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1

Básně a próza - způsoby a problémy koexistence

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Pszczolowska L.

Česká literatura (Czech Literature)

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2006

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vol. 54

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issue 2-3

10-17

EN

This article provides an outline of the history of the relationship between verse and fiction. From the thirteenth to the nineteenth century, verse held the foremost position in Polish literature. This was because of its connection with the language of the Roman Catholic Mass and Church ritual. The article focuses on the relationship between verse and fiction in the Romantic period, when the uniformity and regularity of verse was disrupted. It also considers Polish Romantic rhythmical prose, describing the changes that took place in the Modern period, a time when, among others things, irregular syllabic verse and experiments with vers libre developed. A further convergence between verse and rhythmicized prose occurred in the period when vers libre was developing and then became predominant.

2

ROMANTIC HERO'S TRAGIC MASK IN 'THE LEGION' BY STANISLAW WYSPIANSKI

100%

Brzozowska S.

Przegląd Humanistyczny

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2005

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vol. 49

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issue 6(393)

91-98

EN

The article deals with the issue of contamination of romanticism and ancient motives in 'The Legion' by Stanislaw Wyspianski. In the drama Mickiewicz's romantic myth appears against the background of the Ancient Rome, associating the ancient use of metaphors with romantic visionary style. Particularly exposed theatrical character of space suits the creation of the main character, apparently stylized for the Mickiewiczian hero. The hero puts on masks of both Christ and Brutus, thus confirming the tragic situation of a man bound in history and social obligations. Wyspianski's Rome is the synthesis of the theatre of the world. Exaggerated mystification in 'The Legion' - an apparent game - is a desperate attempt to communicate between the modernist sender and the recipient.

3

Poznámky k zvukomalbě

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Langerova M.

Česká literatura (Czech Literature)

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2006

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vol. 54

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issue 2-3

175-185

EN

An interpretation of Karel Hynek Macha's short story 'Pout krkonosska', inspired by post-structuralist concepts of the relationship between language (the spoken word), human experience, subjectivity, and corporeality.

4

Konstituce literárněhistorického pojmu romantismus

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Hrdina M.

Česká literatura (Czech Literature)

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2009

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vol. 57

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issue 3

319-346

EN

In this article the author considers the use of the term ‘Romanticism’ in the critical -historical discourse that constitutes the study of German and Czech literature, with the aim of establishing the specifi c causes of the inconsistencies in the term. Like the philosopher Ladislav Hejdánek (b. 1927), the author sees the term as cross -section of judgements, and after analyzing German- -studies models of Romanticism (Heinrich Heine, Hermann Hettner, Franz Thomas Bratranek, Rudolf Haym, Wilhelm Scherer), he explains it as a junction of judgements and comparisons of Romanticism to subjectivism, historicism, Roman Catholicism, idealism, aristocratism, and patriotism (nationalism). He also considers the employment of the term in critical -historical thinking on modern Czech Romanticism, from the models of Karel Sabina and Eliška Krásnohorská to the comparative viewpoints of Wiktor Czajewski and Matthias Murko, and all the way to a representative synthesis of the history of Czech literature in the fi rst half of the nineteenth century. The origin of the term in critical practice turns out to be problematic, particularly in the works of the Czech positivists, for example, in pejorative terms like rytířská (chivalrous), klášterní (monastic), and vlašská romantika (pastoral romance), whose function was, in keeping with the understanding of Czech Romanticism as eclecticism, to explain some Czech literary texts (particularly popular literature) from impetuses arising outside the national culture. In positivist models of Czech Romanticism one may legitimately talk even about interferential meanings of words and terms, which manifest themselves negatively in interpretations of canonical texts as well. The discrepancies and ambiguity of the term ‘Romanticism’ as early as in the syntheses of Czech positivists may be explained as a consequence of the variety of judgements on Romanticism, which were based, moreover, on non -literary facts.

5

Przyczynek do historii niezachowanej kolekcji Michaliny z Dziekońskich Zaleskiej (katalog rysunków ze zbiorów Biblioteki Narodowej)

100%

Pietrzak A.

