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STUDIA MORAVICA VI Symposiana ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MORAVICA 6 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MORAVICA 6 STUDIA MORAVICA VI Symposiana Sborník příspěvků přednesených na třetím mezioborovém sympoziu Česká kultura a umění ve 20. století věnovaném tématu Omyly a objevy v umění 20. století. Sympozium se uskutečnilo ve dnech 13. a 14. března 2007 na půdě Filozofi cké fakulty Univerzity Palackého v Olomouci za spolupořadatelství Katedry bohemistiky FF UP a Ústavu pro českou literaturu AV ČR Praha UNIVERZITA PALACKÉHO V OLOMOUCI 2008 Jednotlivé příspěvky této publikace neprošly redakční ja zy ko vou úpra vou. 1. vydání © Erik Gilk, Lukáš Neumann, 2008 ISBN 978-80-244-1904-6 ISSN 1801-7061 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MO RA VI CA 6 – 2008 OBSAH Milan Knížák: České umění ve 20. století ..............................................................................7 Dobrava Moldanová: Omyly. Omyly… ale čí? ...................................................................13 Katica Ivanković: Touha po rodové identitě: Jiří Karásek ze Lvovic ...................................19 Petr Hora: Kde kdysi stával mariánský sloup ......................................................................25 Jiří Svoboda: Jiří Wolker fi ktivní a autentický (Refl exe básníkovy poezie v proměnách času) ..............................................31 Jiří Štefanides: České drama v Deutsches Theater v Ostravě v letech 1919–1938 ..............39 Blanka Hemelíková: Objev v populární literatuře pro ženy ve třicátých letech 20. století ........................................................................................................45 Hana Bednaříková: K některým polemickým aspektům Wollmanovy studie „K methodologii srovnávací slovesnosti slovanské“ .....................................53 Michal Kříž: Marxistická kritika českého literárněvědného strukturalismu (ideologismus vs. idealismus) ........................................................................59 Zuzana Malá: Autor díla jako objev a jako omyl. Proměna pojmu umělecká osobnost v českém myšlení o literatuře ...............71 Roman Kanda: Objevování Richarda Weinera .....................................................................77 Jiří Hrabal: K recepci Čapkova Foltýna. Omyly v předpokladech a cílech interpretace narativní literatury .................87 Vladimír Novotný: Karel Valtr Černý: Ani omyl, ani objev… .............................................99 Lukáš Neumann: Vladimír Holan – strach, úzkost, nebo velikost obav? ...........................109 Milada Záborcová: Blíženci podobojí – výtvarná sblížení básníka Františka Halase ....... 117 Petr Komenda: Skupina 42. Mezi imanencí a transcendencí. Sémiotika fragmentu ..........129 Jiří Pechar: Lze mluvit v české literatuře o existencialismu? ............................................137 Vladimír Just: Omyl, který se stal objevem (Kuršova Antigona 1946 a následná polemika jako druhý život inscenace) ........................................141 5 Aleš Haman: Václav Černý a Ferdinand Peroutka o Škvoreckého Zbabělcích. V čem se mýlili? ...........................................................................................151 Jan Schneider: Spor Václava Černého s Václavem Černým o Bohumila Hrabala ............157 Lubomír Machala: Od pekelných nocí k radostnému ránu (objev a omyl à la Páral) ........167 Viera Žemberová: Omyly a objavy v slovenskej próze (marginália z autorskej dielne) ....173 Veronika Košnarová: Prozaické debuty let šedesátých .......................................................177 Zita El-Dunia: Básně Jana Kameníka – poezie, nebo mystika? .........................................185 Eva Formánková: Dostavníkem do Ejči pod Mejknínem ..................................................195 Tatjana Lazorčáková: Kritická refl exe netradičních divadelních aktivit v etapě normalizace (aneb Jaká je paměť divadla a kde ji hledat?) .............201 Alena Fialová: Někde se stala chyba… Komunismus jako omyl v samizdatové a exilové tvorbě autorů sedmdesátých let ............................207 Erik Gilk: Normalizační prózy Ladislava Fukse ................................................................213 Petr Bednařík: Seriály Jaroslava Dietla Muž na radnici a Okres na severu – jejich úloha v rámci vysílání Československé televize a dobové hodnocení v médiích .....................................................................219 Jaromír Blažejovský: Dobové tance kolem života a díla Otakara Vávry ...........................229 Suzana Kos: K současné recepci Boženy Němcové ...........................................................235 Klára Kudlová: Ženský román po roce 1990 .....................................................................241 