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1

ON THE ADVANTAGES OF EAVESDROPPING AND PEEPING (MIKHAIL LERMONTOV AND HIS PROSE)

100%
Pazuchin R.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 3(390)
59-71
EN
In his prosaic texts, Lermontov often makes his characters spy on what is unconsciously said or done by others. This ordinary and naive device, ingeniously adopted by Lermontov, helps him to render more vivid and relevant the psychological background for the action. Sometimes critics and common readers are not able to appreciate the profundity and precision of the descriptions given by him to his heroes. One of the gravest misinterpretations of this kind (generally accepted!) is too superficial and inadequate approach to the life and ideas of Grigori Petchorin, the central figure of Lermontov's prosaic works.
2

LATYNOMOVNA PROZA UKRAJINY KIN. XVІ – POČ. XІХ ST. JAK DŽERELO ISTORYČNYCH VIDOMOSTEJ

80%
Ševčenko-Savčynska L.
Slavica Slovaca
|
2013
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vol. 48
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issue 1
41 - 51
EN
The present article provides an insight into the early modern Ukrainian Latin prose and, drawing on the writings of Yan Yuzefovich, Yoanikiy Bazilovich, Erasm Sikst and Yosif Ruts’kiy, discusses its artistic and informative value. This is the first time that the Neo-Latin literature of Ukraine is presented to the scholarly public in Slovakia in a broader historical perspective.
3

ABOUT NOVEL TRANSFORMATION - MACIEJ ZUROWSKI'S REFLECTIONS

80%
Zurowska J.
Przegląd Humanistyczny
|
2005
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vol. 49
|
issue 3(390)
1-6
EN
Maciej Zurowski studies evolution of the novel from 18th until 20th century and novel techniques, based on great novels of the 18th and 19th century, like 'Rekopis znaleziony w Saragossie' (The Script Found in Saragossa) by Jan Potocki, 'Le rouge et le noir' (Red and Black) and 'La Chartreuse de Parme' (Charter House of Parma) by Stendhal as well as 'Madame Bovary' (Mrs. Bovary) and 'L'education sentimentale: histoire d'un jeune homme' (Sentimental Education) by Flaubert. In the authoress' opinion these works foreshadow the 20th century novel esthetics. Maciej Zurowski also focuses on connections of the novel with other arts.
4

THE BELLES-LETTRES AND THE TURING'S MACHINE FLIRTATION

80%
Wojciechowski J.
Przegląd Humanistyczny
|
2005
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vol. 49
|
issue 1(388)
81-94
EN
The electronic net, connected with the hypertext (HTML), creates a new communication system, including a new form of artistic expression called 'Liternet', derived from belles-lettres. The peculiarity of 'Liternet' texts is associative narrative instead of linearity and permanent interactivity with the recipient. The most innovative original forms are: associative prose, web-blogs and literary e-discussions. One may also recognize computer games as quasi-literary forms. All of them may transform into variants impossible in writing. Thus, 'Liternet' might be a separate means of artistic expression, parallel to traditional kinds.
5

KRITICKÉ VYDANIE PRÓZ ŠTEFANA KRČMÉRYHO

80%
Zlejšia B.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 2
172 – 179
EN
The preparation of any critical edition must inevitably be based on textological research. When it comes to the prose works of Štefan Krčméry (1892 – 1955), issues to be taken into account include not only the history of the texts in question, but also the complexity of author’s oeuvre, since analysis of his prose works often confirms the need to consider both these components. Clarifying the literary-historical context, defining the position of the prose works in Krčméry’s oeuvre and identifying the features of author’s poetics helps the editor gain the basis for the creation of editorial conception that would determine the character of the edition and support subsequent corrections made in the texts. Key issues pertaining to the preparatory process include the questions of completing of the texts, their linguistic adjustment and the way of presentation. The article points to the most prominent issues Štefan Krčméry’s prose texts pose in the initial stages of editorial preparation, but also to the basic textological and editorial tasks. Some of the proposed editorial solutions are substantiated by the publishing history of the texts in question.
6
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Wkład Vladislava Vančury w rozwój czeskiej kinematografii

