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JANKO KRÁĽ V KOMEMORATÍVNEJ PRAXI 20. STOROČIA

100%
Hučková D.
Slovenská literatúra (Slovak Literature)
|
2023
|
vol. 70
|
issue 5
536 – 553
EN
In the culture of remembrance concerning the authors of Slovak Romantic literature, the poet Janko Kráľ (1822 – 1876) holds a distinctive position. Even though his oeuvre was not published in book form during his life and his last resting place remains unknown, since the 1920, his name and literary heritage have been gradually gaining a stable position in the Slovak literature as an independent topos. Mechanisms of the creation of literary representations of Janko Kráľ in which the character of references also depended on the choice of the genre can be defined as a process in several stages: rescuing the poet from oblivion (Vladimír Roy – poem dedicated to the centenary of the poet’s death, 1922) interpretation (Štefan Krčméry – speech at the unveiling of the memorial plaque on the house in which J. Kráľ was born, 1924), updating (Laco Novomeský – review of the volume Ňeznáme básňe Janka Kráľa [Janko Kráľ’s unknown poems], 1938), ideological narratives (speeches at the transfer of the remains of the poet to the national cemetery in Martin, 1940) – inspiration (Milan Rúfus, interpretive essay, 1976). These examples of remembrance practice connected with J. Kráľ outline the processes of familiarisation and canonisation. The transformations are reactions to the period social contexts, but also reflect the dynamics of cultural memory.
2

GENERÁCIA 1822 V KULTÚRNEJ PAMÄTI

88%
Hučková D.
Slovenská literatúra (Slovak Literature)
|
2023
|
vol. 70
|
issue 1
36 - 51
EN
Literary texts can be understood as a media of collective memory; through selection, reconstruction, and updating of chosen topoi, images, or personalities in the context of memory studies. They perform such functions as forming the understanding of the past, transfer of historical images, construction of memory relations, or reflection of the processes and problems of collective memory. In this sense, literature forms collective images of the development and meaning of past events, eminent personalities of the past, interprets the present, and projects the future. Moreover, for an understanding the symbolic meaning of the elements for which Pierre Nora coined the term places of memory and Jan Assmann conceptualised as figures of memory, processes of reception and context are also crucial. This theoretical background determines also the approach to literary and literary-journalistic texts related to representatives of Slovak literary Romanticism born in 1822 (Ján Francisci, Janko Kráľ, Ján Kalinčiak, Ján Palárik, Štefan Marko Daxner, and Peter Michal Bohúň) and – in the case of Andrej Sládkovič, in 1820. This group formed a strong national revivalist generation whose literary representations provide all three types of collective memory identified by J. Assmann: communicative, cultural, and political.
3
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THE “LITERARY MEMORY” MODEL OF RESEARCH BASED ON COMPARATIVE ANALYSIS: A PRESENTATION ON CULTURAL ARCHAEOLOGY

88%
Zelenka M.
World Literature Studies
|
2020
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vol. 12
|
issue 4
35 – 44
EN
Drawing upon research on literary culture and memory, this article explores the transformational mechanisms of the canonization and worship of authors in the process of social mobility from 1840 to 1940. As a result of the joint endeavour of the comparatists Marijan Dović and Joep Leerssen, the analytical concept of “cultural saints” conceives of canonization as a movable network of textual and extra-textual discursive practices. The importance of the concept lies in its more precise differentiation between objective and subjective factors, which are instrumental in the preservation and reconstruction of the practice of artistic creations. Implementing an ethno-semantic analysis, Dović and Leerssen’s model supports the abstraction that the constitution of national identity through collective rituals and the formation of new ideas establish a canonized set of rules, the “cultural grammar” of any society.
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