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1

PIESNE JÁNA MÓRYHO (1892 – 1978) NA THÁKUROVE BÁSNE

100%
Bárdiová M.
Musicologica Slovaca
|
2011
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vol. 2 (28)
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issue 2
230 – 250
EN
The award of the Nobel Prize for Literature in 1913 to the Bengali writer, philosopher and teacher Rabindranath Tagore (1861 – 1941) for the collection Gitanjali created considerable interest in his work in Europe and America. One of the first writers who set his poems to music was the Czech composer J. B. Foerster; others included Leoš Janáček and Alexander Zemlinsky, of the Slovak composers Alexander Albrecht and the others. In 1923 Ján Móry (1892 – 1978) composed Tagore Album, op. 12, a cycle of 14 songs for vocals and piano, which was issued in printed form by the Ries & Erler publishing house in Berlin. This cycle enriched the work inspired by Tagore’s poetry in Czecho-Slovak and European musical culture.
2

PROTOTEXT A JEHO ZMENY (BÁSEŇ IVANA LAUČÍKA V LISTE PETROVI REPKOVI A JEJ SEGMENTY V BÁSŇACH BIELY FILM A TAM, KDE NIE SOM)

100%
Mikšík M.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 3
268 – 278
EN
The article provides interpretation of the changes the prototext of Ivan Laučík’s (1944 – 2004) poems “Biely film” ([White film] from the collection Havránok, 1998) and “Tam, kde nie som” ([There, Where I’m Not] from the collection Na prahu počuteľnosti [At the threshold of hearing], 1988) underwent since it was included in the letter to Peter Repka from the 10th September 1970. The contribution concentrates on three main issues. The first one concerns the intertextual reference the prototext makes to the poem by the French journalist and author Jean-Paul de Dadelsen (1913 – 1957) “Jonas” and the possible meanings it brings to the prototext. The absence of this reference in the poem “White film” serves the convergent function. The article then provides a comparative interpretation of the changes between the prototext and the poem “White film”. These appear to have made the poem clearer and strengthened its metaphysical aspect through intensifying the presence of “illumination/light” motives and elements in the poem. Finally, the contribution analyses the modifications the last four lines of the prototext underwent before they were included in the poem “There, Where I’m Not”. The article argues that the poet attempted at simplifying the segment as to the poetic devices it employs and at making it clearer. In result, the singular lived experience was transformed into a general maxim.
3

HALASOVE BÁSNE V PREKLADE ANTONA STRAKU

88%
Ondrejcsák E.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 2
135 – 151
EN
The paper intends to point out to the translating activity of Anton Straka, cultural attaché of the Czechoslovak Republic in Hungary during the interwar period, particularly in relation to František Halas´s piece of work called Staré ženy/Old Women. The piece of work had been translated several times but in the given period of time it was Straka´s translation titled Anyókák that stood out. The work or its translation was published by the Publishing House of Eugen Prager in Bratislava in cooperation with magazine Szép Szó. Anton Straka did the translation with the help of a well-known poet Attila József as well as Boris Palotai. Thanks to the cooperation with Attila József the poem Anyókák/Old Women was first published in magazine Szép Szó. The whole of the translation process has been preserved in the records which are found in the Petőfi literary museum in Budapest.
4

A MODERN LINGUISTIC APPROACH TO ATTILA JOZSEF'S POEMS

88%
Balazs G.
Magyar Nyelvor (Hungarian Language Guardian)
|
2005
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vol. 129
|
issue 4
452-461
EN
This paper surveys some new aspects of approaching literary works of art in terms of a sequence of trends in linguistics and literary criticism that emerged in the second half of the twentieth century. Those trends did not simply follow one another, but they also reflected on one another in many ways and even synthesised the others in certain respects. They included the structuralist, semiotic, textological, pragmatic, and cognitive approaches. In particular, the paper discusses those aspects in Attila Jozsef's poem 'You know there is no remission.' In Part One, some of the structural/textological/rhetorical characteristics of the poem are mentioned (structure, syntactic structure, versification, verbality, vocabulary, word-ethics, some figures, etc.). In Part Two, evidence is provided of the self-addressing character of the poem in terms of a recent, cognitive approach to literary criticism, and the text focus (the centre of textual organisation) and text topic of the poem are determined. The poem's attitude to time is explored, pointing out that rheme-enhancing particles do make it time-confronting. Finally, in terms of the semiotic and cognitive approaches (claiming that language creation is iconic and language use is energy), the iconicity of certain words occurring in the poem is pointed out. The author's aim with the analysis is to bring linguistic and literary approaches closer to one another.
5
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“MIT DEM GEDICHT UND DURCH DAS GEDICHT – ANAMNESIS!” RILKE, CELAN UND KRYNICKI

75%
Roszak J.
World Literature Studies
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2012
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vol. 4 (21)
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issue 4
24 – 37
EN
The article concentrates on the intertextuality of Celan, Rilke and Ryszard Krynicki (a Polish poet of the “New Wave” generation and translator of Celan´s poetry). Eugeniusz Tkaczyszyn-Dycki entitled one of his poetry books Poezja jako miejsce na ziemi (Poetry as a place on Earth). For the authors who she mentions in the article poetry is indeed a place to dwell. The reflections concentrate on biographical signals (chronotopic) encrypted in a poem (geo-poetry), also read out from a connected with (new) biographism – geo-poetic prospect (hermeneutics of the place and situation). To Paul de Man´s question, included in the article Autobiography as Defacemet whether an autobiography can be written in the form of a poem, it is fitting to answer that, indeed, it can. In the article the author associates geo-poetics with biographical orientation.
6

K OTÁZKE ŽÁNROVEJ CHARAKTERISTIKY TABLICOVEJ BÁSNE LUBINSKÝ Z LUBINÉ A ROZÍNA MILOVSKÁ

75%
Rišková L.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 4
277 – 296
EN
The poem Lubinský z Lubiné a Rozína Milovská (Lubinský from Lubiná and Rozina Milovská) proves the syncretic nature of Bohuslav Tablic´s poetry. In the literary-historical overviews to date the accent has been placed on its didactic, even moralistic character, which is suggested by the subtitle as well as the basic plotline: the just punishment of a wrong deed, a violation of the moral law. The detailed analysis of the text questions the straight forward genre identification of it as a marketplace song having moralistic tendencies. The didactic principle is minimized - it is only used on the thematic level. Tablic carefully chose to use such means that help divert attention from the „warning story“ itself to the inner tragedy of the main character of Rozína – he tactically employed e.g. the motif of fear and mysteriousness, strong emotionality and suspense in the narration. Noticing the features moves the genre identification of this poem of Tablic´s closer to the ballad.
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