Wyniki wyszukiwania - Biblioteka Nauki

1

MODERNISM IN FILM (Filmowy modernizm)

100%

Syska R.

Kwartalnik Filmowy

|

2009

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nr 67-68

142-168

EN

The article presents modernism in film, where modernism is defined as a trend in art cinema in 1950-1970s, where self-reflection, formal aspect of the work, subjectivism, distancing and deconstruction of classic models of drama and narrative are the defining characteristics of the style. The article summarizes the most important definitions of modernism in arts, highlighting the theoretical aspects that were later developed in film studies. The author also defines the temporal frames of the style, and identifies the key films that adopted this style. Chronology and aspects of worldviews and the aesthetics also needed to be systematized in order to deepen the understanding of this aesthetic trend in film. The author concludes by arguing that neo-modernism is the contemporary form of the modernist cinema of the past decades.

2

SAMUEL BECKETT AND THE BORDERLINES OF MODERNISM

51%

Chorvathova M.

Slovak Review. A Review of World Literature Research

|

2004

|

tom 13

|

nr 1

36-46

EN

The paper is focused on contact points of different paradigms in the works of Samuel Beckett (1906-989). Using the example of his early experimental prose (Murphy, 1938; Watt, 1944), the paper explores Beckett's problematic position in the context of the modernist project and the transition to postmodernism: the overlapping/fading of modernist optimism (the effort to erase the gap between the language and the objects denominates) and the rise of postmodern scepticism (the fundamental inadequacy of the language.

3

K FILOZOFICKÉMU DISKURZU LITERÁRNEJ MODERN

51%

Kopecká Z.

World Literature Studies

|

2021

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tom 13

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nr 4

142 - 149

EN

In this study, we define philosophical discourse as one of the dominant discourses of literary modernism, whose specific authorial expressions depend primarily on the concentration on man and his inner world. This subjective world was strongly marked by the disintegration of universalism, which resulted in value relativism and the search for new “truths” capable of establishing a lost order (on a transcendental or rational basis).

4

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)

51%

Pelse S.

Makslas Vesture un Teorija

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2003

|

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.

5

Matisse’s La Danse: On the Semantics of the Surface in Modern Painting

51%

Otten H.

Estetika: The Central European Journal of Aesthetics

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2008

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tom 45

|

nr 2

173-183

EN

Since in Modernism inner meaning is doubted or believed lost, the question arises of what an interpretation ignoring the established dialectics of outside and inside and limiting itself to an exclusive surface would look like. Henri Matisse's decorations raise questions about the differences between figure and background, appearance and essence, inside and outside. Instead of reference to depth under the surface, it is density and expansion, concentration and contraction, which determine the occurrence of meaning on the surface. Matisse presents himself as a flaneur of the surface, as if he wanted to show us, in the words of Gilles Deleuze, that '(i)t is by following the border, by skirting the surface, that one passes from bodies to the corporeal'.

6

THE CRIME OF NON LIVING THINGS BY IVAN HORVATH IN THE CONTEXT OF THE MODERNISTIC VIRTUALITY

51%

Kuzmikova J.

Slovenská literatúra (Slovak Literature)

|

2006

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tom 53

|

nr 3-4

178-183

EN

he aim of the study is to clarify a phenomenon of a modernistic virtuality and some of its expressions in the 20th century arts of 20-ties and 30-ties. The European and Slovak prose in that time reflected the intuitivistic concepts of so called antirational thinking. Mainly Bergson's conception of creative development with its virtual dimensions was an inspirational impact. Moreover today, it offers a base for the post-modern thinking in the history of literature, which intention is not to ignore historical entry of virtual reality in all kinds of the spheres of human activity. This methodological base was applied into the short story written by Ivan Horváth 'Zlocin nezivých veci' (The Crime of Non Living Things, 1932). The analysis showed that he included Bergson's virtuality into the plot of the short story. Due to it, it was possible to analyse a discursive construction of Horváth's text, superior to epistemological course of the story. Discursive style and its connection with the motives of truth and a woman pre-marked poststructuralist, a Derrida like thinking, about the same problems. Research in the history of literature regarding a discursive composition of the texts, as well as the character of artistic virtuality and virtual reality, innovate thinking about values of the epoch of Modernism. The cognitive element of such an approach offers new criteria for understanding of so called realism as a specific co-part of modernistic writing.

