Wyniki wyszukiwania - Biblioteka Nauki

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BULGARIAN-AMERICAN - REMARKS ON THE FUTURE AND CONTEMPORARY REALITY OF AN INTERCULTURAL DIALOGUE

100%

Juda C.

Pamiętnik Słowiański

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2007

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tom 57

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nr 2

3-15

EN

One can only analyse processes which shape the intercultural dialogue efficiently in their relation to the categories of the centre and periphery. This allows for concluding whether a given culture chooses the attitude of dominance, subordination or subjection in relations with another culture. The Bulgarian-American intercultural dialogue began towards the end of the 19th century and until mid-1940s was definitely dynamic. The era of totalitarianism slowed down the active developments of contacts. The images of America in the Bulgarian literature from that time reproduced cliches and stereotypes imposed by the Soviet example and mythologized in socialist realism. The contemporary artists, publishing after 1989, expose this mythology freely and without inhibition and propose their own image of a Bulgarian-American dialogue.

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YOU ARE NEVER ALONE AS A LITERARY TRASH? (Nikdy nie si sama ako literarny gyc?)

80%

Matejovic P.

Slovenská literatúra (Slovak Literature)

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2009

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tom 56

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nr 2

81-97

EN

The author deals with interpretation of Minac's prose 'Nikdy nie si sama' (You Are Never Alone), published in 1962. He also pays attention to wider discussion appeared in literary magazines in 1962-1963 concerning this literary double-novelette. He stressed the significance of the critical reaction of Bohus Kovac's critical achievement, which is exceptional in the historical context of the first half of the 60th. It was comparable with critical articles and polemics of Milan Hamada. Kovac pointed out a problem of genre classification of Minac's literary works, which in 50th and 60th had a form of exemplary, popular literature (tradition of literature in calendars). By this way he created a platform for overlapping of both the types of literature in the area of genre and values. The mentioned problem becomes the central theme also in the author's study. He comes out from the semiotic and cultural analyses of Umberto Ecco from the first of the 60th. They have several common parallels with Kovac's critical argumentation. The author was also inspired by the works of Czech literary theorists and historians (D. Mocna, P. Janacek). They pointed out some genre - typological similarities between Social Realism and popular literature. The author came to conclusion that Minac's double novelette 'Nikdy nie si sama' (You Are Never Alone) is a typical example of 'socialist midcult' performing mainly ideological functions, while aesthetic function was suppressed. This Minac's auctorial intention was clearly identifiable mainly in the end of his prose, in which he comes back to constructional poetics typical for the 50th. It is also the most problematic dimension of his prose. Minac attempted to make that part interesting through motifs of sentimental and erotic literature (those motifs were there to draw attention of the readers). Altogether with ideological facture those auctorial courses created a genre hybrid.

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KONCEPCIE PROLETÁRSKEJ LITERATÚRY A SOCIALISTICKÉHO REALIZMU V MEDZIVOJNOVOM OBDOBÍ

80%

Nádaskay V.

Slovenská literatúra (Slovak Literature)

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2019

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tom 66

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nr 6

478 – 494

EN

The goal of the paper is to trace the way how socialist realism was developing and establishing in Slovak literature in the period of the first Czechoslovak republic (1918 – 1938) and to verify whether it is really an immovable monolith as the tradition goes in literary historiography. The methodological assumption is formed by the knowledge of contemporary historiography in line with departure from the established totalitarian terminology and inclination towards the problematic image of the First Republic and selected stimuli from the sociology of literature (Pierre Bourdie, Stefan Żółkiewski). At first socialist realism was developing in democratic conditions, its representatives were heard from marginal, anti-systemic positions and its reflection was wider, more critical and more resistant to political changes. It was only later, in the period of totalitarianism, that socialist realism transformed to an uncritically received dogmatic monolith. The paper presents two ways of understanding socialist realism: 1. as an open system capable of adopting various forms of art provided the condition of the socialist ideological basis or an author´s political affiliation was fulfilled; 2. as a system of prescribed rules and norms, subject matters and philosophical areas, dictated by the consensus of people holding leading political positions. By applying them, the paper shows a different, more varied form of the movement.

