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MAGICKÝ REALIZMUS V SLOVENSKEJ LITERATÚRE: SLOVO, POJEM, SMER... APROPRIÁCIA TERMÍNU RECEPČNOU PRAXOU, REFLEXIOU A TVORBOU DO ZAČIATKU 90. ROKOV 20. STOROČIA

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Barborík V.
World Literature Studies
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2016
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vol. 8
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issue 2
3 – 17
EN
The paper is a reconstruction of how the meaning of the concept “magic realism” transformed in Slovak literary practice and reflection from the end of the World War II to the early 1990s. The meaning of magic realism as defined in contemporary literary theory is not quite identical to every use of the expression in domestic reflection on literature. It was flexibly used by Jozef Felix as early as 1946 when discussing contemporary prose as a counterpart of the lyric tendencies, which he criticized. Magic realism returned to Slovak literature as denomination of one of the components of complex modern Latin American prose, i.e. the corpus of works of Latin American provenance which became popular in Europe during the 1960s. The comeback of the term was preceded by the reception of the most significant works by Latin American prose writers (Carpentier, Asturias, Cortázar, Fuentes, García Márquez...), which were becoming more accessible in Czech and Slovak translations at the turn of the 1960s. In the early 1980s the term was partly used by literary criticism in the context of Peter Jaroš’s novel Tisícročná včela (A Thousand-year-old Bee) and its relations to the work of Gabriel García Márquez. Until 1989 wider use of the term was limited by the ideology of the period, according to which magic realism could endanger the position of socialist realism as the official literary doctrine of the time.
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JAROŠOVO „DEFENZÍVNE ČÍTANIE“ MAGICKÉHO REALIZMU

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Forgáč M.
World Literature Studies
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2016
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vol. 8
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issue 2
18 – 28
EN
The study considers the potential presence of the poetics of Latin American magic realism within the system of Slovak literature, particularly in the fiction of Peter Jaroš. In the first part the entropic nature of the concept magical realism is highlighted together with several remarks about the presence of European sources in its structure (J. M. Meletinskij, A. Housková). The second part is an account of defensive forms based on critical reflections on the fiction of P. Jaroš provided by V. Oleríny, S. Pokrivčáková, I. Sulík, V. Šabík and P. Zajac, of reading (H. Bloom) concerning the poet initiation of magical realism into Slovak literature in the late 1970s
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KONCEPCIE MAGICKÉHO REALIZMU V MAĎARSKOM KONTEXTE

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Tóth A. N., Petres Csizmadia G.
World Literature Studies
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2016
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vol. 8
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issue 2
97 – 103
EN
In our study we present the different interpretations of magic realism that have been outlined most prominently in Hungarian reception history in recent decades. As a starting point, Tamás Bényei’s perception, which is different from the well-known conceptualizations related to the Hispanic American cultural region and identity, is discussed. According to him, magic realism, apart from its connection to post-colonial literature, can be understood as a way of writing and as a rhetorical device. As opposed to this approach, the second perception, drawing on the international trends of understanding magic realism as cultural industry (Volek), and based on the investigation of the developmental processes of Hungarian prose, implies continuity between the anecdotal tradition of the 19th century and recent discourse-forming strategies (Papp). Highlighting the aspect of hybridity, the second interpretation, with its post-colonial theoretical background, predominantly examines literatures written in Hungarian beyond Hungary’s borders as well as other minority literatures (Papp).
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VÝCHODOKARPATSKÝ MAGICKÝ REALIZMUS? REKONŠTRUKCIA CESTY „MAGICKÉHO REALIZMU“ DO SLOVENSKEJ LITERATÚRY Z VÝCHODU

