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LIBRETO AKO NÁČRT DEJÍN – ŠTEFAN DRUG A EXPOZÍCIA LITERATÚRA MEDZI DVOMA VOJNAMI (1968)

100%
Gavura J.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 5
359 – 367
EN
In 1968 a literary critic Štefan Drug was commissioned to take a part in an exhibition covering Slovak literature since the beginning to contemporary times. He prepared a period of interwar literature which had been a matter of numerous deformations during 1950s and partly 1960s, however, he presented the period with respect to its variety and aesthetic achievements. Eventually it became a precise and concise outline of literary history, probably the most precise one at that time. Drug used to his advantage the form of an exhibition so he can make the presentation not only vivid but also flexible with latest available sources of research. In the outline he was able to return some authors banned from official literature and correct the image of others that had been altered in favour of political engagement of the Communist establishment. Even nowadays, fifty years from the exhibition itself, Drug’s outline is an example of deep understanding of the Slovak literature written in the interwar period, with only minor corrections needed.
2
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POLITICAL INPUT IN MAKING POETS CULTURAL ICONS

100%
Gavura J.
World Literature Studies
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2016
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vol. 8
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issue 4
47 – 63
EN
This study analyses the role and degree of political involvement in the process of constructing poets as cultural icons in Polish and Slovak literature in the late twentieth and early twenty-first centuries. The main focus is on the Polish poets Zbigniew Herbert and Czesław Miłosz and the Slovak poet Laco Novomeský, but research also takes into consideration other Polish and Slovak poets (Wisława Szymborska, Ján Ondruš, and Ivan Štrpka). This examination reveals an important political input behind constructing these poets as cultural icons using the symbolic potential that the poets accrued over the years and were able to represent. The dynamic character of icons (accelerated by great geopolitical and social changes in East-Central Europe), however, causes a constant re-semantization and partially diminishes their iconic status, especially for upcoming generations. Despite a rearrangement of the hierarchy of layers in their iconic status, the poets are always associated with their poetic work, and the notable quality of this work keeps their potential for remaining or becoming cultural icons regardless of political circumstances.
3

HĽADANIE ABSOLÚTNEJ POÉZIE (OD ČISTEJ POÉZIE K NE-POÉZII: BREMOND, HLBINA, SILAN A GROCH)

100%
Gavura J.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 5
442 – 459
EN
In the early 1930s, a group of young Catholic poets entered the Slovak literary scene with a new approach to the creation of poetry derived from mysticism. Poets Pavol Gašparovič Hlbina (1908 – 1977), Rudolf Dilong (1905 – 1986), and Ján Haranta (1909 – 1983) found encouragement in the works La Poésie pure ([Pure poetry], 1926) and Prière et Poésie (Prayer and Poetry, 1926) by Henri Bremond who proposed aesthetic instructions that should lead to absolute poetry. The paradoxes of mysticism and poetry, however, proved to be unachievable in poetic practice, even less so when blended with new avant-garde movements of poeticism and surrealism. The most notable approach to absolute poetry in the first half of the 20th century can be found in the work of Janko Silan (1914 – 1984), whose epic-dramatic poetry, self-referential character of verse, and natural-human pantheistic and panentheistic view of the world eventually surpassed poetic spontaneity, wordplay, and Freudian psychoanalytic method. The most radical attempt at absolute poetry came after 1989 with the work of Erik Jakub Groch (b. 1957), who, through depoeticisation, reaches the threshold between literature and mysticism, pursuing goals in both the literary and extra-literary space. An important aim of Groch's absolute poetry is an attempt to execute transfer from literary to actual epiphanies.
4

ZVIERA AKO NÁSTROJ V KRESŤANSKY ORIENTOVANEJ SPIRITUÁLNEJ POÉZII

100%
Gavura J.
Slovenská literatúra (Slovak Literature)
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2023
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vol. 70
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issue 2
133 - 150
EN
The immediate connection between animals and humans became the basis for a long-lasting and highly structured relationship which also found its place in art and poetry. Slovak poetry uses animal elements with great intensity and variety taking into account a number of aspects: human dependency on nature as environment; the animal ancestry of humans on the one hand and exceptional qualities and faculties that distinguish humans from animals; the hierarchical ordering of the world based on the evolutionary progression leading to the superiority of the human. Examples from Slovak Christian-based spiritual poetry show that animal elements are most commonly used for defining the human character and for testing moral values. Less common, although still numerous, are poems with de-humanized depictions of people that reveal a possible crisis of an individual or of society. Spiritual poetry also reveals a hidden tension between the declared high value of nature and the inherent anthropocentrism of both art and Christian religion which outline clear hierarchies.
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