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Journal articles on the topic 'Czech writer'
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SABATOS, CHARLES. "Finding a voice: The Slovak-Roma woman writer in Irish and Czech fiction." Romani Studies 30, no. 2 (2020): 181–200. http://dx.doi.org/10.3828/rs.2020.9.
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The theory of minor literature (based on Kafka’s hybrid identity in Prague) is applicable to the complex case of Czech and Slovak-Romani writing, including fictional portrayals of the Roma. The Irish-American writer Colum McCann’s Zoli, published in 2006, features a Slovak-Roma woman who becomes an acclaimed poet under the Communist regime, only to be cast out by her community and forced into exile. Two years later, Irena Eliášová (a Roma writer born in Slovakia who lives in the Czech Republic) published her novel Our Settlement (Naše osada), a far more affectionate view of the Roma society of her childhood. Both writers walk an uneasy balance in presenting Slovak-Roma culture from both insider and outsider perspectives. In McCann’s case the intention of bringing one of Europe’s most misunderstood minorities to anglophone readers struggles to avoid cultural appropriation, while Eliášová’s use of multilingualism negotiates the power dynamics between Czech, Slovak, and Romani.
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Trnavský, K., and L. Sabová. "Karel Čapek—Czech writer, sufferer from ankylosing spondylitis." Clinical Rheumatology 11, no. 3 (1992): 337–40. http://dx.doi.org/10.1007/bf02207189.
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Kohout, Pavel. "Double Trouble." Index on Censorship 16, no. 4 (1987): 13–16. http://dx.doi.org/10.1177/030642208701600405.
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Engelbrecht, Wilken. "Streekromans en het Tsjechische ruralisme." Werkwinkel 9, no. 1 (2014): 75–90. http://dx.doi.org/10.2478/werk-2014-0005.
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Abstract In the netherlands regional novels have never been considered as real literary works. in Flanders regional literature had a better status, especially because several writers of the Van Nu en Straks movement such as Stijn Streuvels wrote about regional themes. in Czech literature since 1848 regional themes was viewed as important in novels and stories, mainly till the end of world war ii. in 1932 the Catholic writer Antonín Matula defined the so-called ruralism, which became a movement of mainly Catholic writers from the countryside. Most of them were severely persecuted in a constructed Stalinist show trial against the green international in 1951. in his work Hlasy země v evropských literaturách (The Voice of Earth in European Literatures, 1933) Matula discussed nearly all major european literatures, i.e. Flemish regional writers. it is no coincidence that especially Flemish writers such as ernest Claes, Stijn Streuvels and Felix timmermans, were translated into Czech during the second quarter of the 20th century.
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Pešková, Michaela. "Relationship concept ‘autoimage’ and ‘heteroimage’ (Perception of the sociocultural aspects of novels)." Przegląd Wschodnioeuropejski 11, no. 2 (2021): 265–74. http://dx.doi.org/10.31648/pw.6509.
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The paper aims to introduce research in the field of the literary imagology and text semiotics. It focuses on the analysis of the creation of “autoimage”, or rather a self-image, and “hereroimage”, or a counter-mage, the image of otherness, as a means of shaping national identity, by interpreting the artistic texts written by the Czech writer Jáchym Topol and the Russian writer Vladimir Sorokin. It pays attention particularly to their novels from the first decade of the 21st century. The texts will be compared in a broader context of social discourse. Moreover, it will address the issue of the disproportion between the intensity of attention of one nation to another (Czech-Russian and Russian-Czech) and the differences in the perception of cultural distance.
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Havel, Václav. "My temptation." Index on Censorship 15, no. 10 (1986): 19–21. http://dx.doi.org/10.1080/03064228608534177.
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Artemov, Andrej. "Axiology of “Russian“ in the prose of Jaroslav Rudiš." Przegląd Wschodnioeuropejski 11, no. 2 (2020): 227–38. http://dx.doi.org/10.31648/pw.6506.
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The article is devoted to the assessment of the “Russian” aspect in Czech history and culture based on the prose of Jaroslav Rudiš. Jaroslav Rudiš, one of the most prominent contemporary Czech writers, was born in Turnov (1972). Since the publishing of “The Sky under Berlin” (2002), his work has positively attracted the attention of critics and has won a wider community of readers, which is evidenced by several reprints of his books and a considerable interest in the new one. Jaroslav Rudiš distinguishes himself from the other modern Czech authors by the ability to soberly, aptly and relevantly describe the problems of contemporaries. His characters are people who personally experienced the “whiff ” of the history and felt changes in Czech society over the second half of the 20th century. Despite the fact that Rudiš does not write explicitly about Russia, does not talk about the eternal themes of Russian philosophy and culture and does not discuss positive or negative aspects of Russian influence on international politics, he shows the impact of the “Russian” aspect on the course of the newest Czech history quite accurately and ironically, although infrequently. Russia and the “Russian” in the prose of the author are mentioned in connection with the events in the lives of individual heroes who perceive the Russian aspect as given and periodically interacting with their lives depending on the circumstances. The views of his characters are ambiguous: they are not strictly negative with regard to important events, but they are not thoughtlessly positive, when the breathtaking spirit and depriving rational thinking of the wonderful creative ability of the Russian soul are praised. The tonality of Rudiš’s prose is comparable to Dovlatov’s irony of the “Reserve” or to the poetry of the Yerofeyev’s “Moscow − Petushki”. The study of Rudish’s prose was carried out by the method of excerpt from the available Czech texts of the writer. Axiological characteristics (more than 120 citations from 7 works of the author) relevant for representing the image of the “Russian” in Czech literature were analyzed from the point of view of imagological criteria.the religious feeling.
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Engelbrecht, Wilken. "Zwermen mensen en véél water – Tsjechen over het Nederlandse landschap." Neerlandica Wratislaviensia 28 (June 26, 2019): 105–18. http://dx.doi.org/10.19195/0860-0716.28.9.
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Swarms of people and lots of water – Czech people on the Dutch landscapeThe paper concerns the image of Dutch scenery in several travel messages of Czech people from the 17th through the 20th centuries. The paper starts with the presentation of two diaries written in the 17th century by the Counts Sternberg and the Protestant Hartmann. One of the first real Czech tourists of the 19th century Josef Štolba is the third author discussed in this study. Then, the paper focuses on the better-known writer Karel Čapek and ends with the discussion of two 20th-century travellers. The paper aims to show which elements are constant in the Czech picture of the Dutch landscape throughout the centuries.
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Hnilica, Jiří. "Václav Hladík. The Direct (and Forgotten) Predecessor of Hanuš Jelínek." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 59–62. http://dx.doi.org/10.1515/amnpsc-2017-0019.
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Abstract The article studies the major stages in the life of the Czech journalist and writer Václav Hladík. This native of Prague died prematurely in 1913. In particular, the study tries to demonstrate his connections to another remarkable figure of cultural transfer – Hanuš Jelínek. In the first place, these included his work for the literary periodical Lumír, followed by his activities in the area of Czech-French relations. It was Hladík that introduced Jelínek to Parisian salons. The paper draws attention to personal continuity as well as a qualitative shift in Czech Francophilia at the turn of the 20th century.
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Homel, David. "I Can Do Better Than That!" TranscUlturAl: A Journal of Translation and Cultural Studies 4, no. 1 (2013): 5. http://dx.doi.org/10.21992/t9s91w.