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K NIEKTORÝM PROBLÉMOM AKTUÁLNEHO TEORETICKÉHO DISKURZU O CENZÚRE

80%

Matejovič P.

Slovenská literatúra (Slovak Literature)

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2017

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tom 64

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nr 3

228 – 235

EN

The author of the paper deals with an overview of reflection on censorship in the current literary theoretical discourse focusing on the Czech cultural context. He pays special attention to the two-volume monograph titled v Obecném záujmu / In Public Interest/ and the anthology of theoretical studies which were pubished under the title Nebezpečná literatura? /Dangerous Literature?/. He draws attention to the theoretical works by P. Bourdieu, J Butler and L. Losev. He puts individual theoretical findings into relation with contemporary poetics as it was formed by the canon of Socialist Realism (cryptic forms of Esopian language in the contemporary satire). He also pays attention to dispersed forms of censorship which formed the poetics of the 1970s and the 1980s during the period of so-called Normalization (the formation of parallel circulation).

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SOCIALIST REALISM IN THE PERIODICAL 'LITERATURE AND ART'. THEORETICAL BASIS OF ART CRITICISM IN THE SOVIET TIME (Socialistiskais realisms laikraksta 'Literatura un Maksla'. Padomju perioda makslas kritikas teoretiskie pamati)

80%

Pelse S.

Makslas Vesture un Teorija

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2003

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tom 1

16-22

EN

This article aims to elucidate the evolution of Socialist Realism, the central art-theoretical term of the period 1945-1980, as it appears in the weekly periodical 'Literatura un Maksla' ('Literature and Art', 1945-1990). The doctrine of Socialist Realism was proclaimed as the only permitted one during the All-Soviet Union Writers' Congress in 1934 and inculcated in the newly occupied territories, including Latvia, after 1945. It can be partly interpreted as a continuation of the old European traditions in art theory. 19th-century Realism was one of the central building-blocks of this doctrine but one should note also the very idea of art as a theoretically grounded activity that has to represent reality. As the ancient theory of art as representation did never mean precise copying but a kind of idealisation that became heavily dependant on classical models studied in European art academies, the doctrine of Socialist Realism inherited this basic idea of academic theory that art can be taught and artists' professional skill is essential. The most paradoxical conclusion to be drawn from this study - critics had no other criteria, except their intuition and feeling, to decide whether an artwork is 'right' or 'wrong' from the viewpoint of Socialist Realism. Nobody, of course, has been able to explain, when and how exactly an innovative feature that might enrich Socialist Realism turns into contestable deviation from its supposedly 'objective', 'professional', 'ideologically true' course. It is possible to assume that the ongoing extension of the notion of Socialist Realism was a simple reaction to the evolution of artistic practice. At the same time, it is not provable that situation in art forced to expand the notion's boundaries against the authors' true conviction. The term of Socialist Realism can be surely metaphorically compared to an empty shell whose ever-changing content deserves to be studied in the wider context of Western art-theoretical thought.

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Wpływ doktryny socrealizmu na ilustracje do edycji polskich utworów satyrycznych z lat 1945–1956

80%

Łamasz A.

Bibliotekoznawstwo

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2010

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tom 29

75-84

EN

With the introduction of socialist realism as the official creative method, satire was given new tasks. It was to become a weapon in the class struggle and facilitate the building of a new life in Poland. Illustrations for satirical texts also had to comply with the principles of the socialist realism doctrine. Illustrated editions and anthologies of political satire shows and satirical texts are particularly interesting. Graphics created in 1950–1953 followed the guidelines of the new ideology. They depicted the opposition of the socialist and capitalist worlds, where the former was idealised and the latter belittled. Later drawings often criticised the faults of the new system. Their authors ridiculed boring party meetings, propaganda language and everyday absurdity. Political changes that took place in Poland over that ten-year period were clearly reflected in the illustrations of satirical texts.

