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1
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Rozpaky a zklamaná očekávání : o třech nových publikacích české medievistiky

100%
Jiroušková L.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 1
65-89
EN
The serie of reviews of Czech medieval studies publications. Pavel Brodský: Krása českých iluminovaných rukopisů. Praha, Academia 2012. 366 s. Kristiánova legenda. Praha, Vyšehrad 2012. 171 s. František Šmahel - Lenka Bobková (edd.): Lucemburkové. Česká koruna uprostřed Evropy. Praha, Nakladatelství Lidové noviny 2012. 929 s.
CS
Recenzní studie ke knihám Krása českých iluminovaných rukopisů; Kristiánova legenda. Život a umučení svatého Václava a jeho báby Ludmily; Lucemburkové. Česká Koruna uprostřed Evropy.
2
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Symbióza historie, teorie a textologie

100%
Tureček D.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 1
99-102
3
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Vícejazyčnost v literatuře : Subjektivní kritéria pro volbu literárního jazyka

100%
Kremnitz G.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 6
807-813
4
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Veleslavínská čeština a veleslavínská doba

100%
Koupil O.
Česká literatura (Czech Literature)
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2018
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vol. 66
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issue 2
263-280
EN
This article examines the meaning and origins of what are nowadays common terms - "veleslavínská čeština" (Weleslawinian Czech) and "veleslavínská doba" (Weleslawinian Period) - in philological literature between the death of the Prague printer Daniel Adam of Veleslavín (1599) and the texts of Josef Jungmann in the 19th century. Moreover, the study considers the work of Daniel Adam of Veleslavín as a language authority in this period (I). Text testimonia (in Latin, German and Czech) document the development of the idea from Balbín´s work Bohemia docta and the adoption of formulations and views among N. A. Voigt, F. F. Procházka and J. Dobrovský. Weleslawina ceased to be effective as an all-round language authority after the orthography dispute between J. Nejedlý and J. Jungmann. In many of the texts under review the name "Weleslawina" was only a symbolic representation of the entire epoch (II). The conclusion puts forward several options for the philological examination of the language of texts associated (even loosely) with Daniel Adam of Veleslavín (III).
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Obrat k matérii a afektu. A jeho problémy

100%
Matonoha J.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 4
592-599
6
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Průvodce a jeho dvojenec

100%
Šebek J.
Česká literatura (Czech Literature)
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2014
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vol. 62
|
issue 1
90-99
7
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Od radikálních reprezentací k tělesnému stávání se : Feministická filosofie Genevieve Lloydové, Elizabeth Groszové a Moiry Gatensové

100%
Colebrooková C.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 4
600-618
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Georg Kremnitz a jeho monografie o intertextové vícejazyčnosti

100%
Petrbok V.
Česká literatura (Czech Literature)
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2014
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vol. 62
|
issue 6
801-806
9
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Historia literaria v kulturách vědění

100%
Řezníková L.
Česká literatura (Czech Literature)
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2018
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vol. 66
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issue 2
293-297
10
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Obraz Salome v české literatuře druhé poloviny 19. století

