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Ideál v hávu dokumentarity: literární zdroje v Dětech čistého živého Terézy Novákové jako prostředek konstruování národní paměti

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Vrajová J.
Česká literatura (Czech Literature)
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2022
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vol. 70
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issue 4
429-457
EN
This study offers a revised classification of the movements involved in Teréza Nováková’s work, with specific reference to the novel Děti čistého živého (Children of Pure Living Spirit). Reference is made to the literary-historical and period metanarrative, emphasizing the presence of the ideal in the author’s work, which, however, was somewhat sidelined in the historical context, so that with the passage of time, Nováková was categorized under documentary realism. In the context of recent literary-history debates over the term ideal realism, and making use of the reception at that time, we demonstrate the stylization techniques Nováková used to construct, through her acknowledged work with oral and written documents, a text referring to the idea of nation-building based on culturally accepted paradigms.
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Realistická literární postava: (kognitivní) výzva, či nikoli?

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Fořt B.
Česká literatura (Czech Literature)
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2021
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vol. 69
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issue 3
361-376
EN
This study is an attempt to critically evaluate the contribution made by cognitive literary theory to research into literary characters in general and Realist literary characters in particular. Based on cognitive contributions to research into literary characters, it examines the characters in Realist fiction to demonstrate the validity of these contributions due to their detailed research in comparison with traditional concepts that have emerged outside that sphere. This analysis indicates that cognitive approaches are of benefit both in connection with grasping the mental aspects of the subjects of literary communication, i.e. the authors, the readers and their abstract counterparts created for purposes of more detailed analysis of literary works, and in connection with research into the mental functions of Realist literary characters. Nevertheless, the employment of these approaches appears to be limited to a large extent when we focus upon Realist literary characters as complex semantic conglomerates with prominent social dimensions.
3
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Perspectivism and special relativity

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Khalili M.
Teorie vědy (Theory of Science)
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2021
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vol. 43
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issue 2
191-217
EN
Th e special theory of relativity holds signifi cant interest for scientifi c perspectivists. In this paper, I distinguish between two related meanings of “perspectival,” and argue that reference frames are perspectives, provided that perspectival means “being conditional” rather than “being partial.” Framedependent properties such as length, time duration, and simultaneity, are not partially measured in a reference frame, but their measurements are conditional on the choice of frame. I also discuss whether the constancy of the speed of light depends on perspectival factors such as the idealized defi nition of the speed of light in a perfect vacuum and the Einstein synchronization convention. Furthermore, I argue for the view that the constancy of its speed is a robust property of light according to the conditions of currently acceptable experimental setups pertaining to special relativity, and conclude that this view supports perspectivism.
CS
Speciální teorie relativity je obzvláště zajímavá z hlediska vědeckého perspektivismu. V tomto článku rozliším dva související významy pojmu „perspektiva“ a pokusím se ukázat, že vztažné soustavy lze chápat jako perspektivy za předpokladu, že perspektivou rozumíme spíše „být podmíněný“, a nikoli „být dílčí“. Vlastnosti závislé na vztažné soustavě, jako je délka, časové trvání a simultánnost, nejsou v dané vztažné soustavě měřeny neúplně, ale jejich měření jsou podmíněna výběrem vztažné soustavy. Rovněž se budu zabývat otázkou, zda stálost rychlosti světla závisí na perspektivních faktorech, jako je idealizovaná defi nice rychlosti světla v dokonalém vakuu a Einsteinova synchronizační konvence. Na závěr se pokusím ukázat, že konstantní rychlost je robustní vlastností světla dle podmínek aktuálně přijímaných experimentů týkajících se speciální relativity a že tento pohled podporuje perspektivismus.
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Realismus hudebního divadla Waltera Felsensteina – pravda, nebo mýtus?

