KYLOUŠEK, Petr. O pravilnoj upotrebi distopijskih prostora : Catherine Mavrikakis, Christian Guay- Poliquin i David Calvo (Good use of dystopian spaces : Catherine Mavrikakis, Christian Guay-Poliquin and David Calvo). Književna smotra. Zagreb: Hrvatsko filološko društvo, 2019, vol. 51, No 192, p. 79-86. ISSN 0455-0463.
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Basic information
Original name O pravilnoj upotrebi distopijskih prostora : Catherine Mavrikakis, Christian Guay- Poliquin i David Calvo
Name in Czech Jak správně naložit s dystopickým prostorem : O pravilnoj upotrebi distopijskih prostora: Catherine Mavrikakis, Christian Guay- Poliquin i David Calvo
Name (in English) Good use of dystopian spaces : Catherine Mavrikakis, Christian Guay-Poliquin and David Calvo
Authors KYLOUŠEK, Petr (203 Czech Republic, guarantor, belonging to the institution).
Edition Književna smotra, Zagreb, Hrvatsko filološko društvo, 2019, 0455-0463.
Other information
Original language Croatian
Type of outcome Article in a journal
Country of publisher Croatia
Confidentiality degree is not subject to a state or trade secret
WWW URL
RIV identification code RIV/00216224:14210/19:00111524
Organization Filozofická fakulta – Repository – Repository
UT WoS 000500266400009
Keywords (in Czech) quebecká literatura; dystopické narativy; prostor; Catherine Mavrikakis; Christian Guay-Poliquin; David Calvo
Keywords in English Quebec literature; dystopian narratives; spatiality; Catherine Mavrikakis; Christian Guay-Poliquin; David Calvo
Links MUNI/A/1094/2018, interní kód Repo.
Changed by Changed by: RNDr. Daniel Jakubík, učo 139797. Changed: 10/5/2022 02:44.
Abstract
U Quebecovoj literaturi distopije izgledaju kao produžetak apokaliptičnih narativa. Primjećuje se nekoliko uobičajenih točaka: vizija kraja vremena; aksiologija koja oscilira između zla, iskupljenja i spasenja; istraga o odnosu pojedinca i društvenog. Međutim, funkcija kulturnog pamćenja i uloga "stvarnog svijeta" razlikuju se od apokaliptičnih narativa. O tome govori nekoliko nedavnih distopijskih romana: Oscar de Profundis (2016) Catherine Mavrikakis, svojevrsno prepisivanje odbrojavanja Joris-Karla Huysmansa A; Kilometri (2013.) i Težina snijega (Christian Guay-Poliquin), diptih koji je kontrastirao cestovni roman lokalnom romanu; Toxoplazma (2017) David Calvo, cyberpunk distopija, nadahnuta drugima iz filmova Davida Cronenberga. Usporedba će se usredotočiti na prostornost, koja iskorištava Quebecoisove i Kanadske kontinentalne dijelove, a čini se da organizacija i značenje nadmašuju temporalnost. Mavrikakijeva estetizacija prostora Montreala, Calvova mitologizacija grada Montreala i Guay-Poliquinova teologizacija transcendencije krajolika i prirode u Quebecovim distopijama.
Abstract (in Czech)
V Quebecké literatuře se dystopie jeví jako rozšíření apokalyptických příběhů, s nimiž sdílejí několik společných bodů: vizi konce času; axiologii, která osciluje mezi zlem, vykoupením a spasením; problematiku vztahu mezi jednotlivcem a společenstvím. Funkce kulturní paměti a role „skutečného světa“ se však od apokalyptických příběhů liší. Tuto skutečnost naznačuje několik posledních dystopických románů: Oscar de Profundis (2016) Catherine Mavrikakisové, který působí jako replika dekadentního románu Naruby Jorise-Karla Huysmanse; dva romány, Le Fil des kilometres (2013)a Le Poids de la neige (2017) Christiana Guay-Poliquina, které vytvářejí kontrastní diptych žánru road novel a románu rodné hroudy; kyberpunková dystopie Toxoplasma (2017) Davida Calva inspirovaná filmy Davida Cronenberga. Srovnání těchto románů se zaměřuje na prostorovost, jež tvoří specifičnost těchto dystopií: na estetizaci montrealského prostoru u Mavrikakisové, na Calvovu mytologizace města a Guay-Poliquinovu teologickou transcendenci krajiny a přírody.
Abstract (in English)
In Quebec literature, dystopias seem to be an extension of apocalyptic narratives. Several common points are noticeable: a vision of the end of time; an axiology that oscillates between evil, redemption and salvation; an inquiry about the relationship between the individual and the social. However, the function- ing of cultural memory and the role of the “actual world” are different from apocalyptic narratives. The fact is indicated by several recent dystopian novels: Oscar de Profundis (2016) by Catherine Mavrikakis, a kind of rewrite of Joris-Karl Huysmans' A rebours;, a cyberpunk dysto- pia, inspired among others by David Cronenberg's Le Fil des kilometres (2013) and Le Poids de la neige (2017) by Christian Guay-Poliquin, a diptych opposing the road novel to the roman du terroir; Toxoplasma (2017) by David Calvo films. The comparison will focus on spatiality, which exploits the specifically Québécois and Canadian con- notations and whose organization and meaning seem to outweigh temporality. Mavrikakis's aestheticization of Montréal space, Calvo's mythologization of the city of Montréal and Guay-Poliquin's theologiz- ing transcendence of landscape and nature seem to offer three distinct aspects of the specificity of Québec dystopias.
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