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ÚSVIT MRTVÝCH. SOCIALISTICKÝ REALISMUS A BALADIČNOST

80%

Schmarc V.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 6

498 – 508

EN

The study deals with the ballad as a genre in the official poetry of the peak period of Czech Stalinism (1948 – 1954). It juxtaposes the basic definition of the folk ballad with the contemporary concepts of the folkiness, order and death, it examines the social ballad in the context of the Stalinist interpretation of literary history and in addition to that it draws attention to possible uses of the cantastoria as a tool of political campaign and mocking old order followers. The writer uses a corpus of the contemporary poems to demonstrate the new life of the ballad as a tool of heroicizing the war heroes and demonizing the „Imperialist war provocatuers“, and also the unintentional transition of the ballad stories into the common „literary life“. The offered statements about the collision between the traditional interpretation and the ideological outline of the genre and the new concepts try to look into the relation between the contemporary official poetry and the tradition, the mechanism of adopting old schemes, transforming them and adding new contents to them.

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SOCIALIST REALISM 'A REBOURS' - JIRI MENZEL'S 'LARKS ON A STRING' (Socrealizm 'a rebours' - 'Skowronki na uwiezi' Jiriego Menzla)

80%

Robert M.

Kwartalnik Filmowy

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2009

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nr 67-68

261-285

EN

AAn analysis of Jiri Menzel's 'Larks on a String' - a film that describes the Stalinist terror in Czechoslovakia in the 1950s. The author argues that the film using a deconstruction of the style of socialist realism in film shows the reality of the epoch, for which reason the film was not shown to audiences for 20 years.

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UNDER THE YOKE OF STALINIST IDEOLOGY (1944-1953) (Staliniskas ideologijas juga (1944-1953))

80%

Sturme B.

Makslas Vesture un Teorija

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2004

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tom 2

49-59

EN

World War II had not yet ended when in 1944 Soviet institutions in occupied Riga ordered schools to begin teaching again, although the necessary conditions were absent. The former Riga State School of Applied Art also started working, renamed as the Riga Secondary School of Applied Art, with a five-year training course. The new director, graphic artist Karlis Buss, had spent some time in Riga Central Prison for his political activities during the 1930s. He tried to balance the secondary school curriculum, including the USSR Constitution and Russian language with training in crafts, composition and other specialized art subjects. As reconstruction work of the Soviet state was resumed, the Riga Secondary School of Applied Art had to prepare artists for practical work in branches of light industry as well as teachers for practical training and drawing classes. In autumn 1945 the school had six departments of applied art - needlework, textile art, ceramics, metal art, woodworking, leatherworking and bookbinding. A year later the department of glass working was added. The staff consisted of pedagogues and artists educated during the first Republic of Latvia who were skilled professionals, but found it hard to accept the dictates of the new government. Socialist Realism ruled and the school curricula also had to be adapted o its dogmas. The most difficult requirement was that applied art compositions should be contemporary and should comply with the method of Socialist Realism - 'national in form and socialist in content'. How to do this without losing the artistic qualities of the work? There was no clear answer to this but to question the method's requirements meant losing one's job. The most popular contemporary elements of compositions were Soviet symbols such as the hammer and sickle, five-pointed star, flags, state emblems and leaders' portraits, framed by decorations of ethnographic elements and coloring. Works from the period of Stalin's personality cult featured pompous splendor and affectation.

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K AUTOPORTRÉTU LITERÁRNEHO KRITIKA V PREMENÁCH DOBY (LITERÁRNY KRITIK JÁN ROZNER V ROKOCH 1954 – 1963)

80%

Taranenková I.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 3

233 – 243

EN

The study is focused on the literary-critical writings by Ján Rozner published between the mid-1950s and the mid-1960s, which are compiled in the collection of his reviews called Pohľad v zrkadlách (A Look in the Mirrors, 1969). They have all the attributes of the situation in Czechoslovak culture and society cautiously but still moving from the normative paradigm set by the Socialist Realism doctrine to more spontaneous and more pluralist forms. As regards the arts and culture, the liberalization of the social situation was manifested in diagnosing and criticizing the acts of „schematism“ and in gradually undermining the Socialist Realism doctrine, in growing tendencies to see the concept of Socialist literature within a wider context, accenting the independence of the arts from the political power. The latest research into the period of time in question suggests that the process was not homogeneous and linear, but rather discontinuous and heterogeneous, containing obvious relapses, controversies and paradoxes, which is significantly proved in the analysed Rozner´s writings. Rozner carries out a consistent analysis of the notions used in the contemporary cultural discourse, because he sees them as the world structure processing medium. His goal is then to restore critical-analytical thinking and to point at the dynamic nature of the cognitive process. One of the central notions related to the immediate present, which makes it different from the past at the same time, is the „multidimensional“, „multifarious“, „multi-individual“ nature of each approach, which helps spread „the freedom of open possibilities“. However, establishing the framework for making the individual processes and attitudes more dynamic, individualistic, heterogeneous is unquestioned in Rozner´s articles from this period, and presenting the richness and variety eventually refers to the whole of „the Socialist Realist arts“, more or less accented, yet undoubted.

