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HÁJNIKOVA ŽENA AKO DRAMATURGICKO-REŽIJNÁ VÝZVA. K VZŤAHU DRAMATIZÁCIE A JEJ JAVISKOVEJ INTERPRETÁCIE

100%
Himič P.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
|
issue 1
21 - 42
EN
Pavol Országh Hviezdoslav’s masterpiece, the lyrical-epic composition Hájnikova žena [The Gamekeeper’s Wife] boasts undeniable dramatic qualities, which have been reflected on by Slovak theatre in several dramatizations and productions. The study primarily analyses the dramatization of a specific literary work in its relation to its future stage adaptation. It focuses on the relevant attempts to come to terms with a language-specific, genre-syncretic form in an inter-general and inter-semiotic artistic space.
2

HVIEZDOSLAVOVA BALADICKÁ TVORBA

100%
Gbúr J.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 6
614 – 630
EN
The article concentrates on interpreting Pavol Országh Hviezdoslav’s (1849 – 1921) ballads – the part of his oeuvre which has only been investigated marginally so far. His ballads from the late of the 19th and early 20th centuries (U kaplice [At the chapel], Zuzanka Hraškovie [Zuzanka Hraškovie], Anča [Anča], Margita [Margita], Studnica [The well], Smelá Katka [Daring Katka], Topeľci [Drowned], Jedlica [Fir tree], Krivoprísažník [False witness], Mladá vdova [Young widow], Matúš Stolár [Matúš Carpenter]) adapt some of the traditional themes of folk and Romantic ballads (crime and punishment, moral failure, folk customs), but also bring new motives (search for the spiritual path from pragmatic truth criteria, property disputes and unorthodox solutions to life problems, social and economic disparity and its effects). Comparison of Hviezdoslav’s ballads with those written by Slovak poets of the Romantic period Janko Kráľ and Ján Botto shows his authentic realist attitude in the handling of the genre. Hviezdoslav accentuated the epical side of the narratives, employing several means of representation (on the level of the narrator and on the level of the structure of the stanza and verse). He realised the lyrical side of the narratives, their balladic atmosphere – also through the functional structure of the verse – but primarily through expressive, lyrical depictions and commentaries.
3

NĚMECKY PSANÉ BÁSNĚ PAVLA ORSZÁGHA

100%
Kučera P.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 6
631 – 642
EN
The article analyses the poems the Slovak poet Pavol Országh Hviezdoslav (1849 – 1921) wrote in German during his studies at the Evangelical Lyceum in Käsmark/Kežmarok (a town inhabited mostly by Germans at that time) in the late 1860s. The author tackles his poetry in German in the broader cultural and historical context of the region, taking also in account his later work in Slovak. In addition to the thematic-motivic construction of texts Hviezdoslav wrote in German, the paper also deals with their system of imagery and states the dual nature of the poet’s approach to depicting reality. The poems the article scrutinises were inspired by German poets from the late of the 18th and first half of the 19th centuries. Inspiration is most visible in the sensory concreteness – vividness – of natural sceneries in which space opens up and spreads in all directions in a surprising way. The highly personal tone of the poems and the fact that they address period social affairs lends the texts an even deeper social dimension. Hviezdoslav’s active attitude towards the classical and Christian cultural and spiritual heritage also plays an important role in the poems addressed in this article.
4
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DRAMATICKÝ FRAGMENT PAVLA ORSZÁGHA HVIEZDOSLAVA NA LUCIU

100%
Gbúr J.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 4
403 - 415
EN
The aim of the study is a comprehensive analysis of the little-known dramatic fragment Na Luciu, written by the classic of Slovak literature Pavol Országh Hviezdoslav. The complexity of the applied approach lies in the use of several research methods (heuristic, comparative, analytical-synthetic), which are used to assess relevant facts of theoretical (the form-genre area of drama, romantic-realistic creative principle) and the material character (the circumstances of the creation of the dramatic fragment, the thematic background of its creation, the structural characteristics of the text).
5

HVIEZDOSLAV – BÁSNIK VEĽKÝCH PARADOXOV A PARADOXNEJ VEĽKOSTI

88%
Rédey Z.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 6
592 – 613
EN
The paper focuses on paradoxical aspects of P. O. Hviezdoslav’s personality. The poet – although considered a central figure in the Slovak literary canon, institutionally accepted authority and emblem of national culture – remains “rather unpopular and basically unread” and “incomprehensible”. Slovak literary studies, especially before 1989, praised Hviezdoslav’s folk realistic orientation – especially in his “peasant themes”. This narrative foregrounded his folk realistic orientation which was supposed to make his poetry more accessible to the common reader. By means of synecdochal interpretation of fragments of his work, the author of the article shows that Hviezdoslav’s peasant themes – by their expressive, formal and genre qualities – do not display so much a folk realistic influence as the poet’s tendency towards verbal extensiveness, stylistic “exclusivity,” mannerism, Parnassism and respect for classical models. The paper focuses on how these features influence the real status and reception of Hviezdoslav’s poetry today.
6

PROFIL LITERÁRNOVEDNÉHO VÝSKUMU HVIEZDOSLAVOVHO DIELA

75%
Gbúr J.
Slovenská literatúra (Slovak Literature)
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2021
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vol. 68
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issue 6
583 – 591
EN
Although Pavol Országh Hviezdoslav (1849 – 1921) is probably the most well-known classic of Slovak literature, his work has not been researched in its entire complexity. The article offers an overview of literature on his work and discusses the differences between methodologically sound scholarship – including interpretations of Hviezdoslav’s work – and superficial affirmative biographies and compositional, structuralist versological, semantic and form-centred analyses. From the comparatist point of view, it addresses his early work in Hungarian and German, but also points to his literary criticism, dramatic works, and structured character of his poetics and the high artistic artifice of his depictive and expressive method. The article concludes with a set of topics and research areas which have not been sufficiently addressed and hopes to elicit more scholarly attention in them.
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