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1

ZRODENIE LEGENDY: MEDZI HURBANOM A VLČKOM

100%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 3
222 – 237
EN
The study deals with the concept of Romanticism formulated by Jaroslav Vlček as it is represented by his literary historical works Literatura na Slovensku, její vznik, rozvoj, význam a úspěchy (Literature in Slovakia, Its Beginning, Development, Meaning and Success, 1881) and Dejiny literatúry slovenskej (The History of Slovak Literature, 1898, 1890). It is seen as the invariant of the monolithic interpretation of the Slovak Romanticism, which has had a well-established tradition in the Slovak studies since the second half of the 20th century, therefore the attention is paid to the description and the process of framing the concept. The essential notion is that of „Štúr´s school“ and its formation, which was canonized as the designation of the Slovak Romanticism. Against a background of that the study examines Vlček´s concept of Romanticism and his way of formulating it in the context of the images of the Slovak Romanticism built up by Slovak Romantic writers with regard to the interpretation by Russian expert in the Slavic studies Anton Budilovič. The goal of the study is to show which sources and traditions, i.e. the earlier views of literary history, gave rise to the monolithic concept of Romanticism represented by Jaroslav Vlček´s literary historical concept. The secondary goal of the study is to address selected partial problems concerning literary historical activities related to the Slovak Romanticism as well as the writing of history in general.
2

MY, VYDAVATELIA

100%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 2
115 – 138
EN
The goal of the article is to show cultural environment factors which determined the form and reception of the two parallel collections of fairy tales, Slovenské povesti (1858 – 1861) by August Horislav Škultéty and Pavol Dobšinský and Slovenské pohádky a pověsti (1857 – 1858) by Božena Němcová, accenting the differences in the concept of fairy tales and the publishing of them, and mainly how the subjects traditionally called publishers or editors understood their own function and role. Recognizing the roles and functions of the subjects of the processes (those of authors´ and those of publishers´) proved to be essential for the form of the collections in question – it is closely connected to the Romantic concept of authorship as they have been seen lately in relation to Rukopis královédvorský (Dvůr Králové manuscript) and Rukopis zelenohorský (Zelená Hora manuscript) by David L. Cooper (2012). The categories and aspects related to the forgery as one of the Romantic forms of authorship which the American bohemist writes about correspond in several respects with the process and phenomenon accompanying the edition of Slovenské povesti and subsequently condition of the Slovak national revivalists´ attitude to the collection (in a narrower sense the reception of Slovenské pohádky a pověsti). The categories such as authenticity, originality and simulation make it possible to view the authors of the fairy tales in Slovenské povesti in the literary-theoretical sense with regard to the category of author without the traditional burden of the folklorist approach, which has so far refused to identify the particular fairy tale authors.
3

ROZPRÁVKY-PALIMPSESTY (K PODOBÁM AUTORSTVA V ROZPRÁVKACH SLOVENSKÝCH ROMANTIKOV) II

100%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 2
89 – 105
EN
The goal of the study is to present the methods that gave rise to the folk tales included in the collections Slovenské povesti (Slovak Tales, 1845), Slovenské povesti (Slovak Tales, 1858 – 1861) and Prostonárodné slovenské povesti (Simple National Slovak Tales, 1880 – 1883), which have been regarded by the literary historiography as records of folk tales (fakelore), and to reflect on the ways and the circumstances under which it is possible to regard the subjects involved in the text-forming process converting folk tale originals (subject matters, methods, narration, composition, stylistics and language elements) into the tales as they were published by the generation of the Romantic writers, as the authors (not only the collectors, publishers and editors). Having identified the particular text-forming techniques in the researched material and using some examples from the individual editions, J. Pácalová defines the author as the creative subject who leaves his distinct "layer" in the text via his creative initiative, which has led to an irreversible modification of the (original) text. She shows how combining the individual authors´ "layers" gives rise to a text which has the character of a palimpsest. She notes that it is not possible to identify the particular (and the only) author in each tale because there are various types of author-editor competences including their overlaps as well as the limitations of the manuscripts and the unreliable editorial references to the sources and founts. Furthermore, it is also not possible due to the fact that the majority of the folk tales were composed by compiling-conventionalizing the second editions and it turns out to be more appropriate to assume an interference of several authors rather than just a „single“ one. In case of such texts even their authors can be seen as a palimpsest.
4

