Journal articles: 'Kundera, Milan'

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Bradbrook, B. R., and Helena Kosková. "Milan Kundera." World Literature Today 73, no. 2 (1999): 357. http://dx.doi.org/10.2307/40154792.

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Skibska, Anna Maria. "Dyskretna apologia starości w twórczości Milana Kundery." Slavica Wratislaviensia 163 (March 17, 2017): 567–79. http://dx.doi.org/10.19195/0137-1150.163.47.

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A discreet apology of old agein the works of Milan KunderaIn the essay, the titular problem of old age is related to the great literary canon, within which the history of novel is established and developed. The canon itself, in terms of H. Bloom, means a perpetual and creative source of struggle against the literary traditions’ influence, which is also to shape Kundera’s novels and essays. Thus the old age is conceived as abroad metaphor consisting of the great works of the great precursors, who invented us along with our modern world. Furthermore, Kundera allows his readers to associate the old age motif with awide range of often opposite properties alike slowness, carefulness, lightness, triviality, laughter, transparence, non-presence, or non-essence, etc. These properties are rendered by aseries of the writer’s favorite figures, to which belong: irony, ellipsis, and litotes that are to determine the central motif of vis comica inherited by Kundera from his masters, Cervantes, Rabelais, Diderot, and Sterne.Diskrétní apologie stáří v díle Milana Kundery V článku je problematika stáří konfrontována s evropským literárním kánonem, který obsahuje avytváří dějiny evropského románu. Tento kánon, v souladu s teorií Harolda Blooma, tvoří nekonečný tvůrčí zdroj boje s literární tradicí, boje, který se rovněž zrcadlí v románech Milana Kundery. V jeho díle je stáří zobrazeno jako široce chápaná metafora děl velkých spisovatelů, kteří jsou zodpovědni za obraz současného světa. Kundera pracuje s motivem stáří asrovnává ho s celou škálou témat, která ho zajímají, tzn. s retardací, opatrností, lehkostí, triviálností, humorem, průhledností, nepřítomostí, bezvýznamností apod. K zobrazení těchto témat využívá své oblíbené figury: ironii, elipsu alitotésu, které determinují problematiku vis comica, přejatou od oblíbených předchůdců. Jsou mezi nimi Cervantes, Rabelais, Diderot aSterne.

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Bieńczyk, Marek, and Olga Żyminkowska. "“A novel that does not uncover a hitherto unknown segment of existence is immoral”. A Conversation with Marek Bieńczyk on Milan Kundera’s Works (Conducted by Olga Żyminkowska)." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 8 (December 30, 2019): 421–33. http://dx.doi.org/10.18778/2299-7458.08.31.

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The interview with Marek Bieńczyk covers, in general, the subject of the philosophy of novel by Milan Kundera and the reception of his works nowadays in Poland and abroad. Marek Bieńczyk – the French translator of Milan Kundera’s novels – talks about the history of his first translations and the beginnings of scientific thinking about Kundera. Moreover, he explains the problems connected with Kundera’s authorial and elaborate philosophy of novel: the conception of narrator, hero and composition. Bieńczyk also narrates his own memories with M. Kundera. What is more, he indicates the inspirations he draws in his own work from innovative prose by Czech novelist, who is celebrating his 91st anniversary this year.

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Margala, Miriam. "The Unbearable Torment of Translation: Milan Kundera, Impersonation, and The Joke." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 3 (March 18, 2011): 30. http://dx.doi.org/10.21992/t9c62h.

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Milan Kundera, a Czech émigré writer, living in Paris and now writing in French, is (in)famous for his tight and obsessive authorial control. He has said many times that he did not trust translators to translate his works accurately and faithfully. The various translations of his novel Žert (The Joke) exemplify this point. The novel has been translated into English, French, and many other languages more than once, depending on Kundera’s dissatisfaction with a particular translation (which, at first, he would support). Thus, there followed a cascade of translations (namely in French and English) as Kundera would eventually become dissatisfied even with the latest “definitive” translated version. As he famously says in an interview regarding the 1968 French translation of Žert, “rage seized me”. From then on, Kundera showed displeasure at any translator who, however briefly, would impersonate the author and take some license in translating Kundera’s work. Further, Kundera decided that only his full authorial involvement in the process would ascertain “the same authenticity” of his translations as the original Czech works. Kundera thus becomes the omnipresent, omnipotent author, himself impersonating God controlling his own creation. Finally, Kundera takes extreme measures and translates Žert into French himself. The resulting translation surprised many – editing changes are plentiful but apparent only to those who can compare the original Czech text with Kundera’s own translation. Kundera’s stance is conflicting, as he denies creativity to other translators but as the auto-translator, Kundera freely rewrites, rather than just retranslates, his own works. By exploring the convoluted and complex history of translations of Kundera’s works, I will try to illuminate the reasons behind Kundera’s posture. I will support my discussion by analyzing not only well known Kundera’s statements, but also those less quoted which, as I have discovered, are rather crucial to understanding Kundera’s position.

