Electronic Library of Scientific Literature - © Academic Electronic Press
Volume XLVIII, 2001 / No 5
Tomáš Horváth, Ústav slovenskej literatúry SAV, Bratislava
The texts that have function to represent reality are always 1. written in certain ways (using certain rhetoric and text building strategies) and 2. are recipied as those which represent reality within some cultural code. It is sensible to presume that there are those rhetoric strategies, ways of organisation (tropological, narrative, semantic) of the texts that produce “effect of the reflection of reality” for the model of a reader implicated in the texts. The text is not able to perform its “diverting” to the referent in other way except of the text itself, that means in media of its certain structuring. The referent in the text is representatively mediated. Different way of structuring of the texts of fictions in a certain code will indicate a referential function of the text. It cannot be a guarantee of that (the text can be e.g. only a pastiche of fiction of a factual representation).
Michal Habaj, Ústav slovenskej literatúry SAV, Bratislava
The prose of Ivan Minárik from the turn of the 20-tieth and 30-tieth of the 20th century closed, brings to an end and revalues literary gestures of the modernistic wave of after coup decade. In spite of many affinities to the works of Gašpar, Hrušovský and Horváth, the prose of Minárik follows mainly European literary tradition and European literature of the period fin de siecle. Philosophical inspirations from Bergsonism and Nietcheism are dominant, as well as continuance to the literature of Decadence and Secession. Minárik is focused on the cult of sexual hedonism, absolutisation of a while and intensification of the sensual pleasures. The proses of Minárik represent characters identical to “erotic players” in their qualities. They live apart from the sphere of social reality, ethics and conventional “rules” of bourgeois society. Their identity is dissolved in chaos of erotic excitements, hallucinations and hypnotic delirious states. They follow naturalisme spiritualisme of Huysmans and we can record them as the documents of “a naked soul”. The message tends from the glorification of body and of physical delight through metaphor of nerving and cerebral system (“cérebralité”) to “the mysticism of unconsciousness” and to theoretically – practical experiences of parapsychology and occultism. The cult of pleasure and boundless beguile by sexuality and unrestrained sensuality is developed in the paradigm of neopaganism (Nietzsche), new Satanism (Huysmans) or a new hedonism (Wilde). “The aesthetic of collapse” (Marquard) manifests in the life of Minárik’s epic character in permanent oscillation between the states of an exerted sensualism and states of a dull depression, in the captivity of the vicious circle of passion and boredom.