![Všichni mluví, ale je to tak nějak jedno](/api/image/getissuecoverimage?id=picture_2020_60157.jpg)
Všichni mluví, ale je to tak nějak jedno
Nagy, Ladislav. Od romance k románu a zase zpět. První vydání. Praha: Argo, 2019. 158 stran. ISBN 978-80-257-3159-8.
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Nagy, Ladislav. Od romance k románu a zase zpět. První vydání. Praha: Argo, 2019. 158 stran. ISBN 978-80-257-3159-8.
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This aper contains following book review: Heller, Jan M. Obraz druhého v českém cestopise 19. století. Vydání: 1. Praha: Fakulta humanitních studií Univerzity Karlovy, 2020. 262 stran. ISBN 978-80-7571-048-2.
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This paper contains following book review: Pleskač, Karel J. Život na Měsíci: fantastický obraz. Praha: Univerzita Karlova, Filozofická fakulta, 2019. 187 stran. Limbus; 1. svazek. ISBN 978-80-7308-934-4.
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This paper aims to show how two contemporary Czech postmodern writers deal with the fictional renarration of the Libuše myth. Pole a palisáda (The Field and the Palisade, 2006) by Miloš Urban brings forth a traditional conception of the story of the princess who found herself a husband; however, the novella also uses some present-day writing techniques. Vilma Kadlečková wrote her story O snovačce a přemyslovi (The Weaver and the Premeditator, 2007 and 2015) as an answer to Urban’s adaptation and offers a completely different approach, setting the story in the near future and reversing many of its elements. Whereas Urban’s text is essentialist in nature, using ideas such as the rigid positions of the genders and an anthropocentric view of nature as its cornerstones, Kadlečková presents a work of fiction rooted in the postmodern and poststructuralist notion of social constructivism — her novella works with the idea of reality being shaped by what society believes in.
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This paper deals with the prose works of Jan Balabán. It focuses mainly on the contradictions between idealized notions of the family and relationships within it and the “reality” of the fictional world, which does not match these ideas.The methodological contribution is based on anthropological literature, mainly regarding Wolfgang Iser’s idea (literature as a medium which facilitates anthropological experience that is otherwise unattainable), but also considers the sociological theories of Zygmunt Bauman involving liquid modernity and the fixed and pure relationships of Anthony Giddens.At first glance, it would appear that Balabán’s work presents the reader with an ideal which one should strive to achieve. Upon closer inspection, however, it can be stated that Balabán is never truly literal, and that he immediately questions every path towards reconciliation. He does not offer us the ideal as an illusion, but rather the relationship of the ideal with the non-ideal, which the constant self-reflection and questioning of the characters suggest. The characters experience the incompleteness of the experienced reality of the world, and they attempt to face it via language practice and ritualized actions. These, however, more or less create the given reality.Balabán utilizes family structure and its history as a system. The relationship towards this system needs constant renewal and reinterpretation. This can, however, temporarily lead to anxiety and frustration, but repeated integration into the structure is possible, according to the prose under review, even if only temporarily.
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The introduction to this study describes the genesis of Vladislav Vančuraʼs novel The End of the Old Times (1934), which was based on a film script about Baron Munchausen. This is followed by an outline of its critical reception at the time and its historical background. It involves both the phenomenon of emigration from Russia after 1917 and the land reform carried out in Czechoslovakia from 1919 onwards. The core of the study is an analysis of Jan Mukařovskýʼs study of the novel, published in 1934 in the journal Listy pro umění a kritiku (Art and Criticism) and Mukařovskýʼs afterword to the fourth edition of The End of the Old Times, published in 1958. The author also considers both analysed texts in the context of the relevant literature.
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This study focuses on the late medieval infernal novel The Life of Adam, or Solfernus from Olden Times by Václav Hájek of Libočany (1553). The text is briefly placed within the context of medieval infernal novels, combining a biblical pseudepigraph and a legal manual. A comparison of late medieval manuscripts and Hájek’s version showed that Hájek proceeded independently as an author and stuck to the text only at the beginning. From Chapter 18 onwards he significantly modified the original text, enhancing it with new characters and dialogues, emphasizing its fictional nature by removing biblical and theological insertions, and highlighting the grotesque character of the devils depicted. One completely new element is the conclusion of the text, in which Hájek emphasizes the descent of Christ into hell and his deliverance of the patriarchs from limbo. The exquisite and unique woodcut decoration of the text, the participation of Sixtus of Ottersdorf in the editing of the text, the wording of the preface and the many allusions in the text lead to a final reflection on its extra-literary function as part of the resistance to the rule of Ferdinand I, as well as the anti-regime message of 20th century adaptations.
