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1

VOJNA PROTI POĽSKU (1939) V PRÓZE MARGITY FIGULI A FRANTIŠKA ŠVANTNERA

100%
Janecová T.
Vojenská história
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2020
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vol. 24
|
issue 4
123 - 144
EN
The subject of the study is a comparative analysis of two literary works of the lyrical prose representatives, who were inspired by the military events of September 1939 in terms of content, in particular the participation of the Slovak Army in the war against Poland. The goal is to zoom in on the circumstances, context of origin and publication of the texts: Olovený vták (Bird of Lead) (1940) by Margita Figuli and Dáma (The Lady) (1948) by František Švantner. Both works were published in the Slovenské pohľady magazine (Slovak Views). In the case of Figuli, attention is paid to the transformation of references in the resources (Slovák daily) within the author's artistic concept. The subject of analysis also includes the relationship between the publication of the prose and subsequent loss of the writer’s job as the correspondent in Tatrabanka. Research of Švantner’s work The Lady concentrates on the identification of sources used as the writer’s source of inspiration. Švantner based his writing on the narrative of his friend, Anton Kúdelka, who served in the North-Eastern part of the Polish-Slovak border and could be present at the events when the civilians were ordered to hand over their weapons – this event is also supported in the sources. Both works of prose are connected mainly by the pacifist ideological focus reflecting the way the Slovak culture reacted to this part of our history.
2

OLOVENÝ VTÁK MARGITY FIGULI: SÚČASNÉ ČÍTANIE S PRIHLIADNUTÍM NA DOBOVÝ KONTEXT

100%
Janecová T.
Slovenská literatúra (Slovak Literature)
|
2020
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vol. 67
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issue 5
433 – 447
EN
The goal of the paper is to present Margita Figuli´s novel Olovený vták/The Lead Bird by means of contemporary reading with regard to the historical and social context of its creation and its place in the literary history. This pacifist piece of prose criticizing participation of Slovakia in the war against Poland (1939) is well-known for its controversial publication in the pro-regime magazine Slovenské pohľady (1940) led by the editor Stanislav Mečiar and an alleged connection to the writer´s follow-up dismissal from Tatra banka in 1941 – 1942. The interpretation of the novel, which has only been the subject of fragmentary analysis to date, is concerned with the key points found in the text in terms of the structure and the spiritual dimension underrated so far. The text revolves around a character of a woman living in a tragic relation to the reality, which refers to the archetype of the mourning mother and the prototype of biblical Mary, alternatively ancient Niobe. The interpretation aims at the conclusion saying that the prose work can be included in the late line of expressionist prose. What helps cast light on the place of the book in the writer´s biography is her correspondence, publication activity, studies of literary scientists and knowledge of the historians analysing the period of the Slovak Republic (1939 – 1945).
3

K ŠVANTNEROVEJ PRÓZE DÁMA

100%
Janecová T.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
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issue 3
207 – 218
EN
The goal of the paper is to give an interpretatory analysis of the novel Dáma/The Lady (1948) by František Švantner. The first part of the paper deals with the issue of authenticity of the subject matter in this piece of fiction. Traditionally, it is regarded as the literary rendition of Švantner´s friend Anton Kúdelka´s experiences from the times of the occupation of Poland in 1939. Based on the research into Kúdelka´s personal military records and the deployment of the military units in the given period of time, the paper makes a correction to the literary historical tradition stating that the town Zakopane was the real setting of the depicted events; Anton Kúdelka did not serve in Zakopane. The paper then focuses on the literary techniques used in Dáma, which have not been examined sufficiently despite the rich literary reflection on Švantner´s works (with reference to the knowledge of the most prominent experts on Švantner´s works, especially Števček, Kuzmíková). There is a discrepancy between the proclaimed authenticity of the narration and the stylistic rendition of this intention, the antithetical connection of the contrasting images created by means of poetic language as well as the „false trace“ narration technique and the alternation of the passages featuring subjective and objective tones. These techniques play part in building the drama of the novella and support the expressive style, which proves that the style in this piece of fiction is related to previous Švantner´s production and the line of lyric prose. In the end, the paper offers an interpretation of the novella title; the lady as: the protagonist, the social status, the irony of the common understanding of this word, a game (draughts), a chess piece (queen) and a figure in the hands of the evil. The contribution of the paper lies in revealing the literary historical distortion related to the original subject matter and in presenting the in-depth analysis of Švantner´s literary techniques used in the novella Dáma having the ambition to enrich the Švantnerological literary historical corpus.
4

