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1

MODERNIZMUS A AVANTGARDA V REFLEXII ŠTEFANA KRČMÉRYHO V DVADSIATYCH ROKOCH 20. STOROČIA

100%
Hučková D.
Slovenská literatúra (Slovak Literature)
|
2020
|
vol. 67
|
issue 2
115 – 138
EN
Štefan Krčméry’s (1892 – 1955) wide-ranging interest in art did not concern only literature and music, but also painting and sculpture. In the autumn of 1920, he attended an exposition in the Autumn Salon in Paris about which he informed in an extensive article in the National Newspaper. His aesthetic standpoint was fully determined by the classical perception of the category of the beautiful, which had a negative impact on his aesthetic experience in terms of reception of the modern works. He perceived the modern art as being in the opposition to the tradition. He refused the abstraction, which he did not understand. He stressed the traditionalism, also at the thematic level, and the need of interconnecting the new with the old also in terms of the reflection of the young contemporary Slovak literature. The study refers to S. H. Vajanský’s ideological heritage in Krčméry’s perception of the modern art and literature and its building on such postulates as was the national activism and the emphasis on the positive values, (national) self-confidence, will and optimism, that were characteristic of the supporters of the conservative orientation of the national culture from the end of the 19th and the beginning of the 20th century.
2

ODKAZ, APEL A POSOLSTVO AKO ŽÁNROVÉ FORMY PRÍLEŽITOSTNEJ LYRIKY (V POÉZII VLADIMÍRA ROYA, MARTINA RÁZUSA A ŠTEFANA KRČMÉRYHO)

86%
Hučková D.
Slovenská literatúra (Slovak Literature)
|
2018
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vol. 65
|
issue 6
462 – 476
EN
In Slovak poetry written in the early 20th century genres of occasional poetry were integral parts of the contemporary poetic register. Dedicated poetry – motivated by birth or death anniversaries of important people, establishments or anniversaries of significant institutions as well as current events of political, social, cultural and literary life at that time – was a way for writers to respond to individual factual stimuli, which were, however, enriched with powerful emotional or evaluative connotations as part of their literary (aesthetic) reflection. Specific genre form of this kind of lyric included poetic appeals, messages and legacies. They were already in their titles addressed to group recipients. One of such collective addressees of occasional, dedicated poetry was the community of poets, more accurately characterized by their national, generational and poetological affiliation or affinity. In the 1920s the rhetoric genre forms of legacy, message and appeal were updated by a number of Slovak poets including three authors associated with Slovak modernism: Martin Rázus, Vladimír Roy and Štefan Krčméry. They did it with various intentions and intensity, however, they together formulated anew the question of the relation between an artist-individualist and a nationally as well as professionally distinct group of creative people, and politics and poetics. In the context of the contemporary tension between traditionalism and modernism it was supposed to declare close links with tradition, positive vitality and an active stance on reality.
3

MODERNISTICKÉ VARIÁCIE ŽÁNRU BALADY

72%
Hučková D.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 3
177 – 192
EN
The ballad as a genre represents a relatively frequent lyric form in the poetry of the authors of Slovak literature. On the one hand it signals continuity of the Slovak Romantic tradition (J. Kráľ, J. Botto, S. Chalupka) and through the social ballad (in the works of V. Roy and M. Rázus) refers to the works of the previous Realist-Parnasist generation (S. H. Vajanský, P. O. Hviezdoslav), on the other hand it is the evidence of the Modernist way of understanding literary type syncretism and applying it to lyric poetry, with the emphasis put on the lyric element. The ballads of the Slovak Modernist poets (I. Krasko, Š. Krčméry, Ľ. Groeblová) saw a meaning and a function shift in seeing the traditional components of the genre, including innovations in semantics and poetics. The main innovation lay in reassessing the lyric-epic and subject-object nature of the ballad reinforcing the lyric and the subject aspects, and also in a different way of seeing literary type syncretism. The new approach included also the update of the motif catalogue (the motifs of a pilgrim, journey, guilt and punishment, solitude). The poem Balada (Ballad) by I. Krasko and the parallel expansion of the subject in the poem Balada by Š. Krčméry are examples of the fact that even seemingly objective poems carried a concentrated subjective message about the mental state of a human. Another kind of the Modernist ballad variation is then represented by the poem Balada by Ľ. Groeblová.
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