The aim of the study is to outline stratification of transformations after the ruptures of constitutional law in 1918 and 1948 and in the formative process of new national and cultural identity in the 20th century. We studied it on the materials of the literary texts. The historical research of Lubomir Liptak, the cultural studies of Ansgara Nunning and Renate Lachmann concerning national imagology - construction of the picture of oneself - served as a methodological background of the article. The changes in the literary figurativeness that indicates relationship to oneself and relationship with the others, auto and hetero-imagines comprehended in the historical crosscut as a differentiation remembering value of an authentic course of the self-identification processes. The memoirs of the WWI written by writers Jan Hrusovsky and Janko Jesensky represent two variants of the approaches toward reality. Hrusovsky's text 'Zo svetovej vojny' (From the WW) (1919) is an event record from 'below', from the position of an ordinary soldier in the front in Austria, later in Halic. He reflects his condition in the sense of horror, absurdity of a moment, and soul and flesh bifurcation. These motives appeared in the Expressionistic novels 'Muzz s protezou' (A Man with a Replacement) (1925) and 'Peter Pavel na prahu Noveho Sveta' (Peter and Pavel on the edge of the New World) (1930). The memories of Janko Jesensky's 'Cestou k slobode' (A Way to Freedom) (1933) are written from the position of 'redeemer', a member of foreign resistance, a soldier of Czechoslovak Leggie in Russia who realizes with full responsibility his involvement in formation process of the new republic and he comments the contradicted tendencies related to it. There is an agreement between Hrusovsky and Jesensky in characteristic of the Slovak national character although in the literary solution they accented the different poles of the way to the national independence: in case of Hrusovský it is individual self-identification and in case of Jesensky it is self-identification of the collective. The contribution of the study is the focus on another layer of reception of the WWI in Slovak literature after 1948. The authoress observes editorial praxis and evidence of the history of literature (absence) of the former memoirs (noetic vanishing point), and late concurrence in the late impulses of Modernism in the 60s of the 20th century (poetics).
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