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1

IDYLICKÝ TOPOS V SLOVENSKEJ PRÓZE ŠESŤDESIATYCH ROKOV 19. STOROČIA

100%
Palkovičová E.
Slovenská literatúra (Slovak Literature)
|
2019
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vol. 66
|
issue 6
463 – 477
EN
The paper focuses on Slovak prose written in the 1860s. The first part maps the social and cultural context of literary production and the state of the national emancipation process which received new impulses in the new political situation during the period of time between the end of absolutism and the Austro-Hungarian Compromise in 1867. The other part of the paper pays attention to social novellas written by Mikuláš Štefan Ferienčík (1825 – 1881), Daniel Bachát (1840 – 1906), Viliam Pauliny-Tóth (1826 – 1877) and Štefan Križan (1826 – 1894), which comply with new requirements laid down on prose, namely to entertain, to attract and to educate the bourgeois audience as well as to address their national awareness. The works of prose mentioned above feature an idyllic topos characteristic of the 19th century Slovak literary discourse. It either has a form of a „lovely place“ in a remote forest settlement which keeps the world of civilization at a distance or a „happy home“ which stays in a close contact with it. Despite certain remnants of romantic poetics, which may be disclosed in representations of an idyllic topos, the writings present a rather Biedermeier-like attitude towards the reality: the ordinary is shown as a celebration or a ritual, they try to establish harmony between the idyllic place and the outer world, the community of a family or friends is depicted as a place that is a guarantee of moral values and national freedom.
2

HOLLÉHO SELANKY – STRETNUTIE IDEÁLU DOKONALOSTI S TRADÍCIOU

100%
Rišková L.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
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issue 1
46 – 58
EN
The idyll has an important position in Hollý´s poetic production. This type of poetry can be found throughout his literary activity. It significantly affects the way his poetic production is assessed as a whole, and it defines its place in the development of Slovak poetry. The Christmas idylls Miloslav, Vitoslav and Spasitel/Messiah are not only confined to the contemplation of the spiritual level of the Christmas mystery as the fulfilment of God´s plan of salvation, but they offer several interpreter levels. They also prove Hollý´s poetic craftsmanship satisfying the most stringent poetry criteria as well as his intense relationship to the domestic cultural and the literary tradition.
3

ET IN ARCADIA EGO. MELANCHOLICKÁ IDYLA SLOVENSKÝCH ROMANTIKOV

88%
Bystrzak M.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
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issue 1
15 – 26
EN
The present paper outlines the basic assumptions of the research into the idyll in the discourse of Slovak Romanticism. The idyll is defined within the context of recent theoretical knowledge – such as the mode, the semantic attribute of the literary space. In this view the author examines the echo of the idyll in Slovak Romanticism, often coexisting with the aesthetics of melancholy. The author uses selected example pieces of writing by Slovak Romantic writers to prove the variety and interpreter effectiveness of the melancholy idyll, which is defined by three categories – space, time and self. The research material include selected poems written by Ján Botto and Janko Kráľ, which illustrate the specifics of creating the idyll in the discourse of Slovak Romanticism: the past dimension of the idyll, the present times of private pastoral myths, melancholy degradation of the idyllic space and coexistence of the idyllic locus amoenus with the elegiac locus terribilis. The degraded, lost melancholy idyll is thus interpreted as a part of the Romantic imagination – it enters into the dialogue with the legacy of early Slovak literature as well as it complements the register of literary means of expression with the modern, individualized self.
4

Bialoszewski: idyllic

88%
Zaleski M.
Teksty Drugie (Second Texts)
|
2006
|
issue 5(101)
55-68
EN
Miron Bialoszewski's poems published in his famous debut-making collection 'Obroty rzeczy' have been read within the context of an idyll-of-self tradition (a concept by Renato Poggioli), that is, an idyll of privacy, its variety being an 'idyll of one's own room', the locus amoenus of the Stalinist age. Sacralisation of the ordinary, being characteristic to Bialoszewski, is a uniqueness of things ordinary, interpreted by the author not in terms of a Freudian 'unheimliche der Gewöhnlichkeit' but as a category of the ordinary, within the meaning established by Stanley Cavell. Such an 'ordinariness' is represented in epiphany scenes where the most ordinary things appear. Bialoszewski's poetry is an idyll of being, as such.
5

IDYLICKÉ STRATÉGIE VNÍMANIA SKUTOČNOSTI. LASKOMERSKÉHO CESTA NA VÝCHOD

88%
Hudymač A.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
|
issue 2
103 — 115
EN
In the paper idyll is presented in three different uncovers. First of all – “degraded idyll”, connected with the phenomenon of “orientalism”, described for the first time by Edward Said. Secondly – “retrospective idyll”, updating the Arcadian Myth and finally – the idyll as a peculiar panacea for the trauma of the otherness. Laskomerský’s travel jotting is analysed through the prism of post-colonial studies as well as phenomenology. In this paper travel is related to the specific kind of experience, both cognitive and emotional, and it is as well a very important part of romantic cultural paradigm, especially voyage to the Orient. Orient was disturbingly different, fascinating and it helped to demarcate the border of one’s own culture and identity. Laskomerský’s travel book is an assemblage of the discourses and is built on the basis of contrast, on both style and content level. The Slovak author is torn between true admiration of beauty and exoticism of the Constantinople and the anxiety, as well as rejection of the foreign culture.
6

IDYLA A LIMITY REALIZMU (ŽÁNER AKO MENTÁLNE MÉDIUM)

