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Druhé vydání Francouzské poezie — Karel Čapek jako překladatel a zprostředkovatel jedné vyvíjející se literatury

100%
Bentivogli E.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 29
115-136
EN
The paper examines Karel Čapek’s translation of French poetry and, more specifically, the differences between the two editions of Francouzská poezie nové doby (1920, 1936). Whilst previous studies were primarily focused on the linguistic and artistic quality of the Czech translation, this analysis retraces the possible reasons behind Čapek’s choice of texts. Reviews, essays and even personal correspondence are taken into consideration in order to reach a deeper understanding of Čapek’s critical opinion of contemporary French literature.
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Karola Čapka zabawa w „kryminałki”. (O genezie i budowie Opowieści z różnych kieszeni)

94%
Kardyni-Pelikánová K.
Przegląd Humanistyczny
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2019
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vol. 63(4 (467))
41-61
PL
The author attempts to define the genological structure of Stories from a Pocket and Stories from Another Pocket by Karel Čapek. The analysis of titles and content of stories leads to the conclusion that in search of a way to disseminate culture, to create popular literature, however with high artistic values, by applying his own invention the Czech author went far beyond mere replication of detective and criminal novel patterns commonly used in Euro-Atlantic culture. His ingenuity in the “genre instrumentation” of these short detective and criminal stories was remarkable and produced great results.
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České rozhlasové adaptace děl Karla Čapka

84%
Bojda T.
Česká literatura (Czech Literature)
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2023
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vol. 71
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issue 3
308-325
EN
This study analyses the current production tradition of presenting Karel Čapek’s literary works in the Czechoslovak radio context. It sets out the ongoing interest in Čapek’s work on the radio, reflects key radio adaptations of Čapek’s dramas and novels in individual micro-analyses, and attempts to establish the basic production mechanisms and to identify the opportunities and pitfalls involved in adapting Čapek’s works. It also highlights Čapek’s work as one of the most inspiring subject areas of auditory/verbal creative work, and points out various dramaturgical and directorial methods of reproducing the author’s poetics on the radio. The article also includes a chronological listing of radio productions of Čapek’s work.
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"Jméno to působilo na mne odjakživa zvláštním kouzlem" - metajazykový pohled na propria v publicistice čtyř českých spisovatelů

67%
Reclik A.
Acta onomastica
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2023
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vol. 64
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issue 2
372-387
EN
The study focuses on the use of proper names in the articles of four Czech writers: Jan Neruda (1834–1891), Svatopluk Čech (1846–1908), Karel Čapek (1890–1938), and Karel Poláček (1892–1945), who reflected not only Czech culture and society, but also the Czech language. Given their avid interest in linguistics, the aim of this paper is to analyze the authors’ linguistic takes on proper names as reflected in their art journalism (essays, feuilletons, and columns). The present analysis focuses on their opinions of, for instance, naming of public spaces, personal names (and whether they use them stereotypically), misuse of proper names in politics, and naming in advertising. Their attitudes towards the naming strategy (seen as a linguistic strategy) are always examined in the context of the dominating linguistic views of the given period (the views on the language norms in particular), from approximately the 1850s until the 1930s. This approach, combined with a literary-cultural one, allows us to cover the issue comprehensively. The study is based on the chapter of the forthcoming dissertation Language and linguistic issues and their reflection in the works of selected Czech writers.
5
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Karel Čapek versus Agatha Christie: k poetice midcultu

67%
Mocná D.
Česká literatura (Czech Literature)
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2024
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vol. 72
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issue 1
28-52
EN
This essay focuses on the issue of semantic and expressive specificity that is midlevel in the vertical model of literature (known as Midcult). It explores this issue through a comparative analysis of two short stories on the same theme. This essay focuses on two particular aspects: thematic construction (one thematic line versus multiple thematic lines) and the nature of the narrative (objective versus subjectivized narrative). The essay thus sees Povídky z jedné kapsy (translated by Norma Comrada as Stories from One Pocket) as a typical product of the middle literary level, which it considers an essential part of any developed literary culture with the important function of cultivating and mediating for the reader.
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Existence a ten, kdo omdlívá ve V(v)ěci Makropulos, Tažení stínů (moderny) a v Duchu (středoevropské) země

