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1

CZECH ART AND ITALIAN VISUAL POETRY

100%
Kratka E.
Umění (Art)
|
2006
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vol. 54
|
issue 5
433-448
EN
In the context of Czech artistic contacts with the Italian scene, visual poetry, in addition to surrealism and concrete art, represents one of the key aspects of the last phase of the international neo-avant-garde. From the end of the 1950s and throughout the 1960s and 1970s, certain artists - such as Jiri Kolár, Ladislav Novák and Milan Knizák - maintained extensive contacts with Italy in connection with the expansion of new art forms characterised by a multimedia approach, such as concrete, visual and phonic poetry, graphic music and musical graphics, happenings, performance and action art. A detailed analysis of printed Italian materials and archive collections indicates the extent of this half-forgotten but artistically productive trend. In the literary field, it is associated with the names of Bohumila Grögerová and Josef Hirsal. Research has demonstrated that the life-long work of these artists, even such unique figures as Václav Havel, cannot be fully understood without consideration of the facts, details and peculiarities that connected them with the Italian cultural world. There they are to this day among the few well-known Czech artists.
2

IDEOVÝ OBSAH OSLÁV 20. VÝROČIA POVSTANIA

100%
Berlanský M.
Historický časopis (Historical Journal)
|
2017
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vol. 65
|
issue 3
515 – 539
EN
The study analyses the conceptual content of the celebrations of the 20th anniversary of the 1944 Uprising in Slovakia, an event that the Czechoslovak communists appropriated and used as one of the ways of legitimizing their power. The celebrations of the Uprising in 1964 retained their socialist – revolutionary character, reshaped into the allegedly “constructive” message of the Uprising. However, thanks to the rehabilitation of the victims of the trials of “bourgeois nationalists”, the national aspect of the events was beginning to shine through. It is possible to say that at the celebrations of the 20th anniversary of the Uprising in 1964, the socialist – revolutionary and national elements merged, which only confirms the reality that the communists connected with older cultural traditions and could not suppress modern national consciousness in a more cultured state.
3

SPOR O MILOVANIE V HUSEJ KOŽI M. VÁLKA

86%
Matejov F.
Slovenská literatúra (Slovak Literature)
|
2013
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vol. 60
|
issue 5
386 – 396
EN
The article deals with the argument over Milovanie v husej koži (Lovemaking with goose pimples on) by Miroslav Válek. The collection of poems published in 1965 became in 1966 the subject of the argument between M. Hamada and S. Šmatlák. M. Červenka of the Czech side got involved in it as well. The presented text reconstructs it as a chiasmus of poetry and criticism, structuralism-inspired analysis and interpretation of a poetic text and its radicalizing, existentially appealing finalization of the thinking process. The protagonist of the polemic M. Hamada deliberately situated it on the boundary between literary and moral-critical social debates. What M. Hamada vehemently identified in Válek´s „fourth book of restlessness“ was Nihilism and related amorphous, fragmentary, and cliché lyric messages. The other participant of the argument S. Šmatlák defended M. Válek in the name of everlasting Humanism including the negative moments of the human and the world using. The argument is contextualized in the article as an argument over moderating the form of the poetry in the 1960s (on the one hand analytical unmasking of the human situation and on the other hand his cathartic poetic saviour), the nature of criticism (work at the service of the text as opposed to the efforts to autonomously reflect on literature and the state of the world), as the confrontation between the traditional and ideological reflections of Humanism and the related contemporary issues (the philosophy of existence, M. Heidegger, Structuralism of the 1960s, literature itself ranging from S. Beckett to J.-P. Sartre). The argument anticipated the schism of Slovak literature in the 1970s and 1980s, namely Šmatlák´s ideological viewpoints in the 1970s and 1980s and Hamada´s moralizing gestures as of the 1990s. The article records the impact of the argument on the interpretations of poetic texts in Slovak writing about poetry, its methodical dimensions as well as the still open issues of reading Válek´s poetry itself. Finally, it takes notice of potential connections with F. Halas´s poetry updated from the mid-1950s.
4

CHANCE AS A SUBVERSIVE ELEMENT IN THE 1960S PHILOSOPHICAL AND AESTHETIC DISCOURSE (Nahoda ako subverzivny prvok filozofickeho a estetickeho diskurzu sestdesiatych rokov)

86%
Matejovic P.
Slovenská literatúra (Slovak Literature)
|
2011
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vol. 58
|
issue 2
98-104
EN
The author uses chosen texts (philosophical essays) and films of the 1960s new wave as examples to demonstrate the function of chance serving as a subversive element in the philosophical and aesthetic discourse of that time. In particular he pays attention to M. Forman's film Cerny Petr (Black Peter), Vladimir Minac's essay Paradoxy okolo umenia (Paradoxes around the arts) and J. P. Sartre's piece of writing Marxism and Existentialism. As well as to chance he pays attention to the motifs of everyday life and authenticity, which used to be previously kept in the background - what used to be perceived as a marginal and non-systemic becomes a legitimate part of the theoretical reflection. In the conclusion the author states that the role of chance in the 1960 literature, art and film cannot be reduced to a sort of arbitrariness, or uncontrolled behaviour. Its function tends to be related to moments of playfulness and spontaneity, which at the same time review everyday life as a kind of creative potential present in film and literature as well as music and fine art.
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