Czech Literature

A obra Histoire de la Tchécoslovaquie pour Pierre Bonnaure" faz parte da coletânea "Que sais-je? da editora acadêmica francesa Presses universitaires de France (PUF), fundada em 1921 a editora é especializada na publicação de obras universitárias e de pesquisa. Reúne pequenos livros sobre diversos temas nas áreas de nas áreas de ciências sociais, filosofia, história, linguística, literatura, ciência política e direito, cada um com uma abordagem concisa e acessível, escritos por especialistas das áreas abordadas, e com o intuito de fornecer uma visão geral e informativa sobre as diferentes temáticas. Praticamente não se encontra versão traduzida do livro, sendo disponibilizado apenas em Francês e de forma física. Embora a empresa FeniXX tenha iniciado um projeto de digitalização de livros antigos, de difícil acesso, presentes na Biblioteca Nacional da França, o livro digitalizado por completo não foi encontrado disponível digitalmente até a presente data. Pierre Bonnoure, foi aluno do Lycée Voltaire em Paris, onde obteve seu bacharelado (série de filosofia) em 1923. Posteriormente foi Designado para a Faculdade de Artes de Lyon (Rhône), obteve o diploma de bacharel em artes (história-geografia) em 1929 e um diploma de estudos superiores em 1930, dedicado ao Mont d'Or em Lyon, que foi a origem de seu primeiro artigo na revista Études rhodaniennes. Trabalhou com a língua tcheca no Instituto de Línguas Eslavas e obteve seu diploma em 1956. Ele então se tornou um especialista líder na Tchecoslováquia com várias publicações nos Annales de démographie historique , em La Pensée e participação na publicação dos cadernos EDESCO sobre os países socialistas da Europa. E em 1968 , a História da Tchecoslováquia apareceu na Presses universitaires de France na coleção Que-sais-je ?. Como mencionado acima a obra de Pierre Bonnaure foi publicada em 1968 e aborda de forma geral, porém concisa a história da Tchecoslováquia até seu ano de publicação, uma vez que a dissolução pacífica entre dois Estados ocorreu em 1993 e a partir deste ponto os países dissolvidos passaram a ter histórias específicas, mas com um passado histórico e cultural similar. Portanto a abordagem do livro diz sobre a Tchecoslováquia no geral.

Der Workshop ist sozio-historischen Lesarten hybrider Formen gewidmet. Gemeinsam wollen wir die politischen, sozialen und ästhetischen Dimensionen hybrider Gattungen für die Literaturwissenschaft ausloten und die zwittrigen Formen zwischen Potential und Projektion kritisch verorten. Der Workshop versteht sich selbst als Hybrid, insofern europäische und lateinamerikanische Denktraditionen sowie literaturwissenschaftliche Ansätze unterschiedlicher Disziplinen in Austausch treten.

This auxiliary study is accompanying the edited letters of Yevhen Malaniuk to Josef Svatopluk Machar which are preserved at the Literary Archive of the Museum of Czech Literature. The contact between Machar and Malaniuk is usually seen not just as an unprecedented example of intense intellectual exchange between these leading representatives of Czech literature and Ukrainian literature in the interwar period, but also as a unique example of the successful integration of a Ukrainian émigré into the Czech cultural environment of the time, which he served through his awareness-raising and translation in particular. The study works with this source material, offers the necessary cultural, historical and literary context, and provides suggestions for future research. It also offers an
attempt at comparing these authors and their positions in Czech and Ukrainian literature and traces the similarities in the creative output and lives of Machar and Malaniuk, finding remarkable parallels.

In spite of the still on-going health and environmental impact of the Chernobyl nuclear accident, this tragic event occupies only a minor place in the present-day political life of Belarus, the former Soviet republic most affected by the radioactive fallout. To understand the apparent weakness in public memory of the disaster, this paper provides an analysis of several kinds of commemorative events that have been organized by opposition political forces and by state officials since the end of the 1990s, and of the monuments dedicated to the Chernobyl accident in Belarus. It shows how these different forms of memory contributed to the erasure of the specific meaning of the accident by framing the disaster's past in terms of a tragedy among other national tragedies, and by reducing it merely to a tool to attack political opponents and legitimize one's own aspirations to power or by suggesting this past should be overcome as soon as possible.