89%
Šinclová S.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 4
549-571
EN
This study focuses on the ways the biblical story of John the Baptist´s beheading took on a new signifikance during the latter half of the 19th century. The focus of interest was the figure of Salome, the daugther of Herodias, whose dance in front of the tetrarch Herod brought about John´s death. Within the context of these works of world literature we shall follow the changes in the image of Salome in Czech literature, as our attention focuses on works representing various artistic schools. By examining works by such canonical authors as Jaroslav Vrchlický, Jiří Karásek ze Lvovic, Karel Hlaváček and Julius Zeyer, as well as less well-known writers, we shall attempt to present the various approaches to the biblical story, bearing in mind the realization of individual characters, the selection of the story segment that is stressed in the work, and the characteristic perspective whose use may affect the interpretation of the story and the figure of the dancer herself. By means of Algirdas Julien Greimas´s pair of actants (i.e. subject and object) we can distinguish the role played by Salome in individual narratives. We shall attempt to specify the basic trio of forms – Salome in the role of object, subject and absent within the narrative – in order to be able to depict the primary realizations of the character of Herodias´s daughter that are possible in art. Within the context of these distinctions, Salome emerges not only as a mute intermediary for her mother or a femme fatale, but also in less frequent forms in which the extent of the mother´s influence on her dancing daughter is of substantial importance, as is Salome´s realization in the form of a fille fatale, who does not even need the notorious dance to achieve her fatefulness and her influence on the tetrarch Herod.
CS
Předkládaná studie se zabývá aktualizacemi biblického příběhu stětí Jana Křtitele v druhé polovině 19. století. V centru zájmu stojí zejména postava Salome, dcery Herodias, která svým tancem před tetrarchou Herodem docílila Janovy smrti. Na pozadí děl světové literatury budeme sledovat proměny obrazu Salome v české literatuře, přičemž se naše pozornost zaměří na díla zastupující různé umělecké směry. Skrze zkoumání děl kanonických autorů, například Jaroslava Vrchlického, Jiřího Karáska ze Lvovic, Karla Hlaváčka či Julia Zeyera, stejně jako spisovatelů méně známých, se pokusíme přiblížit různé přístupy k biblickému příběhu s ohledem na realizaci jednotlivých postav, výběr úseku příběhu, jenž je v díle akcentovaný, či na příznačnou perspektivu, jejíž užití může ovlivnit interpretaci příběhu i postavy samotné tanečnice. Skrze dvojici aktantů (subjekt – objekt) Algirdase Juliena Greimase rozlišíme roli, již Salome v jednotlivých narativech obsazuje. Základní trojici podob – Salome v roli objektu, subjektu a absentující v narativu – se pokusíme dále specifikovat, abychom byli schopni postihnout základní možné realizace postavy dcery Herodias v umění. Na pozadí této distinkce se nám Salome představí nejen jako němý prostředek matky, či jako femme fatale, ale i v podobách méně častých, v nichž je podstatná míra vlivu matky na tančící dceru, či realizací Salome v podobě fille fatale, jež k své osudovosti a vlivu na tetrarchu Heroda nepotřebuje ani inkriminovaný tanec.
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Abjektivní aspekty básnické řeči Jiřího Ortena a Kamila Bednáře

88%
Brdek Z.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 1
46-64
EN
The present essay deals with the poetic discourse of Jiří Orten and Kamil Bednář round the turn of the 1930s and 1940s, when the group of young literati that both of them belonged to enjoyed public attention - particularly in connection with the discussion over the upcoming poetic generation. Artistic texts by both poets show a number of similarities, but then again quite a few differences. Rhetorical analysis and interpretation inspired by Julie Kristeva’s concept of the abject and abjection, based on the supposition that the human subject is unstable, and on the need to continually reconstruct it, points to one of the key differences between these two authors. The poetic subject in both of them often removes the barrier between the external world and himself, thus merging in with his environment. However, only in the case of Orten does this movement lead to the destruction of the subject, balanced by an opposite, self-preserving gesture of rejection, ousting or limitation, as Bednář considers a certain desubjectivization in the poetic process to be a desirable condition for authenticity in artistic creativity.
CS
Předkládaná esej se zabývá básnickými diskurzy Jiřího Ortena a Kamila Bednáře okolo přelomu 30. a 40. let 20. století, kdy se skupina mladých literátů, k níž se oba řadili, těšila veřejné pozornosti - zejména v souvislosti s diskuzí o nastupující básnické generaci. Umělecké texty obou básníků vykazují řadu podobností, ale na druhé straně také nemálo odlišností. Rétorická analýza a interpretace inspirované koncepcí abjektu, resp. abjekce Julie Kristevy, která vychází z předpokladu nestabilnosti lidského subjektu a jeho nutnosti neustálého znovubudování, poukazuje na jeden z klíčových rozdílů mezi zmiňovanými autory. Básnický subjekt obou často odstraňuje bariéru mezi vnějším světem a sebou samým, čímž splývá se svým okolím. Pouze u Ortena je však tento pohyb vedoucí k zániku subjektu vyvažován protichůdným, sebezáchovným gestem odvrhnutí, vytěsnění či vymezení se; Bednář totiž považuje určitou desubjektivizaci v procesu básnění za žádoucí podmínku autenticity umělecké tvorby.
12
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Mariánská topologie a Ornythologie

