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1

RAZOR AS AN INSTRUMENT OF MURDER AND KNOWLEDGE (ON A CHANCE IN THE S. LEM'S WORKS) (Britva ako nastroj vrazdy a poznania (O nahode v tvorbe S. Lema))

100%
Matejovic P.
Slovenská literatúra (Slovak Literature)
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2009
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vol. 56
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issue 5-6
464-469
EN
The author deals with two fictions by Stanislaw Lem 'Investigation' (Vysetrovanie) and 'Memoirs Found in a Bathtub' (Dennik najdeny vo vani). He follows up the Lem's work from the aspect of overlapping genres (sci-fi, detective story, spy thriller, essay and political satire). He focused mainly on the motif of chance. Theoretically he comes from the opinions of contemporary Polish literary theoreticians (Maciej Plaza: 'O poznaniu w twórczosci Stanislawa Lema, 2006; Rafal Koschany: 'Przypadek, Kategoria egzystencjalna i artystyczna w literaturze i filmie', 2006; a collection of works 'Efekt motyla, Humansci wobec teorii chaosu'). The author introduces S. Lem as a 'discursive fiction writer', his works balance among so called popular genres, fine literature and essays. Genre syncretism is a characteristic feature for Lem's detective stories. The important element is not a crime itself but disclosing of a perpetrator, seeking of indicia and a man-to-man battle. Significant role belongs also to decoding the secrecy and mystery. Lem is interested predominately in the problem of chance fluctuations, which means something for what in the establishing cultural paradigm are not names, terms. There is only an obsessive need to receive and assimilate them. Lem's detective does not fulfil a stabilizing function in the sense of 'moral expectancy' or guaranty to an institutional norm. Opposite is true. Crime in Lem's story is subordinated to statistics, it is a phenomenon that is so much improbable that appears outside the rank of rational understanding (events determined as 'vis maior'). Lem's gesture could be explained as a part of intellectual provocation. Lem in (anti)detective story applies a theoretical model, relating to the terms of informatics and logics. In the fiction 'Memoirs Found in a Bathtub' the motif of razor appears quite often. It has two meanings. The razor means a murdering instrument and also the razor is a metaphor (Occam's razor).
2

YOU ARE NEVER ALONE AS A LITERARY TRASH? (Nikdy nie si sama ako literarny gyc?)

100%
Matejovic P.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 2
81-97
EN
The author deals with interpretation of Minac's prose 'Nikdy nie si sama' (You Are Never Alone), published in 1962. He also pays attention to wider discussion appeared in literary magazines in 1962-1963 concerning this literary double-novelette. He stressed the significance of the critical reaction of Bohus Kovac's critical achievement, which is exceptional in the historical context of the first half of the 60th. It was comparable with critical articles and polemics of Milan Hamada. Kovac pointed out a problem of genre classification of Minac's literary works, which in 50th and 60th had a form of exemplary, popular literature (tradition of literature in calendars). By this way he created a platform for overlapping of both the types of literature in the area of genre and values. The mentioned problem becomes the central theme also in the author's study. He comes out from the semiotic and cultural analyses of Umberto Ecco from the first of the 60th. They have several common parallels with Kovac's critical argumentation. The author was also inspired by the works of Czech literary theorists and historians (D. Mocna, P. Janacek). They pointed out some genre - typological similarities between Social Realism and popular literature. The author came to conclusion that Minac's double novelette 'Nikdy nie si sama' (You Are Never Alone) is a typical example of 'socialist midcult' performing mainly ideological functions, while aesthetic function was suppressed. This Minac's auctorial intention was clearly identifiable mainly in the end of his prose, in which he comes back to constructional poetics typical for the 50th. It is also the most problematic dimension of his prose. Minac attempted to make that part interesting through motifs of sentimental and erotic literature (those motifs were there to draw attention of the readers). Altogether with ideological facture those auctorial courses created a genre hybrid.
3

PETRIK ON MINAC'S BOUNDARY-LINE (COINCIDENCE AS A GENERATOR OF EVENT) (Petrik o Minacovom rozhrani (Nahoda ako generator udalosti))

