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1

NA HRANICIACH POÉZIE

100%
Hostová I.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 5
435 - 441
EN
The article discusses the diversity of understanding about the category of poetry at the backdrop of the tension between substantial definitions of poetry (and the lyric) and functional and sociological approaches to literature. After addressing the limitations of Jonathan Culler’s construction of the identity of the lyric, it summarises Miroslav Červenka’s views on what constitutes poetry in the era when metre, rhyme, and other formal elements are no longer operative with regards to defining poetry. Subsequently, it provides a short discussion of sociological approaches to the study of literature in the context of other social phenomena (Pierre Bourdieu, Bruno Latour) and lists a few cases which demonstrate the way literary fame was evidently consciously created by actors and groups in the literary field (Walt Whitman, Thomas Stearns Eliot, Emily Dickinson). In the final sections, the article briefly mentions several similar examples from post-1989 Slovak poetry, addresses the ways in which modern and contemporary poetry crosses various boundaries, and introduces the articles included in this special issue of Slovenská literatúra.
2

V MALÝCH DÁVKACH JE SVET ÚČINNEJŠÍ. I POÉZIA… KRÁTKA BÁSEŇ A VÝZNAM REDUKTÍVNOSTI V TVORBE RUDOLFA JUROLEKA

100%
Juhásová J.
Slovenská literatúra (Slovak Literature)
|
2024
|
vol. 71
|
issue 1
12 – 27
EN
Despite the fact that Slovak poetry did not develop the historical form of minimalism, which culminated in the Euro-American space in the sixties to the eighties of the 20th century, even under the influence of contacts with the work of foreign authors, several Slovak artists adopted and creatively adapted the singular features of minimalist poetics – conceptuality, aesthetics of the sublime, poetics of indications, ellipsis, short forms of narrative, enunciative, intermediality, seriality, thematic minimalism. Peter Zajac connects them with the cultural paradigm of minimal and perceives them also in contemporary art as productive tendencies of visual art and literature. The study focuses on the work of Rudolf Jurolek, a representative of natural lyricism with subtle spiritual overtones. His tendencies towards short form and reductiveness can be noted in various transformations from his journal beginnings in the seventies of the 20th century to the collection of poetry Bukolika, for which he received an award Zlatá vlna in 2022. Jurolek's manifestations of minimalism impress with their conceptual character and variety of procedures, but also with their own conceptual concept, in which minimalism is connected with complementary and harmonizing processes.
3

DEPTH AND ASCENDANCE OF BUZASSY'S POEM 'PLANE, HORY' (PLAINS, MOUNTAINS)

80%
Gavura J.
Slovenská literatúra (Slovak Literature)
|
2006
|
vol. 53
|
issue 5
368-381
EN
The collection of four longer poems by J. Buzássy called 'Pláne, hory' (Plains, Mountains) offers a unique look at humanity in human beings and their secret inner worlds, which are difficult to name. Poetry and its creational ability towards language are tools that could get much closer to naming these worlds than any other methods. Though it is difficult to follow such poems, the author tries to find a system in the words by detailed tracing individual lines of the thoughts. He finds that Buzássy is inspired by T. S. Eliot's 'The Waste Land'. Eliot's poem generates the numerous questions which are selected by Buzássy, reconsidered and afterwards implemented in the new ideas and poems. Four poems of the book 'Plains, Mountains' give a chance to be read separately but also altogether - it is allowed due to the title that unites all texts and the same motives that are used within the whole collection. Buzássy is a poet of the virtues but surprisingly in the book he reaches for lower levels of humanity. His only condition is to be fully devoted to our human character; only then the ascent (spiritual and physical) makes us feel convenient about ourselves. The author's analysis reveals complex and uneasy series of Buzássy's thoughts that eventually contrast Eliot's visions of the world. He indicates that the only form that could bring successful conclusions to Buzássy or Eliot collage style is to use a long poem with enough space to build structure (the world of intuition and suppositions).
4

SMÚTOK JE TELESNÝ (ZOBRAZOVANIE NEVERBÁLNEJ KOMUNIKÁCIE V POÉZII ŠTEFANA STRÁŽAYA)

