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1

Proměny díla Růženy Svobodové na přelomu století

100%

Touš R.

Česká literatura (Czech Literature)

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2022

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tom 70

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nr 2

133-154

EN

The present study deals with Růžena Svobodová’s prose work from the turn of the century. It views the novels Zamotaná vlákna (Tangled Threads, 1899), Milenky (Mistresses, 1902) and the collection of short stories Pěšinkami srdce (The Paths of the Heart, 1902) as aesthetic phenomena, through which it is to some extent possible to (re-)construct the literary debate going on at that time, its trends and its transformations. By interpreting these novels and short stories against the backdrop of our knowledge of the author’s early works, as well as by comparing their journal and book versions, we aim to identify new elements in their content and form, which are essentially a manifestation of movements in the literary field.

2

Na okraj Nerudovy prózy

80%

Pelán J.

Česká literatura (Czech Literature)

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2023

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tom 71

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nr 3

344-354

EN

This article reflects on the innovations that can be noted in Neruda’s prose and which anticipate subsequent developmental phases (e.g. naturalism and symbolism). Neruda’s short stories are a combination of factual realism and authorial stylization, characteristic of what is known as the physiological sketch. The proto-naturalistic elements can be considered to be based on Neruda’s preoccupation with somewhat abnormal characters, handicapped physically or socially, a new image of eroticism, emphasizing the sexual motivations of human behaviour, an interest in the “insulted and humiliated” and Flaubert’s concept of the literary image as a sketch of “environment and passion”. As a rule, the autobiographical narrating “I” occupies the position of observer and witness for Neruda, and this “autobiographicism” effectively functions as a guarantee of the authenticity - the truthfulness, the “realism” - of what is narrated. At the same time, this “I” fully controls the narrative situation, and Neruda’s narrative mode is thus one of the most original variants of European Shandyism.

3

Proměny prózy v letech 1992 až 2018

80%

Poukarová P. , Cvrček V.

Česká literatura (Czech Literature)

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2022

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tom 70

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nr 6

678-710

EN

This study summarizes a corpus-based analysis of tendencies in register variation of Czech-written fiction texts in the period from 1992 to 2018. The analysis is based on projection of the results from a large sample of Czech prose texts (1070 texts, 12.7 mil. words) on a general register model (established by previous research using multidimensional analysis). The major tendencies found in the material are a decrease of cohesion level, addressee coding and retrospective narration, and increased polythematicity/lexical richness. These findings are supplemented by additional analyses of the role of translation, the position of a text excerpt in the original text (beginning, middle and end) and type of text in the results

4

Znovu o literární češtině Milana Kundery

80%

Štícha F.

Slovo a slovesnost: časopis pro otázky teorie a kultury jazyka (Slovo a slovesnost: A journal for the theory of language and language cultivation)

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2010

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tom 71

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nr 2

128-133

EN

This article is a reaction to the text by Z. Kufnerová (2008), in which the author presents 24 types of mistakes she found in two novels by Milan Kundera. The author of this article attempts to put forth theoretical and empirical arguments in favor of Kundera’s literary Czech and against the above-mentioned critique by Kufnerová. For example, Kufnerová criticizes Kundera for occasionally placing the focus of the sentence in the middle as opposed to at the end, as is required by contemporary Czech’s word-order norm. However, this is a highly simplified view, and the topic-focus articulation of the sentence operates in a much more complicated manner in reality. In the opinion of the author of this article, most of the points of criticism by Kufnerová toward Kundera are unwarranted, stemming from insufficient theoretical knowledge of language and its communicative scope.

5

Jak číst Vančuru? K proměnám obrazu autora ve světle (i stínech) jeho recepce (1923–1945)

41%

Málek P.

Slovo a smysl - Word & Sense

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2024

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tom 21

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nr 44

76-137

EN

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer’s first short story collections and finishing with his Obrazy z dějin národa českého (‘Images from the history of the Czech nation’). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the ‘name of the author’ in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura’s literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura’s reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura’s persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author’s image in this context all through his life as it assumed countless ‘faces’, subverting the traditional assumption of coherence in Vančura’s literary output that the concept of the author was meant to guarantee, and thus demonstrating — given the failure of this concept to bring about such coherence — how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura’s reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined.