(Ne)tradièné, (ne)humorné a (ne)špecifické v Rozkošových Prozaických textoch

Author(s): Patrik Šenkár / Language(s): Slovak Issue: 2/2017

The contribution analyzes the importance of tradition and humor as the basic foundations of nationality in the Lowland. It points to the thematic diversity of the different prototypes: from the erotically tuned novel to the tragicomically understood story of simple people. It echoes some experimental experimentation in the background of everyday protagonists' actions. Its interesting part is the texts relating to drivers and driving. The opposition of the village / city, man / woman, close / far is determined by the regional aspect and the principle due to various encounters. Effective descriptions are alternated with attractive dynamic thematic gradients. This is also the author's specificity in the development of Slovak literature in Romania. The basic reflection bridge of the contribution is the individual prose of a Slovak author from Romania – Pavel Rozkoš.

A vajdasági tér és a szlovák irodalom

Author(s): Marína Šimáková Speváková / Language(s): Hungarian Issue: 2/2015

Vojvodinian motifs in minority literatures were considered on the one hand to be expressions of locality; on the other hand there are works which substantiate the reality of existence of Vojvodina and incorporate it into the universal semantic space. By combining the methodological approach of the Slovak and Brno school of comparatistics, we have the opportunity to asses from a wider perspective the importance of traditionalist and antitraditionalist texts, and in particular, literary works on the border zone of various genres. Space, which emerges in these works, does not denote only the framework of the existence of the literary artefact but also the fact of being a part of it.

Adaptačné prístupy inscenátorov k románovému prototextu v súčasnom slovenskom divadle

Author(s): Miran Pukan / Language(s): Slovak Issue: 2/2019

Dramatization as well as adaptation of the classical epic works for contemporary theatre; usually drama; has its own logic. It is the reaction on confused or mediocre aesthetic value of contemporary national as well as European drama which probably cannot adequately refl ect present-day problems of the addressee. Heterogeneity of adaptation procedures realized by domestic as well as foreign producers; concerning the novel pretext; can be illustrated by fi ve analyses of theatre performances presented in the prestigious professional theatres after the year 2000. There are several reasons for their choice: they mean constitute the theatre stages which represent the artistic top of the Slovak theatre thanks to their production and staging projects and at the same time they have the status of individual institutional form. First one is Slovak National Theatre Bratislava which presented two adaptations of Slovak cult novels – fi rst one from interwar period; Švantner´s Nevesta hôľ (2015); directed by Roman Polák; and second one; contemporary Pišťanek´s Rivers of Babylon (2016); directed by guest director from Slovenia Diego De Brea. However; it was Theatre of Alexander Duchnovič Prešov (DAD); previously called Ukrainian National Theatre until 1900; in which two dramatizations of prestigious Russian novels were presented; namely Goncharov’s Oblomov (2000); directed by Matúš Oľha; a Dostoyevsky’s Idiot (2005); directed by guest British director Jan Willem van den Bosch. Apart from these dramatizations; DAD presented also the adaptation of well-known Grimmelshausen’s baroque novel Dobrodružný Simplicius Simplicissimus under the title Princove halušky alebo Uhorský Simplicissimus (2002) which was directed by Matúš Oľha; too. The choice of these theatre ensembles and their plays was not accidental because both the companies represent cultural theatre spots developing and cultivating national identity (in the fi rst case) and ethnical identity of Ruthenians who live in the Eastern Slovakia and their theatre aesthetics includes many exceptional procedures and progressive development tendencies not only in the context of Slovak professional theatre (in the second case). Solving typological and terminological questions is very complicated and urgent task; apart from other reasons also because of pragmatism (e.g. the question of copyrights). On the basis of long-term research activity concerning adaptations of literary works; theoreticians adopted the view that it is not possible to judge adaptation and dramatization procedures or diff erent author attitudes in general and that it is necessary to specify diff erent ways of treating the literary text in the complicated intersemiotic and intertextual transformational process resulting into autochthonous stage play.