80%
Hermida de Blas A.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 6
538 – 548
EN
Štefan Strážay´s poetry is analysed in this paper from the point of view of nonverbal communication. Nonverbal communication is a subject of growing interest to scholars in many disciplines, also in literary studies. Spanish-Canadian leading scholar Fernando Poyatos, after systematizing the conceptual, terminological and methodological apparatus of this interdisciplinary science, has applied it to the analysis of literary texts of prose fiction and theatre. This paper is inspired by the findings of Poyatos, but tries to go further, testing the applicability of this new discipline to lyrical poetry. The representation of nonverbal communication in lyrical text is usually less explicit than in the other literary genres, but thanks to the realistic nature of Strážay’s poetry it is possible to find some good examples. Due to the mainly visual nature of the poetic image, the paper focuses on the representation of kinesics –and one of its parts, proxemics– in Strážay’s poetry. The texts are selected from his representative books Wormwood, Sister, and 96 Malinovský Street. Particularly interesting are those poems in which there is a communicative interaction between two persons, the most often a man and a woman; one of them can be the lyrical subject, otherwise acting as an observer. The representation of body language in Strážay’s poems is mostly implicit, but it is important as a sign of nonverbal feelings of the characters.
5

STRAZAY'S PALINA (Strazayova Palina)

80%
Jares M.
Slovenská literatúra (Slovak Literature)
|
2010
|
vol. 57
|
issue 4
331-342
EN
The paper brings detailed remarks on Stefan Strazay's collection Palina (1979). The collection can be understood as a break in the poet´s development: the author definitively moved from the prevailing lyrical record to his own way of writing and language. The first part of the paper deals mainly with reception of the collection in the journal Romboid (Meridan from 1981). The second part of the paper focuses on the differences between book and magazines imprint of three selected poems. There are evident shifts even in the meaning between the texts in those two forms. The comparison of them helps to understand more deeply the poet´s work in process.
6

K NOVÝM CESTÁM HLBINOVEJ POÉZIE

80%
Tollarovič P.
Slovenská literatúra (Slovak Literature)
|
2021
|
vol. 68
|
issue 1
19 – 39
EN
The paper deals with the poetry of Pavol Gašparovič Hlbina written in the second half of the 1930s, when the author was one of the most productive Slovak poets, reviewers, translators, and literary aestheticians. It traces the causes of changes in his poetics used especially in the collection of poems Dúha (The Rainbow, 1937) as well as his relations to his close collaborator Rudolf Dilong (1905 – 1986), mainly in the context of their editorial activities in the magazines associated with Catholic Modernism (Postup and Prameň). It outlines the author´s poetry in the context of Slovak modification of poetism and maps his views on surrealism. When the collection Dúha (The Rainbow, 1937) was published, Hlbina was closely following the rising surrealist tendencies in the Slovak literary environment and writing numerous reflections on them. This collection of poems also represents the modern variant of his poetry. The other variant is religious poetry; this type of poetics was used when cooperating on an extensive project of St Adalbert Association, which was the Unified Catholic Hymnbook, published in 1937.
7

SYNTETICKÁ POÉZIA V KONTEXTE SLOVENSKÉHO NEKONVENČNÉHO PÍSANIA A POSTLITERÁRNEJ SITUÁCIE

80%
Šrank J., Hostová I., Novotný R.
Slovenská literatúra (Slovak Literature)
|
2022
|
vol. 69
|
issue 5
474 – 498
EN
The article focuses on poetological and axiological analysis of the Slovak collection of poems Liza Gennart: Výsledky vzniku ([Outcomes of origin], 2020). The collection is part of the project created by the poet and theorist of electronic literature, Zuzana Husárová (b. 1983) and the sound artist and programmer Ľubomír Panák (b. 1979) who trained a neural network to generate its poems. Texts generated by neural networks are usually referred to as synthetic. In the article, we therefore propose to use the term synthetic poetry to denote poetry generated by neural networks. Introductory parts of the article address the global contexts in which such a work of literature is nested (changes in the economy, position of literature in the current world, problems faced by the humanities today) and technological issues pertaining to natural language processing. What follows is a literary-historical contextualisation in which we outline the history of generative writing in Slovak literature, the issue of authorial teams co-creating poetry, and virtual authorial signatures. In concluding section, the article provides a textual analysis and proposes to conceptualise this instance of synthetic poetry in terms of (1) poetics of defect, (2) poetics of incoherence, and (3) poetics of reduction.
8

