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Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

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The thesis deals with the author's personality and the novels of Miloš Urban. The aim was to map their existing reception, especially with regard to the development and reflection of author's style and appearance of the narrator. With respect that this is the current author and his work is not yet reflected in a separate monographic material consisted the thesis primarily of review works, both published in the literature review journals and those published by the daily press. Work focused on confrontation the perspective of the reviewers and my own critical reading of the author's novels.

This dissertation examines the theme of travel in the work of Karel Čapek (1890-1938), both in his travelogues and fiction. Instead of assuming travel as a conventional departure to another destination, journey and return home, Čapek experimented with the topic, popular in interwar literatures and arts, as an example of the avant-garde interconnectedness between different genres and arts. Čapek used three approaches to express his experiences of traveling. First, he founded his own aesthetics of the so called “marginal forms” or “low-brow genres” which he simultaneously interpolated in his prose. Their use, which greatly changes the perspective on travel writing, is visible in comparison between Čapek’s and previous travelogues (chapter 1). Secondly, he introduced skaz as stylized spoken language to Czech literature, and changed the traditional roles of the narrator and his addressees in travelogues (chapter 2). Thirdly, he used visual elements of language, combined verbal and visual arts (illustrations and drawings) in the narrative (chapter 3). Finally, all these elements he interpolated to his prose (chapter 4) through the intertextual links with travelogues. On the example of the theme of travel in Karel Čapek’s work, my dissertation revisits some current definitions of the historical avant-garde. It shows that the recent theories, predominantly developed on the examples from Western European and Russian arts, cannot be fully applied to local artistic movements. First, it shows that the notion of the avant-garde cannot be just confined to the writers who called themselves “avant-garde” (such as Karel Teige or Vladislav Vančura). Instead, it should be also expanded to other writers, such as Karel Čapek, marginal to the avant-garde mainstream. Second, the analysis of the theme of travel in Karel Čapek’s opus shows that the Czech avant-garde was not destructive towards its literary heritage. Instead, it offered an alternative reading of tradition through artistic experiments. In extension, it also provided a new understanding of the cultural and literary identity.

This dissertation examines the theme of travel in the work of Karel Čapek (1890-1938), both in his travelogues and fiction. Instead of assuming travel as a conventional departure to another destination, journey and return home, Čapek experimented with the topic, popular in interwar literatures and arts, as an example of the avant-garde interconnectedness between different genres and arts. Čapek used three approaches to express his experiences of traveling. First, he founded his own aesthetics of the so called “marginal forms” or “low-brow genres” which he simultaneously interpolated in his prose. Their use, which greatly changes the perspective on travel writing, is visible in comparison between Čapek’s and previous travelogues (chapter 1). Secondly, he introduced skaz as stylized spoken language to Czech literature, and changed the traditional roles of the narrator and his addressees in travelogues (chapter 2). Thirdly, he used visual elements of language, combined verbal and visual arts (illustrations and drawings) in the narrative (chapter 3). Finally, all these elements he interpolated to his prose (chapter 4) through the intertextual links with travelogues. On the example of the theme of travel in Karel Čapek’s work, my dissertation revisits some current definitions of the historical avant-garde. It shows that the recent theories, predominantly developed on the examples from Western European and Russian arts, cannot be fully applied to local artistic movements. First, it shows that the notion of the avant-garde cannot be just confined to the writers who called themselves “avant-garde” (such as Karel Teige or Vladislav Vančura). Instead, it should be also expanded to other writers, such as Karel Čapek, marginal to the avant-garde mainstream. Second, the analysis of the theme of travel in Karel Čapek’s opus shows that the Czech avant-garde was not destructive towards its literary heritage. Instead, it offered an alternative reading of tradition through artistic experiments. In extension, it also provided a new understanding of the cultural and literary identity.

I situate Škvorecký’s novel as both a primary document in the historical record of transitional justice and as a literary creation in the author’s larger oeuvre. In creating this work of autobiographical fiction, Škvorecký deals with the ambiguities of a tumultuous historico-political moment and creates an appropriately complex work of art. I combine social science research with close-reading of the text in the tradition of new historicism. In the introduction I explain the historico-political background, specifically transitional justice and lustration in Czech Republic in the early 1990s, that engendered Two Murders. In my first chapter, I examine the book reviews, Czech and English, that appeared following the two language-respective publications of Two Murders. In the remaining three chapters I present my analysis of the novel based on close-reading and applied historical information. Chapters two and three discuss different but interconnected manifestations of distance. Chapter two examines memory as the temporal distance of the mind, while chapter three explores exile as spatial distance. Škvorecký invests memory and exile with enormous significance, and uses both concepts to depict his characters’ isolation. In the final chapter, I discuss rumor and reputation in the novel’s two distinct story-lines, demonstrating how they come together to create a cohesive artistic work. Approaching the novel as both a historical document and a work of art, I hope to critically examine this complicated historical moment and appraise Škvorecký’s contribution to the post-communist Czech dialogue. / text

This thesis with help of literary literature is at first focused on the way of displaying the subject in post-revolutionary Czech prose (from anti-infective output till output which is accented on mimetic stylization). The social situation before and after year 1989 is taken into consideration. Thanks to this theoretical background is the attention focused on the way of existing of the sujbect in five short proses by Alexandra Berk and its interpretation related to living reality. Practical analysis of the texts is led on narratology and theatological meaning (using intertextual relations, resp. metatext relations). Before the analysis it will briefly introduce the author, her life and activity.

This thesis deals with the question of reception of the work and the personality of Emil Hakl. It focuss on mapping of the acceptance of his books by literary criticism, it explores the way of writing about the author and his work. Considering that he is a contemporary author and his work is not yet reflected in a separate monograph, the material consists mainly of reviews in literary journals (Advojka, Český jazyk, Český jazyk a literatura, Host, Respekt, Tvar). The thesis is also devoted to the analysis of discourse. It asks questions on how is the critique of speech characterized, when it deals with the character of the contemporary writer.