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Fragmentární poetika pozdního Halase

100%
Komenda P.
Česká literatura (Czech Literature)
|
2009
|
vol. 57
|
issue 2
151-171
EN
This article is a work of textual criticism focusing on the fragmentary style of Frantisek Halas's (1901-1949) late verse. The focus is on Halas's canonical texts and also on sketches, fragments, and notes, which have tended to be of marginal interest to the reader. The author asks whether these fragments and projects (for instance 'Potopa' and 'Hlad') are merely peripheral to Halas's oeuvre, or whether they actually contain substantial information about his late style, which could help us to understand his way of generating texts other than what we know from his works between the wars. Linked to this is a question of textual criticism, the 'act of publishing', by which we distinguish causal and intentional aspects in the process of textualization and also distinguish the psychophysical subject from the subject of the work. In certain circumstances fragments, sketches, and variants cross the boundary from the genetic (causal) to generative (intentional) order in the act of textualization, and thereby begin to share in the formation of the semiotic construct of the 'persona'. In the course of textualization, the poet usually endeavours to achieve the resulting invariant, that is, the most perfect possible form of the text, which eventually shifts all the preceding creative variants aside as inferior. Only the resulting form of the poem is intended for publication. Whereas the generation of texts in Halas's interwar period still took place according to this model, in the course of the 1940s the situation radically changed. Using montage and especially collage and also syntactical fragmentation, the emphasis on metonymy and also intertextual relations, Halas managed to include fragments in the creative process. Formal aspects of the fragments, however, are also incorporated in the central compositions of the collection A co? (So what?, 1957) - for example, the texts 'Citaty' (Quotations), 'Dolores', 'Az bomba praskne' (When the Bomb Bursts), 'Prejme jim to' (Let's Grant Them That), and 'A co basnik' (And What the Poet). The means of generating the late texts is therefore closely linked also to the late fragments, which Halas jotted down in notepads. In this last period of his work Halas's attention gradually shifted from the act of publishing to the creative process itself. The act of publishing lost the features of the original devotion, because he found it much more important 'to write himself', regardless of the results.
2

TOYEN AND MNEMOSYN

100%
Bydzovska L.
Umění (Art)
|
2007
|
vol. 55
|
issue 6
470-480
EN
Three paintings from Toyen's late period - 'At a Given Moment' (1963), 'A Secret Room without a Lock' (1966) and 'At Silling Castle' (1969) - stand out due to a conspicuous trait they share: pasted into each is a black-and-white reproduction of a Baroque or ancient statue with a mythological motif. This article explores the methods Toyen used to appropriate instances from the art of old; it deals with her selection of mythical female figures and contemplates the significance of depicting sculpture in paintings. Toyen was most radical with the original she selected for the painting 'At a Given Moment', in which she intervened in the primordial mythological story embodied in Bernini's 'Apollo and Daphne', appropriating the spectre of the fleeing woman and rotating the cut-out ninety degrees. She was thus alluding to subjects which Salvador Dali had drawn attention to in 'The Phenomenon of Ecstasy' (1933), a collage in which he included a photograph of a 'hysterical or ecstatic statue'. In the other two paintings, Toyen left the reproduced image in its original form and simply inserted it into a set of relationships intertwined with her own pressing themes, whether that meant her desire to eroticize the world in case of Amor and Psyche, excavated at Ostia (see A Secret Room without a Lock), or the tightly interwoven relationship between woman and dangerous natural forces, as portrayed in the Melian relief of Peleus and Thetis (see At Silling Castle). The question regarding the function of the borrowed motifs in Toyen's imaginary world and why she decided to bring them into the present using black-and-white reproductions of sculptures from bygone centuries recalls Warburg's 'Pathosformen' (pathos formulas). Certain precedents relating to Toyen's approach may be seen in the interpretation that the use of the grisaille technique to shape the antique subjects in Renaissance painting was meant to maintain antiquity at a typological distance. At the same time, however, Warburg was captivated by the Utopian dimension of grisaille. It seems that Toyen had similar aims, although she pursued them intuitively, using modern collage techniques.
3

TRUTH AND TROMPE L'OEIL: MIERVALDIS POLIS' PAINTINGS IN THE CONTEXT OF LATE-SOVIET LATVIA

75%
Bryzgel A.
Makslas Vesture un Teorija
|
2008
|
vol. 11
34-45
EN
Miervaldis Polis is perhaps best known in Latvia for his Bronze Man performances of the late 1980s and early 1990s. Less discussed are the paintings he created in the 1970s, during his student days as well as those from the 1980s, all of which may be seen as a precursor to his performances in terms of the artist's approach and the effects of the images. By using the technique of trompe l'oeil and the genre of photorealism, Polis compelled his viewers to become actively involved in looking at the image, and in the creation of meaning, much in the same way that performance art does. In the context of Soviet Latvia, this empowerment of the viewer took on a certain significance, in that Polis' paintings provided an alternative space, outside of the official political one, for viewers to look critically, distrust and dispute the trompe l'oeil appearances, and seek the truth behind them. Throughout his career Polis has used his art to engage in a dialogue not only with his viewers, but also with artists and art history itself. From his early paintings, which are pastiches of travel diaries, to his later appropriations of photographs and prints of paintings from Western art history, the artist employs his images to compel viewers to carefully consider the forms that they are presented with, and fully engage with them. His paintings are a puzzle that the viewer must unravel himself, through active looking and careful consideration of the image.
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