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ŠTYRI ŽIVLY V DIELE FAUST

100%
Šantová K.
ESPES
|
2014
|
vol. 3
|
issue 2
83 – 92
EN
The article shows the way of explaining the four elements in the artwork Faust. There are more authors who claim that the times of Hegel and Goethe were the last period, during which was four elements taken as a topic of philosophy and science. Goethe was a person representing the science and the art in one. Bockemühl is comparing the Goethe ́s steps of research to the four elements, His research of the scientific images were transported as symbols into the both parts of Faust. The article offers more opinions on the topic of the four elements: Sullivan describes Goethe ́s Witterunglehre, Kalnická writes about the water as a symbol of the female element. Jung analyses Mefisto as an example of the temptation in the form of an attractive light (flame). The author is considering the option that Faust as a person may be a representative of the culture which stands as an opposite to the nature (elements). The four elements are Faust ́s competitor during his wandering. The last part of the text is concluded by three chosen illustration of the Faust. All of them were made in different times.
2
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SLOVENSKÝ PREKLAD GOETHEHO FAUSTA V RUKOPISNEJ POZOSTALOSTI KAROLA STRMEŇA

100%
Čakanek J.
Slovenské divadlo (Slovak Theatre)
|
2021
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vol. 69
|
issue 4
388 - 402
EN
The Slovak translations of Goethe’s Faust, the fragmentary translation by Karol Strmeň from the late 1940s or early 1950s is completely outside the academic discourse. Until now, it has lain unnoticed in the Literary Archive of the Slovak National Library as a part of the author’s extensive manuscript estate transferred from the USA. The absence of its critical reflection has caused a rupture in the continuous mapping out of the Faustian translations in Slovakia and created an illusion of the unwavering status of Móric Mittelmann Dedinský’s representative translation from the 1960s. The main aim of this study is to approach the personality of Karol Strmeň through the prism of extra textual factors (the socio-historical context, the subject of the translator, SLOVENSKÝ PREKLAD GOETHEHO FAUSTA V RUKOPISNEJ POZOSTALOSTI... 401 a political gesture and a political event) and to determine the extent of their influence on Strmeň’s translation poetics. The latter will be analysed by employing a method of strict comparison of the structural and aesthetic dominants of the translation with Johann Wolfgang Goethe’s original.
3
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NESMRTEĽNOSŤ, MOC A DÉMONICKÉ SILY

88%
Makky L.
ESPES
|
2014
|
vol. 3
|
issue 2
52 – 60
EN
The story of Faust is a part of European culture and mythology for five centuries and modified and reflected looking of the society upon some key questions in various transformations. Faust has never been alone in his effort to reach an absolute knowledge and power, even at the expense of his own execration. Other iconic beings of folk literature or folk imagination and fiction following their own ambitions were ahead of him and followed him. The aspect of power as a dominant determinant of not only Faust’s effort became determining element of investigation in submitted article. The author accesses the problem of power in wider social-cultural contexts and looks for matter, origin and symptoms of its attraction following its transformation and possible aesthetical influence on the individual in the work reception and even in personal acting and creating of aesthetical preferences of the recipient.
4
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THREE VARIATIONS OF THE FAUST MYTH IN 20TH-CENTURY LITERATURE (Tri variace faustovskeho mytu v literature 20. stoleti)

75%
Svaton V.
World Literature Studies
|
2010
|
vol. 2 (19)
|
issue 3
17-26
EN
The article analyses three novels of the 20th-century (Thomas Mann: Doctor Faustus, Vladimir Nabokov: Luzhin's Defense and Jachym Topol: Night Job) on the basis of their engagement with the Faust myth on various levels. The problem is productive not only in relation to the understanding of the myth as 'an unceasing cosmic dynamics of the multi-layered contingencies and dependencies of all inter-world entities' that guarantees a transcendence of individual consciousness, but also the genre of the novel, which has an ambiguous relationship towards the myth - either it accepts the mythical imagination of the cosmic order, or it accepts the 'world order'. Readings of these three 20th-century novels bring opportunities for their contextualization within the world of myths from these two perspectives.
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