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OD RÉBUSU A HRY S ČITATEĽOM K ANTROPOLOGICKÉMU SVEDECTVU: „ZRNKO PRAVDY“ ZYGMUNTA MILOSZEWSKÉHO

100%
Horváth T.
World Literature Studies
|
2020
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vol. 12
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issue 2
40 – 49
EN
The study interprets the detective novel by Zygmunt Miloszewski, Ziarno prawdy (2011), while focusing in the fashion in which the novel analyses the mechanism of anti-Semitism. A significant role in the culprit ś plotting of a fake ritual murder is played by a city with a collective memory, which inspired the modus operandi of the act, when the murder made use of the rooted anti-Semitism of the local community. The myth of the ritual murder in the anti- Semitic interpretation originates through the distortion of the original meaning of the cultural units, their incorrect condensation and the rearrangement of their functions to incorrect positions. In the solution this projection of the culprit onto an „Other“ is discovered to be false, revealing that the worst crimes occur out of hatred behind locked doors. Miloszewski sets these current issues into the genre structure of a classical detective story with the solution abiding by the principles of fair play, while the thriller denouement through a found document is proved to be false.
2

LITERÁRNE DIELO AKO UDALOSŤ A IDIOLEKT

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2019
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vol. 66
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issue 2
88 – 102
EN
The study deals with situating a literary work between general properties (laws) of literary discourse and singularity, between institution and idiom. According to Derrida, singularity cannot be achieved without participation in generality. A literary work as a singularity is not isolated – in order to be read as a singularity, it must be juxtaposed with other works, which it differs radically from. G. Deleuze paraphrases Proust saying that a writer invents a new language within a language. This other language within the previous natural and literary language, however, does not only have to function on the linguistic (stylistic) level, but also on the level of the „secondary language “, the system of literary codes and conventions. It may transcribe and transform not only the level of language in the common sense (deviated syntax) but also genre conventions (e.g. deviated crime story), literary etiquette. This language is not torn off the „old language “ (primary system), but it is created as its redesign. From the viewpoint of the „middle“ perspective of an individual literary work, the work (event) can thus become – for instance – a radical transformation of a particular genre structure. The genre norm, which is overcome by the given work, becomes a system of conventions, with regards to which this work is comprehensible: a genre is a condition of possibility of partial comprehensibility of an innovative work. Such a work is a sort of message partly encoded in a familiar language which flows into an unexpected, unknown language. A work – singularity, an event establishes a new code – idiolect. The work – event (an event as something that is unrepeatable by definition) is thus – according to Derrida – always pre-infected with a repetition structure so that it could be read at all.
3

KRIK NAHEJ DUŠE UMELCA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2017
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vol. 64
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issue 6
413 – 431
EN
The paper is an interpretation of the novel Krik (Krzyk/The Scream, 1917) by Polish modernist writer Stanisław Przybyszewski (1868 – 1927) within the context of Przybyszewski´s ideological and aesthetical conception including notions such as the naked soul, sexual instinct (chuć), meta-word and androgyny. The hallucinatory and dreamy fictitious world of the novel, built up using the literary method of discontinuity of chronotopes, is related to Przybyszewski´s view of reality as the reality of the naked soul. The literary production is a scream of a naked soul which is linked to the forces of the unconscious mind including subconscious impulses and instincts. They control the conscious self, who thus becomes unautonomous, and they split it up (the motif of a double in the novel). The narrative structure of the novel is based on the principle of repetition with a difference: the main hero, artist Gaštovt, wants the impossible: he wants to hear again the scream of the prostitute jumping off the bridge. The repetition is, however, – in Nietzsche´s words – the return of the different: Gaštovt first saves the female suicide, but then longing for the repetition of the scream he kills her. The structure of the repetition joins several motifs in the text: the individual characters reappear as different ones in the feverish maze of Gaštovt´s wandering: the jarvey later as the violinist, the female suicide later as the hypnotized actress, the stranger later as Weryho, and eventually Weryho as Gaštovt himself (in the final motif of a double).
4

LITERÁRNA VEDA A ZÁKONITOSTI

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
|
issue 6
419 – 446
EN
Over the years of its troubled evolution literature has shown a high degree of repetition: individual literary texts have mutually identical as well as different properties. What dominates in literary science is the structural, systematic and typological process of establishing patterns of regularity in form i.e. structural types, and the result of the process is literary forms, genres, movements and types of narrative structures, types of composition, chronotopes etc. Jakobson´s structuralism with its universal ambition establishes isomorphic phenomena typical of literature as a whole – it aspires to define literariness and poetic function through the model of its mechanism. In the course of its history literary science has attempted at formulating diachronic patterns. E.g. within Darwin´s theory of evolution Ferdinand Brunetière attempted to disclose the „laws and conditions controlling genre evolution“. The Darwinesque pattern is also used by Franco Moretti in the process of establishing patterns of competition of literary genres trying to acquire their share in the book market. What was formulated by Russian formalists as a pattern of literary evolution is the principle of tension between automatization and de-automatization of literary techniques. Then, there is Jakobson´s productive conception of invariants as a constant scheme in relation to fluctuations, variants. It focuses on investigating the different within the same (different variants in various literary works by the same writer) and the same within the different (invariants in different literary works by the same writer or different writers of the same literary movement). We analyse the methods of establishing patterns of repetition and schemes in selected literary scientific works: for instance in that by Northrop Frye the subject was repetition on the highest level – the whole literature seen as a specific system – to repetitions on lower levels of subsystems, where texts are grouped into particular classes, e.g. genres.
5

VILIKOVSKÉHO PÁTRANIE PO SKUTOČNOSTI: FOTOGRAFIA A TRPKASTÁ CHUŤ SKUTOČNÉHO

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
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2017
|
vol. 64
|
issue 1
33 – 42
EN
The paper interprets the radical way of rewriting the detective fiction in the short story by Pavel Vilikovský Celkový pohľad na Máriu B. (The Overall View of Maria B., 1968) and in his novel Prvá veta spánku (The First Sentence of Sleep, 1983). The two texts are in a mutual relation of variants, while their intertextual illumination generates more meanings. In the short story the narrator tells the whole story in the modality of possibility. Several events of the narrative structure are of an ontic nature. The text of the short story provides only the reader with one side of the communication process of investigation – the sender, the detective asking questions, i.e. the text offers the base of the evidence, not the core. The veil of the detective´s hypotheses conceals or at least obscures the reality – and the detective has to use simple existential statements in order to ensure what is real. Here the detective becomes a machine to generate hypotheses about the reality after the reality (the past murder) has disappeared. The novel Prvá veta spánku is disappointing in terms of genre expectations raised by itself – a seemingly detective novel becomes a novel featuring an external perpetrator. This genre method is motivated by the composition structure itself – the trifold consecutive focalization of the narration and two fake solutions. The criminal solution of the case is enabled by the unexpected abduction of the detective: the scene of crime and the weather – the remote stone-pit during the rain – help the detective draw the conclusion as to the fundamental characteristic of the perpetrator.
6

PÁTRANIA VO FANTOMATICKOM MESTE: BRESLAU RETRODETEKTÍVOK MAREKA KRAJEWSKÉHO

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2021
|
vol. 68
|
issue 3
337 – 347
EN
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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