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1

NARATÍVNE ŠTRUKTÚRY V PRÍBEHOCH Z DIVOKÉHO ZÁPADU. PRÍPAD PETROLEJOVÉHO PRINCA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 6
462 – 487
EN
The article is based on the analysis by John G. Cawelti saying that the western formula cannot be attached to a single plot pattern but rather to a symbolic chronotope and its influence on the type of a hero who operates within the chronotope. The author uses examples of some writings (M. Bird, F. Parkman, O. Wister, J. Altsheller, M. Brand, E. Haycox, Z. Grey and others) to demonstrate several narrative structures used in westerns: the schemes of chasing, revenge, an armed conflict between groups of characters (or a duel), the scheme of hunting for a treasure, the travel scheme as well as the scheme of a detective novel, which may be incorporated into the western. The author includes a detailed analysis of Karl May´s novel “The Oil Prince” (Der Ölprinz, 1893). Two types of stories can be identified within May´s text corpus: the ones having the paratactic narrative structure (inherited from the picaresque novel) and those having a central plot, which also include “The Oil Prince”. Its narrative structure is organized by the central motif of a fake oil lake trap. The narrative line of the bad guys is opposed by the narrative line of the positive characters, who want to save a banker´s life. Both narrative lines are interrelated by means of the manifold chasing/tracking narrative structure depicted by the alternate storyline composition switching between that of the good backwoodsmen and that of the bad guys. On the level of narrative point of view the alternate storyline composition is reflected in alternate focalization, which makes the model readers identify themselves alternately with either the good or the bad characters. Both of the narrative lines are – on the micro level – constructed as the solutions of the narrative problems: the positive characters deal with ad hoc tasks, problems, which they are faced with, using their common sense so as to assess and solve a particular situation, and their skills and physical condition. The author includes a detailed analysis of the trick pattern in the case of the Old Shatterhand character. On the other hand, the negative characters deal with being in danger by telling lies or killing. In conclusion he brings inter textual examples of the Mayesque fictitious world in the proses by J. F. Cooper, F. Gerstäcker, G. Ferry, T. M. Reid, Ch. Sealsfield on the level of motifs, on the level of the hero construction as well as on the level of the narrative structure.
2

NARATÍVNE ŠTRUKTÚRY V PRÍBEHOCH Z DIVOKÉHO ZÁPADU. PRÍPAD PETROLEJOVÉHO PRINCA – II.

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 1
38 – 49
EN
The article is based on the analysis by John G. Cawelti saying that the western formula cannot be attached to a single plot pattern but rather to a symbolic chronotope and its influence on the type of a hero who operates within the chronotope. The author uses examples of some writings (M. Bird, F. Parkman, O. Wister, J. Altsheller, M. Brand, E. Haycox, Z. Grey and others) to demonstrate several narrative structures used in westerns: the schemes of chasing, revenge, an armed conflict between groups of characters (or a duel), the scheme of hunting for a treasure, the travel scheme as well as the scheme of a detective novel, which may be incorporated into the western. The author includes a detailed analysis of Karl May´s novel “The Oil Prince” (Der Ölprinz, 1893). Two types of stories can be identified within May´s text corpus: the ones having the paratactic narrative structure (inherited from the picaresque novel) and those having a central plot, which also include “The Oil Prince”. Its narrative structure is organized by the central motif of a fake oil lake trap. The narrative line of the bad guys is opposed by the narrative line of the positive characters, who want to save a banker´s life. Both narrative lines are interrelated by means of the manifold chasing/tracking narrative structure depicted by the alternate storyline composition switching between that of the good backwoodsmen and that of the bad guys. On the level of narrative point of view the alternate storyline composition is reflected in alternate focalization, which makes the model readers identify themselves alternately with either the good or the bad characters. Both of the narrative lines are – on the micro level – constructed as the solutions of the narrative problems: the positive characters deal with ad hoc tasks, problems, which they are faced with, using their common sense so as to assess and solve a particular situation, and their skills and physical condition. The author includes a detailed analysis of the trick pattern in the case of the Old Shatterhand character. On the other hand, the negative characters deal with being in danger by telling lies or killing. In conclusion he brings inter textual examples of the Mayesque fictitious world in the proses by J. F. Cooper, F. Gerstäcker, G. Ferry, T. M. Reid, Ch. Sealsfield on the level of motifs, on the level of the hero construction as well as on the level of the narrative structure.
3

