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NOVÁ POETIKA STARNÚCEHO MAJSTRA (MARTIN KUKUČÍN: SPOLOČENSKÉ PÔŽITKY)

100%
Mikulová M.
Slovenská literatúra (Slovak Literature)
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2020
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vol. 67
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issue 1
36 — 45
EN
After his arrival in Slovakia in 1922, Martin Kukučín received a lukewarm welcome. He was completing his work titled Mať volá/Mother is calling and was spending his time in the archives preparing to write mid-19th century historical novels. The reserved attitude towards him and his whole work was fully revealed after his death in 1928. The most radical criticism of Kukučín´s prose was expressed by leftist writers but he was not spared by older critics either. Kukučín´s attempt at changing his poetics, which occurred in 1923, when he published a feature Spoločenské pôžitky/Social Pleasures in the magazine Slovenské pohľady, was labelled as formalistic and verbalistic. Nobody accepted the fact that his poetics had developed into a new stage of aesthetic maturity showing a clear ambition to overcome the realist means of expression. The prose Spoločenské pôžitky/Social Pleasures represents an exceptional experiment within Kukučín´s work. At the same time it is a playful intermedium lying between the ideological and philosophical novels mentioned above. Against a background of reflecting on the subject of an offence and revenge, the author formulates his opinions about fragile interpersonal relationships as well as timelessness of the moral imperative saying that no deed is left without consequences and everything has to be paid for. This aesthetic purpose is achieved by using sophisticated figures of speech, among which the use of synaesthesia as an anthropological phenomenon is particularly inventive. It links separated sensory domains in order to communicate with the world by means of cognitive and sensual abilities.
2

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

86%
Cupanová K.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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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.
3
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“AUGENMUSIK”: SYNAESTHESIA AS A TECHNIQUE IN THE EARLY AVANT-GARDE

86%
Ondroušková S.
World Literature Studies
|
2015
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vol. 7 (24)
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issue 4
13 – 25
EN
The article draws attention to the study entitled Expressionismus (1916) written by Austrian author and literary critic Hermann Bahr. The main objective is to present and analyse its crucial concept of “Augenmusik” which Bahr suggests in connection to novel techniques of the young generation of avant-garde authors. As a substantial part of Bahr’s text is dedicated to vision and eye, the prevalence of the visual domain is dealt with first; further explored is why Bahr regards expressionist works as unprecedented with an obvious intention to foreground their situatedness outside of historical time; the final part considers the syneasthetic aspect of “Augenmusik”. Inspiration by synaesthesia, the blending of senses and its application in art reach far beyond the avant-garde. Already it was well-known in ancient Greece where poems were believed to be transferred in the sweet sound of singing Muses. However, it was only in the late 19th century with the advancements in the field of medicine and psychology when synaesthesia came into focus of artists in relation to perception and cognition. Thus synaesthesia in theoretical writings of avant-garde authors demonstrates itself on several levels: neurological, textual (metaphoric), and medial. The article summons arguments in favour of the idea that the main reason why the avant-garde authors started to contemplate synaesthesia was their yearning for an authentic experience, which in the context of this article might be translated as experiencing internally through affects and instincts.
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