\n
Preambule<\/h2>\n\n\n\n
\\documentclass{extarticle} % If I am not mistaken it is used for wider range of font sizes\n\\usepackage{fontspec}\n\\setmainfont{Latin Modern Roman}\n\\usepackage[utf8]{inputenc} % I have no idea why it is here\n\\usepackage[czech]{babel} % Used for czech formatting of text\n\\usepackage{csquotes} % Used for quoting\n% \\usepackage{graphicx} % Required for inserting images\n\\usepackage{moresize} % Even wider range of font sizes\n\\usepackage{fancyhdr} % Override text numbering\n\\usepackage[a4paper, left=1cm,right=1cm,top=1.5cm,bottom=1.5cm]{geometry} % To tell truth I do not know how it works with A4paper in documentclass but it works\n\\usepackage{multicol} % multi columns environment\n\\usepackage{titlesec} % please do not ask\n\\usepackage{wrapfig} % wrapfigure environment\n\\usepackage{lipsum} % for nothing appearantly\n\\usepackage{fontsize} % ...I think for more font sizes as well...?\n\n\\usepackage{coffeestains} % no questions needed\n\n\\usepackage{waytex} % my package -- see waytex.sty or MyPackages\/README.md for more info.\n\n\\enabledarkmode\n\n\\usepackage{tocloft}\n\\renewcommand{\\cftsecnumwidth}{0pt}  % Hides section numbering in TOC\n<\/code><\/pre>\n\n\n\nAsi jedin\u00fd projekt, kdy m\u00e1m \\documentclass<\/code> jinou ne\u017e article<\/code>, ale je to extarticle<\/code>, dosti podobn\u00e9.
Font nastaven na Latin Modern<\/code> skrz fontspec<\/code>.
\u010cesk\u00fd jazyk skrz babel<\/code>, UTF8<\/code> k\u00f3dov\u00e1n\u00ed zbyte\u010dn\u00e9, proto\u017ee jsem mezit\u00edm p\u0159epl na LuaLaTeX<\/code>.
Spr\u00e1vn\u00e9 \u010desk\u00e9 uvozovky skrz csquotes<\/code>, v\u011bt\u0161\u00ed rozsah velikosti text\u016f skrze moresize<\/code>.
Fancyhdr<\/code> zm\u00edn\u00edm n\u00ed\u017ee.

Geometry<\/code> je zde vyu\u017eito pro nastaven\u00ed rozm\u011br\u016f str\u00e1nky a okraj\u016f str\u00e1nky; multicol<\/code> pro text ve v\u00edce sloupc\u00edch (ale m\u00e1m pocit, \u017ee to moment\u00e1ln\u011b nikde nepou\u017e\u00edv\u00e1m); titlesec<\/code> mi umo\u017e\u0148uje \u00fapravu titulk\u016f (part, section, subsection atd.); wrapfig<\/code> je zde vyu\u017eit pro uk\u00e1zky textu v horn\u00edm prav\u00e9m rohu; lipsum<\/code> kdy\u017e pot\u0159ebuji ozkou\u0161et rozm\u011bry textu; fontsize zase pro pr\u00e1ci s velikost\u00ed font\u016f.

Nakonec m\u016fj vlastn\u00ed bali\u010dek waytex<\/code>, jeho\u017e smysl vysv\u011btl\u00edm postupn\u011b. Ve zkratce ale uschov\u00e1v\u00e1 v\u0161echny custom commandy separ\u00e1tn\u011b, aby byl hlavn\u00ed soubor, FGBook.tex, \u010di\u0161t\u011bj\u0161\u00ed.

\\enabledarkmode<\/code> d\u011bl\u00e1 \u010dern\u00e9 pozad\u00ed vhodn\u00e9 pro \u010detbu na monitoru.

A \\usepackage{tocloft} \\renewcommand{\\cftsecnumwidth}{0pt}<\/code> nastavuje \u010d\u00edslov\u00e1n\u00ed sekc\u00ed na velikost nula, co\u017e je efektivn\u011b skryje p\u0159ed zraky \u010dten\u00e1\u0159\u016f.
<\/p>\n<\/div>\n\n\n\n\nDal\u0161\u00ed nastaven\u00ed<\/h2>\n\n\n\n\\author{\\theauthor}\n\\title{Povinn\u00e1 literatura k maturitn\u00ed zkou\u0161ce}\n\\date{2021 -- 2025}\n\n\\titleformat{\\part}\n{\\normalfont\\Large\\bfseries}{\\thepart}{}{}\n\\titleformat{\\section}\n{\\normalfont\\large\\bfseries}{\\thesection}{}{}\n\\titleformat{\\subsection}\n{\\normalfont\\small\\bfseries}{\\thesubsection}{}{}\n\n\\titlespacing{\\part}{0pt}{0pt}{0pt}\n\\titlespacing{\\section}{0pt}{0pt}{0pt}\n\\titlespacing{\\subsection}{1em}{0pt}{0pt}\n\n\\setlength{\\parindent}{0pt}\n\\setlength{\\parskip}{0pt}<\/code><\/pre>\n\n\n\nP\u0159\u00edkazy pro autora, titul a datum zde byly pro dobu, kdy jsem je\u0161t\u011b d\u011blal dokumentu tituln\u00ed str\u00e1nku. Tu mo\u017en\u00e1 n\u011bkdy vr\u00e1t\u00edm. V tisku by to vypadalo dob\u0159e.

D\u00e1le nastavuji velikosti n\u00e1zv\u016f sekc\u00ed. Pod t\u00edm ohrani\u010den\u00ed kolem n\u00e1zv\u016f sekc\u00ed a nakonec ma\u017eu jak odsazen\u00ed prvn\u00edho \u0159\u00e1dku, tak mezi odstavcovou mezeru.<\/p>\n<\/div>\n\n\n\n
<\/p>\n\n\n\n\nPDF metadata<\/h2>\n\n\n\n\\setauthor{Libor Hal\u00edk}\n\n\\pdfkeywords{\n            maturita,\n            \u010de\u0161tina,\n            \u010dten\u00e1\u0159sk\u00e9 den\u00edky,\n            Shakespeare,\n            Hamlet,\n            Romeo a Julie,\n            Poe,\n            Havran,\n            Erben,\n            Kytice,\n            Dostojevskij,\n            Zlo\u010din a trest,\n            Balzac,\n            Otec Goriot,\n            Dickens,\n            Oliwer Twist,\n            Wilde,\n            Obraz Doriana Graye,\n            Gogol,\n            Recizor,\n            Brown,\n            \u0160ifra mistra Leonarda,\n            Da Vinciho k\u00f3d,\n            Inferno,\n            Fitzgerald,\n            Velk\u00fd Gatsby,\n            Orwell,\n            Devaten\u00e1ct set osmdes\u00e1t \u010dty\u0159i,\n            1984,\n            Rowlingov\u00e1,\n            Harry Potter,\n            Tolkien,\n            Hobbit,\n            Gellner,\n            Po n\u00e1s a\u0165 p\u0159ijde potopa,\n            Kafka,\n            Prom\u011bna,\n            Dyk,\n            Krysa\u0159,\n            \u010capek,\n            B\u00edl\u00e1 nemoc,\n            R. U. R.,\n            R.U.R.\n            }\n\n\\setpdfmetadata{Povinn\u00e1 literatura k maturitn\u00ed zkou\u0161ce}{Materi\u00e1ly z literatury k maturitn\u00ed zkou\u0161ce, studijn\u00ed projekt z obdob\u00ed 2021 a\u017e 2025}\n% used to add metadata to PDF file\n\n\\WIDTF{\\whyperlinks{2}{DBS}{DBS}{DBS}}{\\whyperlinks{2}{black}{black}{black}}<\/code><\/pre>\n\n\n\nTato \u010d\u00e1st k\u00f3du se v\u011bnuje metadat\u016fm v\u00fdsledn\u00e9ho PDF souboru, d\u00edky tomuto m\u00e1 samo PDF ur\u010deno m\u011b, coby autora, kl\u00ed\u010dov\u00e1 slova a titul samotn\u00e9ho souboru.

P\u0159\u00edkazy \\setpdfmetadata<\/code>, \\WIDTF<\/code> a \\whyperlinks<\/code> jsou definov\u00e1ny ve waytex bal\u00ed\u010dku n\u00e1sledovn\u011b:<\/p>\n\n\n\n
\n\n\n\n\n\n\\newcommand{\\setpdfmetadata}[2]{%\n  \\hypersetup{\n    pdfauthor={\\theauthor},    % Set author (retrieved from \\setauthor)\n    pdftitle={#1},     % Set title\n    pdfsubject={#2},   % Set subject\n    pdfkeywords={\\storedkeywords}   % Set keywords (retrieved from \\pdfkeywords)\n  }\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nKdy \\setpdfmetadata<\/code> dopln\u00ed autora z \\setauthor<\/code>,

titul souboru coby prvn\u00ed argument p\u0159\u00edkazu,

subjekt souboru coby druh\u00fd argument souboru

a kl\u00ed\u010dov\u00e1 slova z \\pdfkeywords<\/code>.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n\n\n\\NewDocumentCommand{\\WIDTF}{m m}{\\IfDarkModeTF{#1}{#2}}<\/code><\/pre>\n<\/div>\n\n\n\n\n\\WIDTF<\/code> je pouze zkratkou pro \\IfDarkModeTF<\/code> z bal\u00ed\u010dku darkmode, ale funkce z\u016fst\u00e1v\u00e1 identick\u00e1.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n\n\n\\newcommand{\\whyperlinks}[4]{%\n\t\\ifnum#1=1\n\t\\hypersetup{\n\t\thidelinks, % Removes the colored boxes and underlines\n\t\tcolorlinks=true,\n\t\tlinkcolor=#2, % Sets link color\n\t\tcitecolor=#3, % Sets citation color\n\t\turlcolor=#4   % Sets URL color\n\t}\n\t\\else\n\t\\hypersetup{\n\t\tcolorlinks=true,\n\t\tlinkcolor=#2, % Sets link color\n\t\tcitecolor=#3, % Sets citation color\n\t\turlcolor=#4   % Sets URL color\n\t}\n\t\\fi\n}<\/code><\/pre>\n<\/div>\n\n\n\n\n\\whyperlink<\/code> m\u00e1 trochu v\u00edce logiky, ale ve zkratce nastavuje, jak se zobrazuj\u00ed hypertextov\u00e9 odkazy (kter\u00e9 vyu\u017e\u00edv\u00e1m hlavn\u011b v z\u00e1pat\u00ed str\u00e1nky v pozn\u00e1mk\u00e1ch).<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n<\/p>\n<\/div>\n\n\n\n
\n\u010c\u00edslov\u00e1n\u00ed<\/h2>\n\n\n\n\\pagestyle{fancy}\n\\fancyhead{}\n\\renewcommand{\\footrulewidth}{0pt}\n\\renewcommand{\\headrulewidth}{0pt}\n\\fancyfoot[C]{{\\changefontsize{7pt} \\textbfhl{\\thepage. str\u00e1nka}}}  % Page number with custom text\n\n\\fancypagestyle{fancyTOC}{\n\t\\fancyfoot[C]{{\\changefontsize{7pt} \\TOCBF{\\thepage. str\u00e1nka}}}\n}<\/code><\/pre>\n\n\n\nfancy<\/code> styl str\u00e1nek je definov\u00e1n, jako vyu\u017eit\u00ed aktu\u00e1ln\u00ed barvy str\u00e1nky (\\textbfhl<\/code> je tu\u010dn\u00fd barevn\u00fd text), zat\u00edmco fancyTOC<\/code> je styl p\u0159\u00edmo jen pro str\u00e1nku obsahu, kter\u00e1 m\u00e1 nastavenou barvu natvrdo.<\/p>\n<\/div>\n\n\n\n
<\/p>\n\n\n\n
Obsah dokumentu<\/h2>\n\n\n\n\nStr\u00e1nka obsahu<\/h3>\n\n\n\n\\changefontsize{7pt}\n\n\\wtoc{SEZNAM LIT}{ERATURY}\n\n\\tableofcontents\n\n\\vfill\\noindent\\begin{minipage}{\\textwidth}\n    {\\TOCRULE{\\rule{\\linewidth}{0.4pt}}\\vspace{1em}\n    \\footnotesize\\TOCBF{Pravidla --} Dodr\u017eet \\TOCIT{minim\u00e1ln\u00ed po\u010det literatury} z dan\u00e9ho obdob\u00ed;\n    m\u00edt minim\u00e1ln\u011b \\TOCIT{dvakr\u00e1t poezii, dvakr\u00e1t pr\u00f3zu a dvakr\u00e1t drama};\n    nem\u00edt v\u00edce \\TOCIT{ne\u017e dv\u011b d\u00edla od jednoho autora}.}\n\\end{minipage}\n\n\\thispagestyle{fancyTOC}\n\n\\newpage<\/code><\/pre>\n\n\n\nVelikost fontu je 7, ano, celkem mal\u00e9, ale st\u00e1le \u010diteln\u00e9. N\u00e1zev p\u0159enastaven na Seznam literatury<\/code>. D\u00e1le samotn\u00fd seznam sekc\u00ed.
\\vfill<\/code> odsad\u00ed text a\u017e na spodek str\u00e1nky, kde m\u00e1m tedy napsan\u00e1 pravidla, kter\u00e9 mus\u00ed m\u016fj seznam spl\u0148ovat, kv\u016fli podm\u00ednk\u00e1m u maturity.
Styl str\u00e1nky p\u0159enastaven na fancyTOC<\/code> kv\u016fli \u010d\u00edslov\u00e1n\u00ed str\u00e1nky.<\/p>\n\n\n\n
\n\n\n\n\n\n\\NewDocumentCommand{\\wtoc}{m m}{%\n  \\renewcommand{\\contentsname}{%\n\t\\WIDTF{%\n\t{\\color{DTOC}#1}%\n\t\\colorbox{DTOC}{\\color{DWS}\\strut#2}%\n\t\\hfill \\normalfont\\tiny\\textsc{\\colorbox{DTOC}{\\color{DWS}\\theauthor}}\n\t}{%\n    {\\color{TOC}#1}%\n    \\colorbox{TOC}{\\color{WS}\\strut#2}%\n    \\hfill \\normalfont\\tiny\\textsc{\\colorbox{TOC}{\\color{WS}\\theauthor}}%\n    }%\n  }%\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nP\u0159\u00edkaz \\wtoc<\/code> pat\u0159\u00ed zase mezi ty slo\u017eit\u011bj\u0161\u00ed.<\/p>\n\n\n\n
Pokud je zapnut tmav\u00fd re\u017eim, tak je prvn\u00ed \u010d\u00e1st n\u00e1zvu (Seznam lit<\/code>) napsan\u00e1 barvou DTOC<\/code>, druh\u00e1 \u010d\u00e1st (eratury<\/code>) je pak v \u010dtverci barvy DTOC<\/code> zat\u00edmco samotn\u00fd tet je naps\u00e1n barvou DWS<\/code>.
N\u00e1sleduje odsazen\u00ed na prav\u00fd okraj str\u00e1nky, kde je jm\u00e9no autora mal\u00fdm hlavi\u010dkov\u00fdm p\u00edsmem.<\/p>\n\n\n\n
Pokud je tmav\u00fd re\u017eim vypnut, tak je logika stejn\u00e1, jen jsou vyu\u017eit\u00e9 barvy TOC<\/code> a WS<\/code>.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n\n\n\\newcommand{\\TOCBF}[1]{%\n  \\WIDTF{%\n    {\\color{DTOC}\\textbf{#1}}%\n  }{%\n    {\\color{TOC}\\textbf{#1}}%\n  }%\n}%\n\\newcommand{\\TOCIT}[1]{%\n  \\WIDTF{%\n    {\\color{DTOC}\\textit{#1}}%\n  }{%\n    {\\color{TOC}\\textit{#1}}%\n  }%\n}%\n\\newcommand{\\TOCRULE}[1]{\n  \\WIDTF{\n    {\\textcolor{DTOC}{#1}}\n  }{\n    {\\textcolor{TOC}{#1}}\n  }\n}<\/code><\/pre>\n<\/div>\n\n\n\n\n\\TOCBF<\/code> je tu\u010dn\u00fd text naps\u00e1n barvou DTOC<\/code> nebo TOC<\/code> dle zvolen\u00e9ho re\u017eimu zobrazen\u00ed.<\/p>\n\n\n\n
\\TOCIT<\/code> je barevn\u00fd text napsan\u00fd kurz\u00edvou.<\/p>\n\n\n\n
\\TOCRULE<\/code> vlo\u017e\u00ed argument do barevn\u00e9ho prost\u0159ed\u00ed a argument v r\u00e1mci str\u00e1nky definuji jako \\rule{\\linewidth}{0.4pt}<\/code>, tedy to zobraz\u00ed barevnou \u010d\u00e1ru po cel\u00e9 d\u00e9lce textu.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n<\/p>\n<\/div>\n\n\n\n
Str\u00e1nka textu<\/h2>\n\n\n\n\nN\u00e1zev pap\u00edru<\/h3>\n\n\n\n\\newpage\n\n\\bigsection{Sv\u011btov\u00e1 a \u010desk\u00e1 literatura do konce 18. stolet\u00ed}[min. 2 liter\u00e1rn\u00ed d\u00edla]\n\n% \\coffeestainA{0.4}{1}{90}{30em}{40em}\n\n\\changefontsize{6.8pt}\n% \\changefontsize{4pt}\n\n\\drama{Hamlet}{WILLIAM SHAKESPEARE}<\/code><\/pre>\n\n\n\nVelk\u00e1 sekce, do kter\u00e9 pap\u00edr v r\u00e1mci seznamu spad\u00e1, je Sv\u011btov\u00e1 literatura do konce 18. stolet\u00ed<\/code>, po\u017eadavek je naps\u00e1n v r\u00e1mci vynechateln\u00e9ho argumentu.
\\cofeestain<\/code> by dal horn\u00edho prav\u00e9ho rohu ka\u0148ku od k\u00e1vy, je s t\u00edm sranda, pap\u00edr pak vypad\u00e1 \u0161pinav\u011b a pou\u017eit\u011b.
Font je pouh\u00fdch 6.8, kdy 7 bylo moc velk\u00fd, aby se to ve\u0161lo na jednu A4 str\u00e1nku, ale 6 u\u017e bylo t\u00e9m\u011b\u0159 ne\u010diteln\u00e9.
\\drama{Hamlet}{WILLIAM SHAKESPEARE}<\/code> pak ur\u010d\u00ed jako podstatu str\u00e1nky drama, n\u00e1zev d\u00edla a jm\u00e9no autora.<\/p>\n\n\n\n
\n\n\n\n\n\n\\NewDocumentCommand{\\bigsection}{m o}{%\n  \\phantomsection % Creates a linkable anchor for the TOC\n  \\WIDTF{\n  \\addtocontents{toc}{\\protect\\contentsline{part}{\\normalfont\\fontsize{12pt}{13pt}\\selectfont \\colorbox{DTOC}{\\color{DWS}#1}%\n  \t\t\\IfValueT{#2}{\\hspace{1em}{\\normalfont\\fontsize{5.5pt}{6.5pt}\\textsc{#2}}}%\n  \t}{}{} }%\n  }{%\n  \\addtocontents{toc}{\\protect\\contentsline{part}{\\normalfont\\fontsize{12pt}{13pt}\\selectfont \\colorbox{TOC}{\\color{WS}#1}%\n    \\IfValueT{#2}{\\hspace{1em}{\\normalfont\\fontsize{5.5pt}{6.5pt}\\textsc{#2}}}%\n  }{}{} }\n\t}% Suppress the page number in the TOC entry\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nDal\u0161\u00ed p\u0159\u00edkaz se slo\u017eit\u011bj\u0161\u00ed logikou. Hodnota tohoto nadpisu je part<\/code>, co\u017e je v r\u00e1mci TeX<\/code>u nadpis s nejv\u011bt\u0161\u00ed hodnotou, v HTML<\/code> k\u00f3du se to d\u00e1 p\u0159irovnat k H1<\/code> nadpis\u016fm.<\/p>\n\n\n\n
Zat\u00edmco na samotn\u00e9 str\u00e1nce nen\u00ed n\u00e1zev vid\u011bt, tak to ale nap\u00ed\u0161e n\u00e1zev sekce do obsahu, kdy v\u0161echny n\u00e1zvy pap\u00edr\u016f po t\u00e9to sekci, n\u00e1le\u017e\u00ed do t\u00e9to sekce.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n\n\n\\NewDocumentCommand{\\drama}{m m o o}{\n  \\WIDTF{\n    \\wart{#1}{#2}[#3][Ddrama][DWS][DTOC][DBS][#4][drama]\n  }{\n    \\wart{#1}{#2}[#3][drama][WS][TOC][BS][#4][drama]\n  }\n}\n\n\\NewDocumentCommand{\\poezie}{m m o o}{\n  \\WIDTF{\n    \\wart{#1}{#2}[#3][Dpoezie][DWS][DTOC][DBS][#4][poezie]\n  }{\n    \\wart{#1}{#2}[#3][poezie][WS][TOC][BS][#4][poezie]\n  }\n}\n\n\\NewDocumentCommand{\\proza}{m m o o}{\n  \\WIDTF{\n    \\wart{#1}{#2}[#3][Dpr\u00f3za][DWS][DTOC][DBS][#4][pr\u00f3za]\n  }{\n    \\wart{#1}{#2}[#3][pr\u00f3za][WS][TOC][BS][#4][pr\u00f3za]\n  }\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nP\u0159\u00edkazy \\drama<\/code>, \\proza<\/code> a \\poezie<\/code> maj\u00ed 4 argumenty. Kdy prvn\u00ed ur\u010duje n\u00e1zev d\u00edla, druh\u00fd ur\u010duje jm\u00e9no autora, dal\u0161\u00ed dva vysv\u011btl\u00edm za pomoci jin\u00e9 str\u00e1nky, kdy jsou vyu\u017eity takto:
[TODO][\\killpage]<\/code>
kdy tedy 3. argument je bonusov\u00fd text, pozn\u00e1mka, chcete-li, kter\u00e1 se vyp\u00ed\u0161e do TOC<\/code> ale ne na str\u00e1nku samotnou a 4. argument je vyu\u017eit pro p\u0159\u00edpadn\u00e9 bonusov\u00e9 p\u0159\u00edkazy, tady \\killpage<\/code>, kter\u00e1 zamez\u00ed tisku str\u00e1nky.<\/p>\n\n\n\n
Tyto argumenty d\u00e1le vyp\u00ed\u0161e do p\u0159\u00edkazu \\wart<\/code>, kdy prvn\u00ed t\u0159i z\u016fstavaj\u00ed stejn\u00e9, nav\u00edc d\u00e1 barvu Ddrama<\/code> p\u0159i tmav\u00e9m m\u00f3du a drama<\/code> p\u0159i sv\u011btl\u00e9m. D\u00e1le DWS\/WS<\/code>, DTOC\/TOC<\/code> a DBS\/BS<\/code> a p\u0159\u00edpadn\u011b vlo\u017e\u00ed bonusov\u00fd p\u0159\u00edkaz ze 4. argumentu.
<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n\n\n\\NewDocumentCommand{\\wart}{m m o o o o o o o}{%\n  \\noindent% Prevent paragraph indentation\n  {\\normalfont\\Large\\bfseries%\n      {\\colorbox{#4}{\\color{#5}#2}\\colorbox{#5}{\\color{#4} -- \\phantomsection\\label{#1}{#1}}}\\hfill%\n      {\\colorbox{#4}{\\color{#5}\\normalfont\\tiny\\textsc{\\theauthor}}}\\par%\n  }% Main output\n  \\IfValueT{#8}{#8}% Only print #8 if it exists\n  \\IfValueT{#4}{\\csdef{wartCurrentValue}{#4}} % Store #3 globally if provided\n  \\addtocontents{toc}{\\protect\\contentsline{section}{%\n  \\normalfont\\fontsize{7pt}{8pt}\\selectfont{%\n  \\color{#6}\\textbf{\\IfValueTF{#3}{#2{ }}{$\\Rightarrow$ #2{ }}}}{%\n  \\color{#7} -- \\textit{#1}%\n  \\IfValueTF{#3}{\\textbf{\\color{#6} { }(#3)}}{}}}{%\n  \\color{#6}#9 - \\thepage.}{}}%\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nTady m\u00e1m uk\u00e1zku p\u0159\u00edkazu, kter\u00fd u\u017e tak narostl, \u017ee se za\u010d\u00edn\u00e1 propadat s\u00e1m do sebe.
Vyu\u017e\u00edv\u00e1 barvy z argument\u016f, nap\u00ed\u0161e n\u00e1zev d\u00edla, autora a do horn\u00edho prav\u00e9ho rohu nap\u00ed\u0161e m\u011b, coby autora pap\u00edru.
D\u00e1le do obsahu vlo\u017e\u00ed n\u00e1zev d\u00edla, autora, p\u0159\u00edpadn\u00fd bonusov\u00fd 3. argument, nap\u00ed\u0161e \u010d\u00edslo str\u00e1nky.
A argument \u010d\u00edslo 8. Bonusov\u00fd p\u0159\u00edkaz, se vyu\u017eije jen pokud je naps\u00e1n.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n\n\n\\usepackage{atbegshi}\n\n\\newcommand{\\killpage}{%\n\t\\AtBeginShipoutNext{%\n\t\t\\AtBeginShipoutDiscard%\n\t\t\\addtocounter{page}{-1}% Decrement the page counter\n\t}%\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nA speci\u00e1ln\u00ed p\u0159\u00edkaz \\killpage<\/code>, kter\u00fd zamez\u00ed str\u00e1nce, aby se vytiskla a nav\u00edc ode\u010dte str\u00e1nku od po\u010dtu str\u00e1nek, tak\u017ee \u010d\u00edslov\u00e1n\u00ed str\u00e1nek funguje jak m\u00e1 (jinak by si \u010d\u00edslov\u00e1n\u00ed pamatovalo, \u017ee tam ta str\u00e1nka byla a 2. str\u00e1nka by m\u011bla \u010d\u00edslo 3 a tak d\u00e1le).<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n<\/div>\n\n\n\n<\/p>\n\n\n\n
\nUk\u00e1zka textu<\/h3>\n\n\n\n\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}\n\\tiny\\subwection{Uk\u00e1zka z d\u00edla:}\\setlength{\\parindent}{3pt}\\noindent\\textsc{Hamlet:} B\u00fdt nebo neb\u00fdt -- to je ot\u00e1zka:\nje d\u016fstojn\u011bj\u0161\u00ed zap\u0159\u00edt se~a~sn\u00e1\u0161et surovost osudu a~jeho r\u00e1ny, anebo se vzep\u0159\u00edt mo\u0159i tr\u00e1pen\u00ed a~skoncovat to nav\u017edy?\nZem\u0159\u00edt, sp\u00e1t -- a~je to.\nSp\u00e1t -- a~nav\u017edy ukon\u010dit \u00fazkost a~v\u011b\u010dn\u00e9 \u00fatrapy a~str\u00e1zn\u011b, co \u00fad\u011blem jsou t\u011bla -- co~si~m\u016f\u017eeme p\u0159\u00e1t v\u00edc, po \u010dem tou\u017eit?\n-- Zem\u0159\u00edt, sp\u00e1t -- sp\u00e1t, mo\u017en\u00e1 sn\u00edt -- a~pr\u00e1v\u011b v tom je zrada.\nA\u017e ztichne v\u0159ava~pozemsk\u00e9ho byt\u00ed, ve sp\u00e1nku smrti m\u016f\u017eeme m\u00edt sny -- to proto v\u00e1h\u00e1me a~sn\u00e1\u0161\u00edme tu dlouhou b\u00eddu, ji\u017e se \u0159\u00edk\u00e1 \u017eivot.\nNebo\u0165 kdo vydr\u017eel by kopance a~v\u00fdsm\u011bch doby, aroganci mocn\u00fdch, pr\u016ftahy soud\u016f, znesv\u011bcenou l\u00e1sku, nadutost \u00fa\u0159ad\u016f a~\u00fastrky, co slu\u0161nost v\u011b\u010dn\u011b skl\u00edz\u00ed od lump\u016f, kdy\u017e pouh\u00e1 d\u00fdka~srovnala~by \u00fa\u010dty, a~byl by klid?\nKdo cht\u011bl by n\u00e9st to b\u0159\u00edm\u011b, \u00fap\u011bt a~plaho\u010dit se \u017eivotem, nem\u00edt strach z toho, co je za~smrt\u00ed, z nezn\u00e1m\u00e9 krajiny, z n\u00ed\u017e poutn\u00edci se nevracej\u00ed.\nTo n\u00e1m l\u00e1me v\u016fli -- sn\u00e1\u0161\u00edme rad\u0161i hr\u016fzy, kter\u00e9 zn\u00e1me, ne\u017e abychom \u0161li vst\u0159\u00edc t\u011bm nezn\u00e1m\u00fdm.\nTak sv\u011bdom\u00ed z n\u00e1s d\u011bl\u00e1 zbab\u011blce a~zdrav\u00e1 barva~rozhodn\u00e9ho \u010dinu se roznem\u016f\u017ee zbledlou meditac\u00ed, z\u00e1m\u011bry velk\u00e9 v\u00fdznamem a~vahou se odvracej\u00ed z vyt\u010den\u00e9ho sm\u011bru a neuzraj\u00ed v \u010din.\n\\end{wrapfigure}<\/code><\/pre>\n\n\n\nVlo\u017e\u00ed do horn\u00edho prav\u00e9ho rohu uk\u00e1zku textu z d\u00edla.<\/p>\n<\/div>\n\n\n\n
<\/p>\n\n\n\n
\nSekce<\/h3>\n\n\n\n\\wection{LITER\u00c1RN\u00cd HISTORIE}\n\n\\subwection{Politick\u00e1 situace:}\n\\noindent\n\\textit{Hamlet} byl naps\u00e1n a hr\u00e1n v obdob\u00ed, kdy kr\u00e1lovn\u011b Elizabet\u011b I. bylo kolem \u0161edes\u00e1ti let.\n\u0160lo o obdob\u00ed nepokoj\u016f a nejistoty ohledn\u011b koruny, proto\u017ee tr\u016fn nem\u011bl d\u011bdice a kr\u00e1lovna odm\u00edtala jednoho jmenovat.\nPoddan\u00ed si o sv\u00e9ho \u010dasu obl\u00edben\u00e9 kr\u00e1lovn\u011b za\u010dali myslet, \u017ee se na star\u00e1 kolena stala slobymyslnou a\u017e nebezpe\u010dnou.\n\\textit{Hamlet} p\u0159esn\u011b takov\u00e9ho monarchu popisuje, kr\u00e1li se ned\u00e1 v\u011b\u0159it ohledn\u011b jeho \u00famysl\u016f a princ, n\u00e1sledn\u00edk tr\u016fnu, hraje bl\u00e1zna a aktivn\u011b jde proti kr\u00e1li.\nStejn\u011b jako v \\textit{Shakespearov\u011b} realit\u011b, i v jeho h\u0159e jde o nejist\u00e9 obdob\u00ed, kdy nikdo nev\u00ed, jak bude kr\u00e1lovsk\u00fd rod pokra\u010dovat.<\/code><\/pre>\n\n\n\nTady je vid\u011bt, jak se text d\u011bl\u00ed na sekce a podsekce.<\/p>\n\n\n\n
\n\n\n\n\n\n\\NewDocumentCommand{\\wection}{m}{%\n  \\titlespacing{\\section}{0pt}{0pt}{0pt} % Adjust spacing\n  \\phantomsection % Creates an anchor for linking\n  \\noindent % Prevents indentation\n  \\WIDTF{%\n  {\\normalfont\\large\\bfseries\\colorbox{DWS}{\\color{\\wpagecolor}#1}}%\n  }{%\n  {\\normalfont\\large\\bfseries\\colorbox{WS}{\\color{\\wpagecolor}#1}}%\n  }% Matches \\section* styling\n  \\par\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nSekce je tu\u010dn\u00fdm textem v barevn\u00e9m poli (barva str\u00e1nky, proto pole nen\u00ed vid\u011bt). Kdy se barva textu shoduje s barvou kapitoly.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n\n\n\\NewDocumentCommand{\\subwection}{m}{%\n  \\titlespacing{\\subsection}{0pt}{0pt}{0pt} % Adjust spacing\n  \\phantomsection % Creates an anchor for linking\n  \\noindent % Prevents indentation\n  \\WIDTF{%\n  {\\normalfont\\small\\bfseries\\colorbox{\\wpagecolor}{\\color{DWS}#1}}%\n  }{%\n  {\\normalfont\\small\\bfseries\\colorbox{\\wpagecolor}{\\color{WS}#1}}%\n  }% Matches \\subsection* styling\n  \\par\n}<\/code><\/pre>\n<\/div>\n\n\n\n\nPodsekc\u00ed je pot\u00e9 obr\u00e1cen\u00fdm p\u0159\u00edkazem, kdy je pro ohrani\u010den\u00ed vyu\u017eit\u00e1 barva kapitoly a pro text samotn\u00fd barva str\u00e1nky.<\/p>\n<\/div>\n<\/div>\n\n\n\n
\n\n\n\n<\/p>\n<\/div>\n\n\n\n
\nFGBook<\/a>Download<\/a><\/div>\n\n\n\nHotov\u00e9 PDF<\/h2>\n\n\nFGBook<\/a><\/div>\n\n\n\n<\/p>\n\n\n\n\nCel\u00fd k\u00f3d<\/h2>\n\n\n\n\n\n\t\t\t\n\t\t\tFGBook.tex<\/h3>\n\t\t\t<\/span><\/div>\n\t\t<\/div>\n\t\t\t\n\nFGBook<\/a>Download<\/a><\/div>\n\n\n\n\\documentclass{extarticle} % If I am not mistaken it is used for wider range of font sizes
\\usepackage{fontspec}
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\\usepackage{multicol} % multi columns environment
\\usepackage{titlesec} % please do not ask
\\usepackage{wrapfig} % wrapfigure environment
\\usepackage{lipsum} % for nothing appearantly
\\usepackage{fontsize} % ...I think for more font sizes as well...?

