![]() ![]() This paper analyzes ten stories of 23 histórias de um viajante, Marina Colasanti, from the rescue and return of gender and the wonderful tradition held by the author to write his fictional worlds. The emigrants after 1968 wrote in “common Czech” (obecna cestina), slang or even in v. Those who lived in foreign countries for several decades used a highly literary language. Most authors wrote in Czech also in exterland, but their style became different. The life isolated from home changed the literary language of emigrants. ![]() Partly he profited from the experiences gained in his second homeland, partly (later) he turned to historical themes about Czechs who had stayed or lived on the American continent. applying the narrative devices of modern realistic prose from the beginning of his carreer, followed another strategy. ![]() ![]() They (mainly Fischl) liked creating a story out of an actual place and time. They preferred more general themes, existential problems to Czech or any other special local ones (especially if they had earlier such inclination, like Fischl, partly also Hostovský or Kundera). The long stay of writers in emigration caused stylistic changes in their language. ![]()
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