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This paper builds on the notion of crypto-languages, or hidden languages, to narrate the author’s coming to writing and translation. His novels are discussed as all including one aspect or another of crypto-language. For example, Russian becomes the key to salvation for Sonya, who doesn’t know how to speak it, in Sonya & Jack, and a clinical psychologist in the former Yugoslavia admits in The Speaking Cure to knowing that his patients lie to him, but that behind every lie lies the truth. The author himself learned the difference between “real” foreign languages—French, German or Spanish—and cryto-languages—Polish, Czech or Yiddish—during his childhood in Chicago. The experience of learning French forged in him the desire to write, which in turn created the desire to translate that is described here as a kind of voyeurism. The title of the paper refers to the feeling one has while reading some translated fiction: “I can do better than that!” Translation, as a form of writing, can improve the original by correcting various mistakes, in the logic of the plot, for instance. But there is a difference between writing and translating: the writer writes to find out how the story will end but the translator already knows. As a result, the best way for a writer to translate is to resist reading the book before starting the translation.
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Żygadło-Czopnik, Dorota. "Dorastanie naznaczone traumą historii. Kilka refleksji nad powieściami Jiříego Kratochvila „Uprostřed nocí zpěv” i Magdaleny Tulli „Włoskie szpilki”." Miscellanea Posttotalitariana Wratislaviensia 6 (October 10, 2017): 245–56. http://dx.doi.org/10.19195/2353-8546.6.19.
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Growing up marked by trauma in Jiří Kratochvil’s, Uprostřed nocí zpěv and Magdalena Tulla’s, Włoskie szpilkiThe process of political change began in Czechoslovakia at the end of 1989, a few months after the so-called Polish Round Table Talks, and after the events in Hungary, East Germany or Bulgaria, foretelling the political transformations in those countries. Poles and Czechs are nations steeped in history, whose rhythm is defined by traumas, many of which still await their artistic disarmament. Czech history is completely different than that of Poles. As a result of the tangled history, Czech and Polish national identities are not fully defined. The key objective of the proposed paper is to examine how the contemporary Polish and Czech writers confront their totalitarian heritage. We would like to focus on the works of a Moravian author Jiří Kratochvil b. 1940 in Brno, who is undervalued and barely known in Poland, and of a Polish writer Magdalena Tulla b. 1955. As a matter of fact, Jiří Kratochvil was truly discovered in the Czech Republic only after November 1989.Взросление в тени исторической травмы в повести Иржи Кратохвила Uprostřed nocí zpěv и Магдалены Тулли Włoskie szpilkiПроцесс политических преобразований начался в Чехословакии в конце 1989 года, спустя несколько месяцев после польских переговоров т. наз. круглого стола и после событий в Венгрии, ГДР или Болгарии, которые предвещали политико-режимные трансформации в этих странах. Поляки и чехи — это народы, погруженные в историю, а ее ритм в польском и чешском мышлении диктуют травмы. Многие из них еще предстоит обезвредить при помощи инструментов искусства. Чешская история во многом отличается от нашей. По причине непростой истории чешская и польская национальные идентичности не получили своего четкого определения. Основной целью предлагаемого доклада является исследование того, как современные польские и чешские писатели сводят счеты с тоталитарным наследием. Главное внимание будет уделено творчеству моравского писателя Иржи Кратохвила 1940 г.р., Брно, автора малоизвестного в Польше, а также польской писательницы Магдалены Тулли 1955 г.р.. Иржи Кратохвил и в самой Чехии приобрел признание только после ноября 1989 года.
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Martinek, Libor. "Poetic landscapes of Wilhelm Przeczek." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (2020): 147–57. http://dx.doi.org/10.18778/1505-9057.59.09.
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Wilhelm Przeczek is a Polish writer who has lived in Karviná, the Czech Republic, since he was born in 1936. He is a member of a Polish minority and he has aimed his literary output at its members and at readers in Poland. Translations into the Czech language are aimed at readers in the Czech Republic. Having made a protest against the intervention of the Warsaw Pact armies into Czechoslovakia in August 1968, W. Przeczek was not allowed to publish and he was dismissed – he had worked as an editor of a Polish paper “Głos Ludu”. In 1970–1977 he worked as an actor, stage director, and dramatic advisor of a puppet show theatre Bajka in Český Těšín, the Czech Republic.
 In his article, the author deals with poems by W. Przeczek’s on the subject of journeys about Europe. The starting point is local, but a global result.
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Żygadło-Czopnik, Dorota. "Starość — antyfenomen społeczno-kulturowy w twórczości literackiej Jiřiny Šiklovej. Rekonesans badawczy." Slavica Wratislaviensia 163 (March 17, 2017): 611–22. http://dx.doi.org/10.19195/0137-1150.163.51.
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Old age: socio-cultural anti-phenomenonin the literary works of Jiřina ŠiklováJiřina Šiklová is a Czech sociologist and writer. She published under different names, mainly abroad. In the times of the former regime she was persecuted and imprisoned. She wrote anumber of bestselling books: Deník staré paní 2003, Dopisy vnučce 2007, Matky po e-mailu 2009, Stoupenci proměn 2012, Vyhoštěná smrt 2013. Books of this Czech writer haven’t been translated yet into Polish. From the perspective of an old woman she presents old age as a specific moment in human life. Šiklová writes akind of adiary in which she speaks about the current situation brought to her by life. In her books, the writer solves problems between grandparents and grandchildren as well as the issues of asixty year old woman taking care of her octogenarian mother. Šiklová provides an independent reaction to the problems of aging society. She teaches her readers to accept old age, not only as loss of strength, but as atime belonging to the fullness of human life. At the same time in avery business like manner and with no sentiment she offers a number of steps that can help in old age.Stáří — sociálnĕ-kulturní antifenoménv literární tvorbĕ Jiřiny ŠiklovéJiřina Šiklová je česká socioložka apublicistka. Publikovala pod různými jmény, především v zahraničí. Za minulého režimu byla pronásledovaná avězněná. Napsala nĕkolik literárních bestsellerů: Deník staré paní 2003, Dopisy vnučce 2007, Matky po e-mailu 2009, Stoupenci proměn 2012, Vyhoštěná smrt 2013. Knihy české spisovatelky ještĕ nebyly přeložené do polštiny. Z pohledu staré ženy popisuje stáří jako specifický moment v životĕ človĕka. Šiklová píše svého druhu deník, ve kterém hovoří oaktuálních situacích, které jí život přináší. Spisovatelka v knihách řeší problémy mezi prarodiči avnoučaty nebo starosti šedesátileté ženy, která se musí postarat o svoji osmdesátiletou matku. Šiklová představuje svébytnou reakci na problém stárnutí populace. Učí čtenáře přijímat stáří nikoli jako pouhý úbytek sil, ale jako období náležející k plnosti lidského života. Zároveň přitom zcela věcně anesentimentálně upozorňuje na řadu kroků, které mohou stáří usnadnit.
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Engelbrecht, Wilken. "Persoonlijke contacten in vooroorlogse receptie van Nederlandstalige literatuur in Tsjechische vertaling." Neerlandica Wratislaviensia 27 (March 9, 2018): 141–54. http://dx.doi.org/10.19195/8060-0716.27.11.
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Persoonlijke contacten in vooroorlogse receptie van Nederlandstalige literatuur in Tsjechische vertalingThe paper concerns the influence of personal contacts on what has been translated from Dutch and Flemish literature into Czech before 1989. After ashort introduction about Czech translation culture, the paper gives asurvey of acouple of interesting cases. The first is the series 1000 nejkrásnějších novell 1000 světových spisovatelů The 1000 most beautiful novels of 1000 world authors from the beginning of the 20th century. The second is the translator Jaroslav Kamper from the same period. The third is the Czech symbolist writer and translator Arnošt Procházka. The last case is the professional translator Lída Faltová, who made the first translations of Willem Elsschot’s work. In all cases, alook is given how their personal contacts partly influenced their translation production.