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Předložená studie se zabývá prozaickým dílem Růženy Svobodové z přelomu století. Romány Zamotaná vlákna (1899), Milenky (1902) a sbírku povídek Pěšinkami srdce (1902) nahlíží jako estetické jevy, jejichž prostřednictvím je možné do určité míry re/konstruovat dobovou literární rozpravu, její tendence a proměny. Výkladem těchto románů a povídek na pozadí poznatků o autorčině raném díle, jakož i srovnáním jejich časopiseckých a knižních verzí usilujeme o podchycení nových obsahových i tvárných rysů, které jsou v podstatě projevem pohybů v literárním poli. Abychom těmto proměnám co nejlépe porozuměli, zasazujeme je do širších společensko-kulturních souvislostí, jak je reflektovala dobová literární kritika. Domníváme se, že konfrontací próz Růženy Svobodové s recenzemi, kritickými statěmi, ale i díly dalších prozaiků je možné získat podklad k formulaci obecnějších závěrů, platných pro modernistickou prózu jako takovou.
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Ekokritika je relativně nový, nicméně významný a bouřlivě se rozvíjející směr zkoumání uměleckých děl zaměřující se na vztah literatury a životního prostředí. Od svého počátečního soustředění na nebeletristická líčení přírody (tzv. nature writing) ve své druhé generaci rozšířila pozornost ke všem typům reprezentace prostředí v literatuře a v médiích obecně. Daleka toho být čistě hodnotící či dokonce ideologickou metodou, ekokritika zkoumá reprezentace vztahu přírody a kultury, reflektuje propojení environmentální a sociální tematiky a analyzuje inovativní strategie narace usilující o postižení komplexních témat. V této studii se po úvodní charakteristice a přiblížení vývoje ekokritiky zaměříme na sedm současných českých románů tematizujících environmentální témata. Analýzu vybraných aspektů těchto děl — reflexe klimatické změny a environmentální krize, ekologické spravedlnosti a socio-environmentální bídy, reprezentace přírody a zpochybnění hranic mezi kulturou a přírodou — doplníme pokusem o jejich uchopení prostřednictvím konceptu hyperobjektu Timothy Mortona.
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Fragment from the Novel 'Punainen erokirja' by Pirkko Saisio.
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The concepts of “house” and “home” constitute two poles of experience which negotiate the space between economic and emotional safety. Associated with material well-being and personal relationships, they may serve as litmus-paper tests to probe the economic and personal situation of people living on a given territory. The last to-date novel by the Australian novelist Peter Carey, A Long Way from Home (2017), takes up the issue of Australia as a metaphorical home to diverse groups of people: the white descendants of British colonisers, post-WWII survivors and immigrants, and the indigenous Aboriginal inhabitants of the continent. Employing the plot of the all around-the-country car race, the novel shows how the land, seemingly homely and open to everybody, may be read as a palimpsest of trauma and pain, and quite inhospitable to many of its inhabitants. Referring to the concepts of the picaresque and chronotope, this article will argue that both the metaphoric and the literal meaning of the concepts of house and home are employed in the novel to disclose and discuss the internal and immigration policy of the Australia of the 1950s.
