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1

Bůh píše přímo křivými čarami (Josef Suchý a literatura Lužických Srbů)

100%

Harák I.

Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education

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2014

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issue 4(8)

113-147

CS

Autor se ve své studii věnuje vzájemným vztahům mezi českým básníkem moravského původu Josefem Suchým a kulturou nejmenšího ze slovanských národů, totiž Lužických Srbů. S ní se Suchý setkává koncem 60. let 20. století. Autor se věnuje vzájemným vazbám, Suchého překladům a edicím z lužickosrbské literatury, studiím o této malé sice, ale významné součásti evropského kulturního dědictví. Všímá si také, kdo všechno o daných aktivitách Suchého psal a jak je hodnotil; na koho sám Josef Suchý ve svém díle navazuje a kdo je Suchého přímým pokračovatelem. Nakonec si autor všímá přítomnosti lužickosrbských motivů především v básnickém díle Suchého. Daná tematika dala nakonec vzniknout zrcadlovému česko/lužickosrbskému posmrtně vydanému výboru ze Suchého poezie.

EN

In his study the author deals with reciprocal relationship between a Czech poet of Moravian origin – Josef Suchý and the culture of the smallest Slavonic nation, the Wendish. Suchý met with this culture in the late 1960s. The author is concerned with reciprocal links, with Suchý´s translations and editions of Wendish literature, with studies about this small but important part of European cultural heritage. He also notices who wrote about the mentioned activities and evaluated them, whom Josef Suchý follows in his production and who Suchý´s direct continuator is. In the end the author notices the presence of Wendish motifs in Suchý´s production, in his poetic production above all. This subject matter gave rise to the imitations of Czech-Wendish selections from Suchý´s poetry edited after his death.

PL

Autor w swoim studium zajmuje się wzajemną relacją pomiędzy czeskim poetą pochodzenia morawskiego Józefem Suchym i kulturą najmniejszego z narodów słowiańskich, mianowicie Serbów Łużyckich (Serbołużyczan). Suchy zetknął się z nią z końcem lat 60. XX wieku. Autor zajmuje się wzajemnymi związkami pomiędzy przekładami Suchego a edycjami literatury serbołużyckiej, badaniami tej, choć tak małej, ale ważnej cząstki współczesnego, europejskiego dziedzictwa kulturowego. Zauważa on także, kto pisał o wszystkich wspomnianych działaniach Suchego i jak je oceniał; do kogo sam Józef Suchy w swoim dziele nawiązuje, i kto jest bezpośrednim następcą Suchego. W końcu autor zauważa obecność serbołużyckich motywów, zwłaszcza w poetyckiej twórczości Suchego. Omawiana tematyka pozwoliła wreszcie zbadać lustrzany, czesko-serbołużycki, pośmiertnie wydany wybór poezji Suchego.

2

Dvě lekce studia literatury aneb o pomalosti

63%

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.

3

1929. Rok (nejen) Lazebníka: Poetika, sen, polemika

51%

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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Bůh píše přímo křivými čarami (Josef Suchý a literatura Lužických Srbů)

Dvě lekce studia literatury aneb o pomalosti

1929. Rok (nejen) Lazebníka: Poetika, sen, polemika