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LONG JOURNEY OF MILTON’S “PARADISE LOST” INTO THE SLAVIC WORLD

100%
Andričík M.
World Literature Studies
|
2021
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vol. 13
|
issue 3
68 - 80
EN
The paper attempts to map translations of Milton’s “Paradise Lost” into Slavic languages and its place in their cultures from the first Russian and Polish editions to the latest Ukrainian and Slovak ones. The survey shows the shift in the translation method from the earliest prose renderings, usually from other translations, to newer editions with translations in verse. Due to typological differences between languages, especially in semantic density, some translations were substantially longer in comparison with the original. Various types of verse as a replacement of Milton’s blank verse were adopted, depending on the tradition of the target language. From the point of view of contemporary translation studies, corrections of Milton or omissions from the text due to the personal denomination of the translator, as we can see in some earlier Russian or Polish editions, are unacceptable. Attention is paid also to two Czech translations by Josef Jungmann (1811) and Josef Julius David (1911) that have served as a substitution for the non-existing Slovak translation up to the present. Stemming from a typological difference between English and Slavic languages, the paper raises prosodic, semantic, and semiotic problems of translation.
2

Metaforyzacja przestrzeni w Sylorecie Wacława Potockiego (propozycja lektury)

100%
Jurkowska E.
Białostockie Studia Literaturoznawcze
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2013
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vol. 4
265-275
EN
The article is a proposal of interpretation of Wacław Potocki’s seventeenth century romance Syloret. The author emphasizes that the poet’s neo-Stoical romance may be read in a universal way, as a reflection on the human condition, hardships of existence and variability of fortune, as the realization of the tropes, reaching back the ancient tradition, of peregrinatio vitae and theatrum mundi. She also draws our attention to the poet’s personal experience, which could affect the form of the poem.
3

EPIC OR TRAGEDY? KARL MARX AND POETIC FORM IN THE COMMUNIST MANIFESTO

88%
Barker J.
Filozofia (Philosophy)
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2016
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vol. 71
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issue 4
316 – 327
EN
Although The Communist Manifesto of 1848 was clearly not intended as a work of poetry, this article considers the merits of reading it according to the aesthetic criteria of epic poetry and of tragedy respectively. Following a brief treatment of the role of poetry in Karl Marx’s evolution as a philosopher and critic, the article then speculates that the identification of certain poetic themes in the text can aid our understanding of the Manifesto’s political meaning, particularly in light of the “dialectical Prometheanism” that played such a defining role in Marx’s intellectual and political universe.
4

Movable Nu at the End of a Verse in the Homeric Hymn to Demeter

88%
Taida I.
Listy filologické (Folia philologica)
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2010
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vol. 133
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issue 1-2
143-146
EN
In some editions of the Homeric Hymn to Demeter, the movable nu is added at the end of a verse when the next verse begins with a vowel and it is omitted when the next verse begins with a consonant. However, at verse 148 in almost all of the editions, the nu is added, even though the next verse (149) begins with a consonant: 148-149 'ferteroi eisin. | tauta de'. The author shows that there is no reason for accepting 'eisin' here in the editions.
5

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

75%
Hajdučeková I.
Slovenská literatúra (Slovak Literature)
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2015
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vol. 62
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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.
6
Content available remote

Dvě úvahy o poezii a próze

75%
Haman A.
Česká literatura (Czech Literature)
|
2006
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vol. 54
|
issue 2-3
98-102
EN
An essay developing ideas of Miroslav Cervenka (sequentiality in the epic/simultaneity or association in lyric verse), Tzvetan Todorova (the transparency/opacity of the spoken word), and Gerard Genette (fiction/diction; the thematic/the rhematic) on features constitutive for conceptual distinctions between fiction and verse.
7
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THEATRICAL MISE-EN-SCÈNE IN FILM FORM

75%
Sabol J.
Slovenské divadlo (Slovak Theatre)
|
2018
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vol. 66
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issue 3
288 – 295
EN
The study reflects on divergence between theatre and film. It also points out that the difference ought to be sought in ontology, in the principle of the coding of actual reality by using film or theatrical language. In the perception of a syncretic work that connects the elements of both types of art, the viewer a priori perceives theatrical mimesis (and also the execution of theatrical mise-en-scène) as an “alien” element used by the film “language” of a concrete cinematographic work. The perception of such a work assumes the viewer’s readiness and willingness to accept a hybrid work, which inevitably calls for a different manner of decoding the narrative offered. If we are to summarise the hitherto knowledge which elucidates the relationship between theatre and film (in the manner in which actual reality is mimicked and in the subsequent execution of theatrical and film mise-en-scène), it may be concluded that, as opposed to film, theatre enjoys a unique opportunity to imitate actual reality by performing which takes place in real time and in direct interaction between the actor and the viewer. The film conveys this using filmmaking device.
8

BALADA G MOL E. H. GRIEGA V KONTEXTE VÝVOJA KLAVÍRNEJ BALADY

75%
Štefková M.
Musicologica Slovaca
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2013
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vol. 4 (30)
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issue 1
33 – 57
EN
This paper aims to highlight certain features of the use of the ballad genre and poetics in music, with particular reference to the piano literature of the 19th century. Based on a definition of epic, lyrical and dramatic poetics in literature, their analogies in the field of music have been also indicated. After the close consideration of the genesis and formation of the piano ballad genre, attention is focused on the Ballade in G minor op. 24 by the Norwegian composer Edvard Hagerup Grieg, which represents a distinctive synthesis of two types: the virtuoso piano ballad and the ballad inspired by literature. Typical of the latter, apart from its inspiration by a particular source of folk provenance, is the use of folklore elements for the purpose of idealising a certain ethnic group and nationality. Based on analysis of Grieg’s work, the author demonstrates the use of epic, lyrical and dramatic poetics in music and the methods by which the composer integrates folklore idiom within their context, as well as the specifically musical strategies by which he seeks to evoke the ballad character and the tragic rupture at the work’s conclusion.
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