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1

RELATIONS BETWEEN MUSIC AND TEXT IN PIERRE BOULEZ'S 'PLI SELON PLI' (Analiza zwiazków slowno-muzycznych w 'Pli selon pli' Pierre'a Bouleza)

100%
Kawczynska E.
Przegląd Muzykologiczny
|
2004
|
issue 4
81-108
EN
The essay summarizes an extended analysis of relations between text and music in Pierre Boulez's cycle 'Pli selon pli'. Composed in 1958-1964, the cycle consists of three vocal-instrumental pieces and two outer movements which are instrumental, with accidental interventions of the human voice. 'Pli selon pli' draws upon poetic texts of Stéphane Mallarmé, the avant-garde French symbolic author. The composition is an homage to Mallarmé, whose poetic ideals are also Boulez's own. To identify fully the relationship between poetic and musical text, the analysis focuses on three levels: form, semantics, and prosody. First addressing generic relations between the stanza structure of the poems and the musical architecture of the pieces, the analysis then identifies more subtle interrelations between meanings and each verse's intonation and rhythmic structure. Boulez's writings on how to relate music to poetic text serve as a reference point. The analysis reveals that Boulez mostly dismisses simple solutions, rejecting such tools as onomatopoeia, and looks instead for deeper correlations between text and music based on contextual meanings and the mood created by the poetry. The composer's strategy mainly focuses on structure; Boulez builds relations between the poetic and musical text structure through formal devices (stanza divisions), logical structure as related to meaning, and rhythmic structure as related to the intonation of each verse. 'Pli selon pli' may thus be seen as Boulez's answer to Mallarmé's pivotal question whether poetry and music can be related on a deepest level.
2

K SYMBOLICKEJ ANALÝZE JARNÝCH OBRADOVÝCH CHOROVODOV

100%
Babčáková K.
Etnologické rozpravy (Ethnological Disputes)
|
2014
|
vol. 21
|
issue 1
58 – 75
EN
The subscription reports on the spring ritual dances “chorovody” that have preserved in our territory until mid- 20th century. They comprise elements of ceremonies, archaic drawings and spatial impact of medieval dances. The relics have preserved in children games, but their function has turned into entertaining and aesthetic features. They demonstrate signs of ritual – it is therefore necessary to deal with symbolist analysis of the overall context. “Chorovody” exhibit characteristics of five segments: the specific festive time, spatial dance forms, textual symbolism and status and gender homogeneity of the participants. The subject of this paper is an analysis of “Zámutov chorovod” (1966) and “chorovod” from Ruthenia (1929). Spatial forms contain relics of the oldest dance forms with symbolic implications. Spring transitional period in the nature relates to fertility and prosperity functions of the “chorovod” ritual that accentuates female principle, fertility and restoring life cycle.
3

THE OUTPUT OF 'YOUNG MUSE' ORIGINATED FROM THE SPIRIT OF MUSIC

100%
Matusiak A.
Slavia Orientalis
|
2005
|
vol. 54
|
issue 2
241-261
EN
The present text is an attempt to revise the output of the 'Young Muse' (Moloda Muza) writers in the context of musical inspirations of the turn of the 19th century, most of all the Secession period. The author investigated the literary output of the 'Young Muse' writers, inter alia from the point of view of adapting musical terminology to the titles of works, application of corresponding vocabulary, which in consequence awoke an association with music in the works and a specific configuration of sound structure of the text, and was an evidence of the correlation of the 'Young Muse' representative writings with the musical fascinations of the period (Chopin, Wagner, Debussy) as well as aesthetical and philosophical ideas of those times (Plotinus, Swedenborg, Schopenhauer, Bergson).
4