In spite of the still on-going health and environmental impact of the Chernobyl nuclear accident, this tragic event occupies only a minor place in the present-day political life of Belarus, the former Soviet republic most affected by the radioactive fallout. To understand the apparent weakness in public memory of the disaster, this paper provides an analysis of several kinds of commemorative events that have been organized by opposition political forces and by state officials since the end of the 1990s, and of the monuments dedicated to the Chernobyl accident in Belarus. It shows how these different forms of memory contributed to the erasure of the specific meaning of the accident by framing the disaster's past in terms of a tragedy among other national tragedies, and by reducing it merely to a tool to attack political opponents and legitimize one's own aspirations to power or by suggesting this past should be overcome as soon as possible.

T he study focuses on the postcolonial analysis of the development of mutual Czech-Slovak relations from the 19th century to the first half of the 20th century. The core of the analysis are specific literary representa tions of these mutual relationships based on the textual corpus of Czech and Slovak literature. In the broad er public discourse of Central European literature, Czech-Slovak relations are only rarely analysed using postcolonial criticism. In the field of literary science, this is an unexplored area of Czech-Slovak relations. T he contribution therefore seeks to complement postcolonial research on the material of Czech and Slovak non-fiction texts, as well as neglected novels. It focuses on the postcolonial analysis of literary representa tions of mutual Czech-Slovak relations, which developed between paternalism and colonialism in the ob served period. The critical reading of these literary representations is based on the description of power relations identifiable through more or less conspicuous features of superiority and subordination, which are relevant to interpret through postcolonial theories. The author of the paper is aware of the specifics and differences of power relations between small cultures in the Central European area compared to the analysis of relations between a large empire and a politically subordinate colonial culture. For this reason, he expands the repertoire of terminology from postcolonial criticism (Homi H. Bhabha and Edward W. Said) and uses not only the basic terms colonialism and Orientalism, but also other terms to define the diverse scale of the power relationship of the Czechs to Slovak culture, e.g. paternalism (to introduce the Czech figure of the elder brother), pre-colonialism (to introduce the Czech figure of the savior) and anticolonialism (to intro duce the Czech figure of the Slovaks as victims). Using postcolonial terminology, the study approaches spe cific literary figures that have become part of Czech thinking about Slovak culture. The situation of Slovak culture in the observed period can be interpreted through Kiossev’s metaphor of self-colonization, which reflects the positive reception of the cultural and educational mission of the Czechs in Slovakia. The used corpus of texts from Czech and Slovak literature and its analysis served as a starting point for understanding cultural stereotypes and literary representations of nascent national identities. Czech colonialism developed in the political, cultural and linguistic framework, first as a recognition of Slovakia by Czech slovakophiles, after 1918 it was already part of the discussion in the public space. All these period attitudes of the Czechs towards Slovakia were prescribed in literary texts of a fictional and non-fictional nature and as part of the Czech cultural memory they filled the Czech cultural myth about Slovakia.

As part of the FNRS project “Belgium ‘Read’ in German and Czech” (2024–2027), directed by Petra James (Université libre de Bruxelles) and Hubert Roland (UCLouvain), we are pleased to announce the Call for Papers for the our second Workshop "Gender and Mediation. Reception of Belgian Literature in Czech- and Germanophone Cultural Spaces during Modernism", to be held in Prague, 15–17 April 2026.

Przedmiotem rozważań w niniejszym artykule jest film Andrew
Dominika "Blondynka" z 2022 roku. Wzbudzający wiele kontrowersji
i skrajny w odbiorze, posłużył jako punkt wyjścia do krótkiej analizy
efektu utopionych kosztów, rozumianego jako skłonność do trzymania
się wcześniej podjętych decyzji nawet w takiej sytuacji, gdy okazały
się one niekorzystne. Nawiązując m.in. do problematyki neurotycznej
osobowości i destrukcji tożsamości, autorka traktuje narrację filmu
Dominika jako jeden z popkulturowych przykładów na to, że im więcej
jednostka zainwestowała w projekt swojego życia, tym więcej wysiłku
i czasu poświęca na „ratowanie” tego projektu, nie bacząc na kolejne
koszty i konsekwencje