VIDINA A SKUTOČNOSŤ LEOPOLDA ABAFIHO

100%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2015
|
vol. 62
|
issue 5
410 – 426
EN
The paper analyses a – yet not reflected on – prose by a marginal Romantic writer Leopold Abafi (1827 – 1883) Vidina a skutočnosť /Illusion and Reality/, which was published as a serial in the magazine Sokol (1860). It deals with one of the major topics of Slovak Romantics – love of your homeland and determination to give yourself over to it, while the reduced plot and the emphasized reflexive element in the text make the prose seem like reflexive lyrical Romantic poems about love of one´s nation, which are continually present in Slovak literature throughout the19th century from the 1830s. The text analysis and secondary information sources (correspondence) helped the author of the paper date the text at the second half of the 1840s and put it in the context of the literary works by the poets of the so-called Levoča circle, where – according to Oskár Čepan – the efforts of Slovak Romantic thinking to form the ´Slovak lad´ prototype culminate. She finds and interprets another context of the prose in autobiographic genres published in the second half of the century (Závaté, ale nezapomenuté listí Jozefa Miloslava Hurbana, Hidden but unforgotten leaves of Jozef Miloslav Hurban, Sokol 1862; Rozpomienky na dni peknej mladosti Daniela Maróthyho, Memories of the Days of Daniel Marothy´s Nice Youth, Orol 1873).
5

ZRODENIE LEGENDY: MEDZI HURBANOM A VLČKOM

100%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 4
265 – 291
EN
The study deals with the concept of Romanticism formulated by Jaroslav Vlček as it is represented by his literary historical works Literatura na Slovensku, její vznik, rozvoj, význam a úspěchy (Literature in Slovakia, Its Beginning, Development, Meaning and Success, 1881) and Dejiny literatúry slovenskej (The History of Slovak Literature, 1898, 1890). It is seen as the invariant of the monolithic interpretation of Slovak Romanticism, which has had a well-established tradition in the Slovak studies since the second half of the 20th century. Therefore the attention is paid to the description and the process of framing the concept. The essential notion is that of „Štúr´s school“ and its formation, which was canonized as the designation of Slovak Romanticism. Against a background of that the study examines Vlček´s concept of Romanticism and his way of formulating it in the context of the images of Slovak Romanticism built up by Slovak Romantic writers with regard to the interpretation by Russian expert in Slavic studies Anton Budilovič. The goal of the study is to show which sources and traditions, i.e. the earlier views of literary history, gave rise to the monolithic concept of Romanticism represented by Jaroslav Vlček´s literary historical concept. The secondary goal of the study is to address selected partial problems concerning literary historical activities related to Slovak Romanticism as well as the writing of history in general.
6

ROZPRÁVKY-PALIMPSESTY (K PODOBÁM AUTORSTVA V ROZPRÁVKACH SLOVENSKÝCH ROMANTIKOV)

100%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 1
1 – 12
EN
The goal of the study is to present the methods that gave rise to the folk tales included in the collections Slovenské povesti (Slovak Tales, 1845), Slovenské povesti (Slovak Tales, 1858 – 1861) and Prostonárodné slovenské povesti (Simple National Slovak Tales, 1880 – 1883), which have been regarded by the literary historiography as records of folk tales (fakelore), and to reflect on the ways and the circumstances under which it is possible to regard the subjects involved in the text-forming process converting folk tale originals (subject matters, methods, narration, composition, stylistics and language elements) into the tales as they were published by the generation of the Romantic writers, as the authors (not only the collectors, publishers and editors). Having identified the particular text-forming techniques in the researched material and using some examples from the individual editions, J. Pácalová defines the author as the creative subject who leaves his distinct "layer" in the text via his creative initiative, which has led to an irreversible modification of the (original) text. She shows how combining the individual authors´ "layers" gives rise to a text which has the character of a palimpsest. She notes that it is not possible to identify the particular (and the only) author in each tale because there are various types of author-editor competences including their overlaps as well as the limitations of the manuscripts and the unreliable editorial references to the sources and founts. Furthermore, it is also not possible due to the fact that the majority of the folk tales were composed by compiling-conventionalizing the second editions and it turns out to be more appropriate to assume an interference of several authors rather than just a „single“ one. In case of such texts even their authors can be seen as a palimpsest.
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