Karel Piorecký: Recepce Borkovcovy poezie v devadesátých letech ................................247 Ediční poznámka .................................................................................................................259 Autoři příspěvků .................................................................................................................261 6 ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS FACULTAS PHILOSOPHICA MO RA VI CA 6 – 2008 ČESKÉ UMĚNÍ VE 20. STOLETÍ MILAN KNÍŽÁK Upozorňuji, že můj esej bude jen souborem pocitů bez nároku na přehlednost a důkladnost, i když má zkušenost s uměním 20. století je z velké části přímá a intenzivní, téma je však příliš široké na to, aby mohlo vzniknout něco celistvého – maximálně bych mohl napsat parciální studii nějakého výseku či jevu. Láká mě pokusit se uvidět 20. století vcelku a hledat v něm obecnější tendence s vědomím, že mé soudy budou obecné a nebudou platit pro některé jedin- ce. Jedinci vždycky vypadávají ze souvislostí, a to i když do nějakých souvislostí patří. Při pohledu na českou výtvarnou scénu minulého století vidím několik silných míst: a) za- čátek století, především 10. léta (např. kubistická architektura, Osma), b) 50.–60. léta, c) konec 90. let. České výtvarné umění nebylo schopno refl ektovat dada. To bylo pro české umělce příliš razantní (a tím i dogmatické), příliš utíkalo od objektu do spekulace a gesta. České umění mělo (a asi ještě má) v sobě něco rukodělného, jakoby stále vznikalo v nějaké manufaktuře, kde se smysl díla jako objektu neustále znovu a znovu potvrzuje. Dada jako gesto bez díla (všechna díla jsou vlastně vulgarizací dada, a to i díla dadaistů samotných) bylo pro české výtvarné prostředí příliš revoluční a nepřijatelné. Neumím dostatečně odpovědět na otázku, proč tomu tak bylo. Možná, že to vyplývá z určité plebejskosti českého prostředí, které (sche- maticky a zúženě řečeno) šlechta opustila po bitvě na Bílé hoře a ono se stalo společností měšťanskou, spíše jen řemeslnickou, která se stavěla do opozice proti šlechtické dekadenci. To se projevovalo v české společnosti ještě ve 20. století. I národní obrození v 19. století, které nebylo sociální, ale kulturní obrodou, se vztahovalo především k středověké husitské minulosti a rekatolizovaná společnost nebyla vnímána jako dostatečně relevantní fenomén pro tvorbu naší minulosti. Doba pohusitská byla až donedávna vnímána jako nevýznamná, i když v ní vznikaly důležité a unikátní kulturní hodnoty. Svým způsobem byl – a v některých aspektech ještě zůstává – pohled na českou historii hluboce ovlivněn politickými názory. Na jedné straně česká společnost lpí na své jedinečnosti, na druhé straně obdivuje vše přicházející zvenčí. Významné osobnosti a díla pocházející z Čech automaticky vnímá jako druhořadá a závislá na cizích vzorech. Tento defenzivní postoj se paradoxně prohloubil za totality, kdy sice vznikali instantní kulturní hrdinové, kteří suplovali dřívější Janošíky a Koziny, ale vol- ba těchto osobností se po získání svobody ukázala v mnoha případech jako lichá. Jakoby totalita důsledně prohlubovala to, co bylo v českém národě slabošské a defenzivní. Všechny svébytné prvky považovala většina společnosti za nečeské a společensky nebezpečné. I když 7 se v názorech na jednotlivé umělce nepochybně příznivci a nepřátelé režimu od sebe lišili, vyznávání principu malosti, malodušnosti a nevybočování z konvence jim bylo společné. Bylo to dobře vidět například i v tak triviální oblasti jako byl fenomén dlouhých vlasů u mužů. V boji proti máničkám se v šedesátých letech sjednotila téměř celá společnost bez ohledu na politické vyznání. Ale vraťme se ještě do 19. století, které se uspěchaně přelévalo do moderny století dva- cátého. Tehdy se začalo ukazovat, že naše plebejsky orientovaná společnost nenesla s sebou jen negativní rysy. Dovolila vygenerovat typy a polohy v jiných společenstvích dostatečně neprofi lované, a proto ne dost typické. Proto mohl v českém prostředí vzniknout don Quijote 20. století – Haškův Dobrý voják Švejk. Tento hrdina není karikaturou šlechtických mra- vů, ale představitelem neurozeného, nízkosti se neštítícího, ale naopak nízkost využívajícího lidového typu. Nejvýraznějším českým souputníkem dada je právě Haškův Švejk a možná i Hašek sám. Mimo to nalézám v českém umění určitou systematičnost až cykličnost a přiklad k jemnosti ve smyslu nechuti k velkým gestům. Neumím odpovědět na otázku, kde tyto jevy pramení. Faktem je, že česká společnost je náchylná k jakési sloho- nebo alespoň stylotvornosti. To je také asi důsledek sklonů k systémům a cyklům, který možná pramení z typu kmenového uspořádání či z geografi cké polohy, která jako křižovatka evropských cest nutně musela být více strukturována a organizována než jiná, méně frekventovaná území.
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