The submitted work is oriented towards the writing of young poets who made their authorial debuts into literary communication in the 1990s. It regards the creation of authors unburdered by experience with the cutural politics valid before November 1989, and therefore creation born in the complicated context of the post-totalitarian cultural situation in which very different traditions were combined, including traditions which were banned from public communication during the previous decades. Parallel with this process the young poetry of the 1990s was born, whose character was inevitably marked by the period interest in everything from the past that had been until recently forbidden. The work begins with an independent chapter devoted to the literary-critrical reception of young poetry in the 1990s. Aspects analyzed include the language, framework of values, criteria and expectations which were valid for contemporary literary criticism of young poetry in the 1990s. It is demonstrated that the key question for young poetry to answer was the question of what traditions it should draw upon in the changed and democratized cultural and social conditions. Expectations were oriented in the direction of the past, towards a connection with one of the worthy and newly non-proscribed traditions, rather than towards a neo-avantgarde seach for new expressive registers. The subsequent three chapters follow three expressive currents within the framework of young poetry of the 1990s {--} spiritual poetry, objective poetry and imaginative poetry. Analytical and interpretational explorations of these three currents are linked by a common point of view, which is a focus on the lyrical subject and the form of its stylization. This methodological point of departure leans on Červenka's theory of the the lyric subject, to which is devoted the independent theoretically oriented chapter in the introductory part of the work. This unified focus of attention on the lyric subject made it possible in the conclusion of this work to create a typology of the form of the lyric subject and to follow basic tendencies characteristic for subjectivity in the young poetry of the 1990s. It was demonstrated that the young poetry of the 1990s was willing to accept the three traditional lyrical modes and expressive registers, but it removes from them any kind of programmatic and ideological accents. Traditional lyrical modes, after their transplantation into a post-totalitarian and also post-modern situation, stop being part of a master narrative and therefore their original metanarrative character is eliminated (from spiritual poetry the explicit confessionality is lost, imaginative poetry removes surrealistic revolutionarity and psychologism, the poetry of objectivity eliminates the pathos regarding necessary developmental change, with it this lyrical mode was applied by Skupina 42). Traditions therefore do not continue to evolve in their original forms, but are selectively used with a view to the current state of culture and thought.
| Identifer | oai:union.ndltd.org:nusl.cz/oai:invenio.nusl.cz:200435 |
| Date | January 2008 |
| Creators | PIORECKÝ, Karel |
| Source Sets | Czech ETDs |
| Language | Czech |
| Detected Language | English |
| Type | info:eu-repo/semantics/doctoralThesis |
| Rights | info:eu-repo/semantics/restrictedAccess |
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