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MODERNITATE ȘI POSTMODERNITATE ÎN LITERATURA SLOVACĂ CONTEMPORANĂ

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MODERNITATE ȘI POSTMODERNITATE ÎN LITERATURA SLOVACĂ CONTEMPORANĂ

Author(s): Klaudia Gagova / Language(s): Romanian Issue: 1/2018

The socialist system (which lasted in Czecho-Slovakia from 1948 until 1989) saw a variety of periods in culture, especially in literature. More relaxed phases were always followed by a wave of suppressions. The sixties are considered the most liberal and therefore the most productive epoch creatively, but, unfortunately, they were interrupted by the Soviet occupation that took place on 21st August 1968. The so-called normalisation, which followed the occupation, meant a disruption of positive developments and had an enormous negative impact on the whole cultural community. When the velvet revolution overturned the totalitarian regime, restored the democratic mechanisms in society and introduced the market economy, these changes unsettled the cultural life and the lives of writers who had to respond to various challenges and find a new way to approach the audience. The literary situation in Slovakia after 1989 was confused for several years. Within a short time, many opposing elements appeared as the writers and also the readers searched for themselves. Gradually, certain trends started to emerge as themes of the new social and literary situation.

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Sládkovič dnes

Author(s): Irena Bilińska / Language(s): Slovak Issue: 2/2021

The poet, translator, literary critic and protestant priest Andrej Sládkovič (1820 – 1872) is generally considered a foremost poet of the Romantic generation. He authored two key works of Slovak literary Romanticism, Marína (1846) and Detvan (1853) – long poems that have significantly influenced further development of literature written in Slovak. There are two basic positions from which literary history views his oeuvre. These are based on the divided standpoints from which the whole period of Slovak literary Romanticism is viewed. Academics either see it as a single, undivided, conservative and nation-centred unit or as a polyphonic and progressive movement open to other European literatures. Advocates of the former opinion interpret Sládkovič’s works as part of national literary history the aim of which is the assertion of folk national identity. The opposing group of scholars emphasises the unique qualities of Sládkovič’s poetry and positions it within wider philosophical and aesthetic contexts of 19th-century European culture. From this point of view, developmental interferences of Slovak Romantic literature are seen as a dynamic part of multifaceted processes of the given period.

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Literárnoestetické názory Ľudovíta Štúra a Detvan Andreja Sládkoviča

Author(s): Marta Fülöpová / Language(s): Slovak Issue: 2/2021

The article investigates the relationship between literary aesthetic opinions of Ľudovít Štúr (1815 – 1856) presented in his lectures in the early 1840s and the poetics of Andrej Sládkovič’s (1820 – 1872) Detvan (1846, published in book form in 1853). The article offers an interpretation of the poem through the prism of the topics, motives and poetic devices that might suggest that Sládkovič was acquainted with Štúr’s theoretical work and consciously attempted at a realisation of Štúr’s idea of Slavic poetry. The reading presented in the article pinpoints the latent dramatic potential of Sládkovič’s poem that is coded in its performative elements. Discussing the poem as belonging to the genre of dramatic poetry is justified by such typological characteristics as syncretism of its lyric and epic parts and an increased level of performativity. Detvan as a dramatic poem is discussed in the wider context of Sládkovič’s literary aesthetic views and those of his activities that are linked with dramatic art.

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Bratislava na prahu – Bratislava prahov (Mesto v epoche normalizácie: Životy unikajúce Dušana Krausa)

Author(s): Vladimír Barborík / Language(s): Slovak Issue: 3/2021

The article takes a look at the representations of Bratislava in Dušan Kraus’s debut novel Životy unikajúce [Lives Leaking; 1979]. It reconstructs the methods that model the city and its image in the context of other portrayals of the urban setting in Slovak prose (Ladislav Ballek: Pomocník [The helper]; Agáty [The locust trees]; Stanislav Rakús: Temporálne poznámky [Temporal notes]). The novel does not name the city in which it takes place, but from the names of locations and the typical spatial arrangements it pertains that the text is set in Bratislava. The differentiation of the spatial structure is complementary with the division of space into the private and public spheres. Social life functions (work and amusement) are situated in the centre while private lives unwind in the new housing estates at the outskirts of the city. Kraus portrayed Bratislava of the normalisation era in line with its period character, i.e. as urbs, but not as civitas (Olivier Mongin: The Urban Condition) – as a city without a public space. The novel works with two semantic layers. The narrative is of factual or even official record character, the symbolic generalisation rests on the double meaning of the title that evokes both a gas leak and the movement of its victims from life to death as well as the city as a fluid, unstable entity where life “leaks” from its inhabitants.