59%
Celhofferová K.
Slovo a smysl - Word & Sense
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2016
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vol. 13
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issue 26
61-76
EN
This study is concerned with the swooning as one of the characteristic motifs of modernism, arising from a period of reflexive attention. First it will examine this in the dramas of Arthur Schnitzler Zug der Schatten and Frank Wedekind’s Erdgeist, then will turn to the demarcated realm of Central European Modernism (with support from Moritz Csáky’s characterization of Zentraleurope) as located in the works of Karel Čapek. Janáček’s libreto The Makropulos Affair comments on the basic polemics in whose background are shown the crucial importance of the motif of fainting in the overall construction of Čapek’s early works.
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Wpływ kulturowy jako tradycja i wyzwanie dla czeskiej, ukraińskiej i polskiej komparatystyki

52%
Sosnowska D.
Porównania
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2012
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vol. 10
147-160
EN
The article deals with ideas of cultural influence which were formulated by Czech, Ukrainian and Polish intellectuals before the second world war. Presented examples of Slavic approach to the problem of cultural domination and inferiority as well as the cultural influence in general, could be seen today as a valuable tradition for comparative studies in the region of Central and Eastern Europe. In contrary to the assumption of the existence of a cultural center and province which separated Western and Eastern Europe, which was such a popular belief in the Western comparative studies up to the late 1950s, as well as its supposition of cultural hierarchy which distinguished mature active, and influential cultures from those which are passive, imitative, only at one of many stages of its development, Slavonic intellectuals thought in a different way about the problem. They saw the process of cultural influence as a more dynamic, creative and complex phenomenon. They also stressed that not only an imitation effort took part in the pursuit of Slavic cultures after more developed Western European cultures, but also an adaptation and modification of all imitated cultural fashions and trends. As a result something new and original emerged on the grounds of Slavic culture. Therefore, their culture did not lose its original character and it should not be treated as a passive reflection of the Western European cultures. The author reminds about those concepts, which were ahead of their times and only today they can be truly appreciated in the context of post-structural changes in the humanities. The author emphasizes also that the approach to the problem of cultural influence played a different role in the development of Czech, Ukrainian and Polish comparative studies referring to the cultural and political challenges created by it. 
PL
W artykule przedstawiono koncepcje wpływu kulturowego sformułowane przez czeskich, ukraińskich i polskich intelektualistów przed drugą wojną światową. Przykłady słowiańskiego stosunku do kulturowej dominacji i podporządkowania, jak również do szerszych aspektów zjawiska wpływu kulturowego, mogą być traktowane jako wartościowa tradycja dla dzisiejszych studiów porównawczych skoncentrowanych na Europie ŚrodkowoWschodniej. W przeciwieństwie do założeń przyjmujących istnienie kulturowego centrum oraz prowincji, utożsamianych z rozróżnieniem Zachodniej oraz Wschodniej Europy (wraz z jej częścią Środkową), a to stanowisko zachowało popularność w komparatystyce zachodnioeuropejskiej do późnych lat 50. XX wieku, intelektualiści słowiańscy mieli inne podejście do wskazanego problemu. Nie godzili się z przeświadczeniem, że istnieje kulturowa hierarchia wyznaczająca sztywne relacje pomiędzy kulturami dojrzałymi, aktywnymi i wpływowymi oraz tymi, które sąpasywne, naśladowcze i znajdują się na etapie dopiero kulturowego rozwoju. Postrzegali oni proces kulturowego wpływu jako zjawisko bardziej złożone, dynamiczne i powiązane z kreatywnością. Badacze tacy jak O. Hostinský, J. Mukařowský, K. Čapek, M. Drahomanow, I. Franko podkreślali, że wpływ kulturowy nie polega na przyjmowaniu postawy biernego imitowania, na czym miałby polegać pościg kultur słowiańskich za kulturami Europy Zachodniej. Wręcz przeciwnie, w procesie tym istotną rolę grają czynniki adaptacji i modyfikacji przejmowanych trendów kulturowych, a w konsekwencji obce wpływy implantowane na własne podłoże kulturowe prowadzą do powstawania zjawisk nowych i zachowujących swą odrębność. Wpływ kulturowy płynąc z Europy Zachodniej nie musi prowadzić do utraty oryginalności przez kultury rodzime (w tym przypadku trzy wymienione kultury słowiańskie: czeską, ukraińską i polską), a tam, gdzie dostrzegamy jego działanie, kultury wpływowi podległe nie powinny być automatycznie traktowane jako lustrzane odbicia kultur wpływających. Autorka, przypominając koncepcje wspomnianych badaczy, które wyprzedzały stan ówczesnej świadomości komparatystycznej, podkreśla, że mogą być one w pełni docenione w kontekście zmian w humanistyce wynikłych z kryzysu strukturalizmu. Zarazem autorka zwraca uwagę, że podejście do problemu wpływu kulturowego odegrało różną rolę w rozwoju czeskich, ukraińskich i polskich studiów porównawczych w zależności od kulturowych oraz politycznych wyzwań, jakie zjawisko wpływustwarzało w każdej z trzech społeczności.
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Transformace žánru robinzonády v povídce Josefa a Karla Čapkových "Ostrov" (1912)

