The essay attempts to point out the benefits of reading Peter Sloterdijk's works from the perspective of German studies. In the course of the paper, Sloterdijk is introduced in his various individual roles. First, his early steps in German studies are described, followed by an assessment of the influence of his German-studies works on the formulation of philosophical problems and stances. After that, Sloterdijk is presented as an exponent of certain typical development, as a diagnostician of problems that post-war Germany faced in its transformation into a civic society. The final part consists of reflections on his observational abilities in descriptions of interdisciplinary misunderstandings and in the creation of transdisciplinary analogies.
Deník je v současnosti oblíbeným žánrem spisovatelů i ne-spisovatelů, svědčí o tom vznik množství deníků publikovaných zejména ve druhé polovině 20. a na počátku 21. století. Z perspektivy literární vědy však žánr deníku patří k těm méně oblíbeným, nevzniká o něm tolik sekundární literatury, jako například o románu nebo povídce. Předkládaný příspěvek se zabývá žánrem deníku z hlediska terminologie, jeho místa v systematice autobiografických žánrů. Na příkladě Deníku spisovatele F. M. Dostojevského a Pod jařmem M. Bulgakova se blíž zaměřuje na žánrový typ spisovatelského deníku a jeho specifikum v kontextu slovanských literatur. and A lot of diaries published in the second half of 20th century and at the beginning of 21st century witnesses about the fact that nowadays, diary is considered to be one of popular genres by writers as well non-writers. From the perspective of literary criticism, diary belongs to less popular genres, because in the recent past about this genre has not been created a lot of secondary literature in comparison with other genres, for example a novel or short story etc. The paper deals with the genre of a diary from the point of terminology, its placement in the systematics of the autobiographical genres. On the example of Dostoyevsky's Diary of a writer and Bulgakov's Under the oppression, the author focuses on the genre type called diary of a writer and its specific features in the context of Slavonic literatures.
In the novel Seventh Autobiography, writer Ota Filip established a wide range of strategies for using quotes from archival documents from the State Security Archive. The writer attempted to respond to public accusations of his collaboration with agents of Czechoslovak military intelligence in the 1950s when he betrayed his colleagues who were planning to escape to West Germany. In the late nineties this scandal led to the writer’s son’s suicide and forced Filip to write his autobiographical novel to deal with the burden of guilt. By using this quotation strategy the writer was able to reassess past events from the perspective of his current position to follow his personal and artistic development and redefine his identity following this chain of traumatic experiences. Quotation also allows us to follow the gradual interlinking of individual autobiographical motifs in wider structures and to observe the relations functioning between them, which enable the autobiographical space of the writer’s literary work to be established. An important and simultaneous process in this context is the development of literary communication between the writer and the recipient of his novel. For the first one, this is an opportunity to share his personal experience and observe how it influences the process of dealing with the problematic past. The main goal of the article is to present the essential strategies for quoting from archival documents in the text of Seventh Autobiography. The author of the study particularly emphasizes the influence of quotation in the field of relations between the actual author of the literary text and the agents holding his security files in the past and the way the disproportion in accessibility of source material on the part of the recipient of the novel influences the process of literary communication. The final result of conducting analytical activities in these fields creates a broader picture of the writer’s methods for dealing with his experiences.
This study is dedicated to documenting the relationship between these two important musicians on the basis of excerpts from extant written sources. The most important documentation of contacts between Vaclav Jan Tomasek (1774-1850) and Carl Maria von Weber (1786-1826), who worked in Prague from 1813 until 1817 as Kapellmeister of the Estates Theatre, is Tomaseks autobiography published in Prague in 1845-1850 in a yearbook titled Libussa. We find additional brief documentation in Weber's diaries and in the correspondence of both men addressed to other persons. Tomasek's autobiography is also important documentation of how Weber's works were viewed by the German public and music critics., Obsahuje seznam literatury, and Anglické resumé na s. 82.
Žánr deníku představuje svým charakterem jeden z nejsubjektivnějších autobiografických žánrů. V přítomné studii se autorka věnuje deníkovým zápiskům ruského satirického spisovatele Micha¬ila Bulgakova (1891–1940) ve srovnání s deníkovými zápisky jeho manželky Jeleny Sergejevny. Autorka zkoumá žánrové a kompoziční osobitosti obou deníků, zároveň však poukazuje na to, jak se v nich projevuje osobnost spisovatele. and The genre of diary represents itself one of the most subjective genres of autobiography. In the present study the author deals with the diary written by Russian satirist Mikhail Bulgakov (1891–1940) in comparison to the diary of his wife Yelena Sergeyevna. The author's attention is paid to the composition, the genre individuality of both diaries and also to the fact how the writer’s personality is revealed in genre.