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»…vzpomínám na něho ustavičně a přeji mu, aby se mu tatínek brzo vrátil«. O (terapeutycznej) roli pamięci w korespondencji więziennej Jana Zahradníčka

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Pająk A.

Bohemistyka

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2019

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issue 3

329-344

EN

The article analyses letters written by a Czech poet – Jan Zahradníček during his stay in prison to his wife – Maria in the period 1951 to 1960. A selection not only presents a record of life trauma resulting from long-time isolation and family tragedy (death of his two daughters) but also a testimony of the poet’s memory, which enabled the author to survive hard times. Aleida Assmann’s considerations (among others) constitute the starting point for memory description. The considerations primarily related to collective memory of societies affected with traumatic past could also be useful for the analysed individual case study.

PL

Przedmiotem analizy są listy czeskiego poety Jana Zahradníčka wysyłane z komunistycznego więzienia do żony Marii w latach 1951–1960. Wybór to zapis zarówno życiowej traumy wynikającej z długoletniej izolacji oraz tragedii rodzinnej (śmierć dwóch córek), a jednocześnie świadectwo tego, że dzięki terapeutycznej roli pamięci autor przetrwał ów trudny czas. Punktem wyjścia są m. in. rozważania Aleidy Assmann, które co prawda prymarnie odnosiły się do pamięci kolektywnej społeczeństw dotkniętych traumatyczną przeszłością, ale mogą być także użyteczne dla rozpatrywanego tutaj studium przypadku jednostki.

2

Zem pode mnou v nesmírné bolesti kolébá se. K vertikální orientaci prostoru Znamení moci Jana Zahradníčka

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Novák F., Krásenská K., Pavlík O.

Slovo a smysl - Word & Sense

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2023

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vol. 20

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issue 1

62-72

EN

The aim of this study is to map the specific orientation of space in Jan Zahradníček’s extensive poem The Sign of Power. His unique conceptualization of ‘up’ and ‘down’ in this work plays a significant role in the construction of setting. In this paper, we draw on George Lakoff and Mark Johnson’s Metaphors We Live By, in particular their insights and observations on metaphors involving spatial orientation and the notion that ‘more is up; less is down’ — a postulate that can be extended to various other good-bad (including ethical and religious) distinctions. Along these lines, we further draw on their concept of in/coherence of metaphor and different cultural spaces. The central question of the study concerns the coherence (or incoherence) of spatial designations with the values of good and bad. Our analysis then traces the tension between conventional spatial connotations and the unsettling instability, with regard to both space and values, of the world modelled in Zahradníček’s poem.

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„Krev k hrdlu stoupá, s mým se mísí slovem“: lidské mimo lidskost a poetika nesnesitelného K válečné poezii Jana Zahradníčka

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Vojvodík J., Wiendl J.

Slovo a smysl - Word & Sense

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2016

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vol. 13

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issue 25

30-61

EN

The period of the German occupation, the ‘Böhmen und Mähren’ Protectorate and World War II constitutes a specific cultural, social, intellectual, as well as emotional and affective ’space’ of confrontation with extreme states and experiences — which are then variously articulated and shapes by art, as well as reflected in art theory and philosophy of art. The current debate on the crisis of humanism and the newly aroused theoretical interest in anthropological, philosophical and aesthetic phenomena such as affectivity, pathos, and the performativity and mediality of emotions and affects, puts into a new light also the issue of the relationship between art and violence in Czech art, and in particular poetry, of the wartime period. Our main question in this context is: How should one explain that even amongst the horrors of war, occupation, and brutal violence, in confrontation with inhumanity, cruelty and suffering, highly impressive aesthetic works are created? Can the unimaginable be represented? The authors seek to provide at least a partial answer by presenting an analysis of the wartime poetry of Jan Zahradníček from his Korouhve, especially of his Žalm roku dvaačtyřicátého (Psalm of ’42).

4

K slavení já však zrozen jsem

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Harák I.