80%
Walczak M.
Bohemistyka
|
2011
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vol. 11
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issue 2
133-140
EN
Authoress describes the meaning of Vladislav Vančura for the development of Czech cinematography, which was considered as a new art by him. She presents writer’s utterance about film and cinema contained in composition entitled Řád nové tvorby. Authoress emphasizes its novelty in approach to the cinematography, which is mainly based on an artistic experiment. She points on a fact that in the opinion of writer, film art is formed by many specialists like director, screenwriter, actor, literary critic, etc.
7
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Postmoderní rysy v české „umělecké” próze 90. let 20. století (na příkladu analýzy díla Jiřího Kratochvíla Medvědí román

80%
Jakovleva I.
Bohemistyka
|
2010
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vol. 10
|
issue 2
85-92
EN
The author makes reference to migrant literature, available in the Czech Republic only after 1989. This literature remained under a strong influence of American philosophy and postmodern poetics, which the writers wanted to adapt to the native artistic, historical and literary processes. As a result there emerged the so called mass literature, whose main aim was, on the one hand, the fun the “average” reader could have (for instance the works of Z. Frýdová M. Nezval, B. Nesvadbová, P. Frýbort), but on the other hand, reaching intellectuals who had their own opinions concerning literary aesthetics (works such as Sedmikostelí by M. Urban or Podobojí by D. Hodrová). Simultaneously with the migrant literature there emerged works of art which could be placed between popular literature of comic character and high, grandeur literature (novels such as Výchova dívek v Čechach by M. Vievegh or Babičky by P. Šabach), addressed to readers with particular erudition. The problem is discussed in the article on the basis of Medvedí román by Jiří Kratochvíl).
8

KRÁTKA PRÓZA DANIELA OKÁLIHO

80%
Péterová M.
Slovenská literatúra (Slovak Literature)
|
2023
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vol. 70
|
issue 5
554 – 572
EN
From 1925 to 1932, Daniel Okáli (1903 – 1987) was the leading literary critic and theoretician in the communist-leaning intellectuals’ journal DAV. He only published one collection of poetry, Ozveny krvi a zápasov ([Echoes of blood and struggles] 1932), but in the early 1920s, he also published short fiction in student magazines and left-wing periodicals. In his prose, he employed fragmentary composition and emphasised the subject’s inner experience characterised by an exaggerated sensitivity, hypertrophy of emotion, and nervous – even pathological – irritability. In addition to the leftist tendency, his writing also reflects features of modernist and avant-garde poetics and expressionism and – despite its self-proclaimed modernity – also elements tying it to tradition. D. Okáli thus joined the group of authors of proletarian literature and circles of such left-oriented fiction writers as Ján Poničan, Andrej Sirácky, Edo Urx, Peter Jilemnický, Laco Novomeský, Jozef Zindr, Jozef Tomášik-Dumín, and Jarko Elen. The characters in their fiction and the way they portray the world deviated significantly from the proclaimed social functionality and ideology, which brings them closer to the literary expression of the young, non-communist-oriented generation of writers (representatives of the second wave of Slovak literary modernism).
9

'BLUT UND BODEN' IN BOTH SLOVAK AND FEMININE LANGUAGES (THREE EARLY PROSES OF MARGITA FIGULI)

70%
Sutovec M.
Slovenská literatúra (Slovak Literature)
|
2007
|
vol. 54
|
issue 6
417-428
EN
The study is an analysis and interpretation of three short stories relating to the early creative period of Margita Figuli –' Vo vlnach Oravy' (In the waves of Orava River) (1931), 'Syn' ( Son) (1933) and 'Zem' (Earth) (1934). They were published as a changed version in a new collection of the stories 'Mamivy dusok' (Specious Taste) in the first volume of the Collected works of Margita Figuli in 1972. They are prose on the subject of rural environment and the theme of fatal relationship of a farmer to his 'land'. The author studies mainly the problem how this relationship in particular texts epically generates through plot and roles of female characters in it. In the short stories from 1931 the farmer hero had left his land because of his love to a woman and then he tragically died in the river rafting logs down the river. The analysis shows that conceptually the text is constructed in a way the balladic end manifested direct epic and semantic consequence of relational rupture to the tradition toward 'land'. Psychologically more complicated short story from 1933 bears as a theme instinct of keeping family and administration of property as moving power influencing the acting of a main hero instinctively and ramblingly manifested as a natural unlimited power - unlimited in a sense of social as well as the ethic limits. In the short story from 1934 a fatal bondage to his land dominates love of a farmer to woman and the love of woman is dominated by the same bondage, too. The author shows that M. Figuli had been building up the paradigmatic foundations of her works from her 'classical period' of writing earlier, in her creative early beginnings.
10

