Чешская литература

Чешская литература может относиться к литературе, написанной в Чехии , в Чешской Республике (ранее Чехословакия , ранее земли богемской короны ) или чешского народа .

Большая часть литературы в Чешской Республике в настоящее время написана на чешском, но исторически, значительная часть чешского литературного вывода была написана и на других языках, включая латинский и немецкий .

Средние латинские работы

Богемия была христианизирована в конце 9-10 веков, и самые ранние письменные работы, связанные с Королевством Богемии, - это средние латинские работы, написанные в 12-13 веках (за исключением латинской легенды о христиане , предположительно из 10 -го века, но, но 10 века, но но 10 -го века, но, но 10 -го века. сомнительной подлинности). Большинство работ этого периода - хроники и агиографии. Богемские агиографии сосредоточены исключительно на богемных святых (сц. Ладмила, Вацлас, Прокопий , Кирилл и Методию и Адальберт ), хотя многочисленные легенды о богемных святых также были написаны иностранными авторами. Самой важной хроникой того периода является Chronica Boemorum ( Bohemian Chronicle ) Cosmas , хотя она подходит к своей темам с учетом современной политики и пытается узаконить правящую династию. Работа Косма была обновлена и расширена несколькими авторами во второй части 12 -го и в течение 13 -го веков.

During the first part of the 13th century, the Přemyslid rulers of Bohemia expanded their political and economic influence westward and came into contact with the political and cultural kingdoms of Western Europe. This cultural exchange was evident in literature through the introduction of German courtly poetry, or Minnesang, in the latter part of the 13th century. After the murder of Wenceslas III and the subsequent upheavals in the kingdom in 1306, however, the Bohemian nobles distanced themselves from German culture and looked for literature in their native language. Despite this, German remained an important literary language in Bohemia until the 19th century. This new literature in Czech consisted largely of epic poetry of two types: the legend and the knightly epic, both based on apocryphal tales from the Bible, as well as hagiographic legends of earlier periods. Prose was also first developed during this period: administrative and instructional texts, which necessitated the development of a more extensive and specialized vocabulary; the first Czech-Latin dictionaries date from this time. Extensive chronicles, of which the Chronicle of Dalimil and Chronicon Aulae Regiae (the Zbraslav Chronicle) are the most striking examples, and artistic prose (e.g. Smil Flaška z Pardubic and Johannes von Saaz) were also written.

Reformation

The Hussite revolution of the 15th century created a definite break in the literary evolution of Czech literature and forms its own separate history within Czech literature. The main aim of this literature was to communicate and argue for a specific religious doctrine and its form was generally prose. Jan Hus theological writing first appears at the beginning of the 15th century; he wrote first in Latin, later in Czech, and this divide remained for much of the later period: poetry and intellectual prose used primarily Latin, whereas popular prose was written in Czech or German. Hus writings center on technical, theological questions; however, he did publish a set of his Czech sermons and created rules of orthography and grammar that would be used to create the foundations of modern Czech in the 17th and 18th centuries. Only fragments remain of the literary works of the radical Taborite faction – these were generally Latin apologia defending the Taborite doctrine (Mikuláš Biskupec z Pelhřimova, Petr Chelčický^[why?]). In general, Hussite writings differed from the preceding era by their focus on social questions – their audience consisted of the lower and lower middle classes. Works defending Catholicism and attacking the Hussite utraquists were also written, one example being Jan Rokycana's works. The Hussite period also developed the genre of Czech religious songs as a replacement for Latin hymns and liturgy, e.g. the Jistebnický kancionál, the Jistebnice Hymnal.

After the election of George of Poděbrady to the Czech throne following the Hussite wars, a new cultural wave swept into Bohemia. Humanism saw in the classics of antiquity an ideal for literature and culture. The main feature of the literature of this period is the competition between Catholics writing in Latin, e.g. Bohuslav Hasištejnský z Lobkovic and Jan Dubravius) and Protestants writing in Czech, e.g. Viktorin Kornel of Všehrdy and Václav Hájek. New literary devices incited scholars, e.g. Veleslavín, to construct a more complex grammatical structure, based on Latin, as well as an influx of loan words. Gutenberg's printing press rendered books and pamphlets more accessible, which slowly changed literature's status in society.

