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This paper provides an overview of the first translations of literature from Czech into Macedonian language, until today. The information about the translated literature from Czech into Macedonian language is taken from COBISS Co-operative Online Bibliographic System and Services of the Republic of Macedonia.
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This paper deals with the reception of the novels and short stories by the great Check writer Bohumil Hrabal in Macedonian culture. His poetic and style are very specific, so that the translation of his works is very serious and complicated issue. One of the best translators of his prose in Macedonian is Donka Rous. Still, there is a possibility for further discussion on some particular translational solutions. In this paper the focus is put on the translation of the term “pabitel” which is one of specific Hrabalian expressions.
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Çek asıllı Fransız uyruklu Milan Kundera'nın ve yurttaşlarının 1968 Rus Komünist işgali sırasında göç ettikleri ülkelerde ve Çekoslovakya’da yaşadıkları türlü sıkıntıları, sorunları, olumsuzlukları, bunalım ve kırgınlıkları öyküleyen anlatı-roman türünde bir yapıt. Rus işgalinden sonra sığınmak zorunda kaldığı Paris'te uzun süre yaşadıktan sonra ülkesine dönen romancı, olumsuz anlamda karşılaştığı değişiklikler karşısında acısıyla bir "düşüş" ortamı yaşar. Geriye dönüş tam bir ruhsal yıkım olmuştur Kundera için. "Büyük Dönüş" diye adlandırdığı eve dönüş, kırgınlık ve pişmanlıkla sonlanmıştır çünkü. Bu anlamda da roman Truva savaşı nedeniyle ülkesinden uzak düşen ilk sıla kurbanı Odysseus’un yirmi yıl ayrılıktan sonra ülkesi "İthak" yarımadasına dönüşüne bir gönderme yapar. Odysseus, çok büyük özlem duyduğu, acılar çektiği ülkesine dönüş sürecinde büyük uğraşlar vermiş, türlü acılar çekmiş ve çetin işkenceler görmüştür.
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The text is a reflection of a well-researched professional publication by Tomáš Rataj České země ve stínu půlměsíce (Czech Lands in the Shadow of the Crescent, 2002). After a multilateral acknowledgement of the book, the author fills in relevant items written by some of the staff of the Faculty of Arts MU, some of which were published only after the publication of Rataj’s work. Additionally, she refines, with reference to the study of Jan Kumpera (1994), the existence of a translation of the Bible into Turkish initiated by Comenius, namely its printing in the 19th century. At the end, the author mentions her personal teaching activities on the topic in the context of the honoured person of Jan Zouhar’s personality as a pedagogical ideal.
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In the current public and political discourse, various devaluation behaviours are often verbalized in communication interaction, the aim of which is to stigmatize the opponent, to ridicule him or to exclude him. The most common type of this verbalization are various labels. Labels can have the form of nicknames, which characterize persons according to their occupation, features, origin, or they can be also created by changing first names and surnames (Krnda, Mluvčáček, Pitomio). We also encounter derivatives from proper names (havlista, klausoid, zemaniak), which most often refer to the followers of prominent figures in public life. A large group of labels then consists of derivatives from common names, which often contain negative or highly negative (hateful) evaluations (dobrotrus, pravdoláskař, sluníčkář, pražská kavárna). Within the theoretical reflection of this linguistic behaviour, contemporary linguistics can use the originally sociological theory of labelling, possibly interpret these phenomena as manifestations of a specific discursive strategy based on eristic dialectics (argumentum ad hominem, ad personam, ad populum), and violation of the cooperative principle and politeness principle in communication. The paper is based on the analysis of the Czech language material.
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The topic of the article is the comparison of selected aspects of contemporary Czech and Polish political language concerning naming. The analysed units come from social networks – Facebook and Twitter – from posts of selected politicians published between January 2019 and December 2020. The material was divided into five groups relating to: nicknames of politicians and public figures, names denoting political affiliation, names related to the European Union, the media and the opposition ‘us’ and ‘them’. The aim of the comparative analysis of the word-formation patterns used by the two languages is to indicate the similarities and differences between them.
