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Glorifikace autorského gesta

100%
Češka J.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 1
1-16
EN
This article considers several aspects of the geste du narrateur in the works of Milan Kundera (b. 1929). With the geste du narrateur it is possible to unite and thematize texts of different genres (verse, drama, novels, and essays), and it is possible to read Kundera’s works as a definite voice, as a certain reflexion of speech. First, Kundera’s conception of poetic language is considered by looking at his analysis of poems by Vítězslav Nezval (1900–1958). Kundera considers anthropomorphic devices in particular, because the poems are, in his view, meant to transform the alienated world of phantoms into a world of objects that have a human dimension. An echo of the demiurge nature of the poetic word is audible in Kundera’s conception of the narrative, in his fundamental distinction between narrator and character. From this perspective it seems that the narrator occupies an invincible position of authority. Interpreting Kundera’s 1960 book on Vladislav Vančura (1891–1942) the article pays special attention to the concept of lyrical prose. It contrasts Kundera’s idea of fiction with the tradition of the nouveau roman (Robbe-Grillet) and New Criticism. It then characterizes Kundera’s style by the tension between his metaphorical and metonymous periods, and concludes that Kundera’s decision to set prose and the lyrical in opposition to each other is largely untenable, because his fictional world is in fact lyricized.
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Individuální a kolektivní paměť ve dvou středoevropských románech (Kunderova Kniha smíchu a zapomnění a Spoluviník Györgyho Konráda)

100%
Švéda J.
Česká literatura (Czech Literature)
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2011
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vol. 59
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issue 6
827-839
EN
This article is concerned with memory in two important central European novels, Milan Kundera’s the Book of Laughter and Forgetting (Kniha smíchu a zapomnění, 1978) and György Konrád’s The Loser (A cinkos, 1980). It follows on thematically from a 1995 work by Richard Esbenshad, who devoted himself to these novels, though putting them in the wider historical contexts of the central European region. The article endeavours to interpret and comprehend collective and individual memory, which are essential to the two novels. Using different methods the same conclusion is reached: the memory of the individual and of the collective is unreliable, unstable, and manipulatable. Furthermore, it is also influenced by state institutions. Central Europe is a space in which memory was rewritten several times in the twentieth century, a process that did not of course stop with the Changes of late 1989. That is also why it pays to read these novels again and to contemplate their relevancy to the present day.
3

THE STORY OF A CERTAIN ILLUSION. THEORIES OF KITSCH AND KRZYSZTOF KIESLOWSKI'S 'DOUBLE LIFE OF VERONIQUE' (Historia pewnego zludzenia. Teorie kiczu i 'Podwójne zycie Weroniki' Krzysztofa Kieslowskiego)

88%
Morstin-Poplawska A.
Kwartalnik Filmowy
|
2009
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issue 66
139-154
EN
In the first part of the article the authoress presents three theories of kitsch: Hermann Broch's, Abraham Moles' and Milan Kundera's. These form the theoretical basis for the analysis of Krzysztof Kieslowski's 'Double Life of Veronique', which forms the body of the second part of the article. In the analysis the authoress focuses on exaltation, the primacy of the aesthetics, on the so called religion of beauty and aesthetical lie. In the conclusion she argues that the analysis of the film allowed her to identify terms that belong to the dictionary of kitsch of the highest order. At the same time she maintains that the kitsch one is dealing with is not dangerous, as we are able to easily identify and formulate an insightful critique of the phenomenon. This means that our awareness of kitsch is higher than it was in the first half of the 20th century. Nowadays kitsch is no longer lived through. Rather it is used in different styles and art forms that offer both cheap thrills or exalted aesthetic experience such as in the case of Kieslowski's film.
4

EAST AND WEST OR ON RELATIVISM (CZECH FICTION IN 1963) (Vychod a Zapad alebo o relativizacii (Ceska proza v roku 1963))

