Wyniki wyszukiwania - Biblioteka Nauki

1

K zabudnutým reflexiám vzniku ČSR

100%

Lalíková E.

Filosofický časopis (Philosophical Journal)

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2018

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tom 66

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nr 5

751-770

EN

This article focuses on the problem of depicting the reflection of selected figures on the origin of the Czechoslovak Republic. With the help of introductory texts (among other authors, there stand, above all, Ján Lajčiak and Svätopluk Štúr), it examines some of the opinions of figures who lived and were creative in the period of the forming of ideas of the origin of the first common state of the two central European states. It is observed in what way they expressed the need to react to political and social events in the framework of their philosophical works. On the basis of selected passages, from what are often relatively neglected works (and long-forgotten or half-forgotten) works, the growing interest in questions connected with the birth of a modern democratic society, their hopes and also their disappointments, is demonstrated. It draws attention to the views of the past, indicating the need for critical reflection of the various areas of social life in Austria-Hungary, as well as to expectancy towards the future, and the awareness of obstacles which flowed from an unequal development in the newly-born state. Figures of this time prioritised the endeavour to be patient, just, and obedient to democratic principles. Great trust was placed in the younger generations. They presented a positive relation to the thought of a common future of nations, which they never gave up.

SK

V centre predkladanej práce stojí problém zobrazenia reflexií vybraných osobností na vznik ČSR. S pomocou východiskových textov (okrem iných autorov predovšetkým J. Lajčiaka a S. Štúra), približuje táto štúdia názory osobností, ktoré žili v období formovania myšlienky vzniku prvého spoločného štátu dvoch stredoeurópskych národov. Všíma si, akým spôsobom vyjadrovali potrebu reagovať na politické a spoločenské udalosti, a to aj v rámci svojich filozofických prác. Na podklade vybraných pasáží z často málo preferovaných (a na dlhú dobu zabudnutých a či polozabudnutých) prác dokladuje stupňujúci sa záujem o otázky súvisiace so zrodom modernej demokratickej spoločnosti, ich nádeje, ale aj sklamania. Pripomína pohľady smerom do minulosti, poukazujúce na potrebu kritickej reflexie rôznych oblastí spoločenského života v Rakúsko-Uhorsku, ako aj očakávania smerom do budúcnosti a uvedomovanie si prekážok, ktoré vyplývali z nerovnomerného rozvoja v novovzniknutom štáte. Vtedajší predstavitelia vyzdvihovali snahu o trpezlivosť, spravodlivosť, o dodržiavanie demokratických princípov. Veľkú dôveru vkladali do mladých generácií. Prezentovali pozitívny vzťah k myšlienke spoločnej budúcnosti oboch národov, ktorej sa nikdy nevzdali.

2

Proč Hamsunův Hlad není naturalistický román

84%

Humpál M.

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

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2015

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tom 52

47-51

EN

Knut Hamsun’s Hunger (1890, Sult) is nowadays often regarded as one of the first Scandinavian, or even European, modernist novels. However, some have also classified it as naturalist. The author of the article claims that the text does contain some naturalist elements, but this alone is not a sufficient argument for considering the novel to be naturalist as a whole. The article offers several arguments as to why it is inappropriate to designate Hunger as a naturalist work and supports those readings of the novel that see it as representing a modernist break with realist and naturalist aesthetics.

3

Příběh kmene: pásmové skladby jako archiv české meziválečné avantgardy

84%

Říhová Z.

Česká literatura (Czech Literature)

|

2020

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tom 68

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nr 6

677-696

EN

In the history of the European avant-garde, zone compositions have appeared along the seams between entities. Likewise Czech avant-gardists saw Apollinaire’s Zone as a poem of transition, and it is essential to identify whence and whither, and to subsequently correct the established explanation of the Czech historical avantgarde’s attitude towards memory and the past. The early Czech avant-garde saw itself as a movement without a history, emerging from point zero, but zone compositions are substantially oriented towards the past. Memory, past and myth form an integral part of zone compositions — the forms of the modern-age epic. Within the context of the long compositions of European modernism, this study analyses Czech zone compositions as a special form of the epic, as an alternative pole of the Czech historical avant-garde.

