Papers by Dagmar Garay Kročanová
Vo štvrtom ročníku časopisu Mladé Slovensko v roku 1921 vyšiel nenápadný článok Ľ. Ruhmanna Analó... more Vo štvrtom ročníku časopisu Mladé Slovensko v roku 1921 vyšiel nenápadný článok Ľ. Ruhmanna Analógia kyvadla. Autor tu vidí svoju súčasnosť ako dobu extrémov: " náš život -pohyb -podobá sa pohybu kyvadla, ktoré prekonáva dráhu od extrému k extrému pokiaľ spotrebuje energiu a zastane... Po veľkom oduševnení dnes vieme, že nastáva postupné ochabnutie. Sila hesiel poprevratových zapôsobila výchylku a zaniesla nás ďaleko od skutočného života. Avšak i reálna skutočnosť má svoju príťažlivosť, ktorá sožiera postupne silu poprevratovú a ťahá kyvadlo ľudského života k tejto reálnej sku točnosti."' Autor si kladie otázku, či je vôbec možné "účinné uplatnenie sa ľudskej myšlienky v skutočnom živote "1 2 3 . Podobný kyvadlový pohyb zaznamenali i snahy novej literárnej generácie. Často cito vaná Jégého úvaha Rozpomienky a reflexie pri návrate Martina Kukučina' vyslovila požia davky a očakávania starších. Priepasť medzi niekdajšími (i novými) martinskými a hlasistickými aktivistami a nastupujúcou generáciou sa však prehĺbila. " Veď kto by nám mohol byť aspoň v niečom směrodatný z našej minulosti? Štúrovci a hlasisti? Štiírovci dneská zapadli do martinského lokálpatriotizmu. A hlasisti? Tí teraz pred našimi očami uskutoč ňujú svoj národný (československý) program... Je isté, že pracovníci starí držia sa svojho programu, čím sa stami nepružnými pre prijímanie a osvojenie názorov novšej doby. "4 Hodnotové vákuum a všeobecné rozpaky nad perspektívami vývoja umožňovali vznik rôznych utópií. Medzi intelektuálmi populárna kniha O. Spenglera Zánik Západu prispela k upevneniu vedomia, že všetky civilizácie majú svoj vrchol i zenit, t.j. vývoj sa nemusí nevyhnutne uskutočňovať ako negácia predchádzajúceho (teda ako kontinuita istého druhu). Vývoj chápaný ako systém uzavretých kruhov dáva šancu na úplný a nový začiatok. Dejinné sklamanie možno obrátiť vo vieru v novú dejinnosť alebo dokonca éru (o tento "pôžitok" je ukrátený jedine dekadent). Podobnú teóriu "pokroku" je ľahko možné spojiť s odbúravaním tradície a akcentovaním mladosti, veď ako uvádza už Comte, staroba spomaľuje sociálny vývoj a mladosť ho inovuje: "Sociálny dej spočíva v podstate na smrti, t.j. postupné kroky ľudstva si vyžadujú generačnú obnovu. "5 Vyhrotenie opozície starí -mladí teda podľa môjho názoru súvisí s presvedče ním, že nastal čas nového začiatku. Žiaľ, literárna kritika v prvej polovici dvadsiatych rokov nebola pripravená na radikálny generačný nástup. Ako som už spomenula, tra-
The body can be seen as a point of intersection between Gejza Vámoš's (1901 -1956) areas of inter... more The body can be seen as a point of intersection between Gejza Vámoš's (1901 -1956) areas of interest, encompassing medicine, philosophy, and literature. Vámoš transferred knowledge and insights from medicine and philosophy into the field of literature. His materialist and decadent understanding of the body denied the perfection of creation, which was considered rather provocative in Slovak milieu. The body and physicality appeared as themes and motifs of Vámoš's works; they intervened in the categories of character and plot; they implied social values and moral meanings. Vámoš's dual perspective as a physician and philosopher introduced a different perception of the body: proximity, contact, fragmentation on one side; and distance, objectification and wholeness on the other side. Vámoš's understanding of the body, manifested in his philosophical and literary works, shows similarities with several concepts (vitalistic, mechanistic, and existentialist; the paper also implies a possible inspiration from Jewish mysticism). Vámoš's views correspond to those varieties of philosophical naturalism that identify reality with the material world (nature), but also admit of higher, non-material levels of reality. His understanding of the body raises moral, legal, and political questions, including the right to life, the right to property, the right over one's own body, the right to die, and others.
