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NÁBOŽENSKÁ A EXISTENCIÁLNA SKÚSENOSŤ V POÉZII JÁNOSA PILINSZKÉHO

100%
Szénási Z.
World Literature Studies
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2014
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vol. 6 (23)
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issue 1
74 – 87
EN
One of the obvious experiences of the past 150 years is that while the post-Enlightenment secularized society is breaking away, occasionally openly opposes the institution of conventional religious life, the themes and discourse of the modern and postmodern literature still preserve their attachments to Christian traditions. In the first part of the paper, the author describes the change from the end of the middle ages to the present that led to this state focusing on the development of the relation between theology and literature. Past the changes of horizons of modernity and post modernity, the characteristics of the oeuvre of several significant poets and writers of the 20th century are determined by religious approach and the use of religious motifs. János Pilinszky, considered to be one of the most significant poets of Hungarian literature after World War II, belongs to them. In the second part of the paper, the author examines the way how the religious experience of modern man is reflected in his poetry.
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THE GARDEN OF ARTIST, POET, THINKER. THE TERRITORY OF CREATION (Ogród artysty, poety, mysliciela. Terytorium tworzenia)

100%
Pienkos A.
Rocznik Historii Sztuki
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2009
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vol. 34
171-198
EN
The garden of the 'artist's house' (artistically created home of a writer, painter, or musician) could be examined in the categories of gardening history, searching for references to typical models or solutions. We know of the influence of gardens of various artists on the solutions introduced in the art of gardening (for instance Alexander Pope or William Shenstone). More often gardens of this type are governed by rules of individual creativity, they have no specific traits and as a rule they do not belong to the history of gardening. From antiquity through Renaissance a garden brought to mind meditation and creation. More than a house it would be the figure/prefiguration of a place of creation and the product of a creation act. It is this role it plays in the 'Mémoires d'Outre-Tombe' by Francois-Rene de Chateaubriand and numerous comments by other writers. Garden as a 'microcosm' makes us redefine the notion of creation. Some of the 'gardening acts' elude thinking in the categories of gardening object. Garden as a place of important rituals can be found especially in the communes from the turn of the 19th and 20th century. Such kind of 'gardening acts' in their anthropological dimension are of crucial importance for understanding the character of the place of creation and the whole artistic activity of an artist. Regardless its size, form, relation to the artist's home, the garden is given a special assent. An artist's grave in his garden should be considered in the same categories. For Carl Linnaeus, Buffon, Voltaire, Goethe, later on also for John Ruskin, gardens were a testing ground in various fields of their scientific and artistic creativity. Claude Monet's creation at Giverny was developed in two inseparable orders: a garden 'was growing for' a painting. Around the same time, yet with no Monet's consistency, made their own gardens and then painted them also Jozef Mehoffer, Max Liebermann, HeinrichVogeler, Edward Atkinson Hornel, or Emil Nolde. The history of gardening as the element of a representative place of artist's residence could be presented in the categories of the history of gardening forms as well as a social history of art. This function is served by gardens in the residences of Peter Paul Rubens, Nicodemus Tessin the Younger, Charles Le Brun, and then later of Franz von Lenbach, Vincenzo Vela, Richard Wagner. Drawing upon the models from the 16th through the 18th centuries, Francis Poulenc, Edmond Rostand and Edith Wharton made their own gardens, nevertheless, with reference to their main field of creativity. A theme of Italian Renaissance inspirations belongs to the most important research tracks to follow when interested in the gardens of the 19th- and 20th-century artists. A 'locus amoenus' could have assumed the form of microcosm, full of personal or historical associations, relating to the interests of the artist. The gardens of Gabriele d'Annuzio, Axel Munthe, Anders Zorn, Vicente Blasco Ibanez became mainstays of private history of culture, characteristic of post-romantic trends.
3

OSUDY ŠARLOTY HEVESSY – PEDAGOGIČKY V PODZOBORSKOM REGIÓNE

100%
Pintérová B.
Studia Historica Nitriensia
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2014
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vol. 18
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issue 1
136 – 145
EN
The study deals with the live and activities of Šarolta Hevessy, who worked in various municipalities of Zobor region as a teacher, whether elementary schools in Veľká Ves (today Branč), Štitáre, Pohranice and also as a school director at school in Pohranice and Nitrianske Hnrčiarovce. Also she published some poems and prose, which were published in a separate collection. Towards the end of a career, she worked at the Pedagogical Institute in Nitra. Following text is first comprehensive study devoted to her activities.
4

THE POETIC WORLD, TEXT, NAME (ON THE SUBJECT OF SLOVAK POETRY IN THE 1960S) (Basnicky svet, text, pomenovanie (Z problematiky slovenskej poezie sestdesiatych rokov))

75%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 2
118-124
EN
This text, meant as a contribution to the subject of Slovak poetry in the 1960s, focuses on two key collections - Zvony (Bells, 1968) by M. Rufus and Milovanie v husej kozi (Making love with goose pimples, 1965) by M. Valek. It tracks down their motifs such as corporeality, heart, bells in relation to emphatic-historical restoration of man's broken relationship with the others, himself, the world - lyricism then functions as either melancholic (M. Rufus), or farcically sarcastic (M. Valek) incomplete or disillusioned evidence of 'the world condition'. Vitally experienced corporeality changes to remains and traces of a human - in the style of a symbolic relic (M. Rufus), a degraded prop (M. Valek). In order to make contrast within synecdochic interpretations, J. Ondrus's and I. Laucik's texts are also given consideration. The interpretation procedure does not conceal. It is always a paraphrase, synecdoche, ellipsis and amplification of the discussed poem, too. However, what is centrally projected is the world evoked by the text. The present text can be perceived as a partial contribution to the 'thematological poetics' (a term coined by P. Zajac), interconnecting the motifs, tropology and a decently viewed historical context.
5

