체코시 연구 (1)

김규진,Kim Kyu Chin 한국외국어대학교 외국학종합연구센터 동유럽·발칸연구소 2000 동유럽발칸연구 Vol.8 No.-

수도 수묘대의 조류방제에 관한 연구

김규진,함영수,Kim Kyu Chin,Ham Young Soo 한국응용곤충학회 1976 한국식물보호학회지 Vol.15 No.3

This experiment was conducted to several agricultural chemicals such as cuperic sulfate, lime sulfur, swep 80 wp, dithane A-40 and dichlone 50 wp for use as algaecide in wetted nursery of rice, and chemicals were applied at 5 day before and after sowing. The results are summarized as follows. 1. It was found that the effective chemicals as algaecide in wetted nursery were dichlone 50 wp and swop 80 wp, but chemical damage appeared to plant when dithane A-40 and swep 80 wp was applied. 2. Cuperic sulfate was identified to control algae, but it seems to be injurious to seed germination when applied in wetbed nursery. 3. Results were revealed that except dichlone, 50 cuperic sulfate, lime sulfate, swep 80 wp and dithance A-40 decreased the number of roots, rate of dry matter production and plant height compared when no chemical was applied. 4. Dichlone 50 wp was recognized as the most suitable algaecide in view of the plant growth and algae control in wetbed nursery. 수도 수묘형 육묘에 있어서 종자침하에 의한 부패, 발아지연, 종자의 부유에 의한 종자가 한쪽으로 몰리는 등의 해를 야기시켜 발아율이나 성묘율율 저하시키는 조류나 괴불방제를 시도하여 수묘대에서 파종전후 5일에 Cuperic Sulfate, Lime Sulfur, Swep 80wp. Dithane A-40, Dichlone 50wp를 처리하여 다음과 같은 결과를 얻었다. 1. 조류 및 괴불방제의 효과가 뚜렷한 약제는 Dichlon 50.wp, Dithane A-40, Swep 80 wp 였으나 Dithane A-40, Swep 80wp는 약해등으로 성묘율이 낮었다. 2. Cuperic Sulfate는 조류 및 괴블에 대한 약제효과는 인정되었으나 약제처리후의 파종시 발아억제 및 종자침하현상이 심하였다. 3. 파종후 25일묘 조과결과 Dichlone 50wp를 제외한 기타 약제처리구는 Check구에 비하여 지하부의 근수, 지상부의 생체중 및 건물중비율이 낮았고 초장은 약제처리구가 전반적으로 낮은 편이었다. 4. Dichlone 50wp는 조류 및 괴블 방제효과 과 뚜렷하여 종자발아 및 성묘비율을 높일 수 있었으며 약효의 지속기간은 처리후 4일 정도임이 인정되었다.

