Karolina Valova | Charles University in Prague (original) (raw)
Conference Presentations by Karolina Valova
CfP, 2024
The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles Uni... more The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles University alongside the project Negotiating the Revolt in Czech and Slovak Postsocialist Transition, which is supported by the Czech Science Foundation and carried out in collaboration with the Archive of Czech and Slovak Subcultures, the Centre for the Study of Popular Culture and the Punk Scholars Network Slovak and Czech.
Date: May 16 – 18, 2025
Venue: Eternia, Nádražní 3, Prague 5, Czech Republic: https://www.eterniasmichov.com/
Conference organizers: Karolina Válová, Miroslav Michela, Ondřej Daniel, Marta Harasimowicz
Email contact: punkconferenceprague@gmail.com
STUDIA IBERYSTYCZNE, 2019
Four Things Found: Spatial Analysis of the House in the Novel Para Sempreby Vergílio Ferreira The... more Four Things Found: Spatial Analysis of the House in the Novel Para Sempreby Vergílio Ferreira
The article presents the spatial analysis of the house in the novel Forever (Para Sempre, 1983) by Vergílio Ferreira, one of the greatest existentialist writers in Portuguese literature. Paulo, the self-digetic narrator, is returning to the yellow house, to the house of his childhood. It is the definitive return that begins the last phase of his life, the time it lacks until death. Wandering around the house, running down corridors, up and down stairs, entering each room, finds a stoppedtime, reveals his past again and thinks about his future and his dreams. There are also four symbol-things, the violin, the straw hat, the clock, and the angel figurine,that work as keys. With the support of Gaston Bachelard’s philosophical work Poetics of Space (La poétique de l’espace, 1957), it is discovered that the yellow house represents the life of Paul.
A2 N.23 /2021, 2021
František Listopad se za svého dlouhého života stačil stát českým básníkem a odbojářem, franco... more František Listopad se za svého
dlouhého života stačil stát
českým básníkem a odbojářem,
francouzským publicistou
a portugalským režisérem, ale
i během více než půlstoletí
stráveného v Lisabonu psal
poezii výhradně česky. Tuzemská
literární věda však svůj
listopadovský dluh teprve začíná
splácet.
Pensar o passado, compreender o presente, idealizar o futuro, 2019
O romance de Lídia Jorge, O Vento Assaobiando nas Gruas, foi publicado em 2002. Des-creve três ... more O romance de Lídia Jorge, O Vento Assaobiando nas Gruas, foi publicado em 2002. Des-creve três gerações de uma família cabo -verdiana pobre, “Os Mata”, em Portugal. Também descreve três gerações de uma família portuguesa, “Os Leandro“, uma famí-lia oposta à primeira em todos os aspetos – trata -se de uma família rica, tradicional, patriarcal, conservadora e, sobretudo, “branca”. Uma análise do comportamento dos dois protagonistas marginalizados, sob vários pontos de vista, e a maneira como se re-lacionam com o seu espaço limitado existencial, mostra -nos uma imagem do Portugal em transformação no fi m do século XX.
Book Reviews by Karolina Valova
Tvar 8/2023, 2023
Alfabetizace by podle Freireho neměla být omezena pouze na psací a čtecí dovednosti, ale měla by ... more Alfabetizace by podle Freireho neměla být omezena pouze na psací a čtecí dovednosti, ale měla by být zaměřená na schopnost reflexe skutečného života. Což je vnímáno jako politické čtení společnosti.
Svět literatury (XXXI) 64, 2021
Románské jazyky začaly vznikat kolem 5. století nářeční diferenciací lidové latiny a v západní sk... more Románské jazyky začaly vznikat kolem 5. století nářeční diferenciací lidové latiny a v západní skupině těchto jazyků se už od 9. století vydělují okcitánsko-provensálské dialekty, dialekty katalánské, kastilské, asturské, leonské a na značném území mezi řekami Minho a Mondego též galicijsko-portugalské. Mezi nejstarší zaznamenanou literaturu iberského poloostrova patří tzv. galicijsko-portugalská lyrika, kterou tvořilo šest generací autorů mezi lety 1200 až 1354. Hraniční letopočet se v prvním případě počítá od dvou dochovaných písní: "Cantiga de guarvaia", milostné písně od Paia Soarese de Taveirós, a bezejmenné posměšné písně ironizující porážku krále Sancha III. Navarrského v bitvě u Alarcosu od Joãa Soarese de Paivy, druhý letopočet se poněkud nelogicky váže k úmrtí "posledního z trobadorů", hraběte Pedra de Barcelos, levobočka portugalského krále Dinise. Ve třech hlavních zpěvnících vznikajících od poloviny 13. století se postupně zachovalo přes 1 600 lyrických útvarů od téměř 160 autorů. V některých případech jde o přepisy ústně tradovaných básní a písní, jinde o inspiraci maurskou přítomností či "provensálskou lyrickou školou", často se však jedná o ryze autorskou tvorbu. Ta nebyla limitovaná žádnou společenskou vrstvou, autory písní (cantigas) byli potulní umělci, urození pánové a nezřídka i samotní panovníci. Rozmachu básnictví na celém poloostrově napomohla velká politicko-kulturní centra kolem dvorů kastilských a leonských králů, jako byli Ferdinand III., Alfonse X. Učený nebo jeho nástupce Sancho IV.; na území dnešního Portugalska šlo především o krále Dinise. Jednotlivé lyrické útvary byly určeny spíše ke zpěvu než k přednesu, značná část jich je opatřená refrénem a notovým zápisem. Na doprovodné hudební nástroje odkazují některé iluminace jednotlivých zpěvníků (cancioneiros) profánní lyriky-jde zvláště o nejstarší a výtvarně cenný Zpěvník z Ajudy (Cancioneira de Ajuda), Zpěvník národní knihovny (Cancioneiro da Biblioteca Nacional), původně ze 14. století, a Zpěvník Apoštolské vatikánské knihovny (Canicioneiro da Vaticana). Existují však i zpěvníky lyriky duchovní čítající dalších téměř 450 skladeb. Několik souborů chvalozpěvů a výpravných básní o zázracích Panny Marie vzniklo na dvoře kastilsko-leonského "krále-básníka" Alfonse X. Učeného. O jednom z nich, Toledském kodexu, pojednává publikace Sto písní o Marii s podtitulem Toledský kodex Cantigas de Santa Maria krále Alfonse X. Učeného od Matouše Jalušky.
