The Oxford Handbook of Adaptation Studies
The review of: LEITCH, Thomas, ed.: The Oxford Handbook of Adaptation Studies. New York: Oxford University Press, 2017. Oxford Handbooks. 784 s.
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The review of: LEITCH, Thomas, ed.: The Oxford Handbook of Adaptation Studies. New York: Oxford University Press, 2017. Oxford Handbooks. 784 s.
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The review of: Irena Prázová, Kateřina Homolová, Hana Landová a Vít Richter: České děti jako čtenáři. 1. vyd. Brno: Host, 2014, 136 s. ISBN 978-80-7491-492-8.
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Although Patočka did not develop a systematic theory of aesthetics, he wrote numerous texts that together make up for his "philosophy of literature" as he himself called it. He creates a highly personal corpus of writers, a corpus that reflects his own philosophical positions. He dedicates a highly committed, indeed political interpretation to the works of Ivan Vyskočil, where he focuses on the description of mechanisms of power and its abuse. The political, civic dimension of Patočka's literary criticism, where he does not shy away from contemporary polemics, contradicts the largely shared idea of Patočka's late commitment to political debate. The persistent presence of the figure of Socrates in his texts, as a symbol of the philosopher's role in society, further refutes the notion of an apolitical nature of Patočka's work prior to Charter 77. The topic of "selling one's soul" that Patočka explores in his texts on Faust could be seen as the reverse side of caring for one's soul and a complement to his philosophical texts on the soul by Plato dating from the same period. Patočka's texts on literature and art, where we can see Patočka's philosophical concepts in action, coming alive in concrete literary interpretations, might be a refreshing, alternative port of entry into the complex but coherent and extremely rich Patočka's intellectual universe that still maintains its surprises and topical appeal today.
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This article considers Patočka's phenomenological account of literature in "The Writer's Concern" to defend the idea that literary writing offers a distinctive philosophical contribution. In this text, Patočka gives the writer a special claim on the activity of world disclosure and suggests that literature may offer a glimpse out of the techno-scientific framework that dominates contemporary life. I examine both science and literature as modes of relating to the world, raising questions about the distinctiveness of each and their use of the written word. Finally, I locate the philosophical advantage of literary writing in Patočka's dual claims about literature: that it offers "an individual capturing of life's meaning" and that it presents "the world" as an "undivided" whole.
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The Czech philosopher Jan Patočka (1907–1977) knew the representatives of the Prague Linguistic Circle (e.g., Vilém Mathesius, Roman Jakobson and Jan Mukařovský) well, but they never established closer scholarly cooperation. The aims of this study are 1) to present Patočka's views on structuralism, 2) to outline Patočka's relationship to Czech structuralism, and especially with Jan Mukařovský. If Mukařovský can be considered one of the leading representatives of Czech structuralism and analyticstructural thinking about art, Patočka was a thinker who sought a synthesizing philosophical approach.
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To come up with a satisfactory explanation for the gradual shifts between artistic styles and eras in art and architecture would be like finding the holy grail of art history. Winckelmann, Riegl, Wölfflin, and Semper, for example, attempted to go beyond simple description of composition and theme in art, suggesting, instead, that changes in style could be explained by means of general principles. This step transformed art history from simple expertise into genuine scholarship. In his articles from the 1960s Jan Patočka sketched his own phenomenological conception of art history. He did so by frequent reference to Hegel and Heidegger. Nevertheless, Patočka's categorisation of art into periods of imitation and periods of style seems incompatible with his other categorisation of art history into the artistic and the aesthetic era. Moreover, his essays leave one question unanswered – namely, whether the difference between any two periods originates exclusively from various interpretations and cultural contexts or rather from more profound ontological reasons. In this article, I suggest that the critical reception of Ingarden's aesthetics in Patočka's essays from the 1970s deals with some of the problems of his previous conceptions of artistic styles and eras.
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Špirit, Michael. Textologie dnes: (příručka pro začínající editory). Vydání první. Praha: Ústav pro českou literaturu AV ČR, v.v.i., 2019. 267 stran. Varianty; sv. 12. ISBN 978-80-88069-90-4.
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Novák, Jan. Kundera: český život a doba. První vydání. Praha: Argo, 2020. 879 stran, 32 nečíslovaných stran obrazových příloh. ISBN 978-80-257-3215-1.
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The Irish writer Oscar Wilde was extremely popular in Croatian culture in the first decades of the 20th century. Although Croatian writers of that time generally did not read the original works of British authors but rather their translations, Wilde’s popularity in Germany and Vienna sparked interest in his works among the Croatian readership and spectatorship. This paper explores the translation of Wilde’s Salomé from German by Julije Benešić and Nikola Andrić, and the complex influence that this translation had on Croatian literature of early modernism, relying primarily on the interpretation of the same motif in the texts of young Fran Galović and Miroslav Krleža. The paper argues that the influence of Wilde’s aestheticism is visible not only in the adoption of typical motifs, characters, or atmosphere but also in the autonomous and self-reflective language play in Krleža’s texts.
