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KONCEPCIE PROLETÁRSKEJ LITERATÚRY A SOCIALISTICKÉHO REALIZMU V MEDZIVOJNOVOM OBDOBÍ

100%
Nádaskay V.
Slovenská literatúra (Slovak Literature)
|
2019
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vol. 66
|
issue 6
478 – 494
EN
The goal of the paper is to trace the way how socialist realism was developing and establishing in Slovak literature in the period of the first Czechoslovak republic (1918 – 1938) and to verify whether it is really an immovable monolith as the tradition goes in literary historiography. The methodological assumption is formed by the knowledge of contemporary historiography in line with departure from the established totalitarian terminology and inclination towards the problematic image of the First Republic and selected stimuli from the sociology of literature (Pierre Bourdie, Stefan Żółkiewski). At first socialist realism was developing in democratic conditions, its representatives were heard from marginal, anti-systemic positions and its reflection was wider, more critical and more resistant to political changes. It was only later, in the period of totalitarianism, that socialist realism transformed to an uncritically received dogmatic monolith. The paper presents two ways of understanding socialist realism: 1. as an open system capable of adopting various forms of art provided the condition of the socialist ideological basis or an author´s political affiliation was fulfilled; 2. as a system of prescribed rules and norms, subject matters and philosophical areas, dictated by the consensus of people holding leading political positions. By applying them, the paper shows a different, more varied form of the movement.
2

KRÁTKA PRÓZA DANIELA OKÁLIHO

100%
Péterová M.
Slovenská literatúra (Slovak Literature)
|
2023
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vol. 70
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issue 5
554 – 572
EN
From 1925 to 1932, Daniel Okáli (1903 – 1987) was the leading literary critic and theoretician in the communist-leaning intellectuals’ journal DAV. He only published one collection of poetry, Ozveny krvi a zápasov ([Echoes of blood and struggles] 1932), but in the early 1920s, he also published short fiction in student magazines and left-wing periodicals. In his prose, he employed fragmentary composition and emphasised the subject’s inner experience characterised by an exaggerated sensitivity, hypertrophy of emotion, and nervous – even pathological – irritability. In addition to the leftist tendency, his writing also reflects features of modernist and avant-garde poetics and expressionism and – despite its self-proclaimed modernity – also elements tying it to tradition. D. Okáli thus joined the group of authors of proletarian literature and circles of such left-oriented fiction writers as Ján Poničan, Andrej Sirácky, Edo Urx, Peter Jilemnický, Laco Novomeský, Jozef Zindr, Jozef Tomášik-Dumín, and Jarko Elen. The characters in their fiction and the way they portray the world deviated significantly from the proclaimed social functionality and ideology, which brings them closer to the literary expression of the young, non-communist-oriented generation of writers (representatives of the second wave of Slovak literary modernism).
3

ČASOPIS DAV OČAMI ŠTEFANA DRUGA (NAD KNIHOU DAV A DAVISTI)

88%
Csiba K.
Slovenská literatúra (Slovak Literature)
|
2017
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vol. 64
|
issue 5
368 – 376
EN
The paper is written in the form of comments on the book DAV a davisti /DAV and Davists by Štefan Drug. Within the purview of the author´s chronological reconstruction of how the magazine DAV was published, the author makes an attempt to follow the linear time axis, from which he choose several key moments. These are marginally confronted with the contemporary reader´s perspective. It shows that the character of the historical overview of the individual volumes enters into the relationship with the up-to-date literary and historical premises. Despite the historical determinations the key point in the present paper lies in reading Štefan Drug. It is dominated by the view of revealing the author´s open as well as concealed assessments of the contributions to this interwar social and cultural periodical. What is even more significant in the paper is his stated effort to adopt the documentary approach to the individual volumes and editions of the magazine. Štefan Drug uses them to summarize a number of the topics and goals of the whole DAV group, which can be seen from the contemporary viewpoint as one of the ways how to at least partly ensure them a more adequate place in the interwar Slovak cultural and social life.
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