\\usepackage{coffeestains} % no questions needed

\\usepackage{waytex} % my package -- see waytex.sty or MyPackages\/README.md for more info.

\\enabledarkmode

\\usepackage{tocloft}
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\\author{\\theauthor}
\\title{Povinn\u00e1 literatura k maturitn\u00ed zkou\u0161ce}
\\date{2021 -- 2025}

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            maturita,
            \u010de\u0161tina,
            \u010dten\u00e1\u0159sk\u00e9 den\u00edky,
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            Hamlet,
            Romeo a Julie,
            Poe,
            Havran,
            Erben,
            Kytice,
            Dostojevskij,
            Zlo\u010din a trest,
            Balzac,
            Otec Goriot,
            Dickens,
            Oliwer Twist,
            Wilde,
            Obraz Doriana Graye,
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            Recizor,
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            Da Vinciho k\u00f3d,
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            Fitzgerald,
            Velk\u00fd Gatsby,
            Orwell,
            Devaten\u00e1ct set osmdes\u00e1t \u010dty\u0159i,
            1984,
            Rowlingov\u00e1,
            Harry Potter,
            Tolkien,
            Hobbit,
            Gellner,
            Po n\u00e1s a\u0165 p\u0159ijde potopa,
            Kafka,
            Prom\u011bna,
            Dyk,
            Krysa\u0159,
            \u010capek,
            B\u00edl\u00e1 nemoc,
            R. U. R.,
            R.U.R.
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% --------------------------------------------------
% S E Z N A M   L I T E R A T U R Y 
% --------------------------------------------------

\\begin{document}

\\changefontsize{7pt}

\\wtoc{SEZNAM LIT}{ERATURY}

\\tableofcontents

\\vfill\\noindent\\begin{minipage}{\\textwidth}
    {\\TOCRULE{\\rule{\\linewidth}{0.4pt}}\\vspace{1em}
    \\footnotesize\\TOCBF{Pravidla --} Dodr\u017eet \\TOCIT{minim\u00e1ln\u00ed po\u010det literatury} z dan\u00e9ho obdob\u00ed;
    m\u00edt minim\u00e1ln\u011b \\TOCIT{dvakr\u00e1t poezii, dvakr\u00e1t pr\u00f3zu a dvakr\u00e1t drama};
    nem\u00edt v\u00edce \\TOCIT{ne\u017e dv\u011b d\u00edla od jednoho autora}.}
\\end{minipage}

\\thispagestyle{fancyTOC}

\\newpage

% --------------------------------------------------
% \u010c \u00c1 S T   P R V N \u00cd
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\\newpage

\\bigsection{Sv\u011btov\u00e1 a \u010desk\u00e1 literatura do konce 18. stolet\u00ed}[min. 2 liter\u00e1rn\u00ed d\u00edla]

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{6.8pt}
% \\changefontsize{4pt}

\\drama{Hamlet}{WILLIAM SHAKESPEARE}

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny\\subwection{Uk\u00e1zka z d\u00edla:}\\setlength{\\parindent}{3pt}\\noindent\\textsc{Hamlet:} B\u00fdt nebo neb\u00fdt -- to je ot\u00e1zka:
je d\u016fstojn\u011bj\u0161\u00ed zap\u0159\u00edt se~a~sn\u00e1\u0161et surovost osudu a~jeho r\u00e1ny, anebo se vzep\u0159\u00edt mo\u0159i tr\u00e1pen\u00ed a~skoncovat to nav\u017edy?
Zem\u0159\u00edt, sp\u00e1t -- a~je to.
Sp\u00e1t -- a~nav\u017edy ukon\u010dit \u00fazkost a~v\u011b\u010dn\u00e9 \u00fatrapy a~str\u00e1zn\u011b, co \u00fad\u011blem jsou t\u011bla -- co~si~m\u016f\u017eeme p\u0159\u00e1t v\u00edc, po \u010dem tou\u017eit?
-- Zem\u0159\u00edt, sp\u00e1t -- sp\u00e1t, mo\u017en\u00e1 sn\u00edt -- a~pr\u00e1v\u011b v tom je zrada.
A\u017e ztichne v\u0159ava~pozemsk\u00e9ho byt\u00ed, ve sp\u00e1nku smrti m\u016f\u017eeme m\u00edt sny -- to proto v\u00e1h\u00e1me a~sn\u00e1\u0161\u00edme tu dlouhou b\u00eddu, ji\u017e se \u0159\u00edk\u00e1 \u017eivot.
Nebo\u0165 kdo vydr\u017eel by kopance a~v\u00fdsm\u011bch doby, aroganci mocn\u00fdch, pr\u016ftahy soud\u016f, znesv\u011bcenou l\u00e1sku, nadutost \u00fa\u0159ad\u016f a~\u00fastrky, co slu\u0161nost v\u011b\u010dn\u011b skl\u00edz\u00ed od lump\u016f, kdy\u017e pouh\u00e1 d\u00fdka~srovnala~by \u00fa\u010dty, a~byl by klid?
Kdo cht\u011bl by n\u00e9st to b\u0159\u00edm\u011b, \u00fap\u011bt a~plaho\u010dit se \u017eivotem, nem\u00edt strach z toho, co je za~smrt\u00ed, z nezn\u00e1m\u00e9 krajiny, z n\u00ed\u017e poutn\u00edci se nevracej\u00ed.
To n\u00e1m l\u00e1me v\u016fli -- sn\u00e1\u0161\u00edme rad\u0161i hr\u016fzy, kter\u00e9 zn\u00e1me, ne\u017e abychom \u0161li vst\u0159\u00edc t\u011bm nezn\u00e1m\u00fdm.
Tak sv\u011bdom\u00ed z n\u00e1s d\u011bl\u00e1 zbab\u011blce a~zdrav\u00e1 barva~rozhodn\u00e9ho \u010dinu se roznem\u016f\u017ee zbledlou meditac\u00ed, z\u00e1m\u011bry velk\u00e9 v\u00fdznamem a~vahou se odvracej\u00ed z vyt\u010den\u00e9ho sm\u011bru a neuzraj\u00ed v \u010din.
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent drama, trag\u00e9die

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

\\subwection{Jazyk a slovn\u00ed z\u00e1soba: }
\\noindent Hra je ps\u00e1na spisovn\u00fdm a\u017e vyt\u0159\u00edben\u00fdm jazykem.
Postavy od dvora mluv\u00ed vzne\u0161en\u011b.
Autor dod\u00e1v\u00e1 postav\u00e1m charakter skrz u\u017eit\u00fd jazyk. \\\\
\\textsc{Hamlet} je velmi mluvnicky zdatn\u00fd.
V jeho \u0159e\u010di se vyskytuje ironie a\u017e sarkasmus.
Metaforami, slovn\u00edmi h\u0159\u00ed\u010dkami a~dvojsmysly dod\u00e1v\u00e1 na \\texthl{d\u016fv\u011b\u0159e sv\u00e9 p\u0159edst\u00edran\u00e9 \u0161\u00edlenosti}.
U\u017e\u00edv\u00e1 i mnoh\u00fdch b\u00e1snick\u00fdch figur, kup\u0159\u00edkladu anafory, inverzi slovosledu a asyndoty.
\\textsc{Laertes}, \\textsc{Of\u00e9lie} a hlavn\u011b \\textsc{Claudius} za n\u00edm \\texthl{nezaost\u00e1vaj\u00ed a mluv\u00ed vzne\u0161en\u011b t\u00e9\u017e}.
\\textsc{Polonius} je skv\u011blou uk\u00e1zkou charakteru prom\u00edtnut\u00e9ho skrz \u0159e\u010d.
Vyu\u017e\u00edv\u00e1 \\texthl{nadbytek} vzne\u0161en\u00fdch slov pro uk\u00e1zku sv\u00e9ho obs\u00e1hl\u00e9ho reperto\u00e1ru a to \\texthl{na \u00fakor samotn\u00e9 my\u0161lenky} sv\u00e9ho sd\u011blen\u00ed.
Dokazuje t\u00edm svou snahu obh\u00e1jit si sv\u00e9 m\u00edsto u dvoru.
V\u00fdjimku z tohoto pravidla tvo\u0159\u00ed prost\u00fd lid, kter\u00e9 \\textit{Shakespeare} nech\u00e1v\u00e1 mluvit prost\u011b a\u017e~hrub\u011b.  

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu: }
\\noindent\\textit{Hamlet}, typicky pro \\textit{Shakespearova} d\u00edla, je ps\u00e1n \\textbfhl{blankversem}.
Pro rozvinut\u00ed postav a jejich motiv\u016f slou\u017e\u00ed monology.
Dialog posouv\u00e1 d\u011bj.
D\u016fraz je na my\u0161lenku a charaktery, d\u011bj je druho\u0159ad\u00fd a podtrhuje charakter postav.
Autor od d\u011bje kli\u010dkuje a viditeln\u011b oddaluje posun.
Co\u017e~d\u00e1v\u00e1 postav\u00e1m \u010das na rozvinut\u00ed.

\\subwection{Postavy:}
\\noindent 
\\textschl{Hamlet --} princ, syn kr\u00e1lovny Gertrudy a ji\u017e zesnul\u00e9ho kr\u00e1le,
n\u00e1sledn\u00edk tr\u016fnu, nen\u00ed schopen se vypo\u0159\u00e1dat se ztr\u00e1tou sv\u00e9ho otce o kter\u00e9 se pozd\u011bji dozv\u00edd\u00e1,
\u017ee~nebyla z~p\u0159irozen\u00fdch d\u016fvod\u016f. \\\\
\\textschl{Horacio --} v\u011brn\u00fd p\u0159\u00edtel Hamleta, filosof a rozv\u00e1\u017en\u00fd \u010dlov\u011bk,
s Hamletem diskutuje o jeho n\u00e1zorech, dotazuje se. \\\\
\\textschl{Polonius --} p\u0159edseda st\u00e1tn\u00ed rady, v\u011brn\u00fd korun\u011b. A\u017e moc horliv\u00fd,
sna\u017e\u00ed se kr\u00e1li pomoci se \u0161\u00edlen\u00fdm Hamletem. Na svou horlivost a sebev\u011bdomost doplat\u00ed. \\\\
\\textschl{Ofelie --} dcera Poloniova, zamilovan\u00e1 do Hamleta, l\u00e1skou zm\u00edtan\u00e1 a\u017e utr\u00e1pena je. \\\\
\\textschl{Laertes --} syn Poloni\u016fv, bratr Ofelie, kter\u00fd si vy\u010d\u00edt\u00e1 ztr\u00e1tu otce i sestry
-- kv\u016fli intrik\u00e1m nov\u00e9ho kr\u00e1le nakonec zab\u00edj\u00ed Hamleta. \\\\
\\textschl{Claudius --} nov\u00fd kr\u00e1l, man\u017eel Gertrudy, napl\u00e1noval smrt star\u00e9ho kr\u00e1le,
sv\u00e9ho bratra, pro svoje obohacen\u00ed a sv\u00fdmi intrikami se pokusil zbavit i Hamleta. \\\\
\\textschl{Gertruda --} d\u00e1nsk\u00e1 kr\u00e1lovna, sna\u017e\u00ed se uklidnit man\u017eela a ochra\u0148ovat syna,
pro svou nerozhodnost zem\u0159e. \\\\
\\textschl{Duch star\u00e9ho kr\u00e1le --} jm\u00e9nem tak\u00e9 Hamlet,
zap\u0159\u00edsah\u00e1 syna aby vykonal pomstu ale aby nijak neubl\u00ed\u017eil sv\u00e9 matce.

\\subwection{D\u011bj:}
\\noindent 
P\u0159\u00edb\u011bh se odehr\u00e1v\u00e1 v pom\u011brn\u011b kr\u00e1tk\u00e9m \u010dasov\u00e9m \u00faseku, z pohledu historie,
od smrti jednoho Hamleta do smrti Hamleta druh\u00e9ho.
Duch star\u00e9ho kr\u00e1le zjevuje, \u017ee~byl otr\u00e1ven, Hamlet za\u010dne p\u0159edst\u00edrat \u0161\u00edlenstv\u00ed
a b\u011bhem tohoto obdob\u00ed usiluje o usv\u011bd\u010den\u00ed nov\u00e9ho kr\u00e1le, sv\u00e9ho str\u00fdce.
Nakonec ho usv\u011bd\u010d\u00ed za pomoci ko\u010dovn\u00fdch herc\u016f, kte\u0159\u00ed sehraj\u00ed na~kr\u00e1lovsk\u00e9m dvo\u0159e onu bratrovra\u017edu
a kr\u00e1l se s\u00e1m usv\u011bd\u010d\u00ed svoj\u00ed reakc\u00ed na tuto sc\u00e9nu.
Hamlet se setk\u00e1 se svoj\u00ed matkou a probodne mu\u017ee, co je odposlouch\u00e1val za~tapis\u00e9ri\u00ed v~domn\u011bn\u00ed,
\u017ee~jde o jeho str\u00fdce, zr\u00e1dn\u00e9ho kr\u00e1le Claudia.
M\u00edsto toho \\texthl{k zemi pad\u00e1 Polonius}, otec jeho milovan\u00e9 Ofelie a jej\u00edho bratra Laerta,
kter\u00fd byl tou dobou na~cest\u00e1ch.
To~d\u00e1v\u00e1 kr\u00e1li p\u0159\u00edle\u017eitost se Hamleta zbavit a vyk\u00e1zat pry\u010d, do Anglie.
Tam u\u017e Hamletovi domluvil popravu, ani\u017e by o tom v\u011bd\u011bla jeho matka.
Hamlet ale lst\u00ed podstr\u010d\u00ed na~popravu mu\u017ee, kte\u0159\u00ed naopak m\u011bli dohl\u00e9dnout na jeho popravu.
Po \u010dase se vrac\u00ed zp\u00e1tky, zrovna na~poh\u0159eb Ofelie.
Co sama, bez otce, bratra a mil\u00e9ho, zhroutila se~do~\u0161\u00edlenstv\u00ed a~nakonec utonula.
Laertes se vr\u00e1til je\u0161t\u011b p\u0159ed Hamletem, akor\u00e1t aby na\u0161el svou sestru \u0161\u00edlenou a vid\u011bl jej\u00ed posledn\u00ed chv\u00edle.
Tohoto vyu\u017eije Claudius, kter\u00fd \\texthl{Laerta po\u0161tve proti \\textit{Hamletovi}}.
Oba mu\u017ei souhlas\u00ed s \u0161erm\u00ed\u0159sk\u00fdm soubojem a b\u011bsem zaslepen\u00fd Laertes p\u0159ij\u00edm\u00e1 otr\u00e1venou \u010depel od Claudia,
aby zaru\u010dil, \u017ee Hamlet toho dne zem\u0159e.
Claudius si~chce v\u00fdsledek pojistit je\u0161t\u011b t\u00edm, \u017ee p\u0159iprav\u00ed otr\u00e1venou \u010d\u00ed\u0161i,
ze kter\u00e9 by nechal Hamleta nap\u00edt, kdyby souboj vyhr\u00e1l bez jedin\u00e9ho \u0161kr\u00e1bance.
Z \u010d\u00ed\u0161e se napije kr\u00e1lovna Gertruda, Hamlet~je~opravdu zasa\u017een otr\u00e1venou \u010depel\u00ed,
mu\u017ei~si~\u010depele vym\u011bn\u00ed a jedem je zasa\u017een i Laertes, ten zjev\u00ed kr\u00e1l\u016fv hr\u016fzn\u00fd pl\u00e1n Hamletovi
a ten otr\u00e1venou \u010depel\u00ed probodne kr\u00e1le a~do~krku mu~nalije jeho otr\u00e1ven\u00e9 v\u00edno.
V\u0161ichni tedy um\u00edraj\u00ed a Hamlet sv\u00fdmi \\textithl{posledn\u00edmi slovy \u017e\u00e1d\u00e1},
aby se jeho p\u0159\u00edb\u011bh nad\u00e1le \\textithl{tradoval po pravd\u011b} a bez Claudiov\u00fdch l\u017e\u00ed.

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
Chronologick\u00fd d\u011bj v p\u011bti d\u011bjstv\u00edch vypr\u00e1v\u00ed p\u0159\u00edb\u011bh o trag\u00e9dii prince z Denmarku, ze hradu Elsinor v D\u00e1nsku, v po\u010d\u00e1tku 17. stolet\u00ed.

% \\subwection{V\u00fdznam sd\u011blen\u00ed:}

\\wection{LITER\u00c1RN\u00cd HISTORIE}

\\subwection{Politick\u00e1 situace:}
\\noindent
\\textit{Hamlet} byl naps\u00e1n a hr\u00e1n v obdob\u00ed, kdy kr\u00e1lovn\u011b Elizabet\u011b I. bylo kolem \u0161edes\u00e1ti let.
\u0160lo o obdob\u00ed nepokoj\u016f a nejistoty ohledn\u011b koruny, proto\u017ee tr\u016fn nem\u011bl d\u011bdice a kr\u00e1lovna odm\u00edtala jednoho jmenovat.
Poddan\u00ed si o sv\u00e9ho \u010dasu obl\u00edben\u00e9 kr\u00e1lovn\u011b za\u010dali myslet, \u017ee se na star\u00e1 kolena stala slobymyslnou a\u017e nebezpe\u010dnou.
\\textit{Hamlet} p\u0159esn\u011b takov\u00e9ho monarchu popisuje, kr\u00e1li se ned\u00e1 v\u011b\u0159it ohledn\u011b jeho \u00famysl\u016f a princ, n\u00e1sledn\u00edk tr\u016fnu, hraje bl\u00e1zna a aktivn\u011b jde proti kr\u00e1li.
Stejn\u011b jako v \\textit{Shakespearov\u011b} realit\u011b, i v jeho h\u0159e jde o nejist\u00e9 obdob\u00ed, kdy nikdo nev\u00ed, jak bude kr\u00e1lovsk\u00fd rod pokra\u010dovat.

\\subwection{Vlivy na dan\u00e9 d\u00edlo:}
\\noindent
\\textit{Shakespeare} se pro sv\u016fj p\u0159\u00edb\u011bh inspiroval starou norskou legendou.
Stejn\u011b jako u jin\u00fdch sv\u00fdch v\u00fdznamn\u00fdch d\u011bl tedy vzal p\u0159\u00edb\u011bh a ve sv\u00e9m pod\u00e1n\u00ed z n\u011bj ud\u011blal hit.
\\textit{Gesta Danorum}, \u010di \\textit{\u010ciny D\u00e1n\u016f}, jak je \u0161estn\u00e1ctid\u00edln\u00e1 s\u00e9rie napsan\u00e1 \\textit{Saxo Grammaticus} zn\u00e1m\u00e1 u n\u00e1s, popisuje historii D\u00e1nska a knihy t\u0159et\u00ed a \u010dtvrt\u00e1 pojedn\u00e1vaj\u00ed pr\u00e1v\u011b o princi, kter\u00fd se stal p\u0159edlohou pro \\textit{Hamleta}.

