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1

PROTOTEXT A JEHO ZMENY (BÁSEŇ IVANA LAUČÍKA V LISTE PETROVI REPKOVI A JEJ SEGMENTY V BÁSŇACH BIELY FILM A TAM, KDE NIE SOM)

100%
Mikšík M.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 3
268 – 278
EN
The article provides interpretation of the changes the prototext of Ivan Laučík’s (1944 – 2004) poems “Biely film” ([White film] from the collection Havránok, 1998) and “Tam, kde nie som” ([There, Where I’m Not] from the collection Na prahu počuteľnosti [At the threshold of hearing], 1988) underwent since it was included in the letter to Peter Repka from the 10th September 1970. The contribution concentrates on three main issues. The first one concerns the intertextual reference the prototext makes to the poem by the French journalist and author Jean-Paul de Dadelsen (1913 – 1957) “Jonas” and the possible meanings it brings to the prototext. The absence of this reference in the poem “White film” serves the convergent function. The article then provides a comparative interpretation of the changes between the prototext and the poem “White film”. These appear to have made the poem clearer and strengthened its metaphysical aspect through intensifying the presence of “illumination/light” motives and elements in the poem. Finally, the contribution analyses the modifications the last four lines of the prototext underwent before they were included in the poem “There, Where I’m Not”. The article argues that the poet attempted at simplifying the segment as to the poetic devices it employs and at making it clearer. In result, the singular lived experience was transformed into a general maxim.
2

CHIAZMUS TELESNOSTI A PRÍRODY V POÉZII I. LAUČÍKA

88%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
|
issue 5
393 – 409
EN
The present paper dealing with Ivan Laučík´s (1944 – 2004) poetry is organized into several steps. It was inspired by M. Merleau-Ponty´s ideas about the chiasmus of corporeity and the world, about perceiving elements and things, about the functioning of the living language, fragmentarily known in the Czechoslovak context since the 1960s and probably marginally noticed by I. Laučík. The paper refines cave motifs, or topoi as a synecdoche of nature in Laučík´s poetry – it is done by confronting his own poems with Rudolf Těsnohlídek´s book of documentary essays Demänová published in the year 1926. An attempt at defining the semantics of the motifs is made by referring to Laučík´s essay about speleologist J. Volko-Starohorský, where there is a poetically inspiring designation crisis and a crisis situation of existential corporeal commitment projected into the relation between language and cave experience. The paper highlights as an interpretation problem the transition of Laučík´s poetry from an excessively „open“ way of writing of the late 1960s to relating his poetry of the 1980s to natural and cultural landmarks of the Liptov region, biographically well-known to the poet. These ideas are further exemplified by critical reading of three poems. The poem Jahoda (Strawberry, collection Vzdušnou čiarou, As the crow flies, 1991) shows Laučík´s participation in a latent discussion of the 1980s about ecology, the critical reading documents the biographical context of the poem, notices irony and a commemoration gesture. The poem Alexy´s pastel moves on from the visual work of art to reviving its model – a sacred architectural monument falling into a ruin at that time and shows so far unnoticed possibility or form of Laučík´s poetry – a „quasi-geographical recording of history“. In the case of the poem Milí priatelia! (Dear Friends!, end of the collection Na prahu počuteľnosti, On the Threshold of Audibility, 1988) brief fragmentary critical reading uses the motif of a hat to refine the chiasmus between communication and anonymous loneliness, as well as the motif of avalanche in the sense of liberating risk and disaster. The paper situates Laučík´s poetry, which is difficult to read and sometimes even hermetic.
3

VYBRANÉ REPREZENTÁCIE FAUNY (HMYZ, VTÁCTVO, VEĽRYBA) A ČLOVEK AKO „ĽUDSKÉ ZVIERA“ V TVORBE IVANA LAUČÍKA

75%
Mikšík M.
Slovenská literatúra (Slovak Literature)
|
2023
|
vol. 70
|
issue 2
196 - 204
EN
The article tackles selected representations of animals in Ivan Laučík’s (1944 – 2004) poetry. From the wide range of animals which the poet invites into his verse, it focuses on the motifs of insects, birds, and whales. In the world of Laučík’s poetry, insects serve as a litmus test for the quality and viability of an ecosystem. The poet, however, also handles insects in relation to the question of the expressive possibilities of language. Laučík’s ethical and ecological worldview also encompasses numerous motifs of birds which serve functions similar to those of insects. The motif of the whale occupies an important position in the poet’s debut collection, Pohyblivý v pohyblivom ([Mobile within mobility] 1968) and is also an indicator of how people relate to fauna and nature in general: as either conquerors or explorers. The ideal of a peaceful cohabitation of humankind with other animals can be glimpsed in Laučík’s handling of the human as a “human animal.” Such ethos can be observed both in individual poems and in the poet’s system of values in general. It accentuates an eco-friendly attitude towards nature to which the human is radically related.
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