ZMENA LITERÁRNO-KRITICKEJ PARADIGMY V PRVEJ POLOVICI ŠESTDESIATYCH ROKOV (KRITICKÉ REFLEXIE MINÁČOVÝCH KRÁTKYCH PRÓZ)

70%
Matejovič P.
Slovenská literatúra (Slovak Literature)
|
2011
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vol. 58
|
issue 5
435 – 441
EN
The author uses the critical reflections of Mináč´s short proses published in 1960 and 1963 as an example to demonstrate how the literary-critical paradigm in the first half of the 1960s was changing. A number of authors have noticed that while reflecting on the decade, it is the early 1960s that is the crucial period. The first three years defined the character of the whole decade and contain the seeds of the future cultural and social changes. Within the framework of the situation of that time two directions of literary criticism can be identified - the first tried to stay loyal to the principles of socialist realism, the other favoured the autonomy of a piece of writing. Both tendencies are epitomized by the contemporary reflections of Mináč´s short proses Tmavý kút (Dark corner) and Záznamy (Records), while the early 1960s are dominated by the former, more ideologically orthodox one.
11

PRÓZY JÁNA ROZNERA A BRATISLAVA (SPISOVATEĽ – AUTOBIOGRAFIA – MESTO)

70%
Passia R.
Slovenská literatúra (Slovak Literature)
|
2017
|
vol. 64
|
issue 2
104 – 117
EN
The research into spatial categories is enjoying a lot of attention in contemporary literary theory as well as in interdisciplinary research. In the introduction the author of the paper offers an overview of certain theoretical and practical approaches to the phenomenon of town in Central Europe. Then he deals with the autobiographical proses written by Ján Rozner (1922 – 2006), especially the books Noc po fronte (The Night after the Front, 2010) and Výlet na Devín (The Trip to the Devín Castle, 2011). The attention is mainly paid to the analysis of the relationships between: 1.) the literary representation of the urban space 2.) the autobiographical genre and 3.) the writer´s personality. He arrives at the conclusion that in case of J. Rozner´s prosaic work the three theoretical issues are inseparably connected. „Rozner´s“ Bratislava is not only the background in his proses, the space effectively contributes to the way the writer artistically captures the basic subject, which is the relationship between the Central European intellectual and the complicated cultural and political history of the region in the 20th century. J. Rozner uses retrospective narration in order to come to terms with his own problematic past and the literary representation of Bratislava serves as part of the process of intellectual „reanimation“ of the writer in contemporary Slovak culture.
12
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Rozwój powieści grozy w literaturze czeskiej

70%
Pytel S.
Bohemistyka
|
2010
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vol. 10
|
issue 2
108-120
EN
The Czech specialists of theory of literature distinguish a few terms referring to Gothic fiction: gotický román, hruzostrašný román, román hruzy, cerný román, krvavý román (krvák, krvas). The existence of so many names of this genre results from the adaptation of various terms belonging to different (national) literary traditions, for example gotický román is a translation of an English term The Gothic novel; román hruzy derives from the German word Schauerroman, whereas černý román is a translation of a French expression roman nor. Krvavý román was popularized by Josef Váchal, who in his work not only attempted to show the prototype of the “bloody novel”, but also presented his own opinion concerning the position of this genre in Czech literature. The writer believes that krvavý román derives from the traditional Medieval tales of knights, as well as from the 16th century court tales, particularly those referring to the history of papal court. The author of the article decided to describe the development of this particular type of Gothic fiction, seeing the roots of the Czech Gothic novel in low literature, composed to entertain the common people, particularly via picaresque stories and tales about brigands.
13
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Tvarosloví Žertu