BÁSNIK V ČASE. POÉZIA JÁNA PONIČANA 1929 – 1942

75%
Habaj M.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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issue 6
449 – 468
EN
The goal of the paper is to show evolutionary transformations and identifications of Ján Poničan´s poetic gesture in the most important period of his work i.e. time from the 1ate 1920s till the early 1940s. The paper follows Ján Poničan´s poetic evolution against a background of his individual collections of poems published after his debut book: Demontáž (Disassembly, 1929), Večerné svetlá (Evening Lights, 1932), Angara (1934), Póly (The Poles, 1937), Divný Janko (Janko the Weirdo, 1941) and Sen na medzi (Dreaming in a Furrow, 1942). What is characteristic is the gradual transformation of his poetic form and expression and his departure from the Avant-garde poetics towards the Neo-symbolist poetics and original Romantic sources. While the collections of poems Demontáž and Angara develop the revolutionary and activist line of Poničan´s poetic gesture, they draw inspiration from movements such as Constructivism, Futurism, Expressionism and Proletarian poetry, and represent the sort of social functional poetry, the collection Večerné svetlá follows in the footsteps of the Apollinaire type of poetry, Sensualism, Vitalism and Poetism within the framework of the Avant-garde poetics. At the same time during the 1930s the historical optimism of Poničan´s poetic gesture becomes weaker and weaker and alongside the change in poetics and inclination to tradition and cultural memory pessimism and scepticism appear on the social and historical as well as the intimate and psychological level. His switch over to using rural and rustic images of national identity and reconnecting with cultural tradition is a kind of paradox with regard to the poet´s past as a representative of the civilizational poetry movement pursuing the ideals of revolution, industrialization and modernization. The social aspect moves away from the identification with the proletarian class to the category of nation and people. The contribution of the paper can be found in clarifying the evolution of Poničan´s poetic gesture and in identifying the typological, aesthetical and ideological features and specifications of his individual collections of poems.
6

JESENSKÝ BÁSNIK: OD ROMANTIZMU KU KLASICIZMU

75%
Mikula V.
Slovenská literatúra (Slovak Literature)
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2012
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vol. 59
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issue 6
457 – 468
EN
Jesenský as a poet (as well as a prose writer) cannot be interpreted only through his works of art. They form a part of the whole of his personality as a sign. Jesenský strictly distinguishes between the public and the private spheres. The public sphere, which includes his prose as well as poetry, is dominated by conventions, the „surface“, while the area of his privacy hides real contents – and those are characterized by „classical“ qualities such as sincerity, kindness, honour, moderateness, non-ostentatiousness, nobility. This inner aristocracy is outwardly made light of, which is done in two ways: it is either minimized (downplayed) or wildly exaggerated. If socializing involves light chit-chat, Jesenský develops it to perfection. He also highlights the conventions of poetry, both the folk or Romantic ones as well as the Modernist-Decadent ones. The perfected style is his mode of existence, which he only gives up at genuine existential moments: when he experiences a deep love and writes about it in his letters, when he deserts to join the Russian army (which involved a risk of death) during the First World War, when he engages in Anti-Fascist movement as a poet. The fundamental life situations make him overlook the convention, and follow his deepest principles, which are not far from the Enlightenment ideal of man (he was also a member of Freemasonry). In all other situations, he follows conventions, which he does in a suspiciously light-hearted manner. The suspicion, however, does not change Jesenský, it changes the conventions.
7

ELIÁŠ BERGER (1562 – 1644), CISÁRSKY HISTORIOGRAF A POETA LAUREATUS

75%
Frimmová E.
|
2014
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vol. 62
|
issue 3
393 – 413
EN
Eliáš Berger from Grünberg (1562 Brezno – 1644 Skalica) worked as a historian at the court of the Emperor Rudolf II and later of Mathias II of Habsburg. He also engaged in politics. Great socio-political interest in support for the Archduke Mathias and his power-political ambitions with the aim of calming and improving the domestic situation and strengthening pro-national feelings in the Kingdom of Hungary united various representatives of the aristocratic families and important humanists at the beginning of the 17th century. Berger cooperated in these aims with his literary work, together with Stephen Ilesházi and Peter Révai. The literary output of Eliáš Berger is remarkable from 1600 – 1638. He wrote 20 larger works as well as shorter literary texts. Above all, he helped to influence political and social developments with his historical and political writing.
8

Stawanie sie poeta. Analiza interakcjonistyczo-symboliczna.

63%
Slezak I.
Przegląd Socjologii Jakościowej
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2009
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vol. 5
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issue 1
1-175
EN
The main goal of this paper is to reconstruct the process of becoming a poet with its most important subprocesses (re-constructing of identity, career stages). The project was based on field research conducted via participant observation and qualitative interviews.The paper is based on the symbolic interactionism as a teoretical frame and the grounded theory as a methodological procedure used for the analyse of collected data.
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