Papers by Karolina Valova
Studia Iberyca, 2024
O artigo apresenta a obra de exílio publicada na revista Sklizeň, tematicamente dedicada a Portug... more O artigo apresenta a obra de exílio publicada na revista Sklizeň, tematicamente dedicada a Portugal, do poeta, escritor e ensaísta checo František Listopad. Depois do golpe comunista de 1948, Listopad emigrou para França e dez anos depois mudou-se para Portugal, primeiramente para o Porto, depois para Lisboa, seguindo a sua esposa portuguesa. Em Portugal inventou e adotou o pseudónimo Jorge Listopad. Na sua nova terra natal tornou-se um artista de sucesso, trabalhou na rádio e na televisão e dirigiu peças de teatro. Retornou à Checoslováquia somente depois de 1989, após a revolução democrática. Ao longo da sua vida artística, procurou ser uma personagem-ponte entre muitas culturas. Durante o período de exílio, contribuiu para diversas revistas publicadas fora do território da Checoslováquia, que tentavam preservar a língua checa e a eslovaca, bem como a cultura. Para o meu artigo selecionei textos relacionados com Portugal, que são objeto de um diário de viagem ou de análise histórico-literária, bem como tema para os meus próprios poemas, especialmente da revista de exílio Sklizeň. Esta
Svět literatury N. 70, 2024
ONE HUNDRED YEARS AFTER BRAZIL’S MODERN ART WEEK: “MANIFESTO OF CONTEMPORARY NATIVE BRASILIAN LIT... more ONE HUNDRED YEARS AFTER BRAZIL’S MODERN ART WEEK: “MANIFESTO
OF CONTEMPORARY NATIVE BRASILIAN LITERATURE” BY TRUDRUÁ DORRICO
In 2022, Brazil commemorated two crucial moments in its historical and cultural development. Two hundred years have passed since independence from Portugal and one hundred years since the socalled Modern Art Week (Semana de Arte Moderna) in São Paulo. In addition to celebrations, the
year 2022 was also a year of new perspectives on both anniversaries, especially through the lens of the First Nations of Brazil. One of the significant efforts was the article “Centenary of Art Week Mobilizes Indigenous Artists” (Centenário da Semana da Arte mobiliza artistas indígenas) and the “Manifesto of Contemporary Native Brasilian Literature” (Manifesto da Literatura Indígena Contemporânea) contained in it. The text by the Brazilian writer Trudruá Dorrico was intentionally published a week before the anniversary, on February 9, 2022, in the online magazine Ecoa. The analy-
sis of several slogans of the manifesto will focus on the issue of tribal ancestors and “Macunaíma’s
grandchildren”.
The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles Uni... more The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles University alongside the project Negotiating the Revolt in Czech and Slovak Postsocialist Transition, which is supported by the Czech Science Foundation and carried out in collaboration with the Archive of Czech and Slovak Subcultures, the Centre for the Study of Popular Culture and the Punk Scholars Network Slovak and Czech. Date: May 16 – 18, 2025 Venue: Eternia, Nádražní 3, Prague 5, Czech Republic: https://www.eterniasmichov.com/ Conference organizers: Karolina Válová, Miroslav Michela, Ondřej Daniel, Marta Harasimowicz Email contact: punkconferenceprague@gmail.com
DOAJ (DOAJ: Directory of Open Access Journals), Oct 1, 2017
Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 soubo... more Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 souboru próz, které Carlos de Oliveira (1921-1981) situoval do Gândary, kraje svého dětství, chudé a neúrodné oblasti písečných dun ve středním Portugalsku. Zatímco v autorově počáteční tvorbě je patrné silné regionální zakotvení a přitakání neorealismu, v tvorbě pozdější, mnohokrát přepracovávané, dominuje hra se symboly, univerzální témata a psychologické prokreslení hlavních postav. Prozaická, stejně jako výraznější básnická tvorba Carlose de Oliveiry, je propojená opakujícími se tématy ohně a vody, rozpadu-tlení a následného znovuzrození nebo zločinu a svědomí. Výrazné místo v románech je věnováno domům, konkrétně rodovým sídlům, jejichž úpadek a zkáza tvoří paralely s rozkladem osobnosti, rodu i celé společenské třídy. Dům v románu Včela v dešti funguje jako bitevní pole mezi nesourodou manželskou dvojicí, zchudlou šlechtičnou Mariou dos Prazeres a bohatým sedlákem Álvarem Silvestrem, stejně jako bitevní pole mezi třídami, respektive mezi mužem a ženou. Prostor domu Silvestrových je konfrontován s několika dalšími prostory, například s těsnou dvoukolkou. KULHAVÁ KLISNA Dvoukolka drkotala přes výmoly, kola zapadala do děr a rozstřikovala gejzíry blátivé vody. Zdálo se, že se rozpadne. Při každém otřesu se Álvaro Silvestre sesunul na ženu. Když ucítila na boku nepříjemný tlak jeho těla, uhýbala, krčila se do kouta lavice. A dívala se na toho zlatého muže na kozlíku vystaveného dešti. 2 1 Oliveirova tetralogie zahrnuje prózy Dům na duně (Casa na duna, 1943), Smečka (Alcateia, 1944), Maloměšťáci (Pequenos burgueses, 1948) a Včela v dešti (Uma abelha na chuva, 1953). Samostatně stojí román Finisterra (Finisterra, 1978). 2 Oliveira 1987, s. 137 (dále jen Včela). "A charrete rompia o barrocal, embatia no talhe das covas levantando chapadas de água enlameada. Parecia desmantelar-se. A cada solavanco, Álvaro Silvestre escorregava sobre a mulher que sentia no flanco o peso desagradável; esquivava-se à pressão, encolhida ao canto da bancada; e olhava para o homem de oiro, na boleia, sob a morrinha." Oliveira 1986, s. 29-30 (dále jen Abelha).