ZVIERA AKO NÁSTROJ V KRESŤANSKY ORIENTOVANEJ SPIRITUÁLNEJ POÉZII

80%
Gavura J.
Slovenská literatúra (Slovak Literature)
|
2023
|
vol. 70
|
issue 2
133 - 150
EN
The immediate connection between animals and humans became the basis for a long-lasting and highly structured relationship which also found its place in art and poetry. Slovak poetry uses animal elements with great intensity and variety taking into account a number of aspects: human dependency on nature as environment; the animal ancestry of humans on the one hand and exceptional qualities and faculties that distinguish humans from animals; the hierarchical ordering of the world based on the evolutionary progression leading to the superiority of the human. Examples from Slovak Christian-based spiritual poetry show that animal elements are most commonly used for defining the human character and for testing moral values. Less common, although still numerous, are poems with de-humanized depictions of people that reveal a possible crisis of an individual or of society. Spiritual poetry also reveals a hidden tension between the declared high value of nature and the inherent anthropocentrism of both art and Christian religion which outline clear hierarchies.
9

JAN SMREK: THE POET AND THE WOMAN (Jan Smrek: Basnik a zena)

70%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2010
|
vol. 57
|
issue 5
446-482
EN
The aim of the study is to point out the ethical, moral foundation of Smrek's artistic philosophy, his concept of love and erotic in the context with his poetic composition Basnik a zena (The Poet and the Woman). The poetic composition Basnik a zena (The Poet and the Woman) was published in 1934. It was ten years later than the first four chapters of it were published in the magazine. That is why we characterize his publication as a newly reworked edition. In the centre of Smrek's composition there is a relationship between the poet and the woman. From another point of view this relationship can represent the poetry and the love. Both of the topics belong to the key themes, the core for Smrek's philosophical concept as the whole. Smrek's concept of love as a humanizing power refers directly to troubadours' poetry and develops some noetic and aesthetic toposes of medieval courtesy. In the mentioned context we can understand Smrek's ambivalence between sensuality and courtesy, between physical desire and spiritual astonishing, between eros and ethos. This love paradox in both the troubadours' and Smrek's poetry has its function and form of secular spirituality. Smrek's concept of love is inseparably connected with moral regulations; the character of Smrek's erotic is in fact ethical. Smrek in the poetic composition Basnik a zena (The Poet and the Woman) formulates ideological foundations for his poetry and his artistic and poetic philosophy. The contribution of the study becomes evident also due to the fact, that the composition Basnik a zena (The Poet and the Woman) has not be analysed in details in the literary research, yet. For the following research it is crucial to consider what we depicted in the study - mainly the Smrek's concept of love and its affinities in the medieval troubadours' poetry and the humanistic meaning of it.
10

JAN ROB PONICAN (I AM, I THINK, I FEEL, I LOVE EVERYTHING, BUT DARKNESS I HATE)

70%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2008
|
vol. 55
|
issue 4
261-274
EN
The aim of the study is to determine the typological coordinates of the debut written by Jan Rob Ponican and to follow the realizations and transformations of semantic gesture in dependence on identity determined by style and literary movement, respectively on the basis of the crossing different identities. Jan Ponican's debut 'Som, myslim, citim, milujem vsetko, len temno nenávidim' (I am, I feel, I love everything but darkness I hate, 1923) synthesizes poetics of several European avant-gardes and the modernistic movements. Eclectic character of the collection, and also two basic thematic cycles of the Ponicans´s poetry - 'fight' and 'love' unite 'revolutionary-romantic' gesture determining the aesthetic, noetic and ideological qualities in dependence on transformation of the typological ones. Influences of New-Romaticism, Decadence, Symbolism, Anarchism, Vitalism, Expressionism, Cubism and Futurism, Un-animism and proletarian poetry are many times realized in stylistically pure form, more often overlapping with significant tendency to connect, cross and combine the different codes and poetics. Ponican's debut seems aesthetically and ideologically quite destructed, but in the terms of revolt also coherent expression as well as kaleidoscope of European culture from the end of 19th c. to the 20-ties of the 20th c. with many layers. Contribution of the study is mainly based on questioning the problem of the simplified conventional picture presenting Jan Ponican as a poet of proletarian ideology. Contrary to that it reveals variety and complicacy of typologically stylistic identity of Ponican's debut.
11