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Motornyy, О. "TIME AND SPACE IN IVAN WERNISCH’S POETRY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 198–209. http://dx.doi.org/10.17721/2075-437x.2020.36.16.
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The article examines the poetic world of the modern Czech prose writer, poet, translator from several European languages, a participant in the Prague Spring, whose works have not been printed for a long time and were banned, author of poetry collections “Kam letí nebe” (1961), “Zimohrádek” (1965), “Loutky” (1970), “Doupě latinářů” (1992), “Blbecká poezie” (2002), “Penthesilea” (2019), Ivan Wernisch. The writer has a great creative legacy that dates back to the sixties of the last century. During this long time, he managed to publish about thirty poetry books. Surrealism, interweaving of temporal and spatial indicators, interweaving of poetic and prosaic forms, rich poetic world are typical features of I. Wernisch’s poetry. The article explores the spatio-temporal relations of the Ivan Wernisch’s poetic world, the features of the image of the lyrical hero. Some poetry by Ivan Wernisch was used over time as lyrics of songs by Czech rock bands. The Ivan Wernisch’s son Michal Wernisch (also known as Ewald Murrer) followed his father’s footsteps and today is also known as a poet.
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Bade, David. "Imaginary Travels in Post- Socialist Mongolia." Inner ASIA 15, no. 1 (2013): 135–64. http://dx.doi.org/10.1163/22105018-90000059.
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Until recently, when the Mongols have appeared in the world’s literature, they have usually appeared in the persons of chinggis Khaan or Khubilai, or as ‘Mongolian hordes’. Some recent writings are unlike earlier works of the twentieth century, regardless of the political orientation and situation of the writers. In this paper I examine three works published between 1992 and 2003 that exemplify radically different instances of that difference: Mongolski bedeker by Serbian novelist Svetislav Basara; Paměť mojí babičce by czech author Petra Hůlová; and Mongólia by the Brazilian writer Bernardo carvalho. With the certainties and stereotypes of the past discarded in these novels, contemporary Mongolia provides the setting for the authors’ encounters with the strangeness of the world at the turn of the millennium.
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Grasko, Anna V. "Czech writer Julius Zeyer as a hero of an anonymous memoir in Russia." Slavic World: Commonality and Diversity, no. 2020 (2020): 238–42. http://dx.doi.org/10.31168/2619-0869.2020.3.01.
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Paliy, O. "THE NARRATIVE STRUKTURE OF THE NOVEL BY MILAN KUNDERA IMMORTALITY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 222–38. http://dx.doi.org/10.17721/2075-437x.2020.36.18.
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Novel Immortality of the famous Czech writer-emigrant Milan Kundera represents an organic combination of the Czech and West European tendencies of the novel development as well as demonstrates an adaptation process of the latest practice in the Czech literature, where emigrant literature plays a great role. The article studies poetics of the novel on the plot, composition and narrative levels. It is examined the philosophical and aesthetic character of the book, the interpenetration of the epic narrative forms and essay, the author’s communicative strategies. Intertextual and game modus of the novel is considered while game character is opposed to existential subject. Special attention is paid to the narrative composition of text characterized by the underlined subjectivity of narrative manner, the method of author’s mask, the meta-narrative judgments, the simultaneous use of different narrative forms.
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Woods, Michelle. "Framing translation." Translation and Interpreting Studies 7, no. 1 (2012): 1–18. http://dx.doi.org/10.1075/tis.7.1.01woo.
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Adolf Hoffmeister (1902–1973), a Czech translator, writer, painter, journalist and caricaturist was one of the Czech translators of James Joyce’s Anna Livia Plurabelle and the illustrator of Czech translations of George Bernard Shaw’s plays. His paratextual work for translated modernist literature — prefaces, caricatures, comic strips, travelogues and interviews — engaged with modernist practice in producing an abusive mimesis in his re-presentation of authors and their writing. This included a verbal and visual insertion of the translator and re-presenter that makes him visible and also fallible, unreliable and humorous. Hoffmeister’s use of humor and demystification made the complex modernist translations more accessible to a wider readership while also bringing into question the practices and mechanics of translation and cultural domestication. Analyzing non-English language modernist translation practices might provide a model for inventive translation paratexts in the modern English-language context.
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Kniazkova, Viktoria. "Slovak Realia in the Czech Translation of the Novel The House of the Deaf Man by Peter Krištúfek in Contrast to its English Translation." Bohemistyka, no. 1 (May 8, 2019): 90–107. http://dx.doi.org/10.14746/bo.2019.1.7.
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The article deals with two groups of realia in the Slovak novel by Peter Krištúfek (1973–2018). The first one are those concerning Slovak traditional culture, which are used in a form of theatrical scenery by the author. The second one are those connected with Slovak identity, as the writer understands it. The article offers the comparative analysis of the Slovak text with its translations into Czech and English. The conclusion is made about different translators’ strategies according to the translation purpose and extralinguistic circumstances and the necessity of the Czech translations of Slovak fiction despite the unique closeness of these two Slavic languages.
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Fedorovič, Irena. "“Your Head so Dear to my Heart, I Would Hug Tight to My Chest and I would Tell How Much I Love You”. Letters of Jozefina Hálkova to Czesław Jankowski from 1884." Slavistica Vilnensis 64 (November 19, 2019): 133–43. http://dx.doi.org/10.15388/slavviln.2019.64(1).10.
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The aim of the article is to analyze the three letters written in Czech in 1884 and addressed to Polish poet, writer, literature critic, and translator Czesław Jankowski (1857–1929). The author of the letters is a previously unknown Czech woman, the daughter of a schoolteacher in the city of Kladno. She got acquainted with Cz. Jankowski in Krakow and became the object of his passion. The letters are stored in the Wroblewski Library of the Lithuanian Academy of Sciences in Vilnius. Although the author of this article has already mentioned the existence of these love letters in 2000, J. Hálkova’s letters to Cz. Jankowski have not yet been analyzed.
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Vostrikova, Elena V. "Spatio-temporal structure of the novel “Seven temple” Czech writer Milos Urban: Bulgakov influence." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2015): 67–73. http://dx.doi.org/10.20339/phs.3-15.067.
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Vitácková, Martina. "In search of adventure: Ladislav Mikeš Parízek, a Czech in the Congo." Tydskrif vir Letterkunde 46, no. 1 (2017): 167–78. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3474.
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Ladislav Mikeš Parízek’s books, articles and lectures had a large impact on the image of the Congo as it existed in communist Czechoslovakia from the 1940s till the 1970s, but this Czech traveller and writer has almost been forgotten. Through an analysis of his works and of reviews of these works published in newspapers of the 1950s, the nature of the African discourse as it was created in communist Eastern Europe, as well as the (mis)use of this discourse by the ruling party, is revealed. Special attention will be paid to the illustrations accompanying his books, articles and lectures.
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Engelbrecht, Wilken. "The Projected Past: Why Were Translated Certain Historical Novels?" Werkwinkel 14, no. 1-2 (2019): 69–89. http://dx.doi.org/10.2478/werk-2019-0004.
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AbstractThe 140 years between 1850 and 1990 cover an important period from the beginning of modern literature and modern publishing houses in the second half of the nineteenth century till the end of the Communist regime. Over this period some 450 Dutch and Flemish literary works were translated into Czech and some 75 into Slovak. Historical novels and novellas make up a good part of them.As Connor (2015) has clearly shown, historical novels were a popular genre in Communist times for ideological reasons. They were considered “excellent educational instruments for people not yet apt to understand heavier work like the Communist Manifesto” as the young translator Olga Krijtová wrote to the Communist Dutch writer Theun de Vries in the early 1950s. Reviews, editor’s reports and editorial statements indicate, however, that historical novels had a similar function already before Communism, from the beginnings of Czech and Slovak translation of Dutch written literature.In this paper, we will discuss several historical novels in Czech translation by Hendrik Conscience, Louis Couperus, Madelon Székely-Lulofs, Theun de Vries, and Harry Mulisch – to illustrate changing ideological views.