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5

Holmberg, Arthur, and Milan Kundera. "Interview: Milan Kundera." Performing Arts Journal 9, no. 1 (1985): 25. http://dx.doi.org/10.2307/3247807.

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Cravens, Craig, and Michelle Woods. "Translating Milan Kundera." Slavic and East European Journal 51, no. 4 (December 1, 2007): 806. http://dx.doi.org/10.2307/20459593.

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7

Əfqan qızı Umudova, Şəms. ""A creature with unbearable lightness" by Milan Kundera." SCIENTIFIC WORK 77, no. 4 (April 17, 2022): 104–10. http://dx.doi.org/10.36719/2663-4619/77/104-110.

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Milan Kundera əsas müasir yazıçılardan biridir. Həyatı kommunizmin əzabına məruz qalan yazıçı Kundera 1970-ci illərin ortalarında Fransaya sığınmaq üçün Çexoslovakiyanı tərk etdi. Unudulmuş fəlsəfə kimi qələmə verilə bilən romanlaın müəllifi hesab olunur: onların hamısı tarix, siyasət, öz taleyi ilə mübarizə aparan fərdləri təsvir edir. Onun personajlarının qarşılaşdığı əsas çətinlik mənanın yaradılmasındadır: Onun varlığına necə məna vermək olar? Milan Kunderanın yaradıcılığında fəlsəfi təhlilə ən çox məruz qalan, şübhəsiz ki, varlığın Dözülməz yüngüllüyüdür.“Varlığın Dözülməz Yüngüllüğü” ilk növbədə 1960-1970-ci illərdə Praqa həyatına həsr olunmuşdur.O, Praqa baharından 1968-ci ildə işğal olunmuş Sovet İttifaqına qədər kommunist dövründə Çex cəmiyyətinin bədii və intellektual həyatını araşdırır. Əsas personajlar Tomasdır həyat yoldaşı Tereza, ərinin xəyanətindən əziyyət çəkən fotoqraf; Sabina, azad ruhlu rəssam Tomasın məşuqəsi; və Sabinaya aşiq isveçrəli akademik Franz.Bu dörd simvolun hər biri metaforik bir fiqurun təcəssümüdür. Tomas qeyri-müəyyənlikdir, həm ər, həm də dəyişkən məşuqdur, başqa sözlə, Kierkegaard kateqoriyalarından, etikadan və estetikadan istifadə etməkdədir. Tereza ərinə sadiq, saf sevgini müdafiə edən əxlaqlı, sadiq arvaddır. Sabina yüngüllükdür, Kunderanın fikrincə müasirliyi müəyyən edən xüsusiyyətdir. Frans, Tereza kimi, cazibə qüvvəsini təmsil edir. Bu xarakter pis bir evlilikdə ilişib qalıb. O, köhnə dünyanı təcəssüm etdirir. Kundera bütün əsərlərində, o cümlədən bu romanında da özünün həyata keçməyən arzularını qələmə alıb və sözdən sirli-sehrli, əfsunlu bir dünya yaradıb.Kunderanın əsərlərində adi bir zarafat bəzən faicəyə gətirib çıxarır. Açar sözlər: varlıq, heçlik, yüngüllük, sevgi, sadiqlik, cazibə, xarakter, yenilik, saflıq, qeyri müəyyənlik, dəyişkənlik Umudova Shams Afgan "A creature with unbearable lightness" by Milan Kundera Abstract Milan Kundera is one of the main contemporary writers. Writer Kundera, whose life was tormented by communism, left Czechoslovakia in the mid-1970s to seek refuge in France. He is considered the author of a novel that can be written as a forgotten philosophy: all of them describe history, politics, individuals struggling with their own destiny. The main difficulty faced by his characters is in creating meaning: How can his existence be given meaning? The most subjected to philosophical analysis in Milan Kundera's work is undoubtedly the Unbearable Lightness of Being. "The Unbearable Lightness of Being" is primarily dedicated to life in Prague in the 1960s and 1970s. He explores the artistic and intellectual life of Czech society during the communist period, from the Prague Spring to the occupation of the Soviet Union in 1968. The main characters are Thomas, his wife Teresa, a photographer suffering from her husband's infidelity; Sabina, mistress of the free-spirited artist Thomas; and Franz, a Swiss academic in love with Sabina. Each of these four symbols is the embodiment of a metaphorical figure: Thomas is uncertain, both a husband and a changeable lover, in other words, he uses Kierkegaard categories, ethics and aesthetics. Teresa is a moral, loyal wife who is loyal to her husband and defends pure love. Sabina is light, according to Kundera, it is a feature that defines modernity. Frances, like Teresa, represents gravity. This character is stuck in a bad marriage. It embodies the old world. In all his works, including this novel, Kundera wrote about his unfulfilled dreams and created a mysterious, magical world from words. An ordinary joke in Kundera's works sometimes leads to tragedy. Key words :being, non – entity, lightness, love, loyalty, attraction, character, innovation, purity,

