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1

ARTFUL ANALYSIS OF CRIMES AND PUNISHMENTS IN JAN JOHANIDES' FICTIONS (THE CRIME OF A SHY LESBIAN, THE BLACK FROST, PUNISHING CRIME) (Slovak title - below)

100%
Csiba K.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 5-6
470-473
EN
(Title in Slovak - 'Rafinovana analyza zlocinov a trestov v prozach Jana Johanidesa (Zlocin plachej lesbicky, Holomraz, Trestajuci zlocin)'). The article focused on the motif of crime. Because of the motif some of Jan Johanides' fictions concern a basic plot typical for the detective genre. The article doesn't mean to interfere a discussion on the history and rules of the genre. Instead of that the intention is to identify some features of crime literature influencing in various ways and intensity and semantic field of the researched fictions. Their form the norm overlaps of the popular writings and it still keeps character of fine literature that becomes a demonstration of auctorial opinions and attitudes. The moral issue is a specific feature of the reflections.
2

ČASOPIS DAV OČAMI ŠTEFANA DRUGA (NAD KNIHOU DAV A DAVISTI)

100%
Csiba K.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 5
368 – 376
EN
The paper is written in the form of comments on the book DAV a davisti /DAV and Davists by Štefan Drug. Within the purview of the author´s chronological reconstruction of how the magazine DAV was published, the author makes an attempt to follow the linear time axis, from which he choose several key moments. These are marginally confronted with the contemporary reader´s perspective. It shows that the character of the historical overview of the individual volumes enters into the relationship with the up-to-date literary and historical premises. Despite the historical determinations the key point in the present paper lies in reading Štefan Drug. It is dominated by the view of revealing the author´s open as well as concealed assessments of the contributions to this interwar social and cultural periodical. What is even more significant in the paper is his stated effort to adopt the documentary approach to the individual volumes and editions of the magazine. Štefan Drug uses them to summarize a number of the topics and goals of the whole DAV group, which can be seen from the contemporary viewpoint as one of the ways how to at least partly ensure them a more adequate place in the interwar Slovak cultural and social life.
3

SUBJECTIVE TRUTH OF MEMOIRS (MEMOIRS OF A. PLAVKA, J. PONICAN AND J. SMREK) (Subjektivna pravdivost memoarov (Spomienkove prozy A. Plavku, J. Ponicana a J. Smreka))

100%
Csiba K.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 3
216-220
EN
The paper is based on an analysis and interpretation of three memoirs. Its main goal is to harmonize the relations and the gaps between cultural memory and the role of literature. The next aim of the paper is to outline a stratification of transformations after the ruptures of constitutional law in 1918. Memoirs written by Jan Smrek, Jan Ponican and Andrej Plavka represent different variants of approaches toward reality. The research of Vladimir Petrik served as a methodological background for this article. Petrik's historical evidence of literature shows how literary texts can absorb, reshape, reproduce or manufacture structures and elements of non-literary discourses. This conclusion refers to the key feature of non-literary prose.
4

OBRAZ BRATISLAVY V PAMÄTIACH A PUBLICISTIKE MILA URBANA

100%
Csiba K.
Slovenská literatúra (Slovak Literature)
|
2021
|
vol. 68
|
issue 3
246 – 254
EN
The article looks at the ways Bratislava is portrayed in Milo Urban’s (1904 – 1982) memoirs and journalistic texts. It starts with the reflection of an essay published in the mid-1930s in Elán magazine and continues with an analysis of the topographic outline of the city presented in the second and third part of Urban’s memoirs. The latter texts provide a look at the city from the point of view of a stranger, newcomer. The descriptions give an insight into the emotional state of the narrator and his view of Bratislava, characterised by his exclusion from the social space of the city. The texts also contain musings on urban imagination. Common attributes of all analysed texts lie in the confrontation of modernisation with Slovak tradition. The article also outlines the possibilities of further research into Urban’s work through the analysis of urban topoi: the formerly unfamiliar Bratislava gradually becomes a known and natural space – although this process is a problematic and not finite one.
5

K ČÍTANIU DRUHÉHO DIELU MEMOÁROV MILA URBANA

100%
Csiba K.
Slovenská literatúra (Slovak Literature)
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2016
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vol. 63
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issue 6
468 – 478
EN
With the help of reading the second volume of the memoirs titled Kade-tade po Halinde. Neveselé spomienky na veselé roky. /All around Halinda. Cheerless Memories of Cheerful Years/ written by Milo Urban and published as late as in 1992, the paper reveals the publishing environment which the author entered at the very beginning of his literary and journalistic career. It is set within the period between his first articles in magazines and the year when his novel Živý bič (The Living Whip, 1927) was published. The article is therefore dominated by the references to several interwar periodicals – dailies Slovák and Slovenský národ, as well as the students´ magazine Vatra. This is also why the scope and variety of Urban´s bibliography within the period in question are so surprisingly wide. In this paper special attention is also paid to the author´s attitude to politics and ideologies, which he dissociates from in his memoirs.
6

„PREPISOVANIE“ PAMÄTI V SPOMIENKOVEJ KNIHE MILA URBANA NA BREHU KRVAVEJ RIEKY (1994)

100%
Csiba K.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 3
258 – 267
EN
The article looks into how history is created and modelled in Milo Urban’s (1904 – 1982) third book of memoirs Na brehu krvavej rieky [On the bank of a bloody river] (1994). The autobiographical character of the book is constructed through being positioned him into various scenes and portrayed him from different perspectives. The article concentrates mainly on outlining this authorial self-portrayal in the historical context of the Second World War. The memoirs provide a portrait of Milo Urban as both a public persona – writer, journalist and chief editor of the radical fascist newspaper Gardista – and as a husband and father. Methodologically, the article draws on literature that conceptualises autobiographical texts as ways of narrative shaping of the past by an individual. It is not just the personal history and individual identity that are formed in this way, but also collective memory and identity. Autobiographies as such are in this respect viewed as important part of collective memory, since they influence how we view the past and which events are to be remembered and which are to be erased.
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