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KRITICKÉ DISKUSIE OSEMDESIATYCH ROKOV NA PÔDE ZVÄZU SLOVENSKÝCH SPISOVATEĽOV

80%

Zajac P.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 5

397 – 408

EN

In the early 1980s the Union of Slovak Writers witnessed an attempt to hold more discourse-oriented discussions. The article views them against a background of three time horizons – from the perspective of real free democratic discussion after 1989, against a background of the polemics and discussions of the 1960s tending towards free discussion, although not exceeding the contemporary limits of „Socialism with a Human Face“, and against a background of inferior discourse situation in the 1970s. Viewing the critical discussion about the collection of short stories Náprstok (Thimble, 1985) by Dušan Dušek, which took place at the Union of Slovak Writers and was published in the magazine Romboid (1986/6), well demonstrates the contemporary limits of the critical discussions in the 1980s hardly being more than just attempts at decanonized reconfirmation of the notion Socialist Realism.

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Křesťanská symbolika v postkřesťanském světě socialismu: Kalvárie Ivo Vodseďálka (1952-1954)

80%

Chew G.

Česká literatura (Czech Literature)

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2008

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tom 56

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nr 3

381-390

EN

This article considers the short story ‘Kalvárie’ (1952 –54) by Ivo Vodseďálek (b. 1931), which was not published in a state publishing house in the period it was written. In the introduction to the article the writing of ‘Kalvárie’ is put into the context both of events in society as a whole and of Vodseďálek’s work at the time – namely, the collection of verse Trapná poezie (1950) and the short story ‘Kompensace’(1954–55). The author, however, is concerned chiefly with the use of religious motifs and myths in ‘Kalvárie’, which, according to him, Vodseďálek attempted ‘to recreate and demythologize, and to make them a means with which to respond adequately to the challenge of Socialist Realism and materialism’.

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W służbie realizmu socjalistycznego — ilustrowana książka literacka dla dorosłych jako narzędzie propagandy

80%

Łamasz A.

Bibliotekoznawstwo

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2011

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tom 30

81-99

EN

In the first post-war decade the doctrine of socialist realism was mandatory in literature and all spheres of art — including book illustrations. Literature was to educate advocates of the new system. New tasks were also set for illustrations. They were to represent the most important issues and problems in Poland at the time, and present workers — the builders of socialism. Such postulates were present in articles dealing with book graphics published in the press at the time. They were successfully implemented in popular editions of literature published in the “Biblioteka Żołnierza” (“A Soldier’s Library”) and “Książka Nowego Czytelnika” (“New Readers’ Books”) series, and in some special editions. Drawings included in those publications illustrated operating factories and agricultural cooperatives, workers and farmers and work, bricklayers rebuilding the country after the havoc wreaked by war, fight against class enemies, peace demonstrations, as well as happy families and happy children. These were typical and unequivocal representations, imposing preconceived interpretations on the readers. The illustrations, closely linked to the literary text, were to strengthen its impact. The book functioned as a whole, as a new form of transmission of ideas promoted by the authorities at the time.

