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1

Literary Criticism from the Axiological Perspective

100%
Rutkowski R.
Ruch Literacki
|
2005
|
vol. 46
|
issue 6(273)
579-601
EN
That literary criticism is a matter of judgement is a truth no critic would ever doubt of. Yet only few of them note or pay adequate attention to the fact that the nature of literary criticism is axiological. It means that the critic is always faced with an array of values (artistic, situational, super-aesthetic) on which he has to pass judgement. The critic may assess literary works and the values that are represented in them quite independently, or let himself be influenced by someone else's judgement. Regardless of the way he reaches his conclusions, once they are made they are then addressed to other participants of the literary market, writers, critics, ordinary readers. This obvious fact has a very important implication, namely, the critic is not exempt from ethical obligations. Consequently, the critic should be a mature person who helps others to a better understanding of literature and culture.
2
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Zdeněk Kalista jako literární kritik

100%
Malínek V.
Česká literatura (Czech Literature)
|
2010
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vol. 58
|
issue 2
168-197
EN
Zdeněk Kalista (1900–1982), a scholar of the Baroque, began to devote himself to reviewing as a complement to his original literary work in the early 1920s. His more systematic work in literary criticism began in the mid -1920s, when he was in charge of the arts section of the periodical Demokratický střed (the democratic Centre, 1925–27) and founded the periodical První svazek (the First Volume, 1926–27). under various pseudonyms, including Václav Hrbek, he wrote reviews in addition to articles on other areas of the arts and also forming his programme. His approach to criticism became clear in the 1930s in the periodical Lumír, of which he became editor -in -Chief after Viktor Dyk’s death in 1931. It was here that he began systematically to write articles on contemporary Czech verse. As a critic, Kalista was clearly influenced by his being an historian: a work of poetry became for him a source to be used in the analysis of the spirit of the times. Kalista essentially approached the text of a work of poetry from hermeneutically, without having clearly critical criteria. He sought to comprehend the work sensitively, and deduced his criteria afterwards. He was not an ideological or partisan critic, though his chief professional interest as a critic is relatively clearly understood. (For example, the verse of the ‘Baroque Revival’, in particular, the verse of František Lazecký, Václav Renč, and Josef Kostohryz, as well as jan Čarek’s ‘Boden poetry’ and young poets making their débuts). In his criticism Kalista worked considerably with comparison and the study of development. His terminology and methods are distinctive. Apart from an emphasis on the spiritual side of reality, which clearly anticipated his later theoretical concepts from the field of ‘spiritual history’, which he postulated and promoted, he worked chiefly with the concept of the ‘organicity’ of poetry. Kalista’s criticism is also manifestly influenced by other areas of his interest, other areas of Baroque art and history and the arts in general. He also regularly paid attention to poetry in translation. By the 1930s book reviewing was the chief area of his work in literature. After Lumír was closed down in 1940, however, and also under the weight of external circumstances, Kalista no longer returned to regular book reviewing.
3
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Vjačeslav Lebeděv a česká poezie

80%
Malevic O.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 2-3
240-247
EN
An article that is focused on review articles by Vyacheslav Mikhailovich Lebedev (1896-1969) on contemporaneous Czech poetry (from the 1930s).
4

NÁČRT PREMIEN SLOVENSKEJ LITERÁRNEJ KRITIKY OD POLOVICE 60. DO ZAČIATKU 70. ROKOV (DOKONČENIE)

80%
Barborík V.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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issue 4
306 – 318
EN
This literary history paper is concerned with the changes of the Slovak literary criticism over a certain period of time. It reconstructs the process of the criticism becoming temporarily emancipated, i.e. the autonomous field of literary criticism was established in the mid-1960s, and, subsequently, it ceased to exist during the social and cultural „normalization“ in the early years of the following decade. The paper consists of three chapters; the first one presents two polemic articles by critic Milana Hamada (the argument with Vladimír Mináč and a polemic over Miroslav Válek´s collection of poems Milovanie v husej koži /Lovemaking with Goose Pimples on/), which made a significant contribution to forming the autonomous field of literary criticism in the mid-1960s. It defined its territory against the contemporary power structures as well as the literary field: criticism stopped serving and became, for the first time after 1948, an autonomous factor of the social context in those times. The second half of the 1960s was thus a short period of time when the relative emancipation of domestic literary criticism influenced by the external limits of the Socialist regime was finalized. The contemporary structure of the literary field, i.e. the genres and other forms of critical discourse, is discussed in the second chapter of the paper. The changes in the social situation after the invasion of Czechoslovakia in August 1968 had a dramatic impact on culture and the humanities. A number of decisions made in the name of power severely affected the domestic literary criticism. Several of the significant critics were ousted from public life. Some of the cultural and literary magazines providing space for reflection on literature were banned while other ones went through significant transformations. It was a gradual process, the outline of which is reconstructed in the final part of the paper. As a result of the interventions, literary criticism lost its autonomy and again came under control of political power just like in the 1940s and 1950s, although the new conditions were different.
5