It is only from 1843, the year when the Slovak language was codified, that we can treat works wri... more It is only from 1843, the year when the Slovak language was codified, that we can treat works written in that language as Slovak literature. From the preceding period the names of only a handful of women writers are known: Anna Czobor, Žofia Kubini, Kata Szidonia Petroczy. Their work is often limited to a single poem in Czech or Hungarian. In the journal ‘Slovenske pohl’ady’, 14–15, of 1894–95, the writer Rehor Uram Podtatranský published poems by a number of Slovak women allegedly active in the period 1800–30 (Katarina and Judita Kiszely, Terezia Vitalis, Judita Ruttkay-Mayer). No original manuscript or any other details about the authors have survived.
![Research paper thumbnail of Changes of Power and Coups D´État in Július Barč-Ivan’s Plays Diktátor [Dictator], Neznámy [The Unknown] and Veža [The Tower]](https://attachments.academia-assets.com/107533966/thumbnails/1.jpg)
Slovenské divadlo, Jun 1, 2018
Príspevok sa zaoberá tromi hrami Júliusa Barča-Ivana (Diktátor, Neznámy, Veža), ktoré spája téma ... more Príspevok sa zaoberá tromi hrami Júliusa Barča-Ivana (Diktátor, Neznámy, Veža), ktoré spája téma politiky a moci. Pozornosť venuje stvárneniu prevratov a paradoxom prevzatia moci, ako i zmene vodcovstva počas nich. Sústreďuje sa najmä na tému, dej a postavy, ale tiež na spôsob utvárania repliky a dialógu, ktoré vypovedajú o posune v Barčovej-Ivanovej dramatike medzi rokmi 1937 a 1947. Všetky tri skúmané hry sú poznačené historickým pesimizmom, ktorý súvisel s uplatnením náboženského pohľadu na dejiny, a v čase svojho vzniku boli alternatívou dobového spoločensko-politického smerovania. Kľúčové slová: Július Barč-Ivan, Diktátor, Neznámy, Veža, slovenská dráma, téma dejín v dráme Napriek často konštatovanému antimimetickému charakteru, náboženskému východisku a popieraniu realistickej poetiky, tvorba Júliusa Barča-Ivana 1 (1909-1953) reflektovala politické a spoločenské udalosti tridsiatych a štyridsiatych rokov 20. storočia. Tvrdiť to možno i v prípadoch jeho najlepších hier z prvej polovice štyridsiatych rokov, v ktorých je v popredí subjektívna realita a ktoré majú komornejší ráz, ako napríklad Matka (1943) alebo Dvaja (1945). 2 Príspevok sa orientuje na Barčove-Ivanove hry Diktátor, Neznámy a Veža, ktoré boli doteraz interpretované a inscenované menej než iné drámy. 3 Spája ich téma poli-1 Z hľadiska dejín drámy sa tvorba Júliusa Barča-Ivana skúmala buď v súvislosti s expresionizmom (RAMPÁK, Zoltán.
Poznańskie Studia Slawistyczne, Sep 21, 2017
The article discusses several Slovak plays with the theme of the Holocaust; namely Ticho (Silence... more The article discusses several Slovak plays with the theme of the Holocaust; namely Ticho (Silence) by Juraj Váh, Holokaust (Holocaust) by Viliam Klimáček, and Rabínka (The Woman Rabbi) by Anna Grusková. It also briefly refers to Návrat do života (Return to Life) and Antigona a tí druhí (Antigone and Those Others) by Peter Karvaš, both mediating traumas from concentration camps. Two plays (Ticho and Návrat do života) were written and staged immediately after the Second World War. Karvaš's Antigona is a rare occurrence of the theme in Slovak drama during the Communism (in the early 1960s), whereas Klimáček's and Grusková's plays are recent, both staged in 2012. The article focuses on several aspects of these five plays: on dramatic characters representing "victims", "witnesses" and "culprits" (Panas, quoted in Gawliński 2007: 19); on references about and/or representation of the Holocaust in dramatic texts; and on the type of the conflict(s) in the plays. It also mentions specific approaches of respective authors when dealing with the theme of the Holocaust, as well as with the relevance of their reflection of the theme for Slovak society in respective periods. Keywords: 20 th century Slovak drama; contemporary Slovak drama; Juraj Váh; Peter Karvaš; Viliam Klimáček; Anna Grusková; dramatic characters; dramatic conflict * The article is an outcome of a reaserch project VEGA 2/0033/16 Modernism in Slovak Literature. Forms, Tendencies, Aspects.