K BÁSNICKÉMU KONCEPTU A VARIANTOM POHLAVNEJ LÁSKY VO VAJANSKÉHO VERŠOVANOM ROMÁNE DUŠINSKÝ

70%
Tatár J.
Slovenská literatúra (Slovak Literature)
|
2018
|
vol. 65
|
issue 6
447 – 461
EN
Vajanský´s poetic concept titled Vít was created in 1878, while some of the parts came out in the late 1870s in the Národnie noviny and Orol. As a book with the title Dušinský it was only published as late as 1909 in Sobrané diela, volume 6. The astute observation made by I. Kusý (1987) about anticipating his debut collection does not need editing, neither the emphasis of his ideological and formal innovations in poetry. In comparison with the composition titled Maják (1879), where Vajanský applied the romantic or postromantic attitude to reality, Dušinský refers to the realist and critical face of the poet. By depicting the petite bourgeoisie environment with its readily observed characters, by applying reflexiveness, fragmentariness, lyric elements, conversational style etc., i.e. a new „non-prosaic“ rendition, the narrative and reflexive genre is made by the poet more modern and dynamic. The evolutionary stimulation accompanies the rise of the realist aesthetic structure with its typical attempts at critical probes into the reality of those times. Unlike the previous critical reflection of this literary work focusing on the writer´s share of the evolutionary progress in Slovak poetry and non/confirmation of Vajanský as a receptive poet, this paper pays special attention to the characteristics of the poetic concept with the accent placed on the analysis of the variants of sexual love. There is no need to question Kusý´s designation of the work as a „novel of love“, perhaps just to make it more accurate – the „intended“ novel of love. Everything else – i.e. the national or social issues of those times – is only the period background. Despite the fact that art wise Vajanský attempts to offer a wide variety of characters based on life experience, when thematizing sexual love he remains constrained by the contemporary social taboos as well as his own ones. The source of this „monochromatic“ attitude is the writer´s as well as the community awareness which affects the way the characters are shaped. What Vajanský did in Dušinský again is to only bet on love in the form of one-sided affection – platonic, leaning towards the Wertheresque type – lacking any contact with the vital force of Eros, by which he established a strict border between soul and body. Thus in an artistically unproductive way he simplifies things and he makes the characters seem inanimate, apathetic or even schizoid. Even though the writer managed to be in an activating contact with the reader, nowadays Dušinský could hardly be expected to get significant reception. However, due to the gaps in literary scientific reflection and orientation towards new analytical and interpretative reading, this important piece of the literary corpus of Slovak epic poetry presented an exciting challenge.
12

JAN SMREK (CONDEMNED TO ETERNAL THIRST)

70%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2007
|
vol. 54
|
issue 6
443-453
EN
The aim of the study is to determine a specific place of Jan Smrek's debut in the context of his poetry and to point out its organic connection with the following collections of poems, although typologically and aesthetically different from the first one book. With regard to Smrek's poetry as a whole, the author interprets the religious and Biblical residua of decadently symbolic provenience in his debut in connection with the philosophy of vitalism and Henri Bergson's idea of 'creative development'. The collection of poems 'Odsudeny k vecitej zizni' (Condemned to Eternal Thirst) (1922) used to be overlooked and excluded from the complex of the reflection just because of its religiously symbolic character that was aesthetically and noeticly much different from the following Smrek's 'sunny books'. The author identifies three basic semantic gestures and stylisations in connections with three cycles of the debut: mystically erotic gesture in 'Casa opojnosti' (The Bowl of Potency), gesture of suffering in 'Basnik bolesti' (The Poet of Sorrow) and redeeming gesture in the cycle 'Dnes milujem svoj den' (Today I Love My Day). He finds a gradual transformation from 'mystic' life to 'social' life, the conversion from introverted to extroverted attitude, transformation from the religious complex of motives to the complex of profanely - intimate motives. The symbolism of night is replaced by the symbolism of day. The development from passivity to activity and from eternity of 'mystical nights' to common 'speedy days' is influenced by Biblically coded sign of 'resurrection'. But in the end of the book it is replaced by civil assignment in the space and time. Conflict between asceticism and vitality is resolved for sake the latter one. In the study, the author tries to analyse Smrek's poetic model of the world overlapping aesthetic categories to the anthropologically ontological. In a connection with Bergson's philosophy of 'creative development' he interprets the Smrek's poetic works represented by his book 'Odsudeny k vecitej zizni' (Condemned to Eternal Thirst) as process of creation and integration human personality. The core of Smrek's poetic gesture he finds in a 'creator's' vision of a man - in calling to ongoing making of oneself and the world.
13