ŠIBOLET SOCIALISTICKÉHO REALIZMU (APLIKOVANIE TECHNICKÉHO TERMÍNU V REFLEXII LITERATÚRY PÍSANEJ V PRVEJ POLOVICI 70. ROKOV 20 STOROČIA

80%
Barborík V.
Slovenská literatúra (Slovak Literature)
|
2016
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vol. 63
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issue 1
1 – 15
EN
The paper deals with applying Socialist Realism as a technical term in the domestic reflection of literature written in the first half of the 1970s, i.e. at the outset of cultural normalization as a part of social normalization. As opposed to the previous decade, the field of literature underwent fundamental changes; literature and its reflection were subjected to power. At that time the technical term Socialist Realism was brought back into use as a part of both conception and literary criticism. It was restored by the regime as a part of ideological control of literary field. Socialist Realism as a dominant direction paradigm was inaugurated and established as the only obligatory norm in literary practice at the turn of the 1950s. Re-establishing the concept after two decades posed a paradox as there was disproportion between the frequent use of the term in the contemporary thinking and the results of the creative practice at that time. Little of what has been preserved to date can be labelled as Socialist Realism. As opposed to the 1950s, the functional content of the term changed. A variety of methods became acceptable within its framework, therefore Socialist Realism could no longer represent the only method (like it did in the first half of the 1950s), as a result of which it stopped functioning as the binding guideline in terms of technique or subject – and lost a clear meaning. It was quite a frequent expression used in critical practice, however, none of those who used it tried to define it by means of the language immanent in literary reflection. The term thus lost its value as a criterion and therefore also its practicality, but it maintained its symbolic value with regard to the contemporary regime. It became a shibboleth in both meanings of the word: „as an outdated idea, principle or phrase, which are no longer accepted by most people as important or adequate for present“ as well as a „rule, convention, word, which sets one group of people apart from another“, i.e. the writers and critics in the period of normalization who were at least on the outside willing to declare their loyalty to the regime, and those who did not do so.
6

'THE MOST FORBEARING OF THE CRITICS' - THE CRITIC OF MEASURE: SKETCH (VLADIMIR PETRIK: LOOKING FOR THE PRESENT TIME) ('Najzhovievavejsi z kritikov' - kritik miery: crta (Vladimir Petrik: Hladanie pritomneho casu))

80%
Barborik V.
Slovenská literatúra (Slovak Literature)
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2009
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vol. 56
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issue 3
183-187
EN
The study is dedicated to the first literary critical book by Vladmir Petrik, an edition of the selected studies and reviews 'Hladanie pritomneho casu' (Looking For the Present Time, 1970). It is an attempt to depict the characteristic elements of Petrik´s critical gesture through several stated criteria. His literary critical domain was a fiction, and not only that one with primary aesthetic ambitions. He kept understanding for social function of literature, he dealt with non fiction, too, and also with science fiction, criminal stories etc. His approach was (and also is) receptive; he is a type of critic, who is sensitive for a reader. In the horizon of his thinking he always pays attention to the process of development in literature. The studies of the history of literature are an integral part of his book. They are aimed at peripety of Slovak literature after 1945. His reflection of the fiction is dateless. He was not a type of a generational critic; he had no ambition to make 'directions' for an actual literature. His approach was always quite naive and it helped him to see things from the top and even a little farther away than his contemporaries did overwhelmed by the situation. The negative experience from the first half of the 50s determined his way of seeing things. It was a period of extremes. For several years the substance of critical function disappeared (both fine literature and critique became instruments of propaganda) as well as 'measure of things' (not only in arts). Later Vladimir Petrik applied it in fullness in his literary critical works and works on the history of literature.
7