VÁLKOV HAVRAN. BÁSEŇ MIROSLAVA VÁLKA VEČER AKO SUBVERZIA TRADIČNÉHO SYMBOLISTICKÉHO MODELU LYRIKY

100%
Mikšík M.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 5
515 – 524
EN
The article reads Miroslav Válek’s (1927 – 1991) poem “Večer [Evening]” published in the poet’s first collection of verse Dotyky ([Touches], 1959) as a deconstructive subversion of lyric tradition – of Ivan Krasko’s (1876 – 1958) symbolist model of the lyric and Edgar Allan Poe’s (1809 – 1849) “The Raven” (1845). The author argues that Válek subverts the tradition by the specific way he tackles the motifs of the night, rain, and raven known in the Slovak poetry mainly from the writing of Ivan Krasko and by the way the poet updates the lyric situation of Poe’s notoriously well-known poem and its central motif. Another aspect that gets subverted is the tragic-elegiac melancholic modality of the poem. The analysis notices the first line of the poem where the night setting is outlined, then moves on to the key image of rain “without melancholy” and the updated motif of the raven. Finally, it discusses the detachment of the speaker from what goes on in the poem – the speaker in the poem is different from the subject affected by emotions and moods modelled in the lines. The reading grasps Válek’s poem and sophisticated subversive deconstruction of the traditional model of symbolic poem concerned with romantic love.
5

A POET OF THE END

100%
Zajac P.
Slovenská literatúra (Slovak Literature)
|
2005
|
vol. 52
|
issue 1
3-13
EN
The turn between the 19th and the 20th centuries becomes a crucial point of the Slovak literature of the 20th century. It is a meeting point and a point of confrontation of two generations and two different poetics. This confrontation has been reflected in the literary historiography as a polemic between Parnassism and Realism with Modernism - just coming into the world. The comparison of Hviezdoslav's and Krasko's lyricism as it shows a comparison of a Hviezdoslav's poem 'Postrán cesty topole' (Poplars Along the Road) and a Krasko's poem 'Topole' (Poplars), depicts that both poets were connected with each other through several common factors: common contemporary feeling of melancholy, situation of 'two souls', individualistic and collectivistic ones; the feeling of human fate, many times described by a symbolic picture of a Sphinx, or frustration from a prevailed pragmatism. It is also clearly evident that foundational difference among these poetics could not be overcome. Hviezdoslav's poetic in a moment came to touch, convergence with a poetic of Modernism and what more there was a momentarily penetration, but soon after it declined and mutual polemics and misunderstanding accompanied their divergence. Finally Hviezdoslav kept his position of being a poet of the end of previous epoch.
6

Symbolika i funkcja motywów muzycznych w poezji Owidiusza

100%
Wysłucha K.
Classica Wratislaviensia
|
2010
|
vol. 30
157-168
EN
In the archaic era of Greek culture music and poetry were inseparably combined. However, over the ages this connection has been loosened to be finally broken. In the Augustan period the memory of musical past echoes in the poetry, of which an extensive collection is found in the writings of Ovid. The poet frequently refers to Greek musical experience from which he derives a multitude of examples, motives and similes. The most prominent feature of the references to music is symbolism which is revealed in numerous mythological contexts in a metaphoric depiction. The selected myths present the origin of music such as invention of musical instruments or contests between most celebrated musicians.
7

A BATHROOM ('HYGIENIC LOVE' IN THE WORK OF TATARKA)