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Půtová, Barbora. "The Czech Painter Božena Jelínková-Jirásková. On the Life and Work on the Periphery of the Male World." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 51–58. http://dx.doi.org/10.1515/amnpsc-2017-0018.
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The article focuses on the life and work of Božena Jelínková-Jirásková (1880–1951), which are described and interpreted by means of a content analysis of her correspondence and artistic production. It presents the basic phases in the artist’s life and work in terms of the influence of her father, the writer Alois Jirásek, and subsequently her husband, the diplomat and writer Hanuš Jelínek. The study provides a chronological overview of the course of her education, life in Paris, exhibition activities, social contacts and artistic movements that affected her paintings. In this respect, a source of inspiration for the work of Jelínková-Jirásková can mainly be seen in the work of Paul Cézanne and Otakar Kubín, with the latter of whom she maintained long-term contacts. The central motif of their work was a landscape, comprising not only a major theme of her artistic production, but also a form of search for personal identity, internal security and a familiar home. A partial objective of the article is to cover the artistic development of Jelínková-Jirásková from Impressionism to realistic and figural work, her subsequent inclination to Neoclassical landscape painting and eventually a return to Realist painting, the Czech landscape and still lifes. The article presents Jelínková-Jirásková as one of the first Czech professional painters to have achieved recognition in both Czechoslovakia and France.
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Gawarecka, Anna. "Tak samo, tylko lepiej? Jana Křesadly potyczki literackie." Prace Filologiczne. Literaturoznawstwo, no. 10 (13) (April 26, 2020): 307–20. http://dx.doi.org/10.32798/pflit.576.
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The literary works of Jan Křesadlo, which were “discovered” just after 1989, from the very beginning have caused controversy among the reviewers and readers, and the writer himself was treated as a typical outsider who deliberately decided to function on the periphery of the contemporary Czech culture. His answer to this uncomfortable situation included ceaseless polemics and disputes with the other writers. Most often he used the postmodern narrative strategies based on the intertextual and autotelic means of literary representation. In this way, he aimed at the parodistic ridiculing of his adversaries (first and foremost it was Milan Kundera). Extensive fragments of his works can be read as belonging to the category of “novels with a key”. On the other hand, it is difficult to avoid the impression that his intertextual reliance on the esteemed (in common opinion) authors is caused by the “anxiety of influence” (the term of Harold Bloom) and by a need to overcome these “strong” role models.
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Seliverstova, Elena. "Nikolai Leskov in the aspect of translation: language game and phraseology." Bohemistyka, no. 1 (May 8, 2019): 108–20. http://dx.doi.org/10.14746/bo.2019.1.8.
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The continuing interest in the artistic word reveals all the new aspects of the study of the writers’ language, the methods of usage of the linguistic units in their works. This article brings together in one focus several problems: the study of the language creativity of N.S. Leskov, manifested in the creation of unforgettable speech portraits of characters, who, in search of expressiveness, realize their creative abilities, using already known words and expressions or creating the new ones. Occasional expressions, used to achieve maximum expressiveness and intensity of the transmitted value, can be read in the same text in different ways. The multiple transformation of stable expressions is especially typical for the writer, therefore it is difficult not only to interpret the author’s phraseology in Leskov’s works, but also to translate. The Czech translators using the principle of functional similarity try to keep ways of usage of the units created by the author and to inform the reader of expressivity, emotional sounding and esthetic functions of the original.
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Soliński, Wojciech. "Z Hrabalem wśród zwierząt." Białostockie Studia Literaturoznawcze, no. 17 (2020): 99–112. http://dx.doi.org/10.15290/bsl.2020.17.07.
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The article aims to interpret the so-called ‘animal prose’ by Bohumil Hrabal using some of the contemporary tools developed within animal studies, especially those that directly or indirectly address the broadly understood question of hunting. By ‘animal prose’ the author of this article understands these works by the Czech writer whose protagonists or narrative personae are wild, domesticated and breed animals, including the domestic and homing pigeons. All Hrabal’s works show a discernible tension in the human protagonists, torn between the species guilt and the realization that a return to the natural state is a classic example of wishful thinking.
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Tahirović, Husref, and Brigitte Fuchs. "Bogusławą Keckova: An Official Female Doctor in Bosnia and Herzegovina, 1893–1911." Acta Medica Academica 48, no. 2 (2019): 232. http://dx.doi.org/10.5644/ama2006-124.263.
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<p>The purpose of this paper is to bring to light the biographical details, the professional work and the publishing activities of Bogusławą Keckovą (Bohuslava Keckova in Czech and Keck in German), who functioned as an Austro-Hungarian health officer in Mostar from 1893 to 1911 during the period of the Austro-Hungarian occupation of Bosnia and Herzegovina (BH). Keckovą, who came from Prague, was the second of nine female physicians to be employed by the Austro-Hungarian authorities between 1892 and 1918. Keckovą contributed significantly to the improvement of public health and hygiene in BH, especially by organising the medical treatment of Muslim women. She published a series of popular medical articles, both in Czech and in Bosnian. Her medical articles in the Mostar newspaper, ‘Osvit’, were among the first in BH to promote public health education and aimed at improving the health of the population. In the Czech Republic, ‘Bohuslava Kecková’ is renowned for being the first Czech female physician to graduate, who, due to Austria’s conservativism and anti-feminism, had been forced to study and practise abroad. After Keckovą’s efforts to have her Swiss MD degree (1880) recognised in Austria failed in 1882, she acquired an Austrian midwife’s diploma and established a maternity home in Prague. In 1892, she accepted the invitation to serve as an Austro-Hungarian female health officer in Mostar, where she initialised and popularised the utilisation of public health among (Muslim) women. Conclusion. Bogusławą Keckovą’s work as a physician, medical writer and health educator, which she continued tirelessly until her death in 1911, was based on gender-specific socialmedical concepts, which were at the core of the contemporary Czech feminist movement.</p>
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Kiss, László. "75th anniversary of the death of Karel Čapek, the Czech writer and creator of the term “robot”." Orvosi Hetilap 154, no. 50 (2013): 2005–7. http://dx.doi.org/10.1556/oh.2013.ho2476.
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Pawlas, Szymon. "Rec.: Jana Marková, "Religiöse Konzepte im tschechischen nationalen Diskurs (1860–1885)", Georg Olms Verlag, Hildesheim – Zürich – New York 2016, 371 ss." Studia z Filologii Polskiej i Słowiańskiej 53 (December 24, 2018): 386–95. http://dx.doi.org/10.11649/sfps.2018.024.
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Review: Jana Marková, Religiöse Konzepte im tschechischen nationalen Diskurs (1860–1885), Georg Olms Verlag, Hildesheim – Zürich – New York 2016, 371 pp.The article reviews a book, which analyzes a portion of Czech national discourse of the second half of the 19th century, looking into the vocabulary it used to express concepts characteristic of the discourse of religion. The research material is constituted by the Czech texts from the period, concerning mostly two events of great importance to the Czech national movement. One of the events was the 1868 laying of the foundation stone for the National Theatre in Prague; the other – the 1873 centennial of the lexicographer, writer and linguist Josef Jungmann. Rec.: Jana Marková, Religiöse Konzepte im tschechischen nationalen Diskurs (1860–1885), Georg Olms Verlag, Hildesheim – Zürich – New York 2016, 371 ss.Artykuł stanowi recenzję książki, w której przedstawiono analizę tekstów będących częścią czeskiego dyskursu narodowego drugiej połowy XIX wieku pod kątem zawartego w nim słownictwa, które wyraża pojęcia charakterystyczne dla dyskursu religijnego. Materiału badawczego dostarczają pochodzące z epoki czeskojęzyczne teksty, które dotyczą głównie dwóch wydarzeń o doniosłym znaczeniu dla czeskiego ruchu narodowego. Pierwszym z nich jest uroczyście obchodzona ceremonia położenia w 1868 roku kamienia węgielnego pod budowę gmachu Teatru Narodowego w Pradze, drugim – przypadający w 1873 roku jubileusz stulecia urodzin leksykografa, pisarza i językoznawcy Josefa Jungmanna.