\\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}
\\noindent
Drama n\u00e1le\u017e\u00ed k pod\u017e\u00e1nru, pro kter\u00fd tou dobou anglick\u00e9 obecenstvo je\u0161t\u011b nem\u011blo n\u00e1zev a t\u00edm je \\enquote{trag\u00e9die o pomst\u011b} (v angli\u010dtin\u011b \\textit{\\enquote{Revenge tragedy}}).
Jde o~pod\u017e\u00e1nr, kter\u00fd sd\u00edl\u00ed se zn\u00e1mou \\textithl{\u0160pan\u011blskou trag\u00e9di\u00ed}, kter\u00e1 tomuto pod\u017e\u00e1nru dala vzniknout.
Stejn\u011b jako modern\u00ed \\textit{John Wick}, o n\u011bco star\u0161\u00ed \\textit{Kill Bill}, \u010di mnoho nezm\u00edn\u011bn\u00fdch dal\u0161\u00edch d\u011bl, jde o p\u0159\u00edb\u011bh, kdy hrdina, kter\u00fd nen\u00ed z\u00e1\u0159nou uk\u00e1zkou mravn\u00edch z\u00e1sad, p\u0159ijde o milovan\u00e9ho \u010dlov\u011bka a cel\u00fd p\u0159\u00edb\u011bh je o nalezen\u00ed a zabit\u00ed vraha - kdy hrdina v\u011bt\u0161inou p\u0159i dan\u00e9m \u010dinu s\u00e1m um\u00edr\u00e1.
\\textit{Hamlet}, i kdy\u017e vy\u0161el jen asi dek\u00e1du po \\textithl{\u0160pan\u011blsk\u00e9 trag\u00e9dii}, tak sub\u017e\u00e1nr podrobil mnoha ot\u00e1zk\u00e1m.
Hrdina zde zn\u00e1 vraha u\u017e od za\u010d\u00e1tku a nem\u011bl \u017e\u00e1dnou p\u0159ek\u00e1\u017eku v~tom ho zab\u00edt.
P\u0159\u00edb\u011bh mohl ukon\u010dit u\u017e b\u011bhem prvn\u00edch p\u00e1r minut.
M\u00edsto toho p\u0159es monology a hlubok\u00e9 dialogy \u0159e\u0161\u00ed, zda je v pr\u00e1vu, zda to m\u016f\u017ee prov\u00e9st, zda to sm\u00ed prov\u00e9st.

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
\\textit{William Shakespeare} je dodnes pova\u017eov\u00e1n za jednu z nejv\u00fdznamn\u011bj\u0161\u00edch postav anglick\u00e9 historie.
Jeho dramata jsou sv\u011btozn\u00e1m\u00e1, do sv\u00fdch d\u011bl vymyslel spoustu slov a slovn\u00edch spojen\u00ed, kter\u00e1 se pozd\u011bji staly z\u00e1kladem anglick\u00e9ho jazyka. \\\\
\\textit{Shakespearova} tvorba se d\u00e1 zjednodu\u0161en\u011b d\u011blit do t\u0159\u00ed obdob\u00ed jeho \u017eivota.
Prvn\u00ed, co\u017e obsahuje d\u00edla s relativn\u011b nad\u011bjn\u00fdm n\u00e1m\u011btem, pat\u0159\u00ed sem i pr\u00e1v\u011b \\textit{Romeo~a~Julie}.
V dal\u0161\u00edm obdob\u00ed nahrazuje vtip za ironii a optimismus za rozpor sv\u011bta, sem pat\u0159\u00ed i \\textit{Hamlet}.
A posledn\u00ed obdob\u00ed obsahuje p\u0159\u00edb\u011bhy s poh\u00e1dkov\u00fdmi n\u00e1m\u011bty, komedie i trag\u00e9die, z tohoto obdob\u00ed vze\u0161la kup\u0159\u00edkladu \\textit{Zimn\u00ed poh\u00e1dka}.

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi dal\u0161\u00ed v\u00fdznamn\u00e1 d\u00edla pat\u0159\u00ed \\textit{Romeo a Julie}, \\textit{Othello}, \\textit{Sen noci svatoj\u00e1nsk\u00e9} a \\textit{Zimn\u00ed poh\u00e1dka}.

%\\vspace{-0.4cm}
%\\begin{multicols}{2}
\\wection{LITER\u00c1RN\u00cd KRITIKA}

\\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}
\\noindent
P\u0159i prvn\u00edch p\u0159edstaven\u00edch byl \\textit{Hamlet} p\u0159ijat velmi pozitivn\u011b, dle dostupn\u00fdch zdroj\u016f \u0161lo o krvav\u011bj\u0161\u00ed verzi modern\u00edch p\u0159evypr\u00e1v\u011bn\u00ed, ale div\u00e1ci hru milovali.
B\u011bhem 18. stolet\u00ed do\u0161lo ke zm\u011bn\u011b, kritika nar\u016fstala a mnoz\u00ed za\u010dali hru odsuzovat jako vulg\u00e1rn\u00ed a barbarskou, \u017ee p\u016fsob\u00ed jak kdyby byla naps\u00e1na opilcem.
V za\u010d\u00e1tc\u00edch 20. stolet\u00ed se n\u00e1hled za\u010dal zase m\u011bnit.
Lid\u00e9 se na n\u011bj za\u010dali d\u00edvat v\u00edce psychologicky a oce\u0148ovali propracovanost postav.

\\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}
\\noindent
\\textit{Shakespeare} zde poru\u0161il mnoho pravidel \\enquote{spr\u00e1vn\u00e9ho dramatu},
kter\u00e9 tou dobou auto\u0159i uzn\u00e1vali.
Nejv\u00fdznamn\u011bj\u0161\u00edch z nich je nadvl\u00e1da akce nad my\u0161lenkou, kter\u00e9 poru\u0161il soust\u0159ed\u011bn\u00edm se na monology.
Dal\u0161\u00ed auto\u0159i se pr\u00e1v\u011b v t\u00e9to zm\u011bn\u011b narativu inspirovali
a vid\u011bli v tom mo\u017enost d\u00e1t vlastn\u00edm postav\u00e1m v\u011bt\u0161\u00ed hloubku.
\\textit{Hamlet}~i~jako~p\u0159\u00edb\u011bh vyvolal odezvu, jde o d\u00edla psychologick\u00e1,
kter\u00e1 hledaj\u00ed hloubku v jeho \u010dinech, \u010di o d\u00edla adapta\u010dn\u00ed a\u017e epigonick\u00e1,
kter\u00e1 si dala za \u00fakol d\u00e1t hloubku vedlej\u0161\u00edm postav\u00e1m, kter\u00e1 v~origin\u00e1lu pouze roz\u0161i\u0159uj\u00ed Hamletovi motivy. \\\\
Za zm\u00ednku stoj\u00ed \\textit{Ophellia} jako d\u00edlo od \\textithl{Lisi Kleinov\u00e9},
kter\u00e1 si vzala za \u00fakol p\u0159evypr\u00e1v\u011bt p\u0159\u00edb\u011bh z pohledu hrdinky, co podle n\u00ed nem\u011bla tolik \u0161anc\u00ed vyniknout.

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}

\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
P\u0159\u00edb\u011bh samotn\u00fd je pom\u011brn\u011b jednoduch\u00fd, ale pr\u00e1v\u011b osobnost a motiv jednotliv\u00fdch postav je t\u00edm,
v \u010dem u m\u011b p\u0159\u00edb\u011bh vede.
Postavy maj\u00ed uv\u011b\u0159iteln\u00e9 d\u016fvody ke~sv\u00fdm \u010din\u016fm a~pochybuj\u00ed nad jejich spr\u00e1vnost\u00ed.
I samotn\u00fd div\u00e1k tak dost\u00e1v\u00e1 zrcadlo, kdy\u017e je mu p\u0159ednesen rozumn\u00fd n\u00e1zor, kter\u00fd by s\u00e1m v \u00favahu nevzal.
    
%\\end{multicols}
\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\changefontsize{5pt}\\footnotesize
    \\textbfhl{Blankvers --} ner\u00fdmovan\u00fd \\textithl{sylabot\u00f3nick\u00fd}
    (z\u00e1le\u017e\u00ed na po\u010dtu a typu slabik) \\textithl{jambick\u00fd}
    (dvojslabi\u010dn\u00e1 stopa sest\u00e1vaj\u00edc\u00ed z kr\u00e1tk\u00e9 a dlouh\u00e9 slabiky) ver\u0161 o p\u011bti
    \\textithl{stop\u00e1ch} (z\u00e1kladn\u00ed jednotka metra).
    \\textbfhl{Anafora --} opakov\u00e1n\u00ed shodn\u00e9ho slova na za\u010d\u00e1tku ver\u0161\u016f.
    \\textbfhl{Asyndota --} hromad\u011bn\u00ed slov bez u\u017eit\u00ed spojek
    (jeden k\u00e1men dva domy t\u0159i z\u0159\u00edceniny \u010dty\u0159i hrobn\u00edci).
    \\textbfhl{Epigon --} slep\u00e9 n\u00e1sledov\u00e1n\u00ed origin\u00e1lu, dle ur\u010dit\u00fdch zdroj\u016f se od adaptace
    a p\u0159evypr\u00e1v\u011bn\u00ed li\u0161\u00ed jen men\u0161\u00edm mno\u017estv\u00edm originality.
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\drama{Romeo a Julie}{WILLIAM SHAKESPEARE}[TODO][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.25\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
\\noindent \\textit{Jul.} Ach, \u017eel! \\\\
\\textit{Rom.} Te\u010f mluv\u00ed! -- Promluv poznovu, \\par
\u00f3 jasn\u00fd and\u011ble! -- neb nad hlavou \\par
mi vystupuje\u0161 z\u00e1\u0159n\u00e1 z no\u010dn\u00ed tmy, \\par
jak ok\u0159\u00eddlen\u00fd posel nebesk\u00fd \\par
v sloup obr\u00e1cen\u00fdm o\u010d\u00edm \u017easnouc\u00edch \\par
smrteln\u00fdch lid\u00ed, padaj\u00edc\u00edch na znak, \\par
by d\u00edvali se na\u0148, jak osedlal \\par
si leniv\u011b plynouc\u00ed oblaky \\par
a po nebesk\u00fdch \u0148adrech vesluje. \\\\
\\textit{Jul.} Romeo, \u00d3 Romeo! -- pro\u010d's Romeo? \\par
Sv\u00e9 jm\u00e9no zap\u0159i, otce z\u0159ekni se, \\par
neb, nechce\u0161-li, mn\u011b l\u00e1sku p\u0159\u00edsahej, \\par
a nechci d\u00e1l b\u00fdt Capuletova. \\\\
\\textit{Rom.} (stranou). M\u00e1m d\u00e1le naslouchat, \\par 
\u010di, promluvit? \\\\
\\textit{Jul.} Jen jm\u00e9no tv\u00e9 m\u00fdm nep\u0159\u00edtelem jest; \\par
ty's jen ty s\u00e1m a nejsi Montekem. \\par
Co jest to Montek? ruka, ani noha, \\par
ni pa\u017e, ni tv\u00e1\u0159, ni jin\u00e1 \u010d\u00e1st, je\u017e vlastn\u00ed \\par
jest \u010dlov\u011bku. \u00d3, jin\u00e9 jm\u00e9no m\u011bj! \\par
Co jest to jm\u00e9no? To, co r\u016f\u017e\u00ed zvem, \\par
pod jin\u00fdm jm\u00e9nem sladce von\u011blo \\par
by zrovna tak. A tak Romeem nezv\u00e1n, \\par
Romeo podr\u017eel by ve\u0161kerou \\par
tu vz\u00e1cnou dokonalost, kterou m\u00e1 \\par
bez toho jm\u00e9na. -- Odlo\u017e jm\u00e9no sv\u00e9, \\par
a za sv\u00e9 jm\u00e9no, je\u017e tvou \u010d\u00e1st\u00ed nen\u00ed, \\par
mne vezmi celou. \\\\
\\textit{Rom.} Za slovo t\u011b beru. \\par
Jen l\u00e1skou svou mne zvi a na novo \\par
tak budu pok\u0159t\u011bn; od t\u00e9 chv\u00edle d\u00e1l \\par
Romeo nechci b\u00fdti nikdy v\u00edc. 
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{Romeo Montek --} teenager, nejmlad\u0161\u00ed potomek rodu Montek\u016f,  \\\\
\\textsc{Julie Kapuletov\u00e1 --} mlad\u0161\u00ed ne\u017e Romeo, mlad\u00e1 sle\u010dna, co se zamiluje do Romea, \\\\
\\textsc{Tybalt --} xXx \\\\
\\textsc{Merkucio --} xXx \\\\
\\textsc{kn\u011bz --} xXx \\\\
\\textsc{ch\u016fva --} xXx

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
\\textit{William Shakespeare} je dodnes pova\u017eov\u00e1n za jednu z nejv\u00fdznamn\u011bj\u0161\u00edch postav anglick\u00e9 historie.
Jeho dramata jsou sv\u011btozn\u00e1m\u00e1, do sv\u00fdch d\u011bl vymyslel spoustu slov a slovn\u00edch spojen\u00ed,
kter\u00e9 se pozd\u011bji stali z\u00e1kladem anglick\u00e9ho jazyka. \\\\
Shakespearova tvorba se d\u011bl\u00ed do t\u0159\u00ed obdob\u00ed jeho \u017eivota.
Prvotn\u00ed, co\u017e obsahuje d\u00edla s relativn\u011b nad\u011bjn\u00fdm n\u00e1m\u011btem, pat\u0159\u00ed sem i pr\u00e1v\u011b \\textit{Romeo a Julie}.
V dal\u0161\u00edm obdob\u00ed nahrazuje vtip za ironii a optimismus za rozpor sv\u011bta, sem pat\u0159\u00ed i \\textit{Hamlet}.
A posledn\u00ed obdob\u00ed obsahuje p\u0159\u00edb\u011bhy s poh\u00e1dkov\u00fdmi n\u00e1m\u011bty, komedie i trag\u00e9die,
z tohoto obdob\u00ed vze\u0161la kup\u0159\u00edkladu \\textit{Zimn\u00ed poh\u00e1dka}.

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi dal\u0161\u00ed v\u00fdznamn\u00e1 d\u00edla pat\u0159\u00ed \\textit{Hamlet}, \\textit{Othello}, \\textit{Sen noci svatoj\u00e1nsk\u00e9}
a \\textit{Zimn\u00ed poh\u00e1dka}.

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

% --------------------------------------------------
% \u010c \u00c1 S T   D R U H \u00c1
% --------------------------------------------------

\\newpage

\\bigsection{Sv\u011btov\u00e1 a \u010desk\u00e1 literatura 19. stolet\u00ed}[min. 3 liter\u00e1rn\u00ed d\u00edla]

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{7pt}

\\poezie{Havran}{EDGAR ALLAN POE}[REDO]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
\\begin{center}
\\noindent
Vyrazil jsem okenici, kdy\u017e tu s velkou motanic\u00ed \\\\
vstoupil starod\u00e1vn\u00fd havran z dob, je\u017e jsou tak z\u00e1slu\u017en\u00e9; \\\\
bez poklony, bez v\u00e1h\u00e1n\u00ed, vzne\u0161en\u011b jak p\u00e1n \u010di pan\u00ed \\\\
usadil se znenad\u00e1n\u00ed v p\u00f3ze velmi v\u00fdhru\u017en\u00e9 \\\\
na poprs\u00ed Pallady - a v p\u00f3ze velmi v\u00fdhru\u017en\u00e9 \\\\
si sedl jen a v\u00edc u\u017e ne. 
\\end{center}
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent 
Lyricko-epick\u00e1 b\u00e1se\u0148, sp\u00ed\u0161e balada.

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
Jedn\u00e1 se o kr\u00e1tkou barvitou b\u00e1se\u0148, kdy autor u\u017e\u00edv\u00e1 popis\u016f pro navozen\u00ed atmosf\u00e9ry temn\u00e9ho pokoje.
Je zde kontrast mezi klidn\u00fdm pokojem a bou\u0159\u00ed za okny.
I p\u0159es kr\u00e1tkost b\u00e1sn\u011b se autorovi da\u0159\u00ed bravurn\u011b popsat atmosf\u00e9ru i psychick\u00e9 rozpolo\u017een\u00ed hlavn\u00ed postavy,
kter\u00e1 je prom\u00edtnut\u00edm samotn\u00e9ho autora.

\\subwection{Postavy:} 
\\noindent
\\textschl{Vyprav\u011b\u010d --} Autor s\u00e1m, truchl\u00ed nad smrt\u00ed Lenory, sv\u00e9 milovan\u00e9,
stejn\u011b jako autor truchlil nad smrt\u00ed sv\u00e9 \u017eeny.\\\\
\\textschl{Havran --} Tajemn\u00fd pt\u00e1k, co p\u0159ilet\u00ed z bou\u0159liv\u00e9 noci a opakuje jedno slovo,
kter\u00e9 ho klidn\u011b mohl nau\u010dit majitel, \\enquote{nevermore}
(v p\u0159ekladu jde v\u011bt\u0161inou o dvou \u010di t\u0159\u00ed slovn\u00ed fr\u00e1zi, v m\u00e9 verzi \\enquote{nikdy v\u00edce}).
Jak autor propad\u00e1 ve sv\u00fdch my\u0161lenk\u00e1ch hloub\u0161 a hloub\u0161, p\u0159ipisuje havranov\u00fdm slov\u016fm v\u011bt\u0161\u00ed a v\u011bt\u0161\u00ed smysl.\\\\
\\textschl{Lenora --} Mrtv\u00e1 milenka, nen\u00ed zde o n\u00ed moc \u0159e\u010deno, ne\u017e to, \u017ee nad n\u00ed hlavn\u00ed postava truchl\u00ed.

\\subwection{D\u011bj:}
{\\setlength{\\parindent}{0pt}\\setlength{\\parskip}{0.5em}
\\noindent Ocit\u00e1me se v pokoji u\u010dence, star\u00e9ho mu\u017ee, kter\u00e9ho tr\u00e1p\u00ed ztr\u00e1ta milenky
a sna\u017e\u00ed se zapomenout s nosem v kn\u00ed\u017ece. Zat\u00edmco je mu\u017e uvnit\u0159 sv\u00e9ho mal\u00e9ho kruhu m\u00edru,
tak za okny zu\u0159\u00ed bou\u0159ka.\\\\
\u0164uk, \u0165uk, \u0165uk. Mu\u017ee z dlen\u00ed vytrhne za\u0165uk\u00e1n\u00ed, polek\u00e1 se, racion\u00e1ln\u011b se sna\u017e\u00ed p\u0159esv\u011bd\u010dit,
\u017ee o nic nejde, jde otev\u0159\u00edt dve\u0159e a tam nikdo.\\\\
\u0164uk, \u0165uk, \u0165uk. Zlov\u011bstn\u00e9 za\u0165uk\u00e1n\u00ed bez p\u016fvodu. Mu\u017e otev\u00edr\u00e1 okenici,
\u010d\u00edm\u017e je jeho klid naru\u0161en u\u017e ni\u010d\u00edm nezjemn\u011bnou bou\u0159\u00ed.
Z tohoto nehezk\u00e9ho prost\u0159ed\u00ed do pokoje vl\u00e9t\u00e1 Havran.
(V origin\u00e1le Krkavec, ale p\u0159ekladatel\u00e9 se rozhodli, \u017ee nev\u00edme, co krkavec je
a \u017ee havran je u n\u00e1s v\u00edce v pov\u011bdom\u00ed jako stvo\u0159en\u00ed Satanovo, \u010deho\u017e autor se sna\u017e\u00ed doc\u00edlit.
Nev\u00edme, zda byl posl\u00e1n z druh\u00e9 strany, zda jenom blouzn\u00edme ze zma\u0159en\u00e9 l\u00e1sky spole\u010dn\u011b s autorem,
\u010di zda k n\u00e1m opravdu p\u0159i\u0161el posel se zpr\u00e1vou. Havran, i p\u0159es ve\u0161kerou symboliku, m\u016f\u017ee b\u00fdt jen pt\u00e1kem,
kter\u00fd se cht\u011bl j\u00edt schovat do tepl\u00e9ho p\u0159\u00edbytku p\u0159ed bou\u0159\u00ed. Tak\u00e9 ale mohl mu\u017ei p\u0159in\u00e9st d\u016fle\u017eitou zpr\u00e1vu.)
Havran se usad\u00ed na poprs\u00ed Pallady (socha Pallas Ath\u00e9ny) co\u017e mu\u017ei p\u0159ipad\u00e1 ironick\u00e9 a i se tomu zasm\u011bje.
Dal\u0161\u00ed v\u00e1rka symbolismu.\\\\
Mu\u017e se pt\u00e1 na r\u016fzn\u00e9 ot\u00e1zky, kdy v\u017edy dostane odpov\u011b\u010f z\u00e1pornou a kone\u010dnou, \\enquote{nevermore}.
Pt\u00e1 se d\u00e1l, kdy v\u017edy dost\u00e1v\u00e1 stejnou odpov\u011b\u010f a propad\u00e1 \u010d\u00edm d\u00e1l t\u00edm hloub\u0161 do sebe tr\u00fdzn\u011b.
}

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
B\u00e1se\u0148 o kr\u00e1tk\u00e9m \u010dasov\u00e9m obdob\u00ed, ps\u00e1na chronologicky. 18 slok a pouze 108 ver\u0161\u016f.
Jde-li skute\u010dn\u011b o prakticky auto-biografii, vyps\u00e1n\u00ed z depres\u00ed b\u00e1sn\u00edka, tak by se b\u00e1se\u0148 odehr\u00e1vala
v devaten\u00e1ct\u00e9m stolet\u00ed.

% \\subwection{V\u00fdznam sd\u011blen\u00ed:}

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Edgar Allan Poe {\\ssmall -- \u017eivot autora:}}
\\noindent 
Autor vedl celkem b\u00eddn\u00fd \u017eivot.
Otec alkoholik se na n\u011b vyka\u0161lal, matka zem\u0159ela, kdy\u017e byl mlad\u00fd.
Byl um\u00edst\u011bn do d\u011btstk\u00e9ho domova, odkud si ho p\u0159evzal bohat\u00fd obchodn\u00edk a umo\u017enil mu studium.
P\u00e1r let \u017eili spolu i v Anglii, kter\u00e1 se mu mnohokr\u00e1t stala inspirac\u00ed pro svoj\u00ed pr\u00e1ci.
D\u00edky sv\u00e9 povaze a mo\u017en\u00e1 i vzpom\u00ednk\u00e1ch byl v\u0161ak vysoce nevyrovnan\u00fd.
Propadal hr\u00e1\u010dstv\u00ed a z\u00e1vislostem, i kdy\u017e i za \u017eivota sklidil sl\u00e1vu, tak nikdy nebyl p\u0159\u00edmo bohat\u00fd.
Nejsp\u00ed\u0161 i toto mu pomohlo napsat jeho skvosty.\\\\
Edgar Allan Poe byl i kritizov\u00e1n za sv\u00e9 man\u017eelstv\u00ed se svoj\u00ed sest\u0159enic\u00ed.
V dob\u011b svatby jemu bylo sedmadvacet a j\u00ed t\u0159in\u00e1ct.
Dle ur\u010dit\u00fdch zdroj\u016f se jejich vztah podobal sp\u00ed\u0161e sourozeneck\u00e9mu ne\u017e man\u017eelsk\u00e9mu.
Virginia Poe zem\u0159ela mlad\u00e1 na nemoc.

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent Mezi dal\u0161\u00ed autorovu tvorbu pat\u0159\u00ed \\textsc{Rukopis nalezen\u00fd v l\u00e1hvi},
\\textsc{Filozofie b\u00e1snick\u00e9 skladby} a \\textsc{P\u0159\u00edb\u011bhy Arthura Gordona Pyma z Nantucketu}.

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
Havran je bravurn\u011b zpracovanou b\u00e1sn\u00ed, kter\u00e1 zvl\u00e1d\u00e1 dokonale obrazutvornost. I t\u00fddny po p\u0159e\u010dten\u00ed si jsem schopen vybavit pochmurnost b\u00e1sn\u00edkova pokoje a jak jsem souc\u00edtil s jeho tr\u00e1pen\u00edm, kter\u00e9 jsem ani neza\u017eil.

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{7pt}

\\poezie{Kytice}{KAREL JAROM\u00cdR ERBEN}[REDO]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
Pro uk\u00e1zku jsem vybral \\textsc{Z\u00e1ho\u0159ovo lo\u017ee}
\\begin{center}
\\noindent
Rozl\u00edtil se satan a v zlosti sv\u00e9 vel\u00ed: \\\\
\u201eVykoupejte jeho v pekeln\u00e9 koupeli!\u201c \\\\
U\u010dinila rota dle jeho rozkazu, \\\\
p\u0159ipravila l\u00e1ze\u0148 z ohn\u011b a mrazu: \\\\
z jedn\u00e9 strany ho\u0159\u00ed jako uhel vz\u0148at\u00fd, \\\\
z druh\u00e9 strany mrzne v k\u00e1men ledovat\u00fd; \\\\
a kdy\u017e vid\u00ed rota m\u00edru napln\u011bnu, \\\\
obrac\u00ed zmrzlinu opak do plamen\u016f. \\\\
Stra\u0161liv\u011b \u0159ve \u010f\u00e1bel, jako had se sv\u00edj\u00ed, \\\\
a ho pak ji\u017e smysl i cit pom\u00edj\u00ed. \\\\
Tu pokynul satan, rota odstoupila, \\\\
a s\u00edla zas nov\u00e1 \u010f\u00e1bla o\u017eivila. \\\\
Ale kdy\u017e propu\u0161t\u011bn op\u011bt d\u00fd\u0161e lehce, \\\\
krv\u00ed psan\u00e9 bl\u00e1ny p\u0159ec vydati nechce. -
\\end{center}
\\vspace{3em}
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent 
Lyrickoepick\u00e1 skladba b\u00e1sn\u00ed.
\u017d\u00e1nrov\u011b jsou ka\u017ed\u00e1 origin\u00e1l,
tedy p\u0159\u00edb\u011bhy jako \\textsc{Zlat\u00fd kolovrat} jsou sp\u00ed\u0161e balady,
\\textsc{V\u011b\u0161\u0165kyn\u011b} je jasn\u00e1 pov\u011bst
a \\textsc{Z\u00e1ho\u0159ovo lo\u017ee} je legendou.
Cel\u00e1 \\textsc{Kytice}, ne~jenom prvn\u00ed b\u00e1se\u0148 stejn\u00e9ho jm\u00e9na, je d\u00edlem poezijn\u00edm.
Soubor dvan\u00e1cti d\u011bl (plus \\textsc{Lilie}, ta~se~ud\u00e1v\u00e1 zvl\u00e1\u0161\u0165, kv\u016fli sv\u00e9mu zvl\u00e1\u0161tn\u00edmu stavu).

