Slovenská literatúra

1

Authors: Peter Zajac

Introduction

3

Authors: Lenka Macsaliová

Review

4

Authors: Katarína Badžgoňová

Review

11

Authors: Fedor Matejov

By comparing two versions of Ján Ondruš´s poem A Hat of Wine and critically reading the version in his debut book, the paper arrives at the characterstics of the selected piece of writing, which is an intersection of different types of poetics relevant for interpretation of Slovak poetry written in the 1960s in general: sadness, or Baudelairesque „spleen“ and its projection into physical base being lived, a rural genre featuring characteristic details, expressivization and metaphorization of physical gestures, excessiveness of the mental state of the poetic „self“ also suggested through the magic of lunatism, employing surrealist imagery, the author´s individual poetics of fatal returnability and repetitivenss, text enigmatization as a result of abridging the text, the archetypal lyric „nox et solitudo“ situation. At the end of the paper the question that arises is what results from these findings and what it means for the impression of Ján Ondruš´s poetic writing in terms of semantics and values.

15

Authors: Tomáš Horváth

The study deals with situating a literary work between general properties (laws) of literary discourse and singularity, between institution and idiom. According to Derrida, singularity cannot be achieved without participation in generality. A literary work as a singularity is not isolated – in order to be read as a singularity, it must be juxtaposed with other works, which it differs radically from. G. Deleuze paraphrases Proust saying that a writer invents a new language within a language. This other language within the previous natural and literary language, however, does not only have to function on the linguistic (stylistic) level, but also on the level of the „secondary language “, the system of literary codes and conventions. It may transcribe and transform not only the level of language in the common sense (deviated syntax) but also genre conventions (e.g. deviated crime story), literary etiquette. This language is not torn off the „old language “ (primary system), but it is created as its redesign. From the viewpoint of the „middle“ perspective of an individual literary work, the work (event) can thus become – for instance – a radical transformation of a particular genre structure. The genre norm, which is overcome by the given work, becomes a system of conventions, with regards to which this work is comprehensible: a genre is a condition of possibility of partial comprehensibility of an innovative work. Such a work is a sort of message partly encoded in a familiar language which flows into an unexpected, unknown language. A work – singularity, an event establishes a new code – idiolect. The work – event (an event as something that is unrepeatable by definition) is thus – according to Derrida – always pre-infected with a repetition structure so that it could be read at all.

20

Authors: René Bílik

The paper consists of two parts. In the first one the author focuses on obtaining methodological tools, which make it possible to oppose the rationalist modernist construct of history as „inevitable evolution“, where an individual human and his or her living uniqueness, the concept aimed at revealing and emphasizing living uniqueness of existence dissolve. What becomes the tool for the author is the „principle of authenticity“ formulated by Alessandro Ferrara and the effort to develop the „project of modernism“, which is presented by Miroslav Petříček. By employing the methodological apparatus, the other part of the paper is aimed at identifying poetics of presence (as modality of event poetics), which was used to „show“ activities of subcultures in the space of Czechoslovak culture after year 1948.