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Ovaj diplomski rad temelji se na prijevodu ulomka romana Progonstvo Gerte Schnirch (Vyhnání Gerty Schnirch) češke suvremene autorice Kateřine Tučkove s češkog na hrvatski jezik i njegovoj translatološkoj analizi. U prvom dijelu rada najprije su predstavljeni život i stvaralaštvo Kateřine Tučkove te roman Progonstvo Gerte Schnirch koji tematizira češko-njemačke odnose neposredno prije, za vrijeme te u razdoblju nakon Drugog svjetskog rata kroz sudbinu glavne junakinje Gerte Schnirch. Nakon toga je uslijedio kratak pregled češko-njemačkih odnosa kroz povijest i prikaz društveno-političke pozadine romana. U drugom dijelu rada nalazi se prijevod ulomka romana zajedno s originalom na češkom jeziku. Treći dio rada posvećen je translatološkoj analizi prevedenog ulomka, u sklopu koje su prikazani i objašnjeni odabrani prevoditeljski postupci i metode s fokusom na prevođenje nepodudarnih kulturnih elemenata i nepodudarnosti između jezičnih sustava. This thesis is based on the translation of an excerpt from the novel The Expulsion of Gerta Schnirch (Vyhnání Gerty Schnirch) by the Czech contemporary author Kateřina Tučková from Czech into Croatian language and its translatological analysis. The first part of the thesis presents the life and work of Kateřina Tučková and the novel The Expulsion of Gerta Schnirch, which deals with Czech-German relations just before, during and after the World War II through the fate of the main character Gerta Schnirch. This was followed by a brief overview of the history of Czech-German relations and a depiction of the socio-historical context of the novel. The second part of the thesis contains a translation of the Czech excerpt into Croatian and the Czech original. The third part of the thesis is dedicated to the translatological analysis of the translated excerpt, which presents and explains selected translation procedures and methods focusing on the translation of cultural and linguistic differences. Tato diplomová práce se zabývá překladem úryvku z románu Vyhnání Gerty Schnirch české současné autorky Kateřiny Tučkové z češtiny do chorvatštiny a translatologickou analýzou přeloženého textu. První část práce je nejprve věnovaná životu a tvorbě Kateřiny Tučkové a románu Vyhnání Gerty Schnirch, který pojednává o česko-německých vztazích těsně před, během a po druhé světové válce prostřednictvím osudu titulní hrdinky Gerty Schnirch. Poté následoval stručný přehled dějin česko-německých vztahů a zobrazení společensko-historického kontextu románu. Druhá část práce obsahuje překlad úryvku do chorvatštiny a český originál. Třetí část práce přináší translatologickou analýzu přeloženého úryvku ve které jsou analyzovány a zdůvodněny překladatelské postupy a metody se zaměřením na překlad kulturních a jazykových odlišností.

U ovom radu književnoteoretskim pristupom analiziraju se odabrane bajke češke spisateljice Božene Němcové kao i odabrane češke narodne legende. Istražuje se povezanost motiva čeških narodnih legendi u bajkama Božene Němcové. Također, prikazuje se i društveno-povijesno okruženje u kojem je autorica stvarala, a koje ima značaju ulogu u njenom životu i cjelokupnom stvaralaštvu. Spisateljica je inspiraciju crpila iz narodne književnosti te se kao nacionalna preporoditeljica borila za očuvanje češkog jezika i kulture. U radu se navode i suvremene adaptacije njenih djela te primjena njenih djela u razrednoj nastavi., This paper presents the analysis of the selected fairy-tales written by the Czech autor Božena Němcová and the selected Czech folk tales. Moreover, in this paper the connection of motives between Czech folk tales and Božena Němcová’s fairy-tales has been researched. Apart from her literary work, the historical and cultural aspects in which she lived and created were given since they play a major role in her life and work. The author had used Czech national literature as an inspiration for her literary works and as a national revival she strived to preserve Czech language and culture. In this paper there are mentioned modern adaptations of her literary work and their implementation in primary school curriculum.