Het artikel richt zich op het beeld van de Middelnederlandse literatuur in Poolse literairhistorische studies in de 20 ste en 21 ste eeuw. Hiervoor worden verwijzingen naar Middelnederlandse literatuur in Poolstalige literatuurgeschiedenissen, literaire lexicons en thematische literair-historische werken onderzocht. Voor de analyse zijn Poolstalige publicaties geselecteerd die een synthese geven van Europese of mondiale literatuur en buiten beschouwing worden studies gelaten waarin de Nederlandse literatuur het centrale aandachtspunt vormt (met andere woorden geschiedenissen van Nederlandse literatuur). Op grond van de geselecteerde teksten wordt gekeken naar de canonvorming van Middelnederlandse literatuur, met bijzondere aandacht voor de historische veranderingen tussen 1887 (de oudste besproken tekst, Dzieje literatury powszechnej z illustracyami, onder red. van Ignacy Radliński) en 2021 (O literaturze dawnej polskiej i europejskiej opowieść: tradycje-kierunki-style, onder red. van Andrzej Borowski). Hiervoor worden verbanden onderzocht met een bredere context van de presentatie van middeleeuwse werken of auteurs, wordt gekeken in welke mate intertekstualiteit wordt opgemerkt en ten slotte wordt onderzocht welke primaire en secundaire bronnen gebruikt werden. Deze analyse toont duidelijk dat er een grote verandering valt op te merken in de naoorlogse periode wanneer de eerste leerstoelen Nederlands in Polen ontstaan. Tegelijk wordt duidelijk zichtbaar hoe korte, overzichtelijke teksten uit het taalgebied (zie bijvoorbeeld Geïllustreerde Nederlandsche letterkunde van J. Prinsen) van enorme invloed zijn geweest voor de beeldvorming van Middelnederlandse (maar ook breder de Nederlandse) literatuur in het buitenland. Het artikel schetst de indirecte receptie van Middelnederlandse literatuur en het veranderende imago van Middelnederlandse literatuur in de Poolse context.

The novel Winterberg’s Last Trip by the established Czech author Jaroslav Rudiš was written in German and published in 2019 (translation into Czech in 2021), and the author explained paratextually that German is neither his mother tongue nor a foreign language to him. This disruption of traditional opposition is one of the novel’s fundamental tendencies: It represents a performative criticism of thinking in binary oppositions and relies on numerous figurations of “the third” as a dynamic negotiation of meanings between categories such as own and other, past and present, verse and prose. The study analyses seven figurations of “the third” in this novel, which are of a linguistic, temporal, spatial, metaphysical and poetic nature.

The paper discusses the emergence of Balkan references in Jaroslav Hašek’s oeuvre, placing them in a historical-political context. It examines the question of whether Hašek visited the Balkans in light of the author’s biography. In terms of fact and biographical mystification, it explores his alleged involvement in the so-called Ilinden Uprising of 1903 against the Turks in present-day northern Macedonia, As well as his travelogue on the Bulgarian section of the Danube, written at this time. The following section focuses on texts in his oeuvre that deal with the situation in Bosnia-Herzegovina, the youngest province of the Austro-Hungarian Empire. Among these are several humorous texts and short stories based on specific political contexts or events of the time, which, in the author’s characteristically satirical manner, criticise the oppressive and irrational policies of the imperial regime from the perspective of the common man. The paper analyses these writings by interpreting the relevant references.

Kundera’s essay Un Occident kidnappé ou la tragédie de l’Europe centrale (1983) attempted to redraw the Cold War boundaries of Europe, arguing that the ‘small nations’ of Central Europe were historically Western but had been “kidnapped” by Russia into an alien Eastern culture.
Its English translation was published in two versions – A Kidnapped West or Culture Bows Out and The Tragedy of Central Europe (1984) – each subtly adjusting the boundaries between Central, Western, and Eastern Europe. In Czech, there are also two distinct versions: one based on the
English translation, published by an émigré journal as Únos Západu (1985), and a more recent translation from the French original in book format, Unesený Západ (2023). Kundera’s essay has gained renewed relevance and critical interest since the Russian invasion of Ukraine. However, due to the variations between the different versions, it does not offer definitive borders for the region.

2015. november 13-án egész napos konferenciát tartottak és kísérő kiállítást rendeztek a budapesti Cseh Centrumban Anton Straka csehszlovák kulturális attasé és Szabó Lőrinc magyar költő barátságának emlékére. A rendezvény célja az volt, hogy bemutassa Szabó Lőrinc kapcsolatát a szlovák és cseh költőkkel, fényt derítsen Anton Straka kultúraszervezői és műfordítói munkásságára, valamint ismertesse a csehszlovák - magyar kulturális közeledésért végzett közös tevékenységüket a két világháború közötti időszakban.