4

„Dočasná revoluce“ v Salazarismu

84%

Vrbata A.

Dvacáté století - The Twentieth Century

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2014

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tom 6

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nr 2

34-53

EN

Whereas there is general agreement about Salazar as conservative politician, regime Estado Novo is frequently labelled as “fascist”. Such a contradiction is present in other areas as well. Referring to underlying fascist or nazi mythologies (palingenetic myth, new man etc.) of fascist Europe, this paper defends that Salazarism gave those myths a bit different meaning. Although one can argue that anti-modernist and counter-revolutionary philosophical background of Salazar’s regime was shared by other European fascist/nazi/authoritarian regressive political imagery as well, in Salazarism this background played essential part. Although one can argue that nazi-fascist societies were — at least partly — produced by “modernist revolution”/ “temporary revolution”, i.e. palingenetic myth of “creative destruction” (Roger Griffin) that took place in collective psychology of European nations, in Portugal “palingenetic myth” was an expressive vein of the first traditionalism (Maistre, Bonald, Donoso Cortés). Whereas in other parts of Europe second traditionalist wave did not manage to take control of national policy and was exploited in favour of nazi-fascist “(supra) temporal revolutions/purges”, in Portugal Salazarism espoused ideology fundamentally founded on “first traditionalism” clearly visible in its traditionalist myths promoted by propaganda apparatus. Allied with papacy, maintaining neutral equidistance to both warring blocs and suspecting modern liberal order, Salazar realized occidentalisme intégriste and entertained myth of redemptive and prophetic role of Portugal as a moral authority within Christian West.

CS

Zatímco o osobě Antonia Salazara panuje shoda jakožto o konzervativním politikovi, režim Estado Novo (Nový stát) bývá často „nálepkován“ jako fašistický. Podobný rozpor je viditelný i v dalších oblastech. Na základě zmínek o základních fašistických či nacistických mýtech v Evropě (mýtus o novém počátku, novém člověku apod.) tato studie dokládá, že salazarismus dal těmto mýtům poněkud odlišný význam. Přestože někdo může oponovat tím, že antimodernistické a kontrarevoluční filozofické pozadí Salazarova režimu sdílely i další evropské fašistické, nacistické či autoritativní regresivní politické představy, v salazarismu toto pozadí hrálo podstatnou roli. Jiní mohou oponovat tím, že nacistické a fašistické společnosti byly vytvořeny — alespoň částečně — „modernistickou revolucí“ / „dočasnou revolucí“, tj. mýtem o novém počátku „kreativní destrukce“ (Roger Griffin), který se uplatňoval v kolektivní psychologii evropských národů; v Portugalsku byl ale „mýtus o znovuzrození“ výrazným rysem prvního tradicionalistického diskursu (Maistre, Bonald, Donoso Cortés). Zatímco v dalších částech Evropy vlna tzv. druhého tradicionalismu nevedla k převzetí kontroly národní politiky a byla zneužita ve prospěch naci-fašistické „dočasné revoluce“, v Portugalsku se salazarismus ztotožnil s ideologií výrazně založenou na tzv. prvním tradicionalismu, evidentně viditelným v jeho tradičních mýtech podporovaných propagandou. Salazar — spřátelený se Svatým stolcem, rovnoměrně zachovávající neutralitu k oběma válčícím stranám a zpochybňující moderní liberální řád — si uvědomil okcidentalisme intégriste a přijal mýtus o spáse a prorocké úloze Portugalska jakožto morální autoritě uvnitř křesťanského Západu.

5

A bewildering affinity : Japanese traditional building and european modernist architects after World War II

84%

Hojda O.