Rocznik Biblioteki Narodowej

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2012

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vol. 43

167-233

EN

Amongst all the memorabilia gathered by Michalina Zaleska nee Dziekońska were letters written by Frédéric Chopin and Józef I. Kraszewski, and drawings of George Sand, Teofil Kwiatkowski, and Cyprian Norwid. Unfortunately, most of this interesting heritage was destroyed in Grodno during the Polish-Soviet War in 1920. The archives that are kept in the National Library of Poland contain the most extensive information about the collection of Michalina Zaleska nee Dziekońska, allowing us to reconstruct a fragment of it. A picture directory of drawings which were preserved in this library lists 128 works of different artists and one sketchbook. In 1904 in Dziekońska's palace in Grodno, Zenon Przesmycki found Norwid's "writings in verse and in prose" and it was probably at that time that he saw and described "the great album with the cipher M.D. bound in grey canvas" from which most of the pictures listed in the directory are derived. Until now the continuing story of this unpreserved album was unknown. Based on the information given by Juliusz W. Gomulicki it was supposed that this album was lost in Grodno in 1920, but after researching the archive and analysing a few published references it was discovered that by 1930 the album was included in the collection of the National Library of Poland. In August 1939 drawings from "the great album with the cipher M.D." were catalogued and prepared for evacuation. Hidden with the rest of the National Library's collection they survived the September Campaign. Unfortunately they were burned after the fall of the Warsaw Uprising, although two of Chopin's portraits by Teofil Kwiatkowski miraculously survived. The National Library of Poland also keeps four of Norwid's drawings, originally belonging to Dziekońska, and her sketchbook which were added to the collection with the heritage of Przesmycki in 1945. Random information scattered amongst different sources additionally mentions a dozen or so different objects from Dziekońska's collection (lost or kept in different public collections). Had it survived, "the great album with the cipher M.D." would be the most extensive and precious of norwidian books of friendship. From preserved photographs and reproductions we know what 28 of the album's drawings looked like, decriptions of the rest were given by the archive.

6

Několik poznámek a úvah o vzniku Máchova Máje

100%

Prokop D.

Česká literatura (Czech Literature)

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2006

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vol. 54

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issue 2-3

204-217

EN

A thorough analysis of textual sources and anticipatory elements of Macha's 'Maj', including an assessment of the nature of shifts and changes.

7

ROMANTICISM AND/OR/CONTRA BIEDERMEIER?

80%

Turecek D.

Slovenská literatúra (Slovak Literature)

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2005

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vol. 52

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issue 4-5

243-251

EN

The term Romanticism presents a traditional way of inner structuring and explanation of the history of Czech literature of the 19th century, but this term has been used differently in particular literary historical concepts. The pluralistic concept of Romanticism has not had a firm position in the Czech literary historical context, which is contrarily to the Slovak concept represented by O. Cepan and P. Kása. In the Czech concept Vodicka's model is used, designating the works of Jungmann's generation as Pre-Romanticism and limiting Romanticism as its subjective, Mácha's variant. The character of the true Romantic texts does not prove this limited conception. These texts were written in the second period of the national revival but some Romantic features also appeared in the works with syncretistic character, connecting for example Romanticism and Classicism. Biedermeier was understood by the Czech literary historians in the latest years as a negating 'contrafacture' of Romanticism and was used as a synonym for a part of work of the 30s called in the Vodicka's concept 'convergion of literature and life'. The translation of German sentimental tragedies of the 20s and the 30s of the 19th century has shown that axiological horizon, basic groups of motives and also typical poetics of Biedermeier have been well known in the Czech environment since the 20s. There were elements of subjective Romanticism co-existing here. Since the 19th century the mutual proportion between the Romanticism and Biedermeier has changed in the Czech culture from a complementary belonging to polemic contradiction. In a modern concept of Czech literature it would be useful to accept the thesis of P. Zajac about pulsating, synoptic character of literary processes as well as to use and in maximal possible measure to extend a subject field of validity of Cepan's concept of Romanticism as an innerly pluralistic, open structures with wide transitionary zones and possibilities of convergence and meeting with phenomena of different nature.

