Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 9

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Město jako „zázračný zápisník“: Římské procházky Milady Součkové. K estetice a poetice básnického obrazu

100%
Vojvodík J.
Slovo a smysl - Word & Sense
|
2019
|
vol. 16
|
issue 32
109-126
EN
In April 1960, Milada Součková left her exile in America on a trip to Rome, a trip that would inspire the poems collected in her fourth book of poems, Alla Romana, published in exile by a Roman publisher (1966). Součková’s time in Rome had a special significance for the poet — the poet in exile and the poet of exile — representing not only a return to Europe, but more importantly, a revitalizing return to the world-city of cultural memory. While the city’s architecture plays a leading role in Alla Romana, the city (and Italy as a whole) is also evoked by references to painters (Poussin, Angelika Kauffmann, Bronzino, Canaletto, etc.), direct intertextual quotes (Goethe, Chateaubriand, Stendhal, Byron, etc.), and indirect allusions (Ovid, Virgil, Dante, etc.). Součková’s ‘Roman’ poems thus fuse together past and present, real with imagined pictures, and actual sensory experience with aesthetic reflections in mirror-like complementarity. Sense impressions evoke memories, or set in motion aesthetic reflections and intertextual and intermedial relations, in dialogue with foreign texts and images. The city becomes a kind of ‘palimpsest’ and a Freudian ‘Mystic Writing Pad’ (Wunderblock), inscribed with experiences, impressions and memories. The actual architecture of the city, combined with other traces of past epochs, literary works and paintings, and transfigured into poetic images, is again made legible by an aesthetic staging within the poetic text. This poetic strategy is thematically exemplified by two poems: Torquato Tasso and U Via Appia.
2
Publication available in full text mode
Content available

Anny E. Popp, Art Historian of the Vienna School: Disappeared and Forgotten?

100%
Vojvodík J.
Slovo a smysl - Word & Sense
|
2021
|
vol. 18
|
issue 38 (Special Issue)
65-84
EN
This essay explores the works of art historian Anny Edeltrauth Popp (1891–?). One of the leading experts of the 1920s and 1930s on Michelangelo and the art of the Italian Renaissance, Popp seems to have disappeared without a trace in 1936. In the years 1919–1922, she published several studies with a distinctive and inventive analytical-hermeneutical approach to art history; the studies themselves deal with Cézanne’s style, Ferdinand Hodler’s compositional principles, Donatello’s relief style, and two artistic methods that have come to be known as Steigerung and Akzentuierung (‘gradation’ and ‘accentuation’) in the art of ancient Egypt.
3
Publication available in full text mode
Content available

Zemětřesení v textu a otřesení smyslu: literatura 19. století jako hermeneutický problém

100%
Vojvodík J.
Slovo a smysl - Word & Sense
|
2017
|
vol. 14
|
issue 27
13-18
EN
With the real earthquake in Lisboa, 1755, as well as the revolutionary ones in France and the shocks of the Napoleonic wars, the model of a temporally linear development of modernity, with ‘Progress’ as its universal goal, was shaken; and beyond the impact on Enlightenment rationality and philosophy of reason, it affected all assumed meaning of history, knowledge, and apparent certainties. This ‘state of crisis’ induced Heinrich von Kleist first to his novella The Earthquake in Chile (Das Erdbeben in Chili, 1806/1807) and then to suicide, whereas F. D. E. Schleiermacher responded with his theory of modern hermeneutics as a synthesis of the individual and the general. Building on Hana Šmahelová’s V síti dějin literatury národního obrození (2011), the paper focuses on the model of temporalisation of historical processes and in particular the ‘event of national reawakening’ as part of the ‘project of modernization’.
4
Publication available in full text mode
Content available

„…s použitím všech sprostých a obskurních slov“: Jana Krejcarovás Poetik des Obszönen zwischen Revolte und Melancholie