Bohemistyka

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2022

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issue 4

573-593

EN

In his study Ivo Harák deals with poetic work of Jan Zahradníček, one of the most remarkable representatives of Czech spiritual lyrics of 20th century. Harák gives a comprehensive analysis of Zahradníček´s poetry collections – using knowledge of the most significant secondary sources concerning Zahradníček´s production. Harák attempts to draw the developmental line of Zahradníček´s work since his beginning in poetry (Pokušení smrti) to the development of Zahradníček’s poetics to the mid-1930s XX. century. Harák points at ideal and formative dominants being repeated, deepening and making variations in Zahradníček´s work. Harák also relates to his previous works on analogical authors (particularly to his monograph Básník a jeho čas on Zdeněk Rotrekl and another monograph of his Básník Josef Suchý).

CS

Ivo Harák se ve své studii zabývá básnickým dílem jednoho z nejvýraznějších představitelů české spirituelní lyriky XX. století Jana Zahradníčka. Zevrubně analyzuje jeho básnické sbírky – využívaje při tom znalosti těch nejvýznamnějších textů sekundární literatury, které jsou věnovány Zahradníčkově tvorbě. Pokouší se narýsovat vývojovou linii Zahradníčkovy tvorby od jeho básnických počátků (Pokušení smrti) po rozvinutí Zahradníčkovy poetiky do půli třicátých let XX. století. Ukazuje při tom na myšlenkové a tvárné dominanty, jež se v Z. tvorbě opakují, variují a prohlubují. Harák zde také navazuje na pozornost, již věnoval obdobným autorům (především na své monografie Básník a jeho čas o Zdeňku Rotreklovi a Básník Josef Suchý).

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"Tělo…, jaký to terč pro šípy nejstrašlivějších muk" : Zahradníčkova báseň „Ó Šebestiáne“ jako průsečík jeho antropopoetiky a teopoetiky

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Vojvodík J., Wiendl J.

Česká literatura (Czech Literature)

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2018

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vol. 66

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issue 6

813-840

EN

The present study analyses the poem Ó Šebestiáne (Oh, Sebastian) by Jan Zahradníček, included in his collection Rouška Veroničina (Veronica’s Veil) (1949). These poems are seen particularly as a way to represent the general approaches typical of Zahradníček’s work in the latter half of the 1940s. In particular, the exposition is presented both from the anthropoetic and the theopoetic standpoint. This treatment of the poet’s anthropoetics does not just indicate that artistic creation in general and poetry in particular have a biological-anthropological basis, affecting aesthetic and social ties, but that literature and poetry are something of quite fundamental significance to man, in certain circumstances of vital importance to his survival, affecting him in extraordinary ways. This anthropoetical aspect is thematized both implicitly and explicitly in Zahradníček’s poetry, as one of its driving forces and very prominently as a subject of poetic reflection. The initial anthropoetical and theopoetical framework of the exposition is also developed with an interpretationally-based poetological analysis of various poetic devices utilized in original ways by Jan Zahradníček. This particularly requires an outline of the way he worked with free verse, which becomes a dominant feature in his poetry in the late 1940s and the early 1950s, as well as his rhythmic and semantic organization, an analysis of the strophic composition of his poetry and an analysis of his usage of such devices as punctuation and the like.

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»…vzpomínám na něho ustavičně a přeji mu, aby se mu tatínek brzo vrátil«. O (terapeutycznej) roli pamięci w korespondencji więziennej Jana Zahradníčka

Zem pode mnou v nesmírné bolesti kolébá se. K vertikální orientaci prostoru Znamení moci Jana Zahradníčka

„Krev k hrdlu stoupá, s mým se mísí slovem“: lidské mimo lidskost a poetika nesnesitelného K válečné poezii Jana Zahradníčka

K slavení já však zrozen jsem

"Tělo…, jaký to terč pro šípy nejstrašlivějších muk" : Zahradníčkova báseň „Ó Šebestiáne“ jako průsečík jeho antropopoetiky a teopoetiky