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

\\subwection{Jazyk a slovn\u00ed z\u00e1soba:}
\\noindent
\u00dasporn\u00fd jazyk, kter\u00fd zde bud\u00ed nap\u011bt\u00ed, je tak\u00e9 jedn\u00edm z hlavn\u00edch rys\u016f balad. Epick\u00fd p\u0159\u00edb\u011bh je ps\u00e1n sp\u00ed\u0161e krat\u0161\u00edmi v\u011btami. Citoslovce zde nahrazuj\u00ed slovesa. B\u00e1sn\u011b jsou ps\u00e1ny gn\u00f3nick\u00fdm ver\u0161em. \\\\
{\\small
\\textbfhl{Zvukomalba} -- \\textsc{Vodn\u00edk}, \\enquote{a na to pole podle skal zelen\u00fd mu\u017e\u00edk zatleskal.} \\\\
\\textbfhl{Epiteton} -- \\textsc{Kytice}, \\enquote{Ve skrovnou kytici j\u00e1 t\u011b zav\u00e1\u017eu, ozdobn\u011b stu\u017ekou ovinu.} \\\\
\\textbfhl{Anafora} -- \\textsc{Zlat\u00fd kolovrat}, \\enquote{Kde's m\u00e1 Dorni\u010dko! Kde jsi? Kde Jsi?
Kde's m\u00e1 roztomil\u00e1?}\\\\
\\textbfhl{Epifora} -- \\textsc{Svatebn\u00ed ko\u0161ile}, \\enquote{Co to m\u00e1\u0161 na t\u00e9 tkani\u010dce,
na krku na t\u00e9 tkani\u010dce?}\\\\
\\textbfhl{Epizeuxis} -- \\textsc{Holoubek}, \\enquote{B\u011b\u017e\u00ed \u010dasy, b\u011b\u017e\u00ed,
V\u0161ecko sebou m\u011bn\u00ed.}\\\\
\\textbfhl{Apostrofa} -- \\textsc{Kytice}, \\enquote{Mate\u0159\u00ed-dou\u0161ko vlasti na\u0161\u00ed mil\u00e9,
Vy prost\u00e9 na\u0161e pov\u011bsti.}\\\\
\\textbfhl{Metafora} -- \\textsc{Vodn\u00edk}, \\enquote{ale k\u016fra srdce tv\u00e9ho
ni\u010d\u00edm neobm\u011bkla!}\\\\
\\textbfhl{Metonymie} -- \\textsc{Vodn\u00edk}, \\enquote{Mladosti m\u00e9 jar\u00fd \u0161t\u011bp
p\u0159elomil jsi v p\u016fli.}\\\\
\\textbfhl{Personifikace} -- \\textsc{Vodn\u00edk}, \\enquote{B\u00edl\u00e9 \u0161ati\u010dky smutek taj\u00ed,
v perl\u00e1ch se slzy ukr\u00fdvaj\u00ed.}\\\\
\\textbfhl{P\u0159irovn\u00e1n\u00ed} -- \\textsc{Vodn\u00edk}, \\enquote{v sukni\u010dku jako z vodn\u00edch perel,
necho\u010f, dceru\u0161ko, k vod\u011b ven.}\\\\
}
% \\subwection{Figury:}

% \\subwection{Tropy:}
\\vspace{-1em}
\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
R\u00fdmovan\u00fd text. Autor jednotliv\u00e9 \u010d\u00e1sti rozd\u011blil do pozic tak, \u017ei vznikla zrcadlov\u00e1 soum\u011brnost vlastnost\u00ed. Tedy \\textsc{Kytice} a \\textsc{V\u011b\u0161tkyn\u011b} jsou o nad\u011bji, \\textsc{Polednice} a~\\textsc{Vodn\u00edk} o nadp\u0159irozen\u00fdch bytostech, kter\u00e9 p\u016fsob\u00ed z\u00e1porn\u011b, \\textsc{Poklad} a \\textsc{Dce\u0159ina kletba} jsou o naru\u0161en\u00ed vztahu mezi matkou a d\u00edt\u011btem, \\textsc{Svatebn\u00ed ko\u0161ile} a \\textsc{Vrba} o ur\u010dit\u00e9 p\u0159em\u011bn\u011b \u010dlov\u011bka, \\textsc{Zlat\u00fd kolovrat} a~\\textsc{Z\u00e1ho\u0159ovo lo\u017ee} maj\u00ed hned n\u011bkolik spole\u010dn\u00e9ho; vina, pok\u00e1n\u00ed, vykoupen\u00ed; \\textsc{\u0160t\u011bdr\u00fd den} a \\textsc{Holoubek} jsou o~l\u00e1sce a~smrti, \\textsc{Lilie} se pak n\u011bkdy d\u00e1v\u00e1 na m\u00edsto \\textsc{Vrby}, kde tak\u00e9 napl\u0148uje p\u0159\u00edb\u011bh o prom\u011bn\u011b \u010dlov\u011bka, ale zpravidla se do t\u00e9to dvojice nezapo\u010d\u00edt\u00e1v\u00e1. Zrovna \\textsc{Holoubek} je z\u00e1rove\u0148 p\u0159esn\u011b v polovin\u011b, k \u010demu\u017e mu dopom\u00e1h\u00e1 bonusov\u00e1 t\u0159in\u00e1ct\u00e1 pov\u00eddka a p\u0159edstavuje pomysln\u00fd p\u0159echod mezi nov\u00fdmi a star\u00fdmi pov\u011bstmi.

% \\subwection{Postavy:} 


\\subwection{D\u011bj:}
{\\setlength{\\parindent}{5pt}
\\textschl{Kytice} je p\u0159\u00edb\u011bh o nad\u011bji. Matka zem\u0159e, d\u011bti j\u00ed oplak\u00e1vaj\u00ed, tak se matka p\u0159em\u011bn\u00ed na mate\u0159\u00eddou\u0161kum aby jim mohla nad\u00e1le b\u00fdt na bl\u00edzku a mysticky ochra\u0148ovat.

\\textschl{Svatebn\u00ed ko\u0161ile} p\u0159edstavuje klasick\u00e9 pou\u010den\u00ed \\enquote{Dej si pozor, co si p\u0159eje\u0161, mohlo by se ti to splnit}. D\u00edvka se modl\u00ed k pan\u011b Marii za sv\u00e9ho mil\u00e9ho, kter\u00fd ode\u0161el do v\u00e1lky a kter\u00e9ho si cht\u011bla vz\u00edt. Mil\u00fd za\u0165ukal na dve\u0159e a vede j\u00ed do kostela. Na cest\u011b j\u00ed nut\u00ed se z\u0159\u00edct Boha a v\u00edry, hned n\u011bkolika zp\u016fsoby. Ona v\u017edy poslu\u0161n\u011b spln\u00ed, jak \u017e\u00e1d\u00e1, s vidinou svatby. Nakonec j\u00ed v\u0161ak dojde, co se d\u011bje a p\u0159ed sv\u00fdm nemrtv\u00fdm snoubencem se schov\u00e1v\u00e1 v kostele. Tady je~je\u0161t\u011b men\u0161\u00ed z\u00e1pas dobra se zlem, kdy se d\u00edvka a snoubenec oba sna\u017e\u00ed p\u0159esv\u011bd\u010dit mrtvolu v kostele k poslu\u0161nosti. Nemrtv\u00fd k oddanosti a panna \u017e\u00e1d\u00e1 Boha, aby ho nechal sp\u00e1t.

\\textschl{Vodn\u00edk} D\u00edvka i p\u0159es mat\u010diny varov\u00e1n\u00ed jde k rybn\u00edku, kde j\u00ed chyt\u00ed vodn\u00edk a veme si j\u00ed za \u017eenu. D\u00edvka mu porod\u00ed d\u00edt\u011b, ale st\u00e1le je nespokojen\u00e1. \u017d\u00e1d\u00e1 ho, aby~se~mohla naposledy vid\u011bt s maminkou. Vodn\u00edk nakonec vyhov\u00ed, ale~matka dceru p\u0159esv\u011bd\u010d\u00ed, aby se u\u017e nevracela. Vodn\u00edk bur\u00e1c\u00ed, vyhro\u017euje, ale~d\u00edvka se~nevrac\u00ed. Tak j\u00ed jako posledn\u00ed rozlou\u010den\u00ed nech\u00e1 p\u0159ede dve\u0159mi d\u00edt\u011b ve dv\u00ed.

\\textschl{Z\u00e1ho\u0159ovo Lo\u017ee} je druhou nejdel\u0161\u00ed b\u00e1sn\u00ed ve sb\u00edrce. Mlad\u00edk byl otcem zaprod\u00e1n \u010f\u00e1blu. S v\u00edrou v Boha se tak dyv\u00e1v\u00e1 na cestu do pekla. Na t\u00e9to cest\u011b potk\u00e1v\u00e1 Z\u00e1ho\u0159e, velk\u00e9ho loupe\u017en\u00edka, kter\u00fd zabil v\u0161echny pocestn\u00e9 p\u0159ed n\u00edm. Mlad\u00edk se s n\u00edm domluv\u00ed, \u017ee kdy\u017e ho nech\u00e1 j\u00edt, tak mu povypr\u00e1v\u00ed, jak\u00e9 je~to~v~pekle. Po roce se setk\u00e1vaj\u00ed a mlad\u00edk vypr\u00e1v\u00ed, jak s\u00e1m Satan p\u0159i v\u00fdhru\u017ece k\u0159\u00ed\u017eem rozk\u00e1zal \u010f\u00e1blu listinu vydat. Ten odm\u00edtl i po mu\u010den\u00ed. A\u017e~nakonec Satan rozk\u00e1zal k n\u011b\u010demu, zvan\u00e9 \\enquote{lo\u017ee Z\u00e1ho\u0159ovo}. Loupe\u017en\u00edk se zd\u011bs\u00ed a odhaluje, \u017ee to on je Z\u00e1ho\u0159, pro kter\u00e9ho u\u017e tedy v pekle maj\u00ed p\u0159ichystan\u00e9 nejhor\u0161\u00ed mu\u010den\u00ed ze v\u0161ech. V\u0161ak i \u010f\u00e1bel, kter\u00fd vydr\u017eel do t\u00e9 doby v\u0161echno, se zd\u011bsil a \u00fapis vydal. Mlad\u00edk mu rad\u00ed, a\u0165 se d\u00e1 na v\u00edru v Boha a pros\u00ed o odpu\u0161t\u011bn\u00ed. Tak\u00e9 zaraz\u00ed jeho kyj do zem\u011b a na\u0159izuje, a\u0165 se kaje u toho kyje. Po letech se tam vrac\u00ed jako biskup, Z\u00e1ho\u0159 se mezit\u00edm prom\u011bnil v~pa\u0159ez. O\u017eiv\u00e1 p\u0159i~pohledu na mlad\u00edka, kter\u00fd u\u017e nen\u00ed mlad\u00edkem a t\u00edm jejich cesty kon\u010d\u00ed dal\u0161\u00edm shled\u00e1n\u00edm. Jejich t\u011bla se rozpadnou v prach a jejich du\u0161e se zm\u011bn\u00ed v b\u00edl\u00e9 holubice sm\u011b\u0159uj\u00edc\u00ed k nebi.
}\\\\

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
\u017d\u00e1dn\u00fd z p\u0159\u00edb\u011bh\u016f nem\u00e1 p\u0159esn\u011b ur\u010den\u00e9 obdob\u00ed ani m\u00edsto d\u011bje. I kdy\u017e v\u011bt\u0161ina se aspo\u0148 \u010d\u00e1ste\u010dn\u011b odehr\u00e1v\u00e1 na vesnici.

% \\subwection{V\u00fdznam sd\u011blen\u00ed:}

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Karel Jarom\u00edr Erben {\\ssmall -- \u017eivot autora:}}
\\noindent 
Vystudoval filozofii a pr\u00e1va, sna\u017eil se o obnovu \u010desk\u00e9ho ducha, tak sepisoval \u010desk\u00e9 pov\u011bsti. Tak\u00e9 usiloval o rovnopr\u00e1vnost s N\u011bmci. \u010cesk\u00e9 pov\u011bsti sb\u00edral na venkov\u011b, kam s\u00e1m r\u00e1d jezdil.

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent Mezi dal\u0161\u00ed autorovu tvorbu pat\u0159\u00ed \\textsc{Sto proston\u00e1rodn\u00edch poh\u00e1dek a pov\u011bst\u00ed slovansk\u00fdch v n\u00e1\u0159e\u010d\u00edch p\u016fvodn\u00edch}, \\textsc{\u010ce\u0161k\u00e9 poh\u00e1dky} a \\textsc{Vybran\u00e9 b\u00e1je a pov\u011bsti n\u00e1rodn\u00ed jin\u00fdch v\u011btv\u00ed slovansk\u00fdch}.

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
Kytice, i kdy\u017e bravurn\u011b napsan\u00e1 a jednotliv\u00e9 balady jsou velice poutav\u00e9, je je\u0161t\u011b zaj\u00edmav\u011bj\u0161\u00ed z historick\u00e9ho hlediska. P\u0159\u00edb\u011bhy jsou o individu\u00e1ln\u00ed vin\u011b a ur\u010dit\u00e9m nadp\u0159irozen\u00e9m, nep\u0159im\u011b\u0159en\u00e9m trestu, co\u017e je velice poutav\u00e1 z\u00e1pletka, kter\u00e1 funguje.

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\changefontsize{7pt}
    \\footnotesize
    \\textschl{Legenda} je p\u0159\u00edb\u011bh sv\u011btce, v \u010desk\u00fdch zem\u00edch je v\u00fdznam legendy \u00fazce spjat s katolick\u00fdmi p\u0159\u00edb\u011bhy o svat\u00edch mu\u017e\u00edch a jejich legend\u00e1rn\u00edch \u010dinnech. Jinak celosv\u011btov\u011b je defini\u010dn\u011b bl\u00ed\u017ee pov\u011bsti.
    \\textschl{Pov\u011bst} je p\u0159\u00edb\u011bh, kter\u00fd m\u016f\u017ee b\u00fdt zalo\u017een na pravd\u011b (vyprav\u011b\u010d tomu alespo\u0148 v\u011b\u0159\u00ed), m\u00e1 bl\u00edzko legend\u011b i poh\u00e1dce (ta ale na pravd\u011b zalo\u017een\u00e1 neb\u00fdv\u00e1). D\u00edky tomu, \u017ee pov\u011bsti jsou \u010dasto o \u010dinech sedl\u00e1k\u016f na vesnici je nemo\u017en\u00e9 dostopovat jejich p\u016fvod a zjistit, zda skute\u010dn\u011b re\u00e1ln\u00fd z\u00e1klad maj\u00ed.
    \\textschl{Balada} je dal\u0161\u00edm druhem p\u0159\u00edb\u011bhu, kter\u00fd se vyzna\u010duje ur\u010ditou ponurost\u00ed a v\u011bt\u0161inou ne\u0161\u0165astn\u00fdm koncem. \\\\
    \\textschl{Zvukomalba} je hl\u00e1skov\u00e1 n\u00e1podoba existuj\u00edc\u00edho zvuku, nej\u010dast\u011bji citoslovce, \\enquote{kykyryk\u00fd}.
    \\textschl{Epiteton} varianty \\textit{constans} pro ust\u00e1len\u00e9 p\u0159irovn\u00e1n\u00ed jako \\enquote{zelen\u00fd h\u00e1j} a \\textit{ornans} pro ozdobn\u00e9 p\u0159irovn\u00e1n\u00ed jako \\enquote{zem\u0159el\u00e1 slova}.
    \\textschl{Anafora} spo\u010d\u00edv\u00e1 v opakov\u00e1n\u00ed slov, \u010di slovn\u00edch spojen\u00ed na za\u010d\u00e1tku, proto \\textit{znovuuveden\u00ed}.
    \\textschl{Epifora} spo\u010d\u00edv\u00e1 v opakov\u00e1n\u00ed slov, \u010di slovn\u00edch spojen\u00ed na konci, opak anafory.
    \\textschl{Epizeuxis} spo\u010d\u00edv\u00e1 v opakov\u00e1n\u00ed slov, \u010di slovn\u00edch spojen\u00ed hned po sob\u011b, \\textit{p\u0159ipojen\u00ed}.
    \\textschl{Apostrofa} osloven\u00ed jin\u00e9ho div\u00e1ka, ne\u017e b\u011b\u017en\u00e9ho, k nep\u0159\u00edtomn\u00e9 \u010di zem\u0159el\u00e9 osob\u011b, ne\u017eiv\u00e9 v\u011bci.
    \\textschl{Metafora} p\u0159en\u00e1\u0161en\u00ed v\u00fdznamu na z\u00e1klad\u011b vn\u011bj\u0161\u00ed podobnosti, t\u0159eba \\enquote{zub pily}, \u010di \\enquote{kapka \u0161t\u011bst\u00ed}.
    \\textschl{Metonymie} p\u0159en\u00e1\u0161en\u00ed v\u00fdznamu na z\u00e1klad\u011b jin\u00e9, ne\u017e vn\u011bj\u0161\u00ed podobnosti, tedy \\enquote{str\u00e1\u017e -- st\u0159e\u017een\u00ed}, \\enquote{cestuj\u00edc\u00ed} a \\enquote{\\textit{Praha} to neschv\u00e1lila}.
    \\textschl{Personifikace}, \\textit{zosobn\u011bn\u00ed}, nejobecn\u011bji p\u0159enos lidsk\u00fdch vlastnost\u00ed na jin\u00e9, ne\u017e lidsk\u00e9 bytosti, \u010di humanoidn\u00ed zev\u0159en\u00ed abstraktn\u00edch pojm\u016f.
    \\textschl{P\u0159irovn\u00e1n\u00ed} dvou subjekt\u016f na z\u00e1klad\u011b ur\u010dit\u00e9 vlastnosti.
    \\textschl{Gn\u00f3mick\u00fd}, nad\u010dasov\u00fd, aktu\u00e1ln\u00ed, nem\u011bnn\u00fd, nepodl\u00e9haj\u00edc\u00ed zm\u011bn\u00e1m v \u010dase.
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Zlo\u010din a trest}{FJODOR MICHALJEVI\u010c DOSTOJEVSKIJ}

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
\\textbfhl{\u00dader dolehl p\u0159\u00edmo na temeno}, jej\u00ed mal\u00fd vzr\u016fst tomu jen napomohl.
Vyk\u0159ikla, ale docela slabounce, a znenad\u00e1n\u00ed se schoulila k~podlaze,
a\u010dkoliv je\u0161t\u011b sta\u010dila zdvihnout ob\u011b ruce.
V jedn\u00e9 po\u0159\u00e1d je\u0161t\u011b sv\u00edrala \u201ez\u00e1stavu\u201c.
Tu \\texthl{ude\u0159il v\u0161\u00ed silou je\u0161t\u011b jednou}, zase tup\u00fdm koncem a zase do temene.
Krev vychl\u00edstla jako z p\u0159evr\u017een\u00e9 \u010d\u00ed\u0161e a t\u011blo se~zvr\u00e1tilo naznak.
Couvl p\u0159ed padaj\u00edc\u00edm t\u011blem a~ihned se sklonil k jej\u00ed tv\u00e1\u0159i; \\textbf{byla u\u017e mrtv\u00e1}.
O\u010di byly vyt\u0159e\u0161t\u011bn\u00e9, jako by~cht\u011bly vyl\u00e9zt z d\u016flk\u016f,
\u010delo a~cel\u00fd obli\u010dej m\u011bla svra\u0161t\u011bl\u00fd a~zk\u0159iven\u00fd k\u0159e\u010d\u00ed.\\\\
Polo\u017eil sekyru na zem vedle mrtv\u00e9 a~rychle, ale~opatrn\u011b,
aby~se~nepot\u0159\u00edsnil pr\u00fd\u0161t\u00edc\u00ed krv\u00ed, str\u010dil ruku sta\u0159en\u011b do kapsy,
do~prav\u00e9 kapsy, z~n\u00ed\u017e minule vyt\u00e1hla kl\u00ed\u010de.
\\textit{Byl naprosto p\u0159\u00ed\u010detn\u00fd}, mr\u00e1koty ani mdloby se~o~n\u011bj u\u017e nepokou\u0161ely,
jen \\textit{ruce se mu po\u0159\u00e1d je\u0161t\u011b t\u0159\u00e1sly}.
Pozd\u011bji se upamatoval, \u017ee byl dokonce velmi vn\u00edmav\u00fd
a~obez\u0159etn\u00fd a~\u017ee~neust\u00e1le d\u00e1val pozor, aby~se~nepot\u0159\u00edsnil\u2026
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent Pr\u00f3za a psychologick\u00fd rom\u00e1n

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{Bo\u017ee m\u016fj,} prosil, \\enquote{uka\u017e mi cestu...} (\\texthl{apostrofa}) \\\\
\\enquote{a a\u017e z\u00edtra, z\u00edtra si v\u0161echno... Kdy jste p\u0159ijely, u\u017e d\u00e1vno?} (\\texthl{epizeuxis a aposiopese})

\\subwection{Tropy:}
\\noindent 
Byl chud\u00fd jako kosteln\u00ed my\u0161 (\\texthl{p\u0159irovn\u00e1n\u00ed}) \\\\
Ach vy mil\u00e1, nespravedliv\u00e1 srdce! (\\texthl{synekdocha})

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
Chronologick\u00fd postup vypr\u00e1v\u011bn\u00ed d\u011bje er-formou od za\u010d\u00e1tku do konce.
V\u00fdjimkou jsou \\textit{retrospektivn\u00ed sny a vzpom\u00ednky} u~kter\u00fdch chronologick\u00fd postup neplat\u00ed a \\textit{vnit\u0159n\u00ed monology postav} u~kter\u00fdch se p\u0159ech\u00e1z\u00ed do ich-formy.
Text je rozd\u011blen do \\texthl{sedmi \u010d\u00e1st\u00ed}, z nich\u017e posledn\u00ed je epilog.

\\subwection{Postavy:}
\\noindent 
\\textschl{Rodion Romanovi\u010d Raskolnikov --} rozpolcen\u00e1 hlavn\u00ed postava, jak u\u017e i trefn\u00e9 \\textit{jm\u00e9no napov\u00edd\u00e1}.
Jedn\u00e1 se o mlad\u00e9ho mu\u017ee, studenta pr\u00e1v, kter\u00fd \u017eil dlouhou dobu v chudob\u011b a celkov\u011b \u0161patn\u00fdch podm\u00ednk\u00e1ch.
Za\u010dal tedy hledat ur\u010dit\u00fd ide\u00e1l a napadla ho \\textbfhl{teorie prosazen\u00ed zlo\u010dinu}, kdy v\u0161ichni g\u00e9niov\u00e9 museli sp\u00e1chat zlo\u010din, d\u00edky omezenosti z\u00e1kon\u016f a~pro\u0161lo jim to jen proto, \u017ee \\textithl{dok\u00e1zali, \u017ee mohou}.
Jeho n\u00e1lada byla velice prom\u011bnliv\u00e1 a \u010dasto vedl monology. \\\\
\\textschl{Dmitrij Prokofji\u010d Razumichin --} skrz na skrz dobr\u00fd \u010dlov\u011bk.
Inteligentn\u00ed, ale dobr\u00fd, d\u00edky tomu i trochu p\u0159ihloupl\u00fd, proto\u017ee \\textit{odm\u00edt\u00e1 pochopit my\u0161len\u00ed vypo\u010d\u00edtav\u00fdch lid\u00ed}.
Raskolnikovi pom\u00e1h\u00e1 od za\u010d\u00e1tku do konce a nakonec se o\u017een\u00ed s Raskolnikovou sestrou, proto\u017ee k n\u00ed b\u011bhem knihy zaho\u0159\u00ed l\u00e1skou. \\\\
\\textschl{Avdo\u0165ja Romanovna Raskolnikov\u00e1 --} zkr\u00e1cen\u011b Du\u0148a, Raskolnikova sestra, kter\u00e1 ho \\texthl{bezmezn\u011b miluje} a pro zaru\u010den\u00ed z\u00e1\u0159n\u00e9 budoucnosti sv\u00e9mu bratrovi, je ochotna vstoupit zcela dobrovoln\u011b i do man\u017eelstv\u00ed se zl\u00fdm, v\u0161ak bohat\u00fdm a vlivn\u00fdm mu\u017eem.
I kdy\u017e se j\u00ed nedostalo vzd\u011bl\u00e1n\u00ed jako Raskolnikovi, tak je hned v n\u011bkolika chv\u00edl\u00edch uk\u00e1z\u00e1no, \u017ee je \\texthl{nem\u00e9n\u011b inteligentn\u00ed}, ne\u017e jej\u00ed bratr. \\\\
\\textschl{Pulcherija Alexandrovna Raskolnikovov\u00e1 --} - matka Raskolnika, star\u0161\u00ed venkovsk\u00e1 \u017eena.
Sv\u00e9ho syna miluje a to j\u00ed \u010din\u00ed \\textit{slepou k jeho probl\u00e9m\u016fm}.
I~kdy\u017e na konci je odhaleno, \u017ee p\u0159eci jenom \\textbf{v\u011bd\u011bla v\u00edce}, ne\u017e kdy dala najevo. \\\\
\\textschl{Sofja Semjonovna Marmeladov\u00e1 --} zkr\u00e1cen\u011b So\u0148a, postava ze \u0161patn\u00fdch pom\u011br\u016f, stejn\u011b jako Raskolnikov, kterou ale neopustila \\texthl{prav\u00e1 v\u00edra a~odevzdanost k Bohu} a~kter\u00e1 nakonec Raskolnika \\textbf{zachr\u00e1n\u00ed} pr\u00e1v\u011b d\u00edky Bo\u017e\u00edmu u\u010den\u00ed. \\\\
\\textschl{Arkadij Ivanovi\u010d Svidrigajlov --} stejn\u011b jako So\u0148a, i Svidrigajlov \\textbfhl{ukazuje Raskolnikovi zrcadlo}.
Narozd\u00edl od hodn\u00e9 Sofji, kter\u00e1 st\u00e1le v\u011b\u0159\u00ed v Boha a~neopou\u0161t\u00ed j\u00ed to dobr\u00e9, p\u0159edstavuje Svidrigajlov co se z Raskolnika stane, kdy\u017e sv\u016fj \\textit{h\u0159\u00edch v sob\u011b bude dusit}, \u010di ho dokonce za\u010dne t\u011b\u0161it.
Bezv\u011brec jen\u017e m\u00e1 na sv\u00e9m krku nespo\u010det \u017eivot\u016f a nakonec to ukon\u010d\u00ed sebevra\u017edou.
Byl zamilov\u00e1n do Avdo\u0165ji. \\\\
\\textschl{Porfirij Petrovi\u010d --} velice inteligentn\u00ed vy\u0161et\u0159uj\u00edc\u00ed soudce, kter\u00fd Raskolnika prokoukne hned zeza\u010d\u00e1tku a po celou knihu mu \u010din\u00ed \\textbfhl{ment\u00e1ln\u00edho protivn\u00edka}.
Jejich dialogy jsou jedny z nejpoveden\u011bj\u0161\u00edch kousk\u016f.

