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1

Dantovská povídka Jaroslava Vrchlického

100%

Hubáček J.

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

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2018

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tom 58

100-112

EN

The study analyses Vrchlický’s short story Růže (Povídky ironické a sentimentalní, 1886) which is an original interpretation of a passage from Dante Alighieri’s Vita Nuova. It shows Vrchlický’s elaborate work with intertextual references to Dante’s literary work, which simultaneously construct a unique portrait of Dante’s life and work. The creation of this image was intentional as is showed in connection with Vrchlický’s poetry, where he often deals with Dante Alighieri as a subject.

2

Anticka dramata Jaroslava Vrchlickeho a jejich dobova recepce

99%

Čadková D.

Listy filologické (Folia philologica)

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2013

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tom 136

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nr 1-2

189-219

EN

Jaroslav Vrchlický (1853–1912), an important Czech Parnassian poet and translator wrote also a number of dramas for the newly established National Theatre in Prague (1883). Ten of these plays are based on topics from Ancient Greece and Rome, thus providing valuable information on the attitude of the Czech society in the autumn of the national revival to classical culture and antiquity in general. In the present study, we review the plays (except for the trilogy of Hippodamia which will be addressed in the next study) and their reception in the contemporary press. The conservative theatrical critics mostly highlight the modern approach of Vrchlický to classical themes, and appreciate that characters of his plays are comprehensible to the spectator. In spite of frequent anachronisms and historical inaccuracies, the plays are praised for vividly transmitting the spirit of the remote ancient civilization to the modern audience. On the other hand, the exponents of modern Realism point out that Vrchlický’s dramas suffer from illogical and affected plots and unlikely characters and criticize them for not addressing the real problems of the world. This all indicates that the attitude of the Czech public of the late 19th century to the ancient Greek and Roman culture and its reception was less rigid but also more indifferent than presumed.

3

Vrchlického Hippodamie a její dobová recepce

85%

Čadková D.

Listy filologické (Folia philologica)

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2013

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tom 136

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nr 3-4

415-441

EN

This paper is a continuation of our study “Jaroslav Vrchlický’s Dramas Inspired by Classical Antiquity and Their Contemporary Reception” (“Antické hry Jaroslava Vrchlického a jejich dobová recepce”) in the previous issue of this journal. It deals with Vrchlický’s trilogy of Hippodamia (1890-1891), a stage melodrama with music by Zdeněk Fibich. We discuss its relationship to the Greek tragedy, in particular to the Aeschylus‘s Oresteia (quotations and paraphrases of Greek texts, use of the chorus, themes of guilt and atonement, etc.) and view it in the context of general tendencies of the fin de siècle culture. We also pay attention to the reception of the Hippodamia trilogy in the contemporary press. As in the case of other Vrchlický’s dramas inspired by Classical Antiquity, Hippodamia was appreciated mainly for modernization of the Greek myth and for transmission of the spirit of the remote ancient civilization to the 19th century audience.

4

Motiv sfingy v české poezii druhé poloviny 19. století

80%

Šinclová S.

Česká literatura (Czech Literature)

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2019

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tom 67

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nr 4

467-496

EN

The sphynx has been one of the most prominent motifs in human history over the past five thousand years albeit with various meanings and degrees of frequency. The aim of this study is to present an examination of the various forms of the sphynx in Czech poetry during the latter half of the 19th century, when it began to expand from Western European culture into other national literatures as an attractive motif at that time. The first appearances of the sphynx took place in Czech literature in romantic works during the 1840s, when under the influence of Orientalism it was part of a dream space in which it emerged in the role of a symbol of eternity. From the 1870s until the First World War we can trace divergent developments in the use of the sphynx motif inspired by the Western European cultural environment, in which the sphynx emerged on the one hand in connection with reflections of human history (Victor Hugo: The Legend of the Ages), while on the other hand from the end of the 1830s it was a prototype for the femme fatale (Heinrich Heine: Preface to the third edition of the Book of Songs). In the context of Czech literature we focus on the form of the sphynx in the works of Václav Bolemír Nebeský, František V. Kvapil, Jaroslav Vrchlický, Adolf Heyduk, Jiří Karásek ze Lvovic, Emanuel z Lešehrad, Karel Dostál- Lutinov and others.