밀란 쿤데라의 문학과 체코문학의 국제성 : 희곡 「야곱과 그의 주인」을 중심으로

김규진(Kim Kyu-chin) 한국외국어대학교 외국문학연구소 2006 외국문학연구 Vol.- No.22

Milan Kundera's literature and Czech literature are deeply rooted in the tradition of European Literature. Not only does Kundera see his creations as a contribution to eastern or central European life but also as a contribution to the European culture as a whole. The concept of ‘globalism’ or ‘internationalism’ in Czech literature was actively developed near the end of 19th century which was the age of modernism. After the May generation, for the writers of cosmopolitan viewpoint who pursued the internationalization of Czech literature of the 1860's, the most pressing task of Czech literature at the end of the 19th century was to follow the Western Europe. The Lumir generation (Lumirovci) of the 1880s led this movement. Vrchlicky and Zayer played leading roles in this movement. By the efforts and achievements of these writers Czech literature advanced to the level of Europe and soon, it was able to continue to stay in par with the West European tradition. In 1918 the Czech Republic along with Slovakia formed the independent country of Czechoslovakia and was able to create a vibrant literature. However with the advent of Hitler's invasion, World War II and the communism of Czechoslovakia, the progress of Czech literature seemed to stray away from the European tradition. Not only that, the modern trend of liberalism that was brought about during the 1960's also cultivated a new environment in Czech literature. It was in this setting that Milan Kundera started writing his works in earnest. When the ‘Socialist Movement with a Human Face’ of Czechoslovakia was oppressed by Russian tanks in 1968 many writers including Kundera felt the crisis of losing their national identity. In this period, also considered as the 2nd period of Kundera's literature, the political chaos stabilized into the undesirable form of communism, also called ‘Normalization.’ The internationalism of Kundera's literary world began to appear more clearly in his new works. It is well known that Czech literature and other fields of Czech culture have deep roots in European cultural tradition. It can be said that the literature of Josef Skvorecký, while he was active in Toronto, Canada after 1968, and Kundera, while he was active in Paris after 1975, are cosmopolitan in nature. In this paper, I will look into Kundera's life and works and try to examine the internationalism of Czech and Kundera's literature focusing mainly on Jacob and His Master. It was written by Kundera during the ‘Prague Spring’ incident when Russian tanks occupied Prague, the capital of his homeland, Czechoslovakia. This work is not considered as the basis of Kundera's literature, Laughable Loves and The Joke written before the incident. The relationship between Jacob and his master is reminiscent to the relationship between Martin, who plays the role of Don Juan, and the narrator, his erotic disciple, and also pertains hints of Life is Elsewhere and The Farewell Party. Besides these two distinctive qualities of this dramatic work, no other elements of Kundera's writing appear. It is said that whenever Kundera had a chance he showed a heightened interest in European literature, especially in 17th and 18th century French literature, in his essays and literary debates. He read the works of French satirical writers of that time and was deeply impressed by their works that can be easily inferred that he was highly influenced by these writers in his creativity. He even admits that his play Jacob and His Master can be considered as a variation of Diderot's novel Jacques Le Fataliste. Diderot says that the father of his literature is Cervantes and Laurence Stern; in the same light, Kundera also shows his reverence to the great writers of the Renaissance and Enlightenment Age.