Umění (Art)

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2019

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tom 67

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nr 1-2

47-63

EN

Emerging European Modernist architecture in the 1920s and 1930s apparently shared certain principles with Japanese traditional building: The principles and qualities that Modernism strove for — ‘asymmetrical plan’, ‘flexibility of the interior space’, ‘modularity,’ ‘naked materials,’ seemed to have existed in Japan for hundreds of years. Writers such as Tetsurō Yoshida in The Japanese House and Garden, published 1935 in German, emphasised these similarities and presented the Japanese tradition in a distinctly Modernist manner. After World War II as Modernism became dominant in the West Japanese traditional building became a prominent and lively subject of the architectural discourse. We can follow this in the architectural press, which is also the main source of the research presented here. The wave of interest culminated between the mid-1950s and the early 1960s. But why exactly was Japan so attractive for European architects at this particular time? Were Japanese traditional principles an object of a purposeful misreading? And, more generally, what significance did this encounter have for Modern architecture in the West? The essay first brings an introduction to the phenomenon and pinpoints the important moments in its development. It then looks closer at the way European architects interpreted Japan and its relationship to the current development of Modern architecture, namely on the ambiguous role of history in this discourse. Within a broader comparison of concurrent ideas on Japan, the main focus is on the writings of Erwin A. Gutkind, Walter Gropiu s, and Bernard Rudofsky. Finally, the essay suggests an interpretation: Did the Japanese tradition serve as a ‘prosthetic history’ of Modernism?

CS

Modernistická architektura, která se vyvíjela ve dvacátých a třicátých letech v Evropě, zjevně sdílela některé principy s japonským tradičním stavěním. Principy a vlastnosti, o něž modernisté usilovali — například „asymetrický půdorys“, „flexibilita vnitřního prostoru“, „modularita“, „obnažené materiály“ — se zdály v japonské tradici přítomné už po staletí. Autoři, jako například japonský architekt Tetsurō Yoshida v publikaci Das Japanische Wohnhaus (1935), vydané v Německu, tyto podobnosti zdůrazňovali a japonskou tradici prezentovali vyhraněně modernistickým způsobem. Po druhé světové válce, když se modernismus na Západě stal dominantním proudem, se japonské tradiční stavění stalo živě diskutovaným tématem architektonické debaty. Sledovat to můžeme v architektonickém tisku, z jehož zkoumání vychází i tento článek. Tato vlna zájmu kulminovala mezi polovinou padesátých a začátkem šedesátých let. Ale proč přesně bylo Japonsko v tomto období tak přitažlivé pro evropské architekty? Byly japonské tradiční principy předmětem záměrné desinterpretace? A obecněji vzato, jaký byl vůbec význam tohoto setkání pro moderní architekturu na Západě? Tento článek nejprve nabízí úvod do tématu a zastavuje se u několika důležitých momentů v jeho vývoji. Následuje bližší pohled na to, jak evropští architekti Japonsko interpretovali ve vztahu k soudobé architektuře, zejména pak na dvouznačnou roli historie v této debatě. V rámci širšího srovnání se článek zaměřuje hlavně na texty Waltera Gropiuse, Erwina Gutkinda a Bernharda Rudofskyho. Na konec článek nabízí vlastní interpretaci: posloužilo Japonsko jako „protetická historie“ moderního hnutí?

6

Milada Součková a časopis The Booster Delta

84%

Malá Z.

Česká literatura (Czech Literature)

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2014

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tom 62

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nr 3

395-409

EN

This article presents a previously little known episode in the creative life of Milada Součková, i.e. her collaboration with the Booster/Delta magazine, which came out in Paris at the end of the 1930s under the editorship of Henry Miller and his circle. This study describes the background to the publication of the Booster/Delta, the Parisian (and European) literary scenes at the time, the reception of Czech literature in this periodical and Milada Součková’s activities, which may have been factually and ar‑ tistically associated. On the basis of surviving correspondence and other sources the author finds that collaboration between Milada Součková and the Booster cannot be considered a manifestation of interest by European modernism in the work of Milada Součková, but more as a rather marginal enterprise on the part of the magazine editors, who did not have any great notion of who Milada Součková was, while she herself did not attach any great importance to this and evidently did not even know about some of the publications. The study corrects some inaccuracies in previously published stud‑ ies on the collaboration between Milada Součková and the Booster/Delta (confusion caused by the Čapek brothers) and the authorship of the Henkst sketches.