100%
Mikula V.
Slovenská literatúra (Slovak Literature)
|
2006
|
vol. 53
|
issue 2
89-99
EN
The author explores a motive of bathroom in the prosaic work of a Slovak writer Dominik Tatarka (1913-1989). This motive occurs for the first time in his novel 'Farská republika' (Parochial Republic, 1948) in relation to so called 'hygienic love': a protagonist of the novel, Tomás Menkin, realized a 'hygienic' sexual relationship with a married woman Achinka - their first sexual intercourse was in the bathroom. The term 'hygienic' here means without emotional involvement and it is also an expression of ethic anaesthesia of a narrator in the political context of the war regime of the Slovak Republic, he does not agree with. The passage from Tatarkas reminiscences 'Navrávacky' (1987) retrospectively reveals another semantic connection of the motive of bathroom: it represents a 'strange' city world of wealthy social circles contrary to 'our' world of poverty and nature. Nature is also a setting of a 'true' love: erotic sceneries of the narrator's love in the scenery of nature, he and Ula made a positive opposite pole of the 'scenes in the bathroom' with Achinka. Negative attributes of bathroom after the Communist upheaval in 1948, strengthen its 'class' characteristics as an attribute of bourgeois and it interiorly outlasts in several titles of Slovak authors. In the works of Tatarka the bathroom is not a strange, antagonistic space anymore. This new characteristics starts with a novelette 'To Stay with You for a While Yet' from a book 'Never-Ending Discussions' 1959, where an autobiographic narrator ritually baths his mother in the city bathroom. She is a simple village woman and she came to see him just before she dies. Through this intimate and emotionally deep experience the bathroom becomes positively owned space - a space of ours. This spectacle is also to consider for an experiential starting point of the author's construction of an archaically -mythic conception of 'culture as commune life', with an idol of mother in the centre. Eternism, seeking of mythically 'eternal' patterns of everyday rituals and gestures, is also a dominant tendency of the last phase of Tatarka's artistic work and his ideological respond to socially-political reality (previous phases were made by nihilistic reaction in the 40th and civic activism in the 50th and 60th ). Sexual intercourse belongs to the very elementary acts, with a seal of 'eternity' - this is why so many erotic scenes occur in his samizdat trilogy 'Writings'. Two nearly identical spectacles from 'Writings for Beloved Lutécia', 1984 point out the fact that Tatarka's 'domestification' of the bathroom was not definite: the first version was done in the bathroom, but the second one in the open nature - and only there this act become like sealed by 'eternity'. If Tatarka as a creator of voluntarily ideological systems was able to include the bathroom into 'our' world, the area of art, where instead of a doctrine author spontaneously allows his symbolism to speak and he reveals us that his perception of world and a person is more natural than cultural.
8

PETERIS KRASTINS' SYMBOLIST VISION OF NATURE IN THE CONTEXT OF EUROPEAN ART (Petera Krastina simboliskais dabas redzejums Eiropas makslas konteksta)

100%
Abele K.
Materiali Latvijas makslas vesturei
|
2000
|
vol. 1
92-103
EN
The Latvian painter and draughtsman Peteris Krastins (1882-c. 1942/43), whose promising artistic career was ruined by a mental disease in the early 1910s, so far has been mostly remembered for his dreamy vision of the Jardin de Luxembourg in the permanent exposition of the State Museum of Art in Riga. This publication brings into discussion another, almost obscure aspect of his work - numerous sketchy depictions of the domestic North Latvian scenery, produced in pastels, watercolor or mixed soft media on various rough paper backgrounds of different color. These particularly small and delicate, but boldly stylized series of clouds, forests, marshes and bogs in the graphic collection of the State Museum of Art date back to 1905-1907 when Krastins was studying stage design in the Stieglitz Central School of Technical Drawing in St. Petersburg. Marked by daring simplicity of form, associative use of color and texture, and overpowering intensity of feeling, the studies convey the artist's heartfelt empathy with the life of nature and represent emotional experiences ranging from moody lyricism to anxiety, depression and fear. 'They look very much like colored drawings, yet it seems that the drawing has no other use than to conduct the grand symphony of color. ( ...) And every fragment is brimming with life and vitality, even though the whole is veiled in a deep melancholy', the writer, artist and critic Janis Jaunsudrabins wrote in 1908. Krastins' evocative landscape miniatures are a perfect supplement to the greatly earth-bound picture of early-20th-century Latvian art, but, as their formal and emotional particularity set them apart from the painted work of other compatriots, helpful analogies should be sought elsewhere In terms of emotional expression and formal stylization, similar effects in their landscapes were frequently achieved by Jan Stanislawsky, Edvard Munch, Emil Nolde, Paula Modersohn-Becker, Adolf Hoelzel, Waiter Leistikow, the early Piet Mondrian, Mikolajus Konstantinas Ciurlionis and other artists of international reputation.
9
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ZNOVUZROZENÍ TRAGÉDIE V RUSKÉM SYMBOLISMU