Diplomski rad donosi prijevod dviju pripovijetki iz zbirke Knjižica s crvenim omotom češke spisateljice Alexandre Berkove na hrvatski jezik te translatološku analizu prijevoda. U prvome dijelu rada ukratko su predstavljeni autorica i njezino stvaralaštvo te prevođeno djelo, dok se u drugom, praktičnom dijelu rada nalazi hrvatski prijevod načinjen za potrebe ovog rada te izvorni tekst. Treći dio rada posvećen je prevoditeljskim poteškoćama i objašnjenjima odabranih prijevodnih rješenja. Naglasak je na očuvanju autoričina stila izborom riječi i očuvanjem ekspresivne sintakse, prevođenju nestandardnih jezičnih oblika na fonološkoj, morfološkoj, sintaktičkoj i leksičkoj razini te na prevođenju realija. Tato diplomová práce přináší chorvatský překlad dvou povídek ze sbírky Knížka s červeným obalem české spisovatelky Alexandry Berkové s translatologickou analýzou překladu. V první části práce se zabývá životem, tvorbou autorky a charakteristikami překládaného díla. Prostřední, praktická část práce tvoří chorvatský překlad, jenž vznikl pro potřeby této práce, a originální text. V poslední části jsou analyzovány překladatelské problémy a zdůvodněna vybraná překladatelská řešení. Důraz je kladen na zachování stylu autorky výběrem slov a přenášením expresivní syntaxe do překladu, na překlad nespisovných jazykových prostředků na úrovni fonetické, morfologické, syntaktické a lexikální, a na překlad reálií. The subject of this thesis is a translatological analysis of the translations of two short stories from the collection The Book with the Red Cover (Knížka s červeným obalem) by the Czech author Alexandra Berková into Croatian. In the first part of the thesis, a brief overview of the author’s life and work is given, while the second part consists of the Croatian translation and the original text. The third part explores the difficulties the translator encountered while translating the short stories and offers possible solutions to these problems. The focus of the analysis is on the issue of preserving the author’s style with the choice of words and by retaining the expressive syntax from the original, the challenges of translating non-standard language varieties on the phonological, morphological, syntactical and lexical levels and the issue of translating culturally specific elements of the text.

U ovome radu donosi se prijevod odabranog ulomka iz opusa Jana Kameníčeka s češkog na hrvatski jezik, te translatološka analiza istog. Radi se o prva četiri poglavlja knjige Rekviem za kantora Bacha, Kameníčekove novele izdane 1988. godine. Ta su poglavlja odabrana zbog narativne strukture koja omogućava smislenu i plodonosnu analizu, te kvalitetan uvid u proces prevođenja. Prije prijevoda bit će navedeni sažeti biografski podatci o autoru, kako bi se stekao povijesni kontekst i uvid u njegov spisateljski opus. Potom se uvodi prijevod, te originalni tekst djela u njegovom izvornom obliku. U sljedećim poglavljima ocrtat će se neki od osnovnih principa prevođenja, ustanovit će se koje su najbitnije odlike kvalitetnog prevoditelja, te pokušati pojasniti najčešći problemi koji se javljaju u prevoditeljskom radu. Zatim se rad posvećuje konkretnom tekstu Rekviema za kantora Bacha. This thesis contains the translation and analysis of the first four chapters of Jan Kameníček's novela Rekviem za kantora Bacha from czech to croatian.

Ovaj rad fokusira se na distopijska djela triju autora napisana kroz 20. stoljeće - Jan Weiss i Dům o tisíci patrech, Karel Čapek i Válka s mloky te Egon Bondy i Invalidní sourozenci. Cilj djela je analiza češke distopije koja se javlja za vijeme 20. stoljeća na primjerima navedenih autora. S radom krećemo od 16. stoljeća kada se prvi puta spominje pojam utopije te ćemo se na kratko pozabaviti Thomasom Moreom i Platonom. Bitno je analizirati utopiju kako bismo mogli shvatiti početke i korijene same distopije. Nakon toga se fokusiramo na distopiju koju ćemo definirati i kategorizirati. Što se tiče svjetske distopije, detaljnije ćemo se pozabaviti najvažnijim djelima objavljenima za vrijeme 20. stoljeća – 1984., Divni novi svijet i Mi. Najviše se bavimo 20. stoljećem jer je upravo ono i najplodnije, a u radu ćemo objasniti zbog čega je upravo ovo razdoblje zlatno razdoblje češke distopije te zbog čega nakon 1989. godine prestaje intenzivan razvoj distopijske književnosti. Na samome kraju rada analizirat ćemo tri navedena djela češke distopije 20. stoljeća. Smjestit ćemo autore u povijesno razdoblje, opisati radnju djela te utvrditi zbog čega su ta djela smatrana distopijskima, ali i što je točno objekt kritike tih djela. Zanimljivo je kako se sva tri djela bave istim ili sličnim temama na potpuno drugačije načine i iako su autori pisali i djela su objavljena u različitim razdobljima i okolnostima. This paper focuses on dystopian works of three authors written through 20th century – Jan Weiss (Dům o tisíci patrech), Karel Čapek (Válka s mloky) and Egon Bondy (Invalidní sourozenci). The goal is to analyse Czech dystopia of the 20th century based on examples of mentioned authors. The paper begins at the 16th century when the term utopia is first mentioned, so we will talk shortly about Thomas More and Platon. It is important to analyse utopia in order to be able to understand the beginnings and roots of dystopia. After that, we will focus on dystopia, we will define the term and categorise it. In more detail, we will discuss important dystopian works of the world literature that were published through the 20th century – 1984., Brave New World and We. The reason we focus on the 20th century is because it is the most fruitful and, in the paper,, we will understand why this period is called the golden period of Czech dystopia and why 1989 is the year when intense development of Czech dystopia ended. At the end, we will analyse three mentioned authors and works of Czech dystopia, we will place authors in the historical period, describe the plot of these novels and understand why these novels are considered dystopian and what exactly is the object of criticism in them. It is very interesting how all three novels talk about the same or similar subjects in completely different ways even though all three authors lived and wrote in different time periods and circumstances.

