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The basis for these reflections on the ways contact is expressed and relations are formed in correspondence is the material in the forthcoming complete critical edition of the correspondence of Karel Havlíček (Czech Grant Agency — project no. 406/12/0691). The formation of the relationship in an exchange of letters between Karel Havlíček and Fany Weidenhoffer (in the 1840s) is observed in terms of the (a)symmetry of their dialogue; the symmetry being associated mainly with the morphological and lexical elements signifying contact, the asymmetry mainly with language (i.e. Czech) and its use.
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During his lifetime, translations of Franz Kafka’s texts were published in three languages: Czech, Hungarian and Norwegian. This study examines and compares all these early Kafka translations within the context of these three linguistic and cultural-literary circles, as well as the various ways the first translators came to translate Kafka’s prose works, the context of their personal relations (or lack thereof) with Kafka, the specific nature of their translations, the circumstances surrounding their publication and the influence on Kafka’s work and subsequent reception. In the section on Czech translations (1909–1922) Jiří Soukup deals first with the anonymous translations of Kafka’s official articles — the first ever translations of Kafka’s texts, which were based on the Czech versions of annual reports (and one anniversary report) for the Workers’ Accident Insurance Company in Prague between 1909 and 1916. Attention is subsequently focused primarily on translations by Milena Jesenská, which came out in 1920 and 1922 under the titles Topič (The Stoker), Nešťastný (Unhappiness), Z knihy prósy (From a Book of Prose), Zpráva pro Akademii (A Report to an Academy) and Soud (The Judgment) in the periodicals Kmen, Tribuna and Cesta. Additionally, a translation by Milena Illová came out under the title Před zákonem (Before the Law) in the Právo lidu daily. At the end of 1922 a translation by Jaroslav Dohnal came out in the Tribuna daily under the title Závodníkům na uváženou (Reflections for Gentlemen-Jockeys), the last to be published in Kafka’s lifetime. Silvia Szarková subsequently focuses primarily on Hungarian translations of Kafka’s prose works Metamorphosis (A változás), The Judgment (Az itélet) and A Fratricide (A gyilkosság) by Sándor Márai, which were published in 1921 in the Košice dailies Szabadság and Kassai Napló. Lastly, Lucie Mittnerová deals with the Norwegian translation of Kafka’s prose work A Fratricide (Mordet) by Håkon Meyer, which was published in 1922 by the Mot Dag magazine. A comparison of these translations reveals the difference in translation strategies and Kafka’s reactions to them, while the identification of these early translations in the present study is not understood to apply to isolated cases of Kafka’s works being transferred into other languages, but in aggregate to involve the sphere of all translations of Kafka’s works, the context of which he perceived, and which were reflected back into his work. The study also comes together with a bibliography of these translations.
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The article presents an analysis of the scholarly traits of Claudio Guillén and introduces his key works.
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This analysis of the theoretical background and interpretational approaches employed by Jaroslava Janáčková in her research into literary history was written to mark her birthday. The authors highlight the researcher’s individual contribution consisting in the sophisticated method of genetic transformational poetics. They find her starting point in Vodička’s conception of literary historiography as an examination of the developmental progression of literary works arising at the intersection of genre conventions, style-formation and the communicative function of the work. The latter is examined by Janáčková both with the focus on the textual construction of the addressee in line with reception aesthetic, and from the standpoint of institutionalized literary communication. The historical poetics systematically examined in her works acquire their most recent impetus from intermedia studies.
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Tomáš Prokůpek — Pavel Kořínek — Martin Foret — Michal Jareš (edd.): Dějiny československého komiksu 20 století. Praha, Akropolis 2014. 1 088 pages.
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Tomáš Prokůpek — Pavel Kořínek — Martin Foret — Michal Jareš (edd.): Dějiny československého komiksu 20 století. Praha, Akropolis 2014. 1 088 pages.
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Karel Sabina: Osudná kniha. Tři prózy z doby reformace. Ed. Petra Hesová, komentář Petra Hesová a Václav Vaněk. Praha, Filozofická fakulta Univerzity Karlovy 2013. 384 strany.