Studia Iberystyczne, Dec 22, 2022
Kitty-o cisne silencioso no conto A morte do cisne de Teresa Veiga Resumo: Neste artigo tentarei ... more Kitty-o cisne silencioso no conto A morte do cisne de Teresa Veiga Resumo: Neste artigo tentarei examinar o fenómeno do silêncio na prosa portuguesa, especialmente o fenómeno do silêncio "feminino". Esse silêncio específico não é causado por falta de voz ou de palavras, mas pela ausência de ouvintes. A protagonista do texto analisado, Kitty, do conto "A morte do cisne", do livro A gente melancolicamente louca (Veiga, 2015) de Teresa Veiga, utiliza o seu corpo e as suas habilidades de sedução para uma comunicação alternativa, transformando-os posteriormente num instrumento de revolta. No conto, a mulher é comparada a um cisne. A partir de e um estudo literário centrado na psicanálise de Água e sonhos de Gaston Bachelard (1942), tentarei interpretar esse motivo.
Eça de Queirós, a leading figure of Portuguese Realism, depicted in his two novels The Maias and ... more Eça de Queirós, a leading figure of Portuguese Realism, depicted in his two novels The Maias and The City and the Mountains the relation of the last members of distinguished families to their mansions. Picturing the houses, he analyses and criticizes the society of that time. Carlos Eduar do, the protagonist of the first novel, reconstructs and furnishes a house in Lisbon so that it corresponds with his position as a member of high society (he is an intellectual and a physician). The house, being a reflection of the Portuguese elite, slowly starts to decay and its existen ce is endangered. Jacinto, the protagonist of the second novel, lives in a lu x urious palace in Paris. He concieves his house as a project and gathers in it all inventions of his time. However, the technical conveniences rather complicate the tenants ' lives. For family reasons, Jacinto travels to a dila pidated mansion house in the backward Portuguese countryside. The sec ond project of a house, in harmony with nature, is more successful and represents a way out for European society tired by its "civilization".
Studia Iberystyczne, Dec 31, 2019
Quatro coisas encontradas: análise espacial da casa no romance Para Sempre de Vergílio Ferreira R... more Quatro coisas encontradas: análise espacial da casa no romance Para Sempre de Vergílio Ferreira Resumo: O artigo apresenta a análise espacial da casa no romance Para Sempre (1983) de Vergílio Ferreira, um dos maiores escritores existencialistas da literatura portuguesa. Paulo, o narrador autodiegético, está de regresso à casa amarela, à casa da sua infância. É o regresso definitivo que inicia a última fase da sua vida, o tempo que lhe falta até à morte. Deambulando pela casa, percorrendo corredores, subindo e descendo escadas, entrando em cada quarto, encontra um tempo imóvel que revela o seu passado, e o faz pensar sobre o futuro e os seus sonhos. Encontra também quatro coisas-símbolos (o violino, o chapéu de palha, o relógio e a estatueta de anjo) que funcionam como chaves. Com o apoio da obra filosófica A poética do espaço (La poétique de l'espace, 1957) de Gaston Bachelard constatamos que a casa amarela representa a vida de Paulo.
Zenodo (CERN European Organization for Nuclear Research), Apr 28, 2023
(2013), sobre o texto literário escrito por autoras de língua francesa fora do Hexágono.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures), 2017
Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 soubo... more Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 souboru próz, které Carlos de Oliveira (1921-1981) situoval do Gândary, kraje svého dětství, chudé a neúrodné oblasti písečných dun ve středním Portugalsku. Zatímco v autorově počáteční tvorbě je patrné silné regionální zakotvení a přitakání neorealismu, v tvorbě pozdější, mnohokrát přepracovávané, dominuje hra se symboly, univerzální témata a psychologické prokreslení hlavních postav. Prozaická, stejně jako výraznější básnická tvorba Carlose de Oliveiry, je propojená opakujícími se tématy ohně a vody, rozpadu-tlení a následného znovuzrození nebo zločinu a svědomí. Výrazné místo v románech je věnováno domům, konkrétně rodovým sídlům, jejichž úpadek a zkáza tvoří paralely s rozkladem osobnosti, rodu i celé společenské třídy. Dům v románu Včela v dešti funguje jako bitevní pole mezi nesourodou manželskou dvojicí, zchudlou šlechtičnou Mariou dos Prazeres a bohatým sedlákem Álvarem Silvestrem, stejně jako bitevní pole mezi třídami, respektive mezi mužem a ženou. Prostor domu Silvestrových je konfrontován s několika dalšími prostory, například s těsnou dvoukolkou. KULHAVÁ KLISNA Dvoukolka drkotala přes výmoly, kola zapadala do děr a rozstřikovala gejzíry blátivé vody. Zdálo se, že se rozpadne. Při každém otřesu se Álvaro Silvestre sesunul na ženu. Když ucítila na boku nepříjemný tlak jeho těla, uhýbala, krčila se do kouta lavice. A dívala se na toho zlatého muže na kozlíku vystaveného dešti. 2 1 Oliveirova tetralogie zahrnuje prózy Dům na duně (Casa na duna, 1943), Smečka (Alcateia, 1944), Maloměšťáci (Pequenos burgueses, 1948) a Včela v dešti (Uma abelha na chuva, 1953). Samostatně stojí román Finisterra (Finisterra, 1978). 2 Oliveira 1987, s. 137 (dále jen Včela). "A charrete rompia o barrocal, embatia no talhe das covas levantando chapadas de água enlameada. Parecia desmantelar-se. A cada solavanco, Álvaro Silvestre escorregava sobre a mulher que sentia no flanco o peso desagradável; esquivava-se à pressão, encolhida ao canto da bancada; e olhava para o homem de oiro, na boleia, sob a morrinha." Oliveira 1986, s. 29-30 (dále jen Abelha).
Zenodo (CERN European Organization for Nuclear Research), Apr 29, 2023
e-Letras com vida, 2019
Resumo: O artigo tenta mapear as relações checo-portuguesas e a receção da literatura neorrealist... more Resumo: O artigo tenta mapear as relações checo-portuguesas e a receção da literatura neorrealista portuguesa no ambiente checo, desde os anos 50 até à atualidade, através da análise de dicionários literários, de textos para o ensino superior e, sobretudo, de epílogos dos livros traduzidos dessa corrente artística.
