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K FILOZOFICKÉMU DISKURZU LITERÁRNEJ MODERN

100%

Kopecká Z.

World Literature Studies

2021

tom 13

nr 4

142 - 149

In this study, we define philosophical discourse as one of the dominant discourses of literary modernism, whose specific authorial expressions depend primarily on the concentration on man and his inner world. This subjective world was strongly marked by the disintegration of universalism, which resulted in value relativism and the search for new “truths” capable of establishing a lost order (on a transcendental or rational basis).

The Mirror Image of Josef Bašek: On Human Metamorphosis in Egon Hostovský’s Novel Ztracený stín (1931)

100%

Kopecká Z.

Slovo a smysl - Word & Sense

2022

tom 19

nr 39

161-172

The sphere of art, which became highly personalised after the First World War, reflects the state of fragmentation of society into individuals and their inner world. In Egon Hostovský’s novel Ztracený stín (Lost Shadow, 1931), this phenomenon appears on various textual levels, but the dominant realm, reflecting the chaos of the world as well as of the inner self, is the level of motifs in the author’s poetics. In the process of self-identification of the main protagonist Josef Bašek, the rupture in his psychological experience is encoded in the recognition of his own deformed image, the new identity of the double, in the mirror. The author thus reflects the disintegration of an integrated structure in two directions. On one hand, the external world foments an individual metamorphosis of personality, while on the other this is no longer merely a matter of the human inner self and psychological experience, but in its deformed aspect becomes a visible component of the fragmented society within which the protagonist operates.

Philosophical Meta-Story about The Little Prince as a Synergy of Book and Film Industries: On the Possibilities of Film Adaptation of Literature for Children and Youth

63%

Rusňáková L. , Kopecká Z.

Communication Today

2022

tom 13

nr 1

74-91

The present study explores the ways in which children’s and young adult literature is adapted to film, as these stories allow the autonomous world of childhood, distinctly different from the adult perspective, to emerge. At the same time, however, literary testimony presented through children’s perception and interpretation of reality can bring contemporary social or existential problems closer to the adult reader through imagery accessible to people of all ages. A representative result of the confrontation of the children’s and the adult world is also the literary work of the French writer Antoine de Saint-Exupéry, originally intended for children. The depth and topicality of the philosophical fairy tale The Little Prince (originally in French, Le Petit Prince, first published in 1943) lie in the fact that it is one of the world’s most translated fairy tales, which has been the basis for numerous dramatic adaptations, re-editions and film adaptations. The main aim of the study is, therefore, to clarify the way the philosophical metanarrative of The Little Prince is expressed in the literary source and in the audiovisual film of the same name, The Little Prince (Le Petit Prince, 2015, directed by Mark Osborne). In order to achieve this goal, we apply a narrative analysis of both research materials based on analytical categories defined in the methodological section of the study. The identification and subsequent comparison of the chosen analytical categories is the starting point for determining the mode of filmic adaptation of the literary subject matter. The categorisation of film adaptations of literary works according to L. Giannetti and T. Leitch becomes the focus. Within the theoretical delineation of the issue under discussion, we point to its interdisciplinary character (the ‘intermingling’ of media and communication studies, literary criticism, but also media philosophy, film studies and other related disciplines), emphasising the cultural overlap of the philosophical metatheory of The Little Prince. This timelessness opens up space for further research into the possibilities of the story’s cinematic adaptations and interpretative planes. Characteristic logical-conceptual procedures are employed to achieve the stated aims.