The review article explores a recent work 'Zwischen Prag und Nikolsburg. Jüdisches Leben in den böhmischen Ländern" which was published in American English as "Prage and Beyond". It presents History of the Jews in the Bohemian Lands in the modern age'. The review article shows multiple flaws and deliberate misrepresentation of facts committed by authors who wanted to shock the readers. The review focuses on the chapter on the holocaust Benjamin Frommer which shifts the "initiative" from Germans to Czechs.

This publication examines the reactions in the Czech literary field to the demands brought on by political correctness. We did not perceive correctness here as a primarily restrictive practice but, rather more generally, as a set of social and cultural norms that gradually spread from the American academic environment in the last third of the twentieth century through the process of cultural transfer.

Dies manifestiert sich nicht nur in der fiktionalen und non-fiktionalen Literatur, sondern auch in Filmen, TV-Serien oder musealen Ausstellungen, sodass die Perspektive in diesem Band auch transmedial ist. Da Erinnerungen stets in Bewegung sind, denn "all cultural memory must ‚travel' " (Erll 2011, 12), wird die Transnationalität des Erinnerns darin etwa auch in Bezug auf ihre Translation in den sprachlich und kulturell anderen Kontext und ihre Transmedialität etwa auch mit Blick auf die Übertragung von visuellen Techniken in die Narration literarischer Texte untersucht. In diesem einführenden Text möchten wir einerseits auf die zentralen Begriffe wie nationale und transnationale Erinnerungskulturen und Erinnerungsnarrative, andererseits auf ihre Ausprägung in den einzelnen Beiträgen dieses Bandes bei der Erläuterung ihrer Auswahl und Reihung eingehen. Die Begriffe sind dabei gar nicht einfach, und man müsste sie eigentlichnicht nur in den folgenden Zwischenüberschriften -jeweils mit Fragezeichen versehen und denken. So bedeutet "national" bei den Erinnerungskulturen nicht, dass sie das Andere nicht mitdenken und dass es dazu keine Alternativen gibt. Überdies wurde (und wird) Nationalismus selbst von Transnationalität geprägt, "transnationally constituted", wie zuletzt Chiara De Cesari und Ann Rigney im Anschluss an Benedict Anderson und Joep Leerssen betont haben (De Cesari und Rigney 2014, 7). Und bei den transnationalen Erinnerungskulturen stellt sich wiederum die Frage, ob diese im europäischen Kontext für eine Öffentlichkeit, die darin repräsentiert und durch eine gemeinsame Adressierung mitkonstituiert wird, affirmativ entworfen, gedacht und praktiziert werden können und dadurch den nationalen Erinnerungskulturen ähnlich sind, oder ob sich das Transnationale nicht vielmehr durch narrative Überholung nationaler Erinne-

The article deals with the topics of nature and landscape in the work of the Czech writer Jan Čep. He often personifies the landscape, which is, among other things, an expression of his approach to natural entities as subjects rather than objects. In this respect, his perspective is reminiscent of the position of the philosopher Martin Buber. For Čep, landscape is not only a companion but also compassionate, sharing pain with human beings. Its suffering, however, also has distinctly Christ-like features, and thus the web of connections between landscape, God and people comes to the fore in Čepʼs work. Landscape – and nature in general – bears traces of the Creator, but also of the Fall. Čep treats the decay and impermanence of nature with genuine understanding and is convinced that human beings are called to guard this home. However, his hope for the restoration of creation, as well as of history, is ultimately not of an earthly but of an eschatological nature.

The study focuses on the image of Montenegro in 19th-century Slovak prose and poetry. The introductory section reflects on the beginnings of Slovak authors' interest in Montenegro in literary texts from the first half of the 19th century, which is particularly evident in romantic poetry and Slavistic texts. The following sections of the paper focus on the period of intensified interest in Montenegrin themes in Slovakia in the second half of the 19th century. This theme appears mainly in travel literature and publicistic writing, and to a lesser extent in poetry. The first systematic references to Montenegrin realities in artistic prose can be found in the work of the prose writer and journalist Gustáv Kazimír Zechenter Laskomerský (1824–1908). The paper analyzes Montenegrin motifs in his humorous letters Listy Štefana a Ďura Pinku (Letters of Štefan and Ďuro Pinka, 1861–1877) and in his travelogue Zo Slovenska do Carihradu (From Slovakia to Constantinople, 1864). The study devotes most space to the texts of the realist poet and prose writer Svetozár Hurban Vajanský (1847–1916), who dealt with the theme of Montenegro most intensively. His travelogues Kotorská boka (The Bay of Kotor, 1878) and Dubrovník – Cetinje (1901) and his poetry collection Tatry a more (The Tatras and the Sea, 1879) are interpreted here. The conclusion of the study is devoted to the travelogue of the realist prose writer Martin Kukučín (1860–1928) V Dalmácii a na Čiernej Hore  (In Dalmatia and Montenegro, 1898–1899), which includes the most detailed description of this country in Slovak literature at the turn of the 19th and 20th centuries.

