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1

VILIKOVSKÉHO PÁTRANIE PO SKUTOČNOSTI: FOTOGRAFIA A TRPKASTÁ CHUŤ SKUTOČNÉHO

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2017
|
vol. 64
|
issue 1
33 – 42
EN
The paper interprets the radical way of rewriting the detective fiction in the short story by Pavel Vilikovský Celkový pohľad na Máriu B. (The Overall View of Maria B., 1968) and in his novel Prvá veta spánku (The First Sentence of Sleep, 1983). The two texts are in a mutual relation of variants, while their intertextual illumination generates more meanings. In the short story the narrator tells the whole story in the modality of possibility. Several events of the narrative structure are of an ontic nature. The text of the short story provides only the reader with one side of the communication process of investigation – the sender, the detective asking questions, i.e. the text offers the base of the evidence, not the core. The veil of the detective´s hypotheses conceals or at least obscures the reality – and the detective has to use simple existential statements in order to ensure what is real. Here the detective becomes a machine to generate hypotheses about the reality after the reality (the past murder) has disappeared. The novel Prvá veta spánku is disappointing in terms of genre expectations raised by itself – a seemingly detective novel becomes a novel featuring an external perpetrator. This genre method is motivated by the composition structure itself – the trifold consecutive focalization of the narration and two fake solutions. The criminal solution of the case is enabled by the unexpected abduction of the detective: the scene of crime and the weather – the remote stone-pit during the rain – help the detective draw the conclusion as to the fundamental characteristic of the perpetrator.
2

KATEGÓRIA CITOVOSTI A JEJ TEMATICKO-MOTIVICKÝ REPERTOÁR V DEBUTE PAVLA VILIKOVSKÉHO CITOVÁ VÝCHOVA V MARCI

88%
Mravcová V.
Slovenská literatúra (Slovak Literature)
|
2020
|
vol. 67
|
issue 3
249 – 269
EN
The goal of the paper is to trace motifs and themes found in Pavel Vilikovský´s debut book titled Citová výchova v marci (Sentimental Education in March, 1965) that relate to the category of sensibility. The introduction outlines literary historical conceptualizations of the self and sensibility: sentimentalism, Rousseauesque self, sentimental attitude to the world in the sense as formulated by F. Schiller, sentimental natural line (V. Svatoň). They represent the starting point of the interpretative part where they, as historically unlimited tendencies of literary production, are updated and modified under the influence of modernist poetics and worldview in the context of the 1960s. The subject of the interpretation is thus a reflective process of self-realization. It takes place on the level of body as a sensitive matter, by returning to the elementary, along with searching for authenticity of experience, which is gradually verified through the concept of Romantic illusion: the theme of human self-deception based on the predefined patterns contributes to disillusioned reassessment of sentimental education. The reflection of this shift is linked to modernist elimination of fake sentiment in sensibility (e.g. influence of the Hemingway style in the short story titled Tvoj prvý ston/Your First Moan). The given framework helps show the value hierarchy of emotions and the problem of the ethical conflict between freedom and responsibility for the others.
3

DVAKRÁT „METODOLOGICKÁ POVIEDKA“ (RUDOLF SLOBODA, PAVEL VILIKOVSKÝ)

75%
Prušková Z.
Slovenská literatúra (Slovak Literature)
|
2012
|
vol. 59
|
issue 1
17 – 28
EN
The 1960s meant an important cultural U-turn from the realistic method of depiction to alternative approaches and means of expression in Slovak art and literature, too. The decade brought new classification of values as well as a new philosophical view of the reality. In the conditions of our country the anthropocentric pattern of the world´s depiction came into use, the human became the centre of its attention. The key prosaic works written in this period confirm the use of the anthropocentric pattern and they go even further benefitting from it in various ways and establishing individual styles of their authors. Rudolf Sloboda and Pavel Vilikovský used short prosaic works of the late 1960s to demonstrate new text strategies involving readers in creating a text experience. The side effect of such efforts, as the present study tries to show, is not only spontaneous presence of relevant poet logical and philosophical affinities with the contemporary European literature (new novel) but also a modified relationship to artistic self-referentiality of a literary text (writing as an alternative to the reality).
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