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The Algerian war in drama written in French language
Pavlíková, Lenka ; Pohorský, Aleš (advisor) ; Jamek, Václav (referee)
The Algerian war (1954-1962) is one of the major events in the history of postwar France. Because Algeria had a special place in the colonial system of France, decolonization took its toll and led to eight severe years of war and eventually the collapse of the republic. After the conflict, more than a million people who had no knowledge of its culture and habits, had to integrate into French society. The aim of this paper is to analyze different ways that certain French authors chose to describe the topic of the Algerian war in their plays. Their goal wasn't to realistically show historical circumstances but mainly to highlight the problems of the lack of reflection of these events.
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French travel books on Italy - the self and the poetics of a voyage (Montaigne, Montesquieu, Sade, Stendhal)
Balcarová, Eva ; Hrbata, Zdeněk (advisor) ; Pohorský, Aleš (referee)
The voyages to Italy constituted a considerable phenomenon of the European culture. This cultural tradition gradually created a rich corpus of peculiar literature. Every now and then, a travel journal or a traveller's correspondence comes out that has not been published before, there are many exhibitions of the artists that sought their inspiration beyond the Alps and it was because of the rich Italian art that Italy became the final destination of the Grand Tour. Apart from the Englishmen, the French were the most numerous group of travellers on the Apennine Peninsula. Even the political situation contributed to the impact of the Italian culture on the French one, especially the Great Italian Wars and the subsequent presence of the Medici family on the French throne. Four texts were chosen from the plenitude of French works dedicated to the voyage to Italy: the travelogues of Montaigne, Montesquieu, Sade and Stendhal. The choice of such eminent personalities, who got famous, in the first place, through other works than those depicting the journeys over the Alps, made it possible to focus on the way this voyage influenced their further oeuvre. In their perception of Italy, both the distinct eras of cultural development to which they belonged and their diverse personalities are reflected: Montaigne's journey...
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Oriental lLandscape in the French Travel Literature of 19th Century.
Kostik Šubrová, Zdeňka ; Pohorský, Aleš (advisor) ; Kyloušek, Petr (referee) ; Voldřichová - Beránková, Eva (referee)
Tato práce zkoumá orientální krajiny ve francouzském cestopise 19. století. Autorka vnímá cestopis jako svébytný literární žánr a hlásí se k topologické a tematologické kritice, motiv krajiny v literárním textu definuje v souladu se školou A. Rogera jako gesto umělého a cíleného výběru submotivů. 19. století znamenalo ve francouzské próze obrodu a uměleckou emancipaci cestopisného žánru, přičemž cesty do Orientu se historicky i kulturně staly pilířem tohoto procesu. S vývojem cestopisu v daném období jsou spjaty významné modifikace identity mluvčích, kteří v textu prezentují krajinu. První část práce analyzuje tento proces, díky němuž se extratextuální entita autora člení na historicko-biografickou identitu autora- turisty a autora-umělce, jenž s sebou nese předchozí intelektuální zkušenost a prekonstituované obrazy Orientu. Intratextuální entita vypravěče se pak rozdvojuje na cestovatele a vypravěče, přičemž první mluvčí zprostředkovává "zážitky z cest", vytváří autenticitu cestopisu, zatímco vypravěč je nadstavbovým mluvčím, jenž na základě vjemů cestovatele interpretuje krajinu, dodává jí intertextuální kontext a modifikuje časové linie cesty zapojením paměti. Studie jednotlivých cestopisných textů ve druhé části práce ukazuje, jak se v průběhu 19. století motiv orientální krajiny sémanticky i...