Svět literatury, May 12, 2022
RESETTLING THE HOUSE IN THE NOVEL FOREVER BY VERGÍLIO FERREIRA This article is dedicated to Vergí... more RESETTLING THE HOUSE IN THE NOVEL FOREVER BY VERGÍLIO FERREIRA This article is dedicated to Vergílio Ferreira's lyrical reflective novel Forever (Para Sempre, 1983) and presents the spatial analysis of the house. The novel's protagonist Paulo returns to his childhood home. The house, which has been abandoned for years, provokes a need in him to review his life, which leads to a search for the meaning of human existence in general. Paulo, the self-diegetic narrator, is returning to the house of his childhood. It is the definitive return that begins the last phase of his life, the time remaining until his death. Wandering around the house, running down the corridors, up and down the stairs, entering each room, he finds a stopped time, rediscovers his past, and thinks about his future and his dreams. There are four symbols that represent the four main rooms, which work as the keys to interpretation. KLÍČOVÁ SLOVA: Vergílio Ferreira-portugalský existencialismus-dům-smrt-dětství-víra Vergílio Ferreira-portuguese existencialism-house-death-childhood-faith
Život a tvorba Františka Listopada ve třech nesvobodných systémech, 2022
František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021... more František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021, the Czech Republic together with the entire Portuguese-speaking world commemorated the centenary of his birth. In addition to his extensive work in several languages, he also played a crucial role in a historic revival of Czech-Portuguese cultural relations, for which we are indebted to him. Listopad was a man of three names and several homes. He was born in 1921 in Prague as Jiří Synek. He published his first short stories under this name. During World War II, he was persecuted for his Jewish origins. However, he avoided deportation to a Nazi camp, hid with friends and was active in the resistance as a member of the illegal organization "For Freedom" (Za svobodu). For reasons of secrecy, he changed his name to František Listopad. At the same time he also began to write poetry and literary reviews. After the war, he became a co-founder of the daily Mladá fronta. After initial enthusiasm, he began to criticize the communist regime, mainly for restricting human freedoms. In 1947, he was sent to Paris as an editor of the weekly Parallèle 50. After February 1948, he was ordered to come back to Czechoslovakia, but he did not return. In France, he focused mainly on writing essays and working for the emerging local television. In 1958, he moved to Portugal, where he lived until his death in 2017. Here he chose a different name-Jorge Listopad. Listopad considered Salazar's authoritarian right-wing regime to be very restrictive, but much freer in many ways than Czechoslovakia of the time; for example, it did not prohibit citizens from travelling abroad. In Portugal, in addition to significant literary work, Listopad devoted himself mainly to theatrical productions. He also became a university teacher. He never moved back to his original homeland to stay there permanently, but after the 1989 Velvet Revolution he often travelled there. He presented his plays there and published collections of poems and short stories. In his literary and theatrical works, František Listopad often existentially reflected the life in three unfree systems: the period of Nazi occupation of Czechoslovakia, communism and Salazar's dictatorship in Portugal.
Zenodo (CERN European Organization for Nuclear Research), Apr 29, 2023
CfP, 2024
The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles Uni... more The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles University alongside the project Negotiating the Revolt in Czech and Slovak Postsocialist Transition, which is supported by the Czech Science Foundation and carried out in collaboration with the Archive of Czech and Slovak Subcultures, the Centre for the Study of Popular Culture and the Punk Scholars Network Slovak and Czech.
Date: May 16 – 18, 2025
Venue: Eternia, Nádražní 3, Prague 5, Czech Republic: https://www.eterniasmichov.com/
Conference organizers: Karolina Válová, Miroslav Michela, Ondřej Daniel, Marta Harasimowicz
Email contact: punkconferenceprague@gmail.com
STUDIA IBERYSTYCZNE, 2019
Four Things Found: Spatial Analysis of the House in the Novel Para Sempreby Vergílio Ferreira The... more Four Things Found: Spatial Analysis of the House in the Novel Para Sempreby Vergílio Ferreira
The article presents the spatial analysis of the house in the novel Forever (Para Sempre, 1983) by Vergílio Ferreira, one of the greatest existentialist writers in Portuguese literature. Paulo, the self-digetic narrator, is returning to the yellow house, to the house of his childhood. It is the definitive return that begins the last phase of his life, the time it lacks until death. Wandering around the house, running down corridors, up and down stairs, entering each room, finds a stoppedtime, reveals his past again and thinks about his future and his dreams. There are also four symbol-things, the violin, the straw hat, the clock, and the angel figurine,that work as keys. With the support of Gaston Bachelard’s philosophical work Poetics of Space (La poétique de l’espace, 1957), it is discovered that the yellow house represents the life of Paul.
A2 N.23 /2021, 2021
František Listopad se za svého dlouhého života stačil stát českým básníkem a odbojářem, franco... more František Listopad se za svého
dlouhého života stačil stát
českým básníkem a odbojářem,
francouzským publicistou
a portugalským režisérem, ale
i během více než půlstoletí
stráveného v Lisabonu psal
poezii výhradně česky. Tuzemská
literární věda však svůj
listopadovský dluh teprve začíná
splácet.
Pensar o passado, compreender o presente, idealizar o futuro, 2019
O romance de Lídia Jorge, O Vento Assaobiando nas Gruas, foi publicado em 2002. Des-creve três ... more O romance de Lídia Jorge, O Vento Assaobiando nas Gruas, foi publicado em 2002. Des-creve três gerações de uma família cabo -verdiana pobre, “Os Mata”, em Portugal. Também descreve três gerações de uma família portuguesa, “Os Leandro“, uma famí-lia oposta à primeira em todos os aspetos – trata -se de uma família rica, tradicional, patriarcal, conservadora e, sobretudo, “branca”. Uma análise do comportamento dos dois protagonistas marginalizados, sob vários pontos de vista, e a maneira como se re-lacionam com o seu espaço limitado existencial, mostra -nos uma imagem do Portugal em transformação no fi m do século XX.
Tvar 8/2023, 2023
Alfabetizace by podle Freireho neměla být omezena pouze na psací a čtecí dovednosti, ale měla by ... more Alfabetizace by podle Freireho neměla být omezena pouze na psací a čtecí dovednosti, ale měla by být zaměřená na schopnost reflexe skutečného života. Což je vnímáno jako politické čtení společnosti.