8

VKLAD RUDA BRTÁŇA DO EDIČNÉHO DOTVÁRANIA SAMA CHALUPKU

80%

Navrátil M.

Slovenská literatúra (Slovak Literature)

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2019

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vol. 66

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issue 5

393 – 402

EN

The goal of the paper is to explore the contribution of Rudo Brtáň´s (1907 – 1998) editorial work in completing and presenting the author profile of the Romantic poet Samo Chalupka (1812 – 1883). During his life Chalupka became the author of the only poetry book titled Spevy/Songs/. The later publishers and editors made various interventions in its composition, and by adding poems published in magazines and poems from manuscripts they came to compile Chalupka´s collected works. Brtáň´s work expanded on the editorial outcomes of his predecessors, it made use of the gradually gained knowledge of Chalupka´s poetry and it alone became a resource for the future editors of Chalupka´s poetry or work (most recently in 2014 an overview of Chalupka´s production across genres was offered by Janka Pácalová in her compilation Básne a starožitnosti/Poems and Antiquities). In an effort to define Brtáň´s significance in this chain a comparison of relevant editions of Chalupka´s work was made – Spevy/Songs/ published in the years 1868, 1898 and 1912, Básnické dielo/Poetic Works/ published in 1952 and 1973, and Básne a starožitnosti/Poems and Antiquities (2014)/. One of the strengths lying in Brtáň´s editorial performance was the fact that he was the last to date to have an opportunity to work with some of the authentic resources and to attempt at offering readers selected fragments of Chalupka´s poetry. The paper reveals Brtáň´s methods of researching Chalupka´s poetry, his way of making comments on and giving information about him.

9

NĚKOLIK PŘEDBĚŽNÝCH POZNÁMEK K PROMĚNÁM ČESKÉ BALADY V LETECH 1860 – 1918

80%

Tureček D.

Slovenská literatúra (Slovak Literature)

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2012

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vol. 59

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issue 4

297 – 311

EN

The goal of the article is to draw the basic outline of the transformations of the ballad as a genre in Czech literature in the second half of the 19th century. The material is the book editions of poetry from the year 1850 to the beginning of the World War I. The method is the synoptic-pulsating approach to a literary work of art as a dynamic process within which various discourse tendencies are configured and modified. The result is a preliminary model of Czech ballad transformation in that particular period of time: the genre happened to be in the magnetic field of Romanticism represented mainly by Erben´s Kytice (Bouquet). A number of modifications occurred in the course of time, Romanticism´s genre rules became gradually more and more relaxed, especially those related to the role of plot and dynamic motifs; one of the tendencies even inclined to parody of the traditional Romantic principles of the ballad (Mašek, Hašek). At the same time the ballad was penetrated by essential features of other literary discourses such as Parnasism (Hálek, Vrchlický), Naturalism (Sládek, Šimáček) or Decadence (Jan z Wojkowicz, Lešehrad). The transformations did not take place in a linear way, within an imaginary causal „evolution“, where individual stages would „overcome“ the previous ones, but they overlapped in synoptic dynamics. The main contribution lies in the actual proof of the thesis about the nonlinear, synoptic character of transformations of a key literary genre in the 19th century, which helped establish Romanticism and has always been so attractive for readers it has stayed vital in spite of the discourse transformations.

10

ARKADIA, POLAND: A HOMAGE TO ROMANTICISM (Arkadia kolo Nieborowa: Homagium dla romantyzmu)

80%

Lichanski J. Z.