80%
Havlíčková Kysová Š., Spurná H.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2017
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vol. 20
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issue 1
88-121
EN
The study deals with Music Theatre of Walter Felsenstein (1901–1975), a renowned German opera director of the 20th century. It is based on the seminal monograph of estimable size by Boris Kehrmann, Vom Expressionismus zum verordneten „Realistischen Musiktheater“. Walter Felsenstein – Eine dokumentarische Biographie 1901 bis 1951 (2015) that revisits Felsenstein’s directorial style and questions the presumption that he employed Realistic techniques in his operatic productions. However, the study does not merely summarize the issues introduced by Kehrmann. Since Felsenstein’s directorial style gained acceptance over the countries of the so-called Eastern Bloc, reception of Felsenstein’s work in Czech opera is the subject of inquiry, exploring the alleged influences and supporters of the director.
CS
Studie se zabývá konceptem hudebního divadla, jenž je spjat s tvorbou významného německého operního režiséra Waltera Felsensteina (1901–1975). Východiskem se stala monumentální monografie Borise Kehrmanna Vom Expressionismus zum verordneten „Realistischen Musiktheater“. Walter Felsenstein – Eine dokumentarische Biographie 1901 bis 1951 (2015), podrobující zásadní revizi představu o Felsensteinovi jako o režisérovi, který ve svých operních inscenacích realizoval přístupy realismu jakožto uměleckého stylu. Přítomná studie si neklade za cíl pouhou sumarizaci základních tezí Kehrmannovy knihy. Ohlas a recepce Felsensteinových operních režií v zahraničí, zejména pak v zemích tzv. východního bloku, autorky přivedly k nutnosti přezkoumat situaci v domácím kontextu, resp. v českých operních divadlech. Záměrem bylo položit si otázku, jak byl Felsensteinův vklad do inscenování opery přijímán v českém prostředí a zda tu našel své stoupence.
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Na okraj Nerudovy prózy

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Pelán J.
Česká literatura (Czech Literature)
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2023
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vol. 71
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issue 3
344-354
EN
This article reflects on the innovations that can be noted in Neruda’s prose and which anticipate subsequent developmental phases (e.g. naturalism and symbolism). Neruda’s short stories are a combination of factual realism and authorial stylization, characteristic of what is known as the physiological sketch. The proto-naturalistic elements can be considered to be based on Neruda’s preoccupation with somewhat abnormal characters, handicapped physically or socially, a new image of eroticism, emphasizing the sexual motivations of human behaviour, an interest in the “insulted and humiliated” and Flaubert’s concept of the literary image as a sketch of “environment and passion”. As a rule, the autobiographical narrating “I” occupies the position of observer and witness for Neruda, and this “autobiographicism” effectively functions as a guarantee of the authenticity - the truthfulness, the “realism” - of what is narrated. At the same time, this “I” fully controls the narrative situation, and Neruda’s narrative mode is thus one of the most original variants of European Shandyism.
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Kognitivní a percepční perspektiva ve vybraných prózách Jana Nerudy a Jakuba Arbesa a jejich funkční korelace:

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Změlík R.
Česká literatura (Czech Literature)
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2020
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vol. 68
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issue 4
438-467
EN
The present work focuses on two types of narrative perspective — cognitive and perceptual. The cognitive perspective is understood to comprise the ways in which the fictional world can be mentally conceptualized from the standpoint of the characters, or such a perspective is a manifestation of collective opinion, which of course is not the subject of this work. The perceptual perspective is understood to comprise sensual perception, through which the phenomena or events of the fictional world are filtered. Based on Wolf Schmid’s conceptualization, we distinguish two basic aspects of narrative perspective, the first being the way evens are perceived or understood, while the second is the way they are represented and realized within the narrative. Another essential feature is the function of both perspectives, which manifests itself not only in terms of what is filtered by these perspectives and what is reflected in the semantics but also reciprocally. It is then our primary task to follow the way both perspectives functionally determine each other. We perform an analysis of this phenomenon on the corpus of Jan Neruda’s and Jakub Arbes’s prose works, which were written at around the same time. Firstly we show how the identified types of perspective are realized in the prose works of both authors, who each represent a differing realist school in Czech literature. We then focus on their functional correlations and find that Neruda’s prose work is characterized more by situations in which a cognitive perspective on a rationally modal basis determines the perceptual perspective, so that sense perceptions or illusions are corrected by the rational cognitive framework, whereas in the case of Arbes’s prose works under review, the reverse is for the most part the case. The typologically different functional correlation method of both perspectives is manifested in the sphere of diegesis, narrative strategy and composition, as well as in the conception of the fictional time-space, for example. Just as the usage of the perspective type or of the functional correlations does not necessarily determine the narrative composition, nor does it necessarily relate to the overall general orientation of the work on the Romanticism-Realism axis. However, its individual segments (setting and characters) determined by the functional polarity of both perspectives may refer to one of these literary mainstreams of the period.
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