Franz Römer: Von Rom nach Custozza
Franz Römer: Von Rom nach Custozza. Edd. Elisabeth Klecker, Johannes Amann-Bubenik. Wien, Praesens Verlag 2018. 320 stran.
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Franz Römer: Von Rom nach Custozza. Edd. Elisabeth Klecker, Johannes Amann-Bubenik. Wien, Praesens Verlag 2018. 320 stran.
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The Queen’s Court and Green Mountain Manuscripts. Ed. a přel. David L. Cooper, Michigan, Michigan Slavic Publications 2018. 234 strany.
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This paper describes the metric structure of accentual verse and its place in the panoply of versification systems. The author compares the definitions of this type of verse for both Czech and foreign authors and examines the reasons behind their differences. She describes the category of time isochrony as a feature of a language in which the tonic principle operates and presents the concept of tonism in Polish, English, Russian and German. The next section summarizes the period and contemporary reception of texts by six Czech authors (F. L. Čelakovský, K. J. Erben, P. Bezruč, F. Gellner, O. Theer and J. Kainar), whose verse is either considered by some theorists to be accentual or which has been discussed in this light in the past. The final chapter focuses on the issues surrounding translations of accentual verse into Czech and the association between tonism and the metric base of other types of verse, as well as the aural nature of accentual verse in general. It is not primarily the aim of this paper to prove or refute the existence of Czech accentual verse or its usage by particular authors. What is far more important here is the presentation of possible views of this metrical category and the quest for an answer to: a) what is and should be a generally applicable yardstick for the occurrence of a specific verse form in national literature, and b) what is the importance of objectively identifiable features of verse and on the other hand the national, cultural, historical and literary-historical context for its final designation, and thus also for the interpretation of entire poetic texts.
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Alexander Kratochvil: Posttraumatisches Erzählen. Trauma — Literatur — Erinnerung. Kadmos, Berlin 2019. 253 strany.
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Mojmír Otruba: Autor — text — dílo a jiné textologické studie. Edd. Michal Kosák a Jiří Flaišman. Praha, Ústav pro českou literaturu AV ČR 2018. 204 strany.
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Lenka Řezníková: Ad majorem evidentiam. Literární reprezentace „zřejmého“ v textech J. A. Komenského. Praha, Filosofia 2018. 255 stran.
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Jiří Trávníček: Za textem: Antologie polské sociologie literatury. Brno, Host 2019. 272 strany.
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This study deals with the reception of the Song of Songs in Czech Baroque literature, particularly in works associated with Marian pilgrimage sites. The introductory chapter is a brief summary of the three main lines of canticle exegesis; for the subject of this study the most important allegorical exposition of the figures of the bridegroom and the bride from the Song of Songs is as God and Mary. The flourishing of canticle expositions and the influence of this book of the Bible on national literatures may be documented in particular in the 12th century within the Bohemical environment and then two centuries later, and the reception of the Song of Songs peaks again in the 17th and 18th centuries. The Song of Songs was quoted by preachers at this time, and we find its verses in the names of pilgrimage guidebooks and the like. The main part of this study consists of an analysis of three works that are paraphrases of this book of the Bible or that perform substantial work on it in a different manner. The anonymous Marian song Pojďte, chvalte, ó, křesťané (Come, Praise, Oh Christians) turns the verses of the Song into the text of a collective pilgrimage song, in which elements of high literature combine with those of simple folk song. Jan Ignác Dlouhoveský quotes substantially from the Song in his pilgrimage books on the Stará Boleslav Virgin Mary, often interpreting it very unconventionally and using it to create a Marian love lyric of a courtly nature. The third work, a pilgrim’s meditative book Vera effigies by Daniel Doležal, uses the Song of Songs as a primary compositional element. This work, dedicated to the St James Pietà, is particularly notable for its application of principles of modern-period poetics (visualization and emblematics). These examples illustrate a not too well-known aspect of Baroque Marian piety and document the confrontation between fashionable poetic principles and the medieval exegetic and literary tradition.
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This study focuses on literary and film representations of the “King of Šumava” and associated narratives (state border guards and people-smugglers), examining the links between individual works and their period context and media. Attention is also focused on the intertextual “communications” interconnecting works and the relations between the individual Šumava King characters to their real-world prototypes. Emphasis is placed on film analysis and the eponymous novel Král Šumavy (King of Šumava) together with the post-revolutionary prose works Smrt Krále Šumavy (Death of the Šumava King) and Návrat Krále Šumavy (Return of the Šumava King). The concluding section articulates both the contrasting and the shared features of individual representations, which are often closely associated with the period in which any given work was written. To summarize, none of the works under review goes against the paradigm of its era, so that we may generally categorize those written before 1989 as the Communist Šumava King anti-myth (people-smuggler characters who play exclusively negative roles), while the later ones, referring to the inhumanity of 1950s totalitarianism and the need to fight against it, may be categorized as the post-Communist Šumava King myth.
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The study analyzes the transformations undergone by the topic of sadness in individual decades, paying particular attention to the discussion on “the poet’s right to be sad” in poetry reacting to the dogmatically asserted ideology of Socialist Realism in the first half of the 1950s. This discussion was initiated in Slovakia by Milan Rúfus’s poetry collection Až dozrieme (When we Grow Mature). During the 1960s the discussion over the poet’s right to be sad when confronted by civilizational threats gradually transformed into a dystopian alternative. The characteristic feature of melancholic modality during this period came to be irony. Within the Czech cultural context it is represented by Kundera’s novel Žert (The Joke), which is a reaction not only to the pioneering optimism of Socialist Realism, but also to the traditional understanding of humanism. Confronting current ecological threats, the author finds some overlap with the present in the period discussion over “the right to be sad”. In this respect he notes the term “environmental grief ”, which is now being used by the Czech sociologist Hana Librová.
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Gertraude Zand — Stefan M. Newerkla (edd.): Jezuitská kultura v českých zemích = Jesuitische Kultur in den böhmischen Ländern. Brno, Host 2018. 470 stran.
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Petr Hruška: Daleko do ničeho. Básník Ivan Wernisch. Brno, Host 2019. 700 stran.
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This study focuses on the poetic work of František Gellner. Its objective is to confirm or refute the assumption that Gellner’s work can be divided into two distinctive periods. By means of statistical tests it establishes the relevance of the differences between early (1894–1906) and late (1910–1914) Gellner, concluding that within the observed parameters (the proportion of binary and trinary metres; iambs and trochees; fourfoot and five-foot iambs; monosyllabic and polysyllabic iambic incipits; verses with and without enjambement; strophic and non-strophic poems; four-verse and twoverse strophes; alternating and couplet rhymes), statistically significant differences are identified. The difference in his first work Po nás ať přijde potopa! (After us the Flood!) and its inclination towards 1890s (and Lumír) poetics was also stablished. Attention was also focused on the difference between Gellner’s poems included in his collections and those that remained in journal publication form (triple metres as a factor supporting the inclusion of a poem in a book publication), as well as the specific nature of the epic verses (more polysyllabic incipits, more enjambement). In several places the metric similarity was pointed out between specific poems and poems by other authors (Otokar Březina, Svatopluk Čech, Josef Svatopluk Machar, Jan Neruda and Jaroslav Vrchlický).
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