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The aim of this paper is to research an unknown novel in Slovak literature entitled Hrušovianski hriešnici, the last work by Gejza Vámoš. This paper discusses how this never-published novel originated. The main part of our thesis is a confrontation of this novel with another work by Gejza Vámoš – Odlomená haluz.
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When assessing and exploring the contents of Proglasu, they are still mostly the same, whether related to reproduce and recycle, conventional previews and affirmations in the scientific literature. There is no need to be too sharp observation, that we recognize that they have the passion to accent , just the size of the religious, liturgical interpretations in Proglas. Finally, it is logical, however, preceded by the words of the Gospel is Proglas. Proglas from 9th century s, however, something different than in the 21st century. Medieval realities have been well controlled and influenced by the emergence of this poem, especially religious, perhaps even more ecclesiastical influence. Proglas today is different than at the time of its creation, and still the same. Its central theme can be just its literariness interpretations.
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In this paper the author deals with the polemic of the “angelic lands” which has taken place in Slovak prose texts in the fourth decade of the 20th century. Articles which have been part of the mentioned polemic were published in several magazines and their criticism was focused mainly on lyricism of contemporary texts. Our paper is divided into two sections. The first section of the paper refers to the polemic itself, its first article and its responses, while in the second part the author analyzes specific texts which have been criticized, in order to contribute to the analysis of their "escape character". In the latter part the author´s attention is to closely inspect prose texts of Hana Zelinová, Margita Figuli, Jozef Cíger Hronský, František Švantner, Dobroslav Chrobák and Dominik Tatarka.
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Proza kao što su Daljine (Diai’ky, 1982) Jana Labata u slovačkoj književnosti u Jugoslaviji nije česta pojava. Najpre u kvantitativnom pogledu; nabrajajući posleratna dela sličnog obima, neće nam biti potrebno ni svih deset prstiju - Miroslav Krivak: Svitanje nad ravnicom i Srca mladih, Janko Čeman: Vir i Ne nosi svaki vojnik pušku, Pavel Grnja: Raspust na polju, recimo i Jan Kopčok: Ožiljci. Namerno smo upotrebili samo termin proza, ne i neki konkretan, koji bi ovu prozu, Daljine, i žanrovski određivao. To, pak, ništa nije čudno - i kod ostalih navedenih proza bilo je teškoća prilikom žanrovskog određivanja.
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Slovačku književnost u Jugoslaviji književnoistorijski i tipološki o dređuje tradicija jezika i pripadnost kompleksu jugoslovenskih književnosti. Njena suština i sudbina slične su i čak istovetne sa suštinama i sudbinama književnosti onih jugoslovenskih nacionalnosti za koje se može reći da su u uskoj jezičkoj (i ne samo jezičkoj) koreiaciji s književnostima matičnih zemaIja. Književnoistorijski razvoj ovakvih književnosti tekao je u težnji za uspostavljanjem koreiacija s oba odredišna konteksta, matičnim i jugoslovenskim, koje, pak, ne treba shvatiti kao antagonističke sile delovanja, sile koje se bore za prevlast, već najčešće u određenoj komplementamoj sprezi koja je omogućila nastanak autohtonog književnog konteksta, konteksta književnosti (u našem slučaju: slovačke) nacionalnosti u Jugoslaviji.
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Mihal Hvorecki (1976) trenutno spada među najuspešnije prozaiste u Slovačkoj. Zavidan atribut stekao je dvema zbirkama pripovedaka i istim brojem romana, aktivnim prisustvom u slovačkoj publicistici te zahvaljujući prevodima njegove proze na nekoliko stranih jezika: engleski, češki, mađarski, sada i na srpski jezik. Najveći čitalački odjek do sada je imala njegova debitantska zbirka kratkih priča i novela Snažni osećaj čistote (Silný pocit čistoty) koja je objavljena 1998. godine.
