Michal Přibáň et al.: Český literární samizdat. Edice, časopisy, sborníky.
Michal Přibáň et al.: Český literární samizdat. Edice, časopisy, sborníky. Praha,Academia/Ústav pro českou literaturu AV ČR 2018. 612 stran.
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Michal Přibáň et al.: Český literární samizdat. Edice, časopisy, sborníky. Praha,Academia/Ústav pro českou literaturu AV ČR 2018. 612 stran.
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A review with included biography of Jan Zahradníček. The review is based on following book titles: Josef Vojvodík — Jan Wiendl: Jan Zahradníček. Poezie a skutečnost existence. Praha, Institut pro studium literatury, o. p. s. 2018. 388 stran. Josef Vojvodík — Jan Wiendl (edd.): Jan Zahradníček. Čtení o básníkovi z let 1930–1960. Praha, Institut pro studium literatury, o. p. s. 2018. 578 stran.
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Petr Ingerle — Anna Pravdová (edd.): Josef Šíma. Cesta k Vysoké hře. Praha, Malvern/Moravská galerie v Brně 2018. QQQ stran
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Ve znamení „jadis“: Vzájemná korespondence Jana Zahradníčka a Františka Hrubína z let 1937–1950. Edd. Jan Wiendl, Zdena Wiendlová. Příbram, Pistorius & Olšanská 2018. 204 strany.
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Kurt Krolop: Studie o německé literatuře. Ed. Jiří Stromšík. Praha, Triáda 2018. 728 stran.
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Jaroslav Vostrý — Zuzana Sílová: České drama a český hrdina. Praha, Kant 2017. 222 strany.
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Lukáš Prokop, Ivo Říha, Jan Šulc (edd.): S iniciálami V. V. Studie, vzpomínky, korespondence, dokumenty. Praha, Památník národního písemnictví 2018. 364 strany.
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Marek Nekula: Smrt a zmrtvýchvstání národa. Sen o Slavíně v české literatuře a kultuře. Praha, Karolinum 2017. 592 strany.
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Lucie Kořínková: František Gellner. Text — obraz — kontext. Praha, Akropolis 2017. 516 stran.
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Kateřina Šimová — Daniela Kolenovská — Milan Drápala (edd.): Cesty do utopie. Sovětské Rusko ve svědectvích meziválečných československých intelektuálů. Praha, Prostor 2017. 871 strana.
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Piotr Gierowski: Praski strukturalizm. Przekroje, miejsca, tożsamości. Kraków, Scriptum 2018. 229 stran.
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Eva von Contzen — Florian Kragl (edd.): Narratologie und mittelalterliches Erzählen. Autor, Erzähler, Perspektive, Zeit und Raum. Berlin/Boston, De Gruyter 2018. 289 stran.
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Lollok, Marek. Kritika v pohybu: literární kritika a metakritika 90. let 20. století. Vydání první. Brno: Masarykova univerzita, 2019. 184 stran. Opera Facultatis philosophicae Universitatis Masarykianae = Spisy Filozofické fakulty Masarykovy univerzity, 497. ISBN 978-80-210-9416-1.
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In the novel Seventh Autobiography, writer Ota Filip established a wide range of strategies for using quotes from archival documents from the State Security Archive. The writer attempted to respond to public accusations of his collaboration with agents of Czechoslovak military intelligence in the 1950s when he betrayed his colleagues who were planning to escape to West Germany. In the late nineties this scandal led to the writer’s son’s suicide and forced Filip to write his autobiographical novel to deal with the burden of guilt. By using this quotation strategy the writer was able to reassess past events from the perspective of his current position to follow his personal and artistic development and redefine his identity following this chain of traumatic experiences. Quotation also allows us to follow the gradual interlinking of individual autobiographical motifs in wider structures and to observe the relations functioning between them, which enable the autobiographical space of the writer’s literary work to be established. An important and simultaneous process in this context is the development of literary communication between the writer and the recipient of his novel. For the first one, this is an opportunity to share his personal experience and observe how it influences the process of dealing with the problematic past. The main goal of the article is to present the essential strategies for quoting from archival documents in the text of Seventh Autobiography. The author of the study particularly emphasizes the influence of quotation in the field of relations between the actual author of the literary text and the agents holding his security files in the past and the way the disproportion in accessibility of source material on the part of the recipient of the novel influences the process of literary communication. The final result of conducting analytical activities in these fields creates a broader picture of the writer’s methods for dealing with his experiences.
