There was published a pamphlet called Aké bude Slovensko o sto rokov? (1920), [What will Slovakia be like in 100 years?] just a century ago. It offered a vision of Slovak national state's future – the state flourishing with social welfare, scientific and technological progress and moral maturity of citizens. Adaptation of "happy national home" idea for future, written by engineer Jozef Dohnány (1873 – 1947), carries marks characteristics for utopias. The conference paper approaches to Dohnány's vision as to a branch of modern dynamic utopic phenomenon, creating a communication space, especially in the 19.th and 20.th century, for expressing desires and ideals, testing possibilities of mental borders and calling for social or political mobilization in favour of achievement realistic, or even unrealistic aims. The paper uses interdisciplinary interpretative approach for analysis of Dohnány vision's ideological structure, compares it in relation to More's prototype of utopia and refers to representations of "period's presence" in utopic genre.
In the contemporary world, characterised as it is by globalisation, the idea of nationalism has been losing its appeal. However, recent Islamic movements have evolved somewhat differently, with Islamic moral and religious fervour initially leading to Muslim "internationalism". During the 1970 and 1980s, radical political Islam became integrated to some extent into "globalising" trends, but gradually it has become more pragmatic and "nation-oriented" leading to the creation of national political movements. Muslim "internationalism" has continued to influence terrorist groups that have abandoned any reference to national roots.
This study discusses the limits of Marx’s reinterpretation of Hegel’s conception of dialectics as a self-mediation of the fundamental by way of historical reality: we will show Marx’s disessentialisation of the (already quite monistic) Hegelian absolute spirit, and the consequences of Marx’s conception of consciousness as of a conscious being for the concept of culture, reduced that is to interest-conditioned, “ideological” praxis and its self-reflection. The study thus subjects to criticism the reduction of objectivi¬ty to totality in György Lukács, the founder of modern western Marxism; it points to the residuum (in no way objectively unlicensed) of self-positing subjecti¬vism in his “class-consciousness”; and it compares this immanentist conception with, on the one hand, the utopian conception of Ernst Bloch, foreshadowing Derrida’s stress on the auto criti¬cism of Marxism as a philosophy of the historicity of categories (as Lukács himself theo¬retically understood it!), and, on the other hand, with the dialectical non identity of the possible of Theodor W. Adorno. By reflecting on Marx’s concept of (historical) consciousness (of conscious Being) through critical insight into its most (in our view) signi¬ficant interpretations of the 20th century, the study attempts to capture the limi¬ts of the monistically-conceived dialectic for democratic social pra¬xis, preserving the “principle of hope” in the openness of the unsubsumable individual.
Frank Wollman sa považuje za jedného z našich najznámejších slavistov a komparatistov, ale zároveň ide o osobnosť, ktorá autorsky zasiahla aj do divadelného života. Štúdia sa zaoberá vznikom, interpretáciou a recepciou jeho trojaktovej hry Člun na moři (premiéra 1923, Praha). V poradí tretia autorova hra s podtitulom "lidská groteska a politická utopie" žánrovo osciluje medzi sociálnou drámou a satirou. Svojím akcentom na úlohu osobnosti v dejinách a na konflikt dobových ideí signalizuje expresionistické východisko ovplyvnené brnianskou Literárnou skupinou (F. Götz). V motíve stroskotanej a opustenej lode na mori sa na obmedzenom dramatickom priestore konfrontujú protikladné typy postáv, ktoré symbolizujú skazu ľudstva. Člun na moři predstavuje pravdepodobne Wollmanov esteticky a ideovo najhodnotnejší javiskovo realizovaný dramatický text, ktorý však neprenikol do širšieho divadelného povedomia. Ale aj napriek tomu zostáva hra umelecky zaujímavým dokladom dobového hľadania nových výrazových možností mnohostranne diferencovaných podôb českej expresionistickej dramatiky. and Deemed a major figure among Slavonic scholars and comparatists, Frank Wollman is also an author who met with due attention in Czech theatrical life. The aim of this paper is not only to describe the origin and reception of his three-act play Člun na moři [A Boat at Sea] (premiered in 1923), but to offer an interpretation of Wollman's third dramatic work as well. Doing justice to its subtitle – "a human grotesque and political satire" − the play vacillates between social drama and satire. Its accent on the individual´s role in history and on the conflict of contemporary ideas betrays the expressionistic inspiration from the Literary Group of Brno (F. Gőtz). The theme of a deserted shipwreck at sea is, in the limited dramatic space, confronted with conflicting types as symbols of the ruination of mankind. Aesthetically and ideologically, Člun na moři is probably Wollman's best text put on stage, notwithstanding its failure to gain full theatrical attention. On the whole, the play is an interesting work of art which exemplifies the search for new means of expression and infinitely variegated forms of Czech expressionistic drama of the time.