7

Od emblematycznej alegorii do symbolicznej hypotypozy — z przemian obrazowania śmierci w liryce czeskiej końca XIX wieku

84%

Gwóźdź-Szewczenko I.

Slavica Wratislaviensia

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2019

|

tom 168

263-274

EN

From emblematic allegory to symbolic hypotyposis: On the changes of depicting death in Czech poetry at the close of the 19th century The paper is devoted to the analysis of depictions of death in Czech poetry created at the end of the 19th century. The author starts her deliberations from the poetry of the 1890s which was created in the spirit of realism. Then, she moves on to the deliberations about modernist poetry which — in this paper — is not considered as a homogenous whole. Starting from decadence, chronologically the earliest, through impressionism to mature modernism manifesting itself in symbolism, the author analyses the manners of depicting death and the figures of speech, pointing to the transition of portraying death from the emblematic and allegoric images of death to the symbolic hypotyposis. The author stresses the deconstruction of the traditional topos in modernism. This deconstruction involved a lack of references to an established set of images and thus to this linguistic ritual which had been active for ages. The Grim Reaper with a scythe could no longer be a simple symbol of death. In the times of modernism, poetry finally freed itself from those types of allegoric depictions. The deconstruction of the topos in its basic frameworks and in the most traditional ritualised formula forced poets to look for their individual languages, to create symbols which would not repeat the conventionalised allegories.

CS

Od emblematické alegorie k symbolické hypotypóze — proměny zobrazovánί smrti v české lyrice na sklonu 19. století Článek je věnován analýze zobrazování smrti v české poezii na sklonku 19. století. Autorka své úvahy otevírá poezií 80. let, která vznikala v duchu realismu, a následně přechází k pojednání o modernistické poezii, jíž však nevnímá jako monolitickou. Autorka chronologicky od nejranější dekadence, přes impresionismus až ke zralé moderně vyjadřující se symbolisticky analyzuje způsoby prezentace smrti a slovní figury poukazující na přechod od emblematicko-alegorických obrazů smrti k symbolickým hypotypózám v zobrazování smrti. Autorka ukazuje rozpad tradiční topiky v moderně, což s sebou nese skutečnost, že se básníci neodvolávají na ustálený soubor obrazů, tedy k takovému jazykovému uchopení, jež bylo po staletí živé. Smrtka s kosou již nemohla představovat jednoduchý symbol smrti. V době modernismu se poezie osvobozuje od tohoto druhu alegorických obrazů. Rozpad topiky v jejich základních rysech a jejích nejtradičnějších a ritualizovaných postav vybízel básníky k hledání individuálního jazyka, k vytváření takových symbolů, které nenásledovaly konvenční alegorii.

8

Proměny díla Růženy Svobodové na přelomu století

84%

Touš R.

Česká literatura (Czech Literature)

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2022

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tom 70

|

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.

9

Gertruda Steinová a její ne/modernistické zpoždění v Čechách

67%

Kalivodová E.

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

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2015

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tom 52

21-26

EN

While approaching modernism as a reaction to a major crisis of modernity, the article asks about reasons of American expatriates to come to Europe and focuses on the birth of Gertrude Stein as a modernist. It argues that Stein conceptualized her personal crisis and search for gender identity as insufficiency of American character and immature culture. Thus she invented her own cultural reasons for moving to Paris. The conceptualization shows in her early writings, Q.E.D., Fernhurst and the first draft of The Making of Americans. While rewriting Q.E.D. into Melanctha and writing the other two stories of Three Lives, Stein started to develop her original style of „portraiture“. She did it independently of any literary esthetic movements and, in „impoverishing“ her vocabulary and employing repetition in a search for abstracted truth, she managed to deautomatize the literary language. Her modernist influence was international, and substantial. Her Czech translation history shows a culturally meaningful delay and deformities. On the other, it also speaks of the newly enlivened modernist spirit in the Czech 1960s.

10

Co je realismus ve fikci (některé koncepce v angloamerické literární vědě)

67%

Charypar M.

