http://hdl.handle.net/20.500.11956/96300 Issue 52 Tue, 07 Apr 2026 00:05:14 GMT 2026-04-07T00:05:14Z http://hdl.handle.net/20.500.11956/97211 K problematice literatury německého a rakouského biedermeieru; ; ; Instead of using the term Biedermeier to label the literary period between Romanticism and Realism, the terms “literature of the Restoration period” or “pre-March period literature” are sometimes used. Biedermeier designates the period between 1815 (Congress of Vienna) and 1850 (the aftermath of the revolutionary years 1848/49). Paul Kluckholm was the first to use the term “biedermeier” (in 1927) after it had lost its pejorative overtones at the end of the 19th century and, at the beginning of the 20th, taken on a meaning designating the lifestyle and fashion of the first half of the 19th century. The Biedermeier epoch does not have a specific aesthetic or theoretical programme, which led to a stylistic discontinuity: a naïve concatenation of various forms of expression, mixing of genres, and underestimating the formal aspects of a work of art — putting emphasis on “detailed descriptions”, frequent reflections. This allowed for an unprecedented proliferation of trivial fiction issued in a multitude of almanacs, pocket editions, and numerous “family” magazines. Drama became an important genre, mainly the Viennese people play and conversational plays (Raimund, Nestroy, Bauernfeld). Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/20.500.11956/97211 2015-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97194 Don Quijote: jiná modernita; DON QUIJOTE: ANOTHER MODERNITY; ; ; Is it possible to read Don Quijote de la Mancha as a work representing modernity, and if so, in which sense? So sounds the question that this essay tries to answer. On the one hand, Close has warned about the problems of the romantic reading of Don Quijote, like, for instance, to assert that the book symbolizes Spain or an epoch. But, on the other hand, Cervantes major work is in contact, through Huarte de San Juan, with the problem of truth, developed by renaissance thought in 16. century. That problem of truth, and the origin of knowledge criticism, is interpreted by Kundera as characteristic of modernity, even if different to the tradition founded by Descartes. Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/20.500.11956/97194 2015-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97103 Kontury ruského symbolismu; AN OUTLINE OF RUSSIAN SYMBOLISM; ; ; In order to describe the literary processes in the era of symbolism and the following decades it is important to realize that next to the avant-gard movements there is also the trend of the „anti-modern modernism“ (Milan Kundera). Against the emancipatory ideas of the avant-garde (following in the line of European Illumination) there is the continuation of Romantic cosmic visions. The author sees Osip Mandelstam, Andrei Platonov, and Marina Cvetaeva as rare representatives of this line in Russia. They see the Russian Revolution as a cosmic element (rather than a political event), the human being as torn between the perception of the immediate data of consciousness, and the feeling of cosmic movements. The implications of this vision are examined in more detail in the works and poetics of Marina Cvetaeva. Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/20.500.11956/97103 2015-01-01T00:00:00Z http://hdl.handle.net/20.500.11956/97106 Hráč, spáč, stvořitel, vypravěč Borgesovo dílo pohledem (romantické) ironie; ; ; Thu, 01 Jan 2015 00:00:00 GMT http://hdl.handle.net/20.500.11956/97106 2015-01-01T00:00:00Z