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“It was an awful mistake with that girl. Advise me what to do.” On Jaroslav Hašek’s bigamy

100%

Czaplińska J.

Opolskie Studia Administracyjno-Prawne

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2020

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tom 18

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nr 2

43-50

PL

W artykule zostanie rozpatrzona kwestia bigamii Jaroslava Haška z dwóch perspektyw – biograficznej i prawnej. W niemal każdej biografii pisarza pojawiają się wzmianki o podwójnym ożenku pisarza, jednak często są zbywane tylko kilkoma słowami wyjaśnienia. W opinii autorki po niemal stuleciu od śmierci Haška przypadek jego bigamii wymaga dokładniejszej interpretacji.

EN

In this article, Jaroslav Hašek’s bigamy will be discussed from two points of view – the biographical and legal ones. In almost every writer’s biography, the fact of his marrying two women is mentioned, but it is also quickly dismissed with only a few words of explanation. In the author’s opinion, after almost a hundred years following Hašek’s death, the case of his bigamy deserves proper interpretation.

2

Napoléon mémorialiste, entre gloire et insignifiance ou « le plus grand homme dévoré d’inquiétude »

84%

Pohorský A.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2015

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tom Special Issue: Le monde de la litérrature

53-63

EN

During his exile at island of Saint Helena, Napoleon is condemned to look back upon his life. Le Mémorial, dictated by Napoleon and edited by Las Cases, is the very foundation of Napoleonian legend. Napoleon mentions the ingratitude of those monarchs which he installed to the throne himself and who later denied him. The work is the bases of the legend that oscillates between monarchy and citizenship, the king and the nation and the dictatorship and liberty. As a literary work Le Mémorial inspired Musset, Chateaubriand, Mme de Staël, Bourrienne, la duchesse d’Abrantès, Balzac, Mme de Rémusat and many others. It has also influenced all European cultures, including Czech literature. The one, who “changed the world” died in solitude and obscurity, in deep meditation about his own failure.

3

Sto let se Švejkem

84%

Profant M.

Filosofický časopis (Philosophical Journal)

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2021

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tom 69

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nr 3

579-599

EN

The text discusses the world of Hašek’s Osudy dobrého vojáka Švejka (The Good Soldier Švejk) and demonstrates how, in the novel, the loss of the social cohesion of the individual cultural spheres (science, religion, state), patriotism, and public forms of recognition are pictured. It argues that in the Hašek’s depiction the loss of the public role of these spheres is something that can only be denied at the cost of collaborating with the stupidity and cruelty that rules the world. It reflects on the clash and penetration of the grotesque and the ridiculous in the novel. Thematically, however, the text is oriented towards the distance that Czech public has maintained already for a century to the character of Švejk, repeatedly in this regard touching on two major interpretations of the novel by Karel Kosík and Václav Černý.

CS

Text tematizuje svět Haškových Osudů dobrého vojáka Švejka, ukazuje, jak se v něm předvádí ztráta společenské vazebnosti jednotlivých kulturních sfér (vědy, náboženství, státu), vlastenectví, veřejných forem uznání. Tvrdí, že ztráta veřejné funkce těchto sfér je autorem románu exponována jako fakt, který lze odmítnout pouze za cenu kolaborace s blbstvím a krutostí, které ve světě vládnou. Promýšlí střetnutí a pronikání groteskna a smíchu v románu. Tematizace textu je přitom orientovaná ke století trvajícímu odstupu postavy Švejka a české veřejnosti, v této souvislosti se opakovaně dotýká dvou velkých interpretací románu z pera Karla Kosíka a Václava Černého.

4

Angelo Maria Ripellino a rok 1968

84%

Pelán J.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2019

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tom 60

131-137

EN

The author examines an articles written by the Italian Bohemist Angelo Maria Ripellino during the period from 1963 to 1973 for the Italian magazine L’Espresso, in which he reported on Prague cultural and political events, and asks to what extent his renowned essay Praga magica is conditioned by the trauma of “1968”.

5

Resistance to War in Germany, 1914-1918: The Traces of the German “Schwejkiade”

83%

Ziemann B.

Český časopis historický (The Czech Historical Review)

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2016

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tom 114

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nr 3

717-734

EN

The article discusses the nature and the narrative framing of resistance by German front line soldiers against the war machine from 1914 to 1918. It develops the argument that not pacifist motives or collective anti-militarist agency, but rather individual acts of refusal and shirking had a negative impact on the efficiency of the German military. These selfish acts of soldiers who tried to save their lives culminated in the mass shirking in the late summer and autumn of 1918. The article suggests to describe these individuals acts of refusal along the lines of Jaroslav Hašek’s novel ‘The Good Soldier Švejk’, and describes them as a German version of the Schwejkiade.

6

Literary Reflections on Postimperial Violence in East-Central Europe after 1918: Wittlin – Hašek – Vančura

59%

Kliems A.

Przegląd Humanistyczny

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2019

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tom 63(1 (464))

65-79

EN

This paper discusses questions like the irony of history, the lack of illusions, and the prophecy of violence in three classic World War I novels by Jaroslav Hašek, Vladislav Vančura and Józef Wittlin, written in the decades after 1918. The novels have at least three aspects in common: first, the poetics of each is marked in a compressed way by the style of narrating the assassination in Sarajevo in 1918; second, three picaresque figures – Švejk, Řeka and Niewiadomski, respectively – standing in the centre of each novel; and, third, in addition to the war itself, each novel looks proleptically at its consequences, even if the narrated time does not extend to the end of the war. The paper tries to reflect on the novels as the literature of post-imperialist violence. Rhetorical figures of barbarization and self-barbarization, inversion of subject and object, fragmentation of space are particularly significant in the books, demonstrating the aesthetic processing of the reversal from euphoria, over the end of the war, to frustration, over the continuing violence. More specifically, these figures correspond with a remarkable degree with the unfulfilled peace after 1918.