MLADÝ LITERÁRNY KRITIK (A VEDEC) PETER ZAJAC

80%
Mikula V.
Slovenská literatúra (Slovak Literature)
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2016
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vol. 63
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issue 5
335 – 344
EN
The paper written on the occasion of Peter Zajac´s 70th birthday looks back at his beginnings as a literary critic in the late 1960s. At that time he formed a polemic stance on the domineering discourse of the 1960s, however, from the outset of normalization in the 1970s he adopted many elements of Milan Hamada´s ethical and noetic conception. The following decades saw him mainly advocating the variety of Slovak literature and its genres. The paper characterizes the algorithm of Zajac´s cognitive methods as he developed it in his scientific writings aimed at the formation of a dynamic model. The lifelong basis of his relation to reality is the feeling of permanent crisis. It is a positive understanding of crisis as a productive situation, which makes a self-consciously reflect on each life situation and make decisions, which in effect make the system more dynamic and initiate the process of establishing functioning structures.
8

'THE LAWS OF NATURE' PLUS SEVERAL OTHER CONSIDERATIONS. HOW WAS RYSZARD KAPUSCINSKI'S POETRY VOLUME RECEIVED ('Prawa natury' plus pare innych wzgledów. O przyjeciu tomu poezji Ryszarda Kapuscinskiego)

80%
Poprawa A.
Teksty Drugie (Second Texts)
|
2008
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issue 6(114)
186-198
EN
Literary-critical responses to R. Kapuscinski's recently published verse book 'Prawa natury' (The Laws of Nature) is analysed. Kapuscinski made his debut as a poet, yet his first volume was issued in as late as 1986, and his poetry was always received in a specific manner. This analysis concerns texts known and published after the volume was issued, but before Kapuscinski died. The issue of 'The Other' or 'Alien' is used for the analytical purposes, as the one which took quite a major place in both Kapuscinski's utterances and commentaries on this author in the recent few years.
9
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Racist Discourse In The Interwar Literary Criticism

80%
Prokop-Janiec E.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
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2010
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issue 2(14)
591-598
EN
In the Polish literary criticism, racist discourse is strictly related to nationalist discourse and principally comes to play in the mainstream of interwar nationalist literary criticism.1 This symptomatic configuration of race, nation and literature in the aesthetics of the West is conditioned – according to Anthony Appiah – by ‘the dual connection made in eighteenth and nineteenth -century thought between, on the one hand, race and nationality, and, on the other, nationality and literature. In short, the nation is the key middle term in the relations between the concept of race and the idea of literature”.
10

FICTION OF FICTIONALISM

80%
Zouhar M.
Filozofia (Philosophy)
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2017
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vol. 72
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issue 8
603 – 615
EN
Fictionalism about fictional entities is an antirealist approach. It suggests that statements of literary criticism are to be understood in the same way as are fictional statements. The latter are naturally understood as being uttered in a pretend mode, i.e. not seriously. Fictionalism has it that the same holds for the former. It is sometimes argued that this is unfaithful to our actual linguistic practice with critical statements. The author ś aim is to strengthen this objection by pointing to some unwelcome consequences of the fictionalise position. It seems plausible that our practice with critical statements allows us: a) to supplement their utterances by remarks such as “And I mean it” or “What I have just said is true”; b) to report on their utterances by using statements such as ‘X asserted that C’ (where X is a speaker and C is a proposition expressed by a critical statement); c) to ask for arguments that would support the truth of critical statements; d) to agree or disagree with other speakers over the truth of critical statements. If fictionalism were correct, our practice with critical statements would not permit moves of these kinds.
11

K AUTOPORTRÉTU LITERÁRNEHO KRITIKA V PREMENÁCH DOBY (LITERÁRNY KRITIK JÁN ROZNER V ROKOCH 1954 – 1963)

80%
Taranenková I.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 3
233 – 243
EN
The study is focused on the literary-critical writings by Ján Rozner published between the mid-1950s and the mid-1960s, which are compiled in the collection of his reviews called Pohľad v zrkadlách (A Look in the Mirrors, 1969). They have all the attributes of the situation in Czechoslovak culture and society cautiously but still moving from the normative paradigm set by the Socialist Realism doctrine to more spontaneous and more pluralist forms. As regards the arts and culture, the liberalization of the social situation was manifested in diagnosing and criticizing the acts of „schematism“ and in gradually undermining the Socialist Realism doctrine, in growing tendencies to see the concept of Socialist literature within a wider context, accenting the independence of the arts from the political power. The latest research into the period of time in question suggests that the process was not homogeneous and linear, but rather discontinuous and heterogeneous, containing obvious relapses, controversies and paradoxes, which is significantly proved in the analysed Rozner´s writings. Rozner carries out a consistent analysis of the notions used in the contemporary cultural discourse, because he sees them as the world structure processing medium. His goal is then to restore critical-analytical thinking and to point at the dynamic nature of the cognitive process. One of the central notions related to the immediate present, which makes it different from the past at the same time, is the „multidimensional“, „multifarious“, „multi-individual“ nature of each approach, which helps spread „the freedom of open possibilities“. However, establishing the framework for making the individual processes and attitudes more dynamic, individualistic, heterogeneous is unquestioned in Rozner´s articles from this period, and presenting the richness and variety eventually refers to the whole of „the Socialist Realist arts“, more or less accented, yet undoubted.
12