Baroque period

The demise of the Czech Protestants after the Battle of the White Mountain decidedly affected Czech literary development. The forceful re-Catholicization and Germanization of Bohemia and the ensuing confiscations and expulsions virtually eliminated the Protestant middle classes and split the literature into two parts: the domestic Catholic and the émigré Protestant branches. Unlike in other European countries of the time, the nobility in Bohemia was not a part of the literary audience and thus this split of literary effort led to a certain lack of development and stagnation of Czech baroque literature in comparison to other European countries of the time, especially in genres that were written for noble courts. The largest personality of Czech evangelical baroque writing is John Comenius, who spent his youth in Bohemia but was forced into exile later in life. He was a pedagogue, theologian, reformer of education, and philosopher; his works include grammars, theoretical tracts on education, and works on theology. With his death in the late 17th century, Protestant literature in Czech virtually disappeared. Catholic baroque works span two types: religious poetry such as that of Adam Michna z Otradovic, Fridrich Bridel and Václav Jan Rosa, and religious prose writings (i.e. homiletic prose and hagiographies), and historical accounts (Bohuslav Balbín), as well as the Jesuit St. Wenceslas Bible.

The Enlightenment

At the end of the 18th century, the Bohemian lands underwent a considerable change – the Habsburg emperor Josef II put an end to the feudal system and supported a new religious and ideological tolerance. Enlightened classicism emerged, which sought to apply the principles of rational science to all aspects of daily life. A national culture and literature in one's own national language began to be seen as a prerequisite for the unification of a nation. In literature, this constituted a renewed interest in prose novels (e.g. Václav Matěj Kramerius), in Czech history and in the historical development of Czech culture (e.g. Josef Dobrovský, who re-codified the grammar of Czech and Antonín Jaroslav Puchmayer, who systematically set out to develop a Czech poetic style). The literary audience evolved from priests and monks to the laity and general public and literature began to be seen as a vehicle of artistic expression. Bohemia and Moravia, however, remained within the sphere of Austrian and German cultural influence. The new national literature thus firstly mimicked popular German genres and would only later evolve into an independent creative effort; this was especially true for drama, e.g. Václav Kliment Klicpera.

19th century

Pre-romanticism formed the transition between enlightened classicism and romanticism – the pre-romantics did not completely abandon the emphasis on poetic forms drawn from antiquity, but relaxed the strict separation between the genres and turned away from didactic genres toward more lyric, folk-inspired works (e.g. Ján Kollár and František Čelakovský.) It was during this period that the idea of a truly national literature and culture developed, as a rejection of Bernard Bolzano's vision of a bi-lingual and bi-cultural Czech-German state. The perhaps greatest figure of this era is Josef Jungmann, who translated many classics of world literature and spent his life establishing Czech literature as a serious, rich literature capable of great development. František Palacký and Pavel Jozef Šafárik took up the challenge of reexamining Czech history. As part of the effort to establish a pedigree for Czech literature and culture, Czech historians of the time sought evidence of heroic epics of the Middle Ages. They appeared to find such evidence in the Rukopis královédvorský and Rukopis zelenohorský (the Dvůr Králové Manuscript and the Zelená Hora Manuscript, respectively), although both were later proven forgeries.

By the 1830s, the foundations of Czech literature were laid and authors now began to focus more on the artistic merits of their work and less on developing the idea of Czech literature and culture as a whole. During this time period two main types of literature were produced: Biedermeier literature, which strove to educate the readers and encourage them to be loyal to the Austro-Hungarian Empire (e.g. Karel Jaromír Erben and Božena Němcová), and romanticism, which emphasized the freedom of the individual and focused on subjectivity and the subconscious (e.g. Karel Hynek Mácha, Václav Bolemír Nebeský.) These authors were generally published in either newspapers or in the literary magazine Květy (Blossoms) published by Josef Kajetán Tyl.

The year 1848 brought to the fore a new generation of Czech authors who followed in the footsteps of Mácha, and published their work in the new almanac Máj (May) (e.g. Vítězslav Hálek, Karolina Světlá and Jan Neruda). These authors rejected the narrow ideal of a purely national culture and favored one that incorporated Czech literature into European culture and drew inspiration from the progress made outside of the Czech lands. Their work, however, also commented on the encroachment of industrialization and focused increasingly on the simple life as opposed to the unfettered romantic ideal.

The May generation was followed by the neo-romantics, who continued in the romantic tradition, but also incorporated more contemporary styles: realism, Symbolism, and decadence. Three periods are apparent: the first reacted to the disappointment due to the lack of political and social progress during the 1870s (e.g. Václav Šolc); the second was the great return to poetry, especially epic poetry (e.g. Josef Václav Sládek); and the third focused on prose (e.g. Alois Jirásek).