참을 수 없는 존재의 가벼움

김규진(Kim, Kyu-chin) 아시아·중동부유럽학회 2002 동유럽발칸학 Vol.4 No.2

쿤데라의 『참을 수 없는 존재의 가벼움』은 주요 주인공들인 토마스와 테레자, 그리고 사비나와 프란츠를 중심으로 각 장에서 시점이 바뀌는 특이한 구성을 하고 있다. 한 사건 또는 한 두 주제에 대한 이러한 시점 또는 관점의 변화는 진리의 상대성원리와도 상관이 있다. 똑같은 사건을 다른 주인공들의 관점에서 살펴봄으로서 독자들로 하여금 현대사회의 다양성에 대한 이해를 요구하는 듯한 인상을 준다. 제1장과 5장에서 토마스의 관점에서 사건이 배열되어 있는데 이러한 것들은 제2장과 4장에서는 테레자의 관점에서 재조명된다. 제3장 “오해받은 단어들”에서는 똑 같은 말에 대해 사비나와 프란츠의 서로 다른 관점이 대립 중첩된다. 또 작가가 등장하여 주인공들과 논쟁하는 『웃음과 망각의 책』 보다는 덜하지만 이 소설에서도 작가의 목소리가 다른 주인공들을 통해서 보여주지만, 이따금 직접 개입하는 것이 특이하다. 일반적으로 이러한 작가의 직접개입은 작품의 미적 질이라든가 소설의 구성 상 문제점을 야기 시키지만 쿤데라는 이러한 것을 괴이치 않고 등장인물들의 관점에다 자신의 관점을 중첩시키는 특이한 수법을 여러 소설 속에서 사용하듯이 참을 수 없는 존재의 가벼움 에서 효과적으로 사용한다. 다수의 인물들이 자기들의 생각과 주장을 말하도록 하면서 이야기를 진행시키는 방법은 포스모던시대의 창작의 중요한 방범의 하나이다. As above we analyzed various subjects, motives and structures in the The Unbearable Lightness of Being. As Chvatik pointed out, this novel tells a typical contemporary love story, the love story which European novels treated a very long period played a role of a mirror which reflects each period and the change of customs. Don Quixote's love of the imaginary girl, Dulcinea is the ideal one which knight class had and the theme of the tragic love which Faust showed to Gretchen is personal sin. The disillusion of Madam Bovary is a reflection of the banality of romantic love in the mid 19th century bourgeois prose. Kundera reflects the jeopardy of human existence through the story of two couples who live on the borderline of two worlds at the end of the 20th century. According to Kundera a novel is a love story which is written in prose to entertain and educate readers. The Unbearable lightness of being is a new kind or a style of a novel, which does not follow the traditional flow of time, and the change of point of view in each section is especially characteristic. He used the same structure in his first novel The Joke. Dostoevsky used a similar method in his novels such as Crime and Punishment, as well as Čapek, who wrote successful philosophical novels in the early 20th century, did in The Meteor and his other novels. In this way The Unbearable Lightness of Being with its special structure, the four main characters, Thomas, Tereza, Sabina and Franz speak their different points of view in each chapter In the first section of chapter three Kundera introduces Tomas as a character he has thought about for years but has only come to see or imagine, clearly during his reflections on the myth of eternal repetition and the values of lightness and weight. The section ends with Tomas in bed besides Tereza, tortured by the fact that he has returned to Prague despite himself. Thinking about their marriage he calculates the six chance occurrences, each potentially yielding a different result, which brought them together seven years before and became his fate. In 'Soul and Body', the second section of the novel, Kundera begins with a parabatic introduction that picks up the theme of the rumbling stomach that gave birth to Tereza. The action and events of the second and fourth sections are reflected by the Tereza's view point. In the third section, 'Words misunderstood', different views of Sabina and Franz are presented. The section opens with description of Geneva and relationship of Franz and Sabina. In this section many motifs such as 'the Grand March and the Oedipus myth' are introduced. Kundera plays on the idea of chosen blindness in this section, first, in describing Franz's closed eyes while he makes love to Sabina, underling his blindness to the Oedipal nature of their love. In the fifth section, 'Lightness and Weight' Kundera begins with th story of Tomas's essay about Oedipus's acceptance of guilt for the crimes that destroyed Thebes, although he in fact spent his whole life trying to avoid his fate. Comparing to his countrymen, Tomas writes an essay which is understood as an attack to the communist regime by the authorities, which causes Tomas's expulsion from his hospital job. In such a way each section has a different view and sometimes even the author' voice is presented by the characters. The method in which different characters speak their own opinions and views is a kind of a post-modern style of writing.