7

MISOGYNY IN CZECH POETRY ON THE TURN OF THE 19-TH AND 20-TH CENTURIES?

51%

Filipowicz M.

Pamiętnik Słowiański

|

2008

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tom 58

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nr 1

23-48

EN

Misogyny has existed within Western literature since always, but one can observe its particular intensification at the turn of the 19-th century. The Teutonic philosophical tradition has created a very special sort of imaginary misogyny. Intellectual circles of Vienna come to the fore in this context. This tendency accompanies the great crisis of Western masculinity that according to many scholars was increasing in that time. According to Jacques Le Rider the crisis of masculinity and misogyny were felt in fin de siecle Vienna in a very strong way. The main goal of the study is to examine the attitude towards women of the most important Czech modernist poets against the Vienna background. The study tries to answer the question if poetry of Czech modernism was from the point of view of misogyny only another copy of Vienna pattern.

8

PUBLIC ART

51%

Dziamski G.

Kultura i Społeczeństwo

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2005

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tom 49

|

nr 1

47-55

EN

There are two concepts of public art; the old one and the new one. The first one can go back to the 1960s. Old public art had modern and formalist character, in fact it meant art in public places. The new public art is postmodern and anti-formalist, it is paradoxical offshoot of dematerialization of art and relates rather to the public sphere than to public places. It aims at permanent extension of the field of discursivity and undermining the 'communist fiction' that society has one common goal which could be uncovered by scientific research. New public art defends the public sphere in which those, who are ruled should have the same right to speak as those who rule; it defends politics against various forms of depoliticization of social life. New public art moves the interest of artists (Joseph Beuys, Hans Haacke, Christo, Jenny Holzer, Barbara Kruger and others) from aesthetics to politics, from art to life, or to put it in other words - from artlike art to lifelike art. postmodernizm

9

METAPHOR IN THE POETRY OF IMAGISTS

51%

Pokrivčák A.

World Literature Studies

|

2018

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tom 10

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nr 3

19 – 29

EN

The article discusses the role of metaphor in the new poetic response to reality which emerged at the beginning of the twentieth century, especially in the work of some Anglo-American poets and critics, known as Imagists. The new trends, which the poets were part of as well as helped define, drew on the philosophy of T. E. Hulme who claimed that the future poetry will consist of dry and sophisticated images, which is in striking contrast to rich romantic imagery. The interpretive part of the article draws attention to imagistic anthologies in which the poets expressed the new sensibility through several visually striking poems, most of them forgotten by now, as well as to the handling of metaphor in some poems by Ezra Pound and Wallace Stevens.

10

MYTH AS A CODE OF NATIONAL ASPECT (of Jozef Gregor Tajovsky: 'Nas Jezisko')

51%

Mikulova M.

Slovenská literatúra (Slovak Literature)

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2005

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tom 52

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nr 1

25-33

EN

The short story 'Nas Jezisko' (Our Baby Jesus) belongs to the Tajovsky's thematic cycle focused on ethnology and collecting of folk artefacts. The short story 'Nas Jezisko' (1918) was written by Tajovsky as a legionary at the end of WWI . It is a lyrical reminiscence, accompanying us through times and periods, when a narrator as a child experiences amazing impressions from the Christmas Holy Mass, he thinks back on an odour of frankincense, songs of shepherds, joy of all who participate in the birth of Jesus. After many years new ceremonial orders come to the church, people do not understand a (Hungarian) language, even the baby Jesus is different, having boots on. Author connects a magic of folk ceremonies with a Slovak word, which represents semantics of representative sign. Through a myth about nativity of Christ Tajovsky illustrates how much destructively Hungarisation damaged our national substance.

