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By Thomas G. Winner, Ondrej Sládek, Michael Heim

The Czech Avant-Garde Literary stream among the 2 international Wars tells the little-known tale of the renaissance of Czech literary arts within the interval among the 2 global wars. The avant-garde writers in this interval broke down the barrier among the elite literary language and the vernacular and became to spoken language, substandard kinds, daily assets akin to newspapers and detective tales, and different types of well known leisure reminiscent of the circus and the cabaret. In his analyses of the writings of this era, Thomas G. Winner illuminates the cultured and linguistic features of those works and indicates how poetry and linguistics will be mixed. The Czech Avant-Garde Literary flow among the 2 international Wars is key interpreting for classes on glossy Czech literature, comparative literature, and Slavic literature

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Winner) Š‡’”‘ˆ‡••‘”‡˜‡”‡•‘”–•–‘•Žƒ‰ ƒ†•—„•–ƒ†ƒ”†‡š’”‡••‹‘•™Š‡ƒ‰”›‘”‡š…‹–‡†Ǥ Thus, for common and written Czech ’—捃 for “rifle”, he says dvojka (lit. “number two”), „‘—…Šƒ«ƒ(lit. “banger”), flétna ȋDzˆŽ—–‡dzȌȋ,ƒ’‡ͳͻͷͷǡ ǡ͵ͷǡ͵͸ȌǤ The most consistent use ‘ˆ…‘‘œ‡…Šˆ‡ƒ–—”‡•‘……—”ǡ‘–•—”’”‹•‹‰Ž›ǡ‹–Š‡•’‡‡…Š ‘ˆ–Š‡•‡”˜ƒ–‰‹”Žǡ ƒƒƒ†–Š‡Ž‘™…Žƒ••e‡ˆŽǣ †‹’Š–‘‰‹œƒ–‹‘ǣbejt, dobrej. Initial v- before ‘ǣ˜‘ǡ˜‘’‘˜ƒā–‡ǡ˜‘†(instead of od). Àȋý) instead of éǣ˜‡«À”ǡƒ†‘˜‘Ž‡ýǤ d- instead of ˜ā†-ǣ†›ëǡ†›ā.

The following are ƒˆ‡™Ž‹‡•ˆ”‘–Š‡’‘‡’•–Š‹”†•–ƒœƒǣ ‡āž†‘—…ƒ’À•‡Òǡ Œ‡ā„—†‡”—†³˜Žž–ǡ ƒ’”ƒ’‘”‡„‘—⎋˜³–âÀ•ƒ–˜œƒ”‘•–Ž±–—‡œ”ƒ›ǡ ’‘Š”‘ƒ†ž…ŠœŽƒ–ƒŒ‡ā拎ŠƒŒÀǡ•Š”ƒ„‘˜ƒ–œ˜›ŽÀƒ„”ž– ƒ˜›†âÀ––³ǡ†‘āŒ•‘—’”ž…‡„‘—⎋˜ž›Ǥ ‡āž†‘—…ƒ’À•‡ÒǡŒ‡ā„—†‡”—†³˜Žž–ǡ Œ‡ā‡†‘’—•–Àǡƒ„›†‘ƒ˜›†â‡±’‘Žƒ†—•‡†al, •ÀŽ‹…Š˜ƒâ‹Žƒ…‘–‹’ƒ–âÀǡ‹„”ƒŽƒ‡†ƒŽǤ ȋ‘˜ƒͳͻͳͻǡ…‹–‡†‹ŽƒæÀͳͻ͹ͳǣ͵͹Ȍ 14 ƒ–‡”ǡŠ‘™‡˜‡”ǡ ‘”ƒƒ„ƒ†‘‡†–Š‡ˆ‘”—Žƒ–‹‘•‘ˆ’”‘Ž‡–ƒ”‹ƒ’‘‡–”›‹ˆƒ˜‘”‘ˆƒ meditative and emotive lyricism, in his collections Struny ve v³tru (Strings in the Windǡͳͻʹ͹Ȍǡƒ†Tvõj hlas (Your Voiceǡͳͻ͵ͳȌǤ 44 (It is desirable to have a song that will wave in red, and stormily slam into eyes grown over with fat, ™Š‹…Š•“—‹–ƒ–’‹Ž‡•‘ˆ‰‘Ž†ǡƒ……—•–‘‡†–‘”ƒ‡‹–—’ƒ†–ƒe it and to squeeze it out of those who are the hotheads of labor.