Svět literatury (XXXI) 64, 2021
Románské jazyky začaly vznikat kolem 5. století nářeční diferenciací lidové latiny a v západní sk... more Románské jazyky začaly vznikat kolem 5. století nářeční diferenciací lidové latiny a v západní skupině těchto jazyků se už od 9. století vydělují okcitánsko-provensálské dialekty, dialekty katalánské, kastilské, asturské, leonské a na značném území mezi řekami Minho a Mondego též galicijsko-portugalské. Mezi nejstarší zaznamenanou literaturu iberského poloostrova patří tzv. galicijsko-portugalská lyrika, kterou tvořilo šest generací autorů mezi lety 1200 až 1354. Hraniční letopočet se v prvním případě počítá od dvou dochovaných písní: "Cantiga de guarvaia", milostné písně od Paia Soarese de Taveirós, a bezejmenné posměšné písně ironizující porážku krále Sancha III. Navarrského v bitvě u Alarcosu od Joãa Soarese de Paivy, druhý letopočet se poněkud nelogicky váže k úmrtí "posledního z trobadorů", hraběte Pedra de Barcelos, levobočka portugalského krále Dinise. Ve třech hlavních zpěvnících vznikajících od poloviny 13. století se postupně zachovalo přes 1 600 lyrických útvarů od téměř 160 autorů. V některých případech jde o přepisy ústně tradovaných básní a písní, jinde o inspiraci maurskou přítomností či "provensálskou lyrickou školou", často se však jedná o ryze autorskou tvorbu. Ta nebyla limitovaná žádnou společenskou vrstvou, autory písní (cantigas) byli potulní umělci, urození pánové a nezřídka i samotní panovníci. Rozmachu básnictví na celém poloostrově napomohla velká politicko-kulturní centra kolem dvorů kastilských a leonských králů, jako byli Ferdinand III., Alfonse X. Učený nebo jeho nástupce Sancho IV.; na území dnešního Portugalska šlo především o krále Dinise. Jednotlivé lyrické útvary byly určeny spíše ke zpěvu než k přednesu, značná část jich je opatřená refrénem a notovým zápisem. Na doprovodné hudební nástroje odkazují některé iluminace jednotlivých zpěvníků (cancioneiros) profánní lyriky-jde zvláště o nejstarší a výtvarně cenný Zpěvník z Ajudy (Cancioneira de Ajuda), Zpěvník národní knihovny (Cancioneiro da Biblioteca Nacional), původně ze 14. století, a Zpěvník Apoštolské vatikánské knihovny (Canicioneiro da Vaticana). Existují však i zpěvníky lyriky duchovní čítající dalších téměř 450 skladeb. Několik souborů chvalozpěvů a výpravných básní o zázracích Panny Marie vzniklo na dvoře kastilsko-leonského "krále-básníka" Alfonse X. Učeného. O jednom z nich, Toledském kodexu, pojednává publikace Sto písní o Marii s podtitulem Toledský kodex Cantigas de Santa Maria krále Alfonse X. Učeného od Matouše Jalušky.
Studia Iberyca, 2024
O artigo apresenta a obra de exílio publicada na revista Sklizeň, tematicamente dedicada a Portug... more O artigo apresenta a obra de exílio publicada na revista Sklizeň, tematicamente dedicada a Portugal, do poeta, escritor e ensaísta checo František Listopad. Depois do golpe comunista de 1948, Listopad emigrou para França e dez anos depois mudou-se para Portugal, primeiramente para o Porto, depois para Lisboa, seguindo a sua esposa portuguesa. Em Portugal inventou e adotou o pseudónimo Jorge Listopad. Na sua nova terra natal tornou-se um artista de sucesso, trabalhou na rádio e na televisão e dirigiu peças de teatro. Retornou à Checoslováquia somente depois de 1989, após a revolução democrática. Ao longo da sua vida artística, procurou ser uma personagem-ponte entre muitas culturas. Durante o período de exílio, contribuiu para diversas revistas publicadas fora do território da Checoslováquia, que tentavam preservar a língua checa e a eslovaca, bem como a cultura. Para o meu artigo selecionei textos relacionados com Portugal, que são objeto de um diário de viagem ou de análise histórico-literária, bem como tema para os meus próprios poemas, especialmente da revista de exílio Sklizeň. Esta
Svět literatury N. 70, 2024
ONE HUNDRED YEARS AFTER BRAZIL’S MODERN ART WEEK: “MANIFESTO OF CONTEMPORARY NATIVE BRASILIAN LIT... more ONE HUNDRED YEARS AFTER BRAZIL’S MODERN ART WEEK: “MANIFESTO
OF CONTEMPORARY NATIVE BRASILIAN LITERATURE” BY TRUDRUÁ DORRICO
In 2022, Brazil commemorated two crucial moments in its historical and cultural development. Two hundred years have passed since independence from Portugal and one hundred years since the socalled Modern Art Week (Semana de Arte Moderna) in São Paulo. In addition to celebrations, the
year 2022 was also a year of new perspectives on both anniversaries, especially through the lens of the First Nations of Brazil. One of the significant efforts was the article “Centenary of Art Week Mobilizes Indigenous Artists” (Centenário da Semana da Arte mobiliza artistas indígenas) and the “Manifesto of Contemporary Native Brasilian Literature” (Manifesto da Literatura Indígena Contemporânea) contained in it. The text by the Brazilian writer Trudruá Dorrico was intentionally published a week before the anniversary, on February 9, 2022, in the online magazine Ecoa. The analy-
sis of several slogans of the manifesto will focus on the issue of tribal ancestors and “Macunaíma’s
grandchildren”.