What is it that I don't understand of C. Milosz's 'Traktat moralny'?

80%
Markiewicz H.
Teksty Drugie (Second Texts)
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2006
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issue 5(101)
205-212
EN
The article is a peculiar 'record of interpretative failures' in analysis of Czeslaw Milosz's 'Traktat moralny' (The Moral Treaty). The author points out to some details of the poem proving extremely hard to interpret, and makes an attempt at explaining them, supporting himself to this end by Milosz's own commentaries to the text, which he has found in the poet's letters to the philosopher Tadeusz Kronski and in his recorded conversations with Renata Gorczynska, and, with Aleksander Fiut and Andrzej Franaszek. The author's indication of certain unclear points and instances of contradictoriness in the Treaty's text offers a specific incentive for the reader to focus not only on what the text can offer them but also, on what is apparently incomprehensible in it.
13

THE PROBLEM OF 'CATHOLIC LITERATURE' IN THE CZECH LITERARY CRITICISM (1918-1939)

80%
Stefanski M.
Pamiętnik Słowiański
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2006
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vol. 56
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issue 1
35-58
EN
Contemporary historians of literature generally assume that the increase of the interest in 'Catholic literature' after the year 1918 was the result of an urgent secularization of the Czech society. A detailed analysis of the declarations of the Czech critics of the 1920s and 1930s would suggest quite a different interpretation. As the findings mentioned in the dissertation prove, the project of 'Catholic literature' put forward by the Catholic camp from 1918-1939, constituted a serious counterproposition on the utopian artistic concepts of the Czech avant-garde. It was in fact the reaction to the projects of Proletarian Art and Poetism, the main current in the Czech poetry of the 1920s. Under the banner of 'Catholic literature', a return to the native literary tradition was proclaimed.
14

Konstanty A. Jelenski as a historian of modern literature

80%
Bielecki M.
Teksty Drugie (Second Texts)
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2005
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issue 6(96)
46-68
EN
This article attempts at discussing literary-critical texts by Konstanty-Aleksander Jelenski, the man whose merits to Polish emigration culture were enormous. Jelenski was a fascinating personality and an outstanding literary commentator. The starting point here is analysis of his extremely innovative literary-critical method, elaborated upon the borderline of existentialism, psychoanalysis, and structuralism (and, partly, poststructuralism, too), backed with an impressive essayistic discourse, unfolding in opposition to an 'objective' professional language of literary scholarship. K. A. Jelenski would not be satisfied with attaching gloss-like opinions to individual works, a typical reviewer's job. Instead, he depicts, almost parenthetically, his convincing and inspiring literary-historical syntheses. On top of that, he is probably the first Polish critic using the broad-range notion of 'modernism'; and, what is more, he has drafted a pioneering (not only in terms of Polish literary science) paradigm of modernist(ic) literature, as inscribed in his reviews.
15

PROBLÉM VZŤAHU TEXTOVEJ A LITERÁRNEJ KRITIKY NA PRÍKLADE 1 SAM 17

80%
Durkaj L., Lapko R.
Slavica Slovaca
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2018
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vol. 53
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issue 1
25 – 37
EN
Textual and literary criticism is an important step in the process of Bible translation. It facilitates the choice of the more original text and helps to understand the differences in textual variants. This article is, by and large, an exercise in textual criticism, with a particular focus on the story of David and Goliath in 1 Sam 17.
16

