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EN
The article focuses generally on the functioning of commentary or metacommentary within postmodern narrative texts. Two Czech authors from the second half of the 20th century have been chosen to illustrate the theory outlined in the introductory part of the article: Ludvík Vaculík and Jiří Kratochvil. From the point of view of interpretation the structure that is being opened by commentary inside some narratives is called posthermeneutic. The article argues that posthermeneutic situation can be found in the perverse situation of samizdat publishing in Czechoslovakia in the 1970s (as depicted by Vaculík’s Český snář) and in the role played by women in Kratochvil’s short story Příběh krále Kandaula. The article concludes that the postmodern might stand the reader in front of an ethical choice as far as the function of literature and art is concerned.
CS
Na obecné úrovni se článek zabývá fungováním komentáře či metakomentáře v postmoderních prozaických textech. K doložení a rozpracování teoretických východisek využívá článek texty Jiřího Kratochvila a Ludvíka Vaculíka. Z pohledu hermeneutiky je struktura, která se odhaluje uvnitř literárních textů právě prostřednictvím komentáře, nazvána posthermeneutickou. Článek ukazuje, že tato posthermeneutická struktura je pevně spojena s perverzní situací ineditního publikování v Československu 70. let jak ji zachycuje Vaculíkův Český snář, stejně jako se situací ženského subjektu zobrazené v Kratochvilově povídce Příběh krále Kandaula. Článek dochází k závěru, že postmoderna staví čtenáře či recipienta před etickou volbu co se role literatury a obecně umění týče.
EN
This paper deals with the aesthetics of absence and pre-postmodern strategies as carried out in the short story “Prázdná židle [Empty Chair]” (1916) by Richard Weiner. Drawing on the methodological fusion of narrative analysis, media philosophy, and visual anthropology, I argue that Weiner’s text offers a specific “portrait of absence”, which is able to intensify the subject despite its physical non-presence. In the first part, Weiner’s discursive strategy of feigning, revealing common features with postmodern metafiction and producing a rupture between what the text says and what it does, is explained. The second part analyzes an ironization of its affective and thematic center while bringing forth a new concept of “dia-narrative”. The third part explores the main figure of the empty chair in its intermedial relations with the portraits of Vincent van Gogh (1888) and the founding work of the conceptual art by Joseph Kosuth (1965).
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