Rocznik Historii Sztuki

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2009

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vol. 34

81-93

EN

The Arkadia park was founded in 1778 by Princess Helena Radziwillowa, and the works on the park ended in 1820. Arkadia is a village in the Nieborow district, east of Lowicz, in central Poland. In the park design and its realisation there were employed, among others, Szymon Bogumil Zug (1733-1807), Henryk Ittar (1773 - ca 1850), Jan Piotr Norblin de la Gourdaine (1747-1830), Aleksander Orlowski (1777-1832), Wojciech Jaszczold (1763-1821), Pietro Staggi (1754-1814), Gioacchino Staggi (the 18th/19th c.) and Jan Michal Graff (or rather Johann Michael Graaf; a mid-18th century - after 1796). The park, after being destroyed during the world wars, has been reconstructed since 1951; now it is being restored to its original form. The purpose of the article is to present three issues associated with the Arcadia Park. The first one concerns the relations between Jacques Delille and Princess Helena Radziwillowa and their correspondence; the second one the conclusions following from the first issue about the ideological programme of the park, and the third one - the reconstruction of a hypothetical visiting route around the park. The author presents a concise account of the state of research into the history of the Arcadia Park and corrects several errors present in the literature on the subject. As for the relations between Delille and Princess Helena, the author, having analysed the poet's 'Oeuvres completes' of 1820 and 1833, indicates that: 1) it was already in the 1801 edition of 'Les jardins' that Delille referred to the Arkadia guide by princess Helena; 2) the latter had two versions: the first one published in Berlin in 1800 - 'Le guide d'Arcadie' and an earlier version dated to 1799 or early 1800 - 'Description de l'Arcadie', which was published in both editions of Delille's 'Oeuvres completes'. The ideological programme of the park presented in the two guidebooks differs a little; for example, 'Description de l'Arcadie' did not impose certain rules of visiting, like 'Le guide d'Arcadie' did, and suggested fi nishing the tour at an earlier stage, i.e. on the Island of Victims or the Island of Feelings, as we call it today. The author also tries to demonstrate that a visit to the Arkadia Park was not merely a 'walk through the garden' but an opportunity to spend at least two days there to contemplate the beauty of nature, of the buildings, to spend time reading and seeking out and discovering numerous allusions hidden in the park layout. The Arkadia Park is a tribute to the romanticism epoch, in its version known as dark romanticism; it combined harmoniously different elements such as classic (antique), Christian, and romantic ideas but also those taken from freemasonry and neo-stoicism. Regrettably, today the expressiveness of the ideological message of the park is somewhat obscure.

11

Romantická imaginace: příroda a krajina v obrozenském cestopise

80%

Faktorová V.

Česká literatura (Czech Literature)

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2009

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vol. 57

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issue 6

817-835

EN

The article is concerned with the phenomenon of the Romantic imagination in the literature of the Czech National Revival. The introductory section recalls the European context of travel writing, which often brought together erudite scholarly interpretation and effective poetic imagery, particularly in works by Alexander Humboldt (1769–1859), Johann Baptist von Spix (1781–1826), Maximilian zu Wied Neuwied (1782–1867), and Christian Gottfried Ehrenberg (1795–1876), and demonstrates the way in which they sought to shape nature aesthetically. The author points to the characteristic use of figurative speech, which is evident also in Czech travel writing, for example, in works by Josef Myslimír Ludvík (1796–1856) and Matěj Milota Zdirad Polák (1788–1856). The tendency towards fresh, strongly figurative linguistic expression, according to the author, aimed to intensify the aesthetic perception of the picture of the landscape and add a special semantic haziness to the text. In contemporaneous travel writing Nature consistently referred to the situation of the subject, becoming a symbol of what was going on inside him or her. By using certain literary devices, travel writing turned a nonfiction text into an aesthetically motivated work, primarily intended for artistic communication. The second part of the article compares the representation of Nature in the works of Karel Hynek Mácha (1810–1836) with the artistic approaches and devices characteristic of Revivalist travel writing. The article seeks to demonstrate that, in addition to a similar repertoire of poeticizing linguistic devices, Mácha’s works resemble Revivalist travel writing also with respect to the configuration of the landscape. The author develops the thesis of Felix Vodička (1909–1974), according to which Mácha’s work must be seen in the context of previous Revivalist literature, but not only its prestigious works like the Forged Manuscripts, Kollár’s verse, and Josef Linda’s Záře nad pohanstvem (A Light over the Pagans), but also its genres of literary history, usually forgotten, including travel writing. In terms of language, Mácha’s works exhibit obvious parallels with Revivalist travel writing, but fundamentally differ from it in their thoroughly existential speculations. His landscape picture shows a close resemblance to the inner experience of the subject, but does not evoke only a certain emotional mood. Rather, it emphasizes the special nature of time. Mácha deepened and expanded the possibilities of the Romantic imagination and Czech Romantic language, which were present in some Revivalist works – original ones as well as translations – beginning in the 1820s.