11

Modern literature facing the Experience

51%

Nycz R.

Teksty Drugie (Second Texts)

|

2006

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nr 6(102)

55-70

EN

The thesis advocating a 'bankruptcy' or crisis of experience at the verge of 20th century, as first formulated by W. Benjamin and subsequently reconfirmed several times, aptly identifies a diminishing significance of the traditional concept of experience for the modern time and a modernist literature alike. It does not refer, however, to any other forms of experience, the need and possibility of articulating which having been the focus and source of creativity to certain most outstanding authors in modern literature. This article provides a synthetic characteristic of four main options of such writing quest, including: literature of experiment, literature of internal experience, literature of testimony, and, literature as experience, arguing, in consequence, in favour of validity of consideration of the entire modern literature as a literature of experience (in the modern forms assumed by the latter).

12

PRÚDY IDEOVEJ MODERNY (K 100. VÝROČIU REVUE Prúdy)

51%

Bakoš V.

Filozofia (Philosophy)

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2009

|

tom 64

|

nr 10

913-928

EN

The journal 'Prudy' (1909 - 1914; 1922 - 1938) served the liberal-democratic part of the Slovak intelligence as a platform for promoting Masaryk's ideology. The young intellectuals grouped around this journal were familiar with the progressive thinking of that time and promoted the positivist realistic attitude and world-view. Similarly, as Czech intellectuals, the Slovak adherents of Masaryk contributed to introducing the rational approach, the principle of criticism and other progressive trends in Slovak cultural milieu. The journal offered the place for discussing the burning political and social issues, as well as cultural and scientific issues. Although the journal was not a purely theoretical one, many of the authors contributed considerably for the philosophical (S. Stur) and sociological (A. Stefanek) debates.

13

Experience and Modernism

51%

Bolecki W.

Teksty Drugie (Second Texts)

|

2006

|

nr 6(102)

6-10

EN

Having assumed that analysis of the language of art and divulgence of the conventionality of representations of the reality are the determinants of modernity in the arts, the avant-garde has virtually eliminated historical experience as part of its area of interest. As a result, the language of literature and modern (avant-garde) art proved impotent against the major historical experience of the twentieth century, that is, mass-scale genocide initiated by the Bolshevik revolution. The experience, once lost for the radical (post)modernist art in the former half of the century, has only been reconstructed through writings on the Holocaust and World-War II genocides. The condition for all those records has namely been the assumption of extra-textuality of historical experience, entailing inviolability of the category of the truth that verifies the basic sense, rather than a value, of any such writings. Historical experience proves to be the key element making the eastern-European modernism different from the American or western-European modernism.

14

LEONIDS ARINS (1907-1991) (Leonids Arins (1907-1991)

51%

Cebere G.

Makslas Vesture un Teorija

|

2007

|

tom 8

25-33

EN

Leonids Arins was one of the leading followers of Fauvism in Latvian art. Already during his studies at the Decorative Painting Master Studio of the Latvian Academy of Art (1925-1942) he was interested in Latvian early modernists' and the latest European achievements in art, purchasing the best publications available at the time - expensive books on art published in the West. Arins spent most of his life in the provincial town of Tukums, working at the local museum (1938-1953) and teaching drawing at the local secondary school (1953-1968). He took up painting enthusiastically after retirement. Arins' painting is typified by attempts to achieve colour harmony on a flat surface, characteristic of the Fauves and especially of Henri Matisse; at the same time he searched for an individual style as well. From a thematic viewpoint, this shows in the choice of local environment and landscape but from the aspect of form and style - in the blending of bright colour fields and variations on the Northern light. Expression, asymmetry and the broken rhythm give Arins' compositions a particular experimental tension.

15

MODERN NOVELLAS BY MILO URBAN

51%

Zilkova A.

