Dolezel - Karel Capek A Modern Storyteller

Dolezel - Karel Capek A Modern Storyteller - In keeping...

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In keeping with section 29 of the Canadian Copyright Act, fair dealing allows you to make one copy. This copy must be used solely for research, private study, criticism, review or news reporting. A Michigan Slavic Colloquium edited by Michael Makin and Jindfich Toman Michigan Slavic Publications Ann Arbor 1992
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In keeping with section 29 of the Canadian Copyright Act, fair dealing allows you to make one copy. This copy must be used solely for research, private study, criticism, review or news reporting. © copyright Michigan Slavic Publications 1992 Library of Congress Cataloguing-in-Publication Data On Karel Capek: a Michigan Slavic colloquium / edited by Michael Makin andJindfich Toman. p. Cill. - (Michigan Slavic materials; no. 34) Includes bibliographical references. ISBN 0-930042-71-9 1. Capek, Karel, 1890-1938-Congresses. I. Makin, Michael. II. Toman,Jindfich. III. Series. PG13.M46 no. 34 [PG5038.C3] 491.8 s-dc20 92-20812 CIP FRONT COVER-based on a drawing by Adolf Hoffmeister (1902-1973) BACK COVER-based on a design by Josef Capek (1887-1945) FRONTISPIECE-detail from the "Fridaymen Club" (patecnici; 1927) by Adolf Hoffmeister, showing, clockwise from top left, Karel Capek (1890-1938), Frantisek Kubka (1894-1969), Vasil Skrach (1891- 1943), Tomas G. Masaryk (1850-1937), Frantisek Langer (1886- 1965),JosefKodicek (1892-1954), and Vladislav Vancura (1891- 1942) P. VII-illustration by Josef Capek from the first Czech edition of Guillaume Apollinaire's Zone (in Karel Capek's translation, 1919) Michigan Slavic Publications Department of Slavic Languages and Literatures University of Michigan Ann Arbor, MI 48109-1275, USA phone (313) 7634496 fax (313) 764-3521
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In keeping with section 29 of the Canadian Copyright Act, fair dealing allows you to make one copy. This copy must be used solely for research, private study, criticism, review or news reporting. arel Capek- M Lubomir Doleiel, University of Toronto Verbal art, the core of every culture, is created from resources of language; therefore, it necessarily exists in two manifestations-oral and written. We have reasons for assuming that for centuries verbal art existed only in its oral variety. Once written language became available, and consequently, written literature emerged, oral composition was confined to particular occasions and/or to certain social strata. Despite their hierarchy, oral and written verbal art co- exist in literate cultures as complementary, rather than mutually exclusive cultural phenomena: both serve the same, aesthetic function, produce analogous devices, forms and genres, and bring a similar kind of satisfaction to the creators and the public (audience).l Complementary co-existence makes possible perpetual contacts and lively mutual exchanges between oral and written verbal art. It is commonly known that the most intimate link was established in the early nineteenth century when romantic theory and poetic practice created a cult of folklore. In Bohemia the cult of folklore and folk-art in general was pursued to the point of adulation. But strangely, while romantic theorists following Herder elevated folklore to the highest status in national culture, its impact on the practice of written literature of
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  • Spring '15
  • Karel Capek, Canadian Copyright Act, Capek

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