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Contemporary Russian-language dramatic texts are both textual and inter-textual. In recent years, virtual space has increasingly become the subject of works.The texts begin to resemble Internet creativity, describing not so much real interper-sonal relationships as the activity of social networks users. Dramatic texts cease to bea representation of the real, extra-linguistic world, as well as an image of the cultureassociated with this world, but increasingly create a simulation of reality in virtual space.These processes are described based on the example of plays by young Russian-speak-ing authors: Valery Pieczejkin, tester 1998, Alexander Seredin, and Alexei Bytiucki.The works in question were presented to a wide audience during subsequent editions ofthe Festival of Young Drama “Lubimowka”.
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Ananda Devis’s Manger l’autre (or “Eating the other”), published in 2018, is a western novel in its description of places as well as in the sociological issues it covers, but it remains nevertheless a very insular novel, although not necessarily limited to Mauritius. This study aims indeed at uncovering a different type of insular poetics in Devi’s writing, one that is constructed around a contextualised intertext made out of À l’autre bout du monde (1979), a Mauritian novel about exile which is being pursued, and of Paul et Virginie (1788), the founding novel of Mauritian literature. The theme of the obese character’s isolation and her relation to the outside world is not just a playful echo, it translates the fundamental isolation of the islander.
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Manger l’autre (2018), a complex portrayal of contemporary paternity, is full of ambiguities when it comes to the role of the father in his daughter’s dramatic descent into hell. Far from the tormentors present in La Vie de Joséphin le Fou (2003) or in Le Sari vert (2009), the father figure is here associated with love and empathy. And yet, none of those qualities can absolve men in Ananda Devi’s world. In yet another stigmatization of patriarchy, the novelist transports us into the morbid world of obesity, school based harassment as well as the reservoirs of hate that lie within social media. In this context, this paper attempts to show the various techniques used by Ananda Devi to reach her main objective: the failure of the father whatever he does.
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The present study aims to examine the representation of the female body as well as the food in two novels of Ananda Devi: Le Sari vert and Manger l’autre. The food and the female body have a close relationship in these two works, food is often used to describe the female body, making of women something that is consumed and cleared out. Food is defect, affront but in the same time loophole and revolt for Devi’s women. Thus, this analysis of the body from the point of view of food, allows the reader to see that the female body is considered as consumable, which has a strong impact on identity.
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Inspired by Devi’s Ceux du large (2017) and by authors connected to her, a performance has been created by the author, who was to conduct an oral creative workshop among whose participants were young immigrants. Trying to take into account both dimensions of such an artistic but also human experience, the text points out the links between Ananda Devi’s words and the young immigrants’ ones, and also the influence of having read them on the way to lead the workshop. But, above all, it shows how such a poetic writing is necessary not to reduce migration to a simple and measurable fact.
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In response to the current pandemic, novels with a pandemic crisis topic are being created in contemporary Austrian literature. The article analyzes how the current pandemic is presented in literary terms and how the resulting crises are dealt with in Marlene Streeruwitz’s novel So ist die Welt geworden, Maria Jelenko’s Quarantäne and Peter Zimmermann’s Corona 2021. Beginn einer neuen Welt in terms of literary aesthetics. Answers are sought to the questions of how restrictions in public life are perceived and to what extent literary depictions of crises can offer potential.
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In Japan, as in many other countries all over the world, the sixties were a period of drastic changes. Fifteen years after the end of the Second World War, the country started to get back to a routine existence. This paper is focused on the Japanese representations of Samuel Beckett’s Waiting for Godot which was translated into Japanese in 1956 by Shinya Ando and was performed in Japan for the first time in 1960. In this paper, I also want to present the public perception over Beckett’s play during the last decades, according to the Japanese traditional theatre formulas. Waiting for Godot was presented as an experimental theater performance of the Bungakuza, Shingeki main theater. Therefore, play was often regarded as dark, difficult to grasp and meant for an intellectual, elitist audience. According to one of the most important specialists, Beckett uses the biological word « symbiosis » with a special meaning: during a crisis, the presence of another person let both of them support each other, allows them to « stand on their own two feet » in this absurd world.
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The rowdy character is very common for the contemporary theatre in Quebec. In La Hache, written by the contemporary dramatist from Quebec Larry Tremblay, some very are exposed the diverse characteristics are exposed (obsessions, extravagance, excessive talkativeness, excess, lucidity, grotesque, grotesque, disillusionment). The paper will prove that readers and audiences are about to see how this character - enriched with contemporary theatrical aesthetics - is jostling with the styles of acting.
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