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1

THE UNCANNY STRANGENESS IN THE SELECTED SHORT STORIES OF HEIMITO VON DODERER (Unheimliche Fremdheit in ausgewahlten Erzahlungen Heimito von Doderers)

100%
Swiderska M.
Kwartalnik Neofilologiczny
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2010
|
vol. 57
|
issue 4
387-392
EN
Heimito von Doderer (1896-1966) is known best as the author of voluminous realistic novels - Die Strudlhofstiege oder Melzer und die Tiefe der Jahre, 1951 (The Strudelhof Steps); and Die Damonen. Nach der Chronik des Sektionsrates Geyrenhoff, 1956 (The Demons), in which he described the Austrian society of the first half of the 20th century. However, all of Doderer's works - both his novels and short stories - also contain some elements of 'the uncanny' (Ger. das Unheimliche). The article attempts to explore the various aspects of this trait, manifested in some of the writer's short stories, as part of the phenomenon of 'strangeness' (Ger. das Fremde), as defined by Paul Ricoeur. The analysed stories will include Die Dogge Wanda (The Mastiff Named Wanda, 1932), Begegnung im Morgengrauen (Encounter in the First Light of Dawn; 1933), Der Oger (The Ogre; 1958) and Trethofen (1961).
2
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A animalidade do homem em contos de Miguel Torga) Source: Studia Iberystyczne (Journal of Iberian Studies

88%
Araújo Branco I.
Studia Iberystyczne
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2010
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vol. 9
127-140
EN
This article discusses the animality of the human characters in short stories of the Portuguese Miguel Torga (1907-1995), embedded in Bichos, Contos da Montanha and Novos Contos da Montanha. The animals themselves serve as a counterpoint to the man, contributing to a reflection on what are the human characteristics and what are the wild. The characters are grouped according to their traits: alienation; the strength of instinct; the use of strategies markedly animals; etc. In the end, it is concluded that Torga intended to highlight the animal dimension of the man and the humanity of the animal, showing how both have the same origin, the mother earth.
3

NOVÁ DOBA, VEČNÁ ŽENA. PREDSTAVY O ÚLOHE ŽENY V PUBLICISTIKE A KRÁTKEJ PRÓZE MARGITY FIGULI V TRIDSIATYCH ROKOCH 20. STOROČIA

88%
Kubusová Z.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 2
174 – 185
EN
Margita Figuli (1909 – 1995), one of the leading Slovak women writers of the interwar period, is best known for her acclaimed novel Tri gaštanové kone (Three chestnut horses, 1940). At the time of its publication, her prosaic debut, the less widely popular collection of novellas Pokušenie (Temptation, 1937), also received favourable reviews. The period critics appreciated her ability to express emotionality and thematise the conflicting emotional and physical aspects of love as well as the stylistic qualities of her prose. Not so much attention was paid to the progressive ideological frame in which she focused on the role women played in a period when the society was looking for the meaning of life of the modern human being. Her debut collection presented her vision of the development of women who attempted at embracing their own potential. The texts advocate the value of women in the context of modernising efforts and emancipation movement of the 1930s. The article analyses Figuli’s novellas in the context of her journalism published in the women’s magazine Živena that thematises the “eternal woman” in the new era.
4

... IMMEDIATELY IT BECOMES A REMINISCENCE (DUSAN DUSEK: 'MILOSRDNY CAS' (THE MERCIFUL TIME))

75%
Bilik R.
Slovenská literatúra (Slovak Literature)
|
2006
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vol. 53
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issue 3-4
208-220
EN
The aim of the study is to show that it is possible to read the collection of the short stories by Dusan Dusek 'Milosrdný cas' (The Merciful Time) as a compact reminiscent story. This reader's approach is inspired especially by the types of a narrator in the stories, which signalised reminiscent strategy. At the interpretation we come out from the up to now having done readings of Dusek's proses (Krsáková, Zajac, Prusková), from the conception of a cultural memory by Jan Assman and also from theoretical works focused on the problem of authenticity in the literature (Mukarovský, Bachtin, Merhaut, P.de Man, Mikula, Zajac, etc.). Present interpretation showed that the world of Dusek's proses is a stylized version of everyday, profane world, which in the contact with getting involved; a very sensitive subject produces reminiscences of the past life in topical space. Dusek's world functions as a place of memory 'sui generis'. Anecdotes represent a peculiar unit in the book. It is possible to identify their phraseological character. Dusek's micro stories have a form of literal realisation of phraselogism, the author negates their metonymic /metaphoric base. We consider phraseologism as a cultural text with a denoting function and a qualifying intention, then the presented stories, as literally realised phraseologisms , are a cultural characteristic of the world of Dusek's proses and an organic part of the whole collection of the short stories.
5

Z ČASOPISECKÝCH JUVENÍLIÍ STANISLAVA RAKÚSE: POZNÁMKY K INTERPRETACI LITERÁRNÍCH TEXTŮ Z LET 1963 – 1976

75%
Pátková J.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 6
546 – 557
EN
This article builds on reading short proses written by Stanislav Rakús published only in magazines, e.g. literary magazines Slovenské pohľady, Mladá tvorba, Matičné čítanie, between 1963 and 1976. His early works include nine almost unknown proses (and one poem) which give the background to studying poet logical aspects of the text, e.g. narrative strategies, metamorphoses of the character-outsider, the relationship between the high and the low, the motif of death, the short story pattern etc. One of the primary levels of meanings in Rakús´s early short stories is oscillation between allegorical depiction of an enclosed system (totality) and absurd climax of a story. In this respect many structural similarities can be found between Rakús´s proses and debuting Dušan Mitana´s absurd short stories, mostly in terms of composition, character-outsider variety and narrative strategy. Two exceptions to Rakús´s absurd short proses are stories Matej Uriáš and Kosti (Bones) both set in fantastical-mythical environment, which make it hard for the reader to reconstruct the thematic background. The author uses allegorical techniques to expand and destroy the personality cult. He does not depict a particular period of history, but openly speaks of human conformity, cowardice as well as inability to face the evil, that is the qualities which are universal and timeless.
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