SUBJEKT A ŠIALENSTVO. ROMÁN PETRA KOMPIŠA BLUDNÁ PÚŤ VELIKÉHO ČARODEJA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 3
193 – 208
EN
The study interprets the novel by Peter Kompiš Bludná púť velikého čarodeja (Wanderings of a Great Wizard, 1929) in terms of the way the literary subject is constituted in the text and in respect of the literary representation of madness. Within the context of Slovak inter-war prose the author classifies the novel as the theme invariant of a character breaking out of the social relationships and the inter-subjective world. He raises the question what concept of subject is assumed in the type of madness which is represented in the text. On the topological text level, the motif of madness causes the discontinuity of chronotopes, on the motif level, flying motifs (supposedly „astral travels“ of a soul set free of the body). The semantic curve of the subject transformation in the text leads from the absolute „divine“ subject voluntarily ruling the reality (when the character´s madness bridges the gap between self and not-self) to a subordinate, dependant subject (the character eventually becomes a slave to a mad „theatrical“ performance). This subject transformation in the text is considered to be a modernist (Modern-dependant) subject and is also found in the writings by the modernist Ján Hrušovský. The supposedly original philosophy of the literary character Rojko (Dreamer) is an inter-textual patchwork of the motifs present in the contemporary philosophies (e.g. the „super-human“ concept) as well as Gnosticism and is generated, like the motifs of hallucination, by the character´s megalomaniac figment of imagination. The representation of madness in the text is enabled by Modern-Age subject constitution, which is opposed to the world and is presented as the basis and the source of the reality representation: thus the gap between self and not-self is bridged even further.
4

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.
5
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Muži s multiplikovanými tvárami, muži bez tvárí

100%
Horváth T.
Česká literatura (Czech Literature)
|
2009
|
vol. 57
|
issue 4
486-503
EN
This is an analysis of two characters of literature, Fantômas and Arsène Lupin, from the perspective of their identities as narrative structures of the texts in which they appear, and of the structuring of connections with the detective-fiction genre and differences from it. Fantômas, in the first part, comprises various identities, without any real face of his own: we always know him only as the persona he is disguised as at the time. the narrative scheme of the individual episodes tends to be such that amongst the closed circle of characters one is a murder victim and the other character vanishes: it turns out that the latter was not ‘the character himself’, but Fantômas in disguise – the murderer. in the first part he is present only by the ‘effect’ he has, but remains concealed. the genre of detective fiction in Fantômas is combined with other, sensational and horror elements of the structure. the article considers the Fantômas ideology of the anarchistic superman who evades the police and the social order – as opposed to the conservative ideology of classic detective fiction, which has to do with maintaining the social order. the author also analyzes rhetorical strategies used to conceal the identity of Fantômas and the detective Juve by means of false naming. Arsène Lupin, Gentleman-burglar, sometimes also works as a detective. Le chapelet rouge (1934) is essentially a classic work of detective fiction. L’Aiguille Creuse (1909) is written in the code of a novel-feuilleton, where the main plot line, the mystery of the hidden treasure, arches over the rising and falling of the plot (the individual mini-mysteries, which are disrupted in the course of the story). instead of a problem in Lupin’s crime stories (unlike detective stories) we are faced with the question of how Lupin manages to commit a burglary and, possibly, escape. the article analyzes, for example, the performative function of Lupin’s letter. The function is concealed. Unlike a visible function it is an illocutionary act with veiled perlocution by which Lupin achieves something else, hidden from the percipient. this enables Lupin to pull off the crime. in one of the stories it is the peculiar logic of performativity, whereby the percipient believes that the given state of affairs has already happened. Only with this conviction (which at the given moment is not genuine) he causes the state really to come into being after the fact. (Lupin gives the impression that he has escaped from prison, but in fact is still there.)
6

“NIEKEDY SA VRACAJÚ.“ TRANSFORMÁCIA BALADICKEJ LENÓRSKEJ TÉMY V MODERNIZME

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2012
|
vol. 59
|
issue 4
324 – 337
EN
The study analyses the reinterpretation of Bürger´s ballad Lenore (1774) in terms of inter-textuality, genre and literary movement in the modernist short story by the Polish writer Antoni Lange Lenora (1912). According to Lange, his short story „tries to explain the ´balladic´, spiritualist phenomena by rational means“. Lange´s modernist reinterpretation modifies the motif of the return of the dead: in Bürger´s poem it is a physical return of the dead – a spectre having physical features, in Lange´s short story it is Konrad´s revelation interpreted as a meta-psychic phenomenon when a telepathic transmission occurs at the moment of Konrad´s death. The syuzhet of the story does not contain a contact with the afterlife and a crossing of the borderline between the opposite semantic territories, being life and death. Therefore Konrad does not act as a diabolical revenant as opposed to all the other balladic variations of the theme.
7