100%
Vojvodík J.
Slovo a smysl - Word & Sense
|
2017
|
vol. 14
|
issue 28
25-31
EN
Against the backdrop of the outright phobic tabooisation and removal of eroticism and sexuality from the arts and from all areas of public life in the ‘socialist society’ following February 1948, the erotic texts of Jana Krejcarová represent a ‘total’ provocation and subversion of the sexless socialistic realism and its petty prudishness. The extreme obscenity of Jana Krejcarová’s erotic texts, which also contain elements of parody and irony, coupled with the high degree of aggressivity and fierceness (especially the ‘Letter’ addressed to Egon Bondy from the year 1962), can be read and interpreted also as ‘revenge’ for the devaluation of physicality and sexuality. Nevertheless, the subversive excesses in her ‘poetry of the obscene’ constitute another, latent plane, on which obscenity appears as an ambivalent phenomenon: as an excess and the tearing down of all boundaries it refers to its ‘opponents’: order, the setting of boundaries, and melancholy.
5
Publication available in full text mode
Content available

Smrt v Praze: schizofrenie a sebevražda v éře radostného budování socialismu a „normalizace“

100%
Vojvodík J.
Slovo a smysl - Word & Sense
|
2020
|
vol. 17
|
issue 35
27-41
EN
As early as 1956, psychiatrist Svetozar Nevole, in a case study on the problem of suicide and its pre vention, stated that suicide in the Czech lands is one of the highest in the world. The occupation of Czechoslovakia by Soviet troops (joined by the armies of Warsaw Pact countries), together with the era of so called normalisation that followed, deepened not only the feelings of hopelessness and desperation, but also a phenomenon known as ‘social schizophrenia’ (Tzvetan Todorov). This text follows the ‘schizophrenic symptom’ as part of the politicization of life in Czechoslovakia 1948–1989, both in relation to the concept of ‘normality’ and in works by the poet and clinical psychologist Zbyněk Havlíček. The occupation of August 1968 and period of normalisation that followed struck precisely at the moment of greatest hope, when a sense of confidence in the prolongation of the horizon of our world and renewal of life in it had just seemed to place new possibilities within our grasp. In that atmosphere, and with the knowledge that the occupation of August 1968 would last ‘forever’, suicide was seen by many as the last tragic act of freedom vis à-vis a situation where ‘the walls are closing in’, as Jean Améry wrote in Hand an sich Legen (Reach Out for Yourself), and as the poet Jiří Pištora (1932–1970) wrote in his farewell letter: ‘I stand by the wall, and not one step further.’ A wri ter of nursery rhymes, Pištora was compelled by the occupation to take his own life in September 1970. Psychiatrist Svetozar Nevole, one of the most original figures in Czech psychiatry, committed suicide in September 1965.
6
Publication available in full text mode
Content available

Life in Amplitude: Pathos, Passion and Thinking on Art and Aesthetics in Occupied Prague (1939–1945)

100%
Vojvodík J.
Slovo a smysl - Word & Sense
|
2019
|
vol. 16
|
issue 31
147-173
EN
The study is largely concerned with the topic of pathos, affect and the pathic quality in Czech thinking about art and aesthetics in the first half of the 1940s. Consideration of pathos is here, at the same time, a reconstruction of the relationship between aesthetic and art-historical thinking about art, a reconstruction of the affective/emotional experiencing of art and the attitude to aesthetics/ethics in occupied Prague during the war years, and of the pathos of resistance to violence even at the cost of suffering and sacrifice, as represented by the art historians and theorists Růžena Vacková (1901–1982) and Pavel Kropáček (1915–1943). The study sets out from the idea of the existence of a relationship between suffering and activity, practice and pathos, passivity and passion as active forces underpinning both actions and the making of art. The Second World War constitutes a highly specific cultural and social, mental, but also emotional and affective, ‘space’ in which man was faced with extreme states and experiences that were articulated in art in a variety of modes of depiction, but also duly reflected in the theory and philosophy of art. Here reflexions of pathos, monumentality and nobility come to the fore as aesthetic (or esthetico-psychological and philosophical) categories in the theory of art, along with a pathic history of art and pathic modus vivendi of not just artists, but also art theorists, and pathos as the icono-pathic force of works of art in general.
7
Publication available in full text mode
Content available

Posel, překladatel, interpret? Emil Saudek a Otokar Březina: mezi překladem a exegezí EXEGESIS

100%
Vojvodík J.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
|
2020
|
issue 62
9-26
EN
The paper examines the relationship between the poetic works of Otokar Březina and its translations and interpretations by Emil Saudek. The aim is to put Saudek’s interpretations of Březina into the context of mysticism, neomytologism and neovitalism of the early 20th century modernism, the philosophical background of which Saudek knew very well. It can be said that in Saudek’s translations, criticism, and readings of Březina an ideal symbiosis of a translator and/as interpreter.
8
Publication available in full text mode
Content available