The article analyzes the reception of Václav Havel’s plays in Croatia from 1968 to 1990 in theatres and among critics. After the military intervention of the Warsaw Pact countries in Czechoslovakia in August 1968, the period of the so-called normalization ensues. It influences the further development of Czech literature by introducing censorship. During the normalization Czech literature was divided into the official and unofficial part. Until the end of the communist era in Czechoslovakia writers who were part of the unofficial scene relied on self-publishing or emigrated and set up publishing houses where they published their books. One of the most famous names among the Czech dissidents during that period is Václav Havel. His plays have been continuously appearing on the repertoires of Croatian theaters since 1980 and have had a strong critical reception in Croatia. The article also analyzes possible changes in the reception of Havel’s work during the analyzed period.

The article deals with a corpus encompassing various poetic experiments. Therefore the joint term for the entire corpus, even though secondary literature shows no consensus as regards a common name. Rather, it is the case of a very diversified poetic movement, sustained by a number of different authors, with a common attribute of intermediality, primarily visual-literary, but also importantly musical and performance art. The focus of attention are the works that retained their status in the field of literature or whose literary segment makes for an imporant segment, while in the analysis of works the literary component is of primary consideration. Standardized definition and typologies are difficult to come by in this analysis due to their variety and peculiar authorial markers. Nor is there a consensus about the name of this divergent corpus given that the terminology is vast, fanciful and scattered, relatively few of the concepts are recurrent. However, the common purpose of these works is a distance from the semantic value of the text and a tendency to objectify language and release its inherent qualities. Semantic structures fall apart, syntactic and cognitive rise up. Despite negating meaning in this poetry and attempting to erase it, it is precisely the devices that promote this that contain an implicit message – criticism of reality. The degree of refutation of traditional poetry varies from one poet to another, as does the choice of the intermedial model and creative devices used. Criticism of the living reality is mostly carried out in a humorous and grotesque way so that negation of the subject in poetry reciprocates the disappearance of the right to one’s self in socialist society while playing with language to the point of meaninglessness becomes a critique of limitation and crisis of language in the contemporary socio-political environment.

The essay points out the specific narration in Daniela Hodrová’s fiction that relates to autostylization. The author’s personal and biographical self-reflexive information in her various novels are seen as part of the postmodernist strategy of creating fictional prose. The autostylization technique refers to the author’s self-identification with characters in a novel, narrator’s vague identity, narration in Ich-form with a narrator’s voice that doesn’t entirely belong neither to the world of a novel, nor to the world of the reader, but coexists in both worlds simultaneously. The study also considers the role and the function of a subject in literary narrative underlining the views of Jan Mukařovský about the fact that literary work should consider only aesthetical function and be understood as a sign, disregarding the author’s personality. The inquiry about autostylization operates with Hodrová’s ideas and theories concerning the definition of a character-hypothesis, text-weaving and text-web, and focusing on variable aspects of narrator’s role as well as the reader’s response in co-creating both content and the meaning of literary work.

The articles takes up three fictional works by Croatian authors Goran Tribuson, Dubravka Ugrešić and Zoran Ferić, all of whom deal with the Czechs and Czech culture in the successive periods of the 1970s, the 1980s, and the 1990s. The analysis is based predominantly on the motifs which point to specific knowledge about the Czechs building upon the stereotypes persisting in Croatia, including their actual variants proceeding from the political situation in the then Czechoslovakia, and to the Czech literary tradition of the twentieth century and its reception in Croatia. All three works make intertextual references to types of the Czech literary – and later due to the Prague film school of the 1960s – film anti-hero, to the idea of the Czech humor as being grotesque and absurd, and to the mystical atmosphere of the political underworld of the period related also to the mystique of Prague.

