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1

Proměna pojetí českých dějin v díle Karla Hynka Máchy

100%

Zumr J.

Filosofický časopis (Philosophical Journal)

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2010

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tom 58

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nr 3

351-362

EN

The poet Karel Hynek Mácha (1810-1836) was intensively occupied, from his university days, with Czech history, and he chose themes from Czech history in his poetical and prose works. His view of history was partly formed by his reading of the older historical sources (Hájek’s Czech Chronicles), and partly by his reading of commonly available handbooks interpreting history in the spirit of Catholic-dynasticism. A basic shift in Mácha’s conception of Czech history occurred in mid-1833 when the poet became acquainted with the almanach Mephistopheles, which was published in Leipzig by the German-language journalist and author of historical novels with Czech themes, the Prague-born Karl Herloszsohn Herlo (1802-1849). Herlo in the almanach challenged Czechs to stop believing the interpretation of history which was presented to them by official Austrian historiography, and to start to take seriously their own heroes, especially figures of Hussitism and the Czech Reformation. Mácha’s scholars have already shown the influence of Herloszsohn’s almanach on Mácha’s poetical work. The present study investigates the influence of this source on Mácha’s prose work, that is on his unfinished novel The Executioner (Kat), especially on the only part that was published in Mácha’s lifetime entitled Křivoklad. In the concluding part of the study the relation of Mácha’s worldview to Platonism is characterised.

2

Literackie ogrody Karla Hynka Máchy na tle ogrodowej koncepcji kultury czeskiej w dobie odrodzenia narodowego

85%

Pająk P.

Prace Filologiczne. Literaturoznawstwo

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2011

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nr 1(4)

97-117

EN

In the period of national revival Czechs popularize the garden conception of native culture in two variants: noble and middle-class. Representatives of the Czech patriotic nobility build in their estates sentimental parks in English style. These parks are the live monuments of great mediaeval tradition of the Czech Kingdom which is considered by noblemen to be the core of their identity. Patriotic middle-class men do not build gardens, they only use the garden metaphors to describe the peculiarity of Czech culture, especially literature. They want the culture to resemble the Biedermeier garden which joins aesthetical and pragmatic values. In both conceptions the national culture is idealized and its main task is to promote patriotism. The picture of a garden, created by Karel Hynek Mácha in several of his prose works, differs from the noble as well as the middle-class pattern of national Arcadia. Mácha passes for the only consistent Czech romantic writer and he demythologizes the revival gardens in a romantic way. In his interpretation nature is a variable, unforeseeable as well as internally conflicting phenomenon. It attracts as a source of life and freedom, but at a time it equally strongly repels because it puts to death and captivates. Human nature is the best example of this ambiguity which excludes the basis of the garden conception of culture that is the possibility of achieving the harmony between human beings as well as between human being and the nature. Therefore Mácha ironically contests the myth of garden, opposing it to the truth of nature. He transfers the attention from the garden, as the man’s seemingly perfect work, to the man, as the imperfect component of his own work.

3

Možný adresát Máchovy básně "O Muse" aneb básník mezi (duchovními) proudy:

71%

Pokorný M. Z.

Česká literatura (Czech Literature)

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2020

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tom 68

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nr 3

302-331

EN

This paper focuses on Mácha’s poem O Muse, which is generally considered to be his most mature, and possibly his last, German poem. Based on previous standpoints it is also assessed as a poem in which Mácha departs from a Christian world-view, but this conclusion is elaborated in the sense that it is a departure from the Enlightenment conception of God as the creator of a perfect world and a concerned Father. In contrast to previous research it formulates two hypotheses: firstly the theory that this is a funeral poem and that it is the poet’s farewell to A. Klar. The fact that Klar was thus the addressee of two congratulatory poems (City vděčnosti [Feelings of Gratitude] and Stimmen zur Namensfeier) and one funeral poem, and that he is described in Stimmen zum Namensfeier as the teacher who showed the author that poetry was to be his lifelong career, indicates that Klar played a much more prominent role in the poet’s personal development than is generally thought. Secondly, a comparison of Mácha’s poetics and those of the poems in Klar’s 1822 and 1829 anthologies bolsters the hypothesis that Mácha’s poetics were formed in close association with the type of poems that were personally presented to the young poet by A. Klar.

4

Máchowskie fascynacje i inspiracje Jana Čepa

70%

Seidel-Mączyńska A.

Poznańskie Studia Slawistyczne

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2011

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nr 1

EN

Among various Čep’s literary fascinations, Karel Hynek Mácha retains an important place. The Romantic writer (Mácha) and the 20th century Catholic novelist (Čep) are connected mainly by the same conception of a man in his relationship with the world and God. They share the same approach towards the passing of time, which in turn seems to be the key to being and understanding existence. The fascination dedicated to Mácha’s writing seems to conceal the vision of poets and source of creation shared by both the authors. Art and artists take on a specific role, which results from the particular spiritual predispositions of the author and from his metaphysical anxiety, which has its roots in the perception of mystery surrounding humankind and the world.

5

Přednostní vydání v české literatuře první poloviny 19. století na příkladu Máchova Máje a Nebeského Protichůdců

60%

Krouský J.