70%
Všetička F.
Bohemistyka
|
2011
|
vol. 11
|
issue 2
85-96
EN
The Joke by Milan Kundera is divided into seven parts; the first six parts are narrated as a monologue, whereas the last part is narrated by three persons. The structure of the novel also includes a paradox principle with four types of paradox. The said constructional means are complemented with synchronous moments.
14
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Jan Křesadlo: pojetí a přijetí jeho tvorby

70%
Heé V.
Bohemistyka
|
2011
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vol. 11
|
issue 3
167-181
EN
Jan Křesadlo is one of the most interesting phenomenon in the Czech literature of late 20th century, yet his literary career was quite exceptional with the author’s exile and very late literary debut. This present report inquires into the main characteristics of Křesadlo‘s art, which are found to be the epic character of his prose, his rationalism, and ironic playfulness. The last point is attended to most in detail. The second part of the report follows the causes why Křesadlo‘s work is having so ambiguous reception and it is finding hardly its place in Czech literary canon. Unusual, nay, unapproved artistic methods, almost ostentatious outsiderness and heedless breaking of taboos seem to be the most probable causes.
15
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Zapomniane bohemika w literaturze polskiej

70%
Dudkowska M.
Bohemistyka
|
2011
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vol. 11
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issue 2
123-132
EN
Authoress presents two compositions of Polish literature, which concerns Czech matters. First of them is a poetic cycle of J. Harasymowicz entitled Praskie medytacje, in which poet is delighted by a Czech capital, its story and culture, characters of saints and Our Lady. Second one is a short story of M. Brandys entitled Twardy człowiek, which concerns historical event: the meeting of leaders of both countries, W. Gomułka and A. Dubček. It is only literary fiction, and M. Brandys presents psychological portraits of both politicians.
16

NÁVRATY: VARIÁCIE NA VÝCHODISKOVÉ TÉMY (PROZAICKÁ TVORBA V. ŠIKULU OD POLOVICE SEDEMDESIATYCH ROKOV)

61%
Barborík V.
Slovenská literatúra (Slovak Literature)
|
2012
|
vol. 59
|
issue 5
393 – 427
EN
The study deals with the whole Šikula´s prose (except the novel cycles), which was written for the adult reader from the mid-1970s to the author´s death in the year 2001. It is the second period of the writer´s creative life (the first one being set in the 1960s). The attention is paid to the shorter prosaic genres, to that part of the author´s creative efforts which is placed within the short story, the sketch (the collections of short proses such as Pastierska kapsička /Shepherd´s Purse/ or Pôstny menuet /Fast Minuet/) and the novella (the best works of the period include the novella Liesky /Hazels/). The rare attempt of a historical novel (Matej) is within the given context more or less an exception. The characteristic feature of Šikula´s works in this particular period is focusing on the past, which takes two forms. It is the narrator´s personal past reconstructed by the individual memory as well as the historical past preserved in the super individual memory of the national community. Three basic narration variants based on the works of the 1960s have been identified in the second period of Šikula´s creative work: (1.) the biographical narration of other people motivated by the effort to capture in a short epic genre (sometimes only a few pages) the essence that could represent „the whole life“ of the protagonist or what has „remained“ of him/her in the memory for the others; (2.) the narration with the narrator´s autobiographical role-taking; (3.) the narration based on a historicizing story plan (the protagonists´ life stories are „woven into history“), mostly using the archetype of journey and the related protagonist type (wanderers, vagabonds, beggars...), moving on a changeable horizon of the setting plan, which allows him to „be there“, that is in history or at least on the edge of it. The three used approaches to the theme combine and overlap in individual works.
17

HONEST SHEPHERD CASE (FORMS, POSSIBILITIES AND RECEPTION OF ROMANTIC PROSE EXAMPLIFIED ON STEFAN MARKO DAXNER'S TEXT) (Pripad Statocny valach (Podoby, moznosti a recepcia romantickej prozy na priklade textu Stefana Marka Daxnera))

61%
Pacalova J.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 4
339-347
EN
The article analyses Stefan Marko Daxner's short prose called Statocny valach (Honest shepherd, 1843, in manuscript titled O drahom barancovi, Of an expensive ram), in which the writer used and creatively adjusted the narrative techniques and language typical of humorous folk genres. The prose proves interesting with regard to two different assessments made by both contemporaries and literary historians, which was caused by a type of print media it was published in. It was assessed as an original prose (Jozef Miloslav Hurban and Julius Noge) as it had been published in almanac Nitra (1846) as well as a folk tale (Pavol Dobsinsky and Cyril Kraus) as it had been published in Prostonarodne slovenske povesti (1883). The two different ways of receiving the prose conditioned by the criteria of literary experience are used to show there is a long-standing problem of the assessment of the literary works which are found somewhere between literature and folklore.
18