Ako sa (ne)dělá Stodola? (k inscenáciám dvoch hier Ivana Stodolu)

Author(s): Eva Kyselová / Language(s): Slovak Issue: 02/2010

The dramatics of Ivan Stodola shaped and formed Slovak professional theatre. His texts provided one of the key dramaturgical bases in the process of formation of contemporary Slovak drama staging and he was actually the first to write plays systematically in the period of early professionalization of Slovak theatre. On the Czech stages, the situation was different. Humble staging tradition and not always successful interpretations indicate differences not only in dramaturgical issues but also in the issues of different tastes of spectators but, ultimately, significant differences between two independent theatre cultures. Two of Stodola’s plays were quite a success on the Czech stages; Tea at Mr. Senator’s and Jožko Púčik and his career. Both plays have attracted attention until recently –Tea at Mr. Senator was premiered at the Estates Theatre in Prague on 18th March 2010 (Czech premiere was at Švanda Theatre in Prague in 1934). Dramaturgical selection of this play was to bring the audience a lighter and witty comedy that would point to a parallel with the current state of the society and send the actual message before the upcoming elections. On the 15th April 2010, Slovak section of the Prague Theatre in Dlouhá Street performed a stage reading of the play Jožko Púčik and his career. The young director Brano Holiček (coincidentally great-grandnephew of Ivan Stodola) strongly adapted the text because he realized that the text itself without any major modification and interpretation would be just boring replay. The directorial and-dramaturgical input is essential;“ a satire on false humanism“ was staged as the theatre within the theatre. The author of this study analyzes both productions and notes that efforts that aimed to bring new life into the Stodola’s satire have remained unfulfilled.

Ako Svätopluk svoju zem za bieleho koňa predal... Vzájomné obrazy Slovákov a Maďarov v slovenských a maďarských dejepisných učebniciach vydávaných v rokoch 1918 až 1989

Author(s): Slávka Otčenášová / Language(s): Slovak Issue: 2/2012

This article deals with the mutual images and stereotypes of Slovaks and Hungarians presented in Czechoslovak, Slovak and Hungarian history textbooks published between 1918 – 1989. The textbooks employed the same principles while creating the image of the Self and the Other. In all cases the authors of the textbooks opted for creating a positive image of their own nation by employing images of its cultural and moral superiority, while the Others were characterized as immoral traitors on a lower degree of civilisational development. Narratives presented in official history textbooks reflect the political agenda, desirable values and the efforts the political elites made in order to create a collective identity of the citizens of the state and to develop the loyalty of subjects to the country they live in. Thus, every change of political regime brings with it the necessity to reinterpret the past and to reconstruct the national history – as such, in which the current state, or the current ambitions and political programs of the elites would be seen as the natural, legitimate and most desirable result of historical development.

Alexander Matuška – neľútostný kritik slovenského tradicionalizmu

Author(s): Vlasta Jaksicsová / Language(s): Slovak Publication Year: 0

Po viac ako dvadsaťročnej spolupráci s historikom Ivanom Kamencom, ktorá akosi prirodzene prerástla aj do ľudskej roviny, som počas mnohých, pre mňa veľmi obohacujúcich diskusiách s ním nadobudla vnútorné presvedčenie, že v jeho ľudskom i profesionálnom živote zastávajú (vlastne už de facto zastávali) pevné miesto dva ľudské a profesionálne vzory. Bol to historik Ľubomír Lipták, ktorý bol zároveň i jeho „učiteľom“, zaúčajúcim svojho mladého ašpiranta histórie krok za krokom do tajomstiev „historického remesla“, a najvýznamnejší predstaviteľ slovenskej literárnej kritiky a esejistiky 20. storočia Alexander Matuška. Vzhľadom na význam oboch osobností v slovenskej historiografii i literárnej histórii, tento výber nie je na prvý pohľad až taký prekvapujúci. Bolo akosi prirodzené, že mladý absolvent histórie a dejín umenia sa aj svojou ľudskou a mentálnou výbavou bude uberať tou ťažšou cestou, a to večným, azda aj nekonečným hľadaním morálneho imperatívu v dejinách, predovšetkým však konaním a postojmi ľudí, ktorí tieto dejiny tvorili a ovplyvňovali. Matuška bol Kamencovi blízky najmä svojím povestným, neľútostným kriticizmom a glosovaním spoločenských javov (do vlastných radov), rád ho cituje – a nie je sám – lebo tohto briskného ekvilibristu slovenského slova citujú mnohí, jeho totiž nemožno „len“ prerozprávať. Sám Matuška nemal túto charakteristiku rád, ale sa za ňu ani nehanbil. Tým, čo ho označovali iba za verbalistu, ktorý neprináša nič nové, odkazoval: „hovorili o mojom hračkárení, naznačovali čosi o verbálnom efektníčení, ba aj o verbalizme. Tým chceli povedať, že síce pekne píšem, ale neprinášam nič nové, lebo ako by to bolo – však? – aj pekne aj nové? Pretože oni nevedeli písať, mysleli si, že sú hlbokí ... uznávam, že ... bez trošku hry to tomu, kto s ním [so slovom] pracuje po celý život naozaj nejde...“.