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KRITIKA „SCHEMATIZMU“ AKO INTEGRÁLNA SÚČASŤ RÉTORIKY SOCIALISTICKÉHO REALIZMU PRVEJ POLOVICE PÄŤDESIATYCH ROKOV (DISKUSIE PRED 2. ZJAZDOM ČESKOSLOVENSKÝCH SPISOVATEĽOV)

80%

Matejovič P.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 5

409 – 417

EN

The presented article analyses selected discussions of the first half of the 1950s which were related to the preparation of the 2nd Czechoslovak Writers´ Conference in the year 1956. At the same time it pays attention to the contemporary term known as the criticism of so-called Schematism. In the author´s opinion the formation of the term is related to the processes having its prehistory in the period when the dogmatic application of Socialist Realism was the official doctrine of the Stalinist Epoch. It cannot be seen as synonymous with the criticism of so-called Cult of Personality or the process of „acknowledging“ the period of Stalinism because the notion „Schematism“ became a part of the literary-critical discourse of those times before Stalin´s death. In this context the author makes references to the findings by B. Groys, especially to his analysis of the paradoxes of Stalin´s rule where logical statements containing no contradictions were regarded as one-sided and so invalid. The slogans such as „struggle against Schematism“ and „for greater fidelity of literature“ were a part of the contemporary language of the Stalinist Epoch and should be interpreted accordingly. They were not directly related to the criticism of Stalinism, and they did not question the aesthetical doctrine of Socialist Realism.

15

Totalitní stát jako umělecká syntéza

80%

Guenther H.

Česká literatura (Czech Literature)

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2006

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tom 54

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nr 4

106-119

EN

Study, characterizing key features of the totalitarian art conceptions (hyper-realism, monumentality, classicism, popularity, heroism), including the attempt to distinguish national particularity.

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FUNKCIA A VÝZNAM NAIVNOSTI VÝRAZU PRE OFICIÁLNE VÝTVARNÉ UMENIE „ČASU NESLOBODY“ NA SLOVENSKU

80%

Migašová J.

ESPES

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2016

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tom 5

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nr 2

25 – 37

EN

The study researches and outlines one of the possible views on the relationship of practice and theory in fine art with political doctrine of socialism in Slovakia between 1949 and 1989. The paper points out (on the basis of domestic as well as foreign literature) the meaning and functional expressive quality of naivety for aesthetical doctrine of socialist realism. Main aim of the paper is to point out the importance of relation of aesthetics, politics, artistic freedom and problem of “truth” in art.

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MAGICKÝ REALIZMUS V SLOVENSKEJ LITERATÚRE: SLOVO, POJEM, SMER... APROPRIÁCIA TERMÍNU RECEPČNOU PRAXOU, REFLEXIOU A TVORBOU DO ZAČIATKU 90. ROKOV 20. STOROČIA

80%

Barborík V.

World Literature Studies

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2016

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tom 8

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nr 2

3 – 17

EN

The paper is a reconstruction of how the meaning of the concept “magic realism” transformed in Slovak literary practice and reflection from the end of the World War II to the early 1990s. The meaning of magic realism as defined in contemporary literary theory is not quite identical to every use of the expression in domestic reflection on literature. It was flexibly used by Jozef Felix as early as 1946 when discussing contemporary prose as a counterpart of the lyric tendencies, which he criticized. Magic realism returned to Slovak literature as denomination of one of the components of complex modern Latin American prose, i.e. the corpus of works of Latin American provenance which became popular in Europe during the 1960s. The comeback of the term was preceded by the reception of the most significant works by Latin American prose writers (Carpentier, Asturias, Cortázar, Fuentes, García Márquez...), which were becoming more accessible in Czech and Slovak translations at the turn of the 1960s. In the early 1980s the term was partly used by literary criticism in the context of Peter Jaroš’s novel Tisícročná včela (A Thousand-year-old Bee) and its relations to the work of Gabriel García Márquez. Until 1989 wider use of the term was limited by the ideology of the period, according to which magic realism could endanger the position of socialist realism as the official literary doctrine of the time.

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MESA SELIMOVIC AS A LITERARY CRITIC

80%

Modelska-Kwasniowska A.