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The paper compares three poems about the conflict between Marko Kraljević and Mina od Kostura written down at the beginning of the 18th century (Bogišić, No. 7, 86, 87) and the famous variant from Vuk’s collection (SNP, II, No. 62). The author detects potential historical or mythical standpoints of the given story, follows modification of the plot model in time and points to the specificities of the bugarštice poems when compared to the decasyllabic form. The paper indicates that older records are characterized by a reduced narration and compositional compactness, while the poem published by Vuk Karadžić reflects the motive and compositional diveregence and complexity. This should be interpreted as a blending and converging of various traditional lines, but also as giftedness and skillfulness of a concrete poet-reciter.
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Reviews of: Kendra, Milan: Korelácie témy a jazyka v slovenskom literárnom realizme. Prešov: Vydavateľstvo Prešovskej univerzity, 2017. 144 s. ISBN 97880-555-1936-4 Mihalková, Gabriela: Podoby slovenského literárneho romantizmu. Prešov: Vydavateľstvo Prešovskej univerzity, 2017. 340 s. ISBN 97880-555-1766-7
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Review of: Лайкерт, Ёзаф: Крыжы на ростанях. Мінск: Мастацкая літаратура 2016. 208 с. ISBN 978-985-02-1721-9 (výber a preklad Viktoria Liashuk)
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This article analyzes the Slovak novel René mládenca príhody a skúsenosti (1783–1785) by Jozef Ignác Bajza as a frontier orientalist fantasy. Unlike in Western European orientalist texts,where images of alien Muslim cultures served as a justification for imperialism, here they are used to fashion a Slovak modernity, confirming the Slovak people’s Christian, European and Slavic identity at a time when it was politically just starting to come into being as a nation. It is further argued that the novel departs from the typical Western orientalist fantasy, figured as a heterosexual heroic romance, towards the narrative of homo-social nationalist self-fashioning.
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The article provides an insight into the conceptualisations of Biedermeier in Slovak literary historiography from the 1930s to the present day. It maps the process of establishment of the term in literary-historical discourse in the first half of the 20th century and points out the role German Literary Studies played in it. The article analyses the transformation of the term adopted from German literary theory in the 1930s and 1940s. In these decades, M. Pišút and A. Mráz applied Biedermeier to the study of Slovak literature. They identified features of this style – alongside the dominant Classicism and the early Romanticism – in several literary works and authorial styles. In the latter half of the 20th century, Biedermeier was researched by S. Šmatlák, V. Marčok, and J. Noge. The article also touches upon typological definition of Biedermeier in Slovak poetry and fiction of the 19th century, the relationship of this style with pre-Romantic and Romantic literature, the revitalisation of Biedermeier in the second half of the 19th century, and current research that focuses on Biedermeierian configurations of Realism and looks for its origins in pre-1815 texts.
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The article offers an interpretation of Malé veľké mesto ([Little big city] 2008), the third book of poetry/long poem by the contemporary Slovak poet and writer Katarína Kucbelová (1979), the author of four books of poetry and a novella. From the point of view of poetics, Malé veľké mesto is a transitional text, a breaking point in the development of the author’s style. The book embodies a change towards a more concrete way of expression and contains topics, motives and language typical of Kucbelová’s later works. The article tackles two mutually intertwined aspects of the poem – the city and the subject. The central principle of the poem is the projection of the subject into the time and space. The city (specified as Bratislava) can be analysed from the point of view of urban studies as outlined by Olivier Mongin – through his theses on the urban situation and various forms of flows in the city and the creation of bonds with it. The issue of identity that is intimately connected with the city is read on the background of various forms the speaking subject in Katarína Kucbelová’s poetry takes. In her early work, the subject focuses on biological and physical traits, later she moves onto the analysis of her individualised experience complex and, finally, in her fourth book of poetry Vie, čo urobí ([He knows what he will do] 2012), the subject turns her attention to the society. A discussion of Malé veľké mesto illustrates the gradual abandonment of the fragmented (non)subject bearing traces of postmodernist subjectivity and a move towards a more decisive delineation of the boundaries of an individual.
