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1

DVAKRÁT „METODOLOGICKÁ POVIEDKA“ (RUDOLF SLOBODA, PAVEL VILIKOVSKÝ)

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Prušková Z.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
|
issue 1
17 – 28
EN
The 1960s meant an important cultural U-turn from the realistic method of depiction to alternative approaches and means of expression in Slovak art and literature, too. The decade brought new classification of values as well as a new philosophical view of the reality. In the conditions of our country the anthropocentric pattern of the world´s depiction came into use, the human became the centre of its attention. The key prosaic works written in this period confirm the use of the anthropocentric pattern and they go even further benefitting from it in various ways and establishing individual styles of their authors. Rudolf Sloboda and Pavel Vilikovský used short prosaic works of the late 1960s to demonstrate new text strategies involving readers in creating a text experience. The side effect of such efforts, as the present study tries to show, is not only spontaneous presence of relevant poet logical and philosophical affinities with the contemporary European literature (new novel) but also a modified relationship to artistic self-referentiality of a literary text (writing as an alternative to the reality).
2

AUTOR V SKUPENSTVE TEXTU (NEŽÁNROVÉ AUTOBIOGRAFIE ALTY VÁŠOVEJ)

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Prušková Z.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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issue 6
469 – 484
EN
Alta Vášová returned to her literary roots in the mid-1990s. The paper deals with the expert reading, analysis of and comments on the proses that she included in her book titled Ostrovy nepamäti (The Islands of Non-Memory, 2008) overlapping with her later books Sfarbenia (Colorations, 2011) and Menoslov (The Name List, 2014). The paper is an attempt at identifying the particularity of the writer´s biographical writing, focus on detail and fragment as meaningful parts of the whole message in the original autobiographical writing. A part included in the paper is a reflection on stylistic possibilities of non-pragmatic narrative, which eliminates the borders between the author, the narrator and the genre in favour of new text strategies.
3

BALADICKÉ AKO TRAVESTIA (DUŠAN KUŽEL: LAMPA)

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Prušková Z.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 6
509 – 516
EN
The study is an attempt to read anew the novel Lampa (Lamp) by Dušan Kužel. The novel was written in the first half of the 1970s as a brave attempt to put across an authentic message of the generation, whose textual outcome included prosaic works which were varied in terms of genre and multi-layered in terms of meaning. On the one hand, the piece of writing was inspired by the influences of pop-art and pop-culture (the Western, Sci-fi, literary persiflage). On the other hand, it simultaneously refers to the inspirations by classic Romantic ballad, which is mainly represented by Janko Kráľ´s modern ballads in the context of Slovak literature. The study builds on N. Frey´s theory of the mythical-archetypal interpretation of epic and poetic narratives and tries to identify analogical approaches in Kužel´s novel. This results in perceiving the piece of writing as a considerably artificial and constructed work of art, which does not lack spontaneous, up-to-date relation to serious literary assignment and enterprise, though. The ambition of the study is to identify the essential schemes of the theme, genre and topology (the myth of spring, a new beginning, topics of the demonic initiation), where Kužel´s narrative is situated. The method as well as the result of the reflection is a genre-topological interpretation of the narrative as a move on from the fixed ideological assignment to possible aesthetic innovations. This is the context where the study introduces the issue of size and reach of the literary travesty as an open and semantically productive text-forming technique.
4
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The Holocaust – the Border of Pragmatic Language

100%
Prušková Z.
Poznańskie Studia Slawistyczne
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2017
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issue 12
259-270
PL
The theme of the paper is observing and revealing non-pragmatic language that, when dealing with deliberately chosen texts about acts of violence, leads to productive aesthetic disturbance. In its substance, this language refers to the gulf between intensity of representation and ideological intention towards a reader declared in a complicated manner. The paper discusses five texts with the theme of the Holocaust. Three of them deal with the Holocaust as with a recent experience, namely Curzio Malaparte’s Caput (1944), Žofia Nalkowska’s Medallions (1945), and Leopold Lahola’s Last Thing (1949–1956, published in a book in 1968); whereas two other ones deal with the Holocaust after some time in a form of belles-lettres memoirs or testimony, namely Juraj Špitzer’s I Did Not Want to Be a Jew (1994) and Jerzy Kosiński’s Painted Bird (in English in 1965, Czech translation was published in 2011). All interpreted texts are marked by specific language situated beyond the border of traditional literary representation. This language is either extremely subjective, expressive and periphrastic – in this case it borders on with absurd Realism or nonsense (in case of C. Malaparte, J. Kosiński, and L. Lahola) – or, in its neutral representation (in case of Ž. Nalkowska, and J. Špitzer), it borders on with a melancholic self-referential document on limits of cultural humanism or of normal, common humanity.
5

DVE DISKUSIE O DVOCH SLOBODOVÝCH ROMÁNOCH

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Prušková Z.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 5
418 – 422
EN
The article written on two discussions of the 1980s is a commentary of the literary-historical changes in that period of time. The author using two novels by the controversial writer Rudolf Sloboda tries to show how critics of the 1980s dealt with their presence in literature. The 1980s were the natural backgrounds for the problem. It is also important to realize how ambiguous they were. What is interesting in this context is the unstated presence of the notions author, subject, author´s subjectivity, authenticity and autobiography in the discussions about Sloboda´s writings. There, in two of the discussions appear names which represent rigid or more moderate criticism. At the same time, they are the accurate reflection of the literary criticism in the 1980s ranging from censorship to self-censorships methods.
6

MELANCHOLICKÁ STOPA V AUTOREFERENČNÝCH NARATÍVOCH (R. SLOBODA: JESEŇ)

100%
Prušková Z.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 4
312 – 321
EN
Sloboda´s last novel published during his life is - even in the context of his work in the 1990s - a specific type of autobiographical narration. Besides the non-suyzhet, composition-free narration, Sloboda makes frequent use of meaning parallelism in his text, which subsequently brings about supplemental, metaleptic character of narration. The potential of the causal story-driven narration is loosened by the writer in order to install more and more association segments featuring a great proportion of illustrative and ornamental potency. It happens unintentionally, and, as a result, the text proves within itself and for itself the connection between self-presenting narration and the selective (as well as melancholic) work of memory.
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