\\subwection{D\u011bj:}
\\noindent 
P\u0159\u00edb\u011bh za\u010d\u00edn\u00e1 u zd\u00e1nliv\u011b b\u011b\u017en\u00e9ho dne v \u017eivot\u011b Raskolnika.
Po\u0159\u00e1d rozmy\u0161l\u00ed nad n\u011b\u010d\u00edm, co je mu natolik \\textit{odporn\u00e9}, \u017ee to neadresuje ani ve sv\u00fdch my\u0161lenk\u00e1ch.
Uva\u017euje co ho k tomu vedlo.
P\u0159itom \\textbf{ocho\u0159\u00ed} a mysl se mu \\textbf{zaml\u017e\u00ed}.
O n\u011bkolika dnech, p\u0159i kter\u00fdch trp\u011bl hore\u010dkou, ani nev\u00ed a nakonec sp\u00e1ch\u00e1~\\enquote{to.}
Co\u017e~je~odhaleno, \u017ee se jedn\u00e1 o \\textbfhl{vra\u017edu} sta\u0159eny, kter\u00e1 p\u016fj\u010duje pen\u00edze.
Ukradne pen\u00edze, ale schov\u00e1 je a jde se d\u00e1l kur\u00fdrovat ze sv\u00e9 nemoci.
Za\u010d\u00edn\u00e1 \\texthl{vy\u0161et\u0159ov\u00e1n\u00ed}, Raskolnikov je jeden z p\u0159edn\u00edch podez\u0159el\u00fdch.
Do \u017eivota se mu vrac\u00ed matka a sestra, p\u0159ich\u00e1zej\u00ed i nov\u00ed lid\u00e9.
\\textbfhl{Mezi nimi i So\u0148a}, kter\u00e1 nakonec vyvede Raskolnika z temnoty, \u010di \\textbfhl{Svidrigajlov}, kter\u00fd po dlouhou dobu funguje sp\u00ed\u0161 jako z\u00e1hadn\u00e1 postava v pozad\u00ed.

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
Prvn\u00ed a\u017e \u0161est\u00e1 \u010d\u00e1st se, s v\u00fdjimkou vzpom\u00ednek a snov\u00fdch pas\u00e1\u017e\u00ed, odehr\u00e1vaj\u00ed v Petrohrad\u011b, epilog pak na \\textbfhl{Sibi\u0159i}.
Doba se d\u00e1 \\textit{odhadnout} na p\u0159\u00edbli\u017en\u011b 2.~polovinu 19.~stolet\u00ed.

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
\\textschl{Zlo\u010din a trest} je v\u00fdsti\u017en\u00fdm n\u00e1zvem pro cel\u00e9 t\u00e9ma.
Sp\u00e1ch\u00e1 zlo\u010din a n\u00e1sleduje trest.
Nejde mu uniknout, nejde jen o trest ulo\u017een soudem, ale~o~\\texthl{trest\u00e1n\u00ed vlastn\u00edm sv\u011bdom\u00edm}, co\u017e je uk\u00e1z\u00e1no hned na \\texthl{n\u011bkolika postav\u00e1ch}, mezi nimi \\texthl{hlavn\u011b Raskolnikov a Svidrigajlov}, kte\u0159\u00ed oba \\texthl{zvol\u00ed rozd\u00edlnou cestu} ven.
Zat\u00edmco Svidrigajlov podl\u00e9h\u00e1 a \u00fanik ji\u017e \\textbfhl{vid\u00ed jen v sebevra\u017ed\u011b}, Raskolnikov znovu \\textbfhl{nalezne Boha a l\u00e1sku k lidem} (p\u0159ev\u00e1\u017en\u011b k Son\u011b).

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Fjodor Michaljevi\u010d Dostojevskij {\\ssmall -- \u017eivot autora:}}
\\noindent 
Rusk\u00fd spisovatel, vystudoval vojensk\u00e9 technick\u00e9 u\u010dili\u0161t\u011b.
S celou svoj\u00ed skupinou byl \\texthl{odsouzen na smrt} vojensk\u00fdm soudem, trest jim byl zm\u011bn\u011bn na~nucen\u00e9 \\texthl{pr\u00e1ce na Sibi\u0159i}.
Pro\u0161el peklem a n\u00e1pravu \\textbf{shledal v Bohu}.
Ve sv\u00e9m okol\u00ed si v\u0161\u00edmal jen toho \u0161patn\u00e9ho, \u010deho\u017e tak\u00e9 vyu\u017e\u00edval ve sv\u00fdch d\u00edlech.
V\u011b\u0159il, \u017ee sp\u00e1sa se d\u00e1 naj\u00edt jedin\u011b v Bohu a to tak\u00e9 hl\u00e1sal d\u00e1l.

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{Z\u00e1pisky z mrtv\u00e9ho domu}, pr\u00e1v\u011b \\textsc{Zlo\u010din a trest}, \\textsc{Idiot Idiot}, \u010di \\textsc{Brat\u0159i Karamazovi}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
Kniha je napsan\u00e1 poutav\u011b, postavy, kter\u00e9 ani ve sv\u00fdch my\u0161lenk\u00e1ch neadresuj\u00ed j\u00e1dro my\u0161lenky maj\u00ed pro takov\u00e9 chov\u00e1n\u00ed sv\u00e9 d\u016fvody a nikoliv jen pro nap\u011bt\u00ed \u010dten\u00e1\u0159e.
My\u0161lenka je tu s n\u00e1mi v\u011b\u010dn\u011b a Dostojevskij ji dokonale \\textbf{jmenuje}.

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbfhl{Apostrofa --} \u0159e\u010dnick\u00e1 figura, ve kter\u00e9 postava mluv\u00ed k nep\u0159\u00edtomn\u00e9 osob\u011b.
    V tomto p\u0159\u00edpad\u011b k Bohu.
    \\textbfhl{Epizeuxis --} b\u00e1snick\u00e1 figura, opakov\u00e1n\u00ed stejn\u00e9ho slova \u010di~slovn\u00edho spojen\u00ed. 
    \\textbfhl{Aposiopese --} liter\u00e1rn\u00ed pojem ozna\u010duj\u00edc\u00ed odmlku, nedokon\u010den\u00ed v\u011bty.
    \\textbfhl{Synekdocha --} r\u00e9torick\u00e1 figura p\u0159i n\u00ed\u017e se celek ozna\u010d\u00ed n\u00e1zvem jeho \u010d\u00e1sti, \u010di \u010d\u00e1st n\u00e1zvem celku.
    Sp\u0159\u00edzn\u011bn\u00e1 s metonymi\u00ed.
    \\textbfhl{Metonymie --} p\u0159enos ozna\u010den\u00ed.
    Nazv\u00e1n\u00ed objektu n\u00e1zvem jin\u00e9ho objektu, dle ur\u010dit\u00e9 souvislosti.
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Otec Goriot}{HONOR\u00c9 DE BALZAC}[TO READ][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Oliver Twist}{CHARLES DICKENS}[TO READ][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Obraz Doriana Graye}{OSCAR WILDE}[check]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
\\noindent
\\enquote{Ty nechce\u0161, abych se s n\u00edm setkal?} \\\\
\\enquote{Ne.} \\\\
\\enquote{Pan Dorian Gray je v ateli\u00e9ru, pane,} pravil komorn\u00edk, vstupuj\u00edc\u00ed do zahrady. \\\\
\\enquote{Te\u010f m\u011b p\u0159edstavit mus\u00ed\u0161,} \u0159ekl lord Henry se sm\u00edchem. \\\\
Mal\u00ed\u0159 se obr\u00e1til k sluhovi, kter\u00fd tu st\u00e1l a pomrk\u00e1val ve slune\u010dn\u00edm sv\u011btle.
\\enquote{Po\u017e\u00e1dejte pana Graye, aby po\u010dkal, Parkere. \u017de p\u0159ijdu za~okam\u017eik.}
Sluha se uklonil a vracel se po p\u011b\u0161in\u011b.
Basil se zahled\u011bl na lorda Henryho.
\\enquote{Dorian Gray je m\u016fj nejdra\u017e\u0161\u00ed p\u0159\u00edtel,} \u0159ekl.
\\enquote{M\u00e1 prostou a kr\u00e1snou povahu.
Tvoje teta ti o n\u011bm \u0159ekla pravdu.
\\texthl{Nezkaz ho.
Nesna\u017e se ho ovlivnit.
Tv\u016fj vliv by byl \u0161patn\u00fd.}
Sv\u011bt~je~velik\u00fd a je v n\u011bm plno skv\u011bl\u00fdch lid\u00ed.
Neodve\u010f mi tedy jedinou bytost, kter\u00e9 moje um\u011bn\u00ed vd\u011b\u010d\u00ed za ve\u0161ker\u00e9 kouzlo, co v n\u011bm je.
Z\u00e1vis\u00ed na n\u011bm m\u016fj \u017eivot um\u011blce.
Na to nezapome\u0148, Harry, d\u016fv\u011b\u0159uji ti.}
Mluvil velmi zvolna a zd\u00e1lo se, \u017ee se ta slova z n\u011bho derou t\u00e9m\u011b\u0159 proti jeho v\u016fli. \\\\
\\enquote{Co to \u0159\u00edk\u00e1\u0161 za nesmysl!} \u0159ekl lord Henry s \u00fasm\u011bvem, a uchopiv Hallwarda pod pa\u017e\u00ed,
t\u00e9m\u011b\u0159 ho vlekl do domu. 
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent
Rom\u00e1n, obsahuje hororov\u00e9 prvky

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
Text je rozd\u011blen do dvaceti kapitol.
Paral\u00e9rn\u00ed kompozice d\u011bje, kdy se takto seznamujeme se Sibyl Vaneovou a jej\u00ed rodinou.
Autor na za\u010d\u00e1tek je\u0161t\u011b p\u0159idal \\textbfhl{p\u0159edmluvu}, kter\u00e1 slou\u017e\u00ed jako jak\u00fdsi \\texthl{n\u00e1vod na pochopen\u00ed jeho d\u00edla}.

\\subwection{Postavy:}
\\noindent 
\\textschl{Dorian Gray --} hlavn\u00ed postava, jeho\u017e p\u0159\u00edb\u011bh sledujeme.
Za\u010d\u00edn\u00e1 jako n\u00e1dhern\u00fd a nezka\u017een\u00fd mlad\u00fd mu\u017e, je\u0161t\u011b adolescent.
D\u00edky vliv\u016fm \\textbf{sv\u00fdch, Basilov\u00fdch a Lorda Henryho} se ale postupn\u011b kaz\u00ed,
a\u017e sp\u00e1ch\u00e1 dokonce i \\texthl{vra\u017edu}.
U\u017e od \u00fatl\u00e9ho v\u011bku se u n\u011bj projevuje narcisimus
a b\u011bhem sv\u00e9ho \u017eivota se propad\u00e1 st\u00e1le hloub\u0161 \\textit{za honbou po pote\u0161en\u00ed}.
St\u00e1v\u00e1 se z n\u011bj proutn\u00edk, narkoman a jeho osobnost upad\u00e1. \\\\
\\textschl{Basil Harvard --} idealistick\u00fd mal\u00ed\u0159, Graye si v\u0161imne jako jeden z prvn\u00edch a \\texthl{zamiluje se do n\u011bj}.
I jeho nekone\u010dn\u00e9 veleben\u00ed Dorianovi osobnosti mohlo m\u00edt vliv na jeho budoucnost. \\\\
\\textschl{Lord Henry --} manipul\u00e1tor, miluje ovliv\u0148ovat okol\u00ed a sledovat jak se vyvine.
To Lord Henry byl prvn\u00ed, kter\u00fd Dorianovi nab\u00eddl sv\u011bt pot\u011b\u0161en\u00ed
a i kdy\u017e by si ho narcistick\u00fd Dorian dost mo\u017en\u00e1 na\u0161el i s\u00e1m, tak mu to nikdy nep\u0159estal vy\u010d\u00edtat.
B\u011bhem d\u00edla vystupuje jako filozof a inteligentn\u00ed mu\u017e. \\\\
\\textschl{Sibyl Vaneov\u00e1 --} prvn\u00ed d\u00edvka, je\u017e m\u011bla tu sm\u016flu a zamilovala se do Doriana Graye.
\\textithl{Tak\u00e9 prvn\u00ed \u017eivot, kter\u00fd kdy Dorian vzal} a kter\u00fd byl p\u0159edzv\u011bst\u00ed jeho dal\u0161\u00edho po\u010d\u00edn\u00e1n\u00ed.

\\subwection{D\u011bj:}
\\noindent 
P\u0159\u00edb\u011bh za\u010d\u00edn\u00e1 pohledem na m\u00edsto Basila Harvarda, ke kter\u00e9mu na n\u00e1v\u0161t\u011bvu p\u0159i\u0161el jeho p\u0159\u00edtel Lord Henry.
Bav\u00ed se o mlad\u00edkovi jm\u00e9nem Dorian Gray
a~t\u00edm uv\u00e1d\u011bj\u00ed jeho charakter je\u0161t\u011b p\u0159ed uveden\u00edm jeho postavy do d\u011bje.
Po t\u00e9to prvn\u00ed kapitole u\u017e se d\u011bj odehr\u00e1v\u00e1 v\u00fdhradn\u011b kolem Doriana Graye.
Zamiluje se do Sibyl Vaneov\u00e9, jen aby podlehl pot\u011b\u0161en\u00ed a nep\u0159\u00edmo zavinil jej\u00ed smrt.
Po t\u00e9to zku\u0161enosti propadne po\u017eitk\u00e1\u0159stv\u00ed boh\u00e9msk\u00e9ho \u017eivota a~postupn\u011b se propad\u00e1.
Tr\u00e1v\u00ed noci ve vyk\u0159i\u010den\u00fdch domech a opiov\u00fdch doupatech, okol\u00ed se od n\u011bj distancuje
a to cel\u00e9 zat\u00edmco na n\u011bm se \\texthl{nezm\u011bn\u00ed ani vr\u00e1ska}.
Jeho~modlitba vy\u0159\u010dena toho prvn\u00edho dne u Basila Harvarda toti\u017e zavinila,
\u017ee v\u0161echny projevy st\u00e1\u0159\u00ed i mor\u00e1ln\u00edho \u00fapadku \\texthl{m\u011bn\u00ed podobu jeho obrazu}
a~nikoliv podobu Doriana samotn\u00e9ho.
Ten, co Doriana nevid\u011bl n\u011bco z toho d\u011blat ani neuv\u011b\u0159\u00ed,
\u017ee ten mile vypadaj\u00edc\u00ed adolescent je t\u0159icetilet\u00fd proutn\u00edk z\u00e1visl\u00fd na opiu.
B\u011bhem tohoto mor\u00e1ln\u00edho \u00fapadku \\texthl{zabije Basila Harvarda},
kter\u00fd namaloval obraz a v jeho o\u010d\u00edch to cel\u00e9 zavinil.
I Lordu Henrymu vy\u010d\u00edt\u00e1 svoj\u00ed situaci.
Ale d\u011bj nikdy neur\u010dil, \\textit{kdo ze t\u0159\u00ed mu\u017e\u016f mohl za situaci Doriana Graye},
zda on s\u00e1m, jeho p\u0159\u00e1tel\u00e9, \u010di v\u0161ichni dohromady.
A p\u0159\u00edb\u011bh kon\u010d\u00ed, kdy\u017e se Dorian rozhodne \\texthl{zni\u010dit obraz},
d\u016fkaz o jeho mor\u00e1ln\u00edm \u00fapadku a t\u00edm \\textbfhl{zabije s\u00e1m sebe}.

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
V\u011bt\u0161ina d\u011bje, a\u017e na p\u00e1r v\u00fdjimek, se odehr\u00e1v\u00e1 v Lond\u00fdn\u011b. Doba je circa konec 19. stolet\u00ed.

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
Autor zde pojedn\u00e1v\u00e1 o mu\u017ei, jen\u017e se behlav\u011b \u017eene za pot\u011b\u0161en\u00edm a t\u00edm nezni\u010d\u00ed jen s\u00e1m sebe, ale i lidi kolem sebe.
I kdy\u017e hovo\u0159\u00ed o um\u011bn\u00ed a kr\u00e1se pot\u011b\u0161en\u00ed, tak mluv\u00ed i o trestu, kter\u00fd m\u00e1 b\u00fdt o\u010distou a kter\u00e9mu se Dorian ve sv\u00e9 nep\u0159irozenosti vyh\u00fdb\u00e1.

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
Oscar Wilde byl jist\u011b geni\u00e1ln\u00ed mu\u017e, kter\u00fd r\u00e1d dr\u00e1\u017edil sv\u00e9 okol\u00ed nem\u00edstn\u00edma nar\u00e1\u017ekama.
R\u00e1d nech\u00e1val sv\u00e9 okol\u00ed v nejistot\u011b, zda nen\u00ed homosexu\u00e1l a to ho p\u0159i\u0161lo draho, kdy\u017e byl odsouzen za homosexualitu ke dv\u011bma rok\u016fm t\u011b\u017ek\u00fdch prac\u00ed.
Po odslou\u017een\u00ed trestu se u\u017e nikdy nedal zcela dohromady a um\u0159el v~b\u00edd\u011b jen p\u00e1r let pot\u00e9.

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{Jak je d\u016fle\u017eit\u00e9 m\u00edti Filipa}, pr\u00e1v\u011b \\textsc{Obraz Doriana Graye}, \\textsc{Stra\u0161idlo cantervillsk\u00e9}, \u010di \\textsc{Lidsk\u00e1 du\u0161e za socialismu}.

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

\\wection{LITER\u00c1RN\u00cd KRITIKA}

\\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}
\\noindent
Kdy\u017e Oscar Wilde p\u016fvodn\u011b vydal Obraz Doriana Graye do novin, tak to jeho nakladateli p\u0159i\u0161lo a\u017e moc pohor\u0161uj\u00edc\u00ed a pozm\u011bnil \u010di smazal asi 500 slov.
Tento mu\u017e, Stoddart, mazal jak homosexu\u00e1ln\u00ed, tak i heterosexu\u00e1ln\u00ed nar\u00e1\u017eky.
Gray nap\u0159\u00edklad o sv\u00fdch \u017een\u00e1ch d\u0159\u00edv mluvil jako o milenk\u00e1ch, ale i jeho vztah s Basilem Harvardem byl hlub\u0161\u00ed.

\\noindent
Tato cenzura v\u0161ak nebyla kone\u010dn\u00e1.
D\u00edlo se stejn\u011b setkalo s kritikou a s\u00e1m Oscar Wilde, kdy\u017e se d\u00edlo rozhodl vydat jako knihu, tak provedl autocenzuru.
Pozm\u011bnil n\u011bkter\u00e9 texty, p\u0159idal dal\u0161\u00ed t\u0159i kapitoly. Posledn\u00ed kapitolu rozd\u011blil na dv\u011b. P\u0159idal i p\u0159edmluvu, kter\u00e1 je jeho odpov\u011bd\u00ed v\u0161em kritik\u016fm p\u016fvodn\u00ed, \u010dasopiseck\u00e9, verze.

\\noindent
Stejn\u011b byl odsouzen ke dv\u011bma let\u016fm nucen\u00fdch prac\u00ed a pr\u00e1v\u011b toto d\u00edlo bylo pou\u017eito jako jeden z d\u016fkaz\u016f, \u017ee m\u00e1 homosexu\u00e1ln\u00ed sklony.

\\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}
\\noindent
Boh\u00e9msk\u00fd \u017eivot se vyskytuje st\u00e1le a i kdy\u017e u\u017e se homosexualita nevn\u00edm\u00e1 jako probl\u00e9m, tak p\u0159ehnan\u00e9 po\u017eitk\u00e1\u0159stv\u00ed ano.
Oscar Wilde p\u0159edstavuje osobu Doriana Graye bravurn\u011b a je a\u017e hr\u016fzostra\u0161n\u00e9 sledovat, jak jednodu\u0161e se daj\u00ed zni\u010dit \u017eivoty lid\u00ed kolem sebe, kdy\u017e je \u010dlov\u011bk jen trochu neohledupln\u00fd.
Vlastn\u011b se \u010dlov\u011bk m\u016f\u017ee do Doriana Graye pom\u011brn\u011b snadno vc\u00edtit a to to hor\u0161\u00ed dopad na \u010dten\u00e1\u0159e m\u00e1, kdy\u017e najednou vid\u00ed dopady jeho chov\u00e1n\u00ed.

\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
Wildeovo d\u00edlo m\u011b chytilo a a\u017e do konce m\u011b nepustilo.
Nab\u00eddlo mi nov\u00fd pohled na sv\u011bt kolem sebe, i lekci, kterou by si m\u011bli poslechnout v\u0161ichni.
Naprosto rozum\u00edm, pro\u010d je Obraz Doriana Graye jednou z nejd\u016fle\u017eit\u011bj\u0161\u00edch literatur sv\u00e9 doby.

\\vfill

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\\proza{Revizor}{NIKOLAJ VASILJEVI\u010c GOGOL}[TODO][\\killpage]

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\\tiny

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\\noindent xXx

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\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
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% \u010c \u00c1 S T   T \u0158 E T \u00cd
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\\newpage

\\bigsection{Sv\u011btov\u00e1 literatura 20. -- 21. stolet\u00ed}[min. 4 liter\u00e1rn\u00ed d\u00edla]

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\\proza{\u0160ifra Mistra Leonarda \/ Da Vinciho K\u00f3d}{DAN BROWN}[TODO]

\\noindent\\begin{wrapfigure}{r}{0.25\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
Langdon nemohl odtrhnout o\u010di od fotografie, kterou dr\u017eel v ruce, a poc\u00edtil neur\u010dit\u00fd strach.
Obr\u00e1zek byl p\u0159\u00ed\u0161ern\u00fd a hluboce podivn\u00fd, vyvol\u00e1val zneklid\u0148uj\u00edc\u00ed dojem jak\u00e9hosi \\textit{d\u00e9j\u00e1-vu}.
V\u00edce ne\u017e p\u0159ed rokem Langdon obdr\u017eel fotografii t\u011bla s~podobnou \u017e\u00e1dost\u00ed o~pomoc.
O \u010dty\u0159iadvacet hodin pozd\u011bji ve Vatik\u00e1nu m\u00e1lem p\u0159i\u0161el o \u017eivot.
Tento sn\u00edmek byl naprosto odli\u0161n\u00fd, a p\u0159ece na n\u011bm bylo n\u011bco pov\u011bdom\u00e9ho.
Policista se pod\u00edval na hodinky.
\\enquote{M\u016fj kapit\u00e1n v\u00e1s o\u010dek\u00e1v\u00e1, pane.}
Langdon ho sotva sly\u0161el.
O\u010dima se vp\u00edjel do obr\u00e1zku.
\\enquote{Ten symbol tady, a~to, jak~podivn\u011b je~to~t\u011blo\u2026} \\texthl{\\enquote{Naaran\u017eov\u00e1no?}} pomohl mu policista.
Langdon p\u0159ik\u00fdvl a~projel j\u00edm~chlad.
\\enquote{Neum\u00edm~si~p\u0159edstavit, kdo m\u016f\u017ee tohle ud\u011blat jin\u00e9mu \u010dlov\u011bku.}
Policista vypadal zachmu\u0159en\u011b.
\\enquote{Vy to nech\u00e1pete, pane Langdone. To,~co~vid\u00edte na t\u00e9 fotografii\u2026} Odml\u010del se.
\\textithl{\\enquote{Monsieur~Sauni\u00e9re~si~to~ud\u011blal~s\u00e1m.}}
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent Prozaick\u00e9 epick\u00e9 d\u00edlo, \\texthl{dobrodru\u017en\u00fd rom\u00e1n},
\\texthl{konspira\u010dn\u00ed thriller} s detektivn\u00edmi prvky.

\\subwection{Liter\u00e1rn\u00ed sm\u011br:}
\\noindent Kniha pat\u0159\u00ed do popul\u00e1rn\u00ed (a\u017e konzumn\u00ed) literatury
\\texthl{postmodernismu}, kter\u00e1 kombinuje fakta a fikci.
N\u011bkdy se \u0159ad\u00ed jako samostatn\u00fd sm\u011br navazuj\u00edc\u00ed na postmodernismus.

\\subwection{Jazyk a slovn\u00ed z\u00e1soba:}
\\noindent Dynamick\u00fd a \u010dtiv\u00fd text s d\u016frazem na ak\u010dnost.
Text je napln\u011bn odborn\u00fdmi term\u00edny,
p\u0159ev\u00e1\u017en\u011b z okruh\u016f \\texthl{um\u011bn\u00ed}, \\texthl{historie} a \\texthl{n\u00e1bo\u017eenstv\u00ed},
ale ve srozumiteln\u00fdch kontextech.)
Z ciz\u00edch jazyk\u016f se zde vyskytuje \\texthl{francouz\u0161tina} a~\\texthl{latina}.
Teabing zase hovo\u0159\u00ed staroangli\u010dtinou.

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent Autor vyu\u017e\u00edv\u00e1 sp\u00ed\u0161e krat\u0161\u00edch v\u011bt, pro udr\u017een\u00ed dynamiky.
\u010casto se vyskytuj\u00ed zvraty.

