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Bulgarian connection оf Vítězslav Nezval, or V. Nezval and Dora Dabe in Czech - Bulgarian literary relations
Georgieva Ivanova, Sylvia ; Hasil, Jiří (advisor) ; Vučka, Tomáš (referee)
- English Vítězslav Nezval's Bulgarian Romance, or Dora Gabe and V. Nezval in Czech-Bulgarian Literary Connections I first heard about the personal encounters and relationship between the poets Dora Gabe and Vítězslav Nezval in the 90s at the Bulgarian Embassy in Prague. And the information was indeed proven to be true - not only had the poets known each other, they even collaborated on translations and inspired one another. The epistolary correspondence between Nezval and Gabe still bears witness to this. Their real- life romance eventually transitioned to their literary work. A substantial and more important fact is that the romance inspired several works by both - Nezval and Gabe. Perhaps the most interesting footprint comes in form of their joint translation of Gabe's auto- biographical prose work Dávno (Once upon a time), which she had primarily written in 1932, and Nezval's novel Jak vejce vejci (Cut from the same cloth) from 1933, although this is merely an indirect illustration of the work and the creative personality of Dora Gabe, a reflection of sorts. Dora Gabe met Nezval in the Autumn of 1931 at a memorial evening held for the passing of Thomas Alva Edison at the Vinohrady Theatre in Prague, during which Nezval's poem Edison was recited. The poet left a direct written testimony about...
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Bulgarian track in life of Božena Němcová
Georgieva Ivanova, Sylvia ; Hasil, Jiří (advisor) ; Ivanovová, Darina (referee)
- English The Bulgarian trace in the life of Božena Němcová The relation of Božena Němcová to Bulgaria, the Bulgarian culture, the life and struggle of the Bulgarians in the late fifties and early sixties of the 19th century is one of the most important chapters of the Czech-Bulgarian cultural relations of the past. Unfortunately, it remains a matter almost unknown even to expert philologists. To get a better understanding of the relationship between B. Němcová and Bulgaria, we need to examine it in its close relation with her attitude towards other Slavic nations as part of the then predominating vision of the Slavic unity (the Pan-Slavic idea). The following text provides an analysis of her position regarding the quite complicated situation on the Balkans at that time, as well as her contacts with Bulgarians in Prague. Due to these acquaintances with writers or just texts written by certain Bulgarian (or Balkan in general) writers, she even started learning Bulgarian. There exist some of her translations of Bulgarian texts into Czech and even texts written in Bulgarian. These documents are described in detail, and the full chronology of creative connections of the famous Czech writer is included. The subject has been investigated on the basis of archive materials available both in the Czech...
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Theory of the Affects (Baroque Doctrine of the Affections)
Georgieva Ivanova, Sylvia ; Havlík, Jaromír (advisor) ; Tichý, Vladimír (referee) ; Godár, Vladimír (referee)
The theme of my dissertation is the Baroque Theory (Doctrine) of Affects, one of the main pillars of the Baroque perception of music and art. It is a theoretical system that is generally not only applied to the music of the Baroque era, but in many aspects as well for the following period of Rococo and Classicism until the Beethoven´s creative era. The Doctrine of affects is based upon the cohesion of human thinking and feeling on one hand and the natural order on the other hand. It has been derived from the concept od the world order being created as a perfectly functioning system including both the rational as well and irrational - as the two different aspects of human being. The thesis is based mainly on period sources and literature that served not as supplementary material but also as core resurces. Therefore translations of period documents up to now missing in the Czech musicological and aesthetic literature have been submitted because they are very important to for comprehending the essence of the Doctrine of affects and the period tendencies to allocate affects to musical devices. The texts represent the angle of the view, the inseparability of art and science as well as the Baroque concept of the human personality as a harmonic accord of the soul and body. All of this on the beel overlaid on the social situations and aesthetic perceptions of the time. Even today, one is surprised by the scope of detail to which period musicians and theoreticians had everything clarified, explained and documented from the historical, musicological and even physiological sources of the time. It is within this context that this thesis has been developed bringing to light not only an explanation of the notions of affects and the differences involved in their classification and systematization, but also their depiction by musical and rhetoric figures in the practices of composition and interpretation in which the impact of affects in music played its role for the audience then as well as today. Accordingly, the assortiment and assembly of the the audio exemples have become an integral part of this dissertation. As Jean-Philippe Rameau said, the truth of music and of the musical expression derives primarily from the music itself!
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