Slovo a smysl - Word & Sense

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2021

|

tom 18

|

nr 36

43-63

EN

This study provides analysis and summaries of some of the leading theoretical conceptions of realism in literature in its relation to the ‘real world’, as formulated by American and English critics 1960 to present, including Lillian R. Furst, Harry E. Shaw, George Levine, Michael Riffaterre, Nelson Goodman, and Hayden White — introducing some of them to the Czech milieu for the first time. While several are formulated in clearly apologetic terms, representing realism as an important poetics on par with others (e.g. modernism), most of the theorists here attempt either to rid realism of its dependence on direct mimesis and highlight its creative potential, or else emphasize the realists’ ontological claim to truth in art. In its second half, the study also deals with the main problems of literary history that are linked to, or associated with, these theories, namely, with so-called ‘modern’ realism from its historical beginnings (Erich Auerbach), with the problematic relation between realism and the historical novel, and with the internal classification of 19th century realism and/or plurality of realist poetics.

11

Modernistická kronika jako poznání jiného

67%

Poláková D.

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

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2015

|

tom 52

16-20

EN

During the epoch at the turn of the 20th century — known in the Hispanic area as modernism — the writers had to look for other ways how to make art and gain some money. The solution was often found in journalism, where a new genre appeared: the modernist chronicle. Despite the fact the newspapers were symbols of transitoriness the modernists tried even there to create a beautiful, artistic prose which would reflect the main questions and fears of that period. And the authors of chronicles were the key figures of Hispanoamerican modernism like José Martí and Rubén Darío. The modernist chronicle became an instrument of presentation of new, unknown and rare experiences and also a way how to interpret the modern world and human existence.

12

Velká eliotovská báseň : k Mluvícímu pásmu Milady Součkové

67%

Říhová Z.

Česká literatura (Czech Literature)

|

2017

|

tom 65

|

nr 2

213-234

EN

The core of this article is a long poem Mluvící pásmo [Talking Zone], published in 1939 by Czech Modernist poet Milada Součková (1899-1983). Through Součková’s writing, the abyss between Czech avant-garde and Czech Modernism with its references to English modernism is revealed here. This article offers a contextualization of the genre of zone within Czech Modernism while analysing Součková’s large poem as a specific form of English modernism. Through a detailed examination of Součková’s poem Talking Zone and Eliot’s The Waste Land this article reveals the parallels between her writings and the writings of the leading modernists. The first section examines the influence on the poem of radio, both in terms of its thematic register and its form. It then goes on to analyse the dominant thematic discourses of the poem which are also key themes of the genre of zone in the 1930s in the Czech context (these are defined in the article as museum, memory, encyclopaedia and apocalypse). An examination of Talking Zone reveals the process of exhaustion of the genre of zone as a leading genre of the Czech avant-garde poetry and the exhaustion of the avant-garde projects of the new world. The archaeology of modernism (of an era), as conveyed in Součková’s writing is determined by space (Europe), person (writer) and action (modernism). In Součková’s Talking Zone each of these three elements is depicted as extinct.

13

Umělec v (pre)modernistickém smyslu: ohlas Máchova díla v literární publicistice po roce 1858

67%

Charypar M.

Česká literatura (Czech Literature)

|

2021

|

tom 69

|

nr 5

571-604

EN

This study seeks an answer to the question when and how the Czech romantic K. H. Mácha (1810–1836) started to be seen as a “modern” poet who could inspire authors writing decades after his death. The study proves that the image of “modern” Mácha as the first Czech poet to achieve the autonomy of art already existed between 1860 and 1890, and that Mácha’s artistic reputation grew constantly throughout the second half of the 19th century. This argument is based on a vast amount of evidence, mostly taken from literary journalism and criticism between 1858 and 1910 (the latter year seeing the centenary of Mácha’s birth).

14

Zářivá hlubina. K druhému vydání monografie Jiřího Opelíka Josef Čapek

67%

Vojtěch D.

