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POETIKA BANÁLNEHO V SLOVENSKEJ LITERATÚRE PO ROKU 1945

100%
Bílik R.
Slovenská literatúra (Slovak Literature)
|
2020
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vol. 67
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issue 4
345 – 363
EN
The paper is focused on the ways of thematizing the everyday life, ordinariness and banality in Slovak post-war literature. The poetics of banality is traced within the frameworks of the event poetics, while the event is seen as a problem happening, as an occurrence bound for both the past and the future, as the latent penetrating the sphere of the visual. It shows poetological operations which along with the rise of the doctrine of socialist realism soon after 1948 extracted banalities mainly represented by work and the environment of production, and transposed them from the frameworks of the everyday life into the position of the extraordinary. The essential poetological operation which enabled that „extraction out of the ordinary“ was glorification and heroization of work and its achievements. This moment defined the fundamental lines of Slovak post-war literature for a period of several decades. The paper shows operations that were used to remove the extraordinary tone from the everyday life, notably in the 1960s but especially in the 1980s. The domineering principle in that process is carnivalization, on the level of language in texts as well as the level of syuzhet.
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Miserere. Aesthetics of Terror

100%
Incampo A.
Avant
|
2011
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vol. 2
|
issue 2
EN
I say: “Oh, what a beautiful surrealist picture!” With quite precise awareness: this páthos, these emotions of mine do not stem from our common sense. An aesthetic judgment is founded on an immediate subjective intuition: an emotion or a free feeling of a single subject towards an object. A universal sense, possibly. Some judgments of ours in ethics and in law are no different from our perceptions in front of art. It would be the same for a hypothetical sentence of the judge that concluded with these words: “I acquit Arsenio Lupin because of his magnificent handlebar moustache like that of Guy de Maupassant”. Everyone would think intuitively that it is an unfair sentence. Is there aesthetics of terror? The case that the article intends to examine is that of the famous kidnapping and murder of the Italian statesman Aldo Moro by the “Brigate Rosse” [Red Brigades] (1978). The method used here consists in studying the image of the kidnapping as iconic documentation of reality, and, above all, as an ethical-legal judgment about the terrorist crime. Moro was photographed during his kidnapping. There are at least two pictures. Both constitute an extraordinary source for a judgment on the basis of an image. In both of them, Aldo Moro is pictured in front of a Red Brigades banner during the captivity. In what sense do these pictures document an aesthetic judgment concerning the “case Moro”? The answer can be found in a remarkable iconic coincidence of these pictures with a masterpiece by Georges Rouault (Paris 1871-1958) devoted to the theme of the “Ecce Homo”. The Gospel in the “Ecce Homo” scene (John: 19, 4-5) narrates how Pontius Pilate wanted to arouse the compassion of the people with a scourging and the exposure of Jesus to the crowd. The plate under consideration is entitled “Qui ne se grime pas?” [Who does not have a painted face?] and is a key work in Rouault’s suite of prints Miserere, dated for 1923.
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