Of ā‡ƒȌ ȋ,ƒ’‡ͳͻͷͷǡ ǡͳ͵ͷȌǤ (translated by Thomas G. Winner) Dialectal Forms ‘‡ ‘”–Š™‡•– ‘Š‡‹ƒ †‹ƒŽ‡…–ƒŽ ‡Ž‡‡–• ˆ”‘ –Š‡ ”‡‰‹‘ ™Š‡”‡ ,ƒ’‡ ‰”‡™ —’ …Šƒ”ƒ…–‡”‹œ‡ –Š‡ •’‡‡…Š ‘ˆ ƒƒǡe‡ˆŽǡ –Š‡ Žƒ…•‹–Šǡand the Miner. Among them are –Š‡”‡’Žƒ…‡‡–‘ˆ–Š‡˜‘‹…‡†Žƒ„‹‘-†‡–ƒŽ•’‹”ƒ–v by the bilabial semi-vowel uǣœƒ—⇎ƒ ȋ,ƒ’‡ͳͻͷͷǡ ǡͻǡͳͲȌǡzrouna ȋ,ƒ’‡ͳͻͷͷǡ ǡͶͳȌǡ«‘—Œ‡ instead of «Ž‘˜³ ȋ,ƒ’‡ͳͻͷͷǡ ǡͷ͵Ȍǡ‘⃗ƒǡ˜ŠŽƒ—Œ‡ ȋ,ƒ’‡ͳͻͷͷǡ ǡͳʹͻȌǤ ƒ–—”ƒŽŽ›ǡ,ƒ’‡’•’”‘•‡†‘‡•‘–‡šŠ‹„‹–ƒ•Š‹‰ŠƒŽ‡˜‡Ž‘ˆDz•’‘‡‡••dzƒ•†‘Š‹•†”ƒǦ ƒ–‹…–‡š–•Ǥ—–…‘ŽŽ‘“—‹ƒŽ‡Ž‡‡–•ƒ”‡‘–ƒ„•‡–ˆ”‘,ƒ’‡’•’”‘•‡Ǣ–Š‡›ƒ”‡ƒŽ•‘‘Ǧ –‹…‡ƒ„Ž‡‹•‘‡ƒ•’‡…–•‘ˆŠ‹•˜‡”•‡–”ƒ•Žƒ–‹‘•‘ˆ ”‡…Š’‘‡–”›ǤŽ–Š‘ugh these transŽƒ–‹‘•ƒ”‡„ƒ•‹…ƒŽŽ›‰”‘—†‡†‹–Š‡™”‹––‡‹†‹‘ǡ•‘‡…Šƒ”ƒ…–‡”‹•–‹…•‘ˆ–Š‡Ž‡š‹…‘ ƒ† •›–ƒš ‹ –Š‡ –”ƒ•Žƒ–‹‘• Š‹– ƒ– …‘‘ œ‡…Šǡ ˆ‘” ‡šƒ’Ž‡ –Š‡ ‘‹••‹‘ ‘ˆ –Š‡ ƒ™™ƒ”† ‡”ƒ-‹ˆŽ—‡…‡† •›–ƒ…–‹…ƒŽ ‹˜‡”•‹‘• ™Š‹…Š ’Žƒ…‡ –Š‡ ˜‡”„ ‹ ˆ‹ƒŽ ’‘•‹Ǧ –‹‘ ‹ –Š‡ •‡–‡…‡Ǥ —…Š ‹˜‡”•‹‘• ™‡”‡ de rigueur ‹ ‘„”‘˜•ý’s and Jungmann’s œ‡…Šƒ•’”ƒ…–‹…‡†–Š”‘—‰Š‘—––Š‡‹‡–‡‡–Š…‡–—”›Ǥ ,ƒ’‡’s colloquial bias ™ƒ• ‘•– ’”‘‘—…‡† ‹ –Š‡ ‰‡”‡ ™Š‹…Š Š‡ ‹–”‘†—…‡† ‹–‘ Czech culture, the †ƒ‹Ž›ˆ‡—‹ŽŽ‡–‘•™”‹––‡ˆ‘”–Š‡‡™•’ƒ’‡”•ǡ‡•’‡…‹ƒŽŽ›–Š‡”‘†ƒ‹Ž›ǡ Lidové noviny.

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