100%
Svatoň V.
World Literature Studies
|
2012
|
vol. 4 (21)
|
issue 1
25 – 42
EN
The inspiration for this essay was the desire to understand the renewed interest in the genre of the ancient tragedy in the Russian symbolism: several poets felt the currency of ancient drama not only as a source of theme, but also of literary (or stage) form. It is interesting that this influence is most evident in the work of the lyric poet Innokentii Annensky. The re-birth of the tragedy emerges from the place of this form in the European spiritual life: the core of the tragedy is the departure point of the European ontology and ethics – the relationship of the unique entity and the whole, in which the entity is submerged. The individual entity is in the European thinking not passively subjected to the super-personal whole, but proclaims its own initiative, while being at the same time involved in relationships whose nature it cannot know. The conflict arises from the fact that the whole, “the destiny”, is not an alien force, but integral part of the entity itself, which is thus unable to grasp it. The understanding of the super-personal force has undergone a development: while earlier it was understood metaphysically as an irreversible moral law, later it was seen as a “world order” and in the epoch of symbolism as a cosmic chaos that the individual must face, no matter what. The role of the chorus, scenes with satyrs and lyrical declamation suggested images of a world full of contradictions, ruled over by cosmic powers. It is significant that only one tragedy by Annensky, “Thamyris Kitharóds”, was stage produced – in Alexander Tairov Theatre.
10

MAYAKOVSKY'S EARLY DRAMA IN EUROPEAN CONTEXT (Vladimir Majakovskijs dramatisches Frühwerk im Kontext des europäischen Dramas)

100%
Ulbrecht S.
Slovak Review. A Review of World Literature Research
|
2008
|
vol. 17
|
issue 1
71-85
EN
The text analysis of V. Mayakovsky's tragedy 'Vladimir Majakovskij' (1913) demonstrates moments of similarity and differences in the text constitution on the basis of a comparison with other works of the European dramatic production. The author of the study utilizes Wolfgang Schwarz's structural method which helps to distinguish a language functional, motif and 'suzhet' construction layer in the complementarity of the expressive and the content aspect of a textual sign. Convergencies and divergencies between Mayakovsky's drama and works of other authors shine through from these layers. The author of the study analyzes the motivics, the thematics, the story structure, the depiction of dramatic characters, and the relationship of monologue and dialogue. V. Mayakovsky's tragedy 'Vladimir Majakovskij' draws on the symbolists' lyric drama (e.g. A. Blok) and on the so-called monodrama of Nikolai Jevreinov which in many respects resembles the works of German expressionists. Thus we can see the work of the early V. Mayakovsky as situated between the 'Russian' and the 'European' tradition.
11

FROM DISCOURSE OF LEONID ANDREEV'S ARTISTIC METHOD (Iz rassuzhdenii o tvorcheskom metode Leonida Andreeva)

88%
Chudzinska-Parkosadze A.
Slavia Orientalis
|
2010
|
vol. 59
|
issue 1
17-34
EN
This article deals with the issue of Leonid Andreev's prose and the problem of its classification. The author of this article tries to argue with those critics who classify L. Andreev as expressionist by reminding that the artist himself called his artistic method 'neorealism'. According to Andreev, this term stands for the combination of symbolism and realism mode. The basis of the paper is an analysis of his method. It proves that Andrieev's contain a noticeable elements of symbolism and realism, which are transformed in an original and unique writer's style.
12

JAN SMREK (CONDEMNED TO ETERNAL THIRST)