A World of ‘Purely Artistic Conception’ and a ‘Universal Art of the Spirit’: Max Dvořák and Karel Teige between Phenomenology and Surrealism

100%
Vojvodík J.
Slovo a smysl - Word & Sense
|
2015
|
vol. 12
|
issue 24
25-41
EN
In the early 1940s, Karel Teige, a prominent theorist of the Czech avant-garde, returns to Max Dvořák’s concept of history of art as ‘history of the spirit’. Starting in the late 1930s, Teige pursued a sustained inquiry into the essence of the so-called imaginative (or ‘phantasizing’, in Teige’s own terminology) art, and his findings, which he intended to synthetize in a broadly conceived Phenomenology of Art (left unfinished), led him to the view that the essence of imaginative art consists in the visualization of ‘spiritual forms’ of an inner model. Primarily, it consists in a substantial transformation of one’s relationship to the external world: specifically, an internalization of senseperception and its metamorphosis into spiritual forms of subjective perception and consciousness. josef vojvodík 41 This is where Teige might have been influenced precisely by Dvořák’s abolition of any antithesis between naturalism and idealism, internal and external image, and his quest for a unity of Kunstwissenschaft and artistic practice. Teige was aware that this problem is central and constitutive for the entire era of Modernity and of the avant-garde, just as Dvořák was aware that the history and theory of modern art cannot consist in a mere mechanic continuation of the traditional arthistorical method; rather, it must reflect upon the creative processes of modern art.
CS
Na počátku čtyřicátých let 20. století se teoretik české avantgardy Karel Teige vrací ke koncepci dějin umění Maxe Dvořáka, totiž dějin umění jako „dějin ducha“. Od konce třicátých let 20. století se Teige intenzivně zabýval podstatou tzv. imaginativního (nebo, jeho terminologií, fantazijního) umění a své studium a rozbory, které chtěl syntetizovat v rozsáhle koncipované, ale nedokončené práci Fenomenologie umění, jej vedly k názoru, že podstatu imaginativního umění tvoří vizualizace „duchových forem“ vnitřního modelu. Je to především zásadní proměna vztahu k vnějšímu světu ve smyslu zvnitřnění smyslového vnímání, smyslových vjemů, jejich proměna v duchovní útvary subjektivního vnímání a vědomí. Zde mohlo na Teigeho uvažování silně působit právě Dvořákovo zrušení antiteze mezi naturalismem a idealismem, vnitřním a zevním obrazem, jeho požadavek jednoty vědy o umění a umělecké praxe. Uvědomoval si, že jde o problém, který je zásadním způsobem konstitutivní pro celou epochu moderny a avantgardy, podobně jako si byl Dvořák vědom toho, že dějiny a teorie umění moderny nemohou být mechanickým pokračováním tradiční uměleckohistorické metodiky, nýbrž reflexí tvůrčích procesů modemy samotné.
9
Publication available in full text mode
Content available

„Krev k hrdlu stoupá, s mým se mísí slovem“: lidské mimo lidskost a poetika nesnesitelného K válečné poezii Jana Zahradníčka

63%
Vojvodík J., Wiendl J.
Slovo a smysl - Word & Sense
|
2016
|
vol. 13
|
issue 25
30-61
EN
The period of the German occupation, the ‘Böhmen und Mähren’ Protectorate and World War II constitutes a specific cultural, social, intellectual, as well as emotional and affective ’space’ of confrontation with extreme states and experiences — which are then variously articulated and shapes by art, as well as reflected in art theory and philosophy of art. The current debate on the crisis of humanism and the newly aroused theoretical interest in anthropological, philosophical and aesthetic phenomena such as affectivity, pathos, and the performativity and mediality of emotions and affects, puts into a new light also the issue of the relationship between art and violence in Czech art, and in particular poetry, of the wartime period. Our main question in this context is: How should one explain that even amongst the horrors of war, occupation, and brutal violence, in confrontation with inhumanity, cruelty and suffering, highly impressive aesthetic works are created? Can the unimaginable be represented? The authors seek to provide at least a partial answer by presenting an analysis of the wartime poetry of Jan Zahradníček from his Korouhve, especially of his Žalm roku dvaačtyřicátého (Psalm of ’42).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.