75%
Smyčková K.
Česká literatura (Czech Literature)
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2018
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vol. 66
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issue 3
335-358
EN
Jan Ignác Dlouhoveský (1638-1701) is the author of some forty works, mostly prayer books, the most important of which is the cycle, Ornythologia Mariana, dedicated to the Palladium of the Czech lands in Stará Boleslav. The cycle was evidently never completed. It was meant to comprise seven books containing the history of the Palladium, prayers, songs and other texts. Only the first and second volumes, Ager benedictionis (1670) and Zdoro-Slaviček (1671), have been preserved along with the title page of the third volume, Hrdlička (1673). In each book, pilgrims were guided by a symbolic bird - a lark, a (defiant) nightingale and a turtle-dove, and it was to be a dove, a swan, a swallow an a hen in subsequent works. This study focuses on the composition of the surviving books and the entire planned cycle, particularly on the literary creation of the “Marian Bohemia” space. The entire cycle is based on the central metaphor of a “blessed field“ (Agar benedictionis), on which birds sing. Each of these represents a particular kind of space and timeframe (e.g. a type of landscape or a season of the year), their task being basically to subordinate all human time and space to the Staré Boleslav Virgin Mary and to present Bohemia as a holy Marian land. By cleverly developing the basic metaphor and emphasizing the natural and numerical symbolism, Dlouhoveský espouses what is known as conceptual poetics, with which he creates the mythical space of “Marian Bohemia”, in which verticality plays an important role (linking heaven and earth, history and Czech holy relics). This is a dynamic space, primarily thanks to the emphasis on the time element: pilgrimages. Another important feature of “Marian Bohemia” is its centralization. It is not defined by borders, but just by a central point - Stará Boleslav.
13
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Dobrá česká kniha : kulturní rada a autoregulační tendence v českém literárním prostoru v letech 1938 a 1939

75%
Piorecká K.
Česká literatura (Czech Literature)
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2018
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vol. 66
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issue 2
214-262
EN
This study observes the process whereby the Czech cultural scene was redefined during the first few months of the Protectorate of Bohemia and Moravia. In an attempt to protect Czech culture and to preserve the autonomy of Czech institutions as proclaimed by the German occupiers, society deliberately undertook centralization and self-regulatory measures. The National Partnership (Národní souručenství), which 97% of the male population joined during spring 1939, was initiated as a part of its internal policy by the Cultural Council, which had had programmatic continuity since November 1938. Under the „new conditions“ it was meant to become the autonomous, proactive working and advisory centre for the National Partnership´s cultural and educational work. Although it had taken part in the organization of such spontaneous demonstrations as the second burial of Karel Hynek Mácha, it was soon arranging a number of promotional events in an attempt to centralize, control and regulate the cultural scene. In its cultural and political discourse it highlighted the topoi of the good Czech book, which became a symbol of resistance and a means for preserving national identity. The most successful promotional event used by the Cultural Council to take control of the entire spectrum of artistic and cultural life whithin the Protectorate was the December Czech Book Month organized in towns and rural areas. The preparations were strictly centralized and controlled, and it was only possible to exhibit books previously listed by the Cultural Council. „A good Czech book“ became a cult object, on the basis of which Protectorate society was newly defined, legitimizing it in the face of overbearing German culture and bolstering its resistance. The event also resulted in economic assistance to the graphic and book industries, while redefining the Czech literary scene and the totalitarization of Czech society.
14
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Druhý Čep

75%
Kubíček T.
Česká literatura (Czech Literature)
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2014
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vol. 62
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issue 1
35-45
EN
This study deals with the characteristic features of Čep’s style and their functions at the moment the author retreats into the anonymity of writing and distorts their primary form. The study is based on the detective story, one part of which Jan Čep writes at the behest of the publisher Bedřich Fučík as part of his promotional activities. An analysis of the author’s narrative techniques shows how Čep simultaneously abandons and confirms the formal and idea-based element of his writing, as anonymity enables him to confrontationally hone several of his views regarding the criticism of pragmatism and liberalism at that time. At the same time ongoing analysis of his positions and motives indicates that the apparent playfulness of the text conceals within itself a different form of irreconcilable position and a confirmation of Čep’s conception of the aesthetic purpose of a literary text, a conception which determines Čep’s position among the authors of modern literature.
CS
Studie se zabývá charakteristickými rysy Čepova stylu a jejich funkcí v okamžiku, kdy autor ustoupí do anonymity psaní a deformuje jejich primární podobu. Východiskem studie je detektivní příběh, jehož jednu část Jan Čep píše na objednávku nakladatele Bedřicha Fučíka v rámci jeho propagačních aktivit. Rozborem narativních technik autor studie ukazuje, jak Čep opouští i potvrzuje současně formální a myšlenkovou podobu svého psaní, jak mu anonymita umožňuje konfliktně vyhrotit některé z jeho postojů, které souvisejí s dobovou kritikou pragmatismu a liberalismu. Postupnou analýzou postupů a motivů se zároveň ukazuje, že zdánlivá hravost textu v sobě ukrývá jinou podobu nesmiřitelného postoje a stvrzení Čepova pojetí estetické určení literárního textu, pojetí, které určuje Čepovu pozici mezi autory moderní literatury.
15
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Text-obydlí – unikát ve spektru české poezie?

