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1

A BATHROOM ('HYGIENIC LOVE' IN THE WORK OF TATARKA)

100%
Mikula V.
Slovenská literatúra (Slovak Literature)
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2006
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vol. 53
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issue 2
89-99
EN
The author explores a motive of bathroom in the prosaic work of a Slovak writer Dominik Tatarka (1913-1989). This motive occurs for the first time in his novel 'Farská republika' (Parochial Republic, 1948) in relation to so called 'hygienic love': a protagonist of the novel, Tomás Menkin, realized a 'hygienic' sexual relationship with a married woman Achinka - their first sexual intercourse was in the bathroom. The term 'hygienic' here means without emotional involvement and it is also an expression of ethic anaesthesia of a narrator in the political context of the war regime of the Slovak Republic, he does not agree with. The passage from Tatarkas reminiscences 'Navrávacky' (1987) retrospectively reveals another semantic connection of the motive of bathroom: it represents a 'strange' city world of wealthy social circles contrary to 'our' world of poverty and nature. Nature is also a setting of a 'true' love: erotic sceneries of the narrator's love in the scenery of nature, he and Ula made a positive opposite pole of the 'scenes in the bathroom' with Achinka. Negative attributes of bathroom after the Communist upheaval in 1948, strengthen its 'class' characteristics as an attribute of bourgeois and it interiorly outlasts in several titles of Slovak authors. In the works of Tatarka the bathroom is not a strange, antagonistic space anymore. This new characteristics starts with a novelette 'To Stay with You for a While Yet' from a book 'Never-Ending Discussions' 1959, where an autobiographic narrator ritually baths his mother in the city bathroom. She is a simple village woman and she came to see him just before she dies. Through this intimate and emotionally deep experience the bathroom becomes positively owned space - a space of ours. This spectacle is also to consider for an experiential starting point of the author's construction of an archaically -mythic conception of 'culture as commune life', with an idol of mother in the centre. Eternism, seeking of mythically 'eternal' patterns of everyday rituals and gestures, is also a dominant tendency of the last phase of Tatarka's artistic work and his ideological respond to socially-political reality (previous phases were made by nihilistic reaction in the 40th and civic activism in the 50th and 60th ). Sexual intercourse belongs to the very elementary acts, with a seal of 'eternity' - this is why so many erotic scenes occur in his samizdat trilogy 'Writings'. Two nearly identical spectacles from 'Writings for Beloved Lutécia', 1984 point out the fact that Tatarka's 'domestification' of the bathroom was not definite: the first version was done in the bathroom, but the second one in the open nature - and only there this act become like sealed by 'eternity'. If Tatarka as a creator of voluntarily ideological systems was able to include the bathroom into 'our' world, the area of art, where instead of a doctrine author spontaneously allows his symbolism to speak and he reveals us that his perception of world and a person is more natural than cultural.
2

DOMINIK TATARKA: FORMING OF DISCOURSE OF MORAL AND CIVIC SUBVERSION IN THE NOVELLA 'PRÚTENÉ KRESLÁ' (BASKET CHAIRS)

88%
Pruskova Z.
Slovenská literatúra (Slovak Literature)
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2007
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vol. 54
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issue 5
347-356
EN
The object of the study is a novella 'Prutene kresla' (Basket Chairs, 1963) written by Dominik Tatarka. This novella was published altogether with his other prose 'Demon suhlasu' (Demon of Permission). The Basket Chairs signalised the new and later also characteristic features of Tatarka's auctorial idiolect. After existentially surrealistic beginning and ideologically incorrect continuance Tatarka's prose had been since the end of 50-tieth (from his bi-novella 'Rozhovory bez konca' (Endless Conversations, 1959) influenced by his effort to find his own strategy in creating his message about the contemporary ethic and aesthetic problems. A theme of existence for other person became for him a medium of such message. It meant a voluntary but also spontaneous fellowship, personal involvement in a life and destiny of a neighbour. Since the end of 50-tieth Tatarka's literary works pursued 'hand by hand' with his essays and reportages. In spite of the author's as well as period's limits the novella 'Prutene kresla' connects all mentioned above influences in a good way. Modernity in that text bears a character of self-discovery and self-identification in the existentially vulnerable historical period and as well as in cosmopolite space of later taboo 'western' world. Except of that in a very interesting way the author worked with traditional cliche of a courteousness love epic. In that text Tatarka discovered his typical autobiographic protagonist who became a narrator. It makes the novella quite important in the context of his proses. Tatarka's narrator's stylisation is based on a connection between reminiscent story telling and evocation with exemplary didactic effects.
3
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PANNA ZÁZRAČNICA: OD NOVELY PO REŽISÉRSKY SCENÁR

88%
Michalovič M.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
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issue 1
52 - 66
EN
Dominik Tatarka’s novella The Miraculous Virgin was first published in 1944. Twenty years later a second edition (revised by the author) was published and at approximately the same time Tatarka wrote a literary script for an intended film based on his novella. Director Štefan Uher (who had previously directed three feature films – Class Nine A, Sun in a Net and The Organ) undertook the film adaptation. He wrote the shooting script based on Tatarka’s literary script and in 1966 he directed the movie The Miraculous Virgin. In the present study the author analyses the evolution of the text from one version to another. Tatarka’s modifications to the text and Uher’s subsequent changes are being analysed. The readers – and future audience of the film – had at their disposal four literary versions of The Miraculous Virgin: two editions of the novella, a film treatment by Tatarka (published in two issues of the Slovenské pohľady magazine in 1964) and a so-called literary script (published in 1966). Therefore we can talk about a complex consisting of various components and we can analyse in detail the relationship between them.
4
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DOMINIK TATARKA – SCENÁRISTA