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8

Magain, Céline. "Milan Kundera, Une rencontre." Slavica bruxellensia, no. 4 (October 15, 2009): 70–71. http://dx.doi.org/10.4000/slavica.292.

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9

Vibert, Bertrand. "Milan Kundera : la fiction pensive." Les Temps Modernes 629, no. 1 (2005): 109. http://dx.doi.org/10.3917/ltm.629.0109.

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10

Podhoretz, Norman. "Lettre ouverte à Milan Kundera." Commentaire Numéro36, no. 4 (1986): 712. http://dx.doi.org/10.3917/comm.036.0712.

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11

Czerwinski, E. J., and Peter Petro. "Critical Essays on Milan Kundera." World Literature Today 73, no. 4 (1999): 774. http://dx.doi.org/10.2307/40155210.

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12

Oțoiu, Marcela-Cristina. "Rescrierea istoriei la Milan Kundera." Buletin Științific. Seria A, fascicula Filologie 28 (December 17, 2019): 235–44. http://dx.doi.org/10.37193/bsff.2019.28.19.

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13

Sonia, Elvireanu. "The Rewriting of the Homeric Myth in Milan Kundera’s novel “The Ignorance”." Incursions into the Imaginary 6, no. 1 (October 15, 2015): 95–103. http://dx.doi.org/10.29302/inimag.2015.6.7.

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14

YOMBO, Jean Marie. "Le personnage des temps extrêmes chez Milan Kundera." Revue Mosaïques, Volume 1, Numéro 7 (December 22, 2022): 85–96. http://dx.doi.org/10.17184/eac.5865.

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La forme romanesque des temps extrêmes est, chez Milan Kundera, le lieu d’expression du tragique de l’homme contemporain surplombé par les déterminismes extérieurs, alors qu’il se grisait naguère de posséder le bâton de maréchal lui permettant de dominer la nature. Ainsi, avec Milan Kundera, le réalisme bourgeois ne constitue pas un axe pertinent pour l’analyse de cet « individu problématique » (Goldman 1964 : 23). C’est la raison pour laquelle, récusant la peinture des caractères, il montre, dans ses romans, que la vie intérieure du moi est devenue si insignifiante qu’on ne peut désormais le saisir qu’à partir des situations extérieures qui le surplombent. L’homme ainsi excédé se trouve face à une réalité qui lui échappe et se retourne contre lui. Cette situation montre que Kundera, dans le langage du roman, procède à ce que Foucault (1968 : 323) nomme « l’analytique de la finitude ». Le but de cet article est donc de montrer que les romans de Milan Kundera mettent en scène le tragique d l’homme trahi par le langage, déterminé par l’histoire et perverti par le règne de la technique, dans un monde par la technique.

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15

Rösing, Lilian Munk. "Forklaring eller forklarelse." K&K - Kultur og Klasse 31, no. 95 (April 29, 2003): 132–59. http://dx.doi.org/10.7146/kok.v31i95.21181.

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Tafalla, Marta. "Violence and Memory in Milan Kundera." Enrahonar. Quaderns de filosofia 38 (July 7, 2007): 89. http://dx.doi.org/10.5565/rev/enrahonar.331.

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Boureau, Alain. "Milan Kundera, historien de la contingence." Vingtième Siècle. Revue d'histoire 112, no. 4 (2011): 99. http://dx.doi.org/10.3917/vin.112.0099.

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Neginsky, Rosina, and John O'Brien. "Milan Kundera and Feminism: Dangerous Intersections." Slavic and East European Journal 41, no. 2 (1997): 388. http://dx.doi.org/10.2307/309770.

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19

Parent, Thierry. "Le hasard à l’oeuvre chez Milan Kundera." Études françaises 41, no. 2 (September 28, 2005): 117–34. http://dx.doi.org/10.7202/011382ar.