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The rococo aestetics in the Marivaux's dramas
Očenáš, Marek ; Pohorský, Aleš (advisor) ; Jamek, Václav (referee)
In cornparison to the superiority of c1assicisrn, the art and the literature of 18th century were considered decadent already during the period of its inception. The decorative style which was fashionable in the first half of this century was called "rocaille". The name of "rococo style" was created by putting together two words "rocaille" and "baroco" (baroque). This term refers to irregularity and to non-uniformity. That's why the current tlowery love style of language is titled also "late baroque style" in France. This term isn't convenient, because nowadays people aren't used to tum to supematural world, but by putting accent on sensibility of individual they prefer earthly joys that need to be changed to avoid uniformity. By diverging frorn c1assicist roles of the Louis XIV's century, the art of the first half of 18th century differs frorn the baroque style also in the literature, even though sorne tendencies are the same in both styles. In the 60's of 20th century, there are sorne literary works whose authors are trying to justify validity of rococo style also in the literature, as its decorative style was already acknowledged by historians of art. Following these innovating thoughts and the study frorn Jean Weisgerber, the purpose ofthis dissertation is to prove the originality of the literature of...
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The influence of the antiquity on the oldest French poetry
Pometlo, Ondřej ; Pohorský, Aleš (advisor) ; Kyloušek, Petr (referee) ; Kuťáková, Eva (referee)
The dissertation focuses on comparison of medieval writings presenting the actions of Julius Caesar to French readers, specifically Li Fet des Romans, Roman de Jules César and Li Hystore de Iulius Caesar. Interpretation of accessible texts is based on analysis of the translation process: comparison of the antique original and its medieval variants in French language as presented in medieval manuscripts. The author opens the dissertation with introduction to factors influencing the medieval translator; among others the ability of complex understanding of the original text, education and awareness of other literary works, oral component of culture; and the way of thinking and of interpretation of the world.
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Rewrites of the caracter of Merlin
Vejsadová, Kateřina ; Pohorský, Aleš (advisor) ; Jamek, Václav (referee)
The character of Merlin, closely related to the legend of the king Arthur, fascinate readers and writers for already several centuries. Nevertheless, for many people, readers or not, his real nature remains hidden under the image of a wizard. But this literary character hides more aspects, which are revealed by this work. The first part tries to elucidate particular aspects of the medieval literary creation, which is specific by the anonymity, the heterogeneity and by the fact of rewrites. At the same time it describes the historical background, in which the Arthurian legend and the character of Merlin were born. These two facts are underlying for the enumeration of the occurrences of Merlin in the medieval literature. The description of these texts outlines the evolution of this character, departing from the Welsh prophetic verse, over the Latin texts of Geoffrey of Monmouth to French romans of 12th and 13th century. The presence of Merlin in the Welsh tradition of prophetic verse let guess the relation of this character with Celtic origin, transferred by the oral tradition. The second part of this work, tries to describe the reminiscence of ancient societies (Indo-European and Celtic) that have influenced the cultural and social evolution of important part of Europe. The description of these societies...
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From the novel to the screen: metamorphosis of the narrator in Stendhal's Le rouge et le noir and its adaptations
Chytilová, Vladimíra ; Voldřichová - Beránková, Eva (advisor) ; Pohorský, Aleš (referee)
This work focuses on the transformations to which is submitted the literary narrator when a literary work is adapted for the screen. The object of study is the novel Le Rouge et le Noir by Stendhal and its two adaptations, a film by Claude Autant-Lara from 1954 and a television miniseries made by Jean-Daniel Verhaeghe in 1997. The first part of the work summarizes the theoretical concepts of four authors who deal with the narrator: two of them, Tzvetan Todorov and Gérard Genette, are literary theorists, the other two, Seymour Chatman and David Bordwell, are counted among the best known film narratologists. This is followed by a general characterization of the narrator in Le Rouge et le Noir and of the narration in the two adaptations. The following three parts of the work study in more detail three topics connected with the main character Julien Sorel: hypocrisy, ambition and love. The way in which these themes appear in the novel is studied and compared to the different ways in which they are treated by the two adaptations due to their different narrative strategies. The conclusion summarizes the differences between the novel and both adaptations and speaks about the possibility of an adequate transposition of the literary narrator into film.
