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1

A FOLK TALE RECORDED IN MITRO DOCINEC'S SONG-BOOK

100%
Zenuch P.
Slavica Slovaca
|
2004
|
vol. 39
|
issue 2
156-160
EN
The work describes circumstances of discovery of the folk narration text - the collection of paraliturgical songs in the Songbook of Mitro Docinec from the turn of the 18th and the 19th centuries. The author details the whole manuscript songbook and puts it through a palaeographic analyses. He assumes, that three foils of the manuscript containing the folk narration text were created earlier and come from the 19th century. The quality of paper doesn't correspond with the other paper of the manuscript. On the bases that the text is written in a different handwriting, the author speculates whom the mentioned manuscript belonged to. He aims mainly at discovering the origin of the text. By analysing selected language elements he places the text somewhere between Ruthenian dialect of Berez and Marmaros type. The other part of the study brings a topic analyses of the folk tale in both the international and domestic context. The article contains also an inscription of the text in Cyrillic. The language and cultural aspects of folk text are a bases for Slavic oriented research of the historical, ethnical, religious and language development of the Carpathian region.
2

FORMULA IN LITERARY TALES

100%
Pacalova J.
Slovenská literatúra (Slovak Literature)
|
2007
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vol. 54
|
issue 2
81-103
EN
The intention of the study is in the background of the stylistic and functional characteristics in realisation of the captions and closings in the literary tales of the 19th c. to point out those features of the compositional mean that we could evaluate as a specific for the literary tales of the mentioned period. The authoress analysed the captions and closings in the tales of three collections of the tales published in the 19th c.: 'Slovenske povesti Jana Francisciho' (Slovak Fables by Jan Francisci, 1845), 'Slovenske povesti Augustina Horislava Skultetyho and Pavla Dobsinskeho' (Slovak Fables by Augustin Horislav Skultety and Pavol Dobsinsky,1858-1861) and 'Prostonarodnych slovenskych povesti Pavla Dobsinskeho' (Folk Slovak Fables by Pavol Dobsinsky, 1880-1883). In the stylistically functional analysis the authoress regarded the way how the formula were presented in the folk proses (resource: so called Wolman's catalogue of folk tales). The realised comparative analysis results in information that formulas in the literary tales differ from the formulas in the folk tales by higher degree of stylisation filling the formal frame of a formula with new original content, increasing and advancing functionality of a formula (formula as a poetic decoration, folk artefact). Also within particular collection the authoress recorded the differences in the stylistic level and functional presentation as well as a generic determination. These differences concern extension of the collection, their generic content, way of literary genesis of the texts and goals followed by their editors. While e.g. Francisci's collection reflects generic representation of the formula the same as we can find in the folk tales, Dobsinsky's collection illustrates a wide scale of formula creational methods. The rhetoric formula are the most interesting, as in their cases it is possible to demonstrate very clearly differences between folk and literary way of framing the tales.
3

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

88%
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.
4

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

88%
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.
5

HONEST SHEPHERD CASE (FORMS, POSSIBILITIES AND RECEPTION OF ROMANTIC PROSE EXAMPLIFIED ON STEFAN MARKO DAXNER'S TEXT) (Pripad Statocny valach (Podoby, moznosti a recepcia romantickej prozy na priklade textu Stefana Marka Daxnera))

75%
Pacalova J.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 4
339-347
EN
The article analyses Stefan Marko Daxner's short prose called Statocny valach (Honest shepherd, 1843, in manuscript titled O drahom barancovi, Of an expensive ram), in which the writer used and creatively adjusted the narrative techniques and language typical of humorous folk genres. The prose proves interesting with regard to two different assessments made by both contemporaries and literary historians, which was caused by a type of print media it was published in. It was assessed as an original prose (Jozef Miloslav Hurban and Julius Noge) as it had been published in almanac Nitra (1846) as well as a folk tale (Pavol Dobsinsky and Cyril Kraus) as it had been published in Prostonarodne slovenske povesti (1883). The two different ways of receiving the prose conditioned by the criteria of literary experience are used to show there is a long-standing problem of the assessment of the literary works which are found somewhere between literature and folklore.
6

FORMY, PREJAVY A MYTOLOGICKÉ ASPEKTY HRANÍC V ĽUDOVEJ ROZPRÁVKE

75%
Gábor Ľ.
Slavica Slovaca
|
2015
|
vol. 50
|
issue 2
116 - 131
EN
This paper analyses functions and semantics of borders in the Slovak and Czech fairy tales. The study attempts to verify a hypothesis about the cosmological value of borders and boundaries like water surfaces, bridges, houses or woods in fairy tales, which are connected with the Indo-European and Slavic mythology based on G. Dumézil's theory. These borders include also magical value, because they delimitate the outside world and so they create two opposite, but perpetually connected faces of the world – inside the borders there are guaranteed stability, safety, health, life and peace for all characters and heroes of fairy tales, but outside the borders rule instability, fear, death and chaos. The hero crosses over the border to an unknown place, because he is displeased at the circumstances and wants to change his position in the society or find a princess that is when the process of his initialisation begins. The element of crossing over the border seems to be a magical ritual of pilgrimage to another world, in which the hero has been attacked by dark power (witches or forest robbers). The hero takes something from them and then he escapes back to his world coming through the borders, which cannot be violated by a dark power. His success lets him constitute new order and demark his world with new rules (cosmological and magical act).
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