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1

OLOVENÝ VTÁK MARGITY FIGULI: SÚČASNÉ ČÍTANIE S PRIHLIADNUTÍM NA DOBOVÝ KONTEXT

100%
Janecová T.
Slovenská literatúra (Slovak Literature)
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2020
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vol. 67
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issue 5
433 – 447
EN
The goal of the paper is to present Margita Figuli´s novel Olovený vták/The Lead Bird by means of contemporary reading with regard to the historical and social context of its creation and its place in the literary history. This pacifist piece of prose criticizing participation of Slovakia in the war against Poland (1939) is well-known for its controversial publication in the pro-regime magazine Slovenské pohľady (1940) led by the editor Stanislav Mečiar and an alleged connection to the writer´s follow-up dismissal from Tatra banka in 1941 – 1942. The interpretation of the novel, which has only been the subject of fragmentary analysis to date, is concerned with the key points found in the text in terms of the structure and the spiritual dimension underrated so far. The text revolves around a character of a woman living in a tragic relation to the reality, which refers to the archetype of the mourning mother and the prototype of biblical Mary, alternatively ancient Niobe. The interpretation aims at the conclusion saying that the prose work can be included in the late line of expressionist prose. What helps cast light on the place of the book in the writer´s biography is her correspondence, publication activity, studies of literary scientists and knowledge of the historians analysing the period of the Slovak Republic (1939 – 1945).
2

'BLUT UND BODEN' IN BOTH SLOVAK AND FEMININE LANGUAGES (THREE EARLY PROSES OF MARGITA FIGULI)

100%
Sutovec M.
Slovenská literatúra (Slovak Literature)
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2007
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vol. 54
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issue 6
417-428
EN
The study is an analysis and interpretation of three short stories relating to the early creative period of Margita Figuli –' Vo vlnach Oravy' (In the waves of Orava River) (1931), 'Syn' ( Son) (1933) and 'Zem' (Earth) (1934). They were published as a changed version in a new collection of the stories 'Mamivy dusok' (Specious Taste) in the first volume of the Collected works of Margita Figuli in 1972. They are prose on the subject of rural environment and the theme of fatal relationship of a farmer to his 'land'. The author studies mainly the problem how this relationship in particular texts epically generates through plot and roles of female characters in it. In the short stories from 1931 the farmer hero had left his land because of his love to a woman and then he tragically died in the river rafting logs down the river. The analysis shows that conceptually the text is constructed in a way the balladic end manifested direct epic and semantic consequence of relational rupture to the tradition toward 'land'. Psychologically more complicated short story from 1933 bears as a theme instinct of keeping family and administration of property as moving power influencing the acting of a main hero instinctively and ramblingly manifested as a natural unlimited power - unlimited in a sense of social as well as the ethic limits. In the short story from 1934 a fatal bondage to his land dominates love of a farmer to woman and the love of woman is dominated by the same bondage, too. The author shows that M. Figuli had been building up the paradigmatic foundations of her works from her 'classical period' of writing earlier, in her creative early beginnings.
3

NOVÁ DOBA, VEČNÁ ŽENA. PREDSTAVY O ÚLOHE ŽENY V PUBLICISTIKE A KRÁTKEJ PRÓZE MARGITY FIGULI V TRIDSIATYCH ROKOCH 20. STOROČIA

100%
Kubusová Z.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 2
174 – 185
EN
Margita Figuli (1909 – 1995), one of the leading Slovak women writers of the interwar period, is best known for her acclaimed novel Tri gaštanové kone (Three chestnut horses, 1940). At the time of its publication, her prosaic debut, the less widely popular collection of novellas Pokušenie (Temptation, 1937), also received favourable reviews. The period critics appreciated her ability to express emotionality and thematise the conflicting emotional and physical aspects of love as well as the stylistic qualities of her prose. Not so much attention was paid to the progressive ideological frame in which she focused on the role women played in a period when the society was looking for the meaning of life of the modern human being. Her debut collection presented her vision of the development of women who attempted at embracing their own potential. The texts advocate the value of women in the context of modernising efforts and emancipation movement of the 1930s. The article analyses Figuli’s novellas in the context of her journalism published in the women’s magazine Živena that thematises the “eternal woman” in the new era.
4

VOJNA PROTI POĽSKU (1939) V PRÓZE MARGITY FIGULI A FRANTIŠKA ŠVANTNERA

86%
Janecová T.
Vojenská história
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2020
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vol. 24
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issue 4
123 - 144
EN
The subject of the study is a comparative analysis of two literary works of the lyrical prose representatives, who were inspired by the military events of September 1939 in terms of content, in particular the participation of the Slovak Army in the war against Poland. The goal is to zoom in on the circumstances, context of origin and publication of the texts: Olovený vták (Bird of Lead) (1940) by Margita Figuli and Dáma (The Lady) (1948) by František Švantner. Both works were published in the Slovenské pohľady magazine (Slovak Views). In the case of Figuli, attention is paid to the transformation of references in the resources (Slovák daily) within the author's artistic concept. The subject of analysis also includes the relationship between the publication of the prose and subsequent loss of the writer’s job as the correspondent in Tatrabanka. Research of Švantner’s work The Lady concentrates on the identification of sources used as the writer’s source of inspiration. Švantner based his writing on the narrative of his friend, Anton Kúdelka, who served in the North-Eastern part of the Polish-Slovak border and could be present at the events when the civilians were ordered to hand over their weapons – this event is also supported in the sources. Both works of prose are connected mainly by the pacifist ideological focus reflecting the way the Slovak culture reacted to this part of our history.
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