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Milady Součkovej prywatne archiwum pamięci (na podstawie opowiadania Rok šestašedesátý ze zbioru Neznámý člověk)

100%
Woźniak K.
Poznańskie Studia Slawistyczne
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2020
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issue 19
273-289
EN
This article presents an analysis of one of the short stories authored by Czech writer – Milada Součková: the short story Rok šestašedesátý included in the collection entitled Neznámý člověk (published in 1962, written in 1943). The introduction addresses the issues related to the clarification of the concept of a memory archive and the concept of the archive itself. Its characteristics, i.e. a certain arrangement of the collection, its permanent structure and three essential aspects of archiving are indicated: searching, saving and storing. These aspects are also typical of the structure of the analysed prose authored by Milada Součková. The next part of the article (Neznámý člověk as a private archive of memory) pertains to the entire above-metioned volume of the stories whose characteristic motif is the motif of memory linked with space, time and history. In the further parts of the article, the author goes on to the structural and interpretative analysis of the story she is interested in. She draws attention to such aspects as memory figures, i.e. time and space, thematic associations, memory carriers and memory traces and places. In conclusion, she draws attention to three components of the Milada Součková’s private memory archive: the memory of the language, the memory of the father and the memory of the historical events taking place in 1866.
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Milada Součková v labyrintu paměti (na základě prózy Vlastní životopis Josefíny Rykrové)

82%
Woźniak K.
Slovo a smysl - Word & Sense
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2021
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vol. 18
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issue 36
99-114
EN
This article focuses on ‘Josefína Rykrová’s Autobiography’ (‘Vlastní životopis Josefíny Rykrové’) by Milada Součková, dealing in particular with issues related to the motif of memory in the form of labyrinthine prose. The collection of texts that is the subject of this analysis presents a retrospective narration based on the memories of Josefína Rykrová (although it makes multiple references to the biography of Milada Součková). Of particular importance is the fact that, at various times in the text, the subject position is split, suggesting a certain play with identities. Having created the figure of Josefína Rykrová, the author points to the splitting and loss of the self in the memories of others, which in turn become part of one’s own memory. Josefína, the titular heroine and the author of the memoirs, gets to know herself not only through her mother’s stories, but also through photographs. In this case, she draws from descriptions written on the back of the photos as an additional source of information. Součková shapes her text on the basis of an architectural metaphor of memory: the labyrinth. Moving towards the centre of this labyrinth is a complex process of remembering and erasing the traces of the past. The reconstruction of memories is aimed at reaching the first memory which remains entirely untainted. In this labyrinth, it is impossible to find the truth about oneself, yet the multiplicity of voices and images causes the subject to lose any certainty about this ‘self ’. Any certainty regarding the ontological status of the narrator is thus also lost by the reader. The labyrinth of the text, even though it uncovers the reality of intimate memories, never creates any intimate space for the subject, because it is interrupted by other voices — quotes, interjections, comments. Going through the labyrinth of memory is a symbolic attempt to confront one’s own identity and determine who one is.
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Fotografie a paměť v díle Milady Součkové

82%
Woźniak K.
Česká literatura (Czech Literature)
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2022
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vol. 70
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issue 4
458-474
EN
A characteristic feature of Milada Součková’s works consists in her references to her own and her family’s memories. She often combines the memories and returns to the past with ekphrastic descriptions of the photographs. This is her way to set in order (in words and pictures) the occurrences that have already happened. The photographs become sources that enliven the memory images. They activate memory and connect memories into chains of mnemonic associations. The present article explores the references in Milada Součková’s poetry and prose texts to the photographs.
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