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Origin, evolution and essence of the Puppet Guignol in French theatre and its contemporary adaptation
Lamperová, Zuzana ; Pohorský, Aleš (referee) ; Voldřichová - Beránková, Eva (advisor)
Guignol, a French puppet born in the early nineteenth century in the hands of Laurent Mourguet, a silk weaver often unemployed during the Revolution, celebrates in 2008 his bicentenary. Accompanied by his wife, cantankerous Madelon, and his best friend, drunkard Gnafron, improvising commentaries to the news of the day, he became very popular all over the France. Unlike his colleagues of Commedia dell'Arte, he was close to the daily lives of his working-class audience. In contrast to other regional puppets, Guignol still appears regularly on stages of French theatres. In my study, I have first explained the origine and the evolution of the Guignol theatre. I have as well tried to show the identity and the behaviour of the Lyon most famous puppet, in one of the traditional pieces, Le Déménagement (Moving). Guignol appears to be here a poor, unhappy and unemployed silk weaver, who will lose his apartment, if he does not pay the rent to his landlord. Anyway, he does not surrender, and tries to keep the right to live in his flat by words, and when this does not help, by beating the authorities. Guignol's show is a comedy, but it also has a social message. There are a few publications regarding Guignols history, but none of them shows Guignol in the context of the other puppets in French modern theatre.That is...
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André Gide: Return from the U.S.S.R.; Afterthougths on the U.S.S.R. Confrontation of the individualist with the collectivist utopia
Petkevič, Daniel ; Voldřichová - Beránková, Eva (advisor) ; Jamek, Václav (referee) ; Pohorský, Aleš (referee)
The French writer André Gide (1869-1951) was a representative of the individualist stream in society and literature at the end of the nineteenth and in the first half of the twentieth century. This diploma work examines the circumstances of the writer's involvement in the question of communism in the thirties of the twentieth century, which led to his visit of the Soviet Union in summer 1936 and to his writing two revealing testimonies. Gide's Soviet episode is considered from the perspective of his individualism, which is treated in the first part of this work. It depicts both the basic influences and inspirations that had impact on Gide's individualist spirit and its manifestation in the author's life, creation and in his art and social criticism. The second part focuses on the matter of Gide's communist alignment. It shows the main reasons for his sympathy with the communist ideas, which progressively developed into their association in the early thirties of the twentieth century. In this period of incertitude due to deep social and economic crisis, which gave rise to emerging totalities, Gide felt the need of a political alignment. He was blind in his belief that the implementation of his social ideals was conceivable in the Soviet Union, which succesfully attacked the Western intellectuals with a...
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Fire, water, earth, air - the four elements in the fiction of Julien Gracq
Rodová, Eva ; Pohorský, Aleš (advisor) ; Jamek, Václav (referee)
Tato práce měla za úkol zjistit ve vybraném díle Juliena Gracqa, vymezeném jeho čtyřmi dokončenými romány, jedním nedokončeným, dvěma novelami, jednou divadelní hrou a jednou sbírkou básní v próze, přítomnost prvků, které Bachelard rozděluje do čtyř druhů imaginace dle čtyř živlů, ohně, vody, země a vzduchu. V první části byl podán zevrubný přehled různých činitelů a zdrojů imaginace, za nimiž lze hledat původ Gracqova stylu a kterými lze vysvětlit přítomnost prvků a obrazů souvisejících s přírodními živly. Přehled byl vytvořen dle chronologického pořádku, protože se tento postup ukázal být nejvhodnějším pro svou srozumitelnost a snadnou orientaci. Velkým vzorem byli Gracqovi spisovatelé jako Edgar Allan Poe, Stendhal či Jules Verne. Již v dětství byl Gracq velkým čtenářem a četba se mu stala prostředkem k duševnímu uspokojení ve frustrujícím prostředí internátu v Nantes. Úniky od svazující reality do imaginárních světů vnesly v určité míře do mysli mladého muže touhu po vlastním vyjádření a dovedly ho až k napsání prvotiny Na Argolském zámku, jež byla s nadšením přijata zakladatelem surrealismu André Bretonem. Gracq dokázal změnit Bretonovu tezi, že románový žánr do surrealistické koncepce nepatří. Po tomto úspěchu se dostal do popředí francouzského literárního světa své doby, což vyvrcholilo navržením...
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