V SÚMRAKU MILA URBANA

100%
Janecová T.
Slovenská literatúra (Slovak Literature)
|
2017
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vol. 64
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issue 6
461 – 471
EN
The goal of the paper is an analytical and interpretatory reflection on Urban´s short story V súmraku/In the Twilight from the collection titled Výkriky bez ozveny (Screams without Echos, 1928). The interpretation was written with the ambition to contribute to the literary and scientific corpus dedicated to Urban´s literary work with regard to various text forms of his short story published in the years 1928, 1943 and 1965, and also to comment on the parallels between the short story in question and Russian literature (Dostoyevsky, Andreyev). The resources used for writing the paper include the editions of the short story: the original edition of the collection of novellas was provided by Báčki Petrovac library, the later ones are widely available. The literary and scientific resources included writings by experts of Urban´s literary work (Koli, Rakús, Števček), whose findings are related to the subject and the goal of the paper. The comparison of the editions of the short story In the Twilight from the years 1928, 1943 and 1965 helped discover the tendency to weaken the explicitness by making the expressions more and more vague and by reducing the narrator´s comments, as well as to increase the suspense in the short story through the reduction mentioned above and the tendency to strengthen the lyric and vivid elements in the text. The nature of the contrasts on the syntactic and semantic levels was described in order to clarify the way of creating the tension-and-ease arc employed in the short story. The presence of the allusions to Russian literature was demonstrated by including the quotations from the literary works dealing with the creation of characters in the situation of a murderer´s inner drama (Andreyev), the similarity between the literary works of Urban and Dostoyevsky was presented by comparing the outer motifs (the image of beating a horse, an axe as a murder weapon) as well as the inner ones (the motive for the crime, the breaking point of the conflict with God). The paper is supposed to enrich the literary and scientific reflection on Urban´s literary work. The in-depth interpretation of the structure of the short story In the Twilight contributes to the research into Urban´s poetics.
5

NA MARGO ČATLOŠOVÝCH POZNÁMOK K ROMÁNU KTO SEJE VIETOR (MILO URBAN)

100%
Janecová T.
Vojenská história
|
2019
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vol. 23
|
issue 2
116 - 142
EN
The aim of the contribution is the analysis of the critical text of the Minister of National Defence of the war-era Slovak Republic and chief military commander, Ferdinand Čatloš. In the text, he provides an analysis of Milo Urban’s prose, Who Sows the Wind (Kto seje vietor) (1964), which describes the World War 2 period. The study includes an annex which containing a part of Čatloš’ paper which has not been scientifically reflected as yet. In her comparative analysis, the author of the study examined interpretation of two historical events by Čatloš and Urban: the Hungarian-Slovak armed conflict in 1939 and the so called Lichardus coup along with Čatloš’ resignation in 1941.Value of the study consists in the enrichment of Čatloš’ biography in terms of the memoir-like nature of his elaborate, clarification of the context of Urban’s artistic work and completion of his biography, since the “disputation” with Čatloš is a part of his correspondence and to evaluate the informative value for historical research on a sample of Čatloš’ commemorative texts.
6

“UNRELIABLE ELEMENTS”. PROFESSIONAL SOLDIERS OF JEWISH ORIGIN IN THE SLOVAK ARMY AFTER 1939

63%
Baka I., Janecová T.
Vojenská história
|
2023
|
vol. 27
|
issue 1
33 - 60
EN
The topic of persecution and discrimination of Jews in the army in Slovakia has already been the focus of several papers. Most of the attention was paid to the VI Labour Battalion of the Labour Corps of the Ministry of National Defence (MNO). However, some of the aspects of this topic have not received the historians’ interest to this day. Nor has more attention been paid to the status of persons who, even after 1939, served in the army on the basis of an exception as professional soldiers or worked as civilian employees in the MNO and were directly or indirectly exposed to the consequences of the anti-Jewish legal norms. This did not only concern the Jews themselves (only one of whom eventually served in the army on the basis of an exception), but also the category of so-called Jewish mongrels and, last but not least, the “Aryans” themselves, whose wives, however, were of Jewish origin. In the study, the authors focus on the first two categories of persons. They are not aiming merely at descriptive interpretation of the legislative and legal norms permitting the exclusion of Jews from the army. They would also like to document their reactions, which represented a desperate effort to keep their place in the army. Those represented (from their authors’ point of view) an extremely humiliating and desperate effort in every respect to conform to the demands of the regime derived from the official anti-Jewish stereotypes of the propaganda of the Hlinka’s Slovak People’s Party. The latter regarded the Jews as a hostile element. The text pays special attention to the personality of František M. Borský, whose fate in the Slovak Army has not yet been further examined.
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