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Radikálne premeny Bratislavy (v poézii od roku 1945 do konca päťdesiatych rokov)

Author(s): Viliam Nádaskay / Language(s): Slovak Issue: 3/2021

After the Second World War, Bratislava underwent a radical spatial and ideological reconstruction. The reconstruction of the city was projected into poetry and its imagery in the socialist semantic code. The article focuses on the analysis and evaluation of the new meanings Bratislava as a symbolic space of historical events (and their influence on the daily life of its inhabitants) acquired during the post-war reconstruction process. The article builds on Henri Lefebvre’s thesis that states that every revolution must also alter and create its own space, otherwise it does not fully utilise its potential. Investigations into the artistic representations of Bratislava are complemented by urbanist and sociological reflections on socialist urban space, as well as semiotic works of Vladimír Macura and Daniela Hodrová. In this respect, poetic representations of Slovakia’s capital city may be divided according to three aspects: historical, reconstruction and private. These polarise the space into the city centre and periphery and recode their meanings. The image of the city is thus inclined towards a certain type of utopia – in the specific case of Bratislava it is a utopia in mid-(re)construction. Capturing the period image of the city as outlined in the 1950s poetry aims at contributing to the more complex picture of the symbolic meaning of Bratislava in the cultural memory of the 20th century.

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Obraz Bratislavy v dramatickej tvorbe Viliama Klimáčka

Author(s): Nora Nagyová / Language(s): Slovak Issue: 3/2021

The aim of the article is to outline the problem of the urban topos in dramatic writing. The analysis is conducted on two plays by Viliam Klimáček, namely his Ginsberg v Bratislave (Beat Generation 1965) [Ginsberg in Bratislava (Beat Generation 1965); 2008] and Socík, sladký socík (alkoholický sprievodca socialistickou Bratislavou) [Socialism, sweet socialism (An alcoholic guide to socialist Bratislava); 2016] both of which deal with the socialist era. The introductory part of the article concentrates on Klimáček’s personal relationship to Bratislava and on specific locations portrayed in the two plays. The section devoted to the basic theoretical foundations of the problem of space in literature and drama concentrates mainly on the structuring of the dramatic text. It addresses the specific character of such a text as well as its dual form of existence (as a written text and as a stage production) that substantially influence the problematic portrayal of the urban setting. The textual handling of the space is confronted with its stage realisation which differs from the written form of the play. The differences once again testify to the dual character of the dramatic text which is written as a literary piece, but is prototypically realised on the stage.

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Pátrania vo fantomatickom meste: Breslau retrodetektívok Mareka Krajewského

Author(s): Tomáš Horváth / Language(s): Slovak Issue: 3/2021

The article analyses the strategies Marek Krajewski employs to portray the city in his Breslau series. Owing to the compatibility of the text (signifier) and city (signified), it is relatively easy to represent the city in a literary text. The city is always already semiotically mediated and therefore prepared for its further semiotic processing in interpretation. Individual strategies of representation are always connected with certain layers of textual structures and are open to analysis by different areas of literary studies. The topographic representation of the city mediated by the layer of historical toponyms that form chains and paths crosses the boundary of the strictly internal textual structure and calls for geopoetics as analytical tool. The strategy of representing ordinariness via period objects for everyday use makes up for the layer of the retro genre. The narrative representation of the city – stories (and their matrixes) that form Krajewski’s literary Breslau – predominantly constitutes the layer of detective thriller. Combination of these strategies of representation of the city, delimited by a cross-section of the textual corpus of the Breslau series, forms Krajevski’s specific generic representation of the city.

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Reflexia biedermeieru v slovenskej literárnej historiografii

Author(s): Miloslav Vojtech / Language(s): Slovak Issue: 5/2021

The article provides an insight into the conceptualisations of Biedermeier in Slovak literary historiography from the 1930s to the present day. It maps the process of establishment of the term in literary-historical discourse in the first half of the 20th century and points out the role German Literary Studies played in it. The article analyses the transformation of the term adopted from German literary theory in the 1930s and 1940s. In these decades, M. Pišút and A. Mráz applied Biedermeier to the study of Slovak literature. They identified features of this style – alongside the dominant Classicism and the early Romanticism – in several literary works and authorial styles. In the latter half of the 20th century, Biedermeier was researched by S. Šmatlák, V. Marčok, and J. Noge. The article also touches upon typological definition of Biedermeier in Slovak poetry and fiction of the 19th century, the relationship of this style with pre-Romantic and Romantic literature, the revitalisation of Biedermeier in the second half of the 19th century, and current research that focuses on Biedermeierian configurations of Realism and looks for its origins in pre-1815 texts.

