Melancholie, Hanuš Jelínek a Miloš Marten
|Klíčová slova||Miloš Marten – Hanuš Jelínek, F. X. Šalda – Paul Claudel – melancholy – Moderní revue – Melancholikové: studie z dějin sensibility v literatuře francouzské [Melancholics. Studies from the History of Sensibility in French Literature]|
|Typ článku||Recenzovaný článek|
The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To interpretate Marten’s reasons for such a negative criticism is our main pursued objective. Such criticism results not only from the rivality between Czech critics oriented to France, but also from different conceptions of the role of critical method and the role of the critic and the artist in the international cultural politics. The third part concludes with the critics’ „reconciliation“ around 1913 by means of the common interest in the work and personality of Paul Claudel.