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Eduard Kubů — Jiří Šouša — Aleš Zářický (edd.): Český a německý sedlák v zrcadle krásné literatury 1848–1948. Praha, Dokořán 2014. 745 pages.
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Jan Blahoslav: Čtyři menší spisy. Edd. Hana Bočková, Mirek Čejka. Brno, Host 2013. 320 pages.
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Paulina Bren: Zelinář a jeho televize. Přeložila Petruška Šustrová. Praha, Academia 2013. 459 stran.
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Fifth World Czech Literary Studies Congress; „Booked“ Zábrana: the first conference in Academe on Jan Zábrana
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Alena Fialová (ed.): V souřadnicích mnohosti. Česká literatura první dekády jednadvacátého století v souvislostech a interpretacích. Praha, Academia 2014. 817 stran.
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Lenka Řezníková et al.: Figurace paměti. J. A. Komenský v kulturách vzpomínání 19. a 20. století. Praha, Scriptorium 2014. 504 strany.
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Lori Emerson: Reading Writing Interfaces: From the Digital to the Bookbound. Minneapolis: University of Minnesota Press 2014. 226 stran.
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This study deals with the remediation of the event of writing, which has taken place thanks to the competition between handwriting and typewriting. The first part reflects on the gradual transformation in the technology of writing, while the second follows the way this has been understood in theory (W. Benjamin, J. D. Bolter, V. Flusser, L. Gitelman, A. Goody, C. Haas, F. A. Kittler, M. McLuhan, W. J. Ong and J. Parikka). The study is based on J. D. Bolter’s concept of remediation as a process of cultural competition between technologies. In the process of writing, real time and space become interconnected through the material and the typewriter with the symbolic space of language and ideas. A reason to reflect the cultural aspects of various technologies only arises in situations where it is possible to choose between technologies. The typewriter has made handwriting remote from the author and its external attributes have brought it closer to the printed work, while it has also become an efficient tool for the unification and multiplication of written texts. The aesthetics of the machine has brought with it an awareness that machine-created/ /reproduced print is a medium for the aesthetic function; the typewriter has become an instrument for language games and concepts leading from literature to the visual arts. From the literary studies standpoint what is essential is that the genesis of a literary work involves not only those elements required by intellectual operations, but also technical procedures. Research into literary texts from the standpoint of the technology behind writing presents a new insight into the relationship between the author and the text, and allows us to raise questions over the functional transformations and manifestations of literary subjectivity and the shifts in the genre structure of the literary field.
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The theoretical basis for this study is the literary system model put forward by Siegfried J. Schmidt. Based on his fourfold roles of action (production, distribution, reception and processing of phenomena considered to be literary), the author initially explores the main differences between the predigital and digital/postdigital-era literary systems. The substantial differences in the literary systems in both these eras include the fact that the boundaries between system segments became porous during the digital revolution, and a clear process began whereby the individual roles of action converged and the institutional aspect within the literary system was eliminated. Moreover the author focuses on a characterization of the three main processes associated with the transition of literature from the pre-digital to the post-digital era: 1) expansion of the literary system; 2) destabilization of text; 3) vernacularization of literary culture. He concludes with a question over how to methodologically deal with the radically expanded literary system and the flood of text involved. He considers the application of the concept of distant reading and usage of the tools of the digital humanities and digital literary studies (i.e. quantification analyses, statistical methods and close corpus linguistics methods) to be of relevance.
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The paper focuses on the general consequences of the “computational turn in humanities”, i.e. on the theory and practice of literature. The knowledge horizon of the contemporary humanist, as I argue, is infused with the invisible participation of algorithms, which invites us to include them in our cultural reflection. Reflecting on several born-digital works and digitally enhanced renditions of classical literature, and putting them in the context of database paradigms, object-oriented aesthetics and distant-reading methods for the digital humanities, I argue that literary studies in Central Europe can be made more visible by embracing the algorithmic aspects of both new forms of storytelling and new methods in the humanities.
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