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1

RICHARD WEINER AND THE AVANT-GARDE

100%

Zajac P.

Slovak Review. A Review of World Literature Research

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2004

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vol. 13

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issue 1

25-33

EN

Apart from poets like R. M. Rilke, P. Valéry, T. S. Eliot, O. Mandelshtam, S. Lörincz or V. Holan the late modern pendant to the avant-garde includes also prose-writers, e. g. Richard Weiner. Contrary to the avant-garde aesthetics of blasphemy and shock, he develops the aesthetics of terror. His works, especially the short story 'An Empty Chair' are based on some unexplainable guilt, not caused by any act of the individual, bound to endless horror: every time one seems to reach its bottom there is only more terror, emptiness and nothingness. Weiner's perception of sublimeness as tremor and fear of the magnificence of the terrible oscillates between negative theology of emptiness and nothingness and the aesthetics of mythical epiphany and unity possible exclusively in a dream.

2

KOCURKOVO AS A SLOVAK ANTI-MYTH

100%

Zajac P.

Slovenská literatúra (Slovak Literature)

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2005

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vol. 52

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issue 4-5

348-368

EN

In the 70s and the 80s of the 20th century, a new view of Záborsky's literary work began to occur. A. Bagin formed the key hypothesis about Záborsky as a modern author. The problem of comical in his works was opened by S. Rakus and A. Kruláková. A. Kruláková was also the first who depicted an irony line in the Slovak literature from Bajza, Chalupka to Záborsky. Then J. Stevcek, V. Mikula and P. Darovec adopted it into their interpretations. In his interpretation of the prose by P. Vilikovského 'Vecne je zeleny ...' (Ever Green Is...) P. Darovec worked it up until the present time. In the 70s and 80s O. Cepan dealt with the poetics of Záborsky's prose most intensively. In Záborsky's prose he identified paradox and irony as its primary features. Both O. Cepan and A. Kruláková revealed the domination of low (Bachtin) carnality. In his 'Summary to Faustiáda' (1984) and mainly in his introductory study 'Staromilsky novátor' Jonás Záborsky? in 'Dielo' I (1989) Oskár Cepan changed his former thesis about Záborsky as a late Classicist and he described his work as a part of Romanticism, its 'reverse', negative and natural negation. All main features of Záborsky's prose texts as its intentional anti-myth character, heteronymous character, monsterlikeness, paradox, irony as a reflexive duplication of the text, metalepsis as a basic rhetoric figure, grotesque as a genre of 'flying arabesques' prove that Záborsky's late proses mainly 'Faustiáda' belong among the works that use the Romantic irony. The latest Slavic research has identified the Romantic irony as a discourse of the late Romanticism in Pushkin's 'Eugen Onegin' (H. Meyer), in Slowacki's 'Balladyne' (M. Zmigrodska, G. Ritz) or in early works of Hálek (Z. Hrbata, M. Procházka). Also the study 'Kocurkovo' as a Slovak Anti-Myth belongs to this line of research.

3

AESTETICS OF VIBRATION AND WALTER BENJAMIN

100%

Zajac P.

Slovak Review. A Review of World Literature Research

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2007

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vol. 16

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issue 1

49-54

EN

The author of the study shows that Walter Benjamin can be considered, on the basis of the analysis of his key notion 'Jetztzeit', a significant theoretician of the aesthetics of the sublime. Thanks to the exposition of the moment of fear in the 20th century, it became a legitimate counterpart to the 'aesthetics of cruelty', the Avant-Gardes lead into. Even though Benjamin never defined the aesthetic programme of the sublime explicitly his essay 'The Work of Art in the Age of Mechanical Reproduction' as well as the correspondence with Adorno from the end of the 1930s bring evidence about his specific paradoxical perception of the sublime as a fear of its lost. The experience with several forms of mechanically reproduced fine art in the 20th century at the same time shows, that it is not necessarily to be reserved the utopian moment of uniqueness, suspended in Benjamin's notion of aura, merely for the so-called auratic art insomuch that it can also be present in the forms of mechanical reproduction of art.

4

A POET OF THE END

100%

Zajac P.

Slovenská literatúra (Slovak Literature)

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2005

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vol. 52

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issue 1

3-13

EN

The turn between the 19th and the 20th centuries becomes a crucial point of the Slovak literature of the 20th century. It is a meeting point and a point of confrontation of two generations and two different poetics. This confrontation has been reflected in the literary historiography as a polemic between Parnassism and Realism with Modernism - just coming into the world. The comparison of Hviezdoslav's and Krasko's lyricism as it shows a comparison of a Hviezdoslav's poem 'Postrán cesty topole' (Poplars Along the Road) and a Krasko's poem 'Topole' (Poplars), depicts that both poets were connected with each other through several common factors: common contemporary feeling of melancholy, situation of 'two souls', individualistic and collectivistic ones; the feeling of human fate, many times described by a symbolic picture of a Sphinx, or frustration from a prevailed pragmatism. It is also clearly evident that foundational difference among these poetics could not be overcome. Hviezdoslav's poetic in a moment came to touch, convergence with a poetic of Modernism and what more there was a momentarily penetration, but soon after it declined and mutual polemics and misunderstanding accompanied their divergence. Finally Hviezdoslav kept his position of being a poet of the end of previous epoch.

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4 Zajac P.

RICHARD WEINER AND THE AVANT-GARDE

KOCURKOVO AS A SLOVAK ANTI-MYTH

AESTETICS OF VIBRATION AND WALTER BENJAMIN

A POET OF THE END