88%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2007
|
vol. 54
|
issue 6
443-453
EN
The aim of the study is to determine a specific place of Jan Smrek's debut in the context of his poetry and to point out its organic connection with the following collections of poems, although typologically and aesthetically different from the first one book. With regard to Smrek's poetry as a whole, the author interprets the religious and Biblical residua of decadently symbolic provenience in his debut in connection with the philosophy of vitalism and Henri Bergson's idea of 'creative development'. The collection of poems 'Odsudeny k vecitej zizni' (Condemned to Eternal Thirst) (1922) used to be overlooked and excluded from the complex of the reflection just because of its religiously symbolic character that was aesthetically and noeticly much different from the following Smrek's 'sunny books'. The author identifies three basic semantic gestures and stylisations in connections with three cycles of the debut: mystically erotic gesture in 'Casa opojnosti' (The Bowl of Potency), gesture of suffering in 'Basnik bolesti' (The Poet of Sorrow) and redeeming gesture in the cycle 'Dnes milujem svoj den' (Today I Love My Day). He finds a gradual transformation from 'mystic' life to 'social' life, the conversion from introverted to extroverted attitude, transformation from the religious complex of motives to the complex of profanely - intimate motives. The symbolism of night is replaced by the symbolism of day. The development from passivity to activity and from eternity of 'mystical nights' to common 'speedy days' is influenced by Biblically coded sign of 'resurrection'. But in the end of the book it is replaced by civil assignment in the space and time. Conflict between asceticism and vitality is resolved for sake the latter one. In the study, the author tries to analyse Smrek's poetic model of the world overlapping aesthetic categories to the anthropologically ontological. In a connection with Bergson's philosophy of 'creative development' he interprets the Smrek's poetic works represented by his book 'Odsudeny k vecitej zizni' (Condemned to Eternal Thirst) as process of creation and integration human personality. The core of Smrek's poetic gesture he finds in a 'creator's' vision of a man - in calling to ongoing making of oneself and the world.
13
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САКРАЛИЗАЦИЯ ИМЕН В БОГОСЛОВСКИХ ТРАДИЦИЯХ ВОСТОЧНОЙ ЕВРОПЫ ВТОРОЙ ПОЛОВИНЫ XVII – НАЧАЛА XVIII ВЕКОВ

88%
Sharov K.
Konštantínove listy
|
2019
|
vol. 12
|
issue 1
129 - 140
EN
The paper studies the place and role of proper names in the theological written homiletic traditions (Orthodox and Roman Catholic) of Eastern Europe of the late 17th and early 18th centuries. Special attention is paid to symbolism and to the connotative, denotative and qualitative usage of anthroponymic names. Literary analysis of the homilies and sermons of St Dimitry Rostovsky, Stefan Jaworski, Tomasz Młodzianowski and Ioanniky Golyatovsky, written in Ukrainian, Russian, Polish and Church Slavonic demonstrates that the proper names in their works represent a special supra-phenomenal semantic space. The name cannot be profaned, desecrated or formed artificially. In their tradition, the name describes the referent that is defined in a supernatural, sacral and metaphysical way. It is found out that spiritual literature of Eastern Europe in the second half of the 17th and early 18th centuries is characterised by the highly mystical understanding of a person’s name, which often transformed into a mythological understanding.
14
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DUCHOVNÉ HĽADANIE V HERMETICKEJ POÉZII MARIA LUZIHO

88%
Gritti F.
World Literature Studies
|
2014
|
vol. 6 (23)
|
issue 1
21 – 32
EN
The paper focusses on the initial hermetic phase of Mario Luzi´s poetics, who was one of the greatest Italian poets of the last century. The analysis concentrates mainly on the influence of Catholic Christian faith in his poetry, which made him aware of the existence of the spiritual essence of the universe knowable by intuition. The paper shows how at this stage of his poetic and spiritual search he was inspired by French symbolism, especially by the works of Mallarmé and Rimbaud. Luzi did not imitate simply the symbolist patterns. He reinterpreted them in terms of his faith. The article offers also a brief preview of the later stages of Luzi ś poetic thinking which becomes more restless, less intellectual, looking for a link between being and becoming, time and eternity, in order to alleviate the apparently absurd human condition.
15

Rusalka de Dvořák – la dynamique, une clé de compréhension des valeurs et des sens

88%
Srnka M.
Hudební věda (Musicology)
|
2005
|
vol. 42
|
issue 3-4
291-300
EN
This paper tries to show Dvorak's compositional approach to the central values and meanings of the libretto of Rusalka, by analysis of the dynamic curve of the opera's recording. Two dynamic characteristics can be identified here - the gradually changing world of people, and the stable, silent world of the supernatural beings, differentiating in a way which is reminiscent of the treatment of dynamics in Wagner's Tristan and Debussy's Pelleas. The silent world of supernatural beings, represented especially by the enclosed strophic formations, offers the possibility of thematic introduction of an isolated fortissimo major chord, which does not gradate any more, as a symbol of the supernatural beings' idealised pure idea of 'death', 'love', 'soul' and 'sin'. In the course of the opera, the values become relative. In the final duet, Dvorak changes both worlds, the first time allocating to the Prince and Rusalka the opposite dynamic characteristics (a gradating one for Rusalka, a stable, silent one to the Prince). In the final, newly thematic fortissimo major chord, he again nods to the supernatural beings' idealised ideas of love and death, expressed at the opening of the opera, and makes his treatment of the spiritual values and concept of the libretto clear.
16

