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1

MODEL ČLOVEKA A SVETA V BÁSNICKOM DIELE JÁNA SMREKA: ZÁVERY A VÝHĽADY

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 6
469 – 489
EN
The goal of the study is a selected reconstruction of the concept of a man and world in Ján Smrek´s poetry written in the 1920s and 1930s in relation to his identifications and transformations in the following period. The philosophy of life, the return to spirituality, to the forces of instincts and nature, mythologism and traditionalism as a part of the artistic-aesthetic manifesto of the Modern and Vitalism of the early 20th century paradoxically leads into mass Vitalist movements and totalitarian ideologies in the following decades, which turned the original ideals of beauty, freedom, youth, human naturality and dynamics of life into its very opposite, into destruction, death and totalitarianism. Smrek´s Vitalist concept of a man and world with regard to the particular period of history and its aesthetic-philosophical and social-political identifications is found in a risky position. The utopian vision of the new Humanism, the transformations of the world and the revitalization of Creation is not a part of ideological movements in Smrek´s work; he keeps developing the concept which regards poetry as an active and dynamic way of cultivating the people and society. The restoration of the human soul as the purpose of the art – this is how the hidden struggles of Smrek´s situation as a poet can be read, not only during the period of freedom in the 1920s and 1930s but also in the changed cultural-social conditions of the 1940s and 1950s. Smrek´s poem in the times of the war and totalitarianism keeps pursuing its fundamental artistic-aesthetic credo as well as its moral and ethical identifications. The contribution of the study can mainly be found in demonstrating the wider cultural-historical motion and transformations of Vitalism with regard to the aesthetic-philosophical principles and the social-political consequences – in this context the form and meaning of Smrek´s poetry can be defined anew.
2

ZÁSAHY KAMBÝSA II. DO FUNGOVANIA HOSPODÁRSTVA PERZSKEJ RÍŠE

100%
Habaj M.
Studia Historica Nitriensia
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2016
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vol. 20
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issue 1
30 – 39
EN
Cambyses II is known for his Egyptian campaign. Following article deals with the previous period and his possible economical reforms. Based upon Babylonian administrative tablets, the study shows the militarization of Babylonian economy in the frame of his military preparation. The main target of his policy influenced the prices as well and the author suggests that there were important Babylonian financial involvements into Cambysesʼ campaign, what kept the inflation growing.
3

HERODOTOV OHLAS V ANTIKE

100%
Habaj M.
Historický časopis (Historical Journal)
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2014
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vol. 62
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issue 2
181 – 202
EN
The submitted study deals with the reception of Herodotus in antiquity. It analyses who used his famous work The Histories and how. The article is divided into several parts according to historical periods. The author deals also with question of why Herodotus was read or rejected in these particular historical periods. The study is based on combination of the authors’ own research and the facts already provided by other authors.
4

BÁSNIK V ČASE (NESLOBODY). VNÚTORNÝ EXIL AKO PARADIGMA SUBJEKTU. (POÉZIA JÁNA SMREKA 1948 – 1956)

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
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2014
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vol. 61
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issue 2
106 – 131
EN
The goal of the study is to show two lines of Smrek´s poetry in the context of the years 1948 – 1956 and the way they are put in opposition to the official view of the times and the ideological requirements of literature. The two of the collections of poems by Ján Smrek have been closely examined: Obraz sveta /The Image of the World/, which was published in 1958 and generally includes traditional love and nature poems as we know them from his pre-war period, and the selection of poems Proti noci /Towards the Night/, which was published in 1993 and puts together the part of Smrek´s work unknown to the public until then which strongly protests against the ruling regime distorting the arts and the people. On the one hand, Smrek attacks the regime and comments on its perverted character and the general moral decline (Towards the Night), on the other hand, he seeks the way how to preserve the values of humanity and the humanistic idea of poetry (The Image of the World) in the world where such behaviour was ruthlessly suppressed, excluded and eliminated. Insisting on the humanistic meaning of a poet´s message is proved by Smrek´s lyric subject in the existence of two parallel poetic worlds, which enter unexpected relations and confrontations despite being seemingly autonomous as regards poetology and aesthetics. Provided eliminating the human being as a subject was one of the significant forms of the system, then Smrek saves the subject and gives him/her an authentic and true face, yet necessarily split into two. The contribution of the study is mainly meant to be in clarifying the mutual relations between the two lines of Smrek´s poetry (civil, political poetry and intimate nature poetry), which prove Smrek´s brave efforts to restore the human being, morality, ethos, the values of Humanism and freedom.
5