\\subwection{Postavy:}
\\noindent 
\\textschl{Robert Langdon --} profesor n\u00e1bo\u017eensk\u00e9ho symbolismu.
Je znenad\u00e1n\u00ed zavol\u00e1n na m\u00edsto \u010dinu, kdy se dov\u00edd\u00e1, \u017ee zem\u0159el jeho kolega z oboru.
Stejn\u011b jako se mu to \\texthl{ji\u017e stalo v minulosti}, je zata\u017een do v\u00edru ud\u00e1lost\u00ed,
se kter\u00fdm m\u00e1 pram\u00e1lo spole\u010dn\u00e9ho.
\u010ci v to alespo\u0148 v\u011b\u0159\u00ed.
S t\u00edm, jak odkr\u00fdv\u00e1 z\u00e1hady kolem Jacquese Sauni\u00e8ra, tak se dozv\u00edd\u00e1 i d\u016fvod,
pro jeho zapojen\u00ed do ud\u00e1lost\u00ed.\\\\
\\textschl{Sophie Neveuov\u00e1 --} policejn\u00ed kryptolo\u017eka,
se kterou se Langdon setk\u00e1v\u00e1 na m\u00edst\u011b \u010dinu.
Varuje ho i p\u0159ed skute\u010dnost\u00ed, \u017ee na n\u011bj Fache chce vra\u017edu hodit.
P\u0159izn\u00e1v\u00e1, \u017ee je vnu\u010dkou pana Sauni\u00e8ra a \u017ee m\u00e1 kl\u00ed\u010d k vy\u0159e\u0161en\u00ed h\u00e1danek.
Ani ona ale netu\u0161\u00ed rozsah konspirace, kterou se chystaj\u00ed odhalit.\\\\
\\textschl{Sir Leigh Teabing \/ U\u010ditel --} z prvu se tv\u00e1\u0159\u00ed jako pomocn\u00edk hlavn\u00ed dvojice.
Bohat\u00fd britsk\u00fd historik, gentleman ze star\u00e9 \u0161koly,
kter\u00fd je nad\u0161en z~p\u0159edstavy hled\u00e1n\u00ed Svat\u00e9ho Gr\u00e1lu a nezi\u0161tn\u011b jim pom\u00e1h\u00e1.
Pozd\u011bji se ukazuje, \u017ee to on, v roli takzvan\u00e9ho U\u010ditele, dal v\u011bci do pochybu.
Nepl\u00e1noval tedy, \u017ee ho Langdon s\u00e1m vyhled\u00e1, t\u00edm mu to zna\u010dn\u011b usnadnil,
ale to on m\u016f\u017ee za vra\u017edy a pro posedlost Gr\u00e1lem se obr\u00e1t\u00ed i proti Langdonovi.\\\\
\\textschl{Silas --} tragick\u00e1 postava.
Retrospektivn\u011b sledujeme jeho ml\u00e1d\u00ed.
Jak ho t\u00fdrali.
Jak se ho ujal Aringarosa.
Jak zasv\u011btil cel\u00fd sv\u016fj \u017eivot slu\u017eb\u011b mu\u017ei,
kter\u00fd v\u016f\u010di n\u011bmu jako jedin\u00fd projevil l\u00edtost.
Aringarosa sv\u00e9ho \\enquote{Bo\u017e\u00edho v\u00e1le\u010dn\u00edka} sv\u011b\u0159il do slu\u017eby U\u010diteli.
A tak se Silas hned p\u0159i n\u011bkolika p\u0159\u00edle\u017eitostech st\u0159etl s Langdonem.\\\\
\\textschl{Bezu Fache --} kapit\u00e1n francouzsk\u00e9 policie.
\u010clen Opus Dei.
Biskup Aringarosa ho p\u0159esv\u011bd\u010dil o Langdonov\u011b vin\u011b
a sv\u011b\u0159il mu za \u00fakol jeho dopaden\u00ed.
Jinak poctiv\u00fd policista, na Langdonovu stopu se nedal kv\u016fli korupci,
ale kv\u016fli d\u016fve\u0159e ve slovo Bo\u017e\u00edho slu\u017eebn\u00edka.\\\\
\\textschl{Jacques Sauni\u00e8re --} kur\u00e1tor Louvru,
velmistr \\texthl{P\u0159evorstv\u00ed sionsk\u00e9ho},
d\u011bde\u010dek Sophie Neveuov\u00e9,
historik a symbolog.
Se svoj\u00ed vnu\u010dkou m\u011bl slo\u017eit\u00fd vztah.
Langdona pov\u011b\u0159il zachov\u00e1n\u00edm tajemstv\u00ed pot\u00e9, co v\u011b\u0159il,
\u017ee tajemstv\u00ed, aspo\u0148 jeho \u010d\u00e1st, u\u017e odhalil, d\u00edky pozn\u00e1mce v jeho knize,
kterou poslal Sauni\u00e8rovi na p\u0159e\u010dten\u00ed.\\\\
\\textschl{Biskup Manuel Aringarosa --} biskup Opus Dei.
Pro svou organizaci je schopen zaj\u00edt do extr\u00e9m\u016f.
Je manipulativn\u00ed (Bezu Fache),
stejn\u011b se ale \\texthl{nech\u00e1 zmanipulovat} (U\u010ditelem).

\\subwection{D\u011bj:}
\\noindent Ocit\u00e1me se v Louvru.

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

% \\subwection{V\u00fdznam sd\u011blen\u00ed:}

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

\\subwection{Vlivy na dan\u00e9 d\u00edlo:}
\\noindent xXx

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

\\wection{LITER\u00c1RN\u00cd KRITIKA}

\\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}
\\noindent xXx

\\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}
\\noindent xXx

\\subwection{Kontrola fakt\u016f:}
\\noindent
\\textschl{Opus Dei --} xXx.\\\\
\\textschl{P\u0159evorstv\u00ed Sionsk\u00e9 --} xXx.

\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbfhl{dobrodru\u017en\u00fd rom\u00e1n --} xXx;
    \\textbfhl{konspira\u010dn\u00ed thriller --} xXx;
    \\textbfhl{popul\u00e1rn\u00ed literatura --} xXx;
    \\textbfhl{konzumn\u00ed literatura --} xXx 
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Inferno}{DAN BROWN}[TO READ][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\t\\tiny
\t
\t\\subwection{Uk\u00e1zka z d\u00edla:}
\t\\setlength{\\parindent}{3pt}
\txXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
\t{\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
\t\t\\footnotesize
\t\t\\textbf{Placeholder --} xXx
\t}
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Velk\u00fd Gatsby}{FRANCIS SCOTT FITZGERALD}[TODO][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{7pt}

\\proza{Devaten\u00e1ct set osmdes\u00e1t \u010dty\u0159i}{GEORGE ORWELL}

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}\\setlength{\\parskip}{0.5em}
Winston vid\u011bl O\u2019Briena mo\u017en\u00e1 tucetkr\u00e1t b\u011bhem pr\u00e1v\u011b tolika let.
Siln\u011b ho to k n\u011bmu t\u00e1hlo, nejen proto, \u017ee ho zaujal rozpor mezi O\u2019Brienov\u00fdm uhlazen\u00fdm chov\u00e1n\u00edm
a jeho z\u00e1pasnickou konstituc\u00ed.
Mnohem sp\u00ed\u0161 to zp\u016fsobovala skryt\u00e1 v\u00edra \u2013 nebo mo\u017en\u00e1 ani ne v\u00edra, pouze nad\u011bje \u2013,
\u017ee O\u2019Brienova politick\u00e1 uv\u011bdom\u011blost nen\u00ed bez vady.
Cosi v jeho tv\u00e1\u0159i to neodbytn\u011b nazna\u010dovalo.
A t\u0159eba se mu ve tv\u00e1\u0159i neodr\u00e1\u017eela ani neuv\u011bdom\u011blost, n\u00fdbr\u017e jen inteligence.
Ale tak \u010di onak p\u016fsobil dojmem \u010dlov\u011bka, se kter\u00fdm se d\u00e1 mluvit,
pokud se v\u00e1m n\u011bjak poda\u0159\u00ed obelst\u00edt telest\u011bnu a zastihnout ho o samot\u011b.
Winston si tuhle domn\u011bnku nikdy ani v nejmen\u0161\u00edm nezkou\u0161el ov\u011b\u0159it: nebylo toti\u017e ani mo\u017eno jak.
V tu chv\u00edli O\u2019Brien pohl\u00e9dl na hodinky, zjistil, \u017ee se bl\u00ed\u017e\u00ed jeden\u00e1ct nula nula,
a zjevn\u011b se rozhodl z\u016fstat v Archivn\u00edm odd\u011blen\u00ed, dokud Dvouminutovka nen\u00e1visti neskon\u010d\u00ed.
Usadil se na \u017eidli v t\u00e9\u017ee \u0159ad\u011b jako Winston, o p\u00e1r m\u00edst d\u00e1l.
Mezi nimi sed\u011bla drobn\u00e1, p\u00edskov\u00e1 blond\u00fdna, kter\u00e1 pracovala v k\u00f3ji vedle Winstona.
Tmavovl\u00e1ska se uvelebila p\u0159\u00edmo za n\u00edm.
Vz\u00e1p\u011bt\u00ed se z velk\u00e9 telest\u011bny na konci m\u00edstnosti vydral p\u0159\u00ed\u0161ern\u00fd, \u0159ezav\u00fd jek,
jako by se n\u011bjak\u00fd obludn\u00fd stroj to\u010dil bez maz\u00e1n\u00ed.
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent Epick\u00fd rom\u00e1n, sci-fi s utopick\u00fdmi prvky, kter\u00e9 ale kritizuje.

\\subwection{Liter\u00e1rn\u00ed sm\u011br:}
\\noindent Realistick\u00fd rom\u00e1n s \\texthl{antiutopick\u00fdm} d\u011bjem a prvky satiry.

\\subwection{Jazyk a slovn\u00ed z\u00e1soba:}
\\noindent Rom\u00e1n je ps\u00e1n jednoduch\u00fdm a spisovn\u00fdm jazykem.
Speci\u00e1ln\u00edm prvek zde \u010din\u00ed \\enquote{novomluva},
tedy soubor speci\u00e1ln\u00edch slov, slou\u017e\u00edc\u00edch jako uk\u00e1zka potla\u010dov\u00e1n\u00ed.
Orwell p\u0159i sc\u00e9n\u00e1ch db\u00e1 na popis detail\u016f.

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu:} % Autor je dobr\u00fdm esejistou, ne tak dobr\u00fdm romanopiscem.
\\noindent Text je pevn\u011b rozd\u011blen na t\u0159i \u010d\u00e1sti.
D\u011bj je vypr\u00e1v\u011bn er-formou se zam\u011b\u0159en\u00edm na Winstona.
Text~je~pesimistick\u00fd, \u010dten\u00e1\u0159 jasn\u011b c\u00edt\u00ed, co c\u00edt\u00ed Winston
\\textbfhl{$\\Rightarrow$}~\\texthl{\u00fatlak}, \\texthl{beznad\u011bj}, naprost\u00e9 \\texthl{pohlcen\u00ed}.

\\subwection{Postavy:}
\\noindent
\\textschl{Winston Smith} -- hlavn\u00ed postava, takzvan\u00fd every-man archetyp.
\u010clen \\texthl{Vn\u011bj\u0161\u00ed strany}.
Pracuje na \\texthl{Ministerstvu Pravdy}, fal\u0161uje historick\u00e9 z\u00e1znamy, stejn\u011b jako noviny.
P\u0159esto ale douf\u00e1 ve svobodu.
Je inteligentn\u00ed, ale ne prohnan\u00fd.
Je zraniteln\u00fd, ale ne slab\u00fd.
Prost\u011b p\u0159e\u017e\u00edv\u00e1.\\\\
\\textschl{Julia} -- romantick\u00fd interest pro Winstona.
Prosazuje \u017eivotn\u00ed styl tich\u00e9ho odporu.
\\texthl{Pragmatick\u00e1} a \\texthl{hedonistick\u00e1}.
Kdy um\u00ed j\u00edt proti syst\u00e9mu v mal\u00fdch v\u011bcech, ale nevid\u00ed smysl v organizovan\u00e9m odporu.
\\\\
\\textschl{O'Brian} -- Winston\u016fv \\texthl{protip\u00f3l}.
Winston z n\u011bj c\u00edt\u00ed, \u017ee ten jedin\u00fd mu porozum\u00ed.
A on mu \\texthl{skute\u010dn\u011b rozum\u00ed}.
Ale opa\u010dn\u011b.
A chce ho dostat na svoj\u00ed stranu.\\\\
\\textschl{Velk\u00fd bratr --} archetyp totalitn\u00edho mocn\u00e1\u0159e.
Nen\u00ed jasn\u00e9, zda takov\u00fd \u010dlov\u011bk existuje, \u010di zda jde o dal\u0161\u00ed p\u0159edm\u011bt moci Strany.
Jedn\u00e1 se o velk\u00e9ho a oslavovan\u00e9ho v\u016fdce Strany.
A\u0165 je to s jeho existenc\u00ed jakkoli, nyn\u00ed je \\texthl{nesmrteln\u00fd} a \\texthl{nezni\u010diteln\u00fd}.\\\\
\\textschl{Emmanuel Goldstein --} z\u00e1klad v re\u00e1ln\u00e9m \u010dlov\u011bku.
Strana jeho pam\u00e1tky vyu\u017e\u00edv\u00e1 jako \\texthl{symbol zbyte\u010dn\u00e9ho odporu}.
Goldstein vede takzvan\u00e9 Bratrstvo proti Stran\u011b, ale prohr\u00e1v\u00e1.
A jak\u00fdkoli probl\u00e9m uvnit\u0159 Strany pad\u00e1 na jeho hlavu.
On za to m\u016f\u017ee.
Uka\u017eme si na n\u011bj.\\\\
\\textschl{Pan Charrington --} M\u016f\u017ee za fin\u00e1ln\u00ed dopaden\u00ed Julie a Winstona.
Poskytl Winstonovi bezpe\u010dn\u00e9 \u00fato\u010di\u0161t\u011b.
Pocit odporu ke stran\u011b.
A byl to on, kdo celou dobu pracoval pro Stranu.
A jak\u00e9koli Winstonovi pokroky hl\u00e1sil.

\\subwection{D\u011bj:}
P\u0159\u00edb\u011bh sleduje Winston\u016fv b\u011b\u017en\u00fd \u017eivot a seznamuje n\u00e1s s \u017eivotem v Oce\u00e1nii.
Jedn\u00e9 ze t\u0159\u00ed supervelmoc\u00ed.
Mo\u017en\u00e1 je rok 1984, mo\u017en\u00e1 ne.
Informace dr\u017e\u00ed Strana a ani jej\u00ed \u010dleni k nim nemaj\u00ed p\u0159\u00edstup.
Prvn\u00ed v\u00fdraznou zm\u011bnou je, kdy\u017e se Winston d\u00e1 dohromady s Juli\u00ed, do kter\u00e9 se dle vlastn\u00edch slov zamiloval.
Winston kone\u010dn\u011b vzdoruje Stran\u011b.
S Juli\u00ed za\u017e\u00edv\u00e1 fyzick\u00e9 pot\u011b\u0161en\u00ed, kter\u00e9 Strana zakazuje.
Za\u010d\u00edn\u00e1 si v\u00edc v\u011b\u0159it.
U\u017e\u00edv\u00e1 si \u017eivota.
Druhou v\u00fdraznou zm\u011bnou je, kdy\u017e Winstona s Juli\u00ed dostihne Psychopol a n\u00e1sledn\u011b jsou mu\u010deni na \\texthl{Ministerstvu L\u00e1sky}.
V\u0161echny iluze jsou rozbity.
Strana~je~v\u0161udyp\u0159\u00edtomn\u00e1.
V\u011bd\u011bla~o~ka\u017ed\u00e9m Winstonov\u011b kroku.
U\u017e\u00edval~si~pouze za~jej\u00edho dohledu.
Do\u0161el jen tam, kam m\u011bl dovoleno.
Jeho odpor byl jen iluz\u00ed.
D\u011bj kon\u010d\u00ed kompletn\u00edm obratem Winstonovi osobnosti.
\\texthl{Kdy se kompletn\u011b podvol\u00ed Stran\u011b}.

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
V\u011bt\u0161ina p\u0159\u00edb\u011bhu se odehr\u00e1v\u00e1 v Lond\u00fdn\u011b, ve st\u00e1tu zvan\u00e9m Oce\u00e1nie.
Mohl by b\u00fdt rok 1984, i kdy\u017e to nen\u00ed jist\u00e9.
B\u011bhem p\u0159\u00edb\u011bhu je p\u00e1r vzpom\u00ednkov\u00fdch sekvenc\u00ed a informativn\u00ed pas\u00e1\u017e v podob\u011b Knihy, kterou Winston \u010dte.
K tomu je p\u0159\u00edb\u011bh doprov\u00e1zen Winstonov\u00fdmi monology, kter\u00e9 umo\u017e\u0148uj\u00ed nahl\u00e9dnout do psychiky \u010dlov\u011bka pod kontrolou Strany.

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent
Autor varuje p\u0159ed technologi\u00ed a \u010deho by byla schopna ve \u0161patn\u00fdch rukou.
Varuje p\u0159ed totalitn\u00edm st\u00e1tem a jak\u00e9 kontroly by byl schopen s pomoc\u00ed modern\u00edch technologi\u00ed. 

\\wection{LITER\u00c1RN\u00cd HISTORIE}

\\subwection{Politick\u00e1 situace:}
Autor napsal sv\u016fj rom\u00e1n po dvou sv\u011btov\u00fdch v\u00e1lk\u00e1ch, v obdob\u00ed velk\u00e9ho technologick\u00e9ho rozmachu.
Sv\u011bt byl nest\u00e1l\u00fd, v chaosu a do toho za\u017eili nejv\u011bt\u0161\u00ed rozkv\u011bt techniky za posledn\u00edch n\u011bkolik stalet\u00ed.
Pro rom\u00e1novou totalitn\u00ed nadvl\u00e1du ho inspiroval socialismus v SSSR.

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Eric Arthur Blair {\\ssmall -- \u017eivot autora:}}
\\noindent 
Dle n\u011bkter\u00fdch zdroj\u016f \\texthl{nejvlivn\u011bj\u0161\u00ed esejista sv\u00e9 doby}.
Narodil se v chud\u00e9m prost\u0159ed\u00ed.
Odtud to zam\u011b\u0159en\u00ed na nejspodn\u011bj\u0161\u00ed vrstvu.
Sv\u016fj pseudonym si vymyslel dle n\u00e1zvu \u0159eky v m\u00edst\u011b, kde bydlel.
Svoj\u00ed tvorbou se sna\u017eil upozornit na stav, ve kter\u00e9m se sv\u011bt nach\u00e1z\u00ed a mohl by se nach\u00e1zet, pokud bude pokra\u010dovat sm\u011brem, kam m\u00ed\u0159\u00ed.

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textschl{Farma zv\u00ed\u0159at}, \\textschl{Cesta k Wigan Pier} a \\textschl{Hold Katal\u00e1nsku}.

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

\\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}
\\noindent
T\u00e9mata jako cenzura, v\u00e1lky za moc\u00ed, technologick\u00e1 nadvl\u00e1da, sledov\u00e1n\u00ed,
ztr\u00e1ta soukrom\u00ed a dal\u0161\u00ed, jsou st\u00e1le aktu\u00e1ln\u00ed, ne-li je\u0161t\u011b v\u00edce, ne\u017e v minulosti.


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
Rom\u00e1n mistra Orwella jsem m\u011bl probl\u00e9m ocenit.
Prvn\u00ed dv\u011b \u010d\u00e1sti byli natolik zmate\u010dn\u00e9 a ploch\u00e9, \u017ee m\u016fj n\u00e1zor byl sp\u00ed\u0161e negativn\u00ed.
Ale t\u0159et\u00ed \u010d\u00e1st byla schopn\u00e1 zodpov\u011bd\u011bt ka\u017ed\u00fd m\u016fj probl\u00e9m (\u010di na m\u011b zap\u016fsobila O\u2019Brienova p\u0159ev\u00fdchova a j\u00e1 si vyvinul \\texthl{dipsych})
a b\u011bhem posledn\u00edho sta str\u00e1nek se m\u016fj postoj oto\u010dil o~180~stup\u0148\u016f. \\\\
Te\u010f je\u0161t\u011b s del\u0161\u00edm odstupem, kdy kontroluji sv\u00e9 spisy a opravuji chyby, kter\u00fdch jsem se dopustil,
tak mus\u00edm \u0159\u00edct, \u017ee je \\textbfhl{Devaten\u00e1ct set osmdes\u00e1t \u010dty\u0159i} vynikaj\u00edc\u00edm rom\u00e1nem.
Dopustil jsem se t\u00e9 chyby, \u017ee jsem psal soudy, zat\u00edmco jsem byl pln emoc\u00ed z rom\u00e1nu samotn\u00e9ho.
A i kdy\u017e to nebyla chyba ve smyslu chyby, proto\u017ee ve m\u011b rom\u00e1n vyvolal p\u0159esn\u011b ty pocity,
o kter\u00fdch v\u011b\u0159\u00edm, \u017ee je autor zam\u00fd\u0161lel vyvolat,
tak jsem kv\u016fli tomu hodnotil rom\u00e1n, stejn\u011b jako pana Blaira, a\u017e moc p\u0159\u00edsn\u011b.



\\vfill

\\noindent\\begin{minipage}{\\textwidth}
\t{\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
\t\t\\footnotesize
\t\t\\textbfhl{archetyp --} soubor vlastnost\u00ed vytv\u00e1\u0159ej\u00edc\u00ed zn\u00e1mou postavu
\t\t\\textbfhl{$\\Rightarrow$}~postava rozpoznateln\u00e1 sv\u00fdm chov\u00e1n\u00edm nap\u0159\u00ed\u010d p\u0159\u00edb\u011bhy;
\t\t\\textbfhl{every-man --} archetyp b\u011b\u017en\u00e9ho \u010dlov\u011bka pot\u00edkaj\u00edc\u00edho se~s~b\u011b\u017en\u00fdmi probl\u00e9my sv\u00e9ho sv\u011bta;
\t\t\\textbfhl{pragmatismus --} klade d\u016fraz na praktick\u00e9 d\u016fsledky my\u0161len\u00ed a jedn\u00e1n\u00ed;
\t\t\\textbfhl{hedonismus --} pova\u017euje slast za nejvy\u0161\u0161\u00ed dobro a c\u00edl lidsk\u00e9ho \u017eivota;
\t\t\\textbfhl{antiutopismus --} liter\u00e1rn\u00ed sm\u011br, kter\u00fd zobrazuje negativn\u00ed vizi budoucnosti, \u010dasto s totalitn\u00edm re\u017eimem;
\t\t\\textbfhl{Novomluva --} um\u011bl\u00fd jazyk vytvo\u0159en\u00fd totalitn\u00edm re\u017eimem s~c\u00edlem omezit my\u0161len\u00ed a~vyj\u00e1d\u0159en\u00ed;
\t\t\\textbfhl{Dipsych --} chopnost udr\u017eet sou\u010dasn\u011b dv\u011b protich\u016fdn\u00e9 my\u0161lenky a v\u011b\u0159it v ob\u011b.
\t}
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Harry Potter}{JOANNE ROWLINGOV\u00c1}[TODO][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{Harry Potter --} xXx \\\\
\\textsc{Ron Weasley --} xXx \\\\
\\textsc{Hermiona Grangerov\u00e1 --} xXx \\\\
\\textsc{Albus Brumb\u00e1l --} xXx \\\\
\\textsc{Quirell --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Hobit, aneb Cesta tam a zase zp\u00e1tky}{J. R. R. TOLKIEN}[DOING RIGHT NOW BITCHES]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
Nakonec to u\u017e pan Pytl\u00edk nevydr\u017eel,
\\enquote{Hrom aby do tebe, \u0160maku, ty nestv\u016fro!} vyp\u00edskl hlasit\u011b.
\\enquote{P\u0159esta\u0148 si hr\u00e1t na schov\u00e1vanou!
Posvi\u0165 mi, a pak si m\u011b t\u0159eba se\u017eer, jestli m\u011b dok\u00e1\u017ee\u0161 chytit!}\\par
S\u00edn\u00ed, kterou nebylo vid\u011bt, se rozlehla slab\u00e1 ozv\u011bna, ale neozvala se \u017e\u00e1dn\u00e1 odpov\u011b\u010f.\\par
Bilbo vstal a shledal, \u017ee nev\u00ed, kter\u00fdm sm\u011brem se m\u00e1 obr\u00e1tit.
\\enquote{Te\u010f bych r\u00e1d v\u011bd\u011bl, na co si ten Smak u v\u0161ech v\u0161udy hraje,} \u0159ekl si. 
\\enquote{Ur\u010dit\u011b dne\u0161n\u00edho dne (nebo dne\u0161n\u00ed noci, \u010di co vlastn\u011b je) nen\u00ed doma.
Jestli Oin a Gloin neztratili sv\u00e1 k\u0159esadla a troud,
snad bychom si mohli trochu posv\u00edtit a rozhl\u00e9dnout se kolem, ne\u017e se zas obr\u00e1t\u00ed \u0161t\u011bst\u00ed.}\\par
\\enquote{Sv\u011btlo!} vyk\u0159ikl. \\enquote{M\u016f\u017ee n\u011bkdo ud\u011blat sv\u011btlo?}\\par
Trpasl\u00edci se samoz\u0159ejm\u011b hrozn\u011b vypla\u0161ili, kdy\u017e Bilbo spadl s \u017euchnut\u00edm do s\u00edn\u011b,
a z\u016fstali schoulen\u011b sed\u011bt p\u0159ed koncem tunelu, kde je zanechal.\\par
\\enquote{Pst! Pst!} sy\u010deli, kdy\u017e usly\u0161eli jeho hlas,
a t\u0159eba\u017ee to hobitovi pomohlo ur\u010dit, kde jsou, trvalo n\u011bjak\u00fd \u010das,
ne\u017e z nich dostal n\u011bco jin\u00e9ho.
Ale nakonec, kdy\u017e za\u010dal skute\u010dn\u011b dupat na zem a je\u010del \\enquote{sv\u011btlo!},
co mu jen sta\u010dil pronikav\u00fd hlas, Thorin se podvolil
a poslal Oina a Gloina zp\u00e1tky k jejich ranc\u016fm na horn\u00edm za\u010d\u00e1tku tunelu.\\par
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent Rom\u00e1n pova\u017eovan\u00fd za z\u00e1kladn\u00ed k\u00e1men fantasy.
Ps\u00e1n pro d\u011btsk\u00e9ho poslucha\u010de a sub\u017e\u00e1nrov\u011b n\u00e1le\u017e\u00ed do \\texthl{high fantasy}.

\\subwection{Liter\u00e1rn\u00ed sm\u011br:}
\\noindent D\u016fraz na konsistentn\u00ed sv\u011bt, ovlivn\u011bn \\texthl{severskou a staroanglickou mytologi\u00ed a folkr\u00f3rem}.

\\subwection{Jazyk a slovn\u00ed z\u00e1soba:}
\\noindent Kniha je naps\u00e1na v angli\u010dtin\u011b, ale zahrnuje prvky vytvo\u0159en\u00fdch jazyk\u016f,
jako je elf\u0161tina (Quenya, Sindarin, Telerin, Noldorin, Nandorin, Doriath, Ilkorin, Avarin)
a trpasli\u010d\u00ed \u0159e\u010d (Khuzd\u00fbl, Iglishm\u00eak, QuasiKhuzdul), odr\u00e1\u017eej\u00edc\u00ed Tolkienovu l\u00e1sku k lingvistice.
Slovn\u00ed z\u00e1soba \u010derp\u00e1 ze staroangli\u010dtiny a dal\u0161\u00edch historick\u00fdch jazyk\u016f, co\u017e p\u0159isp\u00edv\u00e1 k bohatosti textu,
p\u0159izp\u016fsoben\u00e9 d\u011btsk\u00e9mu \u010dten\u00e1\u0159i.

