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Psychobiography: The role of the Oedipus complex in the life of Egon Bondy
Páralová, Marika ; Kučera, Miloš (advisor) ; Líbalová, Ivana (referee)
This theoretical master thesis, based on the method of pychobiography, attempts to map the role of the Oedipus complex in the life of the important Czech poet, prosaic and philosopher Egon Bondy, also known by his civic name Zbyněk Fišer, using mainly the psychoanalytic teachings of Sigmund Freud. In the first part of the thesis, I present a biography of Bondy that I have compiled, covering the period from his childhood to the mid-1990s, using a number of sources. As of the date of submission of the thesis, no single biographical work was available, and information had to be sought in many works by other authors. On the basis of the biography I have compiled, in the second part of the text I analyse the life story of Egon Bondy, in which the Oedipus complex played a significant role, often referring to this biography. Two main paths then emerge in the story, which I further develop with the help of psychoanalysis and its terms. The aim of this thesis is thus to illuminate the possible motives for his actions, his behaviour, his relationship to himself, to others and to the world, on the basis of this analysis, which combines the Oedipus complex and the life events that have befallen Bondy over the years. Among other things, I present here, for example, a level of his personality that oscillated...
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The theme of Hamlet in Joyce's Ulysses: The reflections of Stephen Dedalus's aesthetic theory in his later theory of Hamlet and the specific implications that arise from it
Brymová, Petra ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The thesis deals with the theory of Hamlet created by Stephen Dedalus, the main protagonist of Ulysses, and with its counterpart in the form of Joyce's theory, which can be imagined as a twisted theory of Stephen reflected in the narrative of Ulysses. The first chapter concerns the origins of Stephen's Hamlet theory; it focuses on Stephen's aesthetic views with emphasis on the terms Stephen uses and shows how Stephen diverts from the models he is drawing on. It is revealed that the basic concept of Stephen's aesthetic theory is the indispensability of "real life" for an artistic creation. Most of the terms Stephen employs include this issue, except for his idea of a "detached artist", which is the very opposite of a contact with reality. However, this paradox is a link towards reconcilliation of two opposing tendencies, which seems to form the essence of an artistic creation. The chapter likewise comments on Joyce's ironical treatment of Stephen's views. Stephen detaches himself from Christianity, yet he uses religious parallels and thus, paradoxically, pays homage to it. Irony also surfaces concerning the relation between an artist and his work of art; Joyce's "new" theory of Hamlet is closer to Aquinas than Stephen's original. In a similar way Joyce regards Stephen's analogy between a literary...
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The theme of Hamlet in Joyce's Ulysses: The reflections of Stephen Dedalus's aesthetic theory in his later theory of Hamlet and the specific implications that arise from it
Brymová, Petra ; Pilný, Ondřej (advisor) ; Armand, Louis (referee)
The thesis deals with the theory of Hamlet created by Stephen Dedalus, the main protagonist of Ulysses, and with its counterpart in the form of Joyce's theory, which can be imagined as a twisted theory of Stephen reflected in the narrative of Ulysses. The first chapter concerns the origins of Stephen's Hamlet theory; it focuses on Stephen's aesthetic views with emphasis on the terms Stephen uses and shows how Stephen diverts from the models he is drawing on. It is revealed that the basic concept of Stephen's aesthetic theory is the indispensability of "real life" for an artistic creation. Most of the terms Stephen employs include this issue, except for his idea of a "detached artist", which is the very opposite of a contact with reality. However, this paradox is a link towards reconcilliation of two opposing tendencies, which seems to form the essence of an artistic creation. The chapter likewise comments on Joyce's ironical treatment of Stephen's views. Stephen detaches himself from Christianity, yet he uses religious parallels and thus, paradoxically, pays homage to it. Irony also surfaces concerning the relation between an artist and his work of art; Joyce's "new" theory of Hamlet is closer to Aquinas than Stephen's original. In a similar way Joyce regards Stephen's analogy between a literary...
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