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A  bewildering affinity : Japanese traditional building and european modernist architects after World War II

100%
Hojda O.
Umění (Art)
|
2019
|
vol. 67
|
issue 1-2
47-63
EN
Emerging European Modernist architecture in the 1920s and 1930s apparently shared certain principles with Japanese traditional building: The principles and qualities that Modernism strove for — ‘asymmetrical plan’, ‘flexibility of the interior space’, ‘modularity,’ ‘naked materials,’ seemed to have existed in Japan for hundreds of years. Writers such as Tetsurō Yoshida in The Japanese House and Garden, published 1935 in German, emphasised these similarities and presented the Japanese tradition in a distinctly Modernist manner. After World War II as Modernism became dominant in the West Japanese traditional building became a prominent and lively subject of the architectural discourse. We can follow this in the architectural press, which is also the main source of the research presented here. The wave of interest culminated between the mid-1950s and the early 1960s. But why exactly was Japan so attractive for European architects at this particular time? Were Japanese traditional principles an object of a purposeful misreading? And, more generally, what significance did this encounter have for Modern architecture in the West? The essay first brings an introduction to the phenomenon and pinpoints the important moments in its development. It then looks closer at the way European architects interpreted Japan and its relationship to the current development of Modern architecture, namely on the ambiguous role of history in this discourse. Within a broader comparison of concurrent ideas on Japan, the main focus is on the writings of Erwin A. Gutkind, Walter Gropiu s, and Bernard Rudofsky. Finally, the essay suggests an interpretation: Did the Japanese tradition serve as a ‘prosthetic history’ of Modernism?
CS
Modernistická architektura, která se vyvíjela ve dvacátých a třicátých letech v Evropě, zjevně sdílela některé principy s japonským tradičním stavěním. Principy a vlastnosti, o něž modernisté usilovali — například „asymetrický půdorys“, „flexibilita vnitřního prostoru“, „modularita“, „obnažené materiály“ — se zdály v japonské tradici přítomné už po staletí. Autoři, jako například japonský architekt Tetsurō Yoshida v publikaci Das Japanische Wohnhaus (1935), vydané v Německu, tyto podobnosti zdůrazňovali a japonskou tradici prezentovali vyhraněně modernistickým způsobem. Po druhé světové válce, když se modernismus na Západě stal dominantním proudem, se japonské tradiční stavění stalo živě diskutovaným tématem architektonické debaty. Sledovat to můžeme v architektonickém tisku, z jehož zkoumání vychází i tento článek. Tato vlna zájmu kulminovala mezi polovinou padesátých a začátkem šedesátých let. Ale proč přesně bylo Japonsko v tomto období tak přitažlivé pro evropské architekty? Byly japonské tradiční principy předmětem záměrné desinterpretace? A obecněji vzato, jaký byl vůbec význam tohoto setkání pro moderní architekturu na Západě? Tento článek nejprve nabízí úvod do tématu a zastavuje se u několika důležitých momentů v jeho vývoji. Následuje bližší pohled na to, jak evropští architekti Japonsko interpretovali ve vztahu k soudobé architektuře, zejména pak na dvouznačnou roli historie v této debatě. V rámci širšího srovnání se článek zaměřuje hlavně na texty Waltera Gropiuse, Erwina Gutkinda a Bernharda Rudofskyho. Na konec článek nabízí vlastní interpretaci: posloužilo Japonsko jako „protetická historie“ moderního hnutí?
2
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Střet tradice s modernitou v arabském světě Román Hlasy Sulajmāna Fajjāda

80%
Jeníková J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 57
160-164
EN
The clash of traditional Arab society with the modernity in a form of colonization served as a source of tremendous confusion. The novel Voices (1972) by Egyptian writer Sulayman Fayyad is the first Arab novel which approaches the topic of the interaction between “Us” and “The Others” in a completely different way. The Voices are unprecedented metaphor of the relationship between “Us” and “The Others” and unlike any other novel before it harshly criticizes the backwardness and the obscurantism of some Arab-Egyptian traditions and celebrate the advancement of “The Others”. It is also a rare testimony of the atmosphere in Arab world after the defeat of the united Arab armies in so called Six Day War in 1967.
3
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Jurodství a klaunství: Dvě tváře karnevalového smíchu v ruské kultuře

70%
Jesaulov I. A.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 58
21-28
EN
The article revises the view that the concept of “carnival” (one of the main contributions of M. M. Bakhtin in humanities worldwide) can have a single ontological nature (either negative or positive). It argues for the necessity to differentiate within this “unofficial” area of culture — based on Russian material. Holy foolishness and buffoonery are kinds of ontological extremes of “serious-laughing” space of carnival. On the surface they are similar — as a parody of dominating world order norms. However, their “deviance” has different vectors in Russian tradition. While buffoonery in one way or another gravitates towards the area of “sin”, holy foolishness in Russian culture is related by those who represent it to the area of «holiness» one way or the other. In other words, while buffoonery indicates “unlawfulness” violating the “norms” of a generally accepted Law (even though this “violation” is always performed within certain boundaries, which are defined by Law itself), holy foolishness is a “supra lawful” cultural factor and gravitates towards another axiological extreme: Grace. In Russian literature, one should differentiate between the gravitation of authors towards either holy foolishness, or buffoonery, and in some cases one can talk about the contamination of holy foolishness and buffoonery.
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