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Poetika a estetika modernizmu v dvoch komorných hrách Vladimíra Hurbana Vladimírova z prvého desaťročia 20. storočia (Keď sa schladí, 1905; Boj, 1907)

Author(s): Katarína Cupanová / Language(s): Slovak Issue: 5/2021

The article provides a close reading of two one-act plays on love by Vladimír Hurban Vladimírov (1884 – 1950): Keď sa schladí (When it gets colder, 1905) and Boj (Fight, 1907). The plays were significantly influenced by Modernist poetics: they are markedly subjective (the same applies to Modernist Slovak poetry and fiction in the late 19th and early 20th centuries), stylised as symbolic, the plot is pushed to the background, and psychological and emotional life of the heroes is foregrounded. Accentuating inner life in drama is intimately connected with the problem of the categories of the subject (internal dramatic subject) and time (temporal frame bearing meaning) and, on the level of composition, also with the degree of compactness and unity. The composition of the plays is fragmentary and discontinuous and they tend towards open endings. The dramatic potential of classical drama got distilled into the fragmentary genre of one-act play. Overlaps of artistic styles (Symbolism, Impressionism, Secession) and the technique of synaesthesia result in an overlap of various artistic methods and techniques which were used to achieve a nuanced realisation of prominent personal and subjective themes.

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Uťaté ruky Rudolfa Fabryho v kontexte slovenského nadrealizmu

Author(s): Jaroslava Šaková / Language(s): Slovak Issue: 5/2021

Rudolf Fabry’s first collection of poems, Uťaté ruky (Severed hands, 1935) was the first book published in the Aligátor series – one of the most distinct projects that accompanied the formation of the Nadrealist movement, the Slovak variant of Surrealism. Owing to the Aligátor series and other activities and products of the actors experimenting with Surrealist poetics, Nadrealism markedly shaped Slovak literature, visual arts, typography, and other forms of art. In result, it became an important movement in Slovak poetry, introducing new poetics which was not, however, met with understanding. The critical reception of Fabry’s debut testifies to that. The debate concerning the new and the old – experiment and tradition – showed that it is crucial to recognise the degree to which Slovak Nadrealism was inspired by foreign authors and literatures (G. Apollinaire, Czech and French Surrealism). This article attempts at conceptualising Nadrealism in its objective contexts without which it cannot be adequately grasped.

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Profil literárnovedného výskumu Hviezdoslavovho diela

Author(s): Ján Gbúr / Language(s): Slovak Issue: 6/2021

Profile of the Literary-Historical Research of Hviezdoslav’s Writing: Although Pavol Országh Hviezdoslav (1849 – 1921) is probably the most well-known classic of Slovak literature, his work has not been researched in its entire complexity. The article offers an overview of literature on his work and discusses the differences between methodologically sound scholarship – including interpretations of Hviezdoslav’s work – and superficial affirmative biographies and compositional, structuralist versological, semantic and form-centred analyses. From the comparatist point of view, it addresses his early work in Hungarian and German, but also points to his literary criticism, dramatic works, structured character of his poetics and the high artistic artifice of his depictive and expressive method. The article concludes with a set of topics and research areas which have not been sufficiently addressed and hopes to elicit more scholarly attention in them.

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Hviezdoslav – básnik veľkých paradoxov a paradoxnej veľkosti

Author(s): Zoltán Rédey / Language(s): Slovak Issue: 6/2021

The paper focuses on paradoxical aspects of P. O. Hviezdoslav’s personality. The poet – although considered a central figure in the Slovak literary canon, institutionally accepted authority and emblem of national culture – remains “rather unpopular and basically unread” and “incomprehensible”. Slovak literary studies, especially before 1989, praised Hviezdoslav’s folk realistic orientation – especially in his “peasant themes”. This narrative foregrounded his folk realistic orientation which was supposed to make his poetry more accessible to the common reader. By means of synecdochal interpretation of fragments of his work, the author of the article shows that Hviezdoslav’s peasant themes – by their expressive, formal and genre qualities – do not display so much a folk realistic influence as the poet’s tendency towards verbal extensiveness, stylistic “exclusivity,” mannerism, Parnassism and respect for classical models. The paper focuses on how these features influence the real status and reception of Hviezdoslav’s poetry today.