JAN SMREK (GALLOPING DAYS)

70%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2008
|
vol. 55
|
issue 6
405-421
EN
The aim of the study is to show the residua of poetic world in the book 'Cvalajuce dni' (Galloping days), which altogether with the aesthetic realisation itself accent or presume ethical origin as a primary source of Smrek's poetic gesture. Jan Smrek's second collection of poems 'Cvalajuce dni' (Galloping days) was published in 1925: opposite to his debut it brought radical change in terms of aesthetics, poetics as well as typology. The basic semantic gesture of the book confirms that Smrek departed from metaphysical aspiration and a plan of eternity, and he joined the way of physical life- experience, releasing of sensually instinctive vitality and a plan of temporality. Tension between linearly and cyclical model of world is manifested in different structurally semantic levels, while the author found his expression primarily in opposition 'sinfulness' (culture, city, prostitution) and 'innocence' (nature, village, virginity/maternity). An inevitable condition of Smrek's model of world is an ethic, and moral attitude, which are parts of natural/inartificial order. They are guarantees for keeping continuity of existence in both individual and generic levels (in the context of Bergson's life philosophy). Integrity of being and synthesis of life is then articulated not in antagonistic but complementary relationship of the concepts of activity and passivity, spontaneous passion and faithful love, adventure and steadfastness, finality and infinity. In the very centre of Smrek's poetic world there is an idea of free development of human individuum. The study is to contribute in enlarging the aesthetic contexts of Smrek's model of world in anthropological and ontological dimensions in connection with Bergson's philosophy of 'creative development'.
14

KRÁLIKY VIDIA RUŽOVÉ. SVĚT VĚCÍ A ZVÍŘAT JOZEFA MIHALKOVIČE

70%
Jareš M.
Slovenská literatúra (Slovak Literature)
|
2023
|
vol. 70
|
issue 2
205 - 212
EN
The article focuses on one of the groups of core motifs in Jozef Mihalkovič’s (b. 1935) poetry. Animals and life in the countryside in general play an important role in Mihalkovič’s verse and the poet often uses these in contrast to the world of buildings and new settlements. However, the countryside is not portrayed in an idyllic light here. On the contrary: Mihalkovič’s texts can be viewed as gripping environmental poetry. At the same time, the poet’s melancholy and nostalgia are acknowledgements of respect for nature and it is through empathy and sympathy that his early poetry resonates with his attitude towards nature. Intellectually, however, Mihalkovič tries to transfer the qualities of animals to situations that are highly unpoetic and concrete. In this way, he succeeds in creating novel connections and unexpected encounters which are frequently highly interesting. This, however, changes during the 1980s when only memories remain and pragmatic and “unpoetic” poetry in which animals are often replaced by things emerges.
15

PROBLEMATIZÁCIA SUBJEKTU V SLOVENSKEJ EXPERIMENTÁLNEJ POÉZII. POKUSY O REDUKCIU A NEGÁCIU LYRICKÉHO SUBJEKTU V POÉZII PETRA MACSOVSZKÉHO A MICHALA HABAJA