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Le hasard est un thème omniprésent dans l’oeuvre de Milan Kundera. Depuis La plaisanterie jusqu’à L’identité, le hasard est au coeur de l’écriture de cet auteur. Tantôt énigme à déchiffrer, tantôt facteur responsable de rencontres ou d’accidents, il est autant un ressort narratif qu’un élément central de la démarche ludique de l’auteur. Se concentrant principalement sur trois romans, La valse aux adieux, L’insoutenable légèreté de l’être et L’immortalité (dans lequel l’écrivain propose même une « théorie du hasard »), cette étude se penche sur les fondements et les conséquences du hasard dans le monde romanesque de Kundera. De nature non causale, le hasard contribue à redéfinir les paramètres du roman, surtout en ce qui a trait à la logique de cause à effet et à l’unité d’action. Ce travail permet donc un nouveau regard sur l’oeuvre de Milan Kundera et, par extension, sur le rôle du hasard dans la pratique romanesque contemporaine.

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Barcellos, Felipe da Costa. "HISTÓRIA E LITERATURA: CONSIDERAÇÕES SOBRE O TOTALITARISMO NA OBRA DE MILAN KUNDERA." RECIMA21 - Revista Científica Multidisciplinar - ISSN 2675-6218 3, no. 4 (April 24, 2022): e341377. http://dx.doi.org/10.47820/recima21.v3i4.1377.

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Milan Kundera é um escritor tcheco que se notabilizou por escrever romances que mesclam indagações políticas e reflexões filosóficas sobre a condição humana. Por causa do seu ativismo político, e da sua crítica, pela via artística, a elementos que perpassavam a realidade política e social da Tchecoslováquia, Kundera foi censurado pelo governo soviético, que exercia grande influência em seu país. Seus livros foram recolhidos e proibidos, e em 1975 ele se exilou na França. Em 1978, Kundera perdeu a cidadania tcheca, e dois anos depois se tornou um cidadão francês. Permanece morando na França até os dias atuais. Neste artigo, proponho um estudo sobre o olhar de Milan Kundera acerca do cenário político da Tchecoslováquia sob domínio da União Soviética. Para tanto, vou examinar algumas considerações sobre o totalitarismo que estão presentes em dois de seus romances: A insustentável Leveza do Ser e O Livro do Riso e do Esquecimento. Dessa forma, gostaria não somente de contribuir para uma maior compreensão da obra de Kundera, mas também de reafirmar a possibilidade de diálogo entre história e literatura.

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Hattingh, H. "Being and the dialectics of irony: A reading of some of Milan Kundera’s novels." Literator 16, no. 2 (May 2, 1995): 95–122. http://dx.doi.org/10.4102/lit.v16i2.615.

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In this essay Milan Kundera is read as an artist who has something to say on the subject of being. He is also read as an ironist in the postmodern vein, an ironist whose writing shatters reader and author alike. The essay thus runs two processes simultaneously: Firstly it is a quasi-theoretical attempt at establishing Kundera’s idea of being. Secondly it will be an attempt at showing how Kundera’s ironising function is manifested in the novels themselves.

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Malmio, Kristina, Risto Turunen, Tarmo Kunnas, Markku Lehtimäki, Kaisa Kurikka, and Tanja Sitomaniemi. "Arvostelut." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 3-4 (December 1, 2005): 119–38. http://dx.doi.org/10.30665/av.74643.

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Kristina Malmio Nöyryyden retoriikka — naiskirjailijoiden paikoista 1840-luvun Suomessa Heidi Grönstrand: Naiskirjailija, romaani ja kirjallisuuden merkitys 1840-luvulla Risto Turunen Romaani teorioiden puristuksessa Matti Kuhna: Kahden maailman välissä — Marko Tapion Arktinen hysteria Väinö Linnan haastajana Tarmo Kunnas Moderni Milan Kundera Liisa Saariluoma: Milan Kundera — viimeinen modernisti Markku Lehtimäki Kuvasta ja sanasta sanoin ja kuvin Kai Mikkonen: Kuva ja sana Kaisa Kurikka Lukemisen taito Päivi Kosonen: Elämisen taito Tanja Sitomaniemi Tapaamisia amerikkalaisten identiteettien kanssa Goldblatt, Roy, Nyman, Jopi, and John A. Stotesbury: Close Encounters of an Other Kind

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23

Wan, Jin. "Le tropisme philosophique de Milan Kundera : Le roman à la recherche de la définition perdue." Labyrinth 22, no. 2 (February 17, 2021): 106. http://dx.doi.org/10.25180/lj.v22i2.240.

