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DÉMON KONTROVERZNOSTI. AUTOR A JEHO TVORBA – SÚLAD ALEBO ROZPOR?

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Matejovič P.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 1
35 – 43
EN
Post-1989 discussions of the so-called controversial author have become one of the central topics in the cultural and literary fields. These were influenced by several factors, primarily motivated by the political and social changes that took place after the fall of state socialism. The article tackles the issue of social determination of authorial controversy through the theories of Michel Foucault and Pierre Bourdieu (authorial genealogy, the notion of the literary field). Chosen case studies help illustrate the way in which aesthetic and axiological criteria shifted in response to the changing ideological requirements that characterise the literary canon at the given time. At present, authorial controversy is discussed primarily in the media where it often serves as a marketing strategy. In didactical practice, the term is based on the incongruity of the empirical author with the institutionalised understanding of literature as part of humanistic traditions. This contradiction is then reflected in cultural journalism as a controversy. Literary historical research draws on archival research and period documents and in this way employs a different theoretical apparatus which in turn enables the scholar to describe period social and cultural mechanisms that generate controversy as a part of the period language.
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NAČO JE DIVADLO V CHUDORĽAVOM ČASE?

100%
Babiak M.
Slovenské divadlo (Slovak Theatre)
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2016
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vol. 64
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issue 1
87 – 92
EN
The present paper, referring to Hölderlin’s verse “What is a poet for in a destitute time?”, raises a question about the position, role and possibilities of theatre in the current “destitute time,” i.e. at the time of the current crisis of values. The author situates the beginning of the crisis of values into the period of modern art and brings it in relation to Nietzsche’s thesis about God’s death and call for a general review of values. Modernist philosophy and aesthetics questioned the possibility of evaluation, which contributed to a relativization of values as such, as well as the act of evaluating. On the other hand, modernist art tended to present its program as relevant and valuable to all movements, which brought it into contradiction with philosophy and aesthetics. The paper points out that today’s sense of crisis of values is not derived from the program of modernism, but it probably dates back to the beginnings of postmodernism – both in philosophy and art. The questioning of several principles that the philosophical program of modernism was based on also led to the questioning of creation, reception, interpretation and evaluation in art. In the conclusion, which analyses the program statements of postmodernism in Western culture, the author makes a claim that today’s boundless pluralism has contributed to a broad relativization of artistic values. Overcoming the postmodernist program may involve returning to certain values; however, this does not have to mean returning to the comfort of “lost paradise”, which would offer an answer to Nietzsche’s provoking question: “Do we actually know what is up and down there?”
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