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K FILOZOFICKÉMU DISKURZU LITERÁRNEJ MODERN

100%
Kopecká Z.
World Literature Studies
|
2021
|
vol. 13
|
issue 4
142 - 149
EN
In this study, we define philosophical discourse as one of the dominant discourses of literary modernism, whose specific authorial expressions depend primarily on the concentration on man and his inner world. This subjective world was strongly marked by the disintegration of universalism, which resulted in value relativism and the search for new “truths” capable of establishing a lost order (on a transcendental or rational basis).
2

IMAGO SUI V SENECOVÝCH LISTOCH LUCILIOVI

100%
Urbancová E.
Filozofia (Philosophy)
|
2010
|
vol. 65
|
issue 3
249-256
EN
The aim of the paper is to examine Seneca's self-portrait as depicted in his 'Letters to Lucilius'. The first part deals with the place of this collection of letters occupies in the context of ancient epistolary literature. It shows how it contributed to the introspective character of ancient philosophical prose. Introspection as a method of self-knowledge and self-creation is analyzed in the second part. The resulting vision of the identity of the author's Letters is neither unified, nor consistent: Seneca is presented as a 'man of many faces' in his life as well as in literature.
3

AUTORSKÉ EGO V CUDZOM PROSTREDÍ (VAJANSKÝ VO VÄZENÍ A V BENÁTKACH)

75%
Mikulová M.
Slovenská literatúra (Slovak Literature)
|
2015
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vol. 62
|
issue 5
353 – 365
EN
The study describes Vajanský´s author subject in unusual situations which occurred in his life one after another. He was imprisoned as a journalist for political reasons in Vác in the year 1904, where he wrote a Note Diary. As a well-known writer he was a prominent prisoner and would come across many gestures of solidarity. Besides recording everyday prison life and commenting on social and political events, a significant part of the diary includes critical comments on A. P. Chekhov´s works that he was reading. One of the reasons why he did not publish the diary was his negative assessment of Chekhov, which was in contradiction to the positive contemporary reception. Vajanský first came to Venice in 1905, which was for him as an art connoisseur a dream come true and he could fill a gap in this genre by writing his travelogue Volosko-Venecia. That way he followed in the footsteps of popular and much appreciated „Italian travels“ written by his idols – J. W. Goethe and J. Kollár. Additionally written parts remove spontaneity from the travelogue, enthusing about the perfect beauty of classical arts and condemning anything contemporary confirm that Vajanský is a representative of „ideal“ Realism. Both of the genres feature pretending authenticity, vanity and a sense of disenchantment with insufficient recognition – they lack introspection, detachment or self-deprecation. The author in both genres overuses his competence and wastes a chance to depict himself as a multidimensional personality.
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