The Chrudim printing house was one of the most important producers of broadside ballad sheets in the 19th century. However, at the time of the printers Josef Jan Košina and his wife Františka, a significant part of the production did not contain information about printing in Chrudim. To hide the origin of broadside ballad sheets, the Chrudim printing house would at times falsify the place of printing. This study elucidates how to identify false imprints of broadside ballad sheets by comparing woodcuts and typographic decoration. Based on the collection of Moravian Library in Brno, the study shows that false imprints of broadside ballad sheets represent almost a third of the printing production in the Chrudim printing house. This finding poses a problem for research into the printing production of broadside ballad sheets in the first half of the 19th century because the use of the false imprints and missing information can greatly distort the extent of the entire production. This study also provides an analysis of the most commonly used false locations as well as the types of broadside ballad sheets produced by the Chrudim printing house. Last but not least, it seeks to outline the main reasons for the use of false imprints of broadside ballad sheets.

History of the Czech Lands offers an ambitious and comprehensive overview of the history of the territories that now form the Czech Republic. The text covers a period from prehistory to accession to the European Union, with a special emphasis on political structures, territorial changes, cultural evolutions, and the role of minorities. This second, expanded edition includes new visual elements: colourful maps, photographs, and an additional chapter devoted to the period 1993-2004.

a la que la crítica alude con frecuencia (Davis 609; Morse 57; Mounier 332) no existe en realidad, pues sólo una de sus obras -Lozorus Loughedpuede considerarse plenamente expresionista. El resto de piezas que la crítica suele calificar como tales forman parte de lo que podría denominarse «naturalismo expresionista» y en el que los objetivos de toda pieza naturalista conviven con recursos formales propios del expresionismo europeo. El presente ensayo analiza las piezas que participan de ese naturalismo expresionista -con excepción de The Hoiry Ape, que por la complejidad que entrañaba abordé en otro trabajo (Espejo 200 I ) -con el fin de poner de relieve la forma en que ambos estilos interactúan. En las conclusiones planteo las razones por las que O'Neill sólo «coqueteó» con el expresionismo. Aunque el expresionismo es un movimiento de origen alemán, en su expansión por diversos países occidentales llegó también a Estados Unidos durante los años veinte mediante un conjunto de autores --que eran, en opinión de Elmer Rice, él mismo, John Howard Lawson y O'Neill (Bigsby 128)-1 que emplearon planteamientos expresionistas en algunas de sus obras. Sin embargo, ninguno de ellos puede considerarse expresionista al modo de Kaiser o Toller ni es conocido fundamentalmente por su teatro expresionista. El caso más interesante -aparte de O'Neill-es el de Elmer Rice, autor de una de las obras más importantes del expresionismo norteamericano: The Adding Mochine. Ésta fue estrenada en 1923 por el Theatre Guild, compañía que el año anterior había llevado a escena uno de las textos más importantes del expresionismo mundial: De lo moñona o lo medianoche, de Kaiser; considerada por algunos como una importante influencia en The Hoiry Ape, de O'Neill (Bogard 244).2 The Adding Mochine presenta un mundo enteramente deshumanizado y mecanizado. Su protagonista, Mr Zero, termina convirtiéndose en una máquina tras intentar huir de ese destino a través de un escenario repleto de «máquinas de sumar» de tamaño humano. Rice describía su obra como un estudio de cómo la sociedad industrial somete y esclaviza al ser humano (Cortina 89) y afirmaba que la había escrito en el «stylized, intensified form loosely known as expressionism, though I had hardly heard the term at the time» (Bigsby 128).3

Tato práce je věnována mediálnímu obrazu Kristíny Royové, dosud nejpřekládanější slovenské spisovatelky, hudební skladatelky, textařky, duchovní myslitelky a sociální pracovnice. Cílem práce je zachytit veškeré autorovi dostupné tiskové zmínky o Kristíně Royové a následně zodpovědět tři předpoklady (hypotézy)...