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This study analyses the chromotope of the suburb of Stínadla (“The Shades”), which plays a key role in the narrative organization of the cult “Stínadla” trilogy by Jaroslav Foglar, comprising his novels Záhada hlavolamu (Mystery of the Conundrum, 1941), Stínadla se bouří (The Shades in Revolt, 1947) and Tajemství velkého Vonta (Secret of the High Vont, 1986). The spacial structure of the trilogy’s text is divided into two spheres — the suburbs separated by a boundary, with their distinctive structure. By crossing this boundary the boys in the Rychlé šípy (“Rapid Arrows”) gang enter Stínadla, a labyrinthine chronotope with radically different rules, a dangerous unknown space where they lose their bearings and continually find themselves in danger. The labyrinthine topology of Stínadla impedes the gang and causes them to get lost. As they are escaping, Rychlé šípy come across transverse passageways between individual locations. The atmosphere is another stylistic and motif-based emanation of the Stínadla chronotope. The chronotope textually constructed in this manner helps to generate the mysterious adventure story: as by crossing the boundary and infiltrating the Vont community the protagonists find themselves encountering a space where they generate the events of an adventure story. Another emanation of this chronotope is the special caste of boys who inhabit this space — the Vonts, whose character is determined by the topography and architecture of this labyrinthine suburb. The Vonts’ organization is structured on the model of a secret society with sacralized rituals. The “hedgehog in a cage” conundrum as a talisman is a sacral object symbolizing power and safeguarding unity within Stínadla. It is a mysterious object, a quest object, which sets the story in motion, as well as an object with a market value (an invention). In the trilogy the Stínadla chronotope generates three analogous plots, each of which is a mystery story built on the structure of an investigation, a quest for a mysterious object and the revelation of a dark tale from the past, in each of which the motif of the tragic demise of a boy plays a role, together with the mystery of his death and the notes he wrote before his death. The demonic Stínadla even has a destructive effect upon the Rychlé šípy boys themselves, sowing discord amongst them and an atmosphere of suspicion. For example, this chronotope even generates a dark doppelgänger of the exemplary Mirek Dušín.
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This article reflects on three recent publications dealing with broadside ballads in the Czech lands. These include a publication from regional museum collections and two exhibition catalogues. It presents the various ways of comprehending this interdisciplinary phenomenon and current research trends (research into the materiality of the prints, reflection on the musical component, multilingualism and the like). It also presents terminological considerations and reflects on the broadside ballad as part of 18th and 19th century popular culture.
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This study seeks an answer to the question when and how the Czech romantic K. H. Mácha (1810–1836) started to be seen as a “modern” poet who could inspire authors writing decades after his death. Traditionally, Mácha’s well-known influence among Czech decadents, symbolists, and impressionists of the 1890s and the 1900s leads critics to the assumption that the “real” cult of Mácha occured as late as in correspondence with Czech Modernism. However, it is also well-known that Mácha’s work was publicly acknowledged no later than in the 1850s, demonstrably e.g. by the “Máj” almanac in 1858, then by the publication of Mácha’s complete works in 1861, and by the output of poetry influenced by Mácha’s legacy in the following years. The study proves that the image of “modern” Mácha as the first Czech poet to achieve the autonomy of art already existed between 1860 and 1890, and that Mácha’s artistic reputation grew constantly throughout the second half of the 19th century. This argument is based on a vast amount of evidence, mostly taken from literary journalism and criticism between 1858 and1910 (the latter year seeing the centenary of Mácha’s birth).
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The work of Vladislav Vančura has attracted the attention of literary theorists from the very beginning. Among other attempts to get a theoretical grip, those offered by Jan Mukařovský and Lubomír Doležel provide us with two different but methodologically connected approaches to the author’s work. These represent two phases of Czech structuralist thought about literature. This study critically compares both approaches and highlights their similarities and dissimilarities.
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This study makes a contribution towards resolving the issues surrounding the interpretation of intermedia works that experimentally combine poetry, word, music and sound. The particular subject of this analysis is a project known as Scribbles by writing duo Jaromír Typt and Mi-chal Rataj, which has seen the light of day both in the form of live performances and on two albums (Škrábanice [Scribbles], Zaškrábnutí [Scribbles more]), on which the present essay is also based. Taking into account the relevant artistic contexts (sound poetry, concrete music, radio art, Hörspiel), it attempts to characterize the specifics of these poetical-musical composi-tions with the emphasis on the authorial contribution of Jaromír Typlt, while also taking into account the context of his entire oeuvre.
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Na základě dvou nových edic, spjatých s dílem a osobností Richarda Weinera, tj. edice Weinerovy francouzské korespondence s příslušníky francouzské skupiny Le Grand Jeu, vydané pod titulem Correspondances croisées 1927–1937 (eds. Erika Abrams a Billy Dranty), a výboru z raných próz připraveného Michalem Jarešem (Přetržená nit a jiné prózy), se článek zamýšlí nad vybranými otázkami, problémy a tématy, spadajícími do oblasti textologie, editologie i interpretace textu.
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