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1

JAN SMREK: THE POET AND THE WOMAN (Jan Smrek: Basnik a zena)

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2010
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vol. 57
|
issue 5
446-482
EN
The aim of the study is to point out the ethical, moral foundation of Smrek's artistic philosophy, his concept of love and erotic in the context with his poetic composition Basnik a zena (The Poet and the Woman). The poetic composition Basnik a zena (The Poet and the Woman) was published in 1934. It was ten years later than the first four chapters of it were published in the magazine. That is why we characterize his publication as a newly reworked edition. In the centre of Smrek's composition there is a relationship between the poet and the woman. From another point of view this relationship can represent the poetry and the love. Both of the topics belong to the key themes, the core for Smrek's philosophical concept as the whole. Smrek's concept of love as a humanizing power refers directly to troubadours' poetry and develops some noetic and aesthetic toposes of medieval courtesy. In the mentioned context we can understand Smrek's ambivalence between sensuality and courtesy, between physical desire and spiritual astonishing, between eros and ethos. This love paradox in both the troubadours' and Smrek's poetry has its function and form of secular spirituality. Smrek's concept of love is inseparably connected with moral regulations; the character of Smrek's erotic is in fact ethical. Smrek in the poetic composition Basnik a zena (The Poet and the Woman) formulates ideological foundations for his poetry and his artistic and poetic philosophy. The contribution of the study becomes evident also due to the fact, that the composition Basnik a zena (The Poet and the Woman) has not be analysed in details in the literary research, yet. For the following research it is crucial to consider what we depicted in the study - mainly the Smrek's concept of love and its affinities in the medieval troubadours' poetry and the humanistic meaning of it.
2

ADDITIONAL REMARKS ON 'BASNIK A ZENA' (TWO VERSIONS OF THE SAME POEM) (Dodatok k Basnikovi a zene (dve verzie jednej basne))

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2010
|
vol. 57
|
issue 6
552-559
EN
The aim of the article is to show the process of transformation of Smrek´s poetic gesture according to how the differences between the versions of poetic composition Basnik a zena (The Poet and the Woman) published in the magazine (1925) and in the book (1934. The second, the third and the forth chapter of the poetic composition published in the book (1934) differs from its version published in the magazine (1925). The major part of the composition was so much changed that we speak about the worked out and the late edition. Smrek made the changes probably in the period of 1933 and 1934 and they are interested not in terms of the change itself but because of the intention that is expressed through them. Transformation of Smrek´s poetic gesture is reflected in them, as it was being gradually established from the 20th to the 30th and they primarily express the transition from sensual type of Vitalism to the moral or ethically based type of Vitalism. The contribution of the article is in showing the existence of two different versions of the composition, as the literary historiography has ignored that fact until now or have not reacted to it. In the context of our research the results concerning the transformation of Smrek´s poetic gesture are relevant.
3

EMIL BOLESLAV LUKAC

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 5-6
381-394
EN
The aim of the paper is to determine basic semantically -aesthetic coordinates of the Emil Boleslav Lukac's debut 'Spoved' (Confession,1922) and to search 'topoi' of home in the context of his collections of poems 'Dunaj a Seina' (Danube and Seine,1925) and 'Spoved' (Confession, 1929). In the same year as the debut by E. B. Lukac 'Spoved' (Confession) a debut of Jan Smrek 'Odsudeny k vecite zizni' (Sentenced to Eternal Thirst) was published. Both collections of poems are influenced in significant measure by a poetics of symbolism and decadence. Similarity of them is not determined only by aesthetic, thematic, stylistic levels but it overlaps the level of composition. There are common semantic gestures in the cycles of both of the publications. They come through the similar transformation and vary identical authorial stylisations. In the second part of the paper the author deals with 'topoi' of home in the context of the collections of poems 'Dunaj a Seina' (Danube and Seine) and 'Spoved' (Confession). There is an evident shift from intimate borders to cultural, national and political borders. Both categories are connected through the category of regional and the co-part in complexness and compactness of Lukac's poetic world. In the centre of it there is an idea of home as a fundamental ethic value of his poetry. The last level of his poetic model of the world is always represented by theological, respectively cosmological level. It is true also for the collection of poems representing secular, respectively civil pole of Lukac's work. The paper contributed in primary identification of common starting points of two later periods characterized by two differently polarized poetic concepts of Smrek and Lukac, as well as in specification of several aesthetically semantic residua connected with 'topoi' of home in the context of chosen Lukac's collections of poems.
4

KONŠTRUKCIA SVÉBOV V CAESAROVÝCH ZÁPISKOCH O VOJNE V GALII

100%
Habaj M.
Historický časopis (Historical Journal)
|
2019
|
vol. 67
|
issue 2
193 - 213
EN
The name Suebi is one of the basic terms in ancient literature concerning the area between rives Rhine and Danube. Like any descriptive term applied from outside, it developed and acquired various levels and contents. The study is concerned with the formation of the concept in Caesar’s Memoirs of the Gallic War. The author considers the familiar problem of the origin of the work. It is still unclear whether Caesar wrote it all at once or gradually. This also concerns the question of the Suebi. In this context, the author considers the Suebi as they appear in Book Six. The Suebi here recall the Suebi in Book Four and they remain Caesar’s undefeated enemies, but they also have more realistic features. They appear to be only one of the tribes, which seek refuge from the Romans in forests. The study offers an explanation of these contradictions and analyses their place in individual parts of the work.
5

JAN SMREK (EVA AVE)