THE PHILOSOPHER AS A PHYSICIAN, CONJURER AND ASTROLOGER: THE FIGURE OF THE PHILOSOPHER IN POLISH RENAISSANCE LITERATURE

80%
Raubo A.
Ruch Literacki
|
2007
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vol. 48
|
issue 4-5
377-407
EN
This reconstruction of the figure of the philosopher physician, who is also a conjurer and a student of astrology and astronomy, addresses one of the crucial and most representative themes of the Age of Renaissance. Chief among the traits that make up the character of the philosopher is his ambition to arrive at a rationalistic account of the origin of the elements and to find some common ground between a life of philosophical speculation and the practical skills and activities of a physician. The philosopher of Renaissance literature is usually busy conducting some observations of the human body (in terms of the doctrine of the four humours) or dispensing some medical advice, which draws heavily on natural magic and its belief in hidden sympathies and antipathies between things. The Renaissance overlapping of philosophy, magic and medicine is also exhibited in the contemporary profiles of the philosopher-astrologer, who tries to fathom the influence of the planets on people's lives, their mentality, temper, and physiology.
17
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ROMANIAN LITERARY CRITICS, THEORETICIANS AND HISTORIANS IN THE WORLD

80%
Vajdová L.
World Literature Studies
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2015
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vol. 7 (24)
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issue 2
71 – 83
EN
The following text is based upon research of Romanian literary criticism and literary history, written and published by a range of personalities of Romanian origin outside the context of Romania. The contemporary discussions in the Romanian literary environment focus on literature by exiled authors, while literary theory and criticism receives little attention. Few realise that it is exile literary criticism in particular that has contributed to the spreading of awareness on the work of Romanian exile writers abroad. Exilic literary criticism of Romanian writers has, however, made an impact in scholarly circles. It has contributed to the diversification of literary studies abroad and continues to direct its interests and orientation. It is not an accident that it is the writing from the outside, from discourses outside of the established canon and frames of scholarship that was able to relax its norms and widen the thinking about literature towards less-known aspects. Scholars of Romanian origin must be recognised as belonging among those literary critics, scholars and historians who in the last decades have most significantly contributed to the discourse of literary scholarship in the world.
18

RECEPTION OF HOMER’S ILLIAD IN THE PERIOD OF THE BULGARIAN REVIVAL

70%
Spassova A.
Motus in verbo: časopis mladej vedeckej generácie
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2017
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vol. 6
|
issue 1
14 – 22
EN
The text will observe the adaptation an exemplary work like the Illiad of Homer in the period of the Bulgarian Revival. The scientific reflection on the familiar trend of „artistic-creation“ of „redrawing“ of the source text to the expectations of the perceived literature is very significant. Not surprisingly the reception of Homer creates a constructive field for the critical thinking in the cultural situation in the Bulgarian national Revival. The new type of readership is build up from the self-knowledge of the new type of literary criticism.
19

„NENAPLNENÝ PŘÍSLIB“. HODNOTÍCÍ STRATEGIE ČESKÉ NORMALIZAČNÍ KRITIKY

70%
Fialová A.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 5
442 – 448
EN
This article describes strategies of normalization criticism which were used to assess and include social novels dealing with political subjects in the canon of the new socialist literature. The analysis was based on the reviews written by the critics who had met the requirements of the normalization regime and reflected on the works of art in the official periodicals. Described strategies suggest what compromise solutions the critics mostly preferred and what methods they used to emphasize the positives and shroud negatives of the reviewed works of art, which were usually of very poor quality, and what set expressions and argumentation they employed to reconcile the expectations and tasks with the outcomes of the contemporary politically progressive production.
20

KRITICKÉ MYSLENIE MEDZI VOJNOVÝM AKTOM A ESTETIKOU EXISTENCIE

70%
Lacko N.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
|
issue 5
425 – 434
EN
In the article the author attempts to outline three different concepts of critical thinking which are - in his opinion - strongly present in the contemporary philosophical, aesthetical and social-scientific reflection. He characterizes the first concept in a somewhat radical way as Act of War. The concept is characterized by adopting a radical form of perspectivism and perceiving society or culture as something fundamentally constituted by power relations. Therefore the working methods typical of this type of thinking can preferably be described by means of local and temporary strategies and tactics. He considers the second type of thinking as a positive and creative pre-definition of premises of historical-political discourse, which is in the backgrounds of the previous type of thinking. The author borrows Michel Foucault´s term "the aesthetics of existence" to denominate this type of critical thinking. The essential characteristic of this type of thinking is - in his view - perceiving criticism as a historical-practical test of frontiers, as an experimental tool which enables us to create ourselves. He also takes marginal notice of the third type of critical thinking which is defined as an analytical research of the conditions of truthfulness critical thinking which perceives itself as a guard of the frontier that cannot be crossed. In order to illustrate all three types of critical thinking, the author finds it most appropriate to use Michel Foucault´s reflections.
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