51%
Marggraffová U.
Česká literatura (Czech Literature)
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2016
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vol. 64
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issue 3
372-391
EN
While the lives and works of brothers Josef and Karel Capek have been investigated rather well over the past century, one of their first prose texts under the name of Ostrov, written in 1912, has been paid very little attention to this day. Created during the time leading up to the First World War, when European literature turned from Symbolism and Impressionism to Avantgarde with schools like Expressionism and Cubism, the narrative pursues the myth of the self-made-man, founded by Defoe in modernity, in an inverted way. The brothers provided their text with subliminal allusions to the fate of artist Gauguin, changing the space-time scheme of the genre’s paradigm. Unlike Defoe, by doing so they also assessed not only the contrast between mankind's self-alienated civilisation of a Western European nature and the longing for a non-alienated existence in an Arcadian island world recalling ‘locus amoenus’, but also used it for their own aesthetic and historic self-reflection.
9
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Dvě lekce studia literatury aneb o pomalosti

43%
Málek P.
Slovo a smysl - Word & Sense
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2018
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vol. 15
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issue 29
13-56
EN
Drawing on the considerations of Karlheinz Stierle, who claims that one of the key tasks in thinking about literature is to oppose the technical totality of modernity and its repressive mechanisms with the substantiality of the slow and the already past, this study aims — in the reading of Franz Kafka, for example, by German thinker, literary theorist and critic Walter Benjamin, and that of Karel Čapek by Czech literary historian and critic Jiří Opelík — to present a form of thinking about literature and its studies that would belong in some ways to the ‘slow reading culture’. At a time when the predominant view of the status of the discipline has grown skeptical, when one has come to doubt the meaning of literature, it is useful to return to the sources and principal questions that comprise our basic attitude towards literature and its study. The question of the current state of thought about literature is reflected here by the prism of slowness and the culture of slow reading, together with a study of literature that opens our way to something we might have otherwise abandoned in the ‘rhythm of constantly renewed acceleration’. The first part of the study, dedicated to Benjamin’s reading of Kafka, focuses on several motifs, grouped around the idea of study and the idea of the image. He develops his interpretation of Kafka’s short stories, The New Advocate, and his reading of the photographic portrait of little Kafka, by reflecting on Benjamin’s tendency to introduce the subject in a circular manner, and through a method of interpretation that gradually approaches, interrupts and postpones, the methodological equivalent to slow reading, revolves around the conviction that the center of the thinking about literature is the understanding of literary works, his open movement, which can never reach a culminating understanding. The second part of the study, devoted to Opelík’s reading of Karel Čapek, deals with the philological footprint and philological impulse in the literary-historical works of Jiří Opelík: at the epicenter of literary research he inserts the poetic word, which like the history of his stratification is also a model of the historicity of understanding and the experience of time slowing down. Slowness, in the context of Opelík’s Čapek, receives numerous synonyms, some immediately implied (continuity and stability), others emerging from his Čapek reading spontaneously (service), and still others seeming to suggest themselves: loyalty. Loyalty to the author, a service rendered not only to him but also to the readers, to ongoing research, to the constancy of the contemporary reader’s interest. Opelíkʼs methods remain an element of confidentiality in relation to the studied work, which is both first and last instance of understanding, confidentiality based on the slow experience of reading.
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1929. Rok (nejen) Lazebníka: Poetika, sen, polemika

34%
Málek P.
Slovo a smysl - Word & Sense
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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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