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Gabriele D’Annunzio strives to create an image of an extraordinary life, an original life, which recedes before the norms of ordinary existence. After realizing the weakness of the character of the esthete that he tried to realize in the novel The Child of Pleasure, he adopts certain aspects of Nietzsche’s thought, trivializing them and limiting them into his own system of concepts. His new literary character, a superman, aggressive, energetic, and vigorous, does not deny the previous image of the esthete, but sums it up in himself, assigning it a different role. The cult of beauty is essential in the process of raising the lineage in the form of a few chosen ones: in that way, aestheticism is not a contemptuous rejection of reality, but an instrument of the desire for its domination. The protagonist of The Maidens of the Rocks, Claudio Cantelmo, wants to transform the ideal wealth of the lineage into one son, who will be a superman, with whom the Latin line will reach the pinnacle of his sublimity, and at the same time, become the new king of Rome. As a result, he sets out in search of the ideal companion who possesses his identical ideal wealth of lineage, with whom he will create a successor to whom he will entrust the struggle for the restoration of the old Italian glory. The end of the novel does not lead to the realization of this plan, it is very possible that the author intended to write about it later in the next novel, since he planned to write a cycle of The Romances of the Lily that would contain two more novels. In any case, D’Annunzio seeks to glorify the joy of living, the desire for power, the spirit of struggle and self-affirmation through his own version of the myth of the superman, and rises to attack democracy and the equalizing principles advocated by the new united state and its parliamentarism, as well as business and speculative spirit. He wishes for the emergence of a new aristocracy that will rise above the multitude of ordinary people through the cult of the beautiful and through the practice of an active and heroic life.
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This paper analyzes the novel Azazeel by the contemporary Egyptian novelist, Yūsuf Zaydān, from the perspective of imagology. Although awarded as the best novel in the Arab world in 2009, Azazeel and its author have become the subject of numerous controversies. In the media cacophony about the historical reliability of the plot and the characters in the novel, the stylistically highly valuable literary text was lost as well as the potential meanings emanating from it. Creating a special spiritual bildungsroman that speaks about the temptations and the spiritual maturing of Hypa, the monk from the fifth century, Zaydān offers a complex fictional self-image. This distinctive image reveals the diversity of ideological paternalism through self-reflections of Hypa’s spiritual fathers, Cyril and Nestorius, internalization of the Other as a sine qua non of the authentic self through the character of the philosopher Hypatia, and the burden of self-realization within inner universe of the individual in the mirror of Azazeel as the intrinsic doppelgänger of the protagonist.
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Review of: Sinan Antun, Bagdadsko pričešće, prijevod Srpko Leštarić, Laguna, Beograd, 2020, str. 208 (Review by Mirza Sarajkić)
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Review of: Nichita Danilov, Simfonia mută: nuvele și povestiri, Editura Polirom, Iași 2022, p.342
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Ivan Kozlenko’s novel Tanzher (Tangier) became one of Ukraine’s biggest cultural events of 2017, vigorously debated in the country’s media and shortlisted for multiple prizes. This ambitious Ukrainian-language novel by a native of a predominantly Russophone city is simultaneously a love letter to Odesa and a daring subversion of the superficial version of the city’s popular myth, widely disseminated both by mass media and by scholarly discourse. A novel whose plot centres on two pansexual love triangles, one taking place in the 1920s, the other in the early 2000s, Tangier employs strategies of intertextual engagement and multidirectional memory to construct an alternative affirming narrative. It focuses on the episodes in Odesa’s history during Ukraine’s wars of independence in 1918–20 and the time it served as Ukraine’s capital of filmmaking in the 1920s and seeks to reinsert this queer-positive narrative into the national literary canon. This article analyzes the project of utopian transgression the novel seeks to enact and situates it both in the domestic socio-cultural field and in the broader contexts of global countercultural practices. It also examines the challenges faced by post-communist societies struggling with the new conservative turn in national cultural politics.
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The review of: Stanko Krnjić: Ostavljeni, Društvo dubrovačkih pisaca, Dubrovnik, 2022.
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The review of: Srećko Marijanović: Bezimeni, Matica hrvatska Stolac – Društvo hrvatskih književnika Herceg Bosne, Stolac – Mostar, 2022.
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This paper presents a concise comparative analysis of the novel Hotel Zagorje by Ivana Bodrožić and Zaustavljeno vrijeme by Elena Daniela Poretti, with the war-related experiences in regards to Croatian Homeland War and the Siege of Sarajevo being at its core and discussed through the following four thematic units: life in exile, maturation, waiting as a source of frustration and inability to fulfill genuine yearnings and an encounter with death. Furthermore, the novels share the idea that a war is a traumatic experience regardless of age, that the pain caused by losing a loved one never disappears, but only eases up over time, and that a war has a paradoxical effect given its power to both separate and unite. Although the wounds of war never go away completely, they are a living reminder of how we ought to become more aware of one other as well as of our very own transience if we strive for creating a better present whilst simultaneously paving the way to a brighter future.
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