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2 2016

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ANGELA DAVIS GOES EAST? WHITE SKIN AND BLACK MASKS IN THE ART OF SOCIALIST HUNGARY

100%

Nagy K.

World Literature Studies

2016

tom 8

nr 4

77 – 94

This essay examines the meanings of blackness in the Hungarian art of the 1960s and 1970s, primarily through the trajectory of Angela Davis. In this period the artistic representation of blackness was widespread in socialist Hungary due to state-initiated solidarity campaigns with the subjugated subjects of the First and the Third World. Through the analysis of works by Béla Kondor, Anna Kárpáti, György Kemény, Tamás Szentjóby and the Orfeo Group the article argues that these artists held different attitudes towards the black liberation struggles, but they were not isolated from the party-line on these insurgencies. Moreover, in certain cases the representation of the subjugated black cultural icons undermined the politics of the state-solidarity, and served as the expression of the artists’ own struggles.

POETIKA PRÍPRAVY: ČESKÉ A SLOVENSKÉ SCÉNY AUTOBIOGRAFICKÉHO PÍSANIA V 70. A 80. ROKOCH 20. STOROČIA

72%

Kazalarska Z.

Slovenská literatúra (Slovak Literature)

2016

tom 63

nr 5

364 – 376

This article deals with Czech and Slovak unofficial autobiographical writings (diaries, private letters, notebooks and samizdat sheets) from the normalisation period of the 1970s and 1980s. The author focuses on works by authors such as Ivan Diviš, Ivan Kadlečík, Dominik Tatarka, Ludvík Vaculík a Jan Zábrana and argues that they contribute to a dissident culture of short forms, which was typical for the literature of late socialism in Eastern Europe. Analysing their reflections and meta-reflections on the act of writing, as well as on writing materials, instruments and gestures, she comes to the conclusion that these writers thematise, problematize and make use of the same „scene of writing” (Rüdiger Campe) in their works: the scene of making notes. Defining notes not merely as products, but as a writing praxis with particular instrumental and gestural features, the author draws attention to the following five figures, which are essential for the elaborated programme of making notes: intransitivity, mobility, casualness, tentativeness and excess. In order to illustrate the „poetics of preparation” (Roland Barthes), shared and developed by the examined literary works, she uses as an example a collage by the Czech dissident and exile artist Karel Trinkewitz, in which notes and haiku poems are combined. She concludes that in the interpreted autobiographical writings the scene of making notes comes to the foreground; it is not only an object of narration, reflection and meta-reflection, but turns into a scriptural gesture of resistance towards the writing conditions in the 1970s and 1980s.