In conversation with the neo-romantics, the next generation of authors leaned toward realism and naturalism, the ordinary and banal. They favored contemporary subjects over historical ones, and sought to deemphasize the personal voice of the author in comparison to the often highly colored speech of the characters. Two main topics were of interest: the exploration of the Czech village and the extent to which it remained an oasis of good morals (Jan Herben, Karel Václav Rais, Alois Mrštík); and Prague, especially the life of the lower classes (Ignát Herrman, Karel Matěj Čapek Chod).

The last literary generation of the 19th century signaled a decided break with the past and the advent of modernism – after the wave of optimism in the wake of the French Revolution at the beginning of the century, the lack of progress in implementing these ideals of freedom and brotherhood led to both a skepticism toward the possibility of ever achieving these ideals, and renewed efforts to do so. The common link between authors of this generation is their adherence to a particular style over their own voices, and their often very critical perspectives on the work of the previous generations. The modernists also inaugurated the cult of the artist, and this period saw the birth of the literary critic as an independent profession, as an ally of the artist, helping to both define and present work to the public (František Xaver Šalda). Notable poets of this period drew on the works and translations of the poet Jaroslav Vrchlický and include, among others, Josef Svatopluk Machar, Antonín Sova, Otokar Březina, and Karel Hlaváček); prose authors include Vilém Mrštík, Růžena Svobodová, and Josef Karel Šlejhar.

20th century

Viktor Dyk was a Czech poet, playwright and writer

Karel Čapek's play *R.U.R.* introduced for the first time to the world the word *robot*

The turn of the 20th century marked a profound shift in Czech literature — after nearly a century of work, literature finally freed itself from the confines of needing to educate and serve the nation and spread Czech culture, and became literature simply for the sake of art. The orientation toward France, Northern Europe, and Russia intensified, and new demands were laid on the cultural knowledge of authors and their audience.

The new generation of poets distanced themselves from both the neo-romantics and the modernists: led by S. K. Neumann, their work focused on concrete reality, free of any pathos, or complicated symbolism. Many of the new poets (Karel Toman, Fráňa Šrámek, Viktor Dyk, František Gellner, Petr Bezruč) allied themselves with anarchism and the women's movement, although this influence waned throughout the decade. In prose, the work of the modernist generation was only now coming into its own, but the different stylistic waves that affected their prose are also evident in the work of the new generation — naturalism (A. M. Tilschová); impressionism (Šrámek, Gellner, Jiří Mahen, Jan Opolský, Rudolf Těsnohlídek); the Vienna Secession (Růžena Svobodová, Jiří Karásek ze Lvovic).

After their rebellious first decade, the new generation of poets (Toman, Neumann, Šrámek) turned toward nature and life in their work. This decade also marked the return of Catholic authors (Josef Florian, Jakub Deml, Jaroslav Durych, Josef Váchal) and the first entrance of the avant-garde into Czech literature, seeking to document the rapid changes in society and modernization. The first avantgarde style was neoclassicism, which soon gave way to cubism, futurism, and civilism (S. K. Neumann, the young brothers Čapek).

World War I brought with it a wave of repression of the newly emergent Czech culture, and this meant a return to the past, to traditional Czech values and history: the Hussites and the Awakening. The war, however, also precipitated a crisis of values, of faith in progress, religion, and belief,^{[citation needed]} which found outlet in expressionism (Ladislav Klíma, Jakub Deml, Richard Weiner),^[1] civilism (Čapek brothers) and visions of a universal brotherhood of mankind (Ivan Olbracht, Karel Matěj Čapek Chod, F. X. Šalda).

The interwar period, coinciding with the First Republic, is one of the apogees of Czech literature — the new state brought with it a plurality of thinking, religion, and philosophy, leading to a great flowering of literature and culture. The first major theme of the interwar period was the war — the inhumanity, violence, and terror, but also the heroic actions of the Czech Legion (Rudolf Medek, Josef Kopta, František Langer, Jaroslav Hašek). An antiwar comedy novel The Good Soldier Švejk by Jaroslav Hašek is the most translated novel of the Czech literature (58 languages as of 2013).