88%
Mikulová M.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
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issue 2
130 — 142
EN
The idealistic and idyllic perception of reality in Slovak literature of the second half of the 19th century was seen as a legitimate part of the production of the old generation writers. The falsified image of reality was challenged by the production of the younger authors (Timrava, Tajovský, Jesenský). It their case it was enough to describe undistorted reality to seem polemic, i.e. anti-idyllic in contrast to the old generation of the writers. However, there was a writer who found himself split between the desire for a harmonious world and critical perception of reality – Martin Kukučín. Encouraged by the discussions in the Prague society Detvan he managed to benefit from the stimuli of European literature finding the basis for his philosophical reflections in the fundamental premises – the question of life and death, conscience, egoism, tradition, spiritual harmony and money. On the island Brač in 1896 he began to write a long work of fiction inspired by observations of a local patrician family (the fragments were titled by the Complete Works editors Rodina/Family and Zádruha/Community) with the intention to describe a family idyll, harmony and togetherness. He was very disappointed to discover that the only thing that kept the aging childless siblings together was the wealth, which in line with the family tradition of not dividing the property had no actual heir. Kukučín was disgusted by the realistic depiction of the archaic traditions so much that the text, which he failed to write in an appropriate artistic form for that reason, remained in manuscript. Having had this experience as well as been disappointed by the time spent in Slovakia he wrote in 1896 a short story titled Svadba/Wedding. He did it in a vivid and emotional form of eclogue, and he used its lyric nature to a great extent as his emotional prophylaxis. The protagonist ́s painful polarity between love for the parents and that for a woman suggests an analogy with the writer ́s feelings when he realized he never wanted to come back to his homeland again.
7

PODOBY IDYLICKÉHO V DOLEŽELOVEJ TRAGOEDII

88%
Brtáňová E.
Slovenská literatúra (Slovak Literature)
|
2018
|
vol. 65
|
issue 1
27 – 36
EN
The thematic background of Doležal´s Tragoedia (1791) is formed by the images of the ancestors Adam and Eve´s lives and the story of their son Abel´s tragic death. The life in the Garden of Eden as well as outside it is depicted by Doležal in the mode of an idyll, in the narrative and semi-dramatic (dialogue) form, which reflects human desire for a peaceful, non-conflicting and balanced being. Doležal´s idyll lies in the optimistic and positive concept of the world. By using the conventional biblical as well as non-biblical emblems (rivers, trees, flora, fauna and pleasant climate, natural resources) the Garden of Eden is presented as a lovely place (locus amoenus). In this carefully and efficiently organized space, full of beauty, Adam and Eve lead a harmonious life. Despite the fact they leave the paradise and face a radical change trading peaceful and carefree lives for hard and arduous work and pain, Doležal´s narration does not lose its idyllic tone. He lists the consequences of their sin which separated the ancestors from God, however, he considers the „new world“ to be better.: God let the sin happen in order to show the „beauty“ of infinite virtues. The sin brought about numberless benefits: new social and political structures, various occupations, the possibility of education and art, technological progress. While in the first part Doležal speaks of the world which the reader could never see, the depicted earthly world is to a great extent dependent on the space and time in which the author lived himself.
8

IDYLICKOSŤ A MALEBNOSŤ V CESTOPISOCH ALOJZA MEDŇANSKÉHO A JOZEFA MILOSLAVA HURBANA

88%
Koliová M.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
|
issue 1
37 – 45
EN
The present paper looks through the prism of picturesqueness as an aesthetic category and the idyll as a genre to examine the way of depicting the sceneries in the travelogues written by Alojz Medňanský (Malebná cesta dolu Váhom v Uhorsku/The Picturesque Journey down the Vah in Hungary, 1826) and Jozef Miloslav Hurban (Prechádzka po považskom svete/The Walk around the World of the Považie Region, 1844). Before the actual analysis and interpretation of particular travelogue extracts, the attention is paid to certain typological similarities/differences of picturesque and idyllic scenery as well as the establishment and development of the aesthetic category of picturesqueness. At the same time the ideological potential of an idyll or the concept of picturesqueness is noticed, while the particular way of fulfilling the potential in the selected texts is monitored. The chosen approach makes it possible to grasp and classify the typology of scenery employed by the writers in question, and also to understand its function within the whole meaning plan of either travelogue. The paper mainly builds on the research and the findings of E. R. Curtius, K. Stibral, C. Jungová and E. Lobsien.
9

SLOVANSKÉ NEBO – IDYLA V HURBANOVOM DIELE SLOVENSKO A JEHO ŽIVOT LITERÁRNY

75%
Bilińska I.
Slovenská literatúra (Slovak Literature)
|
2018
|
vol. 65
|
issue 1
1 - 14
EN
The paper focuses on tracking the idyllic topoi in historiosophical work by Jozef Miloslav Hurban Slovensko a jeho život literárny /Slovakia and its Literary Life/, in which Slovak literary science emphasized the idea of continuity of the development of Slovak culture and literature. The deconstruction of the idyllic topoi shows that it is the idyll that is the important part of the ideological construction of Hurban´s work. The idyllic topoi in connection with mystification of the past enabled him to create the idea of continuity between the present times and the Great Moravian cultural legacy. The idyllic codes can be found in Hurban´s depiction of the Slovak territory, Slovak nation, and its cultural evolution. The ethic and aesthetic values of the idyll became the base of Slovaks´ created collective identity. The idyllic language is part of the Romantic national myths, especially the myth of folksiness, the Great Moravian myth and the myth of the thousand-year-old yoke. Hurban´s idea of continuity of national culture, the connection between the „cradle of Slavs“ and the writer´s present times, and especially the utopia of Slavic future in the form of „Slavic heaven“ is based on idyllic topoi and Slovak Romantic myths.
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