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent P\u0159\u00edm\u00fd a v\u011bcn\u00fd jazyk, ide\u00e1ln\u00ed pro pov\u00eddku s rychl\u00fdm sp\u00e1dem, co m\u00e1 zaujmout mlad\u0161\u00ed div\u00e1ky.
Vyskytuj\u00ed se p\u00edsn\u011b a humor, kter\u00e9 d\u00e1le odleh\u010duj\u00ed p\u0159\u00edb\u011bh, kter\u00fd by jinak mohl b\u00fdt temn\u00fd.

\\subwection{Postavy:}
\\noindent 
\\textschl{Bilbo Pytl\u00edk --} Hobit~z Kraje miluj\u00edc\u00ed pohodl\u00ed,
zdr\u00e1hav\u011b se p\u0159id\u00e1v\u00e1~k v\u00fdprav\u011b trpasl\u00edk\u016f.
Nach\u00e1z\u00ed kouzeln\u00fd prsten~a odhaluje svou odvahu.
Z b\u00e1zliv\u00e9ho se st\u00e1v\u00e1 hrdinou, ct\u00ed domov~i dobrodru\u017estv\u00ed.
\\textschl{Gandalf --} Moudr\u00fd \u010darod\u011bj, \u0160ed\u00fd poutn\u00edk, organizuje v\u00fdpravu~k Osam\u011bl\u00e9 ho\u0159e.
Vede skupinu, zasahuje v~kl\u00ed\u010dov\u00fdch chv\u00edl\u00edch, z\u016fst\u00e1v\u00e1 tajemn\u00fd.
Vid\u00ed Bilb\u016fv potenci\u00e1l~a je mor\u00e1ln\u00edm kompasem.
\\textschl{Thorin Pav\u00e9za --} V\u016fdce trpasl\u00edk\u016f, d\u011bdic kr\u00e1lovstv\u00ed, tou\u017e\u00ed po \u0160makov\u011b pokladu.
Hrd\u00fd~a loaj\u00e1ln\u00ed, ale chamtivost ho zra\u0148uje.
Um\u00edr\u00e1~v Bitv\u011b p\u011bti arm\u00e1d po usm\u00ed\u0159en\u00ed~s Bilbem.
\\textschl{\u0160mak --} Drak st\u0159e\u017e\u00edc\u00ed poklad Osam\u011bl\u00e9 hory, arogantn\u00ed~a chytr\u00fd.
Jeho p\u00fdcha odhal\u00ed slabinu, \u00fato\u010d\u00ed na Jezern\u00ed m\u011bsto.
Zabije ho Bard, co\u017e je d\u011bjov\u00fd vrchol.
\\textschl{Glum --} Zka\u017een\u00fd tvor, d\u0159\u00edve hobit, posedl\u00fd prstenem, \u017eije pod Ml\u017en\u00fdmi horami.
Setk\u00e1n\u00ed~s Bilbem~a h\u00e1danky jsou kl\u00ed\u010dov\u00e9.
Zt\u011bles\u0148uje varov\u00e1n\u00ed p\u0159ed moc\u00ed.
\\textschl{Elrond --} Moudr\u00fd elf, p\u00e1n Roklinky, pom\u00e1h\u00e1 trpasl\u00edk\u016fm~s mapou.
Vyza\u0159uje klid~a u\u010denost, symbolizuje stabilitu.
Roklinka je bezpe\u010dn\u00fdm \u00fato\u010di\u0161t\u011bm.
\\textschl{Bard --} Lu\u010di\u0161tn\u00edk z~Jezern\u00edho m\u011bsta, zabije \u0160maka~a st\u00e1v\u00e1 se v\u016fdcem.
Skromn\u00fd, ale odv\u00e1\u017en\u00fd, p\u0159edstavuje lidskou nad\u011bji~a obnovu.
\\textschl{Beorn --} M\u011b\u0148avec, medv\u011bd-\u010dlov\u011bk, \u017eije osam\u011ble.
Pom\u00e1h\u00e1 trpasl\u00edk\u016fm \u00fato\u010di\u0161t\u011bm~a~v Bitv\u011b p\u011bti arm\u00e1d bojuje proti goblin\u016fm.
\\textschl{Dwalin --} Loaj\u00e1ln\u00ed~a bojovn\u00fd trpasl\u00edk, v\u011brn\u00fd Thorinovi, jeden~z prvn\u00edch~u Bilba.
\\textschl{Balin --} Moudr\u00fd trpasl\u00edk, p\u0159\u00edtel Bilba, zn\u00e1m\u00fd~z \u201eP\u00e1na prsten\u016f\u201c.
\\textschl{Fili ~a Kili --} Thorinovi synovci, mlad\u00ed, hrav\u00ed~a state\u010dn\u00ed,
sd\u00edlej\u00ed dobrodru\u017en\u00fd duch.
\\textschl{Oin ~a Gloin --} Brat\u0159i, Oin zn\u00e1 l\u00e9ky, Gloin je hou\u017eevnat\u00fd,
otec Gimliho~z \u201eP\u00e1na prsten\u016f\u201c.
\\textschl{Dori ~a Nori --} Dori je siln\u00fd a~pom\u00e1h\u00e1 Bilbovi, Nori tich\u00fd, ale \u0161ikovn\u00fd,
oba v\u011brn\u00ed skupin\u011b.
\\textschl{Bofur, Bombur ~a Bifur --} Bofur je vesel\u00fd, Bombur t\u011b\u017ek\u00fd~a komick\u00fd,
Bifur tich\u00fd, v\u0161ichni spolehliv\u00ed.
\\textschl{Ori --} Mlad\u00fd p\u00edsa\u0159, zapisuje ud\u00e1losti, pozd\u011bji zn\u00e1m\u00fd~z Morie.

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent Struktura d\u011bje je line\u00e1rn\u00ed, rozd\u011blena do 19 kapitol, ka\u017ed\u00e1 posouvaj\u00edc\u00ed p\u0159\u00edb\u011bh.
Odehr\u00e1v\u00e1 se ve St\u0159edozemi.
\u010cas je situov\u00e1n do T\u0159et\u00edho v\u011bku, p\u0159ibli\u017en\u011b v letech 2941\u20132942.

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

\\subwection{Politick\u00e1 situace:}
\\noindent Hobit byl naps\u00e1n v 30. letech 20. stolet\u00ed,
b\u011bhem meziv\u00e1le\u010dn\u00e9ho obdob\u00ed, kdy v Evrop\u011b rostly totalitn\u00ed re\u017eimy, zejm\u00e9na nacismus v N\u011bmecku.
Tolkien vyj\u00e1d\u0159il odpor k t\u011bmto ideologi\u00edm, co\u017e mohlo ovlivnit t\u00e9mata boje dobra se zlem.

\\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}
\\noindent Anglie po Druh\u00e9 sv\u011btov\u00e9 v\u00e1lce.

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

\\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed a liter\u00e1rn\u00edho v\u00fdvoje:}
\\noindent Tolkien byl ovlivn\u011bn staroanglick\u00fdmi a seversk\u00fdmi s\u00e1gami,
jako je \\texthl{Beowulf} a \\texthl{Poetick\u00e1 Edda},
sv\u00fdmi zku\u0161enostmi z 1. sv\u011btov\u00e9 v\u00e1lky,
k\u0159es\u0165anskou v\u00edrou a venkovsk\u00fdm prost\u0159ed\u00edm Anglie.

\\subwection{John Ronald Reuel Tolkien {\\ssmall -- \u017eivot autora:}}
\\noindent Narodil se v Ji\u017en\u00ed Africe v roce 1892,
p\u0159est\u011bhoval se do Anglie jako d\u00edt\u011b, studoval na Oxfordu,
slou\u017eil v 1. sv\u011btov\u00e9 v\u00e1lce a stal se profesorem anglick\u00e9ho jazyka a literatury na Oxfordu.
Napsal Hobita v 30. letech a P\u00e1na prsten\u016f v 50. letech, zem\u0159el v roce 1973

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi dal\u0161\u00ed v\u00fdznamn\u00e1 d\u00edla pat\u0159\u00ed \u201eP\u00e1n prsten\u016f\u201c (t\u0159\u00edd\u00edln\u00fd rom\u00e1n), \u201eSilmarillion\u201c (sb\u00edrka m\u00fdt\u016f),
\u201eNedokon\u010den\u00e9 p\u0159\u00edb\u011bhy\u201c, \u201eHistorie St\u0159edozem\u011b\u201c (s\u00e9rie knih) a r\u016fzn\u00e9 b\u00e1sn\u011b a eseje

\\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}
\\noindent Na Hobita Tolkien nav\u00e1zal se svoj\u00ed trilogi\u00ed P\u00e1n prsten\u016f, kter\u00e1 dobila sv\u011bt
a~stala se z\u00e1kladn\u00edm kamenem \u017e\u00e1nru fantasy.
Kdy prakticky ka\u017ed\u00e9 fantasy m\u00e1 n\u011bjak\u00e9 prvky spole\u010dn\u00e9 s Tolkienovou tvorbou.

\u201eHobit\u201c pomohl popularizovat \u017e\u00e1nr high fantasy,
stanovil konvence jako detailn\u00ed budov\u00e1n\u00ed sv\u011bta, epick\u00e9 v\u00fdpravy a mytologick\u00e9 prvky,
ovlivnil spisovatele jako Terry Pratchett a George R. R. Martin,
a p\u0159isp\u011bl k rozvoji modern\u00ed fantasy literatury.

\\wection{LITER\u00c1RN\u00cd KRITIKA}

\\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}
\\noindent Hobit ve sv\u00e9m \u010dase nebyl tak slavn\u00fd, proslavila se a\u017e n\u00e1sleduj\u00edc\u00ed trilogie.

P\u0159i prvn\u00edm vyd\u00e1n\u00ed v roce 1937 byl \u201eHobit\u201c p\u0159ij\u00edm\u00e1n jako d\u011btsk\u00fd p\u0159\u00edb\u011bh,
s pozitivn\u00edmi recenzemi,
jako ocen\u011bn\u00ed od New York Herald Tribune za nejlep\u0161\u00ed d\u011btskou fikci roku 1938.
Postupem \u010dasu se jeho status zm\u011bnil, stal se klasikou fantasy literatury,
s uzn\u00e1n\u00edm jako \u201eNejd\u016fle\u017eit\u011bj\u0161\u00ed rom\u00e1n 20. stolet\u00ed pro star\u0161\u00ed \u010dten\u00e1\u0159e\u201c
v anket\u011b Books for Keeps v roce 2012.

\\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}
\\noindent T\u00e9mata jako d\u016fle\u017eitost domova a komunity, l\u00e1kavost dobrodru\u017estv\u00ed,
boj dobra se zlem a hodnota p\u0159\u00e1telstv\u00ed a loajality z\u016fst\u00e1vaj\u00ed relevantn\u00ed.
V globalizovan\u00e9m sv\u011bt\u011b je hodnota komunity st\u00e1le d\u016fle\u017eit\u00e1, touha po dobrodru\u017estv\u00ed p\u0159etrv\u00e1v\u00e1,
a mor\u00e1ln\u00ed konflikty jsou nad\u010dasov\u00e9.

\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbfhl{High fantasy --} sub\u017e\u00e1nr fantasy, kde se d\u011bj odehr\u00e1v\u00e1 v \u00fapln\u011b vytvo\u0159en\u00e9m sv\u011bt\u011b,
    jako je St\u0159edozem, s epick\u00fdmi konflikty
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Jm\u00e9no r\u016f\u017ee}{UMBERTO ECO}[TO READ][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

% --------------------------------------------------
% \u010c \u00c1 S T   \u010c T V R T \u00c1
% --------------------------------------------------

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Po n\u00e1s a\u0165 p\u0159ijde potopa}{FRANTI\u0160EK GELLNER}[TO READ][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\newpage

\\bigsection{\u010cesk\u00e1 literatura 20. -- 21. stolet\u00ed}[min. 5 liter\u00e1rn\u00ed d\u00edla]

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Prom\u011bna}{FRANZ KAFKA}

\\noindent\\begin{wrapfigure}{r}{0.25\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
Nejv\u011bt\u0161\u00ed okam\u017eit\u00e9 zlep\u0161en\u00ed situace jim ov\u0161em jist\u011b snadno p\u0159inese zm\u011bna bytu;
vezmou si te\u010f men\u0161\u00ed a levn\u011bj\u0161\u00ed a p\u0159itom l\u00e9pe polo\u017een\u00fd a v\u016fbec prakti\u010dt\u011bj\u0161\u00ed byt,
ne\u017e je nyn\u011bj\u0161\u00ed, kter\u00fd vyb\u00edral je\u0161t\u011b \u0158eho\u0159.
Jak si tak pov\u00eddali, zad\u00edvali se pan a pan\u00ed Samsovi na svou \u010d\u00edm d\u00e1l \u010dilej\u0161\u00ed dceru
a skoro z\u00e1rove\u0148 je napadlo, jak za posledn\u00ed dobu p\u0159es v\u0161echno sou\u017een\u00ed,
od n\u011bho\u017e j\u00ed pobledly tv\u00e1\u0159e, rozkvetla v~kr\u00e1snou a kyprou d\u00edvku.
Umlkli, a dorozum\u00edvaj\u00edce se skoro nev\u011bdomky pohledy, pomysleli si,
\u017ee bude te\u010f na\u010dase, aby pro ni tak\u00e9 vyhledali hodn\u00e9ho mu\u017ee.
A~p\u0159ipadalo jim jako dotvrzen\u00ed jejich nov\u00fdch sn\u016f a dobr\u00fdch \u00famysl\u016f,
kdy\u017e u c\u00edle jejich cesty dcera prv\u00ed vstala a prot\u00e1hla sv\u00e9 mlad\u00e9 t\u011blo.
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent epick\u00e1 pr\u00f3za, \\texthl{novela}

\\subwection{Liter\u00e1rn\u00ed sm\u011br:}
\\noindent Kafkovo d\u00edlo je v\u00fdjime\u010dn\u00e9.
Poch\u00e1z\u00ed z prost\u0159ed\u00ed, kter\u00e9 prol\u00ednalo v\u00edcero sm\u011br\u016f a Kafka to dot\u00e1hnul o \u00farove\u0148 v\u00fd\u0161e.
I kdy\u017e se d\u00edlo d\u00e1 \u0159adit do \\textbfhl{expresionismu}, tak k jeho motiv\u016fm v\u00edce sed\u00ed \\textbfhl{existencialismus}.
Jedn\u00e1~se~o~d\u00edlo, jen\u017e vyjad\u0159uje vnit\u0159n\u00ed pocity mu\u017ee,
kter\u00fd se i d\u00edky \\textithl{odcizen\u00ed} od sebe samotn\u00e9ho ocitl v~t\u00e9to~absurdn\u00ed situaci.
A d\u00edky sv\u00e9 prom\u011bn\u011b se odcizil i od sv\u00e9 rodiny a nezbylo mu nic jin\u00e9ho, ne\u017e uva\u017eovat s\u00e1m nad sebou.

\\subwection{Jazyk a slovn\u00ed z\u00e1soba:}
\\noindent Spisovn\u00fd a form\u00e1ln\u00ed jazyk.
V\u011bcn\u00fd k popisu tak absurdn\u00edch situac\u00ed.
Autor svoj\u00ed slovn\u00ed z\u00e1sobou popisuje \\textithl{pocity odcizen\u00ed, \u00fazkosti a bezmoci}.

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent Stroh\u00fd a detailn\u00ed popis hmyz\u00edho t\u011bla a \u0158eho\u0159ova pokoje.
\\texthl{Absurdn\u00ed situace} v\u011brn\u00e1 Kafkov\u011b jm\u00e9nu, pops\u00e1na v\u011bcn\u011b, jako by se nic ned\u011blo.

\\subwection{Postavy:}
\\noindent 
\\textschl{\u0158eho\u0159 Samsa --} pracovit\u00fd mlad\u00fd mu\u017e,
jen pracuje aby \\textithl{u\u017eivil svoj\u00ed rodinu}.
Absurdn\u011b se z n\u011bj \\textithl{stane \u0161k\u016fdce},
rodina na n\u011bj postupn\u011b zanev\u0159e a~\u0158eho\u0159 um\u00edr\u00e1. \\\\
\\textschl{Matka --} slab\u00e1 ale miluj\u00edc\u00ed matka.
\u0158eho\u0159e se dlouhou dobu zast\u00e1v\u00e1, dokud se nep\u0159esv\u011bd\u010d\u00ed,
\u017ee to stvo\u0159en\u00ed \\texthl{nen\u00ed jej\u00ed syn}. \\\\
\\textschl{Otec --} na \u0158eho\u0159e zapom\u00edn\u00e1 jako prvn\u00ed,
kv\u016fli synov\u011b neschopnosti se mus\u00ed vr\u00e1tit do pr\u00e1ce.
I kdy\u017e \u0158eho\u0159e prvn\u011b do pr\u00e1ce nutil~s~t\u00edm, \u017ee~s\u00e1m~u\u017e~pracovat nem\u016f\u017ee. \\\\
\\textschl{Sestra Mark\u00e9ta --} o bratra se jako jedin\u00e1 star\u00e1, opravdu se sna\u017e\u00ed.
\\textithl{C\u00edt\u00ed to jako povinnost} se o n\u011bj starat i v jeho stavu.
Ale \u010das i~j\u00ed~otup\u00ed a~i~j\u00ed~se~st\u00e1v\u00e1 p\u0159\u00edt\u011b\u017e\u00ed. \\\\
\\textschl{Slu\u017eka --} najat\u00e1 slu\u017eka, o \u0158eho\u0159e se star\u00e1,
kdy u\u017e nikdo jin\u00fd do jeho pokoje nechod\u00ed.
Star\u00e1 se o n\u011bj a\u017e roboticky, ale star\u00e1.
Je to i ona, kdo \\textithl{odklid\u00ed jeho mrtv\u00e9 t\u011blo}. \\\\
\\textschl{Prokurista --} pracovn\u00edk z \u0158eho\u0159ovi star\u00e9 pr\u00e1ce,
kter\u00fd se za n\u00edm hned prvn\u00ed den stav\u00ed, aby ho p\u0159inutil j\u00edt pracovat.
Od sv\u00e9ho c\u00edle ustupuje, kdy\u017e~se~p\u0159esv\u011bd\u010d\u00ed o~jeho situaci. \\\\
\\textschl{N\u00e1jemn\u00edci --} kdy\u017e \u0158eho\u0159ova rodina trp\u00ed na nedostatek pen\u011bz,
pronajme \u010d\u00e1st sv\u00e9ho obydl\u00ed t\u0159em mu\u017e\u016fm.
\u0158eho\u0159 je vyd\u011bs\u00ed a oni ute\u010dou bez placen\u00ed.
Je to i tato ud\u00e1lost, kter\u00e1 p\u0159esv\u011bd\u010d\u00ed \u0158eho\u0159ovu rodinu,
\u017ee \\textithl{nen\u00ed ni\u010d\u00edm v\u00edc, ne\u017e p\u0159\u00edt\u011b\u017e\u00ed}, kter\u00e9 se mus\u00ed zbavit.

\\subwection{D\u011bj:}
\\noindent P\u0159\u00edb\u011bh za\u010d\u00edn\u00e1 kr\u00e1tce po \u0158eho\u0159ov\u011b metamorf\u00f3ze v obludn\u00e9ho \u0161k\u016fdce
\\texthl{(n\u011bmecky \\enquote{ungeheueres Ungeziefer})}.
\u0158eho\u0159 se nestar\u00e1 o~to, co~se~stalo s~jeho t\u011blem.
Pro\u010d m\u00e1 \\textit{tolik kon\u010detin}.
Pro\u010d m\u00e1 tak \\textit{zvl\u00e1\u0161tn\u00ed proporce}.
Pro\u010d jeho \\textit{z\u00e1da p\u0159ipom\u00ednaj\u00ed krun\u00fd\u0159}.
Star\u00e1 se pouze o to, jak se v jeho stavu \\textbfhl{dostavit do pr\u00e1ce}.
B\u011bhem n\u00e1sleduj\u00edc\u00edch p\u00e1r des\u00edtek minut ztr\u00e1c\u00ed i posledn\u00ed zbytky lidskosti,
kdy u\u017e d\u00e9le ani \\textbfhl{nen\u00ed schopen komunikovat}.
Jeho rodina a prokurista ho nal\u00e9zaj\u00ed v jeho moment\u00e1ln\u00edm stavu.
B\u011bhem n\u00e1sleduj\u00edc\u00edch dn\u00ed se otec mus\u00ed vr\u00e1tit do sv\u00e9 pr\u00e1ce,
sestra se star\u00e1 o \u0158eho\u0159e a matka lamentuje nad ne\u0161t\u011bst\u00edm, co je postihlo.
Nen\u00ed schopna se pod\u00edvat na to, co se z jej\u00edho syna stalo.
To vede i k situaci, \u017ee kdy\u017e se \u0158eho\u0159 jednou omylem nech\u00e1 zahl\u00e9dnout,
tak matka omdl\u00ed a otec, mysl\u00edc si, \u017ee se \u0158eho\u0159 dopustil na matce n\u00e1sil\u00ed,
\\texthl{syna o\u0161kliv\u011b poran\u00ed}.
Aby vyd\u011blali pen\u00edze, pronajmou \u010d\u00e1st bytu t\u0159em p\u00e1n\u016fm.
Jednoho ve\u010dera jim Mark\u00e9ta hraje hudbu a \u0158eho\u0159 se mus\u00ed j\u00edt pod\u00edvat.
Vyd\u011bs\u00ed n\u00e1jemn\u00edky a ti ute\u010dou bez placen\u00ed, co\u017e \\texthl{rodinu je\u0161t\u011b v\u00edce obr\u00e1t\u00ed proti \u0158eho\u0159ovi}.
Rodin\u011b se za\u010d\u00edn\u00e1 da\u0159it i bez \u0158eho\u0159e.
Na p\u0159edchoz\u00ed hlavu rodiny za\u010d\u00ednaj\u00ed \\textithl{vzpom\u00ednat se z\u00e1\u0161t\u00ed}.
Najmou se dokonce i starou slu\u017eku a ta se o \u0158eho\u0159e jak\u017e tak\u017e star\u00e1.
R\u00e1na zp\u016fsoben\u00e1 jablka, jen\u017e po n\u011bm otec hodil, se mu nelep\u0161\u00ed a \u0158eho\u0159 sl\u00e1bne.
Nakonec um\u00edr\u00e1, slu\u017eka odkl\u00edz\u00ed jeho t\u011blo a rodina \\texthl{spokojen\u011b vykra\u010duje vst\u0159\u00edc lep\u0161\u00edm z\u00edt\u0159k\u016fm}.

\\subwection{Kompozice, prostor a \u010das:}
\\noindent Novela je rozd\u011blena do t\u0159\u00ed celk\u016f.
Navazuj\u00edc\u00edch chronologicky na sebe.
Prvn\u00ed pojedn\u00e1v\u00e1 o \\texthl{\u0158eho\u0159ov\u011b prom\u011bn\u011b} a reakc\u00edch rodiny.
Druh\u00e1 pak ukazuje \\texthl{\u0158eho\u0159ovo odlou\u010den\u00ed} a odcizen\u00ed rodiny od n\u011bj.
T\u0159et\u00ed pak vy\u00fast\u00ed do \\texthl{\u0158eho\u0159ovi smrti}.
D\u00edlo se odehr\u00e1v\u00e1 v byt\u011b Samsov\u00fdch,
kdy v\u011bt\u0161ina p\u0159\u00edb\u011bhu je~uzav\u0159ena pouze mezi \u010dty\u0159mi st\u011bnami \u0158eho\u0159ova pokoje,
co\u017e je\u0161t\u011b v\u00edce podtrhuje odlou\u010den\u00ed a uzav\u0159en\u00ed mlad\u00e9ho Samsy.

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent Kafkova \\textbfhl{Metamorf\u00f3za} je jedn\u00edm z t\u011bch p\u0159\u00edb\u011bh\u016f,
co div\u00e1ka vezme na absurdn\u00ed cestu do autorova nitra. \\\\
Jedn\u00e1 se snad o p\u0159\u00edb\u011bh \\texthl{mu\u017ee v depres\u00edch}, kter\u00fd se zprotivil s\u00e1m sob\u011b
a rodina ho pouze vyu\u017e\u00edvala?
\u010ci se mlad\u00fd mu\u017e odcizil s\u00e1m sob\u011b natolik, \u017ee~se~p\u0159em\u011bnil ve~\u0161k\u016fdce
a odcizen\u00ed rodiny si zavinil s\u00e1m sv\u00fdm p\u0159\u00edstupem k \u017eivotu?
M\u011bla se \u0158eho\u0159ova rodina v\u00edce sna\u017eit porozum\u011bt jejich synu,
kdy\u017e ani nev\u011bd\u011bli, zda to je \u0158eho\u0159?
Nebo m\u011bl \u0158eho\u0159 odej\u00edt pry\u010d, do nezn\u00e1ma, a nechat jeho rodinu jejich spokojen\u00e9mu \u017eit\u00ed?

\\wection{LITER\u00c1RN\u00cd HISTORIE}

\\subwection{Politick\u00e1 situace:}
\\noindent Rakousko-Uhersko jako st\u00e1tn\u00ed celek,
slo\u017een z patn\u00e1cti v\u00fdrazn\u00fdch a mnoho dal\u0161\u00edch minoritn\u00edch n\u00e1rodnost\u00ed,
\u010delil zna\u010dn\u00e9mu \\texthl{vnit\u0159n\u00edmu nap\u011bt\u00ed} a~\\texthl{n\u00e1rodnostn\u00edm rozd\u00edl\u016fm}.
Ty byly znateln\u00e9 hlavn\u011b v multikulturn\u00edch m\u00edstech, kter\u00fdmi byli v\u00fdznamn\u00e1 m\u011bsta, kam se \u0159adila i Praha.
20. stolet\u00ed z\u00e1rove\u0148 bylo stolet\u00edm \\texthl{technologick\u00e9ho a soci\u00e1ln\u00edho pokroku}.
Co\u017e lidem vzalo jistoty a vzbuzovalo skepsi.

\\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}
\\noindent Praha jako jedno z v\u00fdznamn\u011bj\u0161\u00edch m\u011bst Rakouska-Uherska, se stalo centrem kultury,
kde se prol\u00ednaly vlivy hned z n\u011bkolika sm\u011br\u016f.
Kafka byl sou\u010d\u00e1st\u00ed pra\u017esk\u00fdch spisovatel\u016f, mezi kter\u00fdmi p\u0159evl\u00e1dala pesimismus v\u016f\u010di spole\u010dnosti.