... Mentre siamo in viaggio ci viene suggerito un legame davvero iperbolico tra Libuše, Cassandra e le Sibille di cui ci siamo già occupate. Ci limitiamo a suggerirlo senza poterlo dimostrare. Nel II millennio a.C. fuori dalle mura di Troia, sulle rive dello Scamandro ai piedi del Monte Ida, esisteva una comunità matrifocale di donne-maghe-dee da cui derivarono le sibille. Della comunità facevano parte anche Cassandra, la sua domestica Marpessa e tutte le sue compagne e poi la regina Ecuba madre di Cassandra e la guaritrice Enone. Nelle grotte, le donne sopravvissero al furore degli Achei. Le donne di Troia erano bohyne maghe-divine? Oltre a Cassandra, anche sua madre Ecuba, sua cognata Andromaca e Teano la donna sacerdote di Atena, erano veggenti. Quando poi Troia fu distrutta nel 1250 a.C., le donne della famiglia reale che non furono uccise, vennero deportate come schiave dei capi Achei vincitori e si dispersero. Coloro che non morirono crearono forse nuovi nuclei di veggenti che sopravvissero con nomi diversi? In Britannia le druide di Avalon, la mitologica stirpe di Eilan-Viviana-Igraine-Morgana? Un altro nucleo forse fu quello delle druide deportate sulle rive del fiume italico Sabato, che divennero le streghe di Benevento? Nel territorio di Boemia e Moravia che formano oggi la Repubblica Ceca si chiamarono bohyne-dee: ricordiamo che nel gruppo delle dodici sibille c’è la “Sibilla Europea” l’unica che cinge la spada. Se Libuše era una bohyňa, forse anche lei discese dalla stirpe di veggenti deportate da Troia.

The article explores the construction of the canon of Czech postwar visual art during the 1990s. The concept of post-socialism serves as the framework of the analysis, illuminating the unspoken yet significant oppositional attitude toward the then-recent socialist past. On the scale of individual styles of modern art, the text traces their gradual historicization during the 1990s. Starting with informel, through constructivist tendencies, new figuration to performance art, and new media, the text also situates the canonization processes within the contemporary context of Czech post-revolutionary society and the then-current state and practices of the discipline of art history. The Czechoslovak Velvet revolution of 1989 was driven by the idea of a new political and social order. It demanded that the new society be different from the practices, conventions, and ideals of the Communist Party and (late) socialism. In the years immediately following, the Velvet Revolution was a powerful source of political legitimacy-especially for the cultural sphere, as national culture, personified by students, writers, playwrights, actors and other artists, had played a central role in November 1989. 1 Some of the revolutionary ideals persisted in the public sphere throughout the 1990s. In particular, the concepts of humanity and justice, which James Krapfl identifies as key ideals of the revolutionary events, 2 were central to the newly written narrative of Czech art history. The ideal of humanity was quite soon transformed into an expectation of the individualization of history in discussions of the recent past in the early 1990s. The ideal of justice was often seen as a reaction to the socialist past, to be fulfilled by rewriting the postwar history of Czechoslovakia-or Europe, for that matter. The work of art historians in the 1990s was thus generally subject to expectations similar to those of general, political or economic historians: to explain-and largely legitimize-the existing situation by analyzing its genesis.

Bratři z Marsu J. L. Doudlebského (vlastním jménem Josefa Lišky) jsou kombinací dvou dobových fenoménů: lidových divadelních her pro spolkové ochotnické soubory s nízkými poplatky za uvádění a utopického námětu cesty na planetu Mars. Doudlebova veselohra je postavená na jasném ukotvení postav na škále kladných a záporných s jednoznačnými charakteristikami i sociálním zařazením. Ve třech dějstvích je tu vylíčen výlet dvou inženýrů, vynálezců, ve vlastní raketě na planetu Mars. Jednoduše pojatá hra nastavuje zrcadlo pozemským poměrům, kde hlavní hrdinové vyrábějí meziplanetární raketu, zatímco jejich manželky je za jejich zády podvádějí s bohatými hejsky. Po přistání na Marsu inženýři objeví ideální civilizaci s dokonalými obyvateli. Během stručného seznámení s novým světem, jeho zásadami a vynálezy hrdinové zároveň odhalí na dálku skrze telemikrofonovisor nevěru svých žen a vrací se na Zemi rozvést, aby jejich ženy nezískaly vysokou pojistku. Poté, co poznali falešnost a bláznovství pozemského světa, usazují se na Marsu, kde si našli nové – mravné a krásné, partnerky. Veselohra o třech dějstvích tedy porovnává organizaci života vyspělejší marťanské civilizace s nedokonalou Zemí, přičemž pozemský život je tu parodizován z pozice zdravého rozumu obyčejného člověka. Text hry zaměřený na témata nevěrných žen, špatně fungujícího politického systému i nesrozumitelného moderního umění odpovídá dobové představě o „lidovém“ humoru.