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The Philosophical Tropism of Milan Kundera: The Novel in Search of the lost Definition(Abstract ) The philosophical tropism of Milan Kundera is manifested in particular by his novels in search of lost definition. The creation and the redefinition of concepts in his novels aiming at elucidating the essence show his ambition to " make philosophy in the way of a novelist". We examine his processes in the invention of concepts and the definition of words, as well as the similarity between his works and phenomenology, particularly Merleau-Ponty's approach. Through the metaphoricity of language and the inseparability between definitions and characters in his novels, Kundera revives a missed rendezvous between philosophy and novel. The definition of concept is no longer the privilege of philosopher. By the tireless pursuit of defining "the indefinable", Kundera transforms the novel into a place of phenomenological description and a field of thought experimentation, despite his ambiguity about this rapprochement.

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Wan, Jin. "Le tropisme philosophique de Milan Kundera : Le roman à la recherche de la définition perdue." Labyrinth 22, no. 2 (December 30, 2020): 106–24. http://dx.doi.org/10.25180/lj.v22i2.246.

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The Philosophical Tropism of Milan Kundera: The Novel in Search of the lost Definition The philosophical tropism of Milan Kundera is manifested in particular by his novels in search of lost definition. The creation and the redefinition of concepts in his novels aiming at elucidating the essence show his ambition to " make philosophy in the way of a novelist". We examine his processes in the invention of concepts and the definition of words, as well as the similarity between his works and phenomenology, particularly Merleau-Ponty's approach. Through the metaphoricity of language and the inseparability between definitions and characters in his novels, Kundera revives a missed rendezvous between philosophy and novel. The definition of concept is no longer the privilege of philosopher. By the tireless pursuit of defining "the indefinable", Kundera transforms the novel into a place of phenomenological description and a field of thought experimentation, despite his ambiguity about this rapprochement.

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Janiec-Nyttrai, Agnieszka. "Šedá zóna mezi záměrem a činem aneb pár úvah o paradoxnosti lidských plánů v prozaické tvorbě Milana Kundery." Slavia Occidentalis, no. 73/2 (June 14, 2018): 33–44. http://dx.doi.org/10.14746/so.2016.73.28.

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The aim of the study is to offer a slightly different view of Milan Kundera’s prose and to recall the issues of memory and human activities as the subjects of constant interpretation and reinterpretation. Last but not least, the article examines human identity and the freedom of human decision-making. In the study, the theory of cultural oblivion is used as a strategy for building our own identity and subjectivity. Notably, since the 1960s, Kundera has dealt with these issues, which later became the subject of memory studies. Kundera has overtaken the memory boom which was highly popular for some years. Another important issue analysed in the study is the question of responsibility for one’s own deeds, worlds, actions and the issue of the possibility of dialogue between people. All these issues are examined on the basis of Kundera’s novels.

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Raveh, Daniel. "A Short Improvisation on Milan Kundera’s Slowness." Culture and Dialogue 4, no. 2 (October 26, 2016): 283–300. http://dx.doi.org/10.1163/24683949-12340016.

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Krishnachandra Bhattacharyya’s improvisations, or rather his interpretation as improvisation (of classical Indian texts, thinkers, schools of thought and concepts, as well as of the work of Immanuel Kant), inspires my own improvisation on Milan Kundera’s 1996 novel Slowness (La lenteur, 1995). Not only do I attempt to improvise, or to “interfere creatively” (apropos the Sanskrit notion of svīkaraṇa) in Kundera’s work, but moreover, I argue that this is exactly how he himself works in Slowness with Vivant Denon’s 1777 novella No Tomorrow (Point de lendemain). Reading Kundera, as I do here, with and through Indian theory, from the 7th or 8th century poet Rājaśekhara to contemporary thinkers such as Bhattacharyya, Daya Krishna, Mukund Lath and others, is not a standard move. However, it enables me to contemplate “in action” about the possibilities and impossibilities of a cross-cultural dialogue, as a potent tool of interpretation.

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Eiland, Howard, and Fred Misurella. "Understanding Milan Kundera: Public Events, Private Affairs." South Atlantic Review 58, no. 4 (November 1993): 167. http://dx.doi.org/10.2307/3201030.

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Thomas, Robert, and Fred Misurella. "Understanding Milan Kundera: Public Events, Private Affairs." Modern Language Review 90, no. 1 (January 1995): 272. http://dx.doi.org/10.2307/3733380.

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Filho, Wilton Barroso, and Denise Moreira Santana. "CARLOS FUENTES EM SUA VARANDA." Pontos de Interrogação — Revista de Crítica Cultural 8, no. 1 (July 19, 2018): 107. http://dx.doi.org/10.30620/p.i..v8i1.5199.