The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles Uni... more The conference is organized by the Institute of Czech History at the Faculty of Arts, Charles University alongside the project Negotiating the Revolt in Czech and Slovak Postsocialist Transition, which is supported by the Czech Science Foundation and carried out in collaboration with the Archive of Czech and Slovak Subcultures, the Centre for the Study of Popular Culture and the Punk Scholars Network Slovak and Czech. Date: May 16 – 18, 2025 Venue: Eternia, Nádražní 3, Prague 5, Czech Republic: https://www.eterniasmichov.com/ Conference organizers: Karolina Válová, Miroslav Michela, Ondřej Daniel, Marta Harasimowicz Email contact: punkconferenceprague@gmail.com
DOAJ (DOAJ: Directory of Open Access Journals), Oct 1, 2017
Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 soubo... more Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 souboru próz, které Carlos de Oliveira (1921-1981) situoval do Gândary, kraje svého dětství, chudé a neúrodné oblasti písečných dun ve středním Portugalsku. Zatímco v autorově počáteční tvorbě je patrné silné regionální zakotvení a přitakání neorealismu, v tvorbě pozdější, mnohokrát přepracovávané, dominuje hra se symboly, univerzální témata a psychologické prokreslení hlavních postav. Prozaická, stejně jako výraznější básnická tvorba Carlose de Oliveiry, je propojená opakujícími se tématy ohně a vody, rozpadu-tlení a následného znovuzrození nebo zločinu a svědomí. Výrazné místo v románech je věnováno domům, konkrétně rodovým sídlům, jejichž úpadek a zkáza tvoří paralely s rozkladem osobnosti, rodu i celé společenské třídy. Dům v románu Včela v dešti funguje jako bitevní pole mezi nesourodou manželskou dvojicí, zchudlou šlechtičnou Mariou dos Prazeres a bohatým sedlákem Álvarem Silvestrem, stejně jako bitevní pole mezi třídami, respektive mezi mužem a ženou. Prostor domu Silvestrových je konfrontován s několika dalšími prostory, například s těsnou dvoukolkou. KULHAVÁ KLISNA Dvoukolka drkotala přes výmoly, kola zapadala do děr a rozstřikovala gejzíry blátivé vody. Zdálo se, že se rozpadne. Při každém otřesu se Álvaro Silvestre sesunul na ženu. Když ucítila na boku nepříjemný tlak jeho těla, uhýbala, krčila se do kouta lavice. A dívala se na toho zlatého muže na kozlíku vystaveného dešti. 2 1 Oliveirova tetralogie zahrnuje prózy Dům na duně (Casa na duna, 1943), Smečka (Alcateia, 1944), Maloměšťáci (Pequenos burgueses, 1948) a Včela v dešti (Uma abelha na chuva, 1953). Samostatně stojí román Finisterra (Finisterra, 1978). 2 Oliveira 1987, s. 137 (dále jen Včela). "A charrete rompia o barrocal, embatia no talhe das covas levantando chapadas de água enlameada. Parecia desmantelar-se. A cada solavanco, Álvaro Silvestre escorregava sobre a mulher que sentia no flanco o peso desagradável; esquivava-se à pressão, encolhida ao canto da bancada; e olhava para o homem de oiro, na boleia, sob a morrinha." Oliveira 1986, s. 29-30 (dále jen Abelha).
Studia Iberystyczne, Dec 22, 2022
Kitty-o cisne silencioso no conto A morte do cisne de Teresa Veiga Resumo: Neste artigo tentarei ... more Kitty-o cisne silencioso no conto A morte do cisne de Teresa Veiga Resumo: Neste artigo tentarei examinar o fenómeno do silêncio na prosa portuguesa, especialmente o fenómeno do silêncio "feminino". Esse silêncio específico não é causado por falta de voz ou de palavras, mas pela ausência de ouvintes. A protagonista do texto analisado, Kitty, do conto "A morte do cisne", do livro A gente melancolicamente louca (Veiga, 2015) de Teresa Veiga, utiliza o seu corpo e as suas habilidades de sedução para uma comunicação alternativa, transformando-os posteriormente num instrumento de revolta. No conto, a mulher é comparada a um cisne. A partir de e um estudo literário centrado na psicanálise de Água e sonhos de Gaston Bachelard (1942), tentarei interpretar esse motivo.
Eça de Queirós, a leading figure of Portuguese Realism, depicted in his two novels The Maias and ... more Eça de Queirós, a leading figure of Portuguese Realism, depicted in his two novels The Maias and The City and the Mountains the relation of the last members of distinguished families to their mansions. Picturing the houses, he analyses and criticizes the society of that time. Carlos Eduar do, the protagonist of the first novel, reconstructs and furnishes a house in Lisbon so that it corresponds with his position as a member of high society (he is an intellectual and a physician). The house, being a reflection of the Portuguese elite, slowly starts to decay and its existen ce is endangered. Jacinto, the protagonist of the second novel, lives in a lu x urious palace in Paris. He concieves his house as a project and gathers in it all inventions of his time. However, the technical conveniences rather complicate the tenants ' lives. For family reasons, Jacinto travels to a dila pidated mansion house in the backward Portuguese countryside. The sec ond project of a house, in harmony with nature, is more successful and represents a way out for European society tired by its "civilization".
Studia Iberystyczne, Dec 31, 2019
Quatro coisas encontradas: análise espacial da casa no romance Para Sempre de Vergílio Ferreira R... more Quatro coisas encontradas: análise espacial da casa no romance Para Sempre de Vergílio Ferreira Resumo: O artigo apresenta a análise espacial da casa no romance Para Sempre (1983) de Vergílio Ferreira, um dos maiores escritores existencialistas da literatura portuguesa. Paulo, o narrador autodiegético, está de regresso à casa amarela, à casa da sua infância. É o regresso definitivo que inicia a última fase da sua vida, o tempo que lhe falta até à morte. Deambulando pela casa, percorrendo corredores, subindo e descendo escadas, entrando em cada quarto, encontra um tempo imóvel que revela o seu passado, e o faz pensar sobre o futuro e os seus sonhos. Encontra também quatro coisas-símbolos (o violino, o chapéu de palha, o relógio e a estatueta de anjo) que funcionam como chaves. Com o apoio da obra filosófica A poética do espaço (La poétique de l'espace, 1957) de Gaston Bachelard constatamos que a casa amarela representa a vida de Paulo.