Slovenská literatúra (Slovak Literature)

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2005

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tom 52

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nr 6

394-408

EN

Similarly as many Slovak prose writers of the previous generation, in his collection of novellas 'Vykriky bez ozveny' (Cries without Echo) (1928), Milo Urban drew inspiration from rural environment. But Urban also introduced a modern universal topic in his novellas. It is certain distress, narrow-mindedness of village life. The main characters of Urban's stories, the village outsiders, experience it most intensively. They are lonely people who estranged their surroundings. The distress, melancholy that they feel indicates how reserved, shut off village can be. The author of the study interpretes two early novellas by Milo Urban - 'Jasek Kutliak spod Bucinky' (1922) and 'Rozprávka o Labudovi' (The Fairy-tale on Labuda). Due to the way of narration and ambiguity they present modern proses. The features of a fairy-tale, a ballad and a myth indicate a more complicated structure of narration. The novella 'Jasek Kutliak spod Bucinky' is about disintegration of a love relationship - after her wedding with the hunter Jasek, the young girl Hanka changes completely. The narration oscillates between the depiction of Hanka's wichedness and a story of/with modern topic of desillusion from lost love. In 'Rozprávka o Labudovi' (The Fairy-tale on Labuda) there are two possible ways of how to read the text. The first one is a story about a foolish peasant, the second is a more universal story about Labuda that becomes an allegory of human fate. The explanation of the novella becomes more complicated when its figurative language, metaphors as well as the topic of isolation are taken into account.

16

MODERNISTICKÁ MELANCHÓLIA

51%

Horváth T.

Slovenská literatúra (Slovak Literature)

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2014

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tom 61

|

nr 5

372 – 409

EN

The first chapter of the paper provides a selective overview of the modern concepts of melancholy (e.g. S. Freud, J. Kristeva, S. Žižek, L. Földényi) as well as some of its literary forms (e.g. Chateaubriand, Amiel, Baudelaire etc.). The concepts contain a certain invariant of an existential melancholy mood, which is the state of a subject being attached (often unconsciously) to a certain historical idea of death seen as the ultimate end of an individual, nothingness. This attachment leads to the loss of meaning. For a melancholic person, the „benefit“ from a finite ephemeral life as, for example, once formulated by V. Jankelevitch, is just unacceptable. On the contrary, the ultimate end deletes the lived life in reverse order: if an individual autobiographic memory of this life ceases to exist, this life is deleted as if it had never existed – and the end deletes it as a life being lived rather than one already been lived, past, finalized. Therefore life cannot be lived at present any more. And because life has an inevitably ultimate end, it becomes unbearable, always already lost for a melancholic person. The next two chapters analyse the modalities of Modernist melancholy in two pieces of writing by Slovak Modernist authors.

17

Karol Irzykowski's 'Sny Marii Dunin' as a testimony to a modern experience

51%

Franczak J.

Teksty Drugie (Second Texts)

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2006

|

nr 3(99)

118-134

EN

The author attempts at interpreting Karol Irzykowski's short story 'Sny Marii Dunin' as a testimony to a modern experience. Both the motif of the unusual illness suffered by the main character, consisting in a reversal of the order of dream and reality, and the motif of the Grand Bell Guild, i.e., 'the vowers of the ideal', indirectly express the dilemmas of modernist thought. The hidden order of things, as symbolised by the Buried Bell, is removed from the sphere of experience which thereby gains the nature of unmotivated casualness. The conviction that there exists another, more realistic, dimension of the world is connected with the discovery of conventionality and 'contractuality' of what we take as real. Irzykowski, very much like other modernists (and, like the Guild members), are in search of an 'ideal', whilst at the same time doubting whether it exists at all; the only thing remaining of essence is the very movement of thought in search of the borders of cognition and borders of art. The mainstream modernist works tend to distance themselves from non-intermediated experience as well as from avant-garde strivings for purifying the perception from cultural influences. They describe the process of dislocation of the sphere of meanings and the world, and investigate into the limitations of discourse, bringing their own artificiality and indirectness to the forefront. Well-developed critical mechanisms render unreal what is conventionally realistic, whilst also taking the signs of authenticity away from any reality found. 'Sny Marii Dunin' reflects this quest for source chaos and the parallel discovering of its illusiveness - the regression into the infinite, being the essence of a modernist(ic) thought.