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O presente artigo tem por objetivo apresentar uma visão do modelo jornalístico do autor e romancista Carlos Fuentes e visitar a obra póstuma Federico en su balcón, para refletir sobre aspectos que interligam sua amizade com o escritor Milan Kundera, com considerações feitas a partir do ensaio Milan Kundera: o idílio secreto, e o prêmio González Ruano de jornalismo recebido em 2008 pelo texto jornalístico sobre a obra de Hernán Lara Zavala: Península, península. A possibilidade de análise comparativa entre a defasagem temporal das obras destes autores permite tratar no ambiente estético a particularidade universal da literatura visto pela crônica que persegue um tempo revolucionário de diferentes racionalidades estéticas justapostas.

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Jiang, Linling. "The Polyphonic Narrative of Kazuo Ishiguro's Novels——Taking " A Pale View Of Hill " as an Example." International Academic Journal of Humanities and Social Sciences 1, no. 1 (May 28, 2022): 23. http://dx.doi.org/10.56028/iajhss.1.1.23.

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The concept of polyphonic novel was first summed up by the Soviet literary theorist Bakhtin, aiming to excavate the deep meaning of the work through the hierarchical classification of the narrative plot, and was later adopted by the Czech novelist Milan Kundera in the basis of literary practice. Combined with the carnival theory, it is further explained and changed. Based on the polyphonic novels and polyphonic narrative theories of Bakhtin, Genette and Milan Kundera, this paper analyzes the polyphony in Kazuo Ishiguro's novel "The Shadow of the Distant Mountains", and analyzes its cross-media The literary effect of narrative is deeply explored, and the meaning buried deep in the text is unearthed.

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Kheriji, Rym. "Délocalisation spatiale et relocalisation identitaire chez Milan Kundera." HYBRIDA, no. 4 (June 29, 2022): 109. http://dx.doi.org/10.7203/hybrida.4.24014.

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Dans la plupart de ses romans, Milan Kundera met en scène un va-et-vient constant entre le territoire tchèque et d’autres pays essentiellement de l’Ouest, à travers les déplacements des personnages. Nous interrogeons ces flux d’im/migration centrifuge ou centripète (parfois ne dépassant pas le stade du simple projet) qui semblent participer à l’élaboration d’une poétique visant à établir un réseau de communication entre le déplacement spatial et le recentrement identitaire. Trois axes paraissent révélateurs du questionnement que l’auteur organise autour de cette problématique : d’abord la question de l’exil et/ou de l’immigration en tant que prétexte à l’évocation du rejet du pays natal et de la fuite des autres ou de soi ; ensuite celle de l’immigration à rebours qui se penche sur la perte et la reconquête de l’espace comme révélateurs de l’identité individuelle ; enfin, celle de la démystification de l’espace commun ou communautaire pour constituer un cheminement vers la réappropriation de soi. Nous partons de ce troisième axe dans une étude centrée sur la question de l’identité dans certains de ses romans.

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Bourgois, Hélène. "Les testaments à nouveau trahis de Milan Kundera." Esprit Décmbr, no. 12 (2020): 30. http://dx.doi.org/10.3917/espri.2012.0030.

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Elvireanu, Sonia. "LA RÉÉCRITURE DU MYTHE HOMÉRIQUE CHEZ MILAN KUNDERA." Trictrac 8, no. 1 (October 10, 2016): 45–53. http://dx.doi.org/10.25159/1996-7330/1723.

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Just, Daniel. "Milan Kundera and the Poetics of Novelistic Truth." Poetics Today 36, no. 3 (September 2015): 175–200. http://dx.doi.org/10.1215/03335372-3160721.

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Čulík, Jan. "Czech Culture Wars: Is Milan Kundera ‘a Bastard’?" Slavonica 25, no. 2 (July 2, 2020): 157–69. http://dx.doi.org/10.1080/13617427.2020.1824484.

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Ownbey, Carolyn. "Milan Kundera and the Radical Autonomy of Art." Critique: Studies in Contemporary Fiction 61, no. 1 (July 15, 2019): 1–12. http://dx.doi.org/10.1080/00111619.2019.1642844.

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Schlueter, Paul. "Book Review: Milan Kundera: Public Events, Private Affairs." Christianity & Literature 43, no. 2 (March 1994): 252–54. http://dx.doi.org/10.1177/014833319404300221.

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Mojsieva-Guševa, Jasmina. "NEW OBJECTIFICATION OF REALITY: THE BACKGROUND OF KUNDERA’S UNBEARABLE LIGHTNESS OF BEING." PHILOLOGICAL STUDIES 18, no. 1 (2020): 199–214. http://dx.doi.org/10.17072/1857-6060-2020-18-1-199-214.