REFLEXIA VOJENSKÝCH VÝPRAV KÝRA II. V SÚDOBEJ LIETRATÚRE

100%
Habaj M.
Vojenská história
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2016
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vol. 20
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issue 1
6 - 17
EN
The author examined the military history of Persia in the 6th – 5th century BC, in particular the issue of military expeditions of Cyrus II. against the surrounding countries (Media, Babylon and other). Based on available sources – Greek on the one hand (Herodotus), and sources of “domestic” production on the other hand – Assyrian chronicles, inscriptions, religious texts, confronted with scientific literature, he makes an effort to reconstruct the story of several events, which have not been clearly identified or reconstructed yet, even according to the sources. Rather than reconstructing the historical story as a whole, the study concentrates on the bottlenecks of the aforementioned sources, with the effort to arrive as close to the original tradition as possible. In case of war on Media, the author dealt with the question of historicity of the Persian thraldom, dating the conflict in cuneiform documents, and division of the conflict into several stages, as found in ancient sources. In the conflict with Lydia, the author focused on the damaged spot in the Chronicle of Nabodinus, which enables to interpret the conflict not only as a war on Lydia but on Urartu or Suhu as well. The study analyses also the issue of the death of Kroisos, based on the ancient sources along with various interpretations of the Chronicle of Nabodinus. Doing that, the author examines various testimonies, by Herodotus, Ctesias, Justin, Bakchylides or the representation on the so-called Myron’s vase. The author included also the chronology of events in Justin’s work, since the Roman historian did change it compared to the other sources. The author tries to answer the question what was the Roman’s motivation. As regards the conquest of Babylonia, the author analysed the Chronicle of Nabodinus, Cyrus’ Edict, Herodotus, and Berossus. By analysing them, he arrived at surprising correlations in the Persian attack scenario, which suggest that the events have remained well preserved in tradition.
6

BÁSNIK V ČASE. POÉZIA JÁNA PONIČANA 1929 – 1942

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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issue 6
449 – 468
EN
The goal of the paper is to show evolutionary transformations and identifications of Ján Poničan´s poetic gesture in the most important period of his work i.e. time from the 1ate 1920s till the early 1940s. The paper follows Ján Poničan´s poetic evolution against a background of his individual collections of poems published after his debut book: Demontáž (Disassembly, 1929), Večerné svetlá (Evening Lights, 1932), Angara (1934), Póly (The Poles, 1937), Divný Janko (Janko the Weirdo, 1941) and Sen na medzi (Dreaming in a Furrow, 1942). What is characteristic is the gradual transformation of his poetic form and expression and his departure from the Avant-garde poetics towards the Neo-symbolist poetics and original Romantic sources. While the collections of poems Demontáž and Angara develop the revolutionary and activist line of Poničan´s poetic gesture, they draw inspiration from movements such as Constructivism, Futurism, Expressionism and Proletarian poetry, and represent the sort of social functional poetry, the collection Večerné svetlá follows in the footsteps of the Apollinaire type of poetry, Sensualism, Vitalism and Poetism within the framework of the Avant-garde poetics. At the same time during the 1930s the historical optimism of Poničan´s poetic gesture becomes weaker and weaker and alongside the change in poetics and inclination to tradition and cultural memory pessimism and scepticism appear on the social and historical as well as the intimate and psychological level. His switch over to using rural and rustic images of national identity and reconnecting with cultural tradition is a kind of paradox with regard to the poet´s past as a representative of the civilizational poetry movement pursuing the ideals of revolution, industrialization and modernization. The social aspect moves away from the identification with the proletarian class to the category of nation and people. The contribution of the paper can be found in clarifying the evolution of Poničan´s poetic gesture and in identifying the typological, aesthetical and ideological features and specifications of his individual collections of poems.
7

BÁSNIK V ČASE. SYNTÉZA „ROZDVOJENÉHO“ SVETA V SUBJEKTE (POÉZIA LACA NOVOMESKÉHO 1923 – 1939)

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
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issue 6
491 – 508
XX
The goal of the paper is to show the evolutionary transformations and identifications of Laco Novomeský´s poetic gesture in the interwar period of his work. The subject of the research is Novomeský´s poetry written between the years 1923 – 1939, ranging from the juvenilia published in magazines (1923 – 1925), to his debut collection of poems Nedeľa (Sunday, 1927), collections Romboid (1932) and Otvorené okná (Open Windows, 1935), to collection Svätý za dedinou (The Saint at the End of the Village, 1939). Novomeský´s poetic subject does not find his position so easily as do those of his contemporaries (Poničan, Smrek); quite early, even before his debut, he abandons Utopism and the ideal of Revolution, ideas typical of those times, and subsequently also the illusory forms of love. Novomeský gives up completely optimistic positions in order to take on disillusion as early as his debut book, and the tendencies towards deficit, pessimism and tragic feelings deepen even further. The expression of disintegration, collapse and isolation is the crisis of objective time, and Novomeský finds a way out of it by associating himself with intimate time. The contribution of the paper can be seen in clarification of the evolution of Novomeský´s poetic gesture in relation to other similar authors (Smrek, Poničan) and identification of the method that Novomeský used to overcome and synthesize the opposites.
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