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Tekeliová, Dominika Hlavinová. "Historical Bratislava in literary fiction and film adaptation." Journal of Language and Cultural Education 8, no. 1 (2020): 149–57. http://dx.doi.org/10.2478/jolace-2020-0009.
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Abstract The aim of the paper is to characterize the city of Bratislava after the First World War as a literary space in the short story The Worst Crime in Wilson City (Najhorší zločin vo Wilsonove) and its film adaptation Wilson City (Wilsonov). For millions of Czechs and Slovaks, the US President W. Wilson was a legendary figure. The multi-ethnic city wanted to gratify him and suggested to name itself after him. This short episode of our history was found interesting for a Slovak writer Michal Hvorecký, who set a mysterious (horror) short story in Wilson City (Bratislava). The topos of the city became the basic organizational, or, structural element on which the story is built. In the film adaptation of the Czech director Tomáš Mašín there was a generic shift and the film became a detective comedy, or parody of historical events that happened (or could have happened). The paper focuses on the motif of the city and compares this urban space in the literary and film form. It tries to answer the question whether the city – space is only a backdrop of the story or it becomes its (role)player.
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Kovalets, Lidia. "Following the footsteps of «The White Lady»: one page of Yevhenia Yaroshyns'ka's activity as a translator and her context." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 35–42. http://dx.doi.org/10.34079/2226-3055-2020-13-23-35-42.
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The article highlights the creative profile of the Ukrainian writer Yevhenia Yaroshyns’ka (1868–1904) as a translator. Literary science has not touched upon this topic yet. The only exception is her translations of the Czech writer and teacher Vilma Sokolova. Speaking about Y. Yaroshyns’ka’s interest to the literature of other nations, we state that it was organically connected with her great love for reading. That array was naturally dominated by German translations of the world literature. Joining this activity seemed tempting, because it was also a way to gain experience, to test her own strength and the opportunity to promote the problems of the Ukrainian reality. This is the main reason for Y. Yaroshynska’s appeal to create the German translation of Hryhoriy Machtet’s novel «The White Lady» based on the Ukrainian material. The article clarifies the life and activities of this Ukrainian and Russian writer and his connections with the Ukrainian socio-cultural environment, which also led to the autobiographical aspect of the story. The work is full of sympathy for the participants of the Polish uprising of 1863 and the desire for peaceful understanding between the Slavs. At the same time, it was based on a romantic collision. To obtain the permission to publish the translation, Y. Yaroshyns’ka addressed M. Pavlyk who asked in Moscow Nestor Yavorovs’kyi, apparently the Ukrainian student (from the circle of A. Kryms’kyi), who helped the writer to realize her idea. In the article the letters of N. Yavorovs’kyi and H. Machtet to Y. Yaroshyns’ka are published for the first time and their destiny is outlined. When they got to M. Pavlyk, he prepared them for publication, but they never saw the light. The further fate of the translation of «The White Lady» remained unknown. The article names the published examples of Y. Yaroshyns’ka’s translation activity (these are the translations from Bulgarian, Norwegian, Czech languages). The need for a more comprehensive study of this important and interesting topic is also required. The article touches upon the importance to intensify the efforts of scholars to master the body of archival documents related to Y. Yaroshyns’ka. They are stored mainly in the Department of Manuscripts and Textology of the Taras Shevchenko Institute of Literature of the National Academy of Sciences of Ukraine, the Central State Historical Archive of Ukraine in Lviv and the V. Stefanyk Lviv National Scientific Library. Obviously, only in this way – having thoroughly studied the source base, knowing the author’s biography and her artistic heritage – we can hope for deeper understanding of the peculiarities of the development of her creative personality.
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BUDNYI, Vasyl. "BOHDAN LEPKY`S LITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNALLITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNAL." Problems of slavonic studies, no. 68 (2019): 162–74. http://dx.doi.org/10.30970/sls.2019.68.3077.
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Abstract Background: A famous literary critic and writer, representative of the “Moloda Muza” group, B. Lepky was published in numerous Ukrainian and foreign journals in the early twentieth century. Today, his cooperation with Polish and German editions has been partially explored, but the Czech direction remains almost unclear. There are only individual references to B. Lepky's cultural publications in the “Slovanský přehled” journal in the works of V. Doroshenko, V. Lev, B. Rubchak. Purpose: The purpose of the study is to analyze the interpretative bases of B. Lepky's publications in “Slovanský přehled”, namely, five annual reviews of Ukrainian literature (1901, 1902, 1903, 1905, 1906) and three cultural pieces of knowledge: about the composer M. Lysenko, about the translation of short stories by M. Kotsiubynsky into Polish, and the scientific works of M. Hrushevsky, B. Barvinsky and V. Shchurat. Results: B. Lepky followed I. Franko in editing “Slovanský přehled” journal. I. Franko prepared the ground for the Czechs to familiarize them with Ukrainian literature. In a series of annual reviews, B. Lepky considered Ukrainian literature in the pan-European context, translating the realities of national culture into the language of universal cultural concepts. Not contradicting realism and modernism, the critic appraised the high artistic value of the works by Lesya Ukrainka, V. Stefanyk, M. Kotsyubynsky, O. Kobylyanska, which were marked by modern stylistic trends. Trying to convey the original content to the foreign reader, B. Lepky approached his critical speech to the poetic one, painting it with impressionistic strokes and symbolic imagery. The author concluded that the importance of B. Lepky’s Czech publications was important for understanding the ways in which Ukrainian writing was modernized and contextualized in Slavic and pan-European culture in the early twentieth century. Key words: Modernism period, literary process, critical writing, literary review, review, contextualization, impressionism, symbolism.
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Dědič, Martin. "3D scanning and analysis of acquired data of historically and culturally significant objects referring to the work of Adalbert Stifter." MATEC Web of Conferences 279 (2019): 01014. http://dx.doi.org/10.1051/matecconf/201927901014.
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The aim of the paper is to bring new findings from ongoing specific university research. Within this project, the light scanner scanned historically and culturally significant objects referring to the work of Czech-Austrian writer Adalbert Stifter in South Bohemia and Lower Austria. It also analyzed the data obtained with the light 3D scanner. The data was generated as a cloud of points. With respect to object´s size, multiple parts of each object were scanned individually. By combining individual scans and removing unwanted points (noise), models - digital twins of objects - were developed. Created models are valuable for their use for virtual tours of historically and culturally significant places. The final models were modified for printing on a 3D printer, where they were subsequently printed.
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Kaleta, Petr. "The Czech Polonophile Edvard Jelínek and the Topic of Russia in his Work." Slovene 9, no. 1 (2020): 292–321. http://dx.doi.org/10.31168/2305-6754.2020.9.1.10.