18

PREMENY FEMINISTICKEJ KNIHY (HANA GREGOROVÁ: ŽENY, 1912, 1946)

51%

Hučková D.

Slovenská literatúra (Slovak Literature)

|

2022

|

tom 69

|

nr 3

205 – 223

EN

Hana Gregorová’s (1885 – 1958) early work was mostly concerned with themes pertaining to women’s emancipation. Later, the author widened her scope and also dealt with the questions of social justice. Feminist instrumentalisation as outlined in her debut collection of short prose Ženy ([Women] 1912) was combined with projecting a new, better world for all the impoverished ones. Social and pedagogical (didactic) function remained a stable characteristic of her writing. As to her themes, Gregorová was mainly concerned with the depiction of the suffering women and her empathising authorial narrator was a representative figure voicing progressive ideas. Works that the author published before 1918 (but also those from the first half of the 1920s) were later significantly revised. Gregorová updated her early work in accordance with the way her opinions evolved (especially with regards to her affinity towards socialist and communist ideas) and also as a reaction to the changes in social circumstances (the end of Second World War). Analysis of the revisions that the author made in the second publication of the collection Ženy (1946) had a direct impact on the poetics of the texts and in turn also influenced the literary-historical reception of the collection – a fact that is most visible in cases in which the scholars only worked with the second edition.

19

K POETIKE RANEJ PRÓZY MARGITY FIGULI

51%

Števlíková J.

Slovenská literatúra (Slovak Literature)

|

2023

|

tom 70

|

nr 4

412 – 427

EN

The article focuses on the poetics of Margita Figuli’s (1909 – 1995) early fiction – it provides interpretation and comparison of her prose works Mámivý dúšok ([Intoxicating sip] published in 1935 in a magazine) and Pokušenie ([Temptation] published in 1934 in a magazine and in 1937 as a book). Both texts are built on the contradiction between male and female characters, their inner conflict, tension between desire (emotion) and rational reasoning, carnality and eroticism, and the problem of distance and contact that leads to disillusionment. The composition of both novellas is enriched by the alternation of dialogical passages with narrative ones, the inclusion of dream motifs, ideas and memories as a form of escape from reality, and the use of a framing principle that makes the actual inner events fit into a recurrent and universal natural cycle. The paper attempts to identify the elements through which M. Figuli, at this stage in her career, drew on the poetics of modernism (Slovak modernism and the so-called second wave modernism) and the elements through which she anticipated the onset of naturism as a specific style that brought innovation into Slovak literary fiction at that time. In this way, the article accentuates poetological continuity in Slovak literature of the first half of the 20th century.

20

POST-MODERNISM AS A WORLD INTERCULTURUAL AND INTERLITERARY PROCESS

51%

Oriesek P.

Slovak Review. A Review of World Literature Research

|

2005

|

tom 14

|

nr 2

132-144

EN

The article deals with relations between modernism and postmodernism in large cultural and historical framework. Postmodernism here is not understand as continuation or as negation of modernism, but as a 'jin jang' energy, fertilizes each other, rises and fades out together. Author does not work with notions postmodernism and modernism as with cultural-sociable phenomenon typical for Euro-American society, but as an opposition of understanding of those phenomenon in strictly territorial determination. It is not territorial phenomenon but historical phenomenon determined by interactions between East and West. Author uses to describe postmodern situation in European literatures with term 'change of the rules of the game' as deviation of European literature from genre-typological agreements. Today this change manifests in certain syncretism and fictional autobiography of the huge amount of the European literatures, influenced by Eastern poetic and semantic structures, and also by the Nonwestern philosophical tradition.