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KRÁTKA PRÓZA DANIELA OKÁLIHO

100%

Péterová M.

Slovenská literatúra (Slovak Literature)

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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).

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ĽAVÁ VPRED. PRVÝ ROČNÍK REVUE DAV (1924 – 1925)

88%

Habaj M.

Slovenská literatúra (Slovak Literature)

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2017

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vol. 64

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issue 4

269 – 283

EN

The goal of the paper is to show the special place of DAV magazine in the context of interwar Slovak literature, culture and society, and especially with regard to its avant-garde identifications and profile. The paper follows the formation and the forms of the avant-garde gesture of DAV magazine in the times of its beginning and the initial process of establishing its profile. From the start DAV magazine is defined as a platform of the left-wing literary avant-garde with an active revolutionary stance on society. The aesthetic efforts of DAV always have a social and political character. They do not limit their impact to the literary and artistic context. The critical and analytical articles in the field of political journalism and art theory are complemented with aggressive rhetoric and offensive gestures, which are typical of artistic avant-garde. DAV defines itself aesthetically (new art vs traditionalism) and politically (communism vs conservativism and bourgeois outlook, internationalism vs nationalism). The original and translated poetry and prose production as well as fine art build on the context of European avant-garde (Expressionism, Cubism, Futurism) and Proletarian poetry. The core of the DAV´s avant-garde stance is most clearly revealed within cultural journalism in its political attacks and provocations aimed at cultural tradition, bourgeois conservativism and bourgeois society. The paper is supposed to make a contribution to clarifying how the avant-garde gesture of the DAV magazine was developed in the situation when it was founded and its profile was being established, especially with regard to the historical social and literary context.

3

BÁSNIK V ČASE. POÉZIA JÁNA PONIČANA 1929 – 1942

75%

Habaj M.

Slovenská literatúra (Slovak Literature)

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2015

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vol. 62

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issue 6

449 – 468

EN

The goal of the paper is to show evolutionary transformations and identifications of Ján Poničan´s poetic gesture in the most important period of his work i.e. time from the 1ate 1920s till the early 1940s. The paper follows Ján Poničan´s poetic evolution against a background of his individual collections of poems published after his debut book: Demontáž (Disassembly, 1929), Večerné svetlá (Evening Lights, 1932), Angara (1934), Póly (The Poles, 1937), Divný Janko (Janko the Weirdo, 1941) and Sen na medzi (Dreaming in a Furrow, 1942). What is characteristic is the gradual transformation of his poetic form and expression and his departure from the Avant-garde poetics towards the Neo-symbolist poetics and original Romantic sources. While the collections of poems Demontáž and Angara develop the revolutionary and activist line of Poničan´s poetic gesture, they draw inspiration from movements such as Constructivism, Futurism, Expressionism and Proletarian poetry, and represent the sort of social functional poetry, the collection Večerné svetlá follows in the footsteps of the Apollinaire type of poetry, Sensualism, Vitalism and Poetism within the framework of the Avant-garde poetics. At the same time during the 1930s the historical optimism of Poničan´s poetic gesture becomes weaker and weaker and alongside the change in poetics and inclination to tradition and cultural memory pessimism and scepticism appear on the social and historical as well as the intimate and psychological level. His switch over to using rural and rustic images of national identity and reconnecting with cultural tradition is a kind of paradox with regard to the poet´s past as a representative of the civilizational poetry movement pursuing the ideals of revolution, industrialization and modernization. The social aspect moves away from the identification with the proletarian class to the category of nation and people. The contribution of the paper can be found in clarifying the evolution of Poničan´s poetic gesture and in identifying the typological, aesthetical and ideological features and specifications of his individual collections of poems.

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3 Slovenská literatúra (Slovak Literature)

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KRÁTKA PRÓZA DANIELA OKÁLIHO

ĽAVÁ VPRED. PRVÝ ROČNÍK REVUE DAV (1924 – 1925)

BÁSNIK V ČASE. POÉZIA JÁNA PONIČANA 1929 – 1942