Wyniki wyszukiwania - Biblioteka Nauki

1

DOBRÍ PREDKOVIA A DÉMONI - II

100%

Paštéková J.

Slovenská literatúra (Slovak Literature)

|

2014

|

tom 61

|

nr 1

50 – 70

EN

The rapid changes of the ideological and cultural-political frameworks characterized the situation in Slovak arts in the 1950s. At the beginning of the decade it was the repressive way of the forging Socialist Realism, in the middle of it the liberalization stimulated by the Krushchev and at the end the restoration of the order, which was supported by the examinations of the party and civil loyalty in the year 1958. The period of time after the Hungarian and Poznan revolutions in 1956 featured an increase in censorship in Slovakia, which was related to the domestic political power struggle. The goal of the article is to reveal the inner tensions of the 1950s, to outline the power mechanisms of hindering the society liberalization and to vividly capture the contradictions of the situation in Slovakia in this particular period of time using the unpublished piece of writing Náš spoločný predok Kukučín /Our Common Ancestor Kukučín/ by Dominik Tatarka, seized in 1957 and discovered in an archive. The specific feature of the times was using the so called Burgeois Nationalist card. The study is built on archive research of the others and also it brings the author´s own. When reconstructing the transformation of Tatarka´s poetics from the hard core Socialist Realism doctrine to its softer versions, the author pays attention to the contemporary reflection of Tatarka´s works in the critical clashes with Alexander Matuška, the dominant figure of that period of time. As for prose, the initiation role was played by Tatarka´s travel book Človek na cestách (A Travelling Man, 1957), which was not spared from censorship either. The characteristics of the era necessarily include the life in Slovak literary institutions, the activity of the Institute of Literary Science, Slovak Academy of Sciences, as a tool of forging the desired form of the classic literary heritage, the publishing activities, and the activity of the Union of Czechoslovak writers. The study operates with some writings unknown until now and brings characteristics of the times and Tatarka´s work in a new context.

2

DVOJITÁ IDENTITA VOJNOVEJ SKÚSENOSTI. ROZOSTUP AUTORA A SUBJEKTU V SLOVENSKEJ POVOJNOVEJ PRÓZE (LEOPOLD LAHOLA A JOŽKO LÁNIK)

100%

Paštéková J.

Slovenská literatúra (Slovak Literature)

|

2016

|

tom 63

|

nr 3

165 – 178

EN

The goal of the paper is to explain the rupture in the line of Slovak war prose between the year 1945 and February 1948, when Socialist Realism was pronounced the only method of artistic production. The prospects of ´brighter tomorrows´ cast black light back on the existential/existentialist line. The methodical assumption is the comparative analysis of several writers´ productions, while Leopold Lahola is seen as the key one. His prose is interpreted here in the context of the work of contemporary Jewish writers as well as non-Jewish authors such as the Italian Cesare Pavese. At the same time the study specifies theoretically the changes of accents of configurations of the author and the self within the pluralistic poetics of the 1940s. It is supported by several layers of Slovak reception of philosophical Existentialism. The period of liberalisation of the 1960s revived the interest in this movement. The key concept of ´situation´ was still (or again) seen at the end of the decade as artificial, too theoretical (Viliam Marčok). Also, existential referentiality was considered to be ideologically shaky. This card had to be reckoned with and it was by Jozef Felix who, when trying to legitimize the work of “foreign” Lahola, claimed it was due to the anxiety resulting from the cruel war experience and he distanced it (more Lahola himself) from Existentialism. The choice of double identity of assumptions made it possible. In order to verify the reliability of this statement, the author of the paper compared Lahola´s work with both the parallel line of documentary prose (Alfréd Wetzler) and Cesare Pavese´s existential diary records of his life. One of them became the motto of Lahola´s collection of short stories Posledná vec/The Last Thing. Several poet-logical and ideological parallels between Lahola and Pavese´s work have been identified.

3

DOBRÍ PREDKOVIA A DÉMONI

100%

Paštéková J.

|

2013

|

tom 60

|

nr 6

508 – 527

EN

The rapid changes of the ideological and cultural-political frameworks characterized the situation in Slovak arts in the 1950s. At the beginning of the decade it was the repressive way of the forging Socialist Realism, in the middle of it the liberalization stimulated by the Krushchev and at the end the restoration of the order, which was supported by the examinations of the party and civil loyalty in the year 1958. The period of time after the Hungarian and Poznan revolutions in 1956 featured an increase in censorship in Slovakia, which was related to the domestic political power struggle. The goal of the article is to reveal the inner tensions of the 1950s, to outline the power mechanisms of hindering the society liberalization and to vividly capture the contradictions of the situation in Slovakia in this particular period of time using the unpublished piece of writing Náš spoločný predok Kukučín /Our Common Ancestor Kukučín/ by Dominik Tatarka, seized in 1957 and discovered in an archive. The specific feature of the times was using the so called Burgeois Nationalist card. The study is built on archive research of the others and also it brings the author´s own. When reconstructing the transformation of Tatarka´s poetics from the hard core Socialist Realism doctrine to its softer versions, the author pays attention to the contemporary reflection of Tatarka´s works in the critical clashes with Alexander Matuška, the dominant figure of that period of time. As for prose, the initiation role was played by Tatarka´s travel book Človek na cestách (A Travelling Man, 1957), which was not spared from censorship either. The characteristics of the era necessarily include the life in Slovak literary institutions, the activity of the Institute of Literary Science, Slovak Academy of Sciences, as a tool of forging the desired form of the classic literary heritage, the publishing activities, and the activity of the Union of Czechoslovak writers. The study operates with some writings unknown until now and brings characteristics of the times and Tatarka´s work in a new context.