12

FENOMÉN ROMANTIZMU VO FILMOVOM DIELE

80%

Sabol J.

Slovenské divadlo (Slovak Theatre)

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2021

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vol. 69

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issue 4

363 - 374

EN

The study deals with the influence of Romantic poetics (or the poetics of the Romantic period) on audio-visual production. In this context, the author not only mentions some film adaptations of literary models from the Romantic period, but also points out the basic genological principles of this period and, in a broader literary and cultural context, the cultural and social influences at the turn of the 18th and 19th centuries on the art of the Romantic period. The study does not aspire to comprehensively capture the issues of the influence of Romantic poetics on audio-visual production, it only outlines some of the tendencies that are discernible in filmmaking and that have their roots in Romanticism, but also in medieval art, which became a major inspiration for the Romantic period.

13

Marinka

80%

Prochazka M.

Česká literatura (Czech Literature)

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2006

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vol. 54

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issue 2-3

198-203

EN

An interpretation of Macha's tale 'Marinka', focusing on some of its musical elements (for example, the inclusion of verse in composition, the harp motif). It points to factors made complicated by the development of Romantic idealization.

14

THE ROLE OF SCHOOL LIBRARIES IN POPULARISING GERMAN LITERATURE IN THE DUCHY OF WARSAW AND THE KINGDOM OF POLAND (Rola bibliotek szkolnych w popularyzowaniu literatury niemieckiej w Ksiestwie Warszawskim i Królestwie Polskim)

80%

Adrianek M.

Roczniki Biblioteczne

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2010

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vol. 54

137-150

EN

Polish authors writing about the history of literature usually fail to notice the influence of German literature on the preparation of the Romantic breakthrough (1822) in Polish literature. An important role in the birth and development of this ideological and artistic movement was played by schools. Schools in the Duchy of Warsaw, formed (1807) from lands taken by Prussia during the 2nd and 3rd Partition of Poland, subsequently expanded to include some lands from the Austrian part of the partitioned Poland (1809) and then, following Napoleon's defeat, transformed into the Kingdom of Poland (1815), employed many teachers of German origin as well as Poles who had graduated from German universities. Hence the presence of German authors (such as Klopstock, Gleim, Gellert, Rabener, Herder, Lessing, Goethe, Schiller and Schlegel) in the curricula (1810, 1812 and 1820) and recommended reading lists (1812 and 1820). The popularity of books by German authors is also confirmed by surviving inventories and catalogues of school libraries (Lublin, Szczebrzeszyn, Plock, Kalisz, Poznan) and school reports (Warsaw). The present author disagrees with the current conclusions of literature scholars with regard to the sources of aesthetic inspirations of Polish Romanticism.

15

CELESTIAL SPACES AS A ELEMENT OF THE REPRESENTED WORLD IN THE POEMS OF JÓZEF BOHDAN ZALESKI (Przestrzen nieba jako element swiata przedstawionego w utworach poetyckich Józefa Bohdana Zaleskiego)

80%

Bal A.

Ruch Literacki

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2009

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vol. 50

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issue 2(295)

133-154

EN

This article is an attempt at compiling a typology of the various kinds of celestial spaces evoked in the poems of Józef Bohdan Zaleski (1802-1886), and in this way pave the way for a comprehensive study of the thematic and formal structures of his poetic imagination. The relevant passages are arranged in accordance with their thematic reference, ie. descriptions of the colours of the sky at various times of day, evocations of celestial bodies, heavens as a mythical space, and the sky/heavens as a site of the extraordinary or the supernatural. Zaleski's idea of celestial space spanned both the physical skies (with its visible heavenly bodies) and the mythical, extrasensory heavens (with God, the angels, and the home of the immortal souls); its various aspects were indicated by gradations of light and changing colours, suggestions of expansiveness and immeasurability, as well as the defining signpost, 'up there'. In the creation of his celestial spaces Zaleski drew on the conventions of sentimental poetry, Romanticism and folklore.