Pamiętnik Słowiański

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2007

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tom 57

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nr 2

83-103

EN

Mesa Selimovic (1910 - 1982), the Serbian writer of Bosnian descent, is best known as an author of such excellent novels as 'Dervis i smrt' (1966) and 'Tvrdava' (1970). However, his writings developed into two separate directions: into the fictional and critically-essayistic direction, the latter being very much underestimated. Selimovic issued three essayistic books: 'Eseji i ogledi' (1966), 'Za i protiv Vuka' (1967) and 'Pisci, misljenja i razgovori' (1979). The essayistic work of this author may be divided into two thematic groups: texts concentrating on the discussion of the particular writers and phenomena in the contemporary literature and texts devoted to the subject of the so called, 'war for language and literature'. This article is concerned with the critical-literary works written in a traditional way, with the use of the historical-biographic and genetic methods. According to Mesa Selimovic, the main aim of the literary criticism is active participation in the contemporary literary life as well as setting lines of its development. He wrote, among others, about the creative art of Hamza Humo, Zvonimir Subic, Stevan Sremac, Milan Bogdanovic, Ivo Andric, Jovan Ducic, August Cesarec and others. Selimovic did not limit his interests only to Serbian literature - he also wrote about Bosnian, Slovenian and Croatian authors, which correlated with his opinion on the necessity to bring the cultures of the inhabitants of Yugoslavia together. What is characteristic of Selimovic, he did not promote new authors, but rather tried to reinterpret both the old and contemporary literary works by putting them in the wide cultural context. Right after the Second World War, Selimovic propagated socialistic realism; however, later he gradually became more concerned with the aesthetic values of the discussed work. Although he changed the criteria of evaluation of the literary work, he still remained the supporter of the literature of engagement ( following J. P. Sartre's theory). Referring to the works of the particular authors, Selimovic in his critical-literary essays indirectly presented his views on the function and possibilities of literature.

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ŠIBOLET SOCIALISTICKÉHO REALIZMU (APLIKOVANIE TECHNICKÉHO TERMÍNU V REFLEXII LITERATÚRY PÍSANEJ V PRVEJ POLOVICI 70. ROKOV 20 STOROČIA

80%

Barborík V.

Slovenská literatúra (Slovak Literature)

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2016

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tom 63

|

nr 1

1 – 15

EN

The paper deals with applying Socialist Realism as a technical term in the domestic reflection of literature written in the first half of the 1970s, i.e. at the outset of cultural normalization as a part of social normalization. As opposed to the previous decade, the field of literature underwent fundamental changes; literature and its reflection were subjected to power. At that time the technical term Socialist Realism was brought back into use as a part of both conception and literary criticism. It was restored by the regime as a part of ideological control of literary field. Socialist Realism as a dominant direction paradigm was inaugurated and established as the only obligatory norm in literary practice at the turn of the 1950s. Re-establishing the concept after two decades posed a paradox as there was disproportion between the frequent use of the term in the contemporary thinking and the results of the creative practice at that time. Little of what has been preserved to date can be labelled as Socialist Realism. As opposed to the 1950s, the functional content of the term changed. A variety of methods became acceptable within its framework, therefore Socialist Realism could no longer represent the only method (like it did in the first half of the 1950s), as a result of which it stopped functioning as the binding guideline in terms of technique or subject – and lost a clear meaning. It was quite a frequent expression used in critical practice, however, none of those who used it tried to define it by means of the language immanent in literary reflection. The term thus lost its value as a criterion and therefore also its practicality, but it maintained its symbolic value with regard to the contemporary regime. It became a shibboleth in both meanings of the word: „as an outdated idea, principle or phrase, which are no longer accepted by most people as important or adequate for present“ as well as a „rule, convention, word, which sets one group of people apart from another“, i.e. the writers and critics in the period of normalization who were at least on the outside willing to declare their loyalty to the regime, and those who did not do so.

20

POLEMIKA O ANJELSKÝCH ZEMIACH AKO LITERÁRNOHISTORICKÝ PROBLÉM

70%

Matejovič P.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 5

359 – 370

EN

The subject of the study is an analysis of historiographic position of Jozef Felix´s article published in 1946 O nové cesty v próze alebo problém „anjelských zemí“ v našej literatúre (After New Ways in Prose or the Issue of „Angel Lands“ in Our Literature) and the polemic it caused at that time. The author focuses on revealing the reasons which allowed Slovak Marxist literary historiography to label Felix´s article as the starting point when Slovak after-war prose „definitely leant towards“ Socialist Realism. The author opposes this literary-historical construct by claiming that Felix´s article and the related polemic were a part of the argument about what is modern in the Slovak literature in 1946, and not a part of the argument between the Modern Slovak literature and the Literature of Socialist Realism. The latter argument arose only subsequently and it was prompted by the political situation in Czechoslovakia in 1948.