Slovo a smysl - Word & Sense

|

2018

|

tom 15

|

nr 29

57-66

EN

On the occasion of the second edition of Jiří Opelík’s first monograph of Josef Čapek (1980, 2017), this article traces its original context and outlines its significance for Czech literary historiography of the modernist movement: the limits of its contemporary reception contrasting with its massive later impact on literary scholarship, the context of the monograph series published by the Melantrich house (1961–1995), the links with the art historical debates concerning the art nouveau style and the art of the fin de siècle, the situation of literary criticism in the 1970s both in the communist Czechoslovakia and abroad, and, finally, the context of Jiří Opelík’s long term engagement with the works of the Čapek brothers and Josef Čapek in particular.

15

Moderna a transcendence ve světle Masarykova realismu

67%

Svoboda J.

Filosofický časopis (Philosophical Journal)

|

2018

|

tom 66

|

nr 5

679-698

EN

Masaryk’s realism is a modernist conception which assumes a rationally-grounded conviction that the modern educated and critically reflective person finds themselves in a deep existential crisis.The reason for this crisis is the loss of belief in transcendence-in that which goes beyond the individual and provides them with the guarantee of a universal sense to life. Masaryk’s realist project thus intentionally hinges on two levels of transcendence in the creative focal point of which the experiencing subject immediately finds themselves and with which the subject is, in reality, in a continuing principled relation. The levels are first, that in which the ‘real’ consciousness of our existence is dynamically created and, secondly, that of our reflective relating to the objective world, which is the domain of the exact sciences. Masaryk considers his distinctive conception of metaphysics as the legitimate philosophical component into which the two levels of our principled reflection fit. He understands metaphysics here as, on the one hand, the ultimate framework of all sciences and, on the other hand, as significantly incorporated into his conception of psychology. Psychology, however, in his conception is not just a narrowly specialised discipline, rather it justifiably recognises its metaphysical dimension, and this in connection with a conception of ethics, and, as a necessarily epistemological consequence, with religion too. Masaryk’s realist conception of ‘scientific’ metaphysics thus presents itself as an admirable attempt to bridge the two separately perceived areas to which a person as a conscious subject in reality is in a fundamental relation: the spheres of the ‘fallibility’ of scienceand the ‘certainty’ of faith. Equally, it significantly reflects Masaryk’s lifelong endeavour to achieve the closest connection of theory and practice, which in the mid-1890s he characterised as as "political" realism.

CS

Masarykův realismus je modernistickou koncepcí, jež vychází z racionálně založeného přesvědčení, že moderní vzdělaný a kriticky uvažující člověk se nachází v hluboké existenciální krizi. Důvodem této krize je ztráta víry v transcendenci - v to, co jedince „přesahuje“ a poskytuje mu garanci univerzálního smyslu života. Masarykův realistický projekt se proto cíleně odvíjí ve dvou rovinách transcendence, v jejichž tvůrčím ohnisku se prožívající subjekt bezprostředně nachází a s nimiž je ve skutečnosti v trvalém principiálním vztahu. Jde o rovinu, v níž se dynamicky vytváří „reálné“ vědomí naší existence, a o rovinu našeho reflektivního vztahování se k objektivnímu světu, jež je doménou exaktních věd. Za legitimní filosofickou komponentu, do níž jsou obě roviny naší principiální reflexe pozitivně zahrnuty a v jejímž ideovém rámci spolu mají vzájemně účinně korespondovat, Masaryk považuje své osobité pojetí metafyziky. Metafyziku přitom na jedné straně chápe jako završující rámec všech věd, na straně druhé je významně včleněna do jeho pojetí psychologie. Psychologie však v jeho pojetí není jen úzce speciální disciplínou, nýbrž důvodně přiznává i svůj metafyzický rozměr, a to právě ve spojitosti s pojetím etiky a v nutném gnoseologickém důsledku i s náboženstvím. Masarykovo realistické pojetí „vědecké“ metafyziky se tudíž jeví jako impozantní pokus o překlenutí dvou povýtce odděleně vnímaných oblastí, k nimž se člověk jako vědomý subjekt ve skutečnosti zásadně vztahuje: sfér „falibility“ vědy a „jistoty“ víry. Stejně tak významně odráží Masarykovo celoživotní úsilí o co nejužší propojování teorie a praxe, které v polovině devadesátých let 19. století charakterizoval jako „politický“ realismus.