5

Obraz Salome v české literatuře druhé poloviny 19. století

71%

Šinclová S.

Česká literatura (Czech Literature)

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2014

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tom 62

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nr 4

549-571

EN

This study focuses on the ways the biblical story of John the Baptist´s beheading took on a new signifikance during the latter half of the 19th century. The focus of interest was the figure of Salome, the daugther of Herodias, whose dance in front of the tetrarch Herod brought about John´s death. Within the context of these works of world literature we shall follow the changes in the image of Salome in Czech literature, as our attention focuses on works representing various artistic schools. By examining works by such canonical authors as Jaroslav Vrchlický, Jiří Karásek ze Lvovic, Karel Hlaváček and Julius Zeyer, as well as less well-known writers, we shall attempt to present the various approaches to the biblical story, bearing in mind the realization of individual characters, the selection of the story segment that is stressed in the work, and the characteristic perspective whose use may affect the interpretation of the story and the figure of the dancer herself. By means of Algirdas Julien Greimas´s pair of actants (i.e. subject and object) we can distinguish the role played by Salome in individual narratives. We shall attempt to specify the basic trio of forms – Salome in the role of object, subject and absent within the narrative – in order to be able to depict the primary realizations of the character of Herodias´s daughter that are possible in art. Within the context of these distinctions, Salome emerges not only as a mute intermediary for her mother or a femme fatale, but also in less frequent forms in which the extent of the mother´s influence on her dancing daughter is of substantial importance, as is Salome´s realization in the form of a fille fatale, who does not even need the notorious dance to achieve her fatefulness and her influence on the tetrarch Herod.

CS

Předkládaná studie se zabývá aktualizacemi biblického příběhu stětí Jana Křtitele v druhé polovině 19. století. V centru zájmu stojí zejména postava Salome, dcery Herodias, která svým tancem před tetrarchou Herodem docílila Janovy smrti. Na pozadí děl světové literatury budeme sledovat proměny obrazu Salome v české literatuře, přičemž se naše pozornost zaměří na díla zastupující různé umělecké směry. Skrze zkoumání děl kanonických autorů, například Jaroslava Vrchlického, Jiřího Karáska ze Lvovic, Karla Hlaváčka či Julia Zeyera, stejně jako spisovatelů méně známých, se pokusíme přiblížit různé přístupy k biblickému příběhu s ohledem na realizaci jednotlivých postav, výběr úseku příběhu, jenž je v díle akcentovaný, či na příznačnou perspektivu, jejíž užití může ovlivnit interpretaci příběhu i postavy samotné tanečnice. Skrze dvojici aktantů (subjekt – objekt) Algirdase Juliena Greimase rozlišíme roli, již Salome v jednotlivých narativech obsazuje. Základní trojici podob – Salome v roli objektu, subjektu a absentující v narativu – se pokusíme dále specifikovat, abychom byli schopni postihnout základní možné realizace postavy dcery Herodias v umění. Na pozadí této distinkce se nám Salome představí nejen jako němý prostředek matky, či jako femme fatale, ale i v podobách méně častých, v nichž je podstatná míra vlivu matky na tančící dceru, či realizací Salome v podobě fille fatale, jež k své osudovosti a vlivu na tetrarchu Heroda nepotřebuje ani inkriminovaný tanec.

6

Verš raného Karla Tomana

60%

Kolár R.

Česká literatura (Czech Literature)

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2021

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tom 69

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nr 1

33-53

EN

Following on from work by Miloš Sedmidubský, this study deals with syllabic irregularity (heterogeneity) in Toman’s (and Vrchlický’s) verse. It focuses on Toman’s early work, analysing individual poems and collections (particularly Pohádky krve, Tales of Blood, 1898 and Torzo života, Torso of Life, 1902). The material base is made up of 350 poems, and the differences between individual sets are checked by means of statistical tests. Syllabic irregularity is expressed in terms of entropy.