In this paper, the author focuses on the possibilities of translation solutions in the transfer of regional and social language units from Polish into Czech. These are non-literary formations, defined locally (traditional regional dialects) or socially (sociolects, i.e. speech of certain social groups). The primary source of the analysis is the work of the Polish novelist Mirosław Nahacz-"Bombel" (2004; "Prcek", translated by Bára Gregorová). Both the original and the translation are characterised by the use of non-standard elements. The translation of so-called substandard linguistic formations poses a specific translatological problem and places special (not only) linguistic demands on the translator. The issue of translating these substandard language units is not dealt with extensively in the translatological literature. The author will try to characterize them, describe and categorize them with respect to the individual features of the Czech dialects, or elements of particular subgroups of Czech dialects.

The article explores the evolution of the literary canon in the 20th century, shaped by cultural and societal influences, with an emphasis on West Slavic literatures. The fluidity of canons is accentuated, challenging traditional views and suggesting potential revisions of the Slovenian school canon to include West Slavic literatures, providing a comprehensive view of literary development for (high school) readers. We briefly summarize the specifics and changes of the Polish, Czech and Slovak (school) literary canon and consider parallels with the Slovenian school canon. As a result, we propose selected literary works of Polish, Czech and Slovak literatures to enrich the Slovenian school canon. The selection criteria consisted of, on the one hand, representativeness for national literature, but at the same time exceptionality in the sense of high aesthetic quality and the possibility of new contemporary interpretations. From this point of view, we present the literary works of S. Lem, K. Čapek and D. Tatarka.

des menschlichen Sprachbaus und ihren Einfluss auf die geistige Entwicklung des Men schengeschlechts vyšlo až v roce 1838 a o dřívějším průniku nepublikovaných myšlenek sotva můžeme uvažovat. Jde tedy o paralelismus, motivovaný pokaždé jinak, ale směřující v obou případech k chápání jazyka jako klíčového prvku národní identifikace, u obrozenců orientovaný prakticky, u Humboldta filosoficky.

This study is devoted to the theme of dreams in the works of Milan Kundera. It begins by examining three distinct aspects of dreaminess, each corresponding to a particular literary genre. The category of defamiliarization is associated with poetry, whereas the existential theme of alienation is linked to drama, where this alienation is conveyed through theatrical metaphors. In Kundera's novels, a sense of déjà vu motivates the characters to act. A mimetic element is also present, as specific characters or situations are shaped by preexisting literary models.

The book Karel Klostermann and the Birth of the Bohemian Forest by Veronika Faktorová and Michal Hořejší is a richly layered publication that transcends conventional literary analysis. It examines how Klostermann's life and work shaped the cultural perception of the Šumava region, intertwining themes of space, memory, and identity. Through ten thematic chapters, the authors portray Klostermann as a literary figure deeply embedded in the Czech-German cultural landscape, a nature writer, a popular author, and a national icon. The book stands out for its innovative structure, intertextual design, and use of visual and textual material, offering readers both scholarly insight and aesthetic delight.

