The Czech post-war avant-garde is split between collective enthusiasm, the adoration of the masses, and the depiction of the lone individual in crisis. Interpretations of this period have until now been based on the opposition of Literární skupina (the ‘Literary Group’, with an expressionist, individualist platform) vs. Devětsil (with an avant-gardist, collectivist platform). This study examines how understanding of the terms ‘expressionist’ and ‘avant-garde’ changed in the period in which Literární skupina and Devětsil emerged, followed by literary historical reflections on this process during the 1960s and 1970s, when Literární skupina came to be seen as distinct from the avant-garde on the basis of its espousal of expressionism. By comparing theoretical discourse and literary texts — in particular, hitherto overlooked avant-garde short prose — the present article examines the extent to which these established oppositions are valid. This article argues that expanding the analysis to include the neglected genre of the short story brings greater nuance to the underlying opposition of ‘expressionism vs. avant-garde’ (and individualism vs. collectivism), and thereby challenges standard interpretations of the era in question.

中文翻译：

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“没有什么是确定的”：前卫与表现主义之间的捷克战后文学

捷克战后前卫在集体热情、群众崇拜和对危机中的孤独个体的描绘之间分裂。迄今为止，对这一时期的解释一直基于 Literární skupina（具有表现主义、个人主义平台的“文学团体”）与 Devětsil（具有先锋派、集体主义平台）的对立。本研究考察了对“表现主义”和“前卫”这两个术语的理解在 Literární skupina 和 Devětsil 出现的时期如何变化，随后在 1960 年代和 1970 年代对这一过程进行了文学历史反思，当时 Literární skupina与前卫的区别在于其拥护表现主义。通过比较理论话语和文学文本——特别是，迄今为止被忽视的前卫短篇散文——本文考察了这些既定的对立在多大程度上是有效的。本文认为，将分析范围扩大到被忽视的短篇小说体裁，会给“表现主义与前卫”（以及个人主义与集体主义）的潜在对立带来更大的细微差别，从而挑战对相关时代的标准解释.