Zenodo (CERN European Organization for Nuclear Research), Apr 28, 2023
(2013), sobre o texto literário escrito por autoras de língua francesa fora do Hexágono.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures), 2017
Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 soubo... more Včela v dešti (Uma Abelha na Chuva, 1953) je posledním románem tzv. gândarské tetralogie, 1 souboru próz, které Carlos de Oliveira (1921-1981) situoval do Gândary, kraje svého dětství, chudé a neúrodné oblasti písečných dun ve středním Portugalsku. Zatímco v autorově počáteční tvorbě je patrné silné regionální zakotvení a přitakání neorealismu, v tvorbě pozdější, mnohokrát přepracovávané, dominuje hra se symboly, univerzální témata a psychologické prokreslení hlavních postav. Prozaická, stejně jako výraznější básnická tvorba Carlose de Oliveiry, je propojená opakujícími se tématy ohně a vody, rozpadu-tlení a následného znovuzrození nebo zločinu a svědomí. Výrazné místo v románech je věnováno domům, konkrétně rodovým sídlům, jejichž úpadek a zkáza tvoří paralely s rozkladem osobnosti, rodu i celé společenské třídy. Dům v románu Včela v dešti funguje jako bitevní pole mezi nesourodou manželskou dvojicí, zchudlou šlechtičnou Mariou dos Prazeres a bohatým sedlákem Álvarem Silvestrem, stejně jako bitevní pole mezi třídami, respektive mezi mužem a ženou. Prostor domu Silvestrových je konfrontován s několika dalšími prostory, například s těsnou dvoukolkou. KULHAVÁ KLISNA Dvoukolka drkotala přes výmoly, kola zapadala do děr a rozstřikovala gejzíry blátivé vody. Zdálo se, že se rozpadne. Při každém otřesu se Álvaro Silvestre sesunul na ženu. Když ucítila na boku nepříjemný tlak jeho těla, uhýbala, krčila se do kouta lavice. A dívala se na toho zlatého muže na kozlíku vystaveného dešti. 2 1 Oliveirova tetralogie zahrnuje prózy Dům na duně (Casa na duna, 1943), Smečka (Alcateia, 1944), Maloměšťáci (Pequenos burgueses, 1948) a Včela v dešti (Uma abelha na chuva, 1953). Samostatně stojí román Finisterra (Finisterra, 1978). 2 Oliveira 1987, s. 137 (dále jen Včela). "A charrete rompia o barrocal, embatia no talhe das covas levantando chapadas de água enlameada. Parecia desmantelar-se. A cada solavanco, Álvaro Silvestre escorregava sobre a mulher que sentia no flanco o peso desagradável; esquivava-se à pressão, encolhida ao canto da bancada; e olhava para o homem de oiro, na boleia, sob a morrinha." Oliveira 1986, s. 29-30 (dále jen Abelha).
Zenodo (CERN European Organization for Nuclear Research), Apr 29, 2023
e-Letras com vida, 2019
Resumo: O artigo tenta mapear as relações checo-portuguesas e a receção da literatura neorrealist... more Resumo: O artigo tenta mapear as relações checo-portuguesas e a receção da literatura neorrealista portuguesa no ambiente checo, desde os anos 50 até à atualidade, através da análise de dicionários literários, de textos para o ensino superior e, sobretudo, de epílogos dos livros traduzidos dessa corrente artística.
Svět literatury, May 12, 2022
RESETTLING THE HOUSE IN THE NOVEL FOREVER BY VERGÍLIO FERREIRA This article is dedicated to Vergí... more RESETTLING THE HOUSE IN THE NOVEL FOREVER BY VERGÍLIO FERREIRA This article is dedicated to Vergílio Ferreira's lyrical reflective novel Forever (Para Sempre, 1983) and presents the spatial analysis of the house. The novel's protagonist Paulo returns to his childhood home. The house, which has been abandoned for years, provokes a need in him to review his life, which leads to a search for the meaning of human existence in general. Paulo, the self-diegetic narrator, is returning to the house of his childhood. It is the definitive return that begins the last phase of his life, the time remaining until his death. Wandering around the house, running down the corridors, up and down the stairs, entering each room, he finds a stopped time, rediscovers his past, and thinks about his future and his dreams. There are four symbols that represent the four main rooms, which work as the keys to interpretation. KLÍČOVÁ SLOVA: Vergílio Ferreira-portugalský existencialismus-dům-smrt-dětství-víra Vergílio Ferreira-portuguese existencialism-house-death-childhood-faith
Život a tvorba Františka Listopada ve třech nesvobodných systémech, 2022
František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021... more František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021, the Czech Republic together with the entire Portuguese-speaking world commemorated the centenary of his birth. In addition to his extensive work in several languages, he also played a crucial role in a historic revival of Czech-Portuguese cultural relations, for which we are indebted to him. Listopad was a man of three names and several homes. He was born in 1921 in Prague as Jiří Synek. He published his first short stories under this name. During World War II, he was persecuted for his Jewish origins. However, he avoided deportation to a Nazi camp, hid with friends and was active in the resistance as a member of the illegal organization "For Freedom" (Za svobodu). For reasons of secrecy, he changed his name to František Listopad. At the same time he also began to write poetry and literary reviews. After the war, he became a co-founder of the daily Mladá fronta. After initial enthusiasm, he began to criticize the communist regime, mainly for restricting human freedoms. In 1947, he was sent to Paris as an editor of the weekly Parallèle 50. After February 1948, he was ordered to come back to Czechoslovakia, but he did not return. In France, he focused mainly on writing essays and working for the emerging local television. In 1958, he moved to Portugal, where he lived until his death in 2017. Here he chose a different name-Jorge Listopad. Listopad considered Salazar's authoritarian right-wing regime to be very restrictive, but much freer in many ways than Czechoslovakia of the time; for example, it did not prohibit citizens from travelling abroad. In Portugal, in addition to significant literary work, Listopad devoted himself mainly to theatrical productions. He also became a university teacher. He never moved back to his original homeland to stay there permanently, but after the 1989 Velvet Revolution he often travelled there. He presented his plays there and published collections of poems and short stories. In his literary and theatrical works, František Listopad often existentially reflected the life in three unfree systems: the period of Nazi occupation of Czechoslovakia, communism and Salazar's dictatorship in Portugal.
Zenodo (CERN European Organization for Nuclear Research), Apr 29, 2023
Zenodo (CERN European Organization for Nuclear Research), Apr 28, 2023
Studia Iberystyczne, Dec 22, 2022
Kitty-o cisne silencioso no conto A morte do cisne de Teresa Veiga Resumo: Neste artigo tentarei ... more Kitty-o cisne silencioso no conto A morte do cisne de Teresa Veiga Resumo: Neste artigo tentarei examinar o fenómeno do silêncio na prosa portuguesa, especialmente o fenómeno do silêncio "feminino". Esse silêncio específico não é causado por falta de voz ou de palavras, mas pela ausência de ouvintes. A protagonista do texto analisado, Kitty, do conto "A morte do cisne", do livro A gente melancolicamente louca (Veiga, 2015) de Teresa Veiga, utiliza o seu corpo e as suas habilidades de sedução para uma comunicação alternativa, transformando-os posteriormente num instrumento de revolta. No conto, a mulher é comparada a um cisne. A partir de e um estudo literário centrado na psicanálise de Água e sonhos de Gaston Bachelard (1942), tentarei interpretar esse motivo.
