8. 11. od 10:00 proběhlo třetí  setkání se stipendisty ÚČL a od  17:00 proslovil v zasedací místnosti ÚČL José Alaniz  přednášku "Literature and History in Lucie Lomová’s Divoši".

Formou panelové prezentace a diskuze u kulatého stolu představili své projekty  zahraniční badatelé zabývající se následujícími tématy: Marek Nekula (Universität Regensburg): "Slavín v české literatuře a kultuře" a Martyna M. Lemańczyk (Univerzita Adama Mickiewicze v Poznani): “Kubistická zkušenost  české avantgardy v literatuře a kultuře 1907-1927". 

José Alaniz (University of Washington), který rovněž toho času čerpal svůj stipendijní pobyt v ÚČL, představil své komiksologické bádání formou samostatné přednášky v rámci cyklu Literárněvědné fórum - Přesahování literatury: intermediální a interdisciplinární přístupy.

Anotace: 

José Alaniz: Literature and History in Lucie Lomová’s Divoši 

Since 1989, Czech comics have consistently added to their share of the country’s publishing market, even as the form itself has only slowly gained sociocultural “legitimacy.” One important approach to establishing comics as a literary form has been through the treatment of historical topics (e.g., Jaroslav Rudiš/Jaromir 99’s graphic novel trilogy Alois Nebel), also the strategy of Lucie Lomová (b. 1964), one of  the Czech Republic’s most successful comics artists (her Anna Chce Skočit was the first Czech graphic novel published abroad, in France). Though known for most of her career as an author of children’s stories (such as the series Anča & Pepík), in recent years she has turned more  prominently to mature themes. In her latest work, Divoši (2011), Lomová tells the story of Alberto Vojtěch Frič, the early 20^th-century ethnographer, who in 1908 brought back to Prague a Paraguayan Chamacoco Indian, Cherwuish (Červíček), resulting in a tragicomic series of events which underscored issues of modernity, colonialism and race. My presentation examines Lomová’s engagement with this fraught historical terrain through her chosen medium of comics: what stakes – historiographical, aesthetic, commercial, comicsological – are in play when a “kids’” medium (at least, one long popularly regarded so in the Czech lands) addresses a very adult subject in the process of its own post-Communist bid to “grow up,” and what does this process reveal about Czech popular culture and the consumption of history in the 21^st century?

José Alaniz, associate professor in the Department of Slavic Languages and Literatures and the Department of Comparative Literature (adjunct) at the University of Washington - Seattle, published his first book, Komiks: Comic Art in Russia (University Press of Mississippi) in 2010. His articles have appeared in the International Journal of Comic Art, the Comics Journal, Ulbandus and Kinokultura, as well as the anthologies Other Animals: Beyond the Human in Russian Culture and History (University of Pittsburgh Press, 2010) and Cinepaternity: Fathers and Sons in Soviet and Post-Soviet Film (Indiana University Press, 2010). In 2009 he edited a symposium on Czech comics for IJOCA. His research interests include Death and Dying, Disability Studies, Cinema, Eco-criticism and Comics. His current book projects include a study of disability in American superhero comics and a history of Czech comics.