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The article deals with controversies concerning the authorial self-presentation of the Slovak writer Peter Pišťanek (1960 – 2015) and changes his attitude towards the role of the writer underwent. In the 1990s, when Pišťanek was a publishing author and his work was widely discussed, he ostentatiously rejected the status of the writer. However, later, after he stopped being active as an author, he partially assumed it. Until then, he would repeatedly present himself as a non-elite word craftsman (worker). This radical public gesture brought him a unique position in the Slovak literary field in the early 1990s. He would degrade the status of the writer both in his public self-presentations and in the key works of his first creative period. In these, the characters of writers are portrayed with a radical irony. Paradoxically, at the break of the 21st century, after he publically declared that he no longer writes fiction, Pišťanek embraces the role of the celebrity author. This shift can be observed in his editorial activities, in interviews and journalism he authored at that time. Empathetic understanding of the character of the writer replaced the former ironic detachment.
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Taking the work of Vladimír Hurban Vladimírov (pseudonym VHV, 1884 – 1950) as its prism, the article aims at providing an insight into the state of the language and the issue of language politics in the interwar period in the Slovak linguistic enclave in Vojvodina, Serbia. The article analyses the linguistic work of VHV and addresses the topic of language planning. VHV, in his attempts at strengthening the knowledge of their mother tongue among Slovaks in Serbia, took an active part in the forming of the modern Slovak language. He published linguistic essays in local periodicals and developed language courses for the locals. He taught Slovak in two basic courses – in 1925 and 1943 – in Stara Pazova. The students of his second course used Slovačka slovnica (1942) – a grammar book written by the Croatian Slovakophile Josip Andrić (1894 – 1964). The level of the knowledge of the language among the locals and the lack of specialised and normative publications prompted VHV to explain phenomena pertaining to Slovak orthography, morphology, lexicology, etymology and dialectology. He advocated for an etymological orthography and was of the opinion that orthography should only reflect the standard and codified variation of the language.
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Hana Gregorová’s (1885 – 1958) early work was mostly concerned with themes pertaining to women’s emancipation. Later, the author widened her scope and also dealt with the questions of social justice. Feminist instrumentalisation as outlined in her debut collection of short prose Ženy ([Women] 1912) was combined with projecting a new, better world for all the impoverished ones. Social and pedagogical (didactic) function remained a stable characteristic of her writing. As to her themes, Gregorová was mainly concerned with the depiction of the suffering women and her empathising authorial narrator was a representative figure voicing progressive ideas. Works that the author published before 1918 (but also those from the first half of the 1920s) were later significantly revised. Gregorová updated her early work in accordance with the way her opinions evolved (especially with regards to her affinity towards socialist and communist ideas) and also as a reaction to the changes in social circumstances (the end of Second World War). Analysis of the revisions the author made in the second publication of the collection Ženy (1946) had a direct impact on the poetics of the texts and in turn also influenced the literary-historical reception of the collection – a fact that is most visible in cases in which the scholars only worked with the second edition
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The article provides interpretation of the changes the prototext of Ivan Laučík’s (1944 – 2004) poems “Biely film” ([White film] from the collection Havránok, 1998) and “Tam, kde nie som” ([There, Where I’m Not] from the collection Na prahu počuteľnosti [At the threshold of hearing], 1988) underwent since it was included in the letter to Peter Repka from 10 September 1970. The contribution concentrates on three main issues. The first one concerns the intertextual reference the prototext makes to the poem by the French journalist and author Jean-Paul de Dadelsen (1913 – 1957) “Jonas” and the possible meanings it brings to the prototext. The absence of this reference in the poem “White film” serves the convergent function. The article then provides a comparative interpretation of the changes between the prototext and the poem “White film”. These appear to have made the poem clearer and strengthened its metaphysical aspect through intensifying the presence of “illumination/light” motives and elements in the poem. Finally, the contribution analyses the modifications the last four lines of the prototext underwent before they were included in the poem “There, Where I’m Not”. The article argues that the poet attempted at simplifying the segment as to the poetic devices it employs and at making it clearer. In result, the singular lived experience was transformed into a general maxim.