61%
Cepková Feješová Z.
Slovenská literatúra (Slovak Literature)
|
2019
|
vol. 66
|
issue 6
441 – 462
EN
The main problem investigated by the paper is the self in literature and its constructability. The research materials include selected works of Slovak poetry and the methodological background is provided by social constructivism of the German literary scientist and theoretician of communication Siegfried Schmidt. The paper focuses on the self in the processes of forming and receiving works of two Slovak contemporary experimental authors, Peter Macsovszky and Michal Habaj. It seems that their innovative and subversive strategies correspond to a certain degree with antirealistic assumptions of Schmidt´s methodology. A significant part of the experiments is played by challenging the category of the self, which is presented as a grammatical illusion, a linguistic game or virtual fiction. Reading of the texts suggests that the inner-textual self of a literary work created in a text interpretation is not always a sufficient category. In some cases it will be beneficial to look over the text, incorporate a literary phenomenon in the system of literature and a particular social and historical context and subsequently observe the behaviour of the performers who are involved in constructing the phenomena. This step makes it possible to examine the strategies which raise questions and verify the terminology of literary science.
16

THE MUSE OF TATRAS WITH A SLAVONIC LYRE - QUESTIONS ABOUT SAFARIK'S (POETIC) PIONEERING (Tatranska Muza s lyrou slovanskou - otazniky nad Safarikovym (basnickym) prvenstvom))

61%
Riskova L.
Slovenská literatúra (Slovak Literature)
|
2011
|
vol. 58
|
issue 3
240-258
EN
Safarik's collection of poems Tatranska Muza s lyrou slovanskou (The Muse of Tatras with a Slavonic lyre, Levoca, 1814) attracts a lot of attention in the literary-historical discourse - as a rule it is regarded as an important milestone in the development of Slovak poetry, or as the first manifestation of real modern Slovak poetry. On the other hand, it overshadows - not quite fairly - other authors´ literary works written at the turn of the 18th and 19th centuries. Recent interpretations and analyses of the period of Slovak literature in question shows the need to review some of the profiles, especially those which comment on its influence on steering domestic literary development. Although it is indisputable, some of Safarik's poems carry features of more personal, subjective or intimate poetic expression, it cannot be overlooked that he often combined it with other poetic strategies which are just as relevant sources of information when reconstructing general outlines of the Slovak literary development. Therefore when analysing and assessing (not only) Safarik's collection, it is necessary to take account of the complete list of contemporary literary principles, a possibility of foreign influence or a number of other potential sources of inspiration, as well as the historical, social and cultural context of the overall contemporary literary production.
17

EMIL BOLESLAV LUKAC

61%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 5-6
381-394
EN
The aim of the paper is to determine basic semantically -aesthetic coordinates of the Emil Boleslav Lukac's debut 'Spoved' (Confession,1922) and to search 'topoi' of home in the context of his collections of poems 'Dunaj a Seina' (Danube and Seine,1925) and 'Spoved' (Confession, 1929). In the same year as the debut by E. B. Lukac 'Spoved' (Confession) a debut of Jan Smrek 'Odsudeny k vecite zizni' (Sentenced to Eternal Thirst) was published. Both collections of poems are influenced in significant measure by a poetics of symbolism and decadence. Similarity of them is not determined only by aesthetic, thematic, stylistic levels but it overlaps the level of composition. There are common semantic gestures in the cycles of both of the publications. They come through the similar transformation and vary identical authorial stylisations. In the second part of the paper the author deals with 'topoi' of home in the context of the collections of poems 'Dunaj a Seina' (Danube and Seine) and 'Spoved' (Confession). There is an evident shift from intimate borders to cultural, national and political borders. Both categories are connected through the category of regional and the co-part in complexness and compactness of Lukac's poetic world. In the centre of it there is an idea of home as a fundamental ethic value of his poetry. The last level of his poetic model of the world is always represented by theological, respectively cosmological level. It is true also for the collection of poems representing secular, respectively civil pole of Lukac's work. The paper contributed in primary identification of common starting points of two later periods characterized by two differently polarized poetic concepts of Smrek and Lukac, as well as in specification of several aesthetically semantic residua connected with 'topoi' of home in the context of chosen Lukac's collections of poems.
18

BÁSNIK V ČASE (NESLOBODY). VNÚTORNÝ EXIL AKO PARADIGMA SUBJEKTU. (POÉZIA JÁNA SMREKA 1948 – 1956)