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Passia R.
World Literature Studies
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2016
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vol. 8
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issue 2
29 – 39
EN
The paper explains the relation between the concepts of socialist realism and magic realism in the Slovak literature during the period of Perestroika occurring in the second half of the 1980s. The author claims that the ideologically biased criticism of the period warned of the increasing interest in magic realism among writers, critics and readers because magic realism was regarded as one of the tools of the “destruction” of socialist realism. Many of the new ideas that overcame the conservative thinking of socialist realism in Czechoslovakia then came from the East, i.e., from the Soviet Union. However, Slovak critics and writers did not just follow theoretical works but also translated works of prose, e.g., those from Ukrainian literature, which had been inspired by reading Latin American prose as well as by the indigenous folk sources and specific cultural situation in the multi-ethnic environment of the Eastern Carpathians. In addition to that, the 1960s saw translations of the “original” magic realism of Latin American provenance penetrating the Slovak cultural space. The individual national literatures from the territory of the Eastern Carpathians have also kept developing upon the inspirations from magic realism of Latin American literature, from the 1990s until now. Selected works of prose from this particular cultural region clearly reflect the phenomena of myth and magic and operate with natural circular time and relatively closed, isolated spaces, and they are strongly influenced by folk oral culture. All of these elements bring the cultural space in question closer to the premises of Latin American magic realism.
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MÁGIA HISTORICKEJ NARÁCIE. K „PSEUDOHISTORICKÝM“ ROMÁNOM SÚČASNEJ MAĎARSKEJ LITERATÚRY NA TEXTOCH LÁSZLÓA DARVASIHO LEGENDA O KAUKLIAROCH SO SLZAMI A LÁSZLÓA MÁRTONA BRATSTVO

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Gӧrӧzdi J.
World Literature Studies
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2016
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vol. 8
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issue 2
50 – 63
EN
The contribution explores contemporary Hungarian novels that critics have called “pseudo-historical” and which feature magical-realist elements. A poetics inspired by magical realism characterizes the later works of Miklós Mészöly. My textual analysis approaches are based on Tamás Bényei’s understanding of magical realism as a writing mode. My reading of László Darvasi’s novel The Legend of the Tear Jugglers, 1999 and László Márton’s novel trilogy Brotherhood (2001–2003) analyses how the methods of the magical-realist mode of writing lead to the current genre form of the historical novel, which reacts to the “problem of history” established also by the theoretical discourse, i.e. the questions of faithfulness/verifiability, the problems of narrativization of historical material, the ideological elements of focalization, the feasibility of approaches that understand historical narratives as imaginary (especially nation-oriented) grand narratives about the past. Magical realism must in this sense be understood as an inspiration, a wide repertory of text-making approaches useful for the otherness of literary processing of historical material that destructs the generic model.
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MAGIC REALISM AND THE POLITICS OF NARRATIVE: HISTORICAL POSTMODERNISM IN THE CONTEMPORARY SERBIAN NOVEL

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Gvozden V.
World Literature Studies
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2016
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vol. 8
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issue 2
64 – 75
EN
The paper critically examines three extremely successful examples of historical postmodernism in contemporary Serbian literature: Milorad Pavić’s Dictionary of the Khazars (1984), Radoslav Petković’s Destiny, Annotated (1993) and Goran Petrović’s The Siege of the Church of Holy Salvation (1997). All three novels take historical events as the basis of an archaeological narrative, but they also question the notion of history which itself is, of course, historical and political. Therefore, we have to (re)construct the context of the 1990s when nationalism needed a new “imagined community” ready to deal with the challenges of the disintegration of Yugoslavia, post communism and capitalism. Thus it seems that these novels invite magic realism as a possible way out from history, or even better, a way into a “new” history.
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“DEŠTRUKCIA KONCEPTU SOCIALISTICKÉHO REALIZMU” (K PRÍPADU “MAGICKÝ REALIZMUS” V ROMBOIDE V 1987)

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Passia R.
Slovenská literatúra (Slovak Literature)
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2016
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vol. 63
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issue 1
22 – 28
EN
The goal of the present case study is to help understand the mechanisms used by the official Communist power to control and regulate literary critical production in Slovak literature written in the late 1980s. The author reconstructs a case from the year 1987, which concerns the magazine Romboid. He uses the particular case of contemporary literary life to show that Slovak literature in the late 1980s also featured strong dogmatic and conservative trends persisting in rigid defence of Socialist Realism as the only artistic method acceptable at that time.
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