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1

FORMULA IN LITERARY TALES

100%
Pacalova J.
Slovenská literatúra (Slovak Literature)
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2007
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vol. 54
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issue 2
81-103
EN
The intention of the study is in the background of the stylistic and functional characteristics in realisation of the captions and closings in the literary tales of the 19th c. to point out those features of the compositional mean that we could evaluate as a specific for the literary tales of the mentioned period. The authoress analysed the captions and closings in the tales of three collections of the tales published in the 19th c.: 'Slovenske povesti Jana Francisciho' (Slovak Fables by Jan Francisci, 1845), 'Slovenske povesti Augustina Horislava Skultetyho and Pavla Dobsinskeho' (Slovak Fables by Augustin Horislav Skultety and Pavol Dobsinsky,1858-1861) and 'Prostonarodnych slovenskych povesti Pavla Dobsinskeho' (Folk Slovak Fables by Pavol Dobsinsky, 1880-1883). In the stylistically functional analysis the authoress regarded the way how the formula were presented in the folk proses (resource: so called Wolman's catalogue of folk tales). The realised comparative analysis results in information that formulas in the literary tales differ from the formulas in the folk tales by higher degree of stylisation filling the formal frame of a formula with new original content, increasing and advancing functionality of a formula (formula as a poetic decoration, folk artefact). Also within particular collection the authoress recorded the differences in the stylistic level and functional presentation as well as a generic determination. These differences concern extension of the collection, their generic content, way of literary genesis of the texts and goals followed by their editors. While e.g. Francisci's collection reflects generic representation of the formula the same as we can find in the folk tales, Dobsinsky's collection illustrates a wide scale of formula creational methods. The rhetoric formula are the most interesting, as in their cases it is possible to demonstrate very clearly differences between folk and literary way of framing the tales.
2

FAIRY-TALE BETWEEN ORAL ACCOUNTS AND LITERATURE

100%
Pacalova J.
Slovenský národopis (Slovak Ethnology)
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2005
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vol. 53
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issue 1
37-55
EN
The comparative analysis of the texts' style on micro-level demonstrated that particular fairy-tales differ first of all by their style of wording. Stylistic rendering of the texts by individual authors (in the cases of Dobsinský or Nemcová we can speak about nuances of the style) have important impact on the further levels of the texts' epic structure. They strongly influence the context of environment and characters, implementation of the category of story teller and elaboration of canonized elements and motives (dialogues in the analyzed texts' segments stand for formulas). However, it does not mean partial or absolute violation of these elements (categories) in the sense of modern fairy-tale or fairy-tale written by some author, but mainly specific stylistic presentation of the elements (categories) which become significant especially during comparing various way of stylization. Qualitative differences between particular texts can be observed at three mutually depended levels: realization of an expressive categories in the texts on the axis 'experience - significance' influencing a way of depiction of the elements of the epic structure of the text that further influences saturation of the text by new meanings, or revealing of archaic archetypal meanings. The elements (characteristics) of each level could be ranged (qualitatively graduated) on the base of relation between folklore and literary qualities, or, respectively, it is possible to observe gradation of literary qualities of the certain elements. For instance, the direct characteristic of a character by story teller is the simplest way of its depiction, typical for folk tales. Thus it can be evaluated as an element connecting the author's way of rendering the story to folklore. On the contrary, indirect characteristic (depiction of the character by means of actions, language, appearance and environment) implies increasing level of literary qualities of the text. Therefore, mentioned levels indicate elaboration of the texts on the basis of oral tradition (folklore) or literacy. They are part of characterization of the story as a folklore or literal phenomenon. Thus they can be seen as a sign of literary texts.
3

FROM A CONSTRUCTION TO A FUNCTION (A CONTRIBUTION TO A POETICS OF FAIRY TALES)

100%
Pacalova J.
Slovenská literatúra (Slovak Literature)
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2006
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vol. 53
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issue 3-4
221-242
EN
The aim of the contribution is to show that introductory and final formula considered as one of the most phenomenal features of a fairy tale are inwardly structured. These formula were analysed on the base of the ethnographic material (so called Wolman's catalogue of Slovak fairy tales). We analysed them regarding to their construction, way of development, stylisation, attitude of a narrator, measure of convention and a way of its contamination. We identified the several types of these skeleton forms: simple introductory and final formula characterised by a lower degree of stylization and development of conventionalised form and content; stylised introductory formula (magic), an explicitly characterised fictional world of fairy tales; stylised introductory formula (rhetoric) and final (formula with an involvement of a narrator into a plot) formula, expressing an attitude of a narrator to the told story. Further, we found that in the folk environment differently from the literary one, the occurrence of formula in the right sense of word is rarer. It is clear from the analysis that some of the types of formula determine generic characteristic of texts, in which they function like their skeleton; it is also clear how much they also depend on an interpret's narrative characteristics. In the end of the contribution we defined the functions of formula, which are revealed just on the background of typological modification of formula. The basic function of formula is to declare a fairy tale story as a fictional story - that is why we can consider formula as a type of metaleptic figures.
4