NOSTALGIA ZA NEEXISTUJÚCOU „KRAJINOU DETSTVA“ V IMPRESIONISTICKEJ POVIEDKE IVANA BUNINA (K ŽÁNROVEJ PODOBE PRÓZ TEMNÉ ALEJE)

61%
Pašteková S.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 4
322 – 328
EN
The article was written as an outcome of the international scientific colloquium The Forms of Melancholy in the Arts organized by the Institute of Slovak Literature, Slovak Academy of Sciences, in Bratislava (15th May 2014) and, at the same time, is a partial outcome of the VEGA grant project titled Hyperlexicon of Literary and Scientific Terms and Categories, designed as a reflection on the genre theory and the forming of the genre invariants in modern prose of the 20th century. The methodological basis of the article is the interpretation analysis of the text structure of a particular short story chosen from the prose cycle Dark Avenues (1939-43) by the Russian Modernist Ivan Bunin with respect to literary as well as non-literary contexts. The article is supported by primary sources (original texts of Bunin´s short stories and their Slovak translations by renowned Slovak translators – the cited samples) as well as secondary literature on the subject of the research carried out by Russian, Czech and Slovak literary scientists, and, in addition to that, by the author´s own previous research into the work of Ivan Bunin. The result of the interpretation analysis of one of the most significant short stories in the cycle titled Rusya (1940) and its non-literary background proves the hypothesis of the narrator´s ambiguous position on the author – narrator - character axis and, at the same time, tries to define the genre particularities of Bunin´s text oscillating between lyric, epic and drama with regard to the author´s intention and the use of the means of expression to convey the artistic message. The well-thought-of way of handling time and space, the writer´s narrative strategy brings an original aesthetic and psychological effect in reader text reception. In the context of Bunin´s work of the later emigration period, the presented interpretation analysis proves the assumption that the short story structure features genre vagueness being an open and continuously developing composition system.
19

FUNKCIA ŽENSKÝCH A MUŽSKÝCH POSTÁV V EPICKEJ ŠTRUKTÚRE KRÁTKYCH PRÓZ JÁNA ČAJAKA

61%
Hajdučeková I.
Slovenská literatúra (Slovak Literature)
|
2015
|
vol. 62
|
issue 3
190 – 211
EN
The author of the paper focuses on the dynamism of the female and male characters in short proses by Ján Čajak in order to reveal the use of gender relations in the epic line of syuzhet in terms of semantics and composition. The subsequent comparison of the gender aspect in proses by Martin Kukučín helps her address the issue of artistic criteria when classifying the writer in the context of Slovak literature.
20

KUKUČÍNŮV NEPREBUDENÝ V DIGESTU GABRIELY PREISSOVÉ (SLOVENSKÝ VYPRAVĚČ V PRVOTNÍ ČESKÉ RECEPCI)

51%
Janáčková J.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 6
493 – 504
EN
The study deals with the prose writer Martin Kukučín´s „Prague period“, namely the troubles with adaptation of his representative psychological prose Neprebudený (Unawakened) in the Czech environment. The prose writer G. Preissová – later the author of the works such as Gazdina roba (Woman housekeeper) a Její pastorkyně (Her stepdaughter) – wishing to introduce Kukučín to Czech literature in her retold version titled Nemoudrý (Unwise) transformed his prose with many levels of meaning into a one-level text of popular light fiction. The study presents this adaptation mechanism and draws attention to the meaning shifts and reductions in comparison with the original. At the same time it describes the relationship between the Slovak prose writer and the Czech cultural environment. The author of the study builds on the methodological stimuli of W. Schmidt´s narrative transformation, which presents the mechanism of dealing with the text in the process of adaptation – digest, which is characterised as „accelerated narrative“. The study is concluded with the finding that inspirations by Kukučín´s type of prose could later be seen in the Czech literary environment.
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