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1

JAN SMREK (EVA AVE)

100%
Habaj M.
Slovenská literatúra (Slovak Literature)
|
2009
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vol. 56
|
issue 3
188-200
EN
The aim of the study is to find a place for the poetic composition 'Eva Ave' in the context of Smrek's official work as an integral part of it, and point out aesthetic, ethical and value residue that make the composition a part of Smrek's poetic model of a man and world. The poetic composition 'Eva Ave' was unofficially published under the pseudonym Cavaliere senza nome in 1942 and in a radical way it makes and evidence of some basic categories of Smrek's poetic model such as freedom, identity, ethos or morality. In the midst of the war years Smrek came back to the intimate topic of woman, beauty and love. He searched their capability in the combination of parody function and pornographic style. Smrek's paraliterary composition makes an innovation in the scheme of love, erotic lyrics in a way how they used to function in domestic literary tradition and he directly entered into the confrontation with the compositions of 'Ave Eva' (Jan Kostra), 'Noc' (Night, Jan Ponican) a 'Basnik a zena' (The Poet and A Woman, Jan Smrek). In spite of pornographic generic identity he established in the background of value (ethic and moral) starting points characteristic for the official part of Smrek's works. 'Eva Ave' is not only an expression of a subversive gesture of destruction of noble ideals, but behind the scene of instinctive and instinctual powers presented in a man he also identified religious and sacral resources. Smrek cancelled opposition of profane and sacral matter by pointing out the correspondence between material and spiritual character. The contribution of the study is mainly in potential opening of discussion about the text that became a part of Slovak literature only more than a half century and in enlistment of 'Eva Ave' into the context of official Smrek's poetic work.
2

Z KOREŠPONDENCIE JÁNA HOLLÉHO. NIEČO O VZŤAHU JÁNA HOLLÉHO K PROTESTANTSKÝM AUTOROM

75%
Rišková L.
Slovenská literatúra (Slovak Literature)
|
2015
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vol. 62
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issue 6
495 – 511
EN
Korešpondencia Jána Hollého /The Correspodence of Ján Hollý/, edited by Jozef Ambruš, who published it along with valuable and detailed notes in 1967, is the principal source to have when studying the personality of one of the most significant Slovak poets as well as refining the complex image of Slovak cultural and literary life in the first half of the 19th century. Besides other things, there can be found an important evidence of inter-confessional contacts and cooperation between literary active notables from both Catholic and Protestant environments. This proves that the still existing myth of the mutual „enmity“ between the two „camps“ based on confessional criteria needs to be dispelled.
3

TEXTY A SKULPTÚRY/MONUMENTY (K BÁSNI Š. STRÁŽAYA MESTO A K JEJ ASOCIAČNÉMU POZADIU)

75%
Matejov F.
Slovenská literatúra (Slovak Literature)
|
2014
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vol. 61
|
issue 4
292 – 302
EN
The text is an act of reading the poem The City from the collection The Interier (1992) by Štefan Strážay. The motif of covered sculptures is a poem set at the turn of the years 1989 – 1990. The article tracks the motifs of bad signs, spectres and revenants. It relates them to the theme of history and problematic future. The associated background to the reading is provided by the poems by L. Novomeský, M. Válek and I. Kupec written in the 1960s featuring sculptures, i.e. funeral monuments – as the witnesses, opponents, objects of historical changes. The interconnections between sculptures and lyric texts occurring in the article were inspired the works of R. Jakobson and Z. Mathauser. The article takes notice of the 1960s reflections on sculpture by D. Tatarka and J. Patočka. It confronts sculptures and city as such in Strážay´s work with the poem by F. Halas written in the troubled late 1930s. The Strážay´s ascetic, minimalist poem is situated amongst other lyric texts giving historical accounts of the late 1980s (I. Laučík, I. Kupec) and on the distant horizon of the emphatic possibilities of poetry opened up in the 1960s (M. Válek, J. Ondruš).
4

TYPOLOGICKÉ PARALELY A ROZDIELY MEDZI POÉZIOU TARASA ŠEVČENKA A SLOVENSKÝMI ROMANTIKMI (SAMO CHALUPKA, ANDREJ SLÁDKOVIČ, JANKO KRÁĽ, JÁN BOTTO)

75%
Boroň O.
Slovenská literatúra (Slovak Literature)
|
2020
|
vol. 67
|
issue 2
93 – 104
EN
The paper aims at identifying possible typological overlaps between the works of Slovak romantic poets (Samo Chalupka, Andrej Sládkovič, Janko Kráľ, Ján Botto) and the most prominent Ukrainian writer Taras Shevchenko. The paper uses a comparative typological approach. The research is carried out within the framework of such a kind of comparative typology as comparative thématologie. Typological comparison of Slovak poets’ works to the ones of Taras Shevchenko revealed no single ideological-thematic overlaps between them. On the other hand, it clarified a modern idea of the creative individuality of each of the poets under consideration. All the poets are united by a universal motif of love for motherland, longing for it, especially in the conditions of being in a foreign country or even exile, as in Shevchenko’s case. The poets employ similar artistic means, celebrating beauty of their native land. At the same time in the works of Slovak poets and Shevchenko there is no lack in examples of different interpretations of similar subjects, as in the verses with the same name „Mower“ of Chalupka and of Shevchenko, poems „Maryna“ of Sládkovič and of Shevchenko, ballads „Yellow Lily“ of Botto and „Lily“ of the Ukrainian. A comparative typological approach to the material, well known at first sight, provides a detection of previously unnoticed analogies and similarities between the works of Slovak poets and Shevchenko, enabling a new understanding of the common literary and socio-political context.
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