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The democratic changes in Poland in 1989 marked the beginning of fair competition between political parties, and thus the emergence of the previously absent language of advertising in Polish politics. On this ground, the former monopolist – the communist Polish United Workers’ Party, and its heir, the Democratic Left Alliance consisting of the minor post-communist and newly formed parties, had to find their own place. The article describes how in the linguistic field it was possible to make such credible changes from the Newspeak straight from the communist times of the Polish People’s Republic to the modern campaign language (a manifestation of which is still considered one of the best election slogans: „Your heart is on the left side”) that the victory for post-communist formations was possible in the parliamentary elections already in 1993, and made them credible as an equal player on the Polish political scene.
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The study deals with an interpretation of a play by František Hrubín, Křišťálová noc. The year 2021 will mark sixty years since its premiere on the stage of the National Theatre in Prague. The present work discusses the public reception of the drama right after the release and its standing in the context of contemporary theatre with a special account of the response after the ambitious Prague staging in Švando vo divadlo in 2011. The significance of this almost forgotten play by Hrubín lies mainly in presenting non-idyllic characters along with the theme of the revolting youth and provocative daily ordinariness introduced to the Czech theatre by Hrubín at the beginning of the 1960s.
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Příspěvek se zabývá nedospělými autory (tedy těmi, kteří své literární dílo vytvořili a publikovali v době své nezletilosti) v české literatuře mezi lety 1989–2015. Příspěvek má za cíl odhalit a shrnout, kolik nedospělých autorů se v české literatuře v daném období objevilo a působilo, jakým způsobem své dílo publikovali, jaké je v jejich dílech poměrné zastoupení odborné a krásné literatury, ale také poezie a prózy, a rovněž jejich rozvrstvení na časové ose – zda se v průběhu uvedených let 1989–2015 výrazně měnila intenzita jejich publikačních aktivit.
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The cruel experience from the First World War was reflected in the work of a number of Czech writers. Fráňa Šrámek was one of the participants in battles at the front and his personal experience from the war left its mark on him. The article deals with Šrámek’s prose as well as drama work which has war and war topics in the foreground. We believe that this issue has not yet been sufficiently addressed. Dramas including “Hagenbek”, “Zvony” and “Soud”, a collection of stories“Žasnoucí voják”, selected letters from the war “Listy z fronty”, and a novel called “Tělo” will be researched. The aim of the article is to introduce Fráňa Šrámek not only as a poet of “youth” but to show to what extent the war experience was reflected in his work.
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The author of the study elucidates the travelogue as a genre, imagology, and Czech-Slovak relations. She links these topics towards the end where she explores the spread of Czech-Slovak reciprocity via travelogues. The main emphasis of the research is put on a selected travelogue, Wanderings across Slovakia written by Rudolf Pokorný, that provides a basis for this work. Pokorný analyses the mutual relations behind Czech- -Slovak reciprocity that have been influenced by the historical development and the socio- -political situation in the last third of 19th century. However, it was the language that was a key to the understanding of this relationship. This extensive two-part travelogue contains a considerable number of plausible records, that elucidate and illustrate not only personal contacts and relations among individual representatives of national life, but they also represent a valuable historical material in connection with ethnography and the authentic life of ordinary Slovak people.
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The aim of the research is to include Anna Horáková-Gašparíková in the context of Czech-Slovak historiography and to analyse her historical work with the intention to point out the fact that her work is predominated by factography, objectivity and a historical-documentary line. The subject of the analysis is her work published by the press, unpublished articles and notes regarding historical works deposited in the Literary Archives of the Slovak National Library in Martin. At the same time, it is about pointing out relations with the representatives of the current scientific scene which influenced her work. As a source document for the analysis of Anna Horáková-Gašparíková’s contacts with the historical community, we used diaries from the Masaryk family house, taking into account that they were written by the author herself and thus they are subjective to a large extent. In the paper, we point out that Anna Horáková-Gašparíková was more of a historian than a writer and in her historical works, the facts prevail over her significant literary talent.
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Příspěvek se zabývá proměnami literatury tematizující přírodní národy a jejich kultury (tradice, obřady, rituály apod.) po roce 1989. Cílem příspěvku je zachytit a popsat zejména tranzitivní období devadesátých let dvacátého století, na jehož konci tematika přírodních národů opustila hájemství literatury odborné, populárně-naučné či cestopisné a pronikla do umělecké prózy.
