At the same time, it also situates art movements and theories within the complex framework of modernity, whose major forces ranged from technology and mass media to national politics. In this sense, the anthology continues the efforts of recent publications and exhibitions to showcase Central Europe as the site of key moments in art and cultural history. Hammid) to film historians-only a few of their texts on film have been translated into English, and this anthology marks the first time they have been systematically and critically assembled. While some of the authors are known to scholars in various fields-Purkinje to historians of science, Karel Teige to students of the European avant-garde, Jan Mukařovský and Roman Jakobson to literary scholars and linguists, and Alexander Hackenschmied (a.k.a. The writings express a number of concerns that relate to major trends and forces of modernity in the twentieth century: film is seen as a means to educate and enlighten, as an example of the dynamic relation between time and space, as a new formal model for other arts, as a tool for ideological struggle, and as a unique signifying system. The anthology is organized both thematically and chronologically to reflect the rise of film as a new medium, a cultural institution, and an art form-in other words, to document the discursive construction of film in its variety and multiplicity. How was it possible that, in a country without a well-developed film industry, these cultural and literary critics, linguists, theater directors, architects, and filmmakers articulated ideas and concepts that predated later theoretical developments? This collection suggests that Czech writers benefited from their location at the crossroads of Eastern and Western Europe, where Austrian, Slavic, German, French, and American cultures intermingled. The authors include scientist Jan Evangelista Purkinje, whose studies of the perception of movement from 18 laid the foundation for the rise of the cinematic apparatus, and writers and critics Václav Tille and Karel Čapek, who, years before their counterparts abroad, analyzed cinematic language as it was emerging, reflecting on its genealogy, genres, and future development. This anthology assembles some of the earliest Czech texts on film published in the period between 19, i.e., between the rise of art cinema and the outbreak of World War II, writings that were instrumental in shaping the various ways film was seen and understood in this formative period. Furthermore, the paper will demonstrate how formative Levý's ideas could be for the interpretation of drama translation in Ukraine. The ultimate aim is to explore what these concepts can bring to the present discourse on drama translation in general, and for a better understanding of drama translation-adaptation or rewriting that could presumably be termed by Levý as anti-illusion as well. Along the existent key orientations in drama translation evaluation, the study will foreground the following premises from Levý's reflections on translating dramatic works: (1) the relative historicity of the dramatic style (2) the role of stylization in speech repertoires of the characters (3) stage dialogue as a system of semantic impulses, or " semantic energy " (4) " internal " concretization of the stage dialogue (5) drama translation as a " verbal action ", towards the principle of inconsistent fidelity. The present paper attempts at (1) the insightful examination of Jiří Levý's conception of drama translation and (2) its potential extrapolation onto the current sociocultural theorizations of translating for theatre.
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