75%
Polách Balonová M.
Bohemistyka
|
2021
|
issue 2
EN
The The study Text-obydlí – unikát ve sprektru české poezie (The text-dwelling – rarity in spectrum of czech poetry) deals with Miloslav Topinka’s second poetry collection, whose first edition (1970) was destroyed and its re-edition was not published util 1991. In his second collection the poet uses experimental procedures (construction of text as a living space, words transformation into rats etc.) that make the collection Krysí hnízdo a unique work that stands out from general tendencies of Czech poetry of the 20th and 21st centuries.study Text-obydlí – unikát ve sprektru české poezie (The text-dwelling – rarity in spectrum of czech poetry) deals with Miloslav Topinka’s second poetry collection, whose first edition (1970) was destroyed and its re-edition was not published util 1991. In his second collection the poet uses experimental procedures (construction of text as a living space, words transformation into rats etc.) that make the collection Krysí hnízdo a unique work that stands out from general tendencies of Czech poetry of the 20th and 21st centuries.
CS
Studie Text-obydlí – unikát ve spektru české poezie se zabývá druhou sbírkou Miloslava Topinky, jejíž první vydání v letech 1970 bylo zničeno a reedice se sbírka dočkala až roku 1991. Ve své druhotině již básník naplno využívá experimentální postupy (vystavění textu jako obytného prostoru, proměna slov v krysy aj.), díky čemuž se sbírka Krysí hnízdo stává jedinečnou a vymyká se obecným tendencím české poezie 20. století a 21. století.
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Býti ismuistou! : Juvenilní básnická tvorba Vladimíra Macury = Being an ismist! : Vladimír Macura´s poetic juvenilia

75%
Janoušek P.
Česká literatura (Czech Literature)
|
2013
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vol. 61
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issue 6
854-882
EN
This study deals with Vladimír Macura, who went down in the history of Czech literature as a literary scholar and prose writer, i.e. primarily as the author of the book monograph Znamení zrodu (Signs of birth), which fundamentally transformed Czech perceptions of the National Revival, and as the creator of a number of prose works, particularly the tetralogy of historical novels Ten, který bude (He Who Will Be). However, material housed at the Museum of the Czech Literature shows that Macura was literarily active from his early childhood and became involved in Czech literature from the time of his secondary school studies in Ostrava, not only as a talented poet, but also as the co-founder of a completely original artistic school called Ismism. Hence the aim of this study is to document his early work from the first half of the 1960s and to indicate just where Macura is already "himself" at that time and also which features in his later literary activities are rooted in his human and pychological dispositions, which does nor fundamentally change.
CS
Studie je věnována Vladimíru Macurovi, který se zapsal do paměti české literatury jako literární vědec a prozaik, tedy především jako autor knižní monografie Znamení zrodu, která zásadním způsobem proměnila české vnímání národního obrození, a jako tvůrce řady próz, zejména románové historické tetralogie Ten, který bude. Materiály uložené v PNP však dokládají, že Macura literárně tvořil již od raného dětství a do české literatury zasáhl už ve věku svých ostravských středoškolských studií, a to nejenom jako talentovaný básník, ale také jako spoluzakladatel zcela původního uměleckého směru, nazvaného ismuismus. Cílem studie tak je tuto jeho ranou tvorbu z první poloviny šedesátých let dokumentovat a představit a také naznačit, v čem je Macura již v této době „sám sebou“ a tedy také, které rysy jeho pozdější literární činnosti koření v jeho lidském a psychologickém naturelu, který se s věkem zásadně nemění.
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Český literární kyberpunk a otázka žánru