The article focuses on the writer Josef Škvorecký and follows the development of his civic and political attitudes after the defeat of German Nazism, i.e., approximately from 1941-45. In the context of Škvorecký’s literary writings it concerns a period in which culminates the inevitable phase of the author’s youthful poetic creativity and his early prose writings, while simultaneously his most important novel, The Cowards, is in the making. (Still, Škvorecký in the said period didn’t publish, his entire work remained in manuscripts and could be read only by his closest friends.) After 1945 Škvorecký’s natural Christian-social orientation confronted ideas of state socialism, buttressed by the political prestige of the Soviet Union and the Czech Communist Party, but also the social degradation of conservative values and the status of the bourgeoisie. The evidence that Škvorecký sought a personal path towards an authentic “worldview”, independent of the obviously prevailing social trends, is provided principally by Škvorecký’s manuscript published only in the 1990s (The New Canterbury Tales), and were often published only fragmentary (the epic poem Do Not Despair!, the collection February Tales) or were never published (fragments of the novel The Sons of the Just, the poem Things of Life); some of which are here presented the first time ever. The significant source in the articles subsumes also Škvorecký’s published and unpublished correspondence from the 1940s and the 1950s. Although Škvorecký was considered an explicit political opponent to the most of his peers from the Youth Union, the cited sources demonstrate that in difficult times he kept his faith in the idea of socialist humanism, but would not bow to its being vulgarized by communist ideology and its means of coercion.

Modern Czech literature, as it emerged at the turn of the nineteenth century, represents not only a (re)construction of older traditions, but also a new communication system in the beginnings of which the Enlightenment science played a decisive role. The fundamental role of science, against an autonomous discussion of literary aesthetics, was perceived by outside observers to extend well into the first half of the nineteenth century. The argument is based on the theory of functional differentiation of the literary system by Siegfried J. Schmidt and it follows the contention between the Slavist Josef Dobrovský and the poet and translator Václav Stach, who – following Friedrich Gottlieb Klopstock, respectively echoes to the Sturm und Drang movement in the Czech lands of the 1780s – sought a modern poetic authority. In fact, this first major controversy over modern Czech literature once again shows how crucial the period of Joseph II and the crisis at its end were for the cultural history of the Bohemian lands and offers an alternative to its nationally limited interpretations.

The study deals with the problem of systematic relationships between literary characters and action or, more precisely, between characters and organization of action in the plot. The examples are taken from Czech narrative fiction from the 1830s until the early 1890s. The main idea, continuously questioned in the text, is a supposition that typical characters or configurations of characters also bring about typical plot patterns. All levels of literary characters are taken into consideration, not only protagonists. Literary character itself is conceived here strictly as a set of qualities and characteristics stated in a concrete fictional text, i.e. it is assumed that those features which are not stated (selectively, for different characters, e. g. their ability of loud speech, different physical or mental abilities, etc.) are not contained in a fictitious character and do not contribute to the action.

In the multifaceted and poetically diverse nineteen-sixties in the Czech literature, during which its exile from the official literary communication lasted for almost a decade, the Czech crime fiction gained sway in quality and quantity and two basic models of crime fiction emerged: the pro-western and the socialist novel. The article analyses the book The Art of the Crime Fiction from 1962 by Jan Cigánek, a Marxist critic and literary scholar, as the most significant and consistent contribution to the Czech Marxist criticism's theoretical definition of the “new” socialist crime fiction model. Particular attention is given to some of the key implications of Cigánek’s thoughts on crime fiction, such as the demand for realism and the more social characterization of the protagonist, or the emphasis on the extrinsic (social) functions that the “new” crime fiction had to perform in a socialist social environment.

Czech 1890s modernism is a common term used for the first Czech generation that made its breakthrough led by the idea of “modernism” in literature. Most works of this group were written at the beginning of the twentieth century, but its protagonists had never entirely abandoned the fundamental standing points of the Czech 1890s modernism, although they were to some extent influenced by the new artistic atmosphere. After the dissolution of the group, the most important authors opted for different literary movements and genres; their works, however, remained homogeneous when it came to the main principles, and some of them had not forgotten their literary roots and poetic role models until the mid-twentieth century.