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THE IMAGE OF TOTALITARIAN POWER REFLECTED IN HIS 'FOURTH SYMPHONY' AND 'UBU REX' BY KRZYSZTOF PENDERECKI

100%
Gmys M.
Muzyka
|
2005
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vol. 50
|
issue 3(198)
119-147
EN
The author suggests that K. Penderecki's 'Fourth Symphony', composed on the 200th anniversary of the French Revolution and remarkably solemn in expression - in spite of the stylistic divergence - is a work which contains a very similar message as Penderecki's opera buffa 'Ubu Rex' written two years later (1991). Both compositions offer a more or less veiled critique of the revolutionary idea. In his suggested semantic analysis of the work, the author draws attention to a number of musical symbols contained in 'Symphony No.4', such as the rhythmical model of a slow introduction to a French ouverture, figures resembling birdsong (especially the so-called Totenvogel from Mahler's symphonies), a funeral march, the sound of a tam-tam and rhythms of death. The general scenario of Penderecki's composition may be slightly reminiscent of Gustav Mahler's Symphony No.7, a paradigmatic European opus that illustrates the transition from the sphere of darkness into light (as indicated by J. Starobinski in '1789: Les Emblemes de la raison', the solar topos was readily exploited by the ideologues of the French Revolution). Just as Mahler's Seventh, Penderecki's symphony closes with a tonal focus on C that is associated with light, the only difference being that the application of a tam-tam and the death rhythm deprives the finale of the anticipated apologetic expression. 'Ubu Rex' is interpreted in the category of palimpsest. The author writes that in Alfred Jarry's early play, one of the first examples of palimpsest in literature, a major albeit not the only point of reference is Shakespeare's Macbeth. In Jarry's wake, Penderecki has created a musical palimpsest where among the many references to works by other artists, worthy of particular attention is the polyphonic Intermezzo in Act II, illustrating the battle between Polish and Russian armies. At the same time, the fragment is a reference to the battle music in Verdi's Macbeth, presented there in the form of a fugue, and to the polyphonic battle in the second movement of D. Shostakovich's Symphony No. 11 (describing the events of the Revolution of 1905). Thus, the whole work, which has a recurring refrain of a song on 'debraining' reminiscent of Kurt Weill, with solar metaphorics ('Wenn die Sonne am Sonntag uns lachte'), exposes the mechanism of a political coup. It is nonetheless significant that towards the end, this mechanism clearly takes on the colours of revolutionary rhetoric, and that because of allusions to some contorted concepts that directly bring to mind the events of 1789 (i.e. 'Brotherhood in Equality, Equality in Justice and Justice in Lawlessness') as well as Penderecki's references to his own 'Symphony No.4'.
2
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OSZILLATIONEN ZWISCHEN DEM METAPHORISCHEN UND DEM KONKRET-MATERIELLEN: METAPHORIKEN DES BUCHS IM SPIEGEL LITERARISCHER UND BUCHKÜNSTLERISCHER ARBEITEN

100%
Schmitz-Emans M.
World Literature Studies
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2018
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vol. 10
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issue 3
114 – 128
EN
Books, their materiality and their structure can have a metaphorical dimension; they may even appear as “materialized metaphors”. Artists’ books and literary works of unconventional and striking book shapes reflect the metaphorical potential of the book and make it vivid. Sometimes, however, such works of book art allow for different, even controversial interpretations, which can be exemplified by examples in which the metaphors of the “palimpsest”, the “blackening”, and the “labyrinth” appear concretized.
3
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A MODERNIST PALIMPSEST: A MODEL OF READING - A FIGURE OF IDENTITY

100%
KIELAK D.
Colloquia Litteraria
|
2018
|
issue 3
171-196
4
Content available remote

BEDNÁRIKOVA KAVIAREŇ LÝRA AKO PALIMPSEST, DIALÓG I REKONTEXTUALIZÁCIA DIEL DOBROSLAVA CHROBÁKA

88%
Dudková J.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 1
76 - 90
EN
The study focuses on the textual analysis of Jozef Bednárik’s television film Kaviareň Lýra [Lyra Café] (1992) and on its comparison with the two literary model texts by Dobroslav Chrobák, which the film picks up on and on which it is based. The authoress pinpoints the dialogical relationship between the two text models and their television adaptation, as well as the recontextualisation of the literary source texts in the context of a different time period, while refuting the notions of undue sentimentality attributed to Bednárik’s television adaptation by other authors. The study draws on contemporary theories of adaptation, particularly as a palimpsest (Linda Hutcheon) and a dialogue with the model text, or as a version of a unified work (John Bryant).
5