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Hviezdoslavova baladická tvorba

Author(s): Ján Gbúr / Language(s): Slovak Issue: 6/2021

The article concentrates on interpreting Pavol Országh Hviezdoslav’s (1849 – 1921) ballads – the part of his oeuvre which has only been investigated marginally so far. His ballads from the late 19th and early 20th centuries (U kaplice [At the chapel], Zuzanka Hraškovie [Zuzanka Hraškovie], Anča [Anča], Margita [Margita], Studnica [The well], Smelá Katka [Daring Katka], Topeľci [Drowned], Jedlica [Fir tree], Krivoprísažník [False witness], Mladá vdova [Young widow], Matúš Stolár [Matúš Carpenter]) adapt some of the traditional themes of folk and Romantic ballads (crime and punishment, moral failure, folk customs), but also bring new motives (search for the spiritual path from pragmatic truth criteria, property disputes and unorthodox solutions to life problems, social and economic disparity and its effects). Comparison of Hviezdoslav’s ballads with those written by Slovak poets of the Romantic period Janko Kráľ and Ján Botto shows his authentic realist attitude in the handling of the genre. Hviezdoslav accentuated the epical side of the narratives, employing several means of representation (on the level of the narrator and on the level of the structure of the stanza and verse). He realised the lyrical side of the narratives, their balladic atmosphere – also through the functional structure of the verse – but primarily through expressive, lyrical depictions and commentaries.

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Německy psané básně Pavla Országha

Author(s): Petr Kučera / Language(s): Czech Issue: 6/2021

The article analyzes German-written poetic texts that the Slovak poet Pavol Országh Hviezdoslav (1849-1921) created during his studies at the Evangelical Lyceum in the second half of the 1960s in the town of Käsmark/Kežmarok, which was then inhabited mainly by Germans. Pavol Országh's poetry in German is understood in the broader cultural and historical context of the region and with the knowledge of the poet's later work in Slovak. In addition to the thematic-motivic construction of German-written texts, the paper also deals with their system of imagery and states the dual nature of the poet's approach to depicting reality.

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Slovenská Lenóra (Ján Botto: Žltá ľalia)

Author(s): Magdalena Bystrzak / Language(s): Slovak Issue: 6/2021

The article is a contribution towards interpretations of Ján Botto’s (1829 – 1881) ballad Žltá ľalia ([Yellow lily] 1849, published in a magazine in 1860). It tackles the resonances between the Slovak Romantic poet’s poem with Lenore (1774), a ballad written by the German Pre-Romantic poet Gottfried August Bürger (1747 – 1794). It draws on comparatist works of the Slovak literary historian Zlatko Klátik and the Polish researcher Marie Janion, but also on literary-historical research that takes into account the specifics of Slavic versions of the motive of Lenore. The article dwells mainly on the female persona, primarily on the model set by Bürger, but also on other intertextual variants in Slavic poetry. Based on Botto’s ballad, the author identifies the Slovak variant of the motive of Lenore. This variation derives from folk literature, but simultaneously draws on some of the basic features of the Romantic imagination – the intertwining of the world of the living with the world of the dead and the presence of mysterious elements in everyday worldly life experience. Intertextual relations between the Slovak poem and Bürger’s Lenore, textual development of the female persona in the two texts and the position which female personas attain in Romanticism by way of accentuating feminine otherness are the central themes tackled in the article.

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Každodennosť v novele M. Š. Ferienčíka Bratia

Author(s): Eva Palkovičová / Language(s): Slovak Issue: 6/2021

The article is concerned with literary representations of everyday life in the novella by the Slovak author Mikuláš Štefan Ferienčík (1825 – 1881) Bratia ([Brothers] 1863). The novella critically addresses Romantic idealism which was at that time – in the 1860s – already perceived as outdated and lacking function and presents the reader with a new type of nationally conscious individual: a family-oriented middle class man, successful in his career and respected by the society. The protagonist of the novella does not understand his national identity as an abstract spiritual value, but makes it a part of everyday situations (during meals, events, in shaping family relationships). By doing so, he also helps build national awareness in other characters in the novella. M. Š. Ferienčík not only offers his readers a practical example of how to combine personal happiness with the imperative of building the national society, but also a new solution to the key problem of Slovak Romanticism – “the embracement of the spirit and matter”. The article draws on the category of everyday life as conceptualised by the American literary scholar Rita Felski. In her view, everyday life is a sphere of human activities characterised by the domestic space, cyclical time and the modality of habit.