16

KOCURKOVO AS A SLOVAK ANTI-MYTH

80%

Zajac P.

Slovenská literatúra (Slovak Literature)

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2005

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vol. 52

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issue 4-5

348-368

EN

In the 70s and the 80s of the 20th century, a new view of Záborsky's literary work began to occur. A. Bagin formed the key hypothesis about Záborsky as a modern author. The problem of comical in his works was opened by S. Rakus and A. Kruláková. A. Kruláková was also the first who depicted an irony line in the Slovak literature from Bajza, Chalupka to Záborsky. Then J. Stevcek, V. Mikula and P. Darovec adopted it into their interpretations. In his interpretation of the prose by P. Vilikovského 'Vecne je zeleny ...' (Ever Green Is...) P. Darovec worked it up until the present time. In the 70s and 80s O. Cepan dealt with the poetics of Záborsky's prose most intensively. In Záborsky's prose he identified paradox and irony as its primary features. Both O. Cepan and A. Kruláková revealed the domination of low (Bachtin) carnality. In his 'Summary to Faustiáda' (1984) and mainly in his introductory study 'Staromilsky novátor' Jonás Záborsky? in 'Dielo' I (1989) Oskár Cepan changed his former thesis about Záborsky as a late Classicist and he described his work as a part of Romanticism, its 'reverse', negative and natural negation. All main features of Záborsky's prose texts as its intentional anti-myth character, heteronymous character, monsterlikeness, paradox, irony as a reflexive duplication of the text, metalepsis as a basic rhetoric figure, grotesque as a genre of 'flying arabesques' prove that Záborsky's late proses mainly 'Faustiáda' belong among the works that use the Romantic irony. The latest Slavic research has identified the Romantic irony as a discourse of the late Romanticism in Pushkin's 'Eugen Onegin' (H. Meyer), in Slowacki's 'Balladyne' (M. Zmigrodska, G. Ritz) or in early works of Hálek (Z. Hrbata, M. Procházka). Also the study 'Kocurkovo' as a Slovak Anti-Myth belongs to this line of research.

17

BÁSNICKÉ POVIEDKY JANKA KRÁĽA

80%

Vojtech M.

Slovenská literatúra (Slovak Literature)

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2023

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vol. 70

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issue 1

52 - 62

EN

The article deals with tales in verse authored by the Slovak Romantic poet Janko Kráľ (1822 – 1876). These have been presented traditionally in literary historiography as generic realisations of the Byronic type of tale in verse. The article takes a closer look at this generic categorisation and discusses the extent to which it is accurate. By means of comparative analysis, the article confronts the source of Byronic model of the genre with its Slovak realisations. It discusses similarities and differences between the texts authored by G. G. Byron and those written by Janko Kráľ on several levels – ideational-thematic, the construction of characters, relationship between epic and lyric components, fragmentariness of narration, length of the text, and spatial-temporal contexts. Comparison of the poems shows that J. Kráľ did not fully realise the typical generic form of Byronic Romanticism – the Byronic type of tale in verse –, but only partially adopted some of its typological features. J. Kráľ created a distinctive and in many ways specific type of tale in verse which differs from the Byronic model of the genre. Therefore, the traditional labelling of the Slovak Romantic poet’s tales in verse as “Byronic” does not appear to be overly adequate.

18

K eufonii německých básní Karla Hynka Máchy

80%

Viktora V.

Bohemistyka

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2011

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vol. 11

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issue 4

267-276

EN

Karel Hynek Mácha (1810–1836) became famous as an outstanding romantic poetic personality in reflections and description. He manager Czech poetic sordiny perfectly. These abilities also started to appear at the beginning of his poetic production written in German. The poem Poustevník is considered the top of that. Not only this poem but also the others use euphonical means of German masterfully and with the emphasis on their aesthetic function and meaning.

19

Aspekty prostoru v Máchových Cikánech

80%

Hrbata Z.

