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STOPY AUTOBIOGRAFIE VO FIKCII (AUTENTICKOSŤ DIELA DOMINIKA TATARKU)

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Bátorová M.
World Literature Studies
|
2011
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vol. 3 (20)
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issue 2
46 – 60
EN
The article considers selected “autobiographical” works by Dominik Tatarka and his fiction with autobiographical elements. As a typical modernist author, Tatarka focuses on the personal experience of the authorial subject. However, the writing is ambiguous and often contradictory in factual information. Comparisons with memoirs by his contemporaries clearly document Tatarka ś strategic shift from autobiography to creative fiction. In thinking about “autobiography-auto-fiction-fictional (novelistic) discourse”, that is not at stake just the type of theory that deals with the category of the author, but also the type of interpretation that the interpreter will accept and put to practice. We are dealing not only with a stereotypical distinction between post-structural and hermeneutic approaches of the interpreter, but with the finer differentiation of the multiple roles of the author. We are dealing with the relationship of the author – text, the text as the basis of interpretation, as the platform of the author, as the mirror of the author, the text with an evident stamp of the author. We are dealing with autobiography as a fiction (focus on the self – self-exhibition – brings with it a shift from own biography – in memories – to a desired image of oneself, a shift that is however difficult to identify).
2
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THE MYTH OF SACRIFICE AND THE MYTH OF TRUTH IN SLOVAK LITERATURE AFTER THE SECOND WORLD WAR (J. C. HRONSKÝ: ANDREAS BÚR MAJSTER AND DOMINIK TATARKA: FARSKÁ REPUBLIKA AND ESSAYS)

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Bátorová M.
Porównania
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2018
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vol. 23
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issue 2
PL
Hronský pisał swoje utwory w Rzymie na początku emigracji w latach 1947-1948. Pod kątem gatunku i zawartości jest to odrębna forma: opowieść autobiograficzna, w której autor tworzy memoriał. Andreas Búr jest ucieleśnieniem możliwości i tragedii autora. Poświęcenie za ludzi, którzy go zabijają, samo w sobie ukazuje chrześcijański patos, ale również symbolizuje koniec tego, kim był autor. Jego osoba pozostaje w pamięci jako mit aktu etycznego. Utwory Tatarki zostały napisane w roku 1948 na Słowacji. Jest to krytyka konwencjonalnego chrześcijaństwa o tragicznych konsekwencjach dla bezbronnej kobiety i jej dzieci, nawiązująca do krytyki Hronský’ego jako autora powieści Andreas Búr Majster. Mit prawdy ukazuje się u Tatarki w okresie odwilży zaraz po śmierci Stalina w eseju Démon súhlasu (Demon zgody). Tendencja ta kończy się po 19 latach „życia w prawdzie” i bycia ofiarą życia pozbawionego praw obywatelskich.
EN
Hronský’s work was written in Rome at the beginning of his journey until emigration in 1947/48. This, in terms of genre and content, is a distinctive form: an autobiographical tale through which the author erected a memorial. Andreas Búr embodies the capabilities and tragedy of the author. The sacrifice for the people who kill him bears in itself a Christian pathos and at the same time the extinction of everything the author was. His character remains in the memory of the people as the myth of an ethical act. Tatarka’s work was written in Slovakia in 1948. This critique of conventional Christianity, which has tragic consequences for a defenceless woman and her children, is linked with criticism of the author Hronský in the novel Andreas Búr Majster. The movement towards the myth of truth begins in Tatarka immediately at the time of thawing after Stalin’s death in the essay “Démon súhlasu” (The Demon of Conformity) and ends in the author’s 19 years of “life in truth” and the victim of a life without civil rights.
3
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AUTOIMAGE W PISANIU DOMINIKA TATARKI

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Bátorová M.
Porównania
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2017
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vol. 20
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issue 1
53-62
EN
Based on previous analyses, this study uses the theoretical discourse of comparative imagology to show the productive aspects of this discipline on the material which can document the relationship between politics and literature. The particular works that were chosen for analysis constitute crucial events in the development of Slovac literature and allow to make references to Central European literature of the 1940s. The paper also focuses on other symptoms: two phases of dissent, internal emigration, internal freedom, some types of self-images and their fulfilment or impact in the structure of literary work. This study informs about the specific type of Slovak literature and aims at providing a de-ideologized picture of Slovak literature as a literature of the rural type.
PL
Artykuł, oparty na dotychczasowych analizach, wykorzystuje teoretyczny dyskurs komparatystycznej imagologii, by pokazać jej produktywne aspekty na materiale będącym przykładem stosunku polityki i literatury. Wybrano przede wszystkim utwory, które były istotnymi wydarzeniami w rozwoju literatury słowackiej i pozwalają na jej odniesienie do kontekstu literatury Europy Środkowej od lat czterdziestych XX wieku. W artykule zwrócono uwagę również na inne symptomy: dwa etapy podziemia literackiego, emigrację wewnętrzną, niezależność wewnętrzną, kilka typów auto-obrazów i ich występowania lub oddziaływania w strukturze dziela literackiego. Artykuł dotyczy jednego z typów słowackiej twórczości literackiej i dąży do odideologizowania obrazu słowackiej literatury jako literatury typu wiejskiego.
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Vzťah náboženstva a umenia v literatúre svetovej a slovenskej moderny

100%
Bátorová M.
Slavia Occidentalis
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2016
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issue 73/2
7-21
PL
The study analyzes the relation between religion and art in the world, and in Slovak modernist literature. It also examines religion and art from the point of view of its scholarly reception in the context of European literature. It builds on the division of artists of religious orientation based on Bernhard Rang’s two types:a) Claudelian and b) Green-ian. A part of the study provides new insights into Slovak literary modernism. Despite the expectation that modernism would exclude Christian works of literature, the opposite happened:modernism tested Christian works of art and emphasized their ability to capture the subtle aspects of human existence. In this way, a weakness of modernism was exposed: its degenerative function when it focuses only on material aspects. A historical overview has shown that Slovak intellectuals were used to living in an alternative cultural environment and nurturing an alternative culture. This experience proved useful to them in the 20th century, particularly after 1945. During communist rule, the underground church played a major role in Poland and in Slovakia. In Slovakia, Catholic dissidents were of great importance to the developments that led to theVelvet Revolution in November 1989.
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