체코문학에 나타난 나치 전쟁의 영향

김규진(Kim, Kyu-Chin) 아시아·중동부유럽학회 2006 동유럽발칸학 Vol.8 No.2

인간의 역사와 더불어 시작되었다는 전쟁은 작가들에게 큰 영향을 끼쳤다. 전쟁의 비참함을 고발하거나 전후 사회를 배경으로 황폐한 삶을 살아가는 인간 군상을 그린 작품의 기본 정조는 불안과 인간실존의 위협이다. 독일 나치가 일으킨 이차대전은 체코 문학에 큰 영향을 끼쳤다. 나치 수용소에서 형장의 이슬로 사라진 푸칙은 전쟁 시기에 공산주의 운동을 민족주의 운동과 연관시키면서 강렬한 의지로서 나치즘의 실상을 고발하고 공산주의 이념의 승리를 그린 위대한 작품 <교수대에서 쓴 르포르타주>를 썼다. 그는 공산주의 시대에 과도하게 우상화되었다. 그의 이 소설의 근본 테마는 인 민과 그들의 미래의 승리에 대한 강한 신념이다. 이 작품이 전후 바로 사회적인 센세이션을 일으킨 반면 흐라발, 슈크보레쯔키, 클리마, 등의 작품들은 전쟁이 끝난 오랜 세월이 지난 후 새로운 경향의 반전 소설의 양상을 띠고 있다. 흐라발의 초기대표작이라 할 수 있는 <엄중히 감시 받은 열차>는 성에 대해 두려워하는 사춘기의 철도원이 그것을 극복하고 독일의 군수열차를 폭파하는 등 영웅적인 행동을 하는 과정을 코믹하게 그렸다. 이는 나치전쟁의 참상을 여러 비참한 장면들과 교차시키며 비판하고 있다. 흐라발은 권위에 저항하는 수단으로서 에로티시즘과 전쟁의 참혹함을 그로테스크하게 그려냈다.이반 클리마는 어린 시절을 보낸 테레진 강제수용소에서의 경험을 여러 소설에서 보여주고 있다. 소설 <사랑과 쓰레기>는 사회주의 시대의 전체주의 권력에 대한 비판, 여성 운명의 주제와 나치시대의 참혹했던 경험 등 자서전의 요소가 특징이다. 특히 사람들을 쓰레기처럼 치워버리는 아우슈비츠의 인간도살자 헤스의 자서전 이야기는 너무나 충격적이다. 자유의 이미지는 역시 자유가 없는 나치 수용소의 이미지와 더불어 소설의 곳곳에 나타난다. 주인공인 작가는 저자처럼 자유를 빼앗긴 삶의 고통은 모든 주제들 중에서 사색하거나 글 쓰는데 가장 중요한 테마라고 한다. 슈크보레쯔키가 유대인의 나치 강제수용소의 소재를 다룬 <메노라 촛대>는 7개의 독립된 이야기로 구성되어있는 단편집으로 제목과 구조가 상징적으로 연결되어 있다. 각각의 이야기들은 유대인들이 겪는 고통과 그들의 파멸을 테마로 다루고 있다. <인간영혼의 기사>의 주인공 단니는 <비겁자들>에 나오는 암중모색 중이던 성숙되지 못한 반 영웅적인 주인공과 닮았다. 이 작품에서 반전모티프인 전투기 공장에서의 사보타지 주제는 중요하다. 사보타지 주제는 단니의 젊은 시절부터 메서슈미트 공장의 동료인 나쟈와의 사랑이라는 이야기로 얽혀있다. 16살에 아우슈비츠 수용소에서 처형당한 페트르 긴스의 이야기는 비극적이다. 그의 작품 <내 오빠의 일기>는 체코 판 <안네의 일기>로 칭해졌으나 문학적 성숙도에서는 그를 훨씬 능가한다고평가받고 있다. 이처럼 나치전쟁의 참상은 여기서 미처 다루지 못한 수많은 작가들의 작품을 포함하여 체코문학에 다양하게 반영되어왔다. War, which has begun with history of men, influenced writers significantly. The basic sentiment of the works, which deal with people who experienced deserted life after the war, is anxiety and threat of being. Authors, who perceive keenly the changes of society, impress readers, accuse the cruelty of war and keep humanism by describing pains of weak people in their works. The second world war which German Nazi started influenced Czech literature very much. Julius Fučík was a brave man in the line of patriotic duty, the author of the immortal Reportage Written from the Gallows, a faithful record of his ordeal in a Gestapo prison and the most widely translated book ever written in Czech. He became an idol during the communist era. After the Party lost its power in 1989, the legend of Fučík became a target of inspection. It was made public that some parts of the book Reportage Written from the Gallows had been omitted and the text. This publishing was a logical consequence of political changes, while Fučík's position as untouchable national hero was lost, due to its incompatibility with the new Czech political regime. Czech novelist and short story writer, whose tales show the influence of Surrealism, Dada, and psychoanalysis, Bohumil Hrabal gained international fame with Closely Watched Trains(1965), set in German occupied Czechoslovakia during World War II. The novel was also made into a highly successful film, directed by Jiří Menzel. Miloš Hrma, the young protagonist, is a railroad apprentice at a little station. He is more interested in losing his virginity than in the ongoing war or time schedules. Miloš' maturing ends tragically - he blows up a train and dies heroically in the act of sabotage against the Germans. Ivan Klíma spent three boyhood years in a Nazi concentration camp during World War II, an experience he recorded in his first published writing in 1945. Also there is his reflection of concentration camp experience in Love and Garbage. Actually, the garbage crew proves the least interesting part of this novel, and the relationship between protagonist, alter ego of author and his wife and his mistress the most fascinating. Klima like Hrabal comments elsewhere that he took on the garbage man job as “research” for a novel. The collection of 7 short stories, The Menorah deals with fateful dooms of Jewish people in Kostelec(Nachod) region during the war. In The Engineer of Human Souls Josef škvorecký has written a multi-layered and highly readable story centering around the coming of age of his fictional alter ego, Danny Smiřický. The plot interweaves the youthful Danny chasing girls and dealing with Nazi occupation with the adult Danny's encounters in the Canadian Czech exile community, teaching literature in university to students the age he was during the war. The authors and novels the adult Danny teaches provide a framework for the book as a whole, and this structure gives the story a depth and resonance a simpler narrative might lack. Petr Ginz was killed at Auschwitz upon his arrival at 16, but his diary, My Brother's Diary entitled by his survived sister and one of his drawings made two years earlier when he was imprisoned at Theresienstadt and entitled “Moon Landscape” (below) were able to survive both the Holocaust and the war. There is enough Holocaust literature describing the horror, but Ginz's diaries show live moments of simple happiness in the Concentration camp. Any body could be adventurous in his mind while reading the story.