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Čas a priestor, subjekt a pamäť. Malé veľké mesto Kataríny Kucbelovej

Author(s): Viliam Nádaskay / Language(s): Slovak Issue: 1/2022

The article offers an interpretation of Malé veľké mesto ([Little big city] 2008), the third book of poetry/long poem by the contemporary Slovak poet and writer Katarína Kucbelová (1979), the author of four books of poetry and a novella. From the point of view of poetics, Malé veľké mesto is a transitional text, a breaking point in the development of the author’s style. The book embodies a change towards a more concrete way of expression and contains topics, motives and language typical of Kucbelová’s later works. The article tackles two mutually intertwined aspects of the poem – the city and the subject. The central principle of the poem is the projection of the subject into the time and space. The city (specified as Bratislava) can be analysed from the point of view of urban studies as outlined by Olivier Mongin – through his theses on the urban situation and various forms of flows in the city and the creation of bonds with it. The issue of identity that is intimately connected with the city is read on the background of various forms the speaking subject in Katarína Kucbelová’s poetry takes. In her early work, the subject focuses on biological and physical traits, later she moves onto the analysis of her individualised experience complex and, finally, in her fourth book of poetry Vie, čo urobí ([He knows what he will do] 2012), the subject turns her attention to the society. A discussion of Malé veľké mesto illustrates the gradual abandonment of the fragmented (non)subject bearing traces of postmodernist subjectivity and a move towards a more decisive delineation of the boundaries of an individual.

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Spisovateľ a nespisovateľ Peter Pišťanek

Author(s): Peter Darovec / Language(s): Slovak Issue: 1/2022

The article deals with controversies concerning the authorial self-presentation of the Slovak writer Peter Pišťanek (1960 – 2015) and changes his attitude towards the role of the writer underwent. In the 1990s, when Pišťanek was a publishing author and his work was widely discussed, he ostentatiously rejected the status of the writer. However, later, after he stopped being active as an author, he partially assumed it. Until then, he would repeatedly present himself as a non-elite word craftsman (worker). This radical public gesture brought him a unique position in the Slovak literary field in the early 1990s. He would degrade the status of the writer both in his public self-presentations and in the key works of his first creative period. In these, the characters of writers are portrayed with a radical irony. Paradoxically, at the break of the 21st century, after he publically declared that he no longer writes fiction, Pišťanek embraces the role of the celebrity author. This shift can be observed in his editorial activities, in interviews and journalism he authored at that time. Empathetic understanding of the character of the writer replaced the former ironic detachment.

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Lingvistický „obrat“ Vladimíra Hurbana Vladimírova

Author(s): Juliana Beňová / Language(s): Slovak Issue: 1/2022

Taking the work of Vladimír Hurban Vladimírov (pseudonym VHV, 1884 – 1950) as its prism, the article aims at providing an insight into the state of the language and the issue of language politics in the interwar period in the Slovak linguistic enclave in Vojvodina, Serbia. The article analyses the linguistic work of VHV and addresses the topic of language planning. VHV, in his attempts at strengthening the knowledge of their mother tongue among Slovaks in Serbia, took an active part in the forming of the modern Slovak language. He published linguistic essays in local periodicals and developed language courses for the locals. He taught Slovak in two basic courses – in 1925 and 1943 – in Stara Pazova. The students of his second course used Slovačka slovnica (1942) – a grammar book written by the Croatian Slovakophile Josip Andrić (1894 – 1964). The level of the knowledge of the language among the locals and the lack of specialised and normative publications prompted VHV to explain phenomena pertaining to Slovak orthography, morphology, lexicology, etymology and dialectology. He advocated for an etymological orthography and was of the opinion that orthography should only reflect the standard and codified variation of the language.

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Prototext a jeho zmeny (báseň Ivana Laučíka v liste Petrovi Repkovi a jej segmenty v básňach Biely film a Tam, kde nie som)

Author(s): Matúš Mikšík / Language(s): Slovak Issue: 3/2022

The article provides interpretation of the changes the prototext of Ivan Laučík’s (1944 – 2004) poems “Biely film” ([White film] from the collection Havránok, 1998) and “Tam, kde nie som” ([There, Where I’m Not] from the collection Na prahu počuteľnosti [At the threshold of hearing], 1988) underwent since it was included in the letter to Peter Repka from 10 September 1970. The contribution concentrates on three main issues. The first one concerns the intertextual reference the prototext makes to the poem by the French journalist and author Jean-Paul de Dadelsen (1913 – 1957) “Jonas” and the possible meanings it brings to the prototext. The absence of this reference in the poem “White film” serves the convergent function. The article then provides a comparative interpretation of the changes between the prototext and the poem “White film”. These appear to have made the poem clearer and strengthened its metaphysical aspect through intensifying the presence of “illumination/light” motives and elements in the poem. Finally, the contribution analyses the modifications the last four lines of the prototext underwent before they were included in the poem “There, Where I’m Not”. The article argues that the poet attempted at simplifying the segment as to the poetic devices it employs and at making it clearer. In result, the singular lived experience was transformed into a general maxim.

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