Slovenská literatúra, May 23, 2022
The article provides a summary of Sami Sjöberg's text "Redemption, Utopia and the Avant-Garde. Ge... more The article provides a summary of Sami Sjöberg's text "Redemption, Utopia and the Avant-Garde. German-Jewish Visions of the Future" (2015) which outlines the context of Jewish Messianism in the early 1920s Germany with the special focus on the ways in which it inspired Expressionist writers. Sjöberg understands avant-garde art and writing as a means of making abstract concepts more real and as a way for recontextualizing the tradition. Through Jakob van Hoddis' concept of Selbstpoetik-a poetics of the self-, Sjöberg presents the idea of the personal messiah as a form of utopia. Even though the philosophy of Gejza Vámoš drew on different literature, both in his fiction and philosophy, the author revisits the key tenets of the dogma-creation, revelation and redemption. He tackles the problem of fragmented reality (the principle of cruelty), separation of man from God, Jewish segregation and the questioning of the meaningfulness of religious rites. He outlines a vision of the new era, restoration (a return to the original unity, the principle of love and Golden Age), but also the expectation of a catastrophe. Although Vámoš's modernist version of the new world is invested with restorative and utopian attributes, it primarily accentuates rational, scientific and prognostic solutions for the perceived problems.
The Matica and Beyond, 2020
Chuzhdoezikovo Obuchenie-Foreign Language Teaching, 2021
The initial part of the paper describes the history of Slovak language and culture teaching in It... more The initial part of the paper describes the history of Slovak language and culture teaching in Italy, namely, Slovak lectorates at University of Naples L´Orientale, University of Rome Sapienza, and University of Bologna in Forlì. The central part of the paper discusses the foundation, development and activities of the most recent lectorate, founded in 2006, and currently affiliated with the Department of Interpreting and Translating at University of Bologna in Forlì. The paper mentions the circumstances related to the foundation of the lectorate, especially the message of Alexander Dubček (1921 – 1992) upon whom University of Bologna conferred the honorary doctorate in 1988. The paper discusses various activities of the lectorate (language teaching, research and publishing, promoting Slovakia and Slovak culture). It mentions the collaboration with Slovak and Italian institutions, including the Embassy of Slovak Republic in Rome, Slovak Institute in Rome and Honorary Consulate of Slo...
Minas, Brazil) is one of the most remarkable Slovak writers of the interwar period. His life and ... more Minas, Brazil) is one of the most remarkable Slovak writers of the interwar period. His life and literary work is similar to those of a number of European intellectuals of Jewish origin, who experienced otherness and alienation, and looked for strategies to overcome them. Despite the fact that the legislation in the Czechoslovak Republic in the interwar period supported religious equality, the stereotypes concerning the Jews and the doubts about their assimilation continued. Vámoš expressed his ideas about a new community in his doctoral dissertation in philosophy Princíp krutosti (The Principle of Cruelty) defended at Comenius University in Bratislava in 1932 as well as in his literary works, especially in the novels Atómy Boha (Atoms of God) (1928) and Odlomená haluz (Broken Branch) (1934). The former work challenges the idea of creation and perceives a doctor of medicine as a new prophet, whereas the latter one discusses the possibilities of Jewish assimilation and the problems of upbringing. Odlomená haluz was awarded a prize in Prague but at the same time Vámoš faced lawsuits and severe accusations related to some parts of the novel. In 1939, he left for China, and in the late 1940s, he moved to Brazil. New editions of his fiction appeared in Czechoslovakia in the 1960s, and after 1989, his work was included in the history of philosophical thinking in Slovakia.
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Papers by Dagmar Garay Kročanová