SUBJEKT A ŠIALENSTVO. ROMÁN PETRA KOMPIŠA BLUDNÁ PÚŤ VELIKÉHO ČARODEJA (2. ČASŤ)

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 4
304 – 323
EN
The study interprets the novel by Peter Kompiš Bludná púť velikého čarodeja (Wanderings of a Great Wizard, 1929) in terms of the way the literary subject is constituted in the text and in respect of the literary representation of madness. Within the context of the Slovak inter-war prose the author classifies the novel as the theme invariant of a character breaking out of the social relationships and the inter-subjective world. On the topological text level, the motif of madness causes the discontinuity of chronotopes, on the motif level, flying motifs (supposedly „astral travels“ of a soul set free of the body). The semantic curve of the subject transformation in the text leads from the absolute „divine“ subject, voluntarily ruling the reality (when the character´s madness bridges the gap between self and not-self) to a subordinate, dependant subject (the character eventually becomes a slave to a mad „theatrical“ performance). This subject transformation in the text is considered to be a modernist (Modern-dependant) subject and it is also found in the writings by the modernist Ján Hrušovský. The supposedly original philosophy of the literary character Rojko (Dreamer) is an inter-textual patchwork of the motifs present in the contemporary philosophies (e.g. the „super-human“ concept) as well as Gnosticism and is generated, like the motifs of hallucination, by the character´s megalomaniac figment of imagination. The representation of madness in the text is enabled by Modern-Age subject constitution, which is opposed to the world and is presented as the basis and the source of the reality representation: thus the gap between self and not-self is bridged even further.
8

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.
9

ŠVANTNER, HOROR, FANTASTIKA: ŽÁNROVÉ PARAMETRE

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2012
|
vol. 59
|
issue 2
122 – 138
EN
The analysis of the texts in the study seeks to prove the hypothesis that most of František Švantner´s short stories from the collection Malka (1942) belong to the genre of fantasy as it is defined by Tzvetan Todorov: the endings of the most stories leave the reader oscillating between the natural and supernatural interpretations of the plot. The epistemological status of numerous events in the story is ambivalent. Švantner´s texts generate the fantasy effect by means of motif focalisation: each hypothetically supernatural motif is focalised through a literary character´s perspective. The suyzhet must be reconstructed by a model reader in the text – this suyzhet is set in the crossing point of the different characters´ (contradictory) dialogue perspectives. Another method of generating the fantasy effect is a blank space in the text, a missing story syntagm (a data concealing approach) and the inversion of time coordinates, when e.g. the emergence of a character who was already dead at that time (which the reader does not learn until the end) allows the „psychic“ interpretation, too. Emphasising the genre dimensions of Švantner´s texts may also fulfil an important role in the literary life when translating these texts into a foreign literature: hypothetically, they could be introduced into a new literary context as a sample of a particular genre rather than as a sample of Slovak literature.
10

MODERNISTICKÁ MELANCHÓLIA

100%
Horváth T.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 5
372 – 409
EN
The first chapter of the paper provides a selective overview of the modern concepts of melancholy (e.g. S. Freud, J. Kristeva, S. Žižek, L. Földényi) as well as some of its literary forms (e.g. Chateaubriand, Amiel, Baudelaire etc.). The concepts contain a certain invariant of an existential melancholy mood, which is the state of a subject being attached (often unconsciously) to a certain historical idea of death seen as the ultimate end of an individual, nothingness. This attachment leads to the loss of meaning. For a melancholic person, the „benefit“ from a finite ephemeral life as, for example, once formulated by V. Jankelevitch, is just unacceptable. On the contrary, the ultimate end deletes the lived life in reverse order: if an individual autobiographic memory of this life ceases to exist, this life is deleted as if it had never existed – and the end deletes it as a life being lived rather than one already been lived, past, finalized. Therefore life cannot be lived at present any more. And because life has an inevitably ultimate end, it becomes unbearable, always already lost for a melancholic person. The next two chapters analyse the modalities of Modernist melancholy in two pieces of writing by Slovak Modernist authors.
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