The introduction to this study describes the genesis of Vladislav Vančura’s novel The End of the Old Times (1934), which was based on a film script about Baron Munchausen. This is followed by an outline of its critical reception at the time and its historical background. It involves both the phenomenon of emigration from Russia after 1917 and the land reform carried out in Czechoslovakia from 1919 onwards. The core of the study is an analysis of Jan Mukařovský’s study of the novel, published in 1934 in the journal Listy pro umění a kritiku (Art and Criticism) and Mukařovský’s afterword to the fourth edition of The End of the Old Times, published in 1958. The author also considers both analysed texts in the context of the relevant literature.
Text se pokouší interpretovat z komparativního hlediska koncepce hlubinného filosofického poznání ve studii španělského filosofa Josého Ortegy y Gasseta Meditace o Quijotovi. Interpretace filosofického poznání hledáme prostřednictvím metafory lesa, která se objevuje jako metafora hlubinného poznání v textu J. Ortegy y Gasseta. Metafora lesa se objevuje i ve filosofické knize Ernsta Jüngra Chůze lesem. Snažíme se vysvětlit rozdíly a shody v jejím použití u obou filosofických studií. Příspěvek se dále věnuje také interpretaci koncepce románového žánru a vztahům mezi čtenářem, hrdinou a autorem v tomto žánru. K závěrům se dostávám porovnáním koncepcí José Ortegy y Gasseta a Michaila Michajloviče Bachtina a na základě interpretace zmíněných studií obou autorů. and The text is trying to interprete the conception of the deep philosophical knowledge of the Spanish philosopher Jose Ortega y Gasset in his study Meditations on Quixote in comparableness. The text explains the deep philosophical knowledge through the explanation of metaphor, such as metaphor of the forest, one of the most important metaphors of the knowledge. This metaphor could be found also in the study of Ernst Jünger The Forest passage and in this text are seen the similarities and differencies between the conceptions of the metaphor in both philosophical studies. The text ex¬plores the conception of the novel as a genre and the relationships between the author of the novel, its protagonists and the reader. The conclusive conceptions are done as a result of a comparison between the theories of the novel of J. Ortega y Gasset and Michail M. Bachtin among others.
Článek předkládá přehled ruských antiutopických textů, převážně románů, s ohledem na jejich vývoj, vzájemné souvislosti a inspirační linie. Všímá si Jevgenije Zamjatina jako výrazné postavy antiutopického žánru nejen v ruském kontextu. Sledujte posuny, proměny a tendence, ke kterým v žánru antiutopie dochází a který se, pravděpodobně ze své vnitřní tematické podstaty, stává "vyčerpaným" žánrem na okraji. and Presented article is focused on the dystopian literary texts (novels, mainly) considering their evolution, contexture and inspiratory lines. The paper is spotting Yevgenii Zamyatin as an oustanding person of the genre of dystopia not just in the Russian context. It observes development, transformation and tendencies within the respective genre which is getting worn out and on a fringe perhaps due to its inner thematical essence.
V príspevku sa postupmi teórie textu analyzujú kompozičné operácie autora v texte. Záujem sa sústreďuje na postavu a rozprávača. Zámerom je ukázať vnútorné segmentovanie konfliktu podľa toho, v akej pozícii sa ocitne postava voči ostatným postavám a k sebe samej. To znamená, že vedľa možností poetiky si autor pomáha štylistickou organizáciou textu. and The present article contains the analyses of the author's composition operations. The attention is paid to the character and the narrator. The aim of the study is to point to inner segmentation of the conflict according to fact what position the character occupies in comparison with other characters. This means that besides the categories of poetics the author has to modify the stylistic organization of the text.
