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1

SUBJEKT A MELANCHÓLIA U GEJZU VÁMOŠA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2015
|
vol. 62
|
issue 6
485 – 494
EN
Alongside partial interpretation of the debut collection of proses by Gejza Vámoš Editino očko (Edita´s little eye, 1925), the paper is focused on modelling a constitution as well as decomposing some of the modalities of the literary subject, also defined in terms of literary movement. Attention is paid also to how these ways of representing the literary subject in Vámoš´s texts are related to the subject´s mood of melancholy. Vámoš´s paranoid character (of the short story Paranoik, The Paranoid) cannot live enjoy life because he lives in „death´s coldness“, which makes him already a corpse, although he is still alive – the future of the death is present during his life: therefore a paranoid lives his life in the melancholy mode. A paranoid´s abnormality segregates him from the low crowd (misera plebs) of people who forget about their mortality. Vámoš´s premises of biological philosophy suggest that a paranoid cannot be an exclusive subject, „a spiritual aristocrat“: it is because at the level of a biological species in Vámoš´s philosophy there occur destruction, dissolution of an individual in general. An individual helps the actual biological species perceive and feel itself, and it is the species that becomes the true subject, which is moulded into its manifestations, unimportant individuals. This is where Vámoš´s melancholy springs from. The eternity of life at the cosmological-biological level means the eternity of suffering at the level of individuals: eternal life (at the cosmological level), which cannot be ended (by a ridiculously feeble suicide of an individual), will eternally reproduce the mortality of individual atoms, individuals.
2

SUBJEKT A MELANCHÓLIA U GEJZU VÁMOŠA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2015
|
vol. 62
|
issue 5
366 – 392
EN
Alongside partial interpretation of the debut collection of proses by Gejza Vámoš Editino očko (Edita´s little eye, 1925), the paper is focused on modelling a constitution as well as decomposing some of the modalities of the literary subject, also defined in terms of literary movement. An attention is paid also to how these ways of representing the literary subject in Vámoš´s texts are related to the subject´s mood of melancholy. Vámoš´s paranoid character (of the short story Paranoik, The Paranoid) cannot live and enjoy life because he lives in „death´s coldness“, which makes him already a corpse, although he is still alive – the future of the death is present during his life: therefore a paranoid lives his life in the melancholy mode. A paranoid´s abnormality segregates him from the low crowd (misera plebs) of people who forget about their mortality. Vámoš´s premises of biological philosophy suggest that a paranoid cannot be an exclusive subject, „a spiritual aristocrat“: it is because at the level of a biological species in Vámoš´s philosophy occur destruction, dissolution of an individual in general. An individual helps the actual biological species perceive and feel itself, and it is the species that becomes the true subject, which is moulded into its manifestations, unimportant individuals. This is where Vámoš´s melancholy springs from. The eternity of life at the cosmological-biological level means the eternity of suffering at the level of individuals: eternal life (at the cosmological level), which cannot be ended (by a ridiculously feeble suicide of an individual), will eternally reproduce the mortality of individual atoms, individuals.
3

EDITINO MODRÉ OČKO A DVOJFAREBNÉ OČKO JAKUBKOVO

75%
Odokienko Fodorová H.
Motus in verbo: časopis mladej vedeckej generácie
|
2015
|
vol. 4
|
issue 2
26 – 33
EN
The article deals with literary representations of child and childhood in Slovak literary fiction. It was written as part of VEGA project. Both analysed texts use a perspective of adult narrator through which we can unmask the functions, status and shift/deformation of a child hero. One of the texts was meant for child reader, the other was not. In one case the character of a child serves the purpose of demonstrating the social and cultural phenomena (Gejza Vámoš: Editino očko), in the other the child serves the purpose of ideology (Hana Zelinová: Jakubko). But, even though they belong to different literary platforms, the texts have something in common – they are both told by someone whose life was changed by a child with the same characteristic feature – colour of their eyes. The eyes and their colour bear a significant role in the texts and may thus lead to a number of – so far undiscovered – connotations. Another important common feature is, that the child in both texts doesn’t act on its own, but as a representative of someone other’s thoughts and feelings. In case of Jakubko, the child hero is the author’s tool of demonstrating ideology and its ideal of national resistance against fascism. In case of the Editino očko, through child the thoughts and feelings of the main character are uncovered.
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