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In scholarly circles, the name of the Czech writer and journalist Edvard Jelínek is usually associated with interest in Polish topics. Most of his friends and scholarly contacts were Polish, which also was in line with his numerous publications concerning Polish cultural traditions. However, Jelínek also had significant knowledge of the cultural, political, and social life in other Slavic areas, which he utilized as the editor of «Slovanský sborník» (Slavic Proceedings), a journal focused on all Slavic areas (published in 1881, 1883–1887). In this article, we demonstrate that, mostly at the beginning of Jelínek’s career, Russian topics also appeared in his texts, mainly Russian literature, culture, theater, and the issue of the beginning of Russian-Czech contacts. He published these texts primarily after his first visit to Russia in 1877. In the 1870s, the retired Russian officer Nikolaj M. Yendogurov had a significant influence on him, helping him to understand some Slavic issues and to perfect his knowledge of Russian. Starting from the 1890s, he expressed his opinions regarding the Russian-Polish conflict in several texts. There, he disagreed with the Russification of the Polish cultural environment and drew attention to the language rights of the Polish people. However, his works were not anti-Russian in character, and he expressed appreciation for Russian culture. The issue of Russian-Polish relations also appears in his literary prose works, e.g. in the novel «Motýlek z Norské pohádky» (The Butterfly from the Norwegian Fairytale).
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Beveridge, Allan. "Metamorphosis by Franz Kafka." Advances in Psychiatric Treatment 15, no. 6 (2009): 459–61. http://dx.doi.org/10.1192/apt.bp.109.007146.
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SummaryThis article examines the short story Metamorphosis by the enigmatic Czech writer Franz Kafka, whose work has been the subject of extensive critical discussion. His writings have been seen in the context of existentialism, Jewish mysticism and as a warning of the advent of totalitarianism. Kafka has attracted the attention of psychoanalysts and psychiatrists, who have maintained that his life and work manifest evidence of unresolved Oedipal issues and of schizoid personality. Metamorphosis is open to a multitude of interpretations, but a potentially fruitful approach is to see parallels between the predicament of the story's main character, Gregor Samsa, and that of people with severe mental illness. The story highlights the fate of those who are judged to be different by society and how issues of alienation, impaired communication and rejection arise.
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Campo-Bowen, Christopher. "Bohemian Rhapsodist: Antonín Dvořák's Píseň bohatýrská and the Historiography of Czech Music." 19th-Century Music 40, no. 2 (2016): 159–81. http://dx.doi.org/10.1525/ncm.2016.40.2.159.
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Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and performances in many other European cities before sliding into obscurity after the turn of the twentieth century. I situate Píseň bohatýrská in both the context of Dvořák's larger output and the critical discourses of the late nineteenth century, using it as a focal point to examine not only Dvořák's mythologized image as a composer at the fin de siècle, but the history of the symphonic poem, the politics of the Vienna-Prague critical axis, and the hardening of critical orthodoxy in the twentieth century. Through an in-depth study of Píseň bohatýrská's reception, I reveal a picture of Dvořák at once familiar and unfamiliar: as the naive, spontaneously creative absolute musician at odds, in the eyes of the critics, with the unfamiliar territory of the symphonic poem, and as a specifically Czech musician who was nevertheless placed in the same masculinized, Germanocentric composer-hero lineage of genius as Beethoven and Liszt. Nevertheless, the understanding of Dvořák as absolute Czech musician par excellence ultimately triumphed, weathering the assaults of his program music to survive into the present. This article provides a new understanding of the complexity of Dvořák's image near the end of his life, inviting a reconsideration of the composer.
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Margala, Miriam. "The Unbearable Torment of Translation: Milan Kundera, Impersonation, and The Joke." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 3 (2011): 30. http://dx.doi.org/10.21992/t9c62h.
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Milan Kundera, a Czech émigré writer, living in Paris and now writing in French, is (in)famous for his tight and obsessive authorial control. He has said many times that he did not trust translators to translate his works accurately and faithfully. The various translations of his novel Žert (The Joke) exemplify this point. The novel has been translated into English, French, and many other languages more than once, depending on Kundera’s dissatisfaction with a particular translation (which, at first, he would support). Thus, there followed a cascade of translations (namely in French and English) as Kundera would eventually become dissatisfied even with the latest “definitive” translated version. As he famously says in an interview regarding the 1968 French translation of Žert, “rage seized me”. From then on, Kundera showed displeasure at any translator who, however briefly, would impersonate the author and take some license in translating Kundera’s work. Further, Kundera decided that only his full authorial involvement in the process would ascertain “the same authenticity” of his translations as the original Czech works. Kundera thus becomes the omnipresent, omnipotent author, himself impersonating God controlling his own creation. Finally, Kundera takes extreme measures and translates Žert into French himself. The resulting translation surprised many – editing changes are plentiful but apparent only to those who can compare the original Czech text with Kundera’s own translation. Kundera’s stance is conflicting, as he denies creativity to other translators but as the auto-translator, Kundera freely rewrites, rather than just retranslates, his own works. By exploring the convoluted and complex history of translations of Kundera’s works, I will try to illuminate the reasons behind Kundera’s posture. I will support my discussion by analyzing not only well known Kundera’s statements, but also those less quoted which, as I have discovered, are rather crucial to understanding Kundera’s position.
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Bajt V, V., G. Gračner G, and A. Škrobonja. "Professor Josip Ubl's contribution to the development of veterinary medicine in Croatia." Veterinární Medicína 46, No. 6 (2001): 175–80. http://dx.doi.org/10.17221/7873-vetmed.
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Numerous data point to the fact that Czech people played an important role in the cultural development of Croatia. Professor Josip Ubl was one of the many outstanding Czech veterinarians who greatly contributed to the Croatian veterinary medicine. Prof. Josip Ubl was born on the 4th April 1844 in Chudenice, in the Plzeň district. He descended from a respectable family, which highly influenced his schooling. He finished his primary and secondary education at his birthplace. He graduated from the k. u. k. Milit&auml;r-Thierartznei-Institute in Vienna in 1867. Prof. Josip Ubl first worked as an assistant lecturer and as a&nbsp;professor of animal husbandry and veterinary medicine at the School of Farming and Farming Crafts in Doubravice near Lo&scaron;tice and Mohelnice in Moravia. Later on he was appointed a teacher of veterinary medicine, animal husbandry, anatomy and zoology at the Kraljevsko gospodarsko-&scaron;umarsko učili&scaron;te i ratarnica (Royal School of Farming and Forestry) in Križevci in Croatia. He was an exceptionally prolific writer and wrote seven veterinary manuals. Besides being an outstanding teacher he was also engaged in social work and was awarded for his contribution to this field of work several times. As the author of the first veterinary works in Croatian language and the creator of the Croatian veterinary terminology he has gained a prominent place in the history of Croatian veterinary medicine.
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Kalvoda, Josef. "The Gypsies of Czechoslovakia." Nationalities Papers 19, no. 3 (1991): 269–96. http://dx.doi.org/10.1080/00905999108408204.
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The 1952 edition of the Dictionary of the Czech Language defines “gypsy” as follows: “gypsy [with a small “g”]—a member of a wandering nation, a symbol of mendacity, theft, wandering,…jokers, liars, impostors and cheaters.” This definition was published two years after the Czechoslovak government outlawed any form of discrimination on the basis of color. As far as this writer recalls, the above definition expressed the popular understanding of the Gypsies as a group in the 1930s, in pre-World War II Czechoslovakia. Despite the persecution of the Gypsies during the war and the popular sympathy for them because of it, the prejudice against them have not disappeared and one can find its reflection in the official press as well as in conversations of the common people. Although one cannot generalize about members of any racial, national or religious group, it is evident from the official publications that most Gypsies pose certain problems for the regime and the society.
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Wistrich, Robert S. "The Jews and Nationality Conflicts in the Habsburg Lands." Nationalities Papers 22, no. 1 (1994): 119–39. http://dx.doi.org/10.1017/00905999408408313.