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Franz Kafka {\\ssmall -- \u017eivot autora:}}
\\noindent Syn bohat\u00e9ho \u017eidovsk\u00e9ho obchodn\u00edka, se kter\u00fdm ale \\textithl{m\u011bl slo\u017eit\u00fd vztah}.
Po vystudov\u00e1n\u00ed pr\u00e1v se stal \u00fa\u0159edn\u00edkem v poji\u0161\u0165ovn\u011b, pr\u00e1ce ho nenapl\u0148ovala,
p\u0159ipadala mu \\texthl{byrokratick\u00e1}, ale dod\u00e1vala mu \u017eivotn\u00ed jistotu.
V jeho d\u00edlech se odr\u00e1\u017eela t\u00e9mata odcizen\u00ed, izolace a pr\u00e1v\u011b absurdity byrokracie.

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textschl{Proces}, \\textschl{Z\u00e1mek}
a \\textschl{Amerika} (druh\u00fdm n\u00e1zvem \\textschl{Nezv\u011bstn\u00fd}).

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent P\u0159\u00edb\u011bh byl \u010dtiv\u00fd. D\u00edky autorov\u011b averzi k zodpov\u00edd\u00e1n\u00ed ot\u00e1zek jsem do konce hltal ka\u017edou v\u011btu,
doufaj\u00edc, \u017ee dostanu odpov\u011b\u010f aspo\u0148 na jednu ze sv\u00fdch ot\u00e1zek.
To se sice nestalo, ale to p\u0159\u00edb\u011bhu neub\u00edr\u00e1 na kvalit\u011b.
K m\u00e9mu nesouhlasu to funguje. A funguje to a\u017e moc dob\u0159e.
Nem\u011blo by, ale~funguje. Z\u00e1rove\u0148 m\u011b zaujalo, jak se tam vlastn\u011b nikomu ned\u00e1 nic vytknout.
\u010clov\u011bk se m\u016f\u017ee zast\u00e1vat \u0158eho\u0159e a vy\u010d\u00edtat jeho rodin\u011b jejich p\u0159\u00edstup k~n\u011bmu.
Ale oni nev\u011bd\u011bli, zda to v\u016fbec je on.
\u010ci mu m\u016f\u017ee \u010dlov\u011bk vy\u010d\u00edtat, \u017ee byl pro rodinu, o kterou se d\u0159\u00edve staral, stal p\u0159\u00edt\u011b\u017e\u00ed,
ale~nic~jin\u00e9ho se~ani~d\u011blat nedalo.

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbfhl{Expresionismus --} sna\u017e\u00ed se vyj\u00e1d\u0159it vnit\u0159n\u00ed pro\u017eitky a emoce \u010dlov\u011bka deformac\u00ed reality;
    \\textbfhl{Existencialismus --} zd\u016fraz\u0148uje individu\u00e1ln\u00ed existenci, svobodu a odpov\u011bdnost \u010dlov\u011bka v absurdn\u00edm sv\u011bt\u011b;
    \\textbfhl{\\enquote{Ungeheueres Ungeziefer} --} ohromn\u00fd\\wsl obludn\u00fd\\wsl nestv\u016frn\u00fd\\wsl stra\u0161liv\u00fd~
    \\textbfhl{\\leftrightarrow}{ }~hmyz\\wsl hav\u011b\u0165\\wsl \u0161k\u016fdce\\wsl breberka
    \\textbfhl{$\\Rightarrow$}~v~dokumentu jsem se rozhodl pro varianty \\texthl{hmyzu} a \\texthl{\u0161k\u016fdce},
    oproti v \u010de\u0161tin\u011b pou\u017e\u00edvan\u011bj\u0161\u00ed variant\u011b o \\texthl{brouku}.
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\proza{Krysa\u0159}{VIKTOR DYK}

\\noindent\\begin{wrapfigure}{r}{0.4\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
\\textit{Krysa\u0159 vede lid z Hammeln do propasti na ho\u0159e Koppel:}\\\\
Lid z Hammeln \u0161el za~sv\u00fdm chmurn\u00fdm a~zamy\u0161len\u00fdm v\u016fdcem, \\texthl{za~velitelskou a~mocnou p\u00edsn\u00ed jeho p\u00ed\u0161\u0165aly}.
Strhovala sv\u00fdm zvukem a~v\u00e1bila d\u00e1l.
D\u00e1l, a\u017e~k~br\u00e1n\u011b...\\\\
Klop\u00fdtali cestou necestou, padali, aby vstali a~\u0161li d\u00e1le.
Sly\u0161eli jen krysa\u0159e a~vid\u011bli jen krysa\u0159e.
A~jak kr\u00e1\u010deli, n\u00e1hle se~p\u0159ed nimi otev\u0159ela propast.
Krysa\u0159 st\u00e1l nad propast\u00ed, chmurn\u011bj\u0161\u00ed, velebn\u011bj\u0161\u00ed.
Mocn\u011b a~slavn\u011b zn\u011bla p\u00ed\u0161\u0165ala.\\\\
Nikdo z~Hammeln se p\u0159ed branou nezastavil.
Nikdo, krom\u011b Seppa J\u00f6rgena, zamy\u0161len\u00e9ho nad hladinou \u0159eky.
V\u0161ichni pro\u0161li za zvuk\u016f p\u00ed\u0161\u0165aly s~d\u016fv\u011brn\u00fdm \u00fasm\u011bvem a~rozepjatou n\u00e1ru\u010d\u00ed:
Oh, sedmihradsk\u00e1 zem\u011b!
V\u0161ichni pro\u0161li a mizeli bez hlesu.
A~chmurn\u00fd a~n\u011bm\u00fd v\u016fdce p\u00edskal a~p\u00edskal.
Dav \u0159\u00eddl za zvuk\u016f krysa\u0159ovy p\u00edsn\u011b; posl\u00e9ze krysa\u0159 nad propast\u00ed osam\u011bl -\\\\
Vzpomn\u011bl na \\texthl{\\enquote{ano}} \u0159e\u010den\u00e9 jarn\u00edho ve\u010dera.
Vzpomn\u011bl si na Agnes, kter\u00e1 ho p\u0159ede\u0161la, ale kterou bylo mo\u017eno dohoniti.
Naklonil se nad propast\u00ed.\\\\
Bylo ticho, zvl\u00e1\u0161tn\u00ed ticho.
P\u00ed\u0161\u0165ala vypadla z~krysa\u0159ov\u00fdch rukou.
\\texthl{Jeho p\u00ed\u0161\u0165ala znamenala \u017eivot.}\\\\
Jej\u00ed zvuky jako by je\u0161t\u011b dozn\u00edvaly v p\u00e1du: jej\u00ed zvuky vedly krysa\u0159e, jako vedly dav -\\\\
\"Ano,\" odpov\u00eddal krysa\u0159 n\u011bm\u00e9 propasti.
A~tak\u00e9 on~hledal br\u00e1nu.\\\\
Tak ode\u0161el krysa\u0159 a~ostatn\u00ed z~Hammeln; nen\u00ed v\u0161ak jist\u00e9, do\u0161li-li do zem\u011b sedmihradsk\u00e9.
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent epick\u00e1 pr\u00f3za, novela

\\subwection{Liter\u00e1rn\u00ed sm\u011br:}
\\noindent\\textbfhl{Liter\u00e1rn\u00ed moderna} -- vyskytuje se zde p\u0159ev\u00e1\u017en\u011b \\textit{impresionismus}, \\textit{dekadence},
\\textit{symbolismus} a~\\textit{realismus}.

\\subwection{Jazyk a slovn\u00ed z\u00e1soba:}
\\noindent P\u0159elom \\textit{19. a 20. stolet\u00ed}, bu\u0159i\u010di psali spisovn\u00fdm jazykem i~kdy\u017e ne tak kv\u011btnat\u00fdm jako modernist\u00e9.
Personifikace, metafory, \u0159e\u010dnick\u00e9 ot\u00e1zky, citov\u011b zabarven\u00e9 v\u00fdrazy, p\u0159\u00edm\u00e1 \u0159e\u010d.

% \\subwection{Figury:}

% \\subwection{Tropy:}

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent D\u00edlo je ps\u00e1no spisovn\u00fdm jazykem, i~kdy\u017e prost\u0161\u00edm.
Poetick\u00e9 vyzn\u011bn\u00ed, vyu\u017eit\u00ed b\u00e1snick\u00fdch figur.
Autor zde vyu\u017e\u00edv\u00e1 vypr\u00e1v\u011bc\u00edho, popisn\u00e9ho a~\u00favahov\u00e9ho stylu.

\\subwection{O d\u00edle}
\\noindent P\u016fvodn\u00edm n\u00e1zvem \\textbf{Pravdiv\u00fd p\u0159\u00edb\u011bh}, pod kter\u00fdm vych\u00e1zel v \u010dasopise \\textithl{Lum\u00edr}.
Kni\u017en\u00ed verze je o dvan\u00e1ct let mlad\u0161\u00ed a p\u0159epracovanou verz\u00ed.
Krysa\u0159 vy\u0161el i jako muzik\u00e1l od Daniela Landy. \\\\
N\u00e1m\u011btem je jist\u011b legenda o Krysa\u0159i, ze 13. stolet\u00ed.
I kdy\u017e tato legenda pojedn\u00e1v\u00e1 o trochu jin\u00e9 z\u00e1pletce.
Tady Krysa\u0159 z Hammeln odvede v\u0161echny d\u011bti.

\\subwection{Postavy:}
\\noindent 
\\textbfhl{KRYSA\u0158 --} samozvan\u00fd nikdo; tul\u00e1k; mu\u017e \\textithl{bez minulosti, bez budoucnosti}.
P\u0159ich\u00e1z\u00ed do Hammeln jako pocestn\u00fd, bere zak\u00e1zku na \\texthl{zbaven\u00ed m\u011bsta krys}.
M\u011b\u0161\u0165an\u00e9 jsou k n\u011bmu zdr\u017eenliv\u00ed, je nov\u00fd a trochu zvl\u00e1\u0161tn\u00ed.
Jedinou v\u00fdjimkou je mladi\u010dk\u00e1 \u00c1gnes, kter\u00e1 se do pocestn\u00e9ho zamilov\u00e1v\u00e1, stejn\u011b jako on do n\u00ed.
Je to Krysa\u0159, kter\u00fd vede v\u0161echny ob\u010dany Hammeln jako prost\u00e9 krysy \\textbf{vst\u0159\u00edc jejich zk\u00e1ze}.\\\\
\\textbfhl{\u00c1GNES --} hlavn\u00ed \u010d\u00e1st \\texthl{milostn\u00e9ho troj\u00faheln\u00edku}, na kter\u00fd se \\textit{Dyk} ve sv\u00e9m d\u00edle soust\u0159edil.
Mlad\u00e1, v\u00e1\u0161niv\u00e1, kr\u00e1sn\u00e1, nad\u011bjn\u00e1.
Dobr\u00e1 partie pro kohokoli ve m\u011bst\u011b, to je i d\u016fvod, pro\u010d je zasnouben\u00e1 za Kristi\u00e1na, d\u011bdice bohat\u00e9ho kupce.
A je to i d\u016fvod, pro\u010d se do n\u00ed zamiluje i takov\u00fd vlk samot\u00e1\u0159, jak\u00fdm je Krysa\u0159.
A ona se zamiluje do Krysa\u0159e, i kdy\u017e \\textit{nen\u00ed schopna zru\u0161it z\u00e1snuby}.
Jako jedin\u00e1 je otev\u0159en\u00e9 mysli, neboj\u00ed se Krysa\u0159e, neboj\u00ed se venkovn\u00edho sv\u011bta.\\\\
\\textbfhl{KRISTI\u00c1N --} snoubenec \u00c1gnes, zvan\u00fd dlouh\u00fd Kristi\u00e1n, pohledn\u00fd mlad\u00fd mu\u017e, nav\u00edc d\u011bdic velk\u00e9ho m\u011bn\u00ed -- s\u00e1m p\u0159edstavuje dobrou partii.
S Krysa\u0159em se pouze m\u00edj\u00ed, kdy\u017e m\u00e1 ale pocit, \u017ee \u00c1gnes ztr\u00e1c\u00ed, pojist\u00ed si j\u00ed \\textbf{d\u00edt\u011btem}.\\\\
\\textbfhl{RADN\u00cd --} dvojice mu\u017e\u016f, \\textithl{Gottlieb Frosch} a \\textithl{Bonif\u00e1c Strumm}.
Jsou zosobn\u011bn\u00edm m\u011b\u0161\u0165an\u016f obchodn\u00edho m\u011bsta Hammeln.
Jestli ob\u010dan ned\u016fv\u011b\u0159uje cizinci, oni j\u00edm prakticky opovrhuj\u00ed.
Jestli ob\u010dan mysl\u00ed jen na pen\u00edze, jim se o nich zdaj\u00ed \\textbfhl{sny} cel\u00e9 noci.
Oni, jm\u00e9nem cel\u00e9ho m\u011bsta, najmou Krysa\u0159e na zbaven\u00ed m\u011bsta krys.
A jsou to oni, kte\u0159\u00ed mu, jm\u00e9nem cel\u00e9ho m\u011bsta, \\textbf{odm\u00edtnou vyplatit} sl\u00edbenou odm\u011bnu.
\\textbfhl{Oni p\u0159edstavuj\u00ed krysy}, zka\u017een\u00e9 m\u011b\u0161\u0165\u00e1ky a oni p\u0159edstavuj\u00ed sv\u00e9 m\u011bsto.\\\\
\\textbfhl{MAGISTR --} \\textit{faustovsk\u00fd motiv}, perfektn\u011b v\u011b\u0159\u00ed sv\u00fdm sebeklam\u016fm a v\u011b\u0159\u00ed, \u017ee za jeho moc m\u016f\u017ee jeho mocn\u00fd p\u00e1n.
Nab\u00e1d\u00e1 Krysa\u0159e k tomu, aby vyu\u017eil pln\u00e9 s\u00edly sv\u00e9 p\u00ed\u0161\u0165aly na krysy.\\\\
\\textbfhl{SEPP J\\\"{O}RGEN --} asi nejz\u00e1hadn\u011bj\u0161\u00ed postava knihy.
Pomalu ch\u00e1pe, v\u0161e mu dojde a\u017e n\u00e1sleduj\u00edc\u00ed den, moc mu to nemysl\u00ed, lidu Hammeln je pro sm\u00edch.
D\u011bv\u010data si z n\u011bho utahuj\u00ed, lid\u00e9 ho ignoruj\u00ed \u010di ur\u00e1\u017eej\u00ed.
A je tak\u00e9 jedin\u00fdm, kdo unikne Krysa\u0159ov\u011b hn\u011bvu, kdy nam\u00edsto n\u00e1sledov\u00e1n\u00ed jeho v\u00e1ben\u00ed se rozhodne \\texthl{postarat o pla\u010d\u00edc\u00ed nemluvn\u011b}.

\\subwection{D\u011bj:}
\\noindent Krysa\u0159 vstupuje do m\u011bsta, aby ho zbavil krys.
Zamilov\u00e1v\u00e1 se do kr\u00e1sn\u00e9 \u00c1gnes.
Zbav\u00ed m\u011bsto krys a nedost\u00e1v\u00e1 zaplaceno, stejn\u011b ale pl\u00e1nuje odej\u00edt.
Vrac\u00ed se kv\u016fli \u00c1gnes, \\texthl{nedok\u00e1\u017ee j\u00ed opustit}.
Potk\u00e1v\u00e1 Magistra Faustuse, kter\u00fd ho nab\u00e1d\u00e1 k vyu\u017eit\u00ed p\u00ed\u0161\u0165ali.
\u00c1gnes si u\u017e\u00edv\u00e1 rom\u00e1nku s Krysa\u0159em, dokud si j\u00ed Kristi\u00e1n nevezme za svou.
Ne\u017e mu porodit d\u00edt\u011b, vezme si mladi\u010dk\u00e1 \u00c1gnes \u017eivot.
Krysa\u0159e tato zpr\u00e1va zdrt\u00ed a rozhodne se zbavit \\texthl{m\u011bsto krys}, tentokr\u00e1t opravdu \\texthl{v\u0161ech}.
Zap\u00edsk\u00e1 mocn\u011b na svoj\u00ed p\u00ed\u0161\u0165alu a krysy jdou, odch\u00e1zej\u00ed ze sv\u00fdch p\u0159\u00edbytk\u016f, zanech\u00e1vaj\u00ed rozd\u011blan\u00e9 pr\u00e1ce, berou svoje d\u011bti a jdou.
V\u0161echny Hammelsk\u00e9 krysy t\u00e1hnou za p\u00edsn\u00ed Krysa\u0159ovi p\u00ed\u0161\u0165aly.

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
P\u0159\u00edb\u011bh se odehr\u00e1v\u00e1 v hanzovn\u00edm m\u011bst\u011b Hammeln, legenda kterou se \\textbfhl{Dyk} inspiroval je datov\u00e1na do 13. stolet\u00ed, ale stolet\u00ed ve knize ur\u010den\u00e9 nen\u00ed.
D\u00edlo sest\u00e1v\u00e1 z 26 kapitol, chronologicky poskl\u00e1dan\u00fdch, s ob\u010dasn\u00fdmi zm\u00ednkami o ud\u00e1lostech minul\u00fdch.

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
Linka o Krysa\u0159i se d\u00e1 ch\u00e1pat sn\u00e1ze.
M\u011bsto s prohnil\u00edmi lidmi dostane, co si zaslou\u017e\u00ed.
Kritika povrchn\u00edho m\u011b\u0161\u0165\u00e1ctv\u00ed.\\\\
Zaj\u00edmav\u011bj\u0161\u00ed je linka, kter\u00e1 tento z\u00e1kladn\u00ed p\u0159\u00edb\u011bh upozadila.
Milostn\u00fd troj\u00faheln\u00edk Krysa\u0159e, \u00c1gnes a dlouh\u00e9ho Kristi\u00e1na.
P\u0159\u00edb\u011bh mu\u017ee, kter\u00fd nev\u011b\u0159il, \u017ee~m\u016f\u017ee milovat a~\u017ee~m\u016f\u017ee b\u00fdt milov\u00e1n.
P\u0159\u00edb\u011bh \u017eeny, kter\u00e1 si~nemohla vybrat.
A~p\u0159\u00edb\u011bh mu\u017ee, co~si~myslel, \u017ee~si~vybrat m\u016f\u017ee.
Krysa\u0159 si st\u00e1le nalh\u00e1val, \u017ee mu na \u00c1gnes nez\u00e1le\u017e\u00ed, \u017ee je mu jedno, jak a~s~k\u00fdm skon\u010d\u00ed, \u017ee m\u016f\u017ee odej\u00edt.
A~v~tomto byl stejn\u00fd jako Magistr Faustus, ne v~pekeln\u00e9 moci, ne v~alianci s~peklem, ale v~sebeklamu.

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Viktor Dyk {\\ssmall -- \u017eivot autora:}}
\\noindent Viktor Dyk byl v\u00fdznamn\u00fdm prozaikem a b\u00e1sn\u00edkem prvn\u00ed poloviny 20. stolet\u00ed.
V ml\u00e1d\u00ed sou\u010d\u00e1st\u00ed \\textit{anarchistick\u00fdch \\texthl{bu\u0159i\u010d\u016f}}, p\u0159i\u010dinil se i ke \u010dasopisu \\textit{Lum\u00edr}.
Pozd\u011bji v \u017eivot\u011b se naklonil sp\u00ed\u0161e k nacionalistick\u00e9mu pohledu na sv\u011bt a stal se z n\u011bj i v\u00fdznamn\u00fd politik.

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{Zmoud\u0159en\u00ed Dona Quijota}, \\textsc{Dev\u00e1t\u00e1 vlna} a \\textsc{Od br\u00e1ny pekeln\u00e9}.

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
\\textit{Viktor Dyk} vzal starou legendu, p\u0159ikr\u00e1\u0161lil ji pro modern\u00ed literaturu a p\u0159idal k n\u00ed milostn\u00fd troj\u00faheln\u00edk.
Je to metoda, kter\u00e1 funguje, pov\u00eddka je~\u010dtiv\u00e1 a~aby~nebyl konec tak p\u0159edv\u00eddateln\u00fd, tak Krysa\u0159\u016fv hr\u016fzn\u00fd \u010din pov\u00fd\u0161il je\u0161t\u011b na dal\u0161\u00ed \u00farove\u0148.
V cel\u00e9m m\u00e9m po\u010dinu jsem se nezm\u00ednil o vnit\u0159n\u00edch dialoz\u00edch postav a trefn\u011b polo\u017een\u00fdch \u0159e\u010dnick\u00fdch ot\u00e1zk\u00e1ch vyprav\u011b\u010de\/spisovatele a p\u0159itom toto jsou za m\u011b p\u0159ednosti knihy.
Ano, Dykovu novelu mohu jen doporu\u010dit.

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbfhl{Legenda --} epick\u00fd liter\u00e1rn\u00ed \u017e\u00e1nr pojedn\u00e1vaj\u00edc\u00ed o \u017eivot\u011b mu\u010dedn\u00edka;
    \\textbfhl{Liter\u00e1rn\u00ed moderna --} liter\u00e1rn\u00ed sm\u011br konce 19. stolet\u00ed -- vyzna\u010duje se hlavn\u011b odstupem od realismu a d\u016frazu na jedince;
    \\textbfhl{impresionismus --} po\u017eitek z dan\u00e9ho okam\u017eiku;
    \\textbfhl{dekadence --} \u00fapadek, rozpad;
    \\textbfhl{symbolismus --} abstraktn\u00ed my\u0161len\u00ed p\u0159es skryt\u00e9 v\u00fdznamy;
    \\textbfhl{realismus --} v\u011bcnost byt\u00ed, spr\u00e1vn\u00e9 pozn\u00e1n\u00ed v\u011bc\u00ed sam\u00fdch;
    \\textbfhl{Lum\u00edr --} \u010dasopis sna\u017e\u00edc\u00ed se povzn\u00e9st \u010deskou literaturu o p\u0159eklady zahrani\u010dn\u00edch d\u011bl i vyd\u00e1v\u00e1n\u00ed d\u011bl \u010desk\u00fdch zahrani\u010d\u00edm inspirovan\u00fdch;
    \\textbfhl{bu\u0159i\u010di --} \\enquote{b\u00e1sn\u00edci \u017eivota a vzdoru}, liter\u00e1ti inspirovan\u00ed filosofi\u00ed \\texthl{Friedricha Nietzscheho}, opovrhovali spole\u010dnost\u00ed, jej\u00edm konzervatismem a uzav\u0159enost\u00ed.
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\drama{Osel a st\u00edn}{JI\u0158\u00cd VOSKOVEC, JAN WERICH}[TO READ][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\drama{B\u00edl\u00e1 Nemoc}{KAREL \u010cAPEK}[TODO][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\newpage

% \\coffeestainA{0.4}{1}{90}{30em}{40em}

\\changefontsize{8pt}

\\drama{R. U. R.}{KAREL \u010cAPEK}[TO READ][\\killpage]

\\noindent\\begin{wrapfigure}{r}{0.35\\textwidth}
\\tiny

\\subwection{Uk\u00e1zka z d\u00edla:}
\\setlength{\\parindent}{3pt}
xXx
\\end{wrapfigure}

\\wection{LITER\u00c1RN\u00cd TEORIE}

\\subwection{Liter\u00e1rn\u00ed druh a \u017e\u00e1nr:}
\\noindent xXx

% \\subwection{Liter\u00e1rn\u00ed sm\u011br:}

% \\subwection{Jazyk a slovn\u00ed z\u00e1soba:}

\\subwection{Figury:}
\\noindent 
\\enquote{xXx}

\\subwection{Tropy:}
\\noindent 
xXx

\\subwection{Stylistick\u00e1 charakteristika textu:}
\\noindent 
xXx

\\subwection{Postavy:}
\\noindent 
\\textsc{xXx --} xXx \\\\

\\subwection{D\u011bj:}
\\noindent 
xXx

\\subwection{Kompozice, prostor a \u010das:}
\\noindent 
xXx

\\subwection{V\u00fdznam sd\u011blen\u00ed:}
\\noindent 
xXx

\\wection{LITER\u00c1RN\u00cd HISTORIE}

% \\subwection{Politick\u00e1 situace:}

% \\subwection{Z\u00e1kladn\u00ed principy fungov\u00e1n\u00ed spole\u010dnosti:}

% \\subwection{Kontext dal\u0161\u00edch druh\u016f um\u011bn\u00ed:}

% \\subwection{Kontext liter\u00e1rn\u00edho v\u00fdvoje:}

\\subwection{Autor {\\ssmall -- \u017eivot autora:}}
\\noindent 
xXx

% \\subwection{Vlivy na dan\u00e9 d\u00edlo:}

\\subwection{Dal\u0161\u00ed autorova tvorba:}
\\noindent 
Mezi nejzn\u00e1mn\u011bj\u0161\u00ed d\u00edla pat\u0159\u00ed \\textsc{xXx}

% \\subwection{Jak d\u00edlo inspirovalo dal\u0161\u00ed v\u00fdvoj literatury:}

% \\wection{LITER\u00c1RN\u00cd KRITIKA}

% \\subwection{Dobov\u00e9 vn\u00edm\u00e1n\u00ed d\u00edla a jeho prom\u011bny:}

% \\subwection{Aktu\u00e1lnost t\u00e9matu a zpracov\u00e1n\u00ed t\u00e9matu:}


\\wection{OSOBN\u00cd N\u00c1ZOR}
\\noindent 
xXx

\\vfill

\\noindent\\begin{minipage}{\\textwidth}
    {\\textcolor{\\wpagecolor}{\\rule{\\linewidth}{0.4pt}}
    \\footnotesize
    \\textbf{Placeholder --} xXx
    }
\\end{minipage}

\\end{document}

<\/code><\/pre>\n\n<\/div>\n\t\t<\/div>\n<\/div><\/div>\n\n\n\n\n\t\t\t\n\t\t\twaytex.sty<\/h3>\n\t\t\t<\/span><\/div>\n\t\t<\/div>\n\t\t\t\n\nwaytex<\/a>Download<\/a><\/div>\n\n\n\n% waytex.sty: A custom package for my personal LaTeX commands

\\ProvidesPackage{waytex}[2024\/11\/25 Wayne's package for just everything]

% Required for title formatting
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\\usepackage{xparse} % Required for flexible command definitions
\\usepackage{etoolbox} % Required for \\csdef and \\csuse
\\usepackage{tocloft}
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\\usepackage{graphicx} % For text manipulation

\\renewcommand{\\cftsecleader}{\\cftdotfill{\\cftdotsep}}

\\usepackage{hyperref}

% Define the custom command \\whyperlinks
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