This article first situates Kundera’s novel Ignorance (first published in Spanish in 2000, in English in 2002, and in French in 2003) in the context of Kundera’s multilingual work and interprets the novel through Homi K. Bhabha’s concept of Third Space. The study also interprets the novel against the backdrop of Kundera’s famous essay Un Occident kidnappé (1983) or A Kidnapped West: The Tragedy of Central Europe (1984) and interrogates the Orientalisation of Central Europe in the novel Ignorance. Orientalisation refers to the Western perspective on the East, focused on by Said’s theory and criticized by postcolonial theory; in Kundera’s novel, it is Irena’s and Josef’s view of their native country, inhabited by family members and acquaintances, which they have both lost by going into exile. When they return to Czechoslovakia years later, they lose the nostalgic illusion of it being a cultural, cultivated country to which they could and would like to return, an illusion preserved (or created) in exile. The study aims to show how both characters find themselves in a Third Space between two cultures – the “Western” one that did not accept them, and the “Central European” one that, nevertheless, has disappeared during its political “kidnapping” into the East. This is the starting point for the discussion of a perspectival shift regarding Central Europe in Kundera’s work.

Sborník Literární archiv č. 56 se věnuje třetímu prostoru české literatury a v (české) literatuře, tj. literatuře vztažené k českému prostoru a zároveň tento prostor přesahující, psané jinak než v češtině a zároveň latentně české, se stopami češtiny v literárním jazyku francouzském či německém, resp. literatuře fungující v překladu svébytně v jiném než českém literárním poli. Pojítkem této literatury i její reflexe je jazyková a kulturní, ale i časová a prostorová hybridita, která určuje identitu postav i způsoby vyprávění. Studie tak pracují s konceptem třetího prostoru Homiho K. Bhabhy i jinými koncepty „třetího“ (prostoru).

English: Established in 2002, the Krytyka Polityczna constitutes an important example of journalistic counter-public in post-socialist Poland. The journal's self-conception illustrates how both the experience of underground publishing in the Polish People's Republic and the sweeping restruc-turing of the Polish media system after 1989 have lasting effects on today's media landscape. Their context-based understanding of counter-public was reconstructed in a content analysis of selected issues from the years 2007 to 2016. The findings show that the journal strives for a plu-ralistic and discursive public sphere wherein Krytyka Polityczna speaks on behalf of the Polish left, who – according to them – is lacking their own narratives in the struggle for interpretive au-thority. To this end, essayistic and artistic content plays a central role. The journal is also closely connected to the group's other projects, increasingly professionalised and informed by interna-tional (theory) discourses, which are translated into the Polish context.

German: Die 2002 gegründete Krytyka Polityczna stellt ein wichtiges Beispiel publizistischer Gegenöffentlichkeit im postsozialistischen Polen dar. Am Selbstverständnis der Zeitschrift lässt sich nachvollziehen, wie sowohl die Erfahrungen der oppositionellen Publizistik in der Volksrepublik Polen als auch die grundlegende Umstrukturierung des Mediensystems nach 1989 in der gegenwärtigen Presseöffentlichkeit nachwirken. Ihr kontextspezifisches Verständnis von Gegenöffentlichkeit wurde in einer Inhaltsanalyse ausgewählter Ausgaben aus dem Zeitraum 2007 bis 2016 rekonstruiert. Dabei konnte nachgewiesen werden, dass die Zeitschrift eine pluralistische und diskursive Presseöffentlichkeit anstrebt. Die Krytyka Polityczna soll dabei eine Stimme der polnischen Linken darstellen, der es-ihrer Darstellung nach-an eigenen Narrativen im gesellschaftlichen Deutungskampf fehle. Dabei spielen vor allem essayistische und künstlerische Inhalte eine große Rolle. Die Arbeit der Redaktion ist an weitere Aktivitäten der Gruppe angebunden, zunehmend professionalisiert und orientiert sich an internationalen (Theorie-)Debatten, die in den polnischen Kontext übersetzt werden sollen.

Tato monografie se zaměřuje na pět strategických oblastí:

– oficiální jazykovou politiku Protektorátu Čechy a Morava,

– češtinu a němčinu ve veřejné správě a ve službě,

– češtinu a němčinu ve školství a vědě,

– výuku němčiny,

– vnímání jazyka jako hodnoty v době nacistické okupace.

Právě veřejná správa a školská soustava jsou klíčové pro jazykovou politiku i pro její interpretaci. Zatímco školství bývá vnímáno jako investice pro budoucí generace, a proto byla a je obzvláště intenzivně pociťována jeho symbolická hodnota (vzdělání v rodném jazyku a ne/povinná akvizice cizího jazyka), správa cílí na současnost – na přístup k moci, chod státu a spravedlnosti v mateřštině obyvatel. Práce se pokouší podchytit jak užívání jazyka v jednotlivých oblastech (de jure i de facto), tak stav tohoto užívání (metajazykovou i jazykovou rovinu).