THE GENESIS OF FAIRY TALES BY PAVOL DOBSINSKY

100%
Pacalova J.
Slavica Slovaca
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2004
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vol. 39
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issue 2
143-155
EN
Up to now, the relationship between fairy tales and Romanticism has been dealt with by literary historiography only marginally. The research of this relationship cannot be considered satisfactory and sufficient because fairy tales in Romanticism were regarded as an oral phenomenon. The perspective of such a research can be seen in the determination of the role of a fairy tale in Romanticism - i.e. not just the function of oral poetry. The submitted study analyses variants of the fairy tale called 'Popolvár hnusná tvár' (AaTh 530). The individual variants are ordered according to the dates of their recording and secondary signs (previous researches) and the chronology of their origin is reconstructed. Attention has been focused on the relationship between the texts in terms of plot, text categories (narrator, characters) and wording. Each of the variants has been analysed with regard to potential primary (previous) texts. It follows from the analysis that the genesis of each primary text can be proved directly. The following variants have been compared: 'Popelvár hnusná tvár' (Codex revucky A, 1843), 'Popelvár hnusná tvár' (Prostonárodny zábavnik III., 1844), 'Popeluchvaluch' (handwriting of Pavol Dobsinsky, 1848/49), and 'Popelvár spatná tvár' (notepad of Pavol Dobsinsky, 1868). The text 'Popelvár hnusná tvár' from 'Prostonárodny zábavník III.' is a fake of an older text 'Popelvár hnusná tvár' from 'Codex revúcky A'. The both texts were the base for Pavol Dobsinsky when writing the text of 'Popeluchvaluch'. In terms of plot he had been inspired by the variant 'Popelválek' from 'Kezmarsky zábavník' (the text and the source have not been preserved). Later Dobsinsky wrote the text 'Popelvár špatná tvár', which is a conglomerate of older variants. This text was published in 'Sborník Matice slovenskej' in 1870. The text analysis has shown: 1. the reconstruction of the chronology of the origin of individual variants, 2. concrete ways and methods of the development of the variants, 3, the genesis of the fairy tale published in a book. The research has shown: 1. the difference between the oral fairy tale, its written records and literary wordings, 2. transformations of the tale's oral form.
5

SLOVAK FABLES BY JAN FRANCISCI (METHOD FROM CONCEPTION)

100%
Pacalova J.
Slovenská literatúra (Slovak Literature)
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2008
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vol. 55
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issue 1
1-26
EN
The autoress in the study analyses a collection of the tales written by Jan Francisci 'Slovenske povesti' (Slovak Tales, 1845). This publication laid the foundations of tradition - how the folk prose subjects were creatively worked out in Slovakia. The foreword to the book is the first published text analysing the tales from the aspect of their culturally historical value. She deals several levels (problems) in the collection: genesis of the collection focusing mainly on authoress' approach to the folk subjects, Francisci's explanation of a tale and also culturally historical background of the tale's creation and its influence from the aspect of the history of literature. Further, the authoress identified three text-forming roles of Francisci: as author's subject (author of the tale 'Popolvar najvacsi na svete', 'Slnkovy kon' and 'Ruzova Anicka'), as editor's and redactor's subject in other texts. Concretization of the editorial improvements and changes in the texts of other authors (of Samuel, Adolf and Ludovit Reuss, Stefan Daxner, Jonatan Cipka, August Horislav Skultety) showed that Francisci realised them in agreement with his own conception of the tales declared in the foreword (with the title 'Bratia, rodaci!' - Brothers, Countrymen!), which tightly followed the public lectures of Ludovit Stur. Francisci received from him mainly the motive of cuss. Contrary to Stur he did not consider it for a thematic core of the tales, but he stressed its out-of-literary application - an allegory of the Slovak nation as elf-struck, cursed nation. In the background of that motive we reconstruct mechanism of creation of a literary type of 'Popolvar' (in literary transcription a secular hero-winner), who is in the Slovak romanticism, mainly in its Messianic wing, a particularly productive type of a romantic hero.
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