중부유럽의 '신'민족주의 : 체코슬로바키아를 중심으로

김규진(Kyu Chin Kim) 한양대학교 아태지역연구센터 1990 중소연구 Vol.14 No.3

카렐 차펙의 희곡 <하얀 역병>의 분석

김규진(Kim, Kyu Chin) 한국외국어대학교 동유럽발칸연구소 2013 동유럽발칸연구 Vol.35 No.-

20세기 초 체코 작가들 중에서 카렐 차펙 만큼 다양한 분야에서 창작을 시도한 작가는 없다. 차펙의 후기의 대표적인 희곡 <하얀 역병>은 나치 독일에 의한 체코슬로바키아에 대한 위협이 점증할 때인 1937년 써졌고 국내외에 큰 반향을 일으켰다. 희곡의 주요 주인공인 갈렌박사는 작가 차펙처럼 위대한 인도주의자로 전쟁에 대한 증오를 열광적으로 나타내며 평화를 위한 강한 신념을 가진 인물이다. 반면 그에 반하는 주인공인 사령관과 크뤼그 남작은 전쟁 옹호자들이며 오직 권력욕에 따라 행동하는 인간들이다. <하얀 역병>에서는 전쟁을 일삼는 군 사령관과 겸손한 의사 사이에서 구체화된 팽창주의 입장의 군국주의자와 평화주의자 사이의 이데올로기가 치열한 의지의 대결을 보여준다. 두 사람 사이의 갈등이 고조 될 때 희곡이 클라이막스에 달한다. 평범한 사람과 파시즘에 대항에서 싸운 전사가 함께 형상화 된 갈렌 박사를 통해서 차펙은 전쟁 시기에 평화는 반드시 크나큰 희생을 통해서 얻어질 수 있다는 사상을 보여준다. 이 작품에는 하연역병의 치료법으로 군국주의에 맞서는 갈렌박사의 영웅주의 모티프, 전쟁을 준비하는 사령관과 무기상 크뤼그 남작 등의 이기심의 모티프 등이 잘 나타나 있다. '하얀 역병'은 오늘 날 전쟁처럼 타락한 문명과 파괴의 상징이다. There was no writer like Karel Čapek, who wrote various genres in early 20th century in Czechoslovakia. The White Plague was written in 1937 during high tension period when Nazi German was threatening Czechoslovakia. It was performed successfully not only in Czechoslovakia but also many countries and became sensational. The main hero Medical Dr. Gallen, who was humanist like the author Karel Čapek, expressed anti-war sentiment openly and had strong believes for peace in the world. On the contrary anti heros like Marshal and Baron Krug were provocateurs of war and behaved only for the political power. There are strong conflicts between war monger Marshal and humble pacifist Dr. Gallen, and there is confrontation of will between them too. When the conflict of two heros reaches the high tide the play also reaches also the climax. Čapek shows how difficult it is to win peace during wartime through Dr. Gallen in whom was embodied heroic fighter against fascism and ordinary human. There is a theme of heroism in Dr. Gallen who fights alone against war using his cure method of the white plague and the motif of egoism in Marshal and baron Krug who prepare war. The White Plague is a symbol of the corrupted civilization and destruction in the present day like war.