Článek pojednává o nejrůznějších aspektech prostoru (a rovněž jeho neopomenutelné korelační dvojice – času) v románových dílech Idiot a Zločin a trest F. M. Dostojevského se zaměřením na samotné vymezování kategorie prostoru v uměleckém díle, na protiklad newtonovského a leibnizovského prostoru a konstituci i rozvíjení petrohradského textu ve 20. a 30. letech 19. století. Jednotlivé aspekty prostoru jsou zachyceny prostřednictvím krátkých tematických úseků: hmyz a hmyzí perspektivy, roztržitost, běh a pohyb městem a dům jako stav duše. and The article deals with various aspects of space (including its ever-present correlation pair – time) in the novels The Idiot and Crime and Punishment of F.M. Dostojevskij, while focusing on defining the category of space in an work of art, the contrast between Newton's and Leibniz's space and the constitution and development of Petersburg's text in the 1820s and 1830s. Particular aspects of space are depicted in short thematic sections: insect and its perspective, absent-mindedness, running and movement through the city and a house as a state of mind.
The present study deals with female characters in selected novels of the renowned Greek writer Nikos Kazantzakis in Zorba the Greek, The Last Temptation, Christ Recrucified and God's Pauper: St. Francis of Assisi. The study is based upon a typological analysis of the books' major female characters. Individual chapters are devoted to Kazantzakis's female literary archetypes: woman-seductress, woman-mother and woman-virgin. Two other important female characters, Madame Hortense and Sister Clara, who cannot be classified in any of the above-mentioned categories, are also an essential part of this study. The various female literary types and characters are compared to isolate common features and points of difference. Characteristics of the female characters hold in common are summarized in the final section.
Predkladaná štúdia vychádza nielen zo snahy vytvoriť druhový a žánrový prehľad bohato rozvetvenej tvorby Terézie Vansovej (1857–1942), ale predovšetkým zo zámeru poukázať na jednotlivé žánrové presahy a posuny v tvorbe tejto významnej slovenskej autorky. Súčasné tendencie literárnej vedy poukazujú na fakt, že práve genologický aspekt skúmania Vansovej umeleckej literárnej tvorby môže prinášať nové pohľady na jej tvorbu, pričom s rovnakým úmyslom je písaný i tento článok. and The presented paper is not meant only as the attempt to create the genre overview of wide-branched literary production of Terezia Vansova (1857–1942), but primarily as the effort to point out concrete unique genre overlaps and genre shifts in the works of this eminent Slovak writer. Actual tendencies in a literary science indicate, that just genological aspect of analyses of Vansova's literary production could bring new perspectives of a perception of her literary works and this paper is intended as realization of these scientific tendencies too.
Герой принадлежит эпическому миру. Пребывая не в эпическом, а в романном мире, герой уже не способен иметь тот "готовый" вид, который он имел тогда, когда между его внешним и внутренним не было ни малейшего зазора. В романном мире он лишается цельности, и потому уже не может быть героическим Героем. Родоначальником типа несостоявшегося героя в русской литературе становится Печорин. Он тот, кто будучи наделен задатками героя, в условиях "нашего времени" не может их реализовать. В 1840-е годы рядом с нецельным героем печоринского типа начинает вести параллельное существование персонаж другой, подобно эпическому Герою, абсолютно себе тождественный, готовый, но при этом - не Герой. Родоначальником этого типа можно считать гоголевского Башмачкина. Готовность такого героя не наделяет его судьбой (как это было с Героем эпическим), а, напротив, напрочь лишает его возможности эту судьбу иметь. Характерные особенности и перипетии протекания процессов героизации и дегероизации в литературе второй половины XIX века должны стать, согласно перспективному плану данного исследования, предметом особого внимания. and The Hero belongs to the epic world. The existance in the novel world deprives him of the completeness which he had before when there was no gap between his inner and outer life. In the novel world he is bereft of the epic wholeness and he is not able to be the heroic Hero. The father of this kind of unrealised hero was represented in Russian literature by Pechorin. He is the one who possesses the trend of being hero but fails to realize it under condition of "our time". In the 1840's side by side with Pechorin's type of a hero with the broken wholeness another kind of hero comes in parallel existence, the one who similar to the epic Hero is quite identical with himself and completed but he is not a Hero. The father of the kind can be considered Gogol's Bashmachkin. The completeness of this character does not endow him with Destiny (as in case with the epic Hero), just the opposite - it deprives him of any chance to have its own Destiny. The subject of this envisaging further development research must become characteristic features and peripateia of the process of heroising and deheroising in the literature of the second half of 19th century.