Ciało nie jest ważne? Modernistyczne eksperymenty ze sferą soma w dramacie Ołeksandra Ołesia

88%
Wójtowicz S.
Slavica Wratislaviensia
|
2011
|
vol. 153
555-564
EN
The contents of the article are regarded as an effort to answer the question outlined in the title about the importance of the somatic sphere in the drama of the Ukrainian modernism epoch writer — Oleksandr Oles (real name: Oleksandr Kandyba 1878–1944). In the Way to the fairy-tale (1908) the author avoids direct information on carnality. Following the prevailing epoch trend, the writer gives up the traditional ethnographic and realistic model of artistic creation. His reflexion about the soma-sphere is expressed by an ambiguous myth and symbol. The symbolism is one of the basic trends at the beginning of the 20th century and makes up an essential mean for Oles’ dramatic expression, the author is therefore more interested in the presentation of state of mind than in sensual body. The body appears to be important insofar as it is a soul’s expression and sign. Like the symbol, the body remains in the sensation and imagination sphere.
17

MILITARIA AS GRAVE GOODS IN EARLY MEDIEVAL CHILD BURIALS - PROVISIONAL INTERPRETATION BASED ON FINDS FROM POLISH TERRITORIES (Polish title - below)

88%
Kurasinski T.
Archeologia Polski
|
2009
|
vol. 54
|
issue 2
209-248
EN
(Title in Polish - 'Militaria jako element wyposazenia wczesnosredniowiecznych pochówków dzieciecych - próba interpretacji na przykladzie znalezisk z ziem polskich'). Archaeological sources have indicated the rarity of the sepulchral custom of furnishing child burials with militaria or their imitations in the Early Middle Ages in Polish lands, as well as in neighboring territories. To date twenty such child burials with weaponry have been reported from ten cemeteries situated in Polish lands. Most of the burials are dated to the 11th and 12th c., although some could be younger than that. Anthropological examination of the bones have confirmed that weapons were furnished to children in both the infans I and infans II age range. In one case, the age of the buried child was determined as infans II/juvenis. The most frequent form of militaria in the child burials are arrows. Iron arrowheads have been preserved in ten burial pits: grave 29 in Czersk, grave 39 in Czekanów, grave 14/97 in Kaldus, grave 33 in Lubien, grave 34 in Konskie, grave 75a–b in Opole-Nowa Wies Królewska, grave 25 in Pokrzywnica Wielka, grave 33 in Psary and grave 132 in Sowinki. Included in this set is a stone arrowhead from grave 51 in Czekanów, an unparalleled find in assemblages of Early Medieval date. The stone balls found in five graves in Dziekanowice (site 22) are interpreted as slingstones. Two of the grave pits yielded shaft weapons: a spearhead in grave 52 in Konskie, and a different spearhead in grave 15 in Pokrzywnica Wielka. The latter burial was also furnished with a fighting knife in leather sheath with bone elements. An unique miniature axe of brass covered with ornaments was found in grave 65/95 in Dziekanowice. Iron axe-heads were discovered in five other grave pits: one in grave 39 from Czekanów and four in graves 12, 31, 83 and 85 from Lubien. Militaria found in child burials are commonly part of richer grave furnishings, which consisted of in most cases a knife, sometimes in a leather sheath with fittings, more seldom body and dress ornaments, coins, vessels of various kinds and other objects. The present overview of militaria found in child burials as part of the grave furnishings has demonstrated that the custom was practiced by a social class owing its prestige and importance to military activity. The militaria in child burials should be treated as a form of symbolic communication informing about the dead child being a member of a professional class of warriors, perhaps even the chief's troop, and being assigned such status. A parallel magic role can also be envisaged. Figs 8, table 1
18

