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1

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

100%
Hermida de Blas A.
Slovenská literatúra (Slovak Literature)
|
2011
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vol. 58
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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.
2

ŠTEFAN STRÁŽAY: MALINOVSKÉHO 96

88%
Matejov F.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 2
139 – 142
EN
The short interpretation of Š. Strážay´s (born 1940) collection of poems Malinovského 96 (1985) is meant to be a contribution to the intended series of „microanalyses“ of the key works of art written for the History of Slovak literature after the year 1945. The text maps and characterizes the author´s subject matters: poetry, everyday life, female element, partnership, urban environment, suburban countryside, periphery... Overlapping life-authentic discreet self-portrait and fragmentary lyric image of the world has support in intricate literariness. The article identifies the inter-textual sources and interconnections (J. Kostra, B. Brecht, J. Joyce, G. Flaubert, J. Hollý). Then it presents genre-style characteristics of Š. Strážay´s poetry: description, enumeration, part-taking in the events, frequently frozen, and finally a reflection on all the things the author has seen and experienced. Writing as understood by Š. Strážay´s is a clarifying, communication-open, cathartic part of the contemporary reflecting human´s living natural world seen and lived soberly, without illusions.
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).
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