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This text sheds light on the meaning of the popular phrases "unbearable lightness of being" and "feeling of austerity" in Milan Kundera's novel "The Book of Laughter and Oblivion" and Philip Kaufman's film "Unbearable Lightness of Being", which is based on Kundera's novel of the same name. This explanation is rooted in his subversive magically realistic poetics, which are related to his emigrant life path and the inability to directly write about the burning topics of freedom, terror, morality, human relations, promiscuity, love.Special emphasis is put on the poetics of magical realism, which is explained as the way in which Kundera expresses his artistic ideas. Specifically, many magically realistic elements are present in the above-mentioned works, such as: verbal magic; magical atmosphere; merging the real and the magical; displacement of time, space, identity. The representation of all these magically realistic elements is interpreted as a shield that covers a new objectification of the reality of East and West and of the postmodern world in general, which is characterized, as Kundera sarcastically states, by the phrase "unbearable lightness of being".

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Llop Mangas, Iris. "Kundera lector de Broch: la novela como forma de conocimiento." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 5 (September 30, 2019): 80–93. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201953560.

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El propósito del presente estudio consiste en analizar la noción de "ensayo específicamente novelesco" desarrollada por Milan Kundera en sus ensayos. Dicha noción aparece por primera vez en L'art du roman (1986) ligada a la lectura que Kundera propone de Die Schlafwandler de Hermann Broch y se nutre de la concepción de la novela como instrumento de conocimiento del escritor austríaco. Los desplazamientos semánticos y las modificaciones, operadas por Kundera para adaptar la poética de Broch a su idea de novela, dan lugar a una concepción de la función del ensayo en la novela que permite entender este género como una forma de reflexión alternativa al modelo científico o filosófico de pensamiento.

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Silva, Heraldo Aparecido. "Narrativa e educação: algumas reflexões a partir de Benjamin, Kundera e Rorty." Revista Diálogo Educacional 11, no. 33 (July 7, 2011): 515. http://dx.doi.org/10.7213/rde.v11i33.4420.

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Este artigo analisa alguns aspectos da noção de narrativa à luz das idéias do filósofo alemão Walter Benjamin (1892-1940), do literato tcheco Milan Kundera (1929-) e do filósofo norte-americano Richard Rorty (1931-2007). A fundamentação teórica de nosso estudo estará centrada, principalmente, no conhecimento advindo a partir de autores como: Benjamin (1975, 1986), Kundera (1988, 1994), Rorty (1990, 1994, 1995, 1997, 1998, 2000) e Orwell (1996). Assim, a interpretação dos textos dos autores estudados e a posterior confrontação de suas idéias permitirão relacioná-las conceitualmente com a temática proposta. Finalmente, propomos mostrar que, em alguns momentos e a despeito das diferenças teóricas entre Benjamin, Kundera e Rorty, suas vozes ecoam importantes mensagens em comum para a educação.

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Cavalheiro, Luana Rocha Porto, and Mayara Pellenz. "A leitura de Milan Kundera e o direito dos animais." Profanações 7 (January 8, 2020): 29–55. http://dx.doi.org/10.24302/prof.v7i0.2224.

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Esta pesquisa tem como objetivo analisar os Direitos dos Animais e a sua relação com o especismo, procurando esclarecer o tratamento conferido à estes seres a partir da leitura da obra de Milan Kundera. Trata-se de um tema atual e importante pois diversos países já positivam os direitos dos animais, por meio de bases legais, éticas e principiológicas. No Brasil, avanços nestes sentido já são observados e a situação problema consiste na seguinte indagação: de que modo é possível estabelecer pontos em comum entre a obra de Milan Kundera - e sua consideração sobre o ser – e os direitos dos animais, especificamente na abordagem da questão do especismo? Por meio do método indutivo e da pesquisa bibliográfica, analisa-se o tema e buscam-se novos horizontes de compreensão para uma ética que vai além da consideração de direito unicamente para seres humanos. Palavras-Chave: Animais. Especismo. Direito.

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Saulin-Ryckewaert, Anneliese. "La place de l’individu dans l’Histoire selon Milan Kundera." Les Lettres Romanes 61, no. 1-2 (February 2007): 57–74. http://dx.doi.org/10.1484/j.llr.3.156.

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BOISEN, Jorn. "Polyphonie et univocité dans "La Lenteur" de Milan Kundera." Cahiers de l'Association internationale des études francaises 55, no. 1 (2003): 545–64. http://dx.doi.org/10.3406/caief.2003.1518.

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Pireddu, Nicoletta. "European Ulyssiads: Claudio Magris, Milan Kundera, Eric-Emmanuel Schmitt." Comparative Literature 67, no. 3 (August 27, 2015): 267–86. http://dx.doi.org/10.1215/00104124-3137216.