16

Antonín Sova a básníci korejského modernismu : Několik srovnávacích poznámek k problému modernity

67%

Kim K.-č.

Česká literatura (Czech Literature)

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2014

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tom 62

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nr 4

572-591

EN

This article refers to the possible connections between the poetry of Antonín Sova and some modern Korean poets. It uses the concept of orientalism (particularly from E. W. Said) and especially the thinking of Věra Linhartová on modern art and philosophy in the Orient. On this basis it compares several features of poetics that are geographically widely separated. Attention is focused on the poetry of Antonín Sova and its femininity and symbolic visuality, which comes specifically close to the poetry of the Korean modernists. From the Korean perspective an affinity is also primarily signalled by the subject of a national upsurge and a protest against the power of the oppressors during the Czech and Korean political and wartime cataclysms.

CS

Článek ukazuje možné souvislosti mezi poezií Antonína Sovy a korejskými moderními básníky. Využívá koncepci orientalismu (hlavně E. W. Saida) a zvláště úvah Věry Linhartové o moderním umění a filozofii v Orientu. Na tomto základě srovnává některé rysy geograficky si vzdálených poetik. V centru pozornosti je poezie A. Sovy s jeho ženskostí a symbolickou vizuálností, která se specificky blíží poezii korejských modernistů. Blízkost také signalizuje hlavně z korejského hlediska téma národního vzepětí a protestu proti moci utlačovatelů v období českých a korejských válečných a politických kataklyzmat.

17

Poznámky k vývojové dynamice moderního románu od velkých příběhů cizoložnic k Mannově Čarovné hoře

59%

Blinková Pelánová E.

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

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2020

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nr 62

108-123

EN

The present paper deals with the inner dynamism within the order of the fictional world, focusing on the tranformation of realistic writing (Flaubert, Tolstoy, Fontane) towards modernism. The displayed dynamism is exemplified on Thomas Mann’s The Magic Mountain taking into account the issue of autobiography and author’s essays (the Bildungsroman genre and the European realistic tradition).

18

„Orlové literární revoluce.“ F. X. Šalda a/versus Arnošt Procházka (a Moderní revue)

51%

Merhaut L.

Slovo a smysl - Word & Sense

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2018

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tom 15

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nr 30

71-101

EN

The development of a professional network, as well as long-standing disputes, among the most prominent representatives of Czech modernism at the turn of the 19th and 20th centuries — F. X. Šalda on the one hand, and Arnošt Procházka and the Moderní revue (especially Jiří Karásek) on the other — can be traced through several stages. First, 1893–1895, a period of mutual curiosity and emerging factions, from the earliest meeting up to the formal manifestation of Česká moderna, which was preceded by the establishment of the Moderní revue as first independent literary platform of the 1890s. Second, 1895–1900, a period in which various trends converged in the connection of art to life and society, and in a confrontation with other emerging, alternative concepts of modernism, namely Synthetism. Third, 1900–1910, a period that looks back, from the strata of generational polemics, culminating in the controversy surrounding Šalda’s pseudonyms, to the accusation of Karásek in what has come to be known as the anonymous letters affair. Fourth, 1910–1925, when each side declared hostility towards, or simply ignored, the other’s role in Czech modernism, from the conclusion of the anonymous letters affair to Procházka’s death. This study focuses in particular on the two initial periods, on the roots of the polemic, and on key moments in the 1890s: that is, on the onset and gradual differentiation of modernist literary creation and criticism in all its forms, on the transformations and extremes of the polemic as the example of a genre whose essence is dialogue and misunderstanding in equal parts. While the polemic is often rife with personal attacks, it also tends to crystallize in a mirror that reveals the collisions and transformations of Czech modern aesthetic thinking, and that illuminates connections and transitions in the field of literary and cultural production.