88%
Michalovič M.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 2
158 – 171
EN
The study interprets the results of research focused on the specific area of the work of the famous Slovak writer Dominik Tatarka (1913 – 1989). During the years 1948 – 1972, Tatarka devoted himself to a film work. This is evidenced by the preserved film stories, treatments or literary scenarios, as well as documentation on the literary-dramaturgical preparation of individual works (contracts, correspondence and review). The author of the study utilised materials available from the National Archive of the Slovak Film Institute in Bratislava, in conjunction with materials found at Tatarka’s estate in the Literary Archive of the Museum of Czech Literature in Prague. On the basis of the research, it can be stated that only one feature-length film based on Tatark’s scenario was created in the reviewed period: Miraculous Virgin directed by Štefan Uher (1966).
5
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STOPY AUTOBIOGRAFIE VO FIKCII (AUTENTICKOSŤ DIELA DOMINIKA TATARKU)

75%
Bátorová M.
World Literature Studies
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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).
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THE INNER EMIGRATION AS A GESTURE OF FREEDOM (DOMINIK TATARKA AND LUDVIK VACULIK AFTER 1968) ('Vnutorna emigracia' ako gesto slobody (Dominik Tatarka a Ludvik Vaculik po roku 1968))

63%
Batorova M.
World Literature Studies
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2009
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vol. 1(18)
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issue 2
58-75
EN
The fundamental difference between the Slovaks and the Czechs after the political normalization in 1968 and later during the times of consolidation lies in the carriers of alternative culture and their contribution. There were self-educated intellectuals and university-educated scholars in Bohemia such as V. Havel, J. Grusa, L. Vaculik, J. Patocka or M. Machovec. However, these were rather thinkers than artists, who were in minority. In contrast, Slovakia had mainly artists and academics in various fields, to which they often remained confined, as well as catholic intellectuals (J. Korec, F. Miklosko, etc.). They published the results of their free analyses in Samizdat at the end of the 1960s. The only exceptions before 1968 formed discussion groups, which were organized under the name of a socialist institution and which went underground during the time of political consolidation, as well as the candle demonstration for religious freedom in Bratislava in 1988. Dominik Tatarka was the major figure of Slovak dissent. The study focuses on Tatarka's aesthetic and sociological essays about the genesis and history of the nation and on his authentic notes that bear witness to the times he lived in. The study also follows Tatarka's life after 1968. All manifestations of alternative culture in Slovakia have rather the character of artworks than of theories of artistic or political orientation. Although this artistic act had its function and impact, it was not subsequently used as an idea pool. Tatarka, with his 'action art', and using his own person - 'body art', had a great impact on engaging the masses of people, arousing their feelings, and sense of togetherness. The resistance movement against the political powers materialized in the form of an alternative art, in the visualization of thought in the unofficial visual arts. However, in Slovakia the artistic gesture remained without the subsequent interpretations that would verbally grasp the essence of the artistic accomplishment, that would comment on it as a stimulus, as a political action, and thus properly anchor its meaning.
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CAN THE DISSIDENT SPEAK? THE CZECH WOMAN WRITER IN THE WORK OF PHILIP ROTH AND DOMINIK TATARKA

63%
Sabatos C.
World Literature Studies
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2017
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vol. 9
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issue 4
74 – 88
EN
The Czech dissident movement that began in the late 1970s was a network in which women played a key role, but the Czech writers who gained fame in the West were invariably men. In Philip Roth’s 1985 novella The Prague Orgy, his alter ego Nathan Zuckerman meets a woman writer named Olga, whose pursuit of the American writer owes more to erotic fantasy than to the milieu Roth recreates in otherwise faithful detail. This portrayal of the Czech female as both sexualized and “other” can be traced back to twentieth century Prague-German writers, but Roth both politicizes and intellectualizes this archetype by making the desiring woman a writer and dissident. A real-life perspective on the Czech dissident (female dissident) appears in the work of Dominik Tatarka, one of the few Slovak writers to be closely associated with the dissident movement. The last work that Tatarka published in his lifetime was a memoir based on tape-recorded interviews with Eva Štolbová, who became Tatarka’s connection to Prague dissident circles. In 1988, these Navrávačky (Tapings) were published in edited book form in Germany, and it was not until more than a decade later that the full transcripts were published in Slovakia. While the female Czech dissident is eroticized in this text as well, Štolbová is not a mere object of desire; she portrays her side of the story in her own memoir, Lamento (1994). The gender dynamic between Štolbová and Tatarka subverts the cultural assumption in which the Czech language was constructed as “masculine” and Slovak as “feminine.” Thus both Roth and Tatarka illustrate the interplay between “otherness” and gender in the production of dissident culture, and its reception by domestic (both Czech and Slovak) as well as international readers.
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