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1

TO TWO SPIRITUAL SONGS IN THE BOOK CONTAINING THE MANUSCRIPT OF BENICKY´S SLOVAK VERSES

100%
Gafrikova G.
Slovenská literatúra (Slovak Literature)
|
2007
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vol. 54
|
issue 5
329-337
EN
The spiritual song represents one of the essential (musically) literary genres of the 17th-18th c. Slovak literature. Unfortunately, it does not correspond with lower level of the literary research, as we have had still huge deficit in knowledge of domestic hymnographic works - both in manuscript and in published forms. The study is focused on the problem from the literary history that has not yet been clarified . It concerns two anonymous spiritual songs with acrostics that came from about the second half of the 17th century. They are recorded in a Slovak literary document with very complicated heuristic background (manuscript of Peter Benicky's Slovak Verses). The record of the songs seems to be secondary. The authoress of the study proves and clarifies up-to-date information about the songs. She pointed out some connections with other resources as well as contemporary context of the origin of both songs. Hypothetically she considers their generically typological character (penitential and love Christological song) and confessional provenience. She assumes that auctorial anonymity should not have been intentional gesture in that case; the recorder of the texts could know the name of the author and considered him/her for such 'commonly known' that he did not think it would be necessary to write him/her down.
2

ѾТВЕРЗИ НAМЪ МИЛОСЄРДІѦ ДВЄРИ: REVITALIZÁCIA HODNOTOVÉHO SYSTÉMU A MARIÁNSKA DUCHOVNÁ TRADÍCIA

100%
Žeňuch P.
Slavica Slovaca
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2021
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vol. 56
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issue 3
366 - 377
EN
The paper presents the interpretation of the motif of mercy as an axiological constant in Marian spiritual songs. The author bases his interpretation of mercy on knowledge of a relationship based on the interpretation of the concepts of truth, law and justice. He explains examples of this relationship in the context of folk Marian piety.
3

РЕЦЕПЦІЯ АПОКРИФІЧНИХ ДЖЕРЕЛ У ПОЕТИЧНИХ ТЕКСТАХ УКРАЇНСЬКИХ БАРОКОВИХ РІЗДВЯНИХ ПІСЕНЬ: ПИТАННЯ ДЖЕРЕЛОЗНАВСТВА ТА ТЕКСТОЛОГІЇ (ЗА МАТЕРІАЛАМИ ВИБРАНИХ РУКОПИСНИХ ПАМ’ЯТОК ОСТАННЬОЇ ТРЕТИНИ XVII – КІНЦЯ XVIII СТ. ТА ПОЧАЇВСЬКОГО «БОГОГЛАСНИКА»)

75%
Medvedyk J.
Slavica Slovaca
|
2019
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vol. 54
|
issue 1
27 – 38
EN
The article deals with the research of the reception of ancient apocryphal texts and legends in Ukrainian spiritual songs of the Baroque era. The author has carried out a source-study and textual analysis of the selected Christmas carols from ‘Book of Chants’. This ancient book, which was compiled by the Greek-Catholic Basilian Fathers in the Holy Dormition Lavra in Pochaiv, is a unique Ukrainian anthology of the spiritual music works of the 17th-18th centuries. The apocrypha were an important source of themes of Ukrainian spiritual songs. Ivan Franko, Vladimir Perets, Mykhailo Vozniak, Sofia Shchehlova conducted the first studies of the influence of apocrypha on the texts of spiritual songs. However, in the 1920s the process of studying of this issue stopped. Today, it is possible to carry out a comprehensive source and textual study of the reception of apocryphal in spiritual songs, thanks to the collected database of texts of spiritual songs and to a large number of published texts and their variations. In this article, an attempt has been made to analyse several texts of famous Ukrainian spiritual songs of the second half of the 17th century, which were recorded in the songbooks of the 18th century and published in ‘Book of Chants’. The songbook manuscripts show the widespread popularity of the songs: from Galicia (Halychyna, Western Ukraine) to Belarus, Moscovia / Russia, eastern Slovakia and northeast Poland.
4
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K žánrové diferenciaci české poezie doby baroka

63%
Malura J.
Česká literatura (Czech Literature)
|
2008
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vol. 56
|
issue 2
155-182
EN
For its methodology this article draws chiefly on the theory of intertextuality, emphasizing the genre as model. It is premised on the idea that similar works gradually group around a successful prototype text, leading to the genre category. The author takes issue with existing classifications of Czech Baroque verse, and questions the validity of fundamental criteria such as the opposites secular:spiritual, to be sung:to be spoken, lyric:epic. He proposes a more sophisticated differentiation of genre in contrast to forms of publication, which include the hymn book and the broadside ballad. His interpretation concentrates particularly on the production of Czech hymn books, both Roman Catholic and Lutheran, which is distinguished by a quite surprisingly wide range of genres and sub‑genres. From contemporaneous books on poetics and rhetoric one can reasonably deduce mainly Humanist genre terms like eclogue, ode, and epicede. Contemporaneous sources also distinguish between two distinct, even considerably opposed, categories – the hymn and the lament –, which in practice appear in various forms (the Christmas anthem, the Easter anthem; the lament of Protestant exiles, the Passion lament, and the funeral lament). What is particularly important in hymn books is the distinction – not made in Czech scholarly literature on the topic, but common, for example, in the German‑speaking world – between the hymn (closely linked with high days and the liturgy, intended primarily for choral singing) and the spiritual song (used in the cultivation of the individual spiritual life in private; with an indirectly expressed religious content; employing topoi of contemporaneous non‑religious verse). Among the hymns there are, for example, the Whitsun anthem, the Eucharistic anthem, and the Marian hymn. Among the spiritual songs there are songs of personal anxiety, sung meditations on vanity and transience, and love songs addressed to the Lord Jesus. The various genres were concealed in the particular form of publication in which they appeared.
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