7

A War Poet in Absentia: the Year 1918 in Jaroslav Hašek’s Literary Output

48%

Boutan J.

Przegląd Humanistyczny

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2019

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tom 63(1 (464))

81-96

EN

This article purports to give an outline of the major evolutions in Hašek’s literary output around the year 1918, a year that saw not only the end of the world war, but also, for the writer himself, the start of the Russian civil war. The Russian Revolution meant for Hašek, as he wrote in 1918, the transition from a “war between States” – or “war between Empires” – to a “war of the proletariat against capitalism”. The lack of safe information about Hašek’s biography during this short, yet crucial, period of his life does not still prevent us from retracing the repercussions of the great events of 1918 on the east front – the fall of the Austrian-Hungarian Empire, the founding myth of the Czechoslovakian Legion and the beginnings of the Soviet Union – in the literary works of an author who has been taxed for being a renegade to each of the three aforementioned causes. The particular issue of Švejk’s maturation during the war may help us to put the year 1918 into a perspective with the end (though, only to some extent) of the conflicts and the beginning (however protracted) of the post-war period. Whereas the novel was about the Good Soldier’s bursting into the conflict, this article observes Hašek himself, walking out of the world war.

8

On Fields of Bones, Headsmen and Madonnas: The Symbols and Figures of Central Europe in the Past 25 Years of Jáchym Topol’s Writing

42%

Kudlová K.

Porównania

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2020

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tom 27

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nr 2

247-263

PL

Na czeskiej scenie literackiej Jáchym Topol uchodzi za autora najbardziej zainteresowanego Europą Środkową, nieustannie rozszyfrowującego przekaz zapisany w jej bliznach i zmarszczkach. Jego stosunek do tematów środkowoeuropejskich w tekstach fikcyjnych jest zawsze oparty na pogłębionym zapoznaniu się z historią i współczesnością tego obszaru. Topol nie jest jednak historykiem: tworząc fikcję, wykorzystuje złożoną, poetycką perspektywę i osiąga autorski typ ekspresji artystycznej. Określone, powracające symbole i figury zdają się w zagadkowy sposób odpowiadać na współczesne pytania Europy Środkowej. Pierwszy z tych symboli to biblijny obraz doliny suchych kości. Reprezentuje on zarówno metodyczną przemoc w historii środkowoeuropejskiej, jak i uniwersalną odpowiedzialność. Drugi to typ postaci występującej w wielu utworach Topola: dobry kat. Uosabia on ambiwalencję czeskiego charakteru narodowego, ale również jego strategię przetrwania. Postać dobrego kata intertekstualnie łączy się z twórczością Jaroslava Haška – przyjęte powszechnie przekonanie, że „Czesi są narodem Szwejków”, zostaje doprowadzone do absurdu. Trzecim symbolem pojawiającym się w twórczości Topola jest postać Madonny, reprezentującej duchowy wymiar środkowoeuropejskiej tradycji związanej z chrześcijaństwem. Madonny – polska Matka Boska Częstochowska, wojenna Madonna w fikcyjnej współczesnej Rosji, czeska Madonna z Poříčí – tworzą chrześcijańskie „przeciw-światy”. Madonny sygnalizują niezastąpioną rolę duchowości w Europie Środkowej, jej rozwój i stałą obecność. W ostatniej powieści Topola, Citlivý člověk (wyd. polskie Wrażliwy człowiek, 2019), dzięki postaci Madonny dyskurs uzyskuje nową perspektywę.

EN

In the Czech literary scene, it is Jáchym Topol who may justly be labelled the author most consumed with Central Europe, one who is constantly attempting to decrypt the message encoded in its scars and wrinkles. His fictional treatment of Central-European themes is preceded by thorough knowledge of both the history and present state of the region. However, Topol is not merely a historian; in his fictionalising he uses a poetic, complex perspective, and arrives thus at a unique expression. Particular recurring figures in his literary work seem to answer in a riddle the questions of present-day Central Europe. First one of those is the biblical image of the field or of the pile of bones. In Topol’s writing, it represents both the systematic violence in Central-European history, and universal onus. The second recurring figure is the figure of a good-hearted headsman. In Topol’s prosaic and dramatic texts, the headsman embodies the ambivalence of the Czech national character, but also its survival strategies. It is intertextually linked to the works of Jaroslav Hašek, and brings the notion “Czechs are a Švejk-like nation” to its absurd, augmented consequences. The third figure which keeps returning in Topol’s work combines the features of a character and of a symbol. It is the figure of Madonna, representing the spiritual dimension of Central European tradition, bound to Christianity. The various Madonnas-the Polish Madonna of Częstochowa, the War Madonna in fictionalised modern-day Russia and eventually the Czech Madonna of Poříčí create the Christian counterworld in Topol’s novels, and signalize the persistent role and presence of spirituality in the region. In Topol’s novel Citlivý člověk it is actually thanks to this Madonna that the whole discourse opens to a new type of perspective.