Česká literatura (Czech Literature)

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2006

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vol. 54

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issue 2-3

186-197

EN

This article analyzes Karel Hynek Macha's tale 'Marinka', which, it is argued, is distinguished by numerous features of Romanticism. The artistic power of this work, according to the article, is based on the confrontation between the Romantic ideal on the one hand and drastic scenes of the life of the poor, romantic love, and disillusion on the other. The analytical part of the article considers the genesis of the work in connection with the original sketches in Macha's Notebook and with aspects of real life and institutions appearing there. In conclusion the author points out the link between 'Marinka' and the verse of 'Die Gruendung Prags', a lesedrama by Clemens Brentano (1778-1842).

20

FATHERLESS SONS (ABOUT SEEKING SLOVAK NATIONAL IDENTITY IN THE PERIOD OF ROMANTICISM) (Synovia bez otcov. O hladani slovenskej narodnej identity v obdobi romantizmu)

80%

Bilinska I.

Slovenská literatúra (Slovak Literature)

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2009

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vol. 56

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issue 1

15-27

EN

The aim of the study is to show, through surveying functions of using motif of a father in works of selected Slovak authors of Romanticism (Janko Kral, Andrej Sladkovic, Jan Botto and the others), the process of how the Slovak identity was formed. The study represents only surveying of problems and that is why it results only in preliminary conclusions. Relationship to fatherhood is depicted in the article in several levels: as relationship of authors to their own origin and also to their biological fathers; but mainly as their relationship to their literary ancestors and to the version of Slovak national history that was typical for Romanticism. The preliminary view on selected texts, primary goals and ideas of the Slovak Romanticism as well as on the extra-literary activities of the authors of the Slovak Romanticism allows us to conclude that their relationships were mostly complicated, rebellious and negative both to their ancestors and also to their own fathers who were low-born. The process resulted in substitution of the idea of fatherhood by the idea of motherhood that became foundational for Slovak romantic mythology as well as for just being formed Slovak national identity.

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Básně a próza - způsoby a problémy koexistence

ROMANTIC HERO'S TRAGIC MASK IN 'THE LEGION' BY STANISLAW WYSPIANSKI

Poznámky k zvukomalbě

Konstituce literárněhistorického pojmu romantismus

Przyczynek do historii niezachowanej kolekcji Michaliny z Dziekońskich Zaleskiej (katalog rysunków ze zbiorów Biblioteki Narodowej)

Několik poznámek a úvah o vzniku Máchova Máje

ROMANTICISM AND/OR/CONTRA BIEDERMEIER?

VKLAD RUDA BRTÁŇA DO EDIČNÉHO DOTVÁRANIA SAMA CHALUPKU

NĚKOLIK PŘEDBĚŽNÝCH POZNÁMEK K PROMĚNÁM ČESKÉ BALADY V LETECH 1860 – 1918

ARKADIA, POLAND: A HOMAGE TO ROMANTICISM (Arkadia kolo Nieborowa: Homagium dla romantyzmu)

Romantická imaginace: příroda a krajina v obrozenském cestopise

FENOMÉN ROMANTIZMU VO FILMOVOM DIELE

Marinka

THE ROLE OF SCHOOL LIBRARIES IN POPULARISING GERMAN LITERATURE IN THE DUCHY OF WARSAW AND THE KINGDOM OF POLAND (Rola bibliotek szkolnych w popularyzowaniu literatury niemieckiej w Ksiestwie Warszawskim i Królestwie Polskim)

CELESTIAL SPACES AS A ELEMENT OF THE REPRESENTED WORLD IN THE POEMS OF JÓZEF BOHDAN ZALESKI (Przestrzen nieba jako element swiata przedstawionego w utworach poetyckich Józefa Bohdana Zaleskiego)

KOCURKOVO AS A SLOVAK ANTI-MYTH

BÁSNICKÉ POVIEDKY JANKA KRÁĽA

K eufonii německých básní Karla Hynka Máchy

Aspekty prostoru v Máchových Cikánech

FATHERLESS SONS (ABOUT SEEKING SLOVAK NATIONAL IDENTITY IN THE PERIOD OF ROMANTICISM) (Synovia bez otcov. O hladani slovenskej narodnej identity v obdobi romantizmu)