88%
Pastekova J.
Slovenská literatúra (Slovak Literature)
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2009
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vol. 56
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issue 3
176-182
EN
The paper is dedicated to a jubilee of Rudolf Chmel. Based on the texts published in 1963 paper deals with relational typology within Czech and Slovak cultural context: 'Prvni sesit Smesnych lasek' (The First Book of Absurd Amours) by Milan Kundera, 'Legenda Emoke' (The Legend Emoke) by Josef Skvorecky, 'Hodina ticha' (An Hour of Silence) by Ivan Klima and his Slovak travel book 'Mezi tremi hranicemi' (Among Three Boarders) from 1960. The difference between Slovak and Czech identity is a specific aesthetic task. Their themes are based on semantic differentiation, on the pivot of cultural identity, ethnic and personal distinctions. All texts signalize consciousness of natural connections (similarity), but also semantic scale of differentiation, which enables to make an ideological and institutional convention of problem and in the background to think about existential questions, typical for the 60s. In the cultural studies ethnicity is considered to function in a level of local and global order. Ivan Klima, after an invocative travel book 'Mezi tremi hranicemi', in the novel 'Hodina ticha' left the existential urgency of Slovak theme and he dealt with it in the ranks of exotic regionalism. Milan Kundera turns it into topographic information and a code of mythic paradigm, Josef Skvorecky receded from the topic of Hungarian-Gipsy soul. The study shows, how the position in the 60s changed the position of Czech-Slovak cultural frame.
5
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Humor Kundery - o kilku (nie)śmiesznych tekstach

75%
Cieliczko M.
Bohemistyka
|
2015
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vol. 15
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issue 3
226 - 250
EN
The article refers to the phenomenon of laughter present at the chosen writings of Milan Kundera. Admittedly, he combines both artistic and theoretical approaches to the laughter, Kundera (and the author of the article) is interested mainly the first approach, literary one. In Kundera’s books laughter appears in many different ways, therefore author intentionally quotes a lot to give the floor to the writer. Attentive analysis of the citations and whole texts allows her to propose two lines of perception of this phenomenon: as a coincidentia oppositorum (part one: The Antipodes of Laughter) and as a “language”, specific way of communication (part two: »Dia- logues« (full of) Laughter).
6
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FRANCOPHONE POSTCOLONIALISM FROM EASTERN EUROPE

75%
Rice A.
Porównania
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2009
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vol. 6
47-64
EN
This article draws from recent research that makes an argument for studying literature from what David Chioni Moore calls 'the post-Soviet sphere' under the rubric of postcolonial theory. It contends that conceiving of countries formerly under Soviet rule as having some characteristics in common with countries once under French colonial rule can yield productive results. It is quite possible that the concentration in literary studies on relations between the First and Third Worlds has left a void with respect to the Second World, at least with respect to francophone writers. We can begin to fill this void by studying texts in French by writers from places formerly under Soviet domination, and this article examines the fictional and theoretical works of Julia Kristeva, Agota Kristof, Milan Kundera, Andrei Makine and Brina Svit. Their insights are used here to explore the extent to which intellectuals from small Central and Eastern European countries find themselves in a 'postcolonial' position - politically and linguistically - similar to that of francophone scholars and writers from the Maghreb, sub-Saharan Africa or the Antilles.
7
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FROM THE THEORY AND PRACTICE OF (AUTHORIAL) TRANSLATION (Z teorie a praxe (autorskeho) prekladu)

63%
Bednarova K.
World Literature Studies
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2009
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vol. 1(18)
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issue 3
12-27
EN
The authoress reflects on authorial translation on the background of the reception of bi- and multilingual literary production. On the example of Kundera's essayistic production in French and Czech, she demonstrates how difficult it is to ascertain the status of the text, i.e. whether it is an original or a translation. This issue is the determining factor in translating this kind of texts into a third language. It is fundamental to detect the nature and the mode of literary production in the author's bi- and multilingual situation, which is characterized by a fabric of various texts and modes of translation (pre-text, work, text, inter-text, meta-text, translation, authorial translation, second-hand translation, indirect translation), as well as the relation of the author to the text which is designated as an authorial translation, i.e. to ascertain whether it should be considered an original or not. This also bears on the instruction for translation into a third language. The authoress concludes that the theoretical reflection does not bring a clear answer, and neither so the authors who ontologically delineate themselves, define themselves in relation to the language and space, despite the openness and unlimitedness of this space, which de facto does not require this limitation. From the theoretical reflection and from the viewpoint of the text follows a notion of textual chain whose every unit carries within itself the potency of the original as well as of the translation, regardless of these chains' formation as a network or as a horizontal progression. The situation changes from the viewpoint of the author of the literary text. Ignoring the author's attitude and the status which he awarded to the original and to the (authorial) translation (which is not always the case in practice) impends that the notions of authorship and textual identity will oscillate.
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