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1

V. MINÁČ: Z NEDÁVNYCH ČIAS (CENZÚRA A JEJ DÔSLEDKY NA LITERÁRNU SITUÁCIU DRUHEJ POLOVICE PÄŤDESIATYCH ROKOV)

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Matejovič P.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 4
265 – 303
EN
The present study draws supports from the findings which were provided to the author in the Slovak National Archive. The findings relate to unpublished writings by the Slovak prose writer and essayist Vladimír Mináč which were banned by the Head Office of Print Media Supervision established in 1953. This is one of the reasons why the study is composed as a commented reading – the author gives more space to retelling the contents of particular works, which is supported by quotations and selected extracts. The individual findings are set in the framework of historical archive materials and texts included in the circulation of information. The examples of the censorship of Mináč´s writings are used to identify the changes in Mináč´s poetics as well as to show various censorship strategies – from explicit bans to various euphemistic and hidden forms of „dissolved censorship“ (explicit and implicit censorship), where the censorship becomes less and less „visible“ and the writer himself gradually adopts the discourse which is identical to the defined positions of the official canon.
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Slzy si utřeme pěstí : diskusie o práve básnika na smútok v slovenskom literárnom prostredí v druhej polovici 20. storočia a ich český kultúrny kontext

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Matejovič P.
Česká literatura (Czech Literature)
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2020
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vol. 68
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issue 2
182-203
EN
The study analyzes the transformations undergone by the topic of sadness in individual decades, paying particular attention to the discussion on “the poet’s right to be sad” in poetry reacting to the dogmatically asserted ideology of Socialist Realism in the first half of the 1950s. This discussion was initiated in Slovakia by Milan Rúfus’s poetry collection Až dozrieme (When we Grow Mature). During the 1960s the discussion over the poet’s right to be sad when confronted by civilizational threats gradually transformed into a dystopian alternative. The characteristic feature of melancholic modality during this period came to be irony. Within the Czech cultural context it is represented by Kundera’s novel Žert (The Joke), which is a reaction not only to the pioneering optimism of Socialist Realism, but also to the traditional understanding of humanism. Confronting current ecological threats, the author finds some overlap with the present in the period discussion over “the right to be sad”. In this respect he notes the term “environmental grief ”, which is now being used by the Czech sociologist Hana Librová.
3

POLEMIKA O ANJELSKÝCH ZEMIACH AKO LITERÁRNOHISTORICKÝ PROBLÉM

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Matejovič P.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 5
359 – 370
EN
The subject of the study is an analysis of historiographic position of Jozef Felix´s article published in 1946 O nové cesty v próze alebo problém „anjelských zemí“ v našej literatúre (After New Ways in Prose or the Issue of „Angel Lands“ in Our Literature) and the polemic it caused at that time. The author focuses on revealing the reasons which allowed Slovak Marxist literary historiography to label Felix´s article as the starting point when Slovak after-war prose „definitely leant towards“ Socialist Realism. The author opposes this literary-historical construct by claiming that Felix´s article and the related polemic were a part of the argument about what is modern in the Slovak literature in 1946, and not a part of the argument between the Modern Slovak literature and the Literature of Socialist Realism. The latter argument arose only subsequently and it was prompted by the political situation in Czechoslovakia in 1948.
4

ZMENA LITERÁRNO-KRITICKEJ PARADIGMY V PRVEJ POLOVICI ŠESTDESIATYCH ROKOV (KRITICKÉ REFLEXIE MINÁČOVÝCH KRÁTKYCH PRÓZ)

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Matejovič P.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 5
435 – 441
EN
The author uses the critical reflections of Mináč´s short proses published in 1960 and 1963 as an example to demonstrate how the literary-critical paradigm in the first half of the 1960s was changing. A number of authors have noticed that while reflecting on the decade, it is the early 1960s that is the crucial period. The first three years defined the character of the whole decade and contain the seeds of the future cultural and social changes. Within the framework of the situation of that time two directions of literary criticism can be identified - the first tried to stay loyal to the principles of socialist realism, the other favoured the autonomy of a piece of writing. Both tendencies are epitomized by the contemporary reflections of Mináč´s short proses Tmavý kút (Dark corner) and Záznamy (Records), while the early 1960s are dominated by the former, more ideologically orthodox one.
5