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There have been few areas of the world during the past 150 years that have been as shaped by Jewish influences as East Central Europe. The prominent Czech writer Milan Kundera observed seven years ago that in the years before Hitler, the Jews were the “intellectual cement,” the essentially cosmopolitan and integrative element that forged the spiritual unit of this region. It was this small nation par excellence which added the quintessentially European color, tone and vitality to great cities like Berlin, Vienna, Prague, Budapest, not to mention Cracow, Lemberg and Czernowitz further to the east. The Nazi mass murder of the Jews, to which Stalin added his own macabre postscript after World War II, brought about the disappearance of this fructifying Jewish leaven and crushed for forty years the independence of the smaller East European nations sandwiched between Russia and Germany. Since the European revolutions of 1989, these nations, re-emerging from a semi-totalitarian deep freeze, have been recovering their national identities and historical roots long repressed under Communist rule.
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Tellinger, Dušan, and Kostiantyn Mizin. "CULTURAL REALIA IN THE SLOVAK AND CZECH MULTIPLE TRANSLATIONS OF I. GONCHAROV’S NOVELS: DYNAMICS OF TRANSLATION DECISIONS." Research Bulletin Series Philological Sciences 1, no. 193 (2021): 105–12. http://dx.doi.org/10.36550/2522-4077-2021-1-193-105-112.
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The article defines the reasons influencing the translation decisions as to recreation of cultural realia in the Slovak and Czech multiple translations of I. Goncharov’s key novels. It has been found that ethnocultural elements of the text, first of all the realia, can be a source of mistakes when translated since the modern generations of readers do not possess the background knowledge on the level needed for the perception of important information contained in the classics’ works, in particular in those by I. Goncharov. That is why a contemporary translator must introduce the reader to the elements of the text connected with the life of people, their culture and world outlook when works of art are being translated. The knowledge of material and moral realia, customs and traditions is an integral part of the background knowledge of a writer, a translator and a reader as well. Much depends on a translator’s aspiration to realize the modern readers’ expectations and update the archaic realia when translated in order to bring the past times closer to the present days. This requires a translator’s freedom from an original. This way there is the only possible to preserve artistic peculiarities of an original since translators in the past strived to recreate the precise structure of a text (sentences) by means of literal translation. However, it was an illusion as to the correctness of translation. That is why translators should be aware of the fact that they should preserve the invariant part of the contents of an original, which should be the result of their work. Herewith, translators should maintain all artistic properties of a classic work.
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Gallik, Ján. "Motív smrti v tvorbe autorov slovenskej, českej a maďarskej katolíckej literatúry." Slavica Wratislaviensia 168 (April 18, 2019): 315–26. http://dx.doi.org/10.19195/0137-1150.168.26.
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Motif of death in the work of Slovak, Czech and Hungarian authors of Catholic literatureIn the context of the evolution of religious literature, including the poetics of Slovak, Czech and Hungarian Catholic literature, the motif of death is not particularly unusual. This fact is clearly noticeable in the work of authors of the turn of the 19th century and the entire 20th century, as well as in the following millennium. For example, in the first phase of the creative work of Jakub Deml, who is considered one of the most important representatives of Czech Catholic literature of the first half of the 20th century, mirroring the so-called apocalyptic realism, we notice the thematization of solitude, death, extinction and nothingness. Death in Deml’s work is depicted as an entity that one seeks with an affection and desire, while “it constantly encounters Life. But as soon as they get excited and look for Life, they constantly meet Death, even those who don’t look for one for themselves”. Few years afterwards, a very similar thesis was developed by the later Catholic convert, important thinker and — it can be said — a comrade of the author of Slovak Catholic modernism, Pavol Strauss: “Life consists of search for life and it finds death within”. A Hungarian writer János Pilinszky, who besides spiritual-Christian poetry wrote great essays, the so-called Lyrical Diaries, wrote regarding death: “Death doesn’t exist for real, at least not the one that can be seen from the outside. We have to live first to be able to consider death”. And finally, Jan Zahradníček in his debut collection shifts the perception of death to the next semantic level, when it his poem Their shadow he writes “for the living ones I was alive too much / and for the alive ones I was too dead”. The aim of this paper is to interpret the motif of death in the work of selected authors of the Slovak, Czech and Hungarian Catholic literature. Motyw śmierci w twórczości słowackich, czeskich i węgierskich autorów literatury katolickiejW kontekście rozwoju twórczości religijnej, w tym poezji słowackiej, czeskiej i węgierskiej literatury katolickiej, motyw śmierci nie jest niczym wyjątkowym. Zjawisko to można zaobserwować również w dziełach autorów z przełomu XIX i XX wieku. Motyw śmierci pojawia się w całej dwudziestowiecznej literaturze i przechodzi do trzeciego tysiąclecia. Występuje na przykład u Jakuba Demla, który jest uważany za jednego z najwybitniejszych przedstawicieli czeskiej literatury katolickiej pierwszej połowy XX wieku. W pierwszym okresie jego twórczości, w czasie tak zwanego realizmu apokaliptycznego, można zauważyć, że tematyka utworów krąży wokół samotności, śmierci, zaniku i nicości. Pavol Staruss, wybitny myśliciel katolicki, konwertyta z judaizmu i — można powiedzieć — wierny towarzysz autorów słowackiego modernizmu katolickiego, często podkreślał, iż życie składa się z poszukiwania życia, a w ramach tych poszukiwań natrafia się na śmierć. Z kolei János Pilinszky — węgierski pisarz, który oprócz duchowo-chrześcijańskiej twórczości poetyckiej tworzył wspaniałe eseje i tak zwane dzienniki liryczne — pisał w odniesieniu do śmierci, że śmierć w rzeczywistości nie istnieje, przynajmniej nie ta śmierć, którą możemy zaznać z zewnątrz. Trzeba najpierw żyć, abyśmy mogli wziąć pod uwagę śmierć.I wreszcie Jan Zahradníček w swoim debiutanckim tomiku przesuwa pojęcie śmierci na inny poziom znaczeniowy. W wierszu Ich cień umieszcza strofę: „dla martwych byłem za bardzo żywy / a dla żywych za bardzo martwy”. Celem tego artykułu jest przedstawienie przeglądu i dokonanie interpretacji twórczości wybranych autorów słowackiej, czeskiej i węgierskiej literatury katolickiej pod kątem występującego w niej motywu śmierci.
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Żygadło-Czopnik, Dorota. "Backlash, czyli czego obawiają się twórcy najnowszej dramaturgii czeskiej." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 37–47. http://dx.doi.org/10.19195/2353-8546.4.4.