POETIKA A ESTETIKA MODERNIZMU V DVOCH KOMORNÝCH HRÁCH VLADIMÍRA HURBANA VLADIMÍROVA Z PRVÉHO DESAŤROČIA 20. STOROČIA (KEĎ SA SCHLADÍ, 1905; BOJ, 1907)

75%
Cupanová K.
Slovenská literatúra (Slovak Literature)
|
2021
|
vol. 68
|
issue 5
529 – 548
EN
The article provides a close reading of two one-act plays on love by Vladimír Hurban Vladimírov (1884 – 1950): “Keď sa schladí” (When it gets colder, 1905) and “Boj” (Fight, 1907). The plays were significantly influenced by Modernist poetics: they are markedly subjective (the same applies to Modernist Slovak poetry and fiction in the late of the 19th and early 20th centuries), stylised as symbolic, the plot is pushed to the background, and psychological and emotional life of the heroes is foregrounded. Accentuating inner life in drama is intimately connected with the problem of the categories of the subject (internal dramatic subject) and time (temporal frame bearing meaning) and, on the level of composition, also with the degree of compactness and unity. The composition of the plays is fragmentary and discontinuous and they tend towards open endings. The dramatic potential of classical drama got distilled into the fragmentary genre of one-act play. Overlaps of the artistic styles (Symbolism, Impressionism, Secession) and the technique of synaesthesia result in an overlap of various artistic methods and techniques which were used to achieve a nuanced realisation of prominent personal and subjective themes.
19

EMIL BOLESLAV LUKAC

75%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 5-6
381-394
EN
The aim of the paper is to determine basic semantically -aesthetic coordinates of the Emil Boleslav Lukac's debut 'Spoved' (Confession,1922) and to search 'topoi' of home in the context of his collections of poems 'Dunaj a Seina' (Danube and Seine,1925) and 'Spoved' (Confession, 1929). In the same year as the debut by E. B. Lukac 'Spoved' (Confession) a debut of Jan Smrek 'Odsudeny k vecite zizni' (Sentenced to Eternal Thirst) was published. Both collections of poems are influenced in significant measure by a poetics of symbolism and decadence. Similarity of them is not determined only by aesthetic, thematic, stylistic levels but it overlaps the level of composition. There are common semantic gestures in the cycles of both of the publications. They come through the similar transformation and vary identical authorial stylisations. In the second part of the paper the author deals with 'topoi' of home in the context of the collections of poems 'Dunaj a Seina' (Danube and Seine) and 'Spoved' (Confession). There is an evident shift from intimate borders to cultural, national and political borders. Both categories are connected through the category of regional and the co-part in complexness and compactness of Lukac's poetic world. In the centre of it there is an idea of home as a fundamental ethic value of his poetry. The last level of his poetic model of the world is always represented by theological, respectively cosmological level. It is true also for the collection of poems representing secular, respectively civil pole of Lukac's work. The paper contributed in primary identification of common starting points of two later periods characterized by two differently polarized poetic concepts of Smrek and Lukac, as well as in specification of several aesthetically semantic residua connected with 'topoi' of home in the context of chosen Lukac's collections of poems.
20

KLAVÍR V ŽIVOTE A TVORBE VILIAMA FIGUŠA-BYSTRÉHO

75%
Bárdiová M.
Musicologica Slovaca
|
2015
|
vol. 6 (32)
|
issue 2
266 - 291
EN
The piano had an important status in the life and music of Viliam Figuš-Bystrý (1875–1937). The instrument accompanied him all through his life, and almost every day he played for enjoyment and for purposes of study and composition. In the places where he held professional positions, besides performing as choirmaster and conductor he also accompanied singers and instrumentalists. He also played as a member of the chamber groupings which he himself formed and for which he adapted works principally from the repertoire of European classicism and romanticism. In the conformation of his work there are also compositions for piano – dances, compositions for children and youth, and the Sonata in the Doric Scale, op. 103. His repertoire and his own compositions complement our findings on the technical and expressive maturity of Figuš as a performer, and also as a composer who took the compositional resources of late romanticism and expressionism as his starting-point, but relocated them in the style of musical symbolism and the Secession. Figuš’s piano work, extant programmes of events, and his personal diary round off the hitherto-received picture of the composer and of the musical taste and production of his time.
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