100%
Matejovic P.
Slovenská literatúra (Slovak Literature)
|
2009
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vol. 56
|
issue 3
210-215
EN
In his contribution the author deals with the study of Vladimir Petrik dedicated to Minac/'s novelette 'Na rozhrani' (At the Boundary, 1954). Petrik's interpretation was published in 1981, that means during the 'normalisation' (1969-1989). It also predestined a character of his contemporary message. In spite of that the author considers the text to be very inspirational. He sees its key significance from the aspect of evaluation of Vladimir Minac's literary work. Petrik pointed out the ideological schematism of Minac's novelette, which was symptomatic for the socialist realism of the first half of the 50s. He also disclosed Minac's primary auctorial motivation. Petrik's attention is focused on the motif of coincidence here, respectively on the way, in which Minac makes it a part of composition in his fiction. The motif of coincidence is appeared also in his later works mainly in his belle letters from 60s. Here, Minac kept quite a critically reserved approach. The motif of coincidence is appeared in various contexts of Minac's work - once as a creative principle (generator of events), the other as an act of independent auctorial arbitrariness, which negates the art. The author points out the need of a genre pre-classification of Minac's work. In the 90s Peter Zajac drew attention to this point making also a reference to Petrik's study. Zajac found parallels in Minac's work with medieval genres (tradition of calendar literature). In this way Minac's novelette 'Na rozhrani' (At the Boundary, 1954) became a part of popular literature. In the 60s this fact was also pointed out by Bohus Kovac.
4

CHANCE AS A SUBVERSIVE ELEMENT IN THE 1960S PHILOSOPHICAL AND AESTHETIC DISCOURSE (Nahoda ako subverzivny prvok filozofickeho a estetickeho diskurzu sestdesiatych rokov)

100%
Matejovic P.
Slovenská literatúra (Slovak Literature)
|
2011
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vol. 58
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issue 2
98-104
EN
The author uses chosen texts (philosophical essays) and films of the 1960s new wave as examples to demonstrate the function of chance serving as a subversive element in the philosophical and aesthetic discourse of that time. In particular he pays attention to M. Forman's film Cerny Petr (Black Peter), Vladimir Minac's essay Paradoxy okolo umenia (Paradoxes around the arts) and J. P. Sartre's piece of writing Marxism and Existentialism. As well as to chance he pays attention to the motifs of everyday life and authenticity, which used to be previously kept in the background - what used to be perceived as a marginal and non-systemic becomes a legitimate part of the theoretical reflection. In the conclusion the author states that the role of chance in the 1960 literature, art and film cannot be reduced to a sort of arbitrariness, or uncontrolled behaviour. Its function tends to be related to moments of playfulness and spontaneity, which at the same time review everyday life as a kind of creative potential present in film and literature as well as music and fine art.
5

TRANSFORMATIONS OF THE POETICS OF CHAOS IN POLISH, CZECH AND SLOVAK CULTURAL CONTEXT (Transformacie 'poetiky chaosu' v polskom, ceskom a slovenskom kulturnom kontexte)

100%
Matejovic P.
Slovak Review. A Review of World Literature Research
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2008
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vol. 17
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issue Spec. ed.
85-98
EN
AIn the overview study the author outlines 'the poetics of chaos', which is programmatically present in Polish, Czech and Slovak cultural context approximately from the 1960s. He also asks whether this term can be understood as a legitimate and a correct literary-aesthetic category or whether we should rather speak about an estranging metaphor which arches over the problematic of dynamic, non-linear and pulsating structures. Although it is a term describing processes in natural sciences (quantum physics, deterministic chaos and fractal geometry) it is gradually emerging in human sciences (especially in philosophy, aesthetics and literary science). In a short historical sketch, the author of the study follows the beginnings of this poetics in modern art, in the avant-garde, in formalism and in Czech structuralism. He considers Mukarovský's article 'Intentionality and Non-Intentionality in Art' (Zámernost a nezámernost v umeni) to be the key text in which Mukarovský argues that a work of art as a whole is not only a product of an intentional creative process but of many things that transcend intentionality. The article further explores the influence of 'the poetics of chaos' on theoretical thinking in the 1980s and in the 1990s. From the diachronic point of view the author calls the attention to the oscillatory character of this poetics. There are periods in which the need for a formal and semantic unification stresses the basic creative principle. At other times this formal and semantic unity is disturbed. The preference for aesthetic categories which are closer to 'the poetics of chaos' is typical of transitory periods. After they have gradually faded, came the need for synthesis, harmony and wholeness.
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