차펙의 소설『평범한 인생』연구

김규진(Kim, Kyu-chin) 한국외국어대학교 외국문학연구소 2011 외국문학연구 Vol.- No.41

차펙은 20세기 전반기 활동한 작가로 체코 국내뿐만 아니라 외국에도 가장 잘 알려진 체코 작가이다.『평범한 인생』은『호루두발』과『유성』에서 제기한 인식론 문제를 계속해서 다루는데 이는 철학 3부작의 대단원이라 할 수 있다.『평범한 인생』은 1934년 신문에 연재하던 것을 같은 해에 단행본으로 발표하였다. 이 작품은 회상 형식으로 써졌으며, 전체 회상은 독백체와 내적인 대화로서 34개의 장으로 구성되어있다. 주인공은 그다지 특별하지도 않고 뛰어난 업적을 이룬 위인도 아닌 그저 평범한 인물이다. 나의 인생에서도 기록으로 남길 만한 무엇인가가 있는가라는 물음으로 이 소설은 전개 된다. 평범한 인생이라 할지라도 평범할 수 없고 그 속에는 어떠한 의미를 지니고 있다는 것을 말하고자 하는 작가의 철학적인 입장이 소설 속에 표현되어 있다. 평범한 사람인 주인공은 자서전을 쓰면서 내면의 또 다른 자아가 생겨나서 그의 삶은 그의 말대로 그저 평범한 인생인가, 아니면 이와는 반대로 출세를 위해 끊임없이 노력했던 끔직하고 억척스런 인생인가에 대해서 고뇌함으로써 소설의 전개는 긴장감을 띄게 된다. 『평범한 인생』은 인간의 자아 탐구라는 주제를 다루고 있다. 자서전을 쓰면서 자아를 탐구하는 과정을 그린『평범한 인생』에 나타는 인간 성격에는 단일성과 복합성이 존재한다. 우리들 안에 있는 그 인간의 복합성이 바로 다른 사람과의 관계를 가능하게 하다는 것을 이 소설은 보여주고 있다. 여기서 차펙은 개인주의의 소외의 감옥으로부터 현대인들을 위한 탈출의 가능성을 지적한다.『평범한 인생』에서는 자신의 인생을 회고하며 서술되는 앞부분의 언어는 차분한 반면에 자신과 여러 다른 자신의 분신들이 격렬하게 논쟁하는 뒷부분에서 사용하는 언어는 더욱더 열광적이다. 차펙이 사용한 구어체 체코어는 담화자체의 새로운 고안과 효과를 발전시키는 새로운 담화체 언어의 기반이 된다. Karel Čapek's trilogy Hordubal, Meteor and An Ordinary Life, which is considered his master works, assigns trust in relativity rather than absolute truth in the context of a novel. Karel Čapek was active in the first half of 20th century and at that time he was one of the best known writers not only in the Czech Republic but also in the world. An Ordinary Life deals with epistemology which was suggested in the previous two novels Hordubal and Meteor and this novel is a conclusion to the trilogy. It was first printed in the newspaper as a serial in 1934 and later in same year it was published in a book form. This novel written as a retrospect sequence consisted of 34 chapters. A main hero is not a special dramatic person neither he did accomplish great things, he is just an ordinary man. The novel develops with a question "does an ordinary man have something to leave in the world after his death?" Even if his life is ordinary there is something of special meanings. This is author's philosophy. While the ordinary man starts to write his autography the Altar Ego appears and joins in dispute with hero that his life is really just ordinary or contrary he is tough enough to be successful in life. Now there big tensions start in the further development of the novel. An Ordinary Life deals with a theme of self-pursuit. There exist singleness and plurality in a human character in An Ordinary Life which describes the process of self-pursuit while writing autobiography. This novel shows that human plurality in us makes possible relationships with others. Here Čapek shows us the possibility of escaping the loneliness in contemporary society. The language of the retrospective sequence in the first half of the novel is smooth and quiet, but in the second part where the hero and his other self begin to dispute language is loud and excited. The colloquial style of Czech used in Čapek's work becomes a base for new narrative style that develops the device and effect of narrative itself.