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Shore, Marci. "Engineering in the Age of Innocence: a Genealogy of Discourse Inside the Czechoslovak Writers' Union, 1949-67." East European Politics and Societies: and Cultures 12, no. 3 (September 1998): 397–441. http://dx.doi.org/10.1177/0888325498012003002.

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And so it happened that in February 1948 the Communists took power not in bloodshed and violence, but to the cheers of about half the population. And please note: the half that cheered was the more dynamic, the more intelligent, the better half. Milan Kundera

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Smilevski, Goce. "Gender Misunderstanding in “Words Misunderstood” (Third Part of The Unbearable Lightness of Being by Milan Kundera)." Identities: Journal for Politics, Gender and Culture 2, no. 1 (January 1, 2003): 81–94. http://dx.doi.org/10.51151/identities.v2i1.90.

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Author(s): Goce Smilevski | Гоце Смилевски Title (English): Gender Misunderstanding in “Words Misunderstood” (Third Part of The Unbearable Lightness of Being by Milan Kundera) Title (Macedonian): Родовото недоразбирање во „Погрешно разбрани зборови“ (третиот дел од Неподносливата леснотија на постоењето од Милан Кундера) Translated by (Macedonian to English): Goce Smilevski | Гоце Смилевски Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 2, No. 1 (Summer 2003) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 81-94 Page Count: 13 Citation (English): Goce Smilevski, “Gender Misunderstanding in ‘Words Misunderstood’ (Third Part of The Unbearable Lightness of Being by Milan Kundera),” Identities: Journal for Politics, Gender and Culture, Vol. 2, No. 1 (Summer 2003): 81-94. Citation (Macedonian): Гоце Смилевски, „Родовото недоразбирање во ‚Погрешно разбрани зборови‘ (третиот дел од Неподносливата леснотија на постоењето од Милан Кундера)“, Идентитети: списание за политика, род и култура, т. 2, бр. 1 (лето 2003): 81-94.

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Lupo, Virginie. "Requiem pour une nonne de Camus." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 52, no. 1 (April 24, 2017): 43–60. http://dx.doi.org/10.1075/rro.52.1.05lup.

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Abstract Unlike other adaptations that he has himself chosen, Requiem for a Nun, which was adapted and staged in 1957, is the fruit of a proposal to which Camus responded positively. That’s why I want to examine Camus’ personal motivation for writing this play. I will analyze it in the light of one of Milan Kundera’s texts: Jacques et son maître, Hommage à Denis Diderot en trois actes – which is an adaptation of Jacques et son maître by Denis Diderot – and I will try to see if it is an adaptation, a variation (term borrowed from the music and from Kundera) or a tribute from Camus to Faulkner.

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Thériault, Barbara. "La sociologie, mise en abîme." Eurostudia 9, no. 1 (September 29, 2014): 41–50. http://dx.doi.org/10.7202/1026719ar.

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À partir d’un exemple tiré de l’oeuvre du romancier contemporain Milan Kundera, je tente dans ce bref essai de délinéer une qualité de la sociologie et du travail de sociologue. Si je choisis ce romancier, c’est en raison d’une expérimentation à laquelle il se livre : il met en scène un personnage que j’affectionne particulièrement, Monsieur Engelbert. Cet « ego expérimental » m’accompagne dans mon enseignement et c’est avec lui que je pense les contours d’une perspective sociologique. Je suis également attentive à son contexte, le premier quart du 20e siècle en Europe centrale, et réfléchis à la forme que Kundera lui fait emprunter : l’autobiographie.

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Pavel, Thomas. "L’ironie romanesque entre l’involontaire et l’échec." Études françaises 47, no. 2 (August 23, 2011): 131–37. http://dx.doi.org/10.7202/1005655ar.

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L’art du roman de Milan Kundera considère Cervantès, Richardson, Diderot, Balzac et plusieurs romanciers du xxe siècle comme de grands novateurs qui ont donné au roman sa forme moderne. En suivant l’argument de Kundera, l’article examine deux genres d’ironie romanesque. Un d’entre eux, visible dans Jacques le fataliste de Diderot, souligne l’impossibilité des personnages de contrôler leur destin. L’autre examine les idéaux poursuivis par les protagonistes et insiste sur leur incapacité de les atteindre. Le destin de Lucien Rubempré dans Illusions perdues de Balzac en fournit un exemple. Le deuxième type d’ironie domine l’oeuvre de Flaubert et, au xxe siècle, acquiert une importance particulière chez Proust, Joyce et Thomas Mann.

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Stan, Cristina. "Identity in The Unbearable Lightness of Being by Milan Kundera." Cultural Intertexts 8 (November 22, 2018): 148–55. http://dx.doi.org/10.35219/cultural-intertexts.2018.11.

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Journal articles on the topic 'Kundera, Milan'

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