ROZPRÁVKY-PALIMPSESTY (K PODOBÁM AUTORSTVA V ROZPRÁVKACH SLOVENSKÝCH ROMANTIKOV)

88%
Pácalová J.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 1
1 – 12
EN
The goal of the study is to present the methods that gave rise to the folk tales included in the collections Slovenské povesti (Slovak Tales, 1845), Slovenské povesti (Slovak Tales, 1858 – 1861) and Prostonárodné slovenské povesti (Simple National Slovak Tales, 1880 – 1883), which have been regarded by the literary historiography as records of folk tales (fakelore), and to reflect on the ways and the circumstances under which it is possible to regard the subjects involved in the text-forming process converting folk tale originals (subject matters, methods, narration, composition, stylistics and language elements) into the tales as they were published by the generation of the Romantic writers, as the authors (not only the collectors, publishers and editors). Having identified the particular text-forming techniques in the researched material and using some examples from the individual editions, J. Pácalová defines the author as the creative subject who leaves his distinct "layer" in the text via his creative initiative, which has led to an irreversible modification of the (original) text. She shows how combining the individual authors´ "layers" gives rise to a text which has the character of a palimpsest. She notes that it is not possible to identify the particular (and the only) author in each tale because there are various types of author-editor competences including their overlaps as well as the limitations of the manuscripts and the unreliable editorial references to the sources and founts. Furthermore, it is also not possible due to the fact that the majority of the folk tales were composed by compiling-conventionalizing the second editions and it turns out to be more appropriate to assume an interference of several authors rather than just a „single“ one. In case of such texts even their authors can be seen as a palimpsest.
6

MESTO A SYNTAX POHYBU. NÁČRT K FLÁNERSTVU AKO FAKTORU VÝSTAVBY TEXTU V SÚČASNEJ SLOVENSKEJ LITERATÚRE

88%
Miskovics P.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 2
114 – 130
EN
The article takes a look at four literary texts and analyses them from the perspective of literary flaneurship. In doing so, the study accentuates the category of subject and space of the city from the point of view of their mutually given constitution and the parameters of media fixation of the flaneur act. Textual analysis is based on the understanding of flaneurship as a way of reorganising of the objective city space. The article looks at Ján Rozner’s autobiographical novels Sedem dní do pohrebu ([Seven days to the funeral] 2009) and Noc po fronte ([Night after the front] 2010) in the context of textual creation of Bratislava as a palimpsest, uncovering layers of city’s history in the intersection between personal memory and history. Stanislav Rakús’ novel Temporálne poznámky ([Temporal notes] 1993) is read primarily through the prism of literary flaneurship seen as a way of resisting disciplinary mechanisms of totalitarian power attempting at utilitarian structuration of space and time. The analysis of Peter Macsovszky’s Mykať kostlivcami ([Making skeletons dance] 2010) accentuates the intertextual handling of the space.
7

ROZPRÁVKY-PALIMPSESTY (K PODOBÁM AUTORSTVA V ROZPRÁVKACH SLOVENSKÝCH ROMANTIKOV) II

88%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 2
89 – 105
EN
The goal of the study is to present the methods that gave rise to the folk tales included in the collections Slovenské povesti (Slovak Tales, 1845), Slovenské povesti (Slovak Tales, 1858 – 1861) and Prostonárodné slovenské povesti (Simple National Slovak Tales, 1880 – 1883), which have been regarded by the literary historiography as records of folk tales (fakelore), and to reflect on the ways and the circumstances under which it is possible to regard the subjects involved in the text-forming process converting folk tale originals (subject matters, methods, narration, composition, stylistics and language elements) into the tales as they were published by the generation of the Romantic writers, as the authors (not only the collectors, publishers and editors). Having identified the particular text-forming techniques in the researched material and using some examples from the individual editions, J. Pácalová defines the author as the creative subject who leaves his distinct "layer" in the text via his creative initiative, which has led to an irreversible modification of the (original) text. She shows how combining the individual authors´ "layers" gives rise to a text which has the character of a palimpsest. She notes that it is not possible to identify the particular (and the only) author in each tale because there are various types of author-editor competences including their overlaps as well as the limitations of the manuscripts and the unreliable editorial references to the sources and founts. Furthermore, it is also not possible due to the fact that the majority of the folk tales were composed by compiling-conventionalizing the second editions and it turns out to be more appropriate to assume an interference of several authors rather than just a „single“ one. In case of such texts even their authors can be seen as a palimpsest.
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