61%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2014
|
vol. 61
|
issue 2
106 – 131
EN
The goal of the study is to show two lines of Smrek´s poetry in the context of the years 1948 – 1956 and the way they are put in opposition to the official view of the times and the ideological requirements of literature. The two of the collections of poems by Ján Smrek have been closely examined: Obraz sveta /The Image of the World/, which was published in 1958 and generally includes traditional love and nature poems as we know them from his pre-war period, and the selection of poems Proti noci /Towards the Night/, which was published in 1993 and puts together the part of Smrek´s work unknown to the public until then which strongly protests against the ruling regime distorting the arts and the people. On the one hand, Smrek attacks the regime and comments on its perverted character and the general moral decline (Towards the Night), on the other hand, he seeks the way how to preserve the values of humanity and the humanistic idea of poetry (The Image of the World) in the world where such behaviour was ruthlessly suppressed, excluded and eliminated. Insisting on the humanistic meaning of a poet´s message is proved by Smrek´s lyric subject in the existence of two parallel poetic worlds, which enter unexpected relations and confrontations despite being seemingly autonomous as regards poetology and aesthetics. Provided eliminating the human being as a subject was one of the significant forms of the system, then Smrek saves the subject and gives him/her an authentic and true face, yet necessarily split into two. The contribution of the study is mainly meant to be in clarifying the mutual relations between the two lines of Smrek´s poetry (civil, political poetry and intimate nature poetry), which prove Smrek´s brave efforts to restore the human being, morality, ethos, the values of Humanism and freedom.
19

BÁSNIK V ČASE. POÉZIA JÁNA PONIČANA 1929 – 1942

61%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2015
|
vol. 62
|
issue 6
449 – 468
EN
The goal of the paper is to show evolutionary transformations and identifications of Ján Poničan´s poetic gesture in the most important period of his work i.e. time from the 1ate 1920s till the early 1940s. The paper follows Ján Poničan´s poetic evolution against a background of his individual collections of poems published after his debut book: Demontáž (Disassembly, 1929), Večerné svetlá (Evening Lights, 1932), Angara (1934), Póly (The Poles, 1937), Divný Janko (Janko the Weirdo, 1941) and Sen na medzi (Dreaming in a Furrow, 1942). What is characteristic is the gradual transformation of his poetic form and expression and his departure from the Avant-garde poetics towards the Neo-symbolist poetics and original Romantic sources. While the collections of poems Demontáž and Angara develop the revolutionary and activist line of Poničan´s poetic gesture, they draw inspiration from movements such as Constructivism, Futurism, Expressionism and Proletarian poetry, and represent the sort of social functional poetry, the collection Večerné svetlá follows in the footsteps of the Apollinaire type of poetry, Sensualism, Vitalism and Poetism within the framework of the Avant-garde poetics. At the same time during the 1930s the historical optimism of Poničan´s poetic gesture becomes weaker and weaker and alongside the change in poetics and inclination to tradition and cultural memory pessimism and scepticism appear on the social and historical as well as the intimate and psychological level. His switch over to using rural and rustic images of national identity and reconnecting with cultural tradition is a kind of paradox with regard to the poet´s past as a representative of the civilizational poetry movement pursuing the ideals of revolution, industrialization and modernization. The social aspect moves away from the identification with the proletarian class to the category of nation and people. The contribution of the paper can be found in clarifying the evolution of Poničan´s poetic gesture and in identifying the typological, aesthetical and ideological features and specifications of his individual collections of poems.
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SV. CYRIL A METOD V SLOVENSKEJ POÉZII 20. A 21. STOROČIA

61%
Gallik J.
Konštantínove listy
|
2016
|
vol. 9
|
issue 2
98 – 105
EN
The study aims to draw attention to the reflection of legacy of the Christian mission of the Thessalonian Saints – brothers Constantine-Cyril and Methodius in Great Moravia, as well as on the influence of their artistic work on the Slovak poetry of the 20th and 21st century, because the Christian-humanistic idea stream has been present in the history of Slovak literature with its primary focus on bringing the basic spiritual-religious principles to literature.
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