75%
Kotásek M.
Česká literatura (Czech Literature)
|
2018
|
vol. 66
|
issue 3
395-422
EN
This article attempts to outline the “genre field“ of cyberpunk. It is argued that several aspects have to be taken into consideration when the field is being mapped out. In the specific case of Czech cyberpunk it is the way science fiction in general is conceived in society (both by fans and academic discourse), the level of knowledge as far as its Anglo-American counterparts are concerned, the position of computer technology within society, the publishing opportunities, and the pressure from other sub-genres of the fantastic. All this and more amounts to what the article labels as “subgenre” and concludes that, at least in the case of science fiction, a genre involves not only a reservoir of aesthetic and plot devices, but above all it is to be viewed as a culturally specific sedimentation of a historically specific cultural situation.
18
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Prolegomena k parnasismu

71%
Haman A.
Česká literatura (Czech Literature)
|
2014
|
vol. 62
|
issue 2
215-237
CS
a2_Proti ní stavěli tvarový řád a myšlenkovou propracovanost uměleckých děl, jejich estetickou ukázněnost. V našich podmínkách zaujaly tyto stylové rysy pozornost některých mladších básníků i prozaiků, kteří počali ve své tvorbě klást důraz na momenty estetické, projevující se ve snaze o vytříbenost uměleckého tvaru a o myšlenkové prohloubení a rozšíření umělecké obraznosti. Jakkoliv se jejich tvorba lišila (například co do přístupu k tématice - odtud tradiční rozlišení „národovců“ a kosmopolitů“), dají se u nich nalézt společné rysy, které jsou pro ně příznačné (důraz na estetický přístup k látce a tvaru) a nabízejí možnost zahrnout je pod společný pojem parnasismus. Z literárně historického hlediska označuje specifickou přechodovou etapu, která otvírala cestu k nástupu moderny - k symbolismu, dekadenci a secesi. Pojmu „parnasismus“ užíval v české dobové kritice zejména F.X.Šalda. Postupem doby se ztrátou smyslu pro specifické estetizující hledisko nabyl pejorativního významu; rozuměl se jím formálně umělkovaný stylový artismus , který se stal synonymem zastaralosti. Bývá neoprávněně ztotožňován s novoromantismem.
19
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Neviditelná krajina v Nezvalově poezii 20. let

63%
Čolakova Ž.
Bohemistyka
|
2018
|
issue 2
137-150
CS
What is noticeable in the 1920s, when Czech modern poetry and Vítězslav Nezval in particular express their avant-garde quests through the felicitous poetic program, is the aesthetic distancing from the romantic melancholy and respectively from the interpretation of landscape as an object of contemplation and a mediator between the human soul and the universe. The preference of poetism for civilization diversity and metropolitan dynamics and its superficial disregard for nature are the reasons why this aspect of Vítězslav Nezval’s poetry has remained outside the field of literary research so far. The main objective of this paper is to discover and outline the manifestations of artistic treatment of nature in Nezval’s poetry even when he denies its place in modern poetry in general. The paper focuses on those transformational processes of anti-mimetic nature through which the image of the landscape is no longer perceived as a reflection of the real entities of nature but as a fictional entity based on the principle of collage.
20
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Vztah mezi příbytkem a niterným světem fikčních postav v díle Arnošta Lustiga

63%
Chytilová I.
Česká literatura (Czech Literature)
|
2014
|
vol. 62
|
issue 3
410-433
EN
In our study we have focused on the space of the attic room, which presented the characters not only with a vision of refuge from the outside world, but also a place for dreaming and remembering the times before World War II. Since somebody else´s intervention they have lost their birthplace, background, and sense of security, so little by little they are coming to find and create an existence in a new space, where they usually experienced feelings of anxiety, but also fear of what will happen in the coming days. The mental pain and emptiness are very profound in the attic, which is characterized by a darkness and uninviting appearance. The room or small chamber with a dormer window in Arnost Lustig´s openings becomes a dominant space where the stories take place of characters who reflect on the meaning of their lives. The attic room, or if we want to use the term, dwelling, is a provisional/temporary place in the author´s works, where the characters will not remain forever and will never have the opportunity to settle permanently. This area is mainly inhabited by the characters of Jewish victims whose existence has no meaning, which is reflected in its own way in the room´s furnishing. The room is furnished simply, and we find only the necessities for survival. There is never a lack of a table, chairs and a bed, but we will hardly ever find other props there. The parts of each space involve things which are also involved in the overall nature of the space and thus this object enters the awarness of the characters who will use the things not only for their own needs, but these things also become a means enabling the characters to think back to past times. In accordance with the performed analysis we can conclude that the objects are not mere props that fill the almost empty space, but they are bearers of substance and they also have their own ontological existence.
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