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1

No man‘s land? : bibliofilie VŠUP z šedesátých let jako možnost specifické alternativní publikace

100%

Košnarová V.

Česká literatura (Czech Literature)

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2017

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tom 65

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nr 1

72-89

EN

Using available oral and written sources, this study attempts to at least partially reconstruct bibliophile activities at the Academy of Arts, Architecture and Design, which primarily took place at František Muzika’s studio in the form of Edice speciálky Františka Muziky (František Muzika’s special studio series) between 1949 and 1970; it also takes relevant account of the bibliophile editions involved in final year and diploma work at Karel Svolinský‘s studio. The fact that these works included a number of titles, authors and/or débuts (Vratislav Effenberger, Karel Hynek, Jiří Kuběna, Věra Linhartová, Milan Nápravník, Ladislav Novák and Jan M. Tomeš, Texty experimentální poezie - Experimental poetry texts), which at that time were difficult to publish, indicates that there were other alternative publication space cases apart from "pure" samizdat. Hence the text also implicitly makes a contribution towards the study of "grey zone" issues that have not previously been comprehensively charted.

CS

Studie se s využitím dostupných orálních a písemných pramenů pokouší alespoň částečně zrekonstruovat bibliofilskou činnost VŠUP, vzešlou především z ateliéru Františka Muziky v podobě Edice speciálky Františka Muziky vycházející v letech 1949-1970; v relevantní míře ovšem přihlíží rovněž k bibliofiliím vznikajícím jako závěrečné ročníkové a diplomové práce v ateliéru Karla Svolinského. Fakt, že se mezi těmito pracemi objevila řada titulů/autorských osobností a/nebo autorských debutů (V. Effenberger, K. Hynek, J. Kuběna, V. Linhartová, M. Nápravník, L. Novák, J. M. Tomeš, Texty experimentální poezie), které by v dané době bylo oficiálně těžko možné vydat, ukazuje, že existovaly i jiné případy alternativního publikačního prostoru, než byl "ryzí" samizdat. Text se tak zároveň implicitně stává i příspěvkem ke studiu dosud stále komplexně nezmapované problematiky tzv. šedé zóny.

2

Vydávání a interpretace Patočkovy pozůstalosti: Pokus o znovuotevření diskuse

71%

Homolka J.

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tom 65

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nr 6

941-955

EN

This discussion study has the aim of reopening the debate about the publishing and interpreting of the work of the Czech philosopher Jan Patočka (1907–1977). The piece is divided into three inter-related steps: 1) Firstly, attention is paid to the specific character of Patočka‘s nachlass, most of which was originally preserved only in manuscript form and which is broken up into several thematic areas. 2) Next, the piece examines the extended endeavour to work on the nachlass and to publish it. Special attention is given here to the Czech edition of Patočka’s Collected Writings, which have not yet been completed, and around which there have developed a series of stormy discussions. 3) In connection with this, it is argued that those who wish to interpret Patočka’s work in their own way face similar problems to the ones faced by the editors of the Collected Writings. The piece shows, at this point, that the problems associated both with the publication and with the interpretation of Patočka’s work stem from the very specific character of Patočka’s nachlass. So if we wish to find our orientation in Patočka’s extensive work, and to understand it, it will be necessary to take account of all the personal, socio-political and intellectual contexts in which it arose. In conclusion, therefore, the piece calls for a thorough and complex treatment of Patočka’s biography – work which should not be only a matter for philosophers, as hitherto, however, but also for historians.

3

Evokace, inspirace, dedikace — zmínky o Honze Krejcarové v díle Egona Bondyho

67%

Machovec M.

Slovo a smysl - Word & Sense

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2017

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tom 14

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nr 28

81-87

EN

Egon Bondy’s poetry, fiction, and even philosophical essays contain a lot of factual remarks, both explicit and anonymous (albeit quite transparent), on the woman he met by the end of 1948 and with whom he was in a love-affair for many years. However, Honza Krejcarová seems to have inspired Bondy in a number of other cases. Some fictitious female characters in his literary work are likely to be shaped by the image the poet had created about his ‚femme fatale‘. On the other hand, Krejcarová’s own literary heritage is comparatively modest in its scope. The voluminous ‚letter to Egon Bondy‘ (1962), together with the memoir biography on her mother Milena Jesenská are very important among her works. In the letter, she expressed the gist of her aesthetics and ideas; only in her private correspondence — contrary to her works of fiction published in the sixties — could she write openly, without the interference of any censorship and self-censorship.

4

Povaha písma, jeho meze a nosiče : výpisky a poznámky k historickým aspektům mediální dimenze psaní a literární komunikace

51%

Glanc T.

Česká literatura (Czech Literature)

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2015

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tom 63

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nr 6

835-859

5

Sich (k)einen Namen machen: Die Židovská jména der Honza K.

36%

Drubek N.

Slovo a smysl - Word & Sense

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2017

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tom 14

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nr 28

51-73

XX

Even though the anthology Jewish Names, often called the beginning of Czech alternative culture, was published in 1995, several central questions concerning this seminal collection from the early 1950s remain unclear: Who initiated it, when was it assembled, and what is its connection with the causa of the ‘Trotzkyites’ in Prague and later anti-semitic show trials? Answers can be found if one appreciates the pivotal role of Honza Krejcarová in this unique project. The article connects dots between Czech history during the Protectorate when young Honza witnessed her mother Milena Jesenská’s resistance activities, and the late 1940s of Stalinist Czechoslovakia when the State Security started surveilling and persecuting Krejcarová. Based on archival studies the article argues for the parallelism between secret service practices (interrogation, the revealing of names in the form of denunciation) and automatic surrealist writing techniques. Drawing on the example of the name of the Author it analyses the paratextual structure of the anthology connected to its literary models, mainly from France. Jewish Names is a rich collection of fictitious ‘Jewish’ pseudonyms attributed to real Czech writers, stressing the vulnerability of the literary intelligentsia, their mineurité. And it is this paratextual construction which can be considered as the most daring and auto-referential aspect of this illegal publishing project. The article reveals problematic aspects of the chosen path of pseudonymy and anonymity. Changing or omitting one’s name is a common trait of female biographies, complicating the attribution of authorship. The article shows how pseudonymy takes its toll on an existential, gender, political, and historical level — precluding until today the proper names from entering Czech literary history.