A new generation of poets ushered in the return of the avantgarde: poetry of the heart (early Jiří Wolker, Zdeněk Kalista) and naivism (Čapek brothers, Josef Hora, Jaroslav Seifert, and S. K. Neumann). The avantgarde soon split, however, into the radical proletarian socialist and communist authors (Wolker, Neumann, Karel Teige, Antonín Matěj Píša, Hora, Jindřich Hořejší), the Catholics (Durych, Deml), and to the centrists (brothers Čapek, Dyk, Fischer, Šrámek, Langer, Jan Herben). A specifically Czech literary style, poetism, was developed by the group Devětsil (Vítězslav Nezval, Jaroslav Seifert, Konstantin Biebl, Karel Teige), which argued that poetry should pervade everyday life, that poetry is inseparable from daily life, that everyone is a poet. Prose of the interwar period distanced itself even more from the traditional, single perspective prose of the previous century, in favor of multiple perspectives, subjectivity, and fractured narratives. Utopian and fantastic literature came into the forefront (Jan Weiss, Karel Čapek, Eduard Bass, Jiří Haussmann), as well as the genres of documentary prose, which sought to paint as accurate a picture of the world as possible (Karel Čapek, Egon Erwin Kisch, Jiří Weil, Rudolf Těsnohlídek, Eduard Bass, Jaromír John, Karel Poláček); lyrical, imaginative prose that allied itself with the poetic poetry of the time (Karel Konrád, Jaroslav Jan Paulík, Vladislav Vančura); and Catholically-oriented prose (Jaroslav Durych, Jan Čep, Jakub Deml). The drama of the time also followed the same stylistic evolution as poetry and prose — expressionism, followed by a return to realistic, civilian theater (František Langer, Karel Čapek). Along with avantgarde poetry, avantgarde theater also flourished, focusing on removing the barriers between actors and audience, breaking the illusion of the unity of a theatrical work (Osvobozené divadlo, Jiří Voskovec and Jan Werich).

After the heady optimism of the 1920s, the 1930s brought with them an economic crisis, which helped spur a political crisis: both the left (Communist) and right (anti-German and fascist) parties radicalized and threatened the stability of the democracy. This led the authors of the time to focus on public matters and spirituality; Catholicism gained in importance (Kalista, Karel Schulz, Halas, Vančura, Durych). Changes were apparent first in poetry: the new generation of poets (Bohuslav Reynek, Vilém Závada, František Halas, Vladimír Holan, Jan Zahradníček) began as poets, but their work is much darker, full of images of death and fear. The older avantgarde (Teige, Nezval) also turned away from poetism to surrealism, and a third group (Hora, Seifert, František Hrubín) turned instead to lyricism, to quiet, memory-filled poetry. Prose, after the years of realistic journalism, turned to epics, existential novels, and subjective perspectives. Folk-inspired ballads (Josef Čapek, K. Čapek, Vančura, Ivan Olbracht), social-themed novels (Olbracht, Vančura, Poláček, Marie Majerová, Marie Pujmanová), and psychological novels (Jarmila Glazarová, Egon Hostovský, Jaroslav Havlíček) appeared. During this period, Karel Čapek wrote his most politically charged (and well-known) plays in response to the rise of fascist dictators. After the Munich Agreement in 1938, literature once more mirrored the current political present and called for national solidarity and a return to the past.

The German protectorate and World War II left its mark on Czech literature — many of the authors of the interwar generations did not survive or went into exile. During 1938–1940, society was still relatively free, but during 1941, most of the free newspapers, magazines, and publishers were shut down, and authors were silenced. WWII thus marks the origin of the 3-way split of literature that continued throughout the socialist years until 1989: domestic published, domestic illegal, and exile literature. As a result of the war, all forms of literature turned even more toward tradition and history: poetry became more subdued, and greater emphasis was laid upon language as an expression of national identity (Hora, Halas, Seifert, Nezval), and on spirituality and religious values (Hrubín, Závada, Zahradníček, Holan). The same occurred in prose: gone were the experimental works of the interwar period, but the social and psychological novel (Václav Řezáč, Vladimír Neff, Miloš Václav Kratochvíl) remained. The historical novel marked a new resurgence (Kratochvíl, Vančura, Durych, Schulz) as a way to write about the present while cloaking it in historical novels, as did prose inspired by folk tales and folk culture (Josef Štefan Kubín, Jan Drda, Vančura, Jaromír John, Zdeněk Jirotka). The generation of authors that debuted during the war and shortly afterwards (Jiří Orten, Group 42) all shared a similar harrowing experience of the war; their works all bear the hallmark of tragedy, existentialist thought, and the focus on the person as an isolated being.