CENZÚRA NA SLOVENSKU V DRUHEJ POLOVICI PÄŤDESIATYCH ROKOV (AKTÉRI A VYBRANÉ DOKUMENTY)

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Matejovič P.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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issue 1
15 – 33
EN
The study focuses on the second half of the 1950s, which is generally seen as a period of political thaw, following the 20th Congress of the CPSU, which had impact on culture, too. However, underneath the phoney „liberalization“ there were still trials going on, which was more or less a continuation of the Stalinist methods of managing culture in the first half of the 1950s. Imposing censorship, i.e. establishing the Head Office of Press Supervision by the government decree of 22 April 1953 can be perceived within this context. The censorship office was established as „non-public“ in order to have a more effective control system, which was supposed to act as a form of „creative leadership“, i.e. not only to ban but also to fulfil the didactic function. The study also analyses the censor commentaries as an autonomous „genre“; reading by a censor often looked like a review composed in the manner of normative ideological instructions. The Office of Press Supervision directed its attention to literary magazines (Kultúrny život, Mladá tvorba) as well as the production of certain poets and writers (the Concretists, Vladimír Mináč, Anton Hykisch, Dominik Tatarka, Milan Rúfus, Ivan Mojík etc.). The power control of culture after February 1948 was not only executed by means of the censorship office but also by other institutional mechanisms (laws, organizations, appointed editors).
6

LITERÁRNY KRITICIZMUS V ÉRE SAMIZDATU

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Matejovič P.
Slovenská literatúra (Slovak Literature)
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2016
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vol. 63
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issue 1
16 – 21
EN
The present paper deals with the specific poetics of literary critical writings which were published in Slovak literary samizdat in the late 1980s. They are writings which were published in selected samizdat editions of magazine Fragment K in 1987-89. The set of values of the Slovak dissident community in the area of literary criticism in the period of time in question was mainly formed by Ivan Kadlečík, Milan Šimečka a Martin M. Šimečka. The reviews, glosses, feuilletons feature strong autobiographic elements. The magazine Fragment K also paid attention to the official literary periodicals (especially Literárny týždenník) and reviewed the Soviet film production strongly influenced by Gorbachev´s Perestroika. The scope and character of the magazine, especially the volumes mentioned above, became more and more similar to the standard literary periodical. In spite of the difficult conditions its editors and publishers permanently faced (repressive activities of the State police), the magazine cultivated the space of free literary production.
7

KRITIKA „SCHEMATIZMU“ AKO INTEGRÁLNA SÚČASŤ RÉTORIKY SOCIALISTICKÉHO REALIZMU PRVEJ POLOVICE PÄŤDESIATYCH ROKOV (DISKUSIE PRED 2. ZJAZDOM ČESKOSLOVENSKÝCH SPISOVATEĽOV)

100%
Matejovič P.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 5
409 – 417
EN
The presented article analyses selected discussions of the first half of the 1950s which were related to the preparation of the 2nd Czechoslovak Writers´ Conference in the year 1956. At the same time it pays attention to the contemporary term known as the criticism of so-called Schematism. In the author´s opinion the formation of the term is related to the processes having its prehistory in the period when the dogmatic application of Socialist Realism was the official doctrine of the Stalinist Epoch. It cannot be seen as synonymous with the criticism of so-called Cult of Personality or the process of „acknowledging“ the period of Stalinism because the notion „Schematism“ became a part of the literary-critical discourse of those times before Stalin´s death. In this context the author makes references to the findings by B. Groys, especially to his analysis of the paradoxes of Stalin´s rule where logical statements containing no contradictions were regarded as one-sided and so invalid. The slogans such as „struggle against Schematism“ and „for greater fidelity of literature“ were a part of the contemporary language of the Stalinist Epoch and should be interpreted accordingly. They were not directly related to the criticism of Stalinism, and they did not question the aesthetical doctrine of Socialist Realism.
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