Kultúrne dejiny, 2022
František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021... more František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021, the Czech Republic together with the entire Portuguese-speaking world commemorated the centenary of his birth. In addition to his extensive work in several languages, he also played a crucial role in a historic revival of Czech-Portuguese cultural relations, for which we are indebted to him. Listopad was a man of three names and several homes. He was born in 1921 in Prague as Jiří Synek. He published his first short stories under this name. During World War II, he was persecuted for his Jewish origins. However, he avoided deportation to a Nazi camp, hid with friends and was active in the resistance as a member of the illegal organization “For Freedom” (Za svobodu). For reasons of secrecy, he changed his name to František Listopad. At the same time he also began to write poetry and literary reviews. After the war, he became a co-founder of the daily Mladá fronta. After initial enthusias...
Impulsy: Inspirace, náměty a trendy dětského čtenářství , 2019
Když se řekne portugalská literatura, většině Čechů pravděpodobně vytane na mysli jméno Fernanda ... more Když se řekne portugalská literatura, většině Čechů pravděpodobně vytane na mysli jméno Fernanda Pessoy, velikána první poloviny 20. století, občas srovnávaného s Franzem Kafkou. Někdo si možná vzpomene na Josého Saramaga, zesnulého v roce 2010, jediného portugalského nositele Nobelovy ceny za literaturu, od něhož máme do češtiny přeloženy tři romány. Ostatní méně známá literatura získává nádech určitého exotična. Kupodivu řada děl přeložených z portugalštiny každoročně narůstá a najdeme v ní i tituly určené nejmladším čtenářům.
Studia Iberystyczne, 2022
Neste artigo tentarei examinar o fenómeno do silêncio na prosa portuguesa, especialmente o fenóme... more Neste artigo tentarei examinar o fenómeno do silêncio na prosa portuguesa, especialmente o fenómeno do silêncio "feminino". Esse silêncio específico não é causado por falta de voz ou de palavras, mas pela ausência de ouvintes. A protagonista do texto analisado, Kitty, do conto "A morte do cisne", do livro A gente melancolicamente louca (Veiga, 2015) de Teresa Veiga, utiliza o seu corpo e as suas habilidades de sedução para uma comunicação alternativa, transformando-os posteriormente num instrumento de revolta. No conto, a mulher é comparada a um cisne. A partir de e um estudo literário centrado na psicanálise de Água e sonhos de Gaston Bachelard (1942), tentarei interpretar esse motivo.
Kultúrne dejiny, 2022
František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021... more František Listopad was a Czech poet, novelist, essayist, theatre and television director. In 2021, the Czech Republic together with the entire Portuguese-speaking world commemorated the centenary of his birth. In addition to his extensive work in several languages, he also played a crucial role in a historic revival of Czech-Portuguese cultural relations, for which we are indebted to him. Listopad was a man of three names and several homes. He was born in 1921 in Prague as Jiří Synek. He published his first short stories under this name. During World War II, he was persecuted for his Jewish origins. However, he avoided deportation to a Nazi camp, hid with friends and was active in the resistance as a member of the illegal organization "For Freedom" (Za svobodu). For reasons of secrecy, he changed his name to František Listopad. At the same time he also began to write poetry and literary reviews. After the war, he became a co-founder of the daily Mladá fronta. After initial enthusiasm, he began to criticize the communist regime, mainly for restricting human freedoms. In 1947, he was sent to Paris as an editor of the weekly Parallèle 50. After February 1948, he was ordered to come back to Czechoslovakia, but he did not return. In France, he focused mainly on writing essays and working for the emerging local television. In 1958, he moved to Portugal, where he lived until his death in 2017. Here he chose a different name-Jorge Listopad. Listopad considered Salazar's authoritarian right-wing regime to be very restrictive, but much freer in many ways than Czechoslovakia of the time; for example, it did not prohibit citizens from travelling abroad. In Portugal, in addition to significant literary work, Listopad devoted himself mainly to theatrical productions. He also became a university teacher. He never moved back to his original homeland to stay there permanently, but after the 1989 Velvet Revolution he often travelled there. He presented his plays there and published collections of poems and short stories. In his literary and theatrical works, František Listopad often existentially reflected the life in three unfree systems: the period of Nazi occupation of Czechoslovakia, communism and Salazar's dictatorship in Portugal.
Jorge Listopad e Rosa definitiva de František Listopad, 2023
Este texto é destinado principalmente aos leitores portugueses que estejam pelo menos familiariza... more Este texto é destinado principalmente aos leitores portugueses que estejam pelo menos familiarizados com a arte cinematográfica, teatral e narrativa de Jorge Listopad, mas não familiarizados com a sua obra poética. Os seus poemas são extraordinários e estão fortemente ligados à vida do poeta. Muito mais do que outros escritores. Representam uma forma específica de diário não linear onde os registos são escritos sob a forma de memórias e associações através de épocas, estados europeus e regimes políticos. Além disso, o autor descreveu a sua mais famosa coletânea de poemas, intitulada Rosa definitiva de 2007, como um testamento imaginário, provavelmente como última obra poética. Já nas páginas do livro, porém, ele dá a entender que mais poemas e coletâneas de poesia se viriam a seguir. O que se veio a confirmar, pois ele lançou a sua última coletânea em 2012, aos noventa e um anos.
O que é importante mencionar é que os poemas de Listopad não foram escritos por Jorge, mas por František. Enquanto Jorge era um en- cenador de teatro e televisão português de renome mundial, de origem checa, František Listopad era principalmente um poeta checo que ocasio- nalmente escrevia um conto ou outro. František escrevia os seus poemas apenas em checo e não queria que fossem traduzidos para outras línguas, nem mesmo para o seu amado português, que se tornou a sua segunda língua materna após a sua longa estadia em Portugal. O checo, que não utilizou muito durante os setenta anos de exílio, primeiro em França e depois em Portugal, tornou-se a sua língua íntima e secreta. Uma fala confessional e poética, que exulta pelos sucessos e felicidades, que cho- ra pelos fracassos, que relembra a infância, que sussurra sobre amores e que grita sobre mágoas. No entanto, a voz de František Listopad nunca foi
uma voz política que criticasse regimes ou defendesse ideologias. Foi a voz de pensamentos filosóficos profundos e ao mesmo tempo de alegria de viver. Foi uma celebração do mundano, da vida comum cheia de acon- tecimentos inesperados.