Czech postwar literature is tightly intertwined with the political state of postwar Czechoslovakia; as during the war, literature broke apart into three main branches: domestic published, domestic illegal, and exile literature. Literature under the communist regime became the refuge of freedom and democracy, and literary works and authors were valued not only for their literary merits, but also for their struggle against the regime. The literature of the entire postwar period thus enjoyed great attention, despite its often precarious position. During the first three years after the end of the war (1945–1948), however, literature maintained a certain degree of freedom, although the strengthening of the extreme left gradually pushed out of the public sphere first the Catholic authors (Deml, Durych, Čep, Zahradníček), then the moderate Communists.

1948 brought the ultimate victory of the Communists, and the subsequent end of civil freedoms — any literature contrary to the official perspective was banned and the authors persecuted. The official literary style became socialist realism and all avantgarde leanings were suppressed. Many authors went into exile — to Germany, the U.S., the Vatican. Of those that stayed, many chose to write in secret and remain unpublished (the surrealists (Zbyněk Havlíček, Karel Hynek), Holan, Zahradníček, Jiří Kolář, Josef Jedlička, Jan Hanč, Jiřina Hauková, Josef Škvorecký, Egon Bondy, Jan Zábrana, Bohumil Hrabal). Most of their works were published only during the 1960s and 1990s.

Only at the end of the 1950s did the tight censorial control begin to ease — some poets were allowed to publish again (Hrubín, Oldřich Mikulášek, Jan Skácel) and a new literary group formed around the magazine Květen, striving to break the hold of socialist realism (Miroslav Holub, Karel Šiktanc, Jiří Šotola). Prose lagged behind poetry for much of the period, with the exception of Edvard Valenta and Josef Škvorecký. Shorter works, such as the short story also became popular again.

1960 -е годы принесли с собой начало усилий по реформированию в Коммунистической партии, а также последующей либерализации литературы и увеличения престижа авторов. Начиная с 1964 года, литература начала расширяться в рамках рамки за пределами официально утвержденного стиля. В поэзии интимная лиризм стал популярной ( Владимир Холан ), а также эпическая поэзия ( Карел Шиктанк , Хрубин) и реализм группы 42 . В прозе новые авторы отказались от полемики о социализме и вместо этого обратились к личной и гражданской морали ( Ян Трефулка , Милан Кундера , Иван Клима , Павел Кохаут ), тема войны и оккупации ( Цизи Вейл , Арношт Люстиг ), особенно судьба евреев. Полем Богумил Храбал стал самым выдающимся из современных авторов прозы, с его работами, полными разговорных и нетрадиционных повествовательных структур и отсутствия официальных моральных рамок. К концу десятилетия романы разочарования, скептицизма и необходимости найти свое место в мире, и начинают появляться история (Vaculík, M. Kundera, Hrubín), как и современные исторические романы ( Oldřich Daněk , Jiri ushotola , Vladimir Körner , Ota Filip ). В 1960 -х годах также выступили дебюты нового поколения авторов, которые выросли во время избытка сталинизма и, таким образом, не имели никаких идеалов утопиях , о мировых поэты Джири , Йозеф , Антонин , Кубнна и Груша Джири Браузск Ханзлик ним и литературе. К драматург относятся Закрытие лет реформ также увидела и возвращается к эксперименту: сюрреализм ( Милан Окс , Вратислав Эффенбергер ), бессмысленная поэзия ( Эмануэль Фринта ), экспериментальная поэзия ( Жозеф Хиршал , Богумила Грёгерова , Эмиль Джулиш ), абстрактная поэзия и Дада ( Ладислав Новак Jan Hanč, Vladimír Páral) and ornate, symbol filled fantasy (Полем ) Эра литературной свободы и экспериментов, которые достигли своего апоге во время Праги Весны года 1968 Советское вторжение и последующая «нормализация».