Knihy a dějiny (Books and history)

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2024

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tom 31

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nr 1-2

96-110

EN

This study delves into the unexplored topic of publishing Czech literary works in the first half of the 19th century in the form of éditions de tête. The study started by looking at the editions of Mácha’s Máj (May, 1836) and Nebeský’s Protichůdci (The Adversaries, 1844), which exhibit distinct characteristics used to differentiate the print runs of individual editions within the national literary landscape. This study sought to examine the publishing strategies employed by comparing two editions and situating them within the wider context of Czech literature at the time. Both poems were published in three versions that revealed striking analogies. The use of similar publishing strategies indicates that Nebeský drew direct inspiration from Mácha. The analysis of the editions reveals that the primary means of distinguishing éditions de tête were the printed material, bookbinding, and visual supplements. The publishers distinguished different versions by employing diverse quality levels for the printed material, various types of book bindings, and qualitative or quantitative variations in the illustrations. They not only differentiated between the more affordable version accessible to a large audience and éditions de tête with superior craftsmanship and aesthetics, but they also provided a variety of versions targeting different groups of potential readers. The study also highlights methodological challenges when researching this phenomenon. Simply examining the copies preserved in library collections is insufficient, as the distinctive features of éditions de tête can disappear over time due to reader interventions. As a result, the study needed to incorporate a wider range of secondary sources, including contemporary advertisements, literary reviews, bibliographic records and correspondence.

6

Obscénnosť v textoch Honzy Krejcarovej

57%

Zajac P.

Slovo a smysl - Word & Sense

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2017

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tom 14

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nr 28

15-24

EN

The starting point for this reflection on the poetry by Honza Krejcarová are two proposals by Roman Jakobson about obscenity. According to Jakobson, function is the ‘fundamental and intentional organizer’ of a text and the crucial marker or attribute of its ‘poeticity’. Jakobson demonstrates this on the example of the diaries by Mácha, i.e., autobiographical texts, which for him acquire a poetic function. Their obscenity is acceptable for him not on a cultural-historical, but poetological basis. Jakobson rehabilitates the poetic function of obscenity, but at the same time passes up the opportunity to demonstrate the functional difference between poetry and prose, lyrical and autobiographical genres. This reflection on the function of obscenity in Krejcarová’s poems V zahrádce otce mého (In My Father’s Garden, 1948) and in her letter to Zbyněk Fišer (Egon Bondy) and Julie Nováková (probably from 1962) is based on the double meaning of obscenity as an erotic, bodily function and as the basic existential attribute of an infamous, disreputable and/or insignificant person. Through this doubleness, Honza Krejcarová unexpectedly alludes to obscenity in the work by Božena Němcová. Finally, this reflection looks closely at the poetological difference between Krejcarová’s poetic texts and her letters as examples of the autobiographical genre. In addition, it shows how Krejcarová’s poetry, by turning around the relationship between the metaphor and the metonymy, creates a poetry of total realism.

7

Between Adam Smith and Walter Scott: Scottish Enlightenment and Romanticism in the Czech Culture of the First Half of the Nineteenth Century

51%

Procházka M.

Slovo a smysl - Word & Sense

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2020

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tom 17

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nr 2

57-69

8

Ekokritika a fáze uvědomění v české literatuře

51%

Hrdlička J.

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

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2022

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tom 32

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nr 66

95-110

EN

Ecocriticism represents a trend of thought that has been gaining ground in the Czech academic milieu, and thinking about it raises a number of questions at the moment: whether there are any local analogues of ecocriticism, whether it makes sense to transfer the theory to the local context, and what the impact of such transfer could be. The main part of the article is devoted to the different phases of ecological consciousness in Czech literature and illustrates three of them with examples: the Romantic (Mácha, Erben, Furch), the early 20th century (Deml, Neumann) and the 1980s (Páral, Juliš). The conclusion of the article focuses on the question of the awareness of the state in these different phases and its inevitable incompleteness.

9

Shakespeare and National Mythologizing in Czech Nineteenth Century Drama

51%

Procházka M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2016

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tom 13

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nr 28

25-33

EN

The paper will discuss the ways in which Shakespeare’s tragedies (King Lear) and histories (1 and 2 Henry IV), translated in the period of the Czech cultural renaissance (known also as the Czech National Revival) at the end of the 18th and in the first half of the 19th century, challenge and transform the nationalist concept of history based on “primordialism” (Anthony Smith), deriving from an invented account of remote past (the forged Manuscripts of Dvur Kralove and Zelena Hora) and emphasizing its absolute value for the present and future of the Czech nation. While for nationalist leaders Shakespeare’s dramas served as models for “boldly painted heroic characters” of the Czech past, translators, dramatists and poets had to deal with the aspects of Shakespeare’s tragedies and histories which were disrupting the nationalist visions of the past and future. Contrasting the appropriations of King Lear and both parts of Henry IV in the translations and historical plays by the leading Czech dramatist Josef Kajetán Tyl (1808-1852) and the notebooks and dramatic fragments of the major romantic poet Karel Hynek Mácha (1810-1836), the paper will attempt to specify the role of Shakespeare in shaping the historical consciousness of emerging modern Czech culture.

10

Obrazy hvězd a jisker v Máji: antropologické a ontologické výpovědi

50%

Pokorný M. Z.

Česká literatura (Czech Literature)

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2021

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tom 69

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nr 6

709-738

EN

The article explores the role played by the motif of stars and sparks in the first to third songs of Macha’s poem May. Stars appear in the first canto, both in reference to stars whose light is going out and in the form of sparks (the reflection of starlight) playing on the waves of the lake. In the second canto, the extinct (dead) star that is falling forever through dark space connotes human life exposed to nothingness. If the sparks on the lake are characterised as ‘lost light’, then, it is said, man is unable to determine which spark is a reflection of which star, and is thereby also unable to reveal the source of the light and of earthly beauty. Humans are thus unable to discern whether earthly beauty and earthly life really have any supernatural (transcendent) source.