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Jak poznałem Pałac Kultury albo mała refleksja nad twórczością Tadeusza Konwickiego (1926–2015)

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Káša P.

Postscriptum Polonistyczne

2015

nr 1(15)

73-80

The author presents the stories of Central European intellectuals under a communist regime. He interprets one of the greatest novels written by Tadeusz Konwicki, Mała apokalipsa. He concentrates on the portrayal of both grotesque and anti¬ Communist gestures, a topos of the Communist Warsaw and its strange characters.

ROMANTYZM SŁOWACKI Z PERSPEKTYWY POSTKOLONIALNEJ (KONTEKSTY HISTORYCZNE I KULTUROWE)

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Káša P.

Świat Tekstów. Rocznik Słupski

2016

nr 14

27-40

This paper analyzes historical and cultural contexts of Slovak Romanticism. Slovak Romanticism is the key to understanding basic principles of modern Slovak identity. Du-ring Romantic nationalism, both ongoing stereotypes and an ethnic tension between the Slovaks and the Hungarians were created. It is encoded in the model where a vision of Hungarian cultural superiority and dominance as well as an image of the thousand year-lasting oppresion of the Slovaks in the multiethnic Hungarian Kingdom appears. This paper analyzes crucial works of Slovak literature from this perspective and it also points out 1) a transformation and a destruction of the class and Englightenment models of ethnic convergence, 2) the origination of ethnic tension and conflicts resulting in 1848 Revolution.

JANKO KRÁĽ AKO POSTAVA DRAMATICKÉHO TEXTU. KAROL HORÁK: APOKALYPSA PODĽA JANKA (KRÁĽA) ALEBO DIVNÝ JANKO

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Káša P.

Slovenská literatúra (Slovak Literature)

2023

tom 70

nr 1

79 – 85

The article analyses the dramatic text by Karol Horák (b. 1943) Apokalypsa podľa Janka (Kráľa) alebo Divný Janko ([Apocalypse according to Janko (Kráľ), or Strange Janko], 1994). Its plot is based on the life of the key poet of Slovak Romanticism, Janko Kráľ (1822 – 1876). The play juxtaposes the traumatic experiences from the poet’s personal history (from his childhood to the old age) with the history of the young Slovak nation in wider social and political Central European relations and accentuates J. Kráľ’s individual existential drama. The analysis outlined in the article discusses the variable and dynamic relations between historical facts and dramatic fiction on which the construal of historical figures and events in the play was based. Horák’s text also introduces a change in the paradigm with respect to the conceptualisation of stabilised and stereotyped events and historical personalities. The innovation brought about by the postmodern handling of historical figures can be observed on the permanent questioning of historical documents in confrontation with the literary (or artistic) interpretation of events. The structure of the drama takes into consideration the prism of individual and national frustration and fate. The dramatic text is built on the intersections of the biological and metaphysical, real and fictitious, and verbalised (written) and sensed (mystic). Philosophical journeys into the labyrinths of individual and collective subconscious are equally an important layer of Horák’s work.