Нормализация восстановила сильную цензуру 1950 -х годов, закрыла большинство литературных журналов и газет, а также замолчали авторов, которые не соответствовали. Более чем когда -либо прежде литература разделяется на законные, незаконные и изгнанные ветви. Многие авторы бежали в США и Канаду ( Йозеф Шкворецки ), Германию (Перуутка), Австрии (Кохут), Франция (М. Кундера), но они, как правило, не стали намного лучше, чем их современники в Чехословакии, в основном из -за отсутствия отсутствия. читательница. Их работы стали более известными только через переводы. Работа экспериментальных авторов, авангарда, которые продолжали публиковать в качестве «официальных» авторов, как правило, сокращались качество, соответствовала официальной догме, хотя по сравнению с 1950 -х годов литература была менее жесткой, менее деревянной. На границе между официальной и неофициальной литературой стояли авторы исторических романов (Корнер, Карел Михал ), а также Богумил Храбал и Ота Павел . Seifert, Mikuláще, Skácel также был запрещен издательством; Их работа была опубликована как Самиздат , маленькие подземные прессы, которые опубликовали большую часть работы подземных, нелегальных авторов. Ludvík Vaculík , Jan Vladislav [ CS ] и Ваклов Хавел и Ян Лопатка организовали крупнейшие издания Самицдат. Это были многие из этих незаконных авторов, которые подписали Charta 77 и были заключены в тюрьму за это. Литература Самиздат снова вернулась в католицизм, в мемуары и дневники повседневной жизни (Vaculík). Память и история были также главными мотивами литературы Самиздат ( Карел Шиктанк , Цзина Хаукова ), как и жестоко честные, фактические свидетельства повседневной жизни ( Иван Мартин Джирус ). Новое литературное поколение 1980 -х годов было отмечено необходимостью мятежника, действовать за пределами рамки общества - их работа опирается на поколение войны (группа 42) и часто является жестоким, агрессивным и вульгарным ( Яхим Топол , Пет Планк , Зузана Брабкова ); Постмодернизм также повлиял на литературу в целом ( Jiří Kratochvil , Daniela Hodrová ).

Падение коммунизма в 1989 году ознаменовало еще один разрыв в чешской литературе - множество и свобода вернулись. Работы многих незаконных и изгнанных авторов, работающих под коммунистическим режимом, были опубликованы впервые (например, Ян Кесадло и Иван Блатн ), и многие из них вернулись к общественной жизни и публикации. Хотя некоторые критики сказали бы, что современная чешская литература (с 1989 года) относительно маргинализована по сравнению с чешским кинопроизводством, такими писателями, как Петр Шабах , Иван Мартин Джирус , Яхим Топол , Милош Урбан , Патрик Уушник , Петра Хлава , Михал Взью и Катежина Тучкова - это общественные деятели и продают книги в большом количестве. Современная чешская поэзия, в Петровом Борковеке может похвастаться поэтом европейского положения.

Современные чешские авторы

Чешские литературные награды

Смотрите также

Сноски

^ Jindřich Chalupecký: экспрессионисты. Ричард Вейнер, Якуб Демл, Ладислав Клима, Странно Хашек. 1. Auflage. Торст, Прага 1992, ISBN 80-85639-00-9 .
^ «Словарь чешской литературы после 1945 года - Ярослав Чежка» .

Ссылки

Чешская литература от Beginnings до сегодняшнего дня , Jiří Holy, Jaroslava Janáčková, Jan Lehár, Alexander Stich (издательство Lidové Noviny, 2004) ISBN 80-7106-308-8
Holý, Jiří, писатели под осадой: чешская литература с 1945 года . Sussex Academic Press, 2007 [1]
Вейскопф, Франц Карл. Сотни башни: чехословацкая антология творческого письма. Нью -Йорк: LB Fischer, 1945.

Внешние ссылки

[2] -Обзор на английском языке, истории чешской литературы с момента ее создания до наших дней. (Январь 2009 г.)
[3] Ресурсы на английском языке по чешской литературе, кино и политике
Чешские и словацкие литературные ресурсы в Оксфордском архивировании 2012-04-28 на машине Wayback -многие ссылки на чешские страницы, большинство описаний на английском языке. Содержит также исторический обзор
Чешская литература с 1980 -х годов - лекция
Краткая история с несколькими капсульными портретами
Обзор от Encyclopædia Britannica
Дайвер - Чешские и Словацкие литературные ресурсы - Чешские литературные ресурсы. В чешском.
Лекция об изменениях после падения коммунизма
Статья о текущем состоянии чешской культуры и западных неправильных восприятий ее , с полемикой читателей
Колумбия энциклопедия - очень краткая история
Католическая энциклопедия - краткая ранняя история до 1800 года
История чешской литературы
Чешская литература сейчас - английские переводы современных (ок. 1995) чешских писателей.
Кафе Irreal: чешские авторы -переводы современной, нереалистической чешской литературы
Чешская литературная портал - регулярно обновляется чешская литература и ресурсы на английском языке

[1] Jindřich Chalupecký: экспрессионисты. Ричард Вейнер, Якуб Демл, Ладислав Клима, Странно Хашек. 1. Auflage. Торст, Прага 1992, ISBN 80-85639-00-9 .

[2] «Словарь чешской литературы после 1945 года - Ярослав Чежка» .

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