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In the early 1930s, a group of young Catholic poets entered the Slovak literary scene with a new approach to the creation of poetry derived from mysticism. Poets Pavol Gašparovič Hlbina (1908 – 1977), Rudolf Dilong (1905 – 1986), and Ján Haranta (1909 – 1983) found encouragement in the works La Poésie pure ([Pure poetry], 1926) and Prière et Poésie (Prayer and Poetry, 1926) by Henri Bremond who proposed aesthetic instructions that should lead to absolute poetry. The paradoxes of mysticism and poetry, however, proved to be unachievable in poetic practice, even less so when blended with new avant-garde movements of poeticism and surrealism. The most notable approach to absolute poetry in the first half of the 20th century can be found in the work of Janko Silan (1914 – 1984), whose epic-dramatic poetry, self-referential character of verse, and natural-human pantheistic and panentheistic view of the world eventually surpassed poetic spontaneity, wordplay, and Freudian psychoanalytic method. The most radical attempt at absolute poetry came after 1989 with the work of Erik Jakub Groch (b. 1957), who, through depoeticisation, reaches the threshold between literature and mysticism, pursuing goals in both the literary and extra-literary space. An important aim of Groch's absolute poetry is an attempt to execute transfer from literary to actual epiphanies.
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Occasional verse is one of the oldest forms of lyric and it can be thought of as a form of materialisation and consolidation of memory. The character of this inevitably fleeting type of poetry that expresses an engagement of its author on a private or private matter much depends on historical and social changes. Occasional verse is inseparably bound to the time of its composition as it addresses chosen aspects of the era and – especially when it comes to public occasional poems – makes visible the large period narratives. These attributes can also be identified in the Slovak poetry written after 1948 when Czechoslovakia entered the era of state socialism and the poetry in question was part of the system of socialist realism. When observing period’s occasional poetry from the point of view of memory studies (especially general locations of memory and the theory of memorials), one can note striking similarities (poetological, functional) between a significant proportion of the period poetic production and war memorials built at that time. The article explains these relations as part of the specific construal of the national and socialist narrative in which differences between individual and collective experience, everyday life and festivities, history and present, memory and history got radically blurred.
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The article focuses on poetological and axiological analysis of the Slovak collection of poems Liza Gennart: Výsledky vzniku ([Outcomes of origin], 2020). The collection is part of the project created by the poet and theorist of electronic literature, Zuzana Husárová (b. 1983) and the sound artist and programmer Ľubomír Panák (b. 1979) who trained a neural network to generate its poems. Texts generated by neural networks are usually referred to as synthetic. In the article, we therefore propose to use the term synthetic poetry to denote poetry generated by neural networks. Introductory parts of the article address the global contexts in which such a work of literature is nested (changes in the economy, position of literature in the current world, problems faced by the humanities today) and technological issues pertaining to natural language processing. What follows is a literary-historical contextualisation in which we outline the history of generative writing in Slovak literature, the issue of authorial teams co-creating poetry, and virtual authorial signatures. In concluding section, the article provides a textual analysis and proposes to conceptualise this instance of synthetic poetry in terms of (1) poetics of defect, (2) poetics of incoherence, and (3) poetics of reduction.
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Early poems of Ján Ondruš (1932 – 2000) published in literary magazines in the late 1950s contain fragments of imagery that can be grasped through the notion of still life and also of what can be thought of as “pre-still-life situations”. Literary still life built from words, lines, and images can also be understood as a staging of an eternally repeating event – a celebration or a feast –, as a renewed vivification of the inanimate nature, a setting in motion of a still image, adding sound to the mute visual artefact or also as a defiance of the chaos, entropy, and transience. The poem “Sobota [Saturday]” (1956) for which the motif of bread is central, offers suitable material for the tackling of the modelling of space in the poetry of Ján Ondruš. In the poet’s staging of the process of baking bread, the event becomes a magnificent secret rite in which elements of fire and earth meet in archetypal and monumental fashion. Moreover, the text can be said to contain a poem in a poem (“Hľaďme, chlieb [Behold, bread]). The result of an ordinary activity of baking bread is presented as an outcome of a magic process. The procedure, in sharp contrast with most poems by the same author that tend to slow down phenomena and events, unwinds in front of the reader as a quick retrospective.
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