보문 : 무등산에 분포하는 다지류에 관한 연구

김규진(Kyu Chin Kim),윤태호(Tae Ho Yoon),김종완(Jong Wan Kim) 한국토양동물학회 1997 한국토양동물학회지 Vol.2 No.1

체코 시 연구 (1): Poetismus를 중심으로

김규진(Kyu-Chin Kim) 한국외국어대학교 동유럽발칸연구소 2000 동유럽발칸연구 Vol.8 No.-

Czech Poetism is a unique literary avant-garde movement during the Golden age of Czech literature between the two wars. Poetism is not itself art, but a style of living, an attitude, and a form of behaviour. It is favourable to the growth of art which is playful, unheroic, unphilosophical, mischievous, and fantastic. It flourishes in an atmosphere of gaiety and fun, and aims to draw the attention of its audience from the gloom of the factory and the home to the bright lights of man-made amusement. According to the Karel Teige's manifesto, ‘Poetism seeks to turn life into a magnificent entertainment, an eccentric carnival, a harlequinade of feeling and imagination, an intoxicating film track, a marvellous kaleidoscope. Its muses are kindly, gentle, and smiling, its glances are as fascinating and inscrutable as the glance of lovers.’ The poetists' preoccupation with the man-made world and the life of imagination always led them back to the theme of conflict - the antithesis between life as it is and life as it might be. Among poetists Vitěslav Nezval(1900-1958) is the most energetic. Originally he began his career in the 1920s as a proletarian poet, with Seifert and Teige, and Wolker, but reacted against doctrinaire rhetoric and propaganda infavour of what he called ‘Poetismus’. He then came under the influence of French dadaism and surrealism. He defended his deliberate exploitation of bizarre and illogical juxtapositions of imagination with an argument that language had to be dislocated into meaning. In 1922 Nezval had published his first book of verse, ‘The Bridge’. The title was suggested by Nezval's vision of Prague by night. The river which runs through the city is crossed by series of bridges, and to the poet looking over the moving water, each appeared as a flaming rosary connecting two pools of darkness, a symbol of human life in transit between two unknowns. In the same year he also published the poem ‘The Amazing Magician’, an epic of fantasy on an ambitious scale. This long, and at first sight chaotic poem gained much of its effect from the constant juxtaposition of the familiar and the unreal, set in a world uninhibited by convention or logical association. Nezval explained his methods in an essay included in his new book Pantomime. The essay rejected logic as a basis for poetry, whose themes could more properly be connected by associated sounds than by sense. In 1927 Nezval published the poem ‘The Acrobat’. It was a return to the theme of the poet-liberator, as in the earlier ‘The Amazing Magician'. In 1928 appeared the epic poem ‘Edison’. The theme once more is the liberation of mankind, but now the liberator is no longer the magician but the scientist. It is an epic in a new setting, an elaborate hymn to the technical miracles of the electric age. In 1929 appeared the beautiful poem ‘The Unknown Girl taken from the Seine’. Having taken all the world as his literary province, Nezval finds his theme in the body of a drowned girl drifting down the river in Paris. In 'The Unknown Girl' Nezval expresses, with very great delicacy, the fascination of the death-theme, combining the macabre with the erotic in a wealth of metaphors and images reminiscent of Freudian free play. In 1932 Nezval published two important collections of verse, The Glass Cape and Five Fingers. Both books contain many charming lyrics which show Nezval as a master of personal poetry. From 1933 he made trips abroad to Vienna, Paris, Milan, Venice, Provence, Marseilles and Monte Carlo. In Paris he met for the first time leaders of the French Surrealist Movement, a meeting which considerably affected his poetic development. After his return to Prague, and following a visit by Paul Eluard and Andr Breton, Nezval openly embraced the cause of Surrealism in poetry and art, and soon became the leader of a group of enthusiasts which included some associates from his earlier Poetist phase.