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DURISIN: THE DRIFT TOWARDS INTERLITERARINESS AND PROCESSUALITY FROM THE POINT OF VIEW OF THE WORLD

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Koprda P.

Slovak Review. A Review of World Literature Research

2006

vol. 15

issue 2

122-147

The objective of the paper is to point at the superficial character of the contemporary sociology and the culture oriented trends in the research of the interliterariness. It has been very often neglected that the object of the literature research is the beauty of literature, as that which causes the changes in the development. There was a Russian-Slovak (and structuralist) chapter in the history of interliterariness. At present it lives as a whole in the world but its findings have been utilized differently. Unfortunately, it appears that the theses of the Russian-Slovak school have been exploited for the utilitarian goals. Instead of the aesthetic essence of a phenomenon in its historical form, which was Durisin's intention, the models of literature subjugated to a cultural interest has become an objective of the research of interliterariness. The paper is also devoted to the various forms in which Durisin is present in the contemporary theory of interliterariness. In this connection, Franka Sinapoli maintains that the hermeneutic value of the history of interliterariness has been increased and that Durisin is the key personality of this encouraging occurrence. Mario Juan Valdés says that interliterariness is the only research project that proves the invalidity of Foucault's episteme theory. It is due to the fact that the hermeneutic value of the history of interliterariness increased after the Russian-Slovak period. The paper also focuses on Earl Miner's theory. Miner maintains that 'comparisons are more stimulating if they place real differences into mutual relationships'. Lotman proves that Durisin found out that a difference in the sign (of a structure) is equally relevant as the difference between the literature of Western Europe and that of Japan. Nowadays, even the thematic criticism (Harry Perkins) holds that literature is based on a difference (distance) of what is actually close. In spite of this, Durisin is conceived of as a founder of the transition of literary research from intraculturality to interculturality, i. e. as a theoretician of 'big differences'. Unfortunately, the idea that only a big difference is a difference, and that only a big difference is worth of examination, and that all minute differences are the forms of identity is so wide-spread that it creates a new situation in the theory of interliterariness in the form of a return to the big literatures, to the big literary phenomena. This idea is dangerous to the Slovak literature, to the Slavonic interliterary community, to the Czecho-Slovak interliterary community, and, generally, to interliterary communities which are a form of existence of the world literature.

KOLLÁR'S POEMS IN THE LIGHT OF PETRARCH'S 'CANZONIERE'

100%

Koprda P.

Slovak Review. A Review of World Literature Research

2004

vol. 13

issue 2

114-132

This study compares the collection of Jan Kollár 'Poems' (1821) and Petrarch's 'Canzoniere'. First it deals with the developent of notion 'modern literature'. Augustine of Hippo described the origination of the notion of 'free will' as the possibility for a human being to change from the stationary good to a self-creative good - that means being responsible for self-creating himself as the good - in the way that a human employs his tools and categories to his inner and outer world meanwhile he recgonizes the validity of his categories as changeable. Here arises the human responsibility for self-creation which came into being mainly in the work of Petrarch as the basics of modern poetry. Both Petrarch and Kollár were inspired by the teachings of Augustine of Hippo, in whose view a Christian understands happines as an inner disposition that he employs when deals with everyday life. His focus is on happines even though he is in miserable position. The structure of Petrarch's 'Canzoniere' emphasises the meaning of Augustine's conception that is to teach people to be happy even in abasement and adversities. Thus all of his poems result as complicated answers to an appeal to a poet - and humans in general - to deal with degradation and depression, to elevate themselves over the disastrous events by accepting them as the historical facts. Kollár handled the problem of 'being happy in adversities' as a cultural extension of Petrarch's 'Canzoniere'. If a human being is able to experience happiness even in an extreme need, than there is no limitation for the poet to approach the issue as a moral and social imperative. Many Kollár's rhymes express this view as an appeal for a particular community, over all the Slovaks, to maintain their social energy. In his work 'Slavy Dcera' he applies this poetics to all the Slavic nations. The analysis of the first seven Kollár's poems shows, that Kollár directly reproduces the structure of categories in Petrarch's 'Canzoniere', although it differs in point of view. He does not lay importance on the function of poetry as a consolation in adversities, but he reflects the Augustine's thought that the feeling of happiness prevails in a Christian in every moment. In the prospect of this conception, he opens the possibility to represent the disposition to happiness as a moral and social strenght of both - an individual and society, and as a style of organization of social communication.

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2 Slovak Review. A Review of World Literature Research

1 2006

1 2004

2 Koprda P.

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DURISIN: THE DRIFT TOWARDS INTERLITERARINESS AND PROCESSUALITY FROM THE POINT OF VIEW OF THE WORLD

KOLLÁR'S POEMS IN THE LIGHT OF PETRARCH'S 'CANZONIERE'