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 3
188-200
EN
The aim of the study is to find a place for the poetic composition 'Eva Ave' in the context of Smrek's official work as an integral part of it, and point out aesthetic, ethical and value residue that make the composition a part of Smrek's poetic model of a man and world. The poetic composition 'Eva Ave' was unofficially published under the pseudonym Cavaliere senza nome in 1942 and in a radical way it makes and evidence of some basic categories of Smrek's poetic model such as freedom, identity, ethos or morality. In the midst of the war years Smrek came back to the intimate topic of woman, beauty and love. He searched their capability in the combination of parody function and pornographic style. Smrek's paraliterary composition makes an innovation in the scheme of love, erotic lyrics in a way how they used to function in domestic literary tradition and he directly entered into the confrontation with the compositions of 'Ave Eva' (Jan Kostra), 'Noc' (Night, Jan Ponican) a 'Basnik a zena' (The Poet and A Woman, Jan Smrek). In spite of pornographic generic identity he established in the background of value (ethic and moral) starting points characteristic for the official part of Smrek's works. 'Eva Ave' is not only an expression of a subversive gesture of destruction of noble ideals, but behind the scene of instinctive and instinctual powers presented in a man he also identified religious and sacral resources. Smrek cancelled opposition of profane and sacral matter by pointing out the correspondence between material and spiritual character. The contribution of the study is mainly in potential opening of discussion about the text that became a part of Slovak literature only more than a half century and in enlistment of 'Eva Ave' into the context of official Smrek's poetic work.
6

GERMÁNI PRI CLASTIDIU (222 PRED N. L.) A V SPARTAKOVOM POVSTANÍ (73 – 71 PRED N. L.)

100%
Habaj M.
Studia Historica Nitriensia
|
2018
|
vol. 22
|
issue 2
277 – 291
EN
Traditionally, the passages of Posidonius or Caesar are considered to be the first mention of the Germans in the ancient literature. But, besides these well-known texts, there are still a few references that have been judged in the past, at least by some authors, that they might be authentic and precede Caesar's expedition to Gaul and his testimony about the Germans. The study discusses two of these references, the first is known inscription from Fasti triumphales dated to 222 BC and the other is a tradition that preserves the Germans in the Spartacus' army. The article not only sums up the current positions to the two, but also brings a few observations of its own.
7

PHILOSOPHICAL-AESTHETIC SOURCES AND PREMISE OF JAN SMREK'S 'SUNNY BOOKS' (Filozoficko-esteticke zdroje a vychodiska 'knih slnecnych' Jana Smreka)

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 3
259-271
EN
The goal of the study is to place the poetry of Jan Smrek's 'sunny books' into the wider philosophical, artistic and cultural-aesthetic context of the early 20th century. The influence of Bergson's philosophy on the artistic thinking, culture and sensibility of modernist literature of the time proves to be more and more significant. In the context of the philosophy of life (Bergson, Dilthey, etc.) and related artistic-aesthetic, philosophical and psychological concepts (Husserl, Jung, Steiner, Guardini, etc.) it can be seen revitalisation of religion, mythology and spirituality, whose sources can be traced back to German idealistic philosophy, romanticism and the tradition of hermetic-esoteric sciences. With the intention of reconstructing culture, values and meaning, several modernist artistic-aesthetic manifestos (Anglo-American modernism, Russian acmeism etc.) turn to the principle of cultural memory and the tradition, which they reformed by modern means. Those attempts are developed within the intentions of Bergsonism. The identical dynamic understanding of a tradition can be found in Jan Smrek's artistic-aesthetic manifestos. In a narrower context, the influence of the vitalism-oriented Czech thinking (the artistic branch - Neumann, Sramek and the theoretical-aesthetic branch - K. Capek, J. Capek, Salda, Cerny) on then forming Smrek's poetics and aesthetic beliefs is also interesting. The gain of the study can be clear with regard to the fact that the influence of Bergsonism and vitalism on Smrek's poetry has not yet been analysed or researched. The most important is to grasp Smrek's aesthetic gesture in a wider context of artistic and theoretical thinking of the time.
8

ANTICKÉ POZNÁVANIE DUNAJA OD 8. STOROČIA PRED N. L. DO 1. STOROČIA N. L.

100%
Habaj M.
Historický časopis (Historical Journal)
|
2018
|
vol. 66
|
issue 2
193 - 218
EN
The Danube was one of the most important rivers in ancient geography. Its upper and middle course divided the Romans from the tribes to the north, while its lower course separated the Greek world from the Scythians. In ancient thought it was not only a real natural barrier, but also the boundary of the oikumené, the meeting place between the civilized world and the mythical north. The study considers the phases of the process of discovering the Danube from its first mentions until Augustus, when its whole length was known as a result of Roman expansion. The whole process of exploration is evaluated on the basis of ancient sources, epigraphy and archaeological finds. Relevant events are mentioned, and the sources of various ideas and traditions are analysed.
9

SULLA A JEHO AUGURÁT

100%
Habaj M.
Studia Historica Nitriensia
|
2023
|
vol. 27
|
issue 1
3 - 16
EN
The study deals with Sulla’s place in the augural collegium. Sulla’s priesthood in this college is generally accepted by the authors, but there are also doubts. An essentially completely unresolved question remains regarding the dating of his office. The author of the study re-evaluates the source material and arguments in the research, mainly the report of Suetonius, the interpretation of the coin RRC 359, the coin of Sulla’s grandson Q. Pompeius Rufus RRC 434/2 and Appianus. The author brings his own solutions and evaluations, he also proposes his own conclusions.
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