ‘otherness’, Weiner’s ‘dream poetics’ separated itself from the universalizing aesthetic concept of its time, thus falling ‘out of the picture’ from the perspective of literary history. By contrast, the author considers it as the central feature of a network of relations among a number of texts published in 1929: the short story AM from Jakub Deml’s collection My Purgatory; the poem The New Icarus by Konstantin Biebl; Karel Čapek’s Tales from Two Pockets; Jaroslav Durych’s essay on Poetics; and Vladislav Vančura’s novel The Last Judgement. The themes and figures under consideration here — poetics, dreams, dream writing and literary polemics — are all related to the writer’s self-consciousness in the creative process and the attention paid by the writer to material elements of the work. This manifests itself as an interest in the question of poetics and in a vivid ‘linguistic awareness’, which is also manifested in the widespread interest in questions of language and the culture of language that Czech linguists, especially those associated with the Prague Linguistic Circle, studied in accordance with — and in dialogue with — contemporary trends in modern art.
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