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Backlash, or what are the makers of the new Czech drama afraid of. In November 1989 various theater groups participated in overthrowing the totalitarian regime by improvising discussion forums. After the so-called Velvet Revolution, it was the writer and playwright Václav Havel who became head of state while another playwright, Milan Uhde, became the Minister of Culture and Speaker of the Parliament. Nowadays the Czech theater scene is immensely diversified. We can divide the authors who began writing their dramas after 1989 into two generational groups. On the one hand, there are authors born in 1960–1970, who entered the post-totalitarian times already as mature adults and who at the moment have long experience in their artistic work as playwrights, actors or directors it is quite common that those people write and direct their own work. On the other, there is a younger group which is made of people who were still children during the communist era, and their artistic activity was shaped and took place in most recent years. We are talking about a generation of artists who share a common experience of totalitarianism in childhood and adolescence, as well as the difficult transition between the two systems: communist and capitalist.Backlash neboli čeho se bojí tvůrci nejnovější české dramaturgie. V listopadu 1989 se v České republice divadelní soubory pořádáním improvizovaných diskuzních fór účastnily svržení totalitního režimu. Po tzv. sametové revoluci stanul v čele státu spisovatel a dramaturg Václav Havel a další dramaturg, Milan Uhde, se stal ministrem kultury a předsedou Poslanecké sněmovny. V současnosti je česká divadelní scéna nesmírně rozrůzněná. Jména autorů, kteří začali svá umělecká díla psát po roce 1989, můžeme rozdělit do dvou generačních skupin. Na jedné straně máme autory narozené v letech 1960–1970, kteří do posttotalitních časů vstoupili už jako dospělí lidé a v současnosti za sebou mají většinou dlouholeté zkušenosti v umělecké práci, nebo v roli autorů dramat, herců případně režisérů často se jedná o osoby, které svoje kusy píší a zároveň režírují. Skupinu mladých umělců tvoří lidé divadla, kteří v době komunismu byli ještě dětmi, a jejich umělecká činnost se formuje a připadá na nedávná léta. Je tu řeč o generaci umělců, které spojuje společná zkušenost totalitarismu v dětství a raném mládí a také obtížný přechod mezi dvěma systémy: komunistickým a kapitalistickým.
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Rybachok, Oksana. "3 March - International Day for Ear and Hearing Care." Spravočnik vrača obŝej praktiki (Journal of Family Medicine), no. 3 (March 1, 2020): 76–79. http://dx.doi.org/10.33920/med-10-2003-10.
Full textAbstract:
We are surrounded by a wonderful world filled with a wide variety of sounds. The well-known Czech novelist, short-story writer and playwright Karel Čapek had an absolutely fair saying: “Hearing is more than just understanding the words.” As a rule, some sounds give us peace and joy, while others on the contrary cause irritation and negative emotions. However, not everyone can hear. There are people who are doomed to live in a world without sounds, while some are born with similar disorders, and others acquire this problem as a result of inflammatory diseases or traumatic factors. Be that as it may, thousands of people around us are forced to exist without ability to hear the sound of the wind and the sound of raindrops; they cannot appreciate the beauty of birds singing or playing a musical instrument. In order to draw public attention to these hearing-impaired patients and to support people with disabilities, the World Health Organization has launched the International Day for Ear and Hearing, which is celebrated annually worldwide on the 3rd March. This day acquired the status of an official holiday in Beijing, the capital of China, in 2007 at the 1st International Conference on the Prevention and Rehabilitation of Hearing Impairment.
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Orzoff, Andrea. "Prague PEN and Central European Cultural Nationalism, 1924–1935." Nationalities Papers 29, no. 2 (2001): 243–65. http://dx.doi.org/10.1080/00905990120053737.
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In “Our Guests and Ourselves,” an article written in 1924 for the Prague daily newspaper Lidové noviny, Czech playwright and novelist Karel clarified for his readers the failings in Czech habits of sociability, and the unfortunate consequences of those habits for the new Czechoslovak nation. Each nationality in Prague, and each political grouping within the nationalities, tended to socialize in different clubs and cafes. The Czechs preferred to socialize only with each other, complained , and foreigners visiting Prague tended to socialize with Germans. When Czechs set themselves the task of entertaining visiting foreigners, they did so in a manner overly officious and overtly “national”: that is, Czechs dragged foreigners around from function to banquet, forcing them to listen endlessly to official pronouncements of the glories of the long-overlooked Czech nation. As yet, wrote, Prague lacked a single genuinely neutral club or grouping open to all, and comfortable for all, particularly foreigners, whom the Czechs needed badly to impress. In contrast, told his readers, he himself had just visited the kind of club the Czechs should create: the “Penklub”, in London. In the International Pen Club's London chapter, writers of different nationalities were able to enjoy one another's company, and perhaps develop a greater understanding for other countries' perspectives. The club's existence demonstrated that even England, one of the historical great powers of Europe, put great weight on creating international ties. reminded his readers that “we here have more, and more urgent, reasons for needing such [clubs].” Those “more urgent” reasons for changing Czech habits were first and foremost political reasons, in an age when sociability was politicized—and, as 's comments make clear, nationalized.
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Woźniak, Kamila. "Milady Součkovej prywatne archiwum pamięci (na podstawie opowiadania Rok šestašedesátý ze zbioru Neznámý člověk)." Poznańskie Studia Slawistyczne, no. 19 (February 23, 2021): 273–89. http://dx.doi.org/10.14746/pss.2020.19.13.
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This article presents an analysis of one of the short stories authored by Czech writer – Milada Součková: the short story Rok šestašedesátý included in the collection entitled Neznámý člověk (published in 1962, written in 1943). The introduction addresses the issues related to the clarification of the concept of a memory archive and the concept of the archive itself. Its characteristics, i.e. a certain arrangement of the collection, its permanent structure and three essential aspects of archiving are indicated: searching, saving and storing. These aspects are also typical of the structure of the analysed prose authored by Milada Součková. The next part of the article (Neznámý člověk as a private archive of memory) pertains to the entire above-metioned volume of the stories whose characteristic motif is the motif of memory linked with space, time and history. In the further parts of the article, the author goes on to the structural and interpretative analysis of the story she is interested in. She draws attention to such aspects as memory figures, i.e. time and space, thematic associations, memory carriers and memory traces and places. In conclusion, she draws attention to three components of the Milada Součková’s private memory archive: the memory of the language, the memory of the father and the memory of the historical events taking place in 1866.
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Tippner, Anja. "Postcatastrophic entanglement? Contemporary Czech writers remember the holocaust and post-war ethnic cleansing." Memory Studies 14, no. 1 (2021): 80–94. http://dx.doi.org/10.1177/1750698020976463.
Full textAbstract:
The last two decades have seen a rising interest in the Holocaust and the expulsion of ethnic Germans after World War II in Czech literature. Novels by Hana Androníková, Radka Denemarková, Magdalena Platzová, Kateřina Tučková, and Jáchym Topol share a quest for a new poetics of remembrance. Informed by contemporary discussions about Czech memory politics, these novels are characterised by spectral visions of Germans and Jews alike, a dichotomy of trauma and nostalgia, and an understanding of Czech history as postcatastrophically entangled and thus calling for multidirectional forms of remembrance. In this respect, literary memorial forms compensate for the absence of other memorial forms addressing these topics through a transnational lens. The interaction of different historical points of view is achieved by a time frame extending from the war to the present day and stressing the intercultural dynamics of Czechs, Jews, and Germans retroactively. In order to illustrate this entanglement, authors make use of popular genres, such as romance, and create texts shaped by genre fluidity, memory theory, documentary practices, and concepts of transnationality.
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Kašparová, Jaroslava. "Mezi Prahou a Paříží. Neznámé a málo známé „hrdinky“ česko-francouzského kulturního světa první poloviny 20. století." Acta Musei Nationalis Pragae – Historia litterarum 65, no. 3-4 (2020): 6–24. http://dx.doi.org/10.37520/amnpsc.2020.019.
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The article describes the lives of several Czech-French female ‘heroines’, writers and scientists active in the first half of the 20th century who we encountered in connection with research into book provenances in Czech and French institutions and whose fates are little known, or even unknown, to the Czech and French cultural public. The first part, entitled ‘Paris in Prague and Prague in Paris’, tells the story of two women, a Francophone Belgian and a Czech living in France. The second part, ‘French Women Married to Czechs’, maps the lives of three French women who were engaged in pedagogical, translation, educational and scientific activities and who were forced to leave Czechoslovakia after 1948 for political reasons. The last part, ‘The Daughter of a Famous Father’, deals with the life of the Bohemist Jacqueline Mazon, the daughter of the distinguished French Slavist André Mazon.