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The aim of this article is to demonstrate the importance of paratext in interpretation of a literary work, in particular, to underline the close connection between the text and its title. This is demonstrated on the example of Moskva – hranice (Moscow—the Border, 1937), a novel by a Czech writer Jiří Weil (1900–1959). The title originally intended by the author, Ještě je Moskva (It is still Moscow), carries enormous importance for the interpretation of the novel.
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This article deals with characters from Slavonic, predominantly Czech, legends that occur in texts of contemporary fantasy writers. The comparision is made between individual characters and their actions in legends and in contemporary texts. The similarities and differences between them are, subsequently, laid out. The changes characters have to undergo in order to become fantasy heroes and modern versions of themselves are mapped out as well.
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The paper is focused on the character and the space in the Slovak literary realism. These significant attributes are compositional joined. For writers of this period—M. Kukučín, K. V. Rais—autobiographical elements are characteristic. Both authors pointed to (de)formation of characters influenced by reality of that time and mainly by the space. It reveals their essence of the interpersonal relations that are reflected from many aspects. Realistic picture of the village was for these writers not only cliché. The village was not only (literary) home, but it gives space for psychological analysis of characters.
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Příspěvek se zabývá zkoumáním podoby identity v kontextu fikčního světa literárního díla Doupě české autorky Jakuby Katalpy. Prezentované pojetí osobní identity je inspirováno teorií mezních situací existenciálního filozofa Karla Jasperse a konceptem narativní identity Paula Ricoeura. Příspěvek vychází z podrobnější studie, v níž je vlastní přístup k problematice identity a k procesu identifikace aplikován na další literární díla současných českých autorek.
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Léta Protektorátu Čechy a Morava přinášejí jako jednu z nejvýraznějších kulturních tendencí historismus. Přichází vlna reedic starších děl převážně z 19. století, ale vzrůstá i čtenářský a odborný zájem o památky období středověku či baroka. Českou minulost aktualizují některé sbírky veršů a mimořádnou pozornost si získává historická próza. V meziválečném období se octla na okraji zájmu, nyní je však plně rehabilitována a patří k literatuře nejsledovanější a nejhojněji vydávané. Škála vytvořených děl je velmi kvalitativně široká, sahá od knih vyloženě triviálních přes „solidní lidovou četbu“ až po umělecké špičky.
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Film Marijka nevěrnice z roku 1934 (dále jen Marijka) je v mnoha ohledech výjimečným uměleckým počinem. Dokazuje to mimo jiné cena za DVD v kategorii Nejlepší znovuobjevený film na mezinárodním festivalu Cinema ritrovato v italské Bologni v roce 2010. Tato cena se uděluje filmům, které byly ve své době něčím výjimečné, a tato výjimečnost trvá i v současnosti (Štráfeldová 2010). V dobové české filmové produkci Marijka téměř nemá obdoby, což se odráží i v její rozporuplné recepci. V záplavě prvorepublikového filmového kýče neuspěla ani u diváků, ani u filmové kritiky. V kontextu současného filmového umění je vnímána jako nezávislý film. Ivan Klimeš (2003, s. 161) onu nezávislost spatřuje v oblasti stylu, produkčních podmínek a politické orientace. V uměnovědné perspektivě představuje tento film aktivity umělců kolem Vladislava Vančury v přímém přesahování k jiným druhům umění, a to nejen k filmu (scénář, filmové libreto, režie), ale také k výtvarnému (filmový obraz) a hudebnímu umění (filmová hudba). Marijku tak můžeme považovat za mimořádný intermediální projekt, v němž se díky jeho tvůrcům spontánně propojilo několik druhů umění, aby vytvořilo umělecky působivou a vizuálně autentickou výpověď o životě na Podkarpatské Rusi.
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DIPLOMOVÁ PRÁCE: Vančura – beletrista v zrcadle soudobé kritiky. Brno: FF UJEP, 1974; vedoucí prof. PhDr. Josef Hrabák, DrSc…
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