An Overview Of The New Media Role
In Original Literature Publishing In Slovakia During The First Decade Of The New Millennium And Shortly After

Author(s): Marián Grupač / Language(s): English Issue: 1/2020

Public publishing space for authors of original contemporary literature in Slovakia has changed and expanded significantly in the last three decades since 1989. Due to the development and use of modern technologies and the existence of digital virtual space, nowadays the authors of Slovak literature can publish their texts in many more media than before 1989, and almost without any limitations. However, the literary, aesthetic, cultural or fundamental artistic relevance of such contributions is in many cases controversial. In the context of the publication space of new media, internet portals and online literary magazines often publish without deeper critical selection and (often even minimal objective literary-critical reflection almost everything delivered to their editorial mailbox as by ambitious writers?), as well by those whose works are lacking basic literary talent and the necessary creativity.
 The paper maps the situation in the area of publishing original literature, especially poetry, in Slovakia at the beginning of the 21st century in the context of the use of new media and modern digital technologies.

Andrej Sládkovič v chorvátskej recepcii

Author(s): Marijan Šabić / Language(s): Slovak Issue: 2/2021

The article is a contribution to the research of Slovak-Croatian literary and cultural relations. It focuses at the reception of Andrej Sládkovič (1820 – 1872) in the Croatian context. The second half of the 19th century is investigated through the analysis of contributions to Croatian literary magazines and newspapers such as Danica, Dragoljub, Vienac, Slavonac and Nada. The analysis of the 20th century and contemporary reception looks at texts published in various magazines, books and anthologies which contain translations by Luko Paljetak, Dubravka Dorotić Sesar and others. Since Sládkovič did not have any personal contacts with Croatian intellectuals of the time, the presence of his work in the 19th century Croatian cultural space was scarce. Wider recognition of his oeuvre came much later and in the late 20th century, it was intensified by the establishment of a Slovak studies programme at the University of Zagreb (as part of Czech studies in 1994 and as a separate programme in 1997). While in the 19th century, period magazines and newspapers – albeit sporadically – do mention Sládkovič, but do not contain any translations of his work, nowadays, translations are available, but are usually only known in the narrow academic circles of (mainly) Slavic studies experts.

Annales Universitatis Apulensis. Series Philologica

Frequency: 1 issues / Country: Romania

<p>The Philological Annals of "1 Decembrie 1918" University of Alba Iulia has a long and strong cultural tradition, bringing together representatives of Romanian and European culture (Literature, Linguistics, Foreign languages and literatures, History of Culture, Arts, Philosophy). The articles are the results of different individual or group research projects developed especially in the two research centre that function in our faculty: The Centre for Philological Research and Multicultural Dialogue and The Centre for Innovation in Linguistical Education. Some other articles were included in different international conferences or workshops. We try to foccus on the nowadays challenges in culture and education, so that our review is a support for long-life training and promotes the idea of dialogue between cultural identities.</p>

Aspecte ale romanului comic slovac

Author(s): Dagmar Maria Anoca / Language(s): Romanian Issue: 3/2013

The author makes a presentation of the Slovak comic novel based on the related bibliographies (especially the works of M.M. Bahtin, Corneliu Barborică and Peter Darovec). Novels such as René mládenca, príhody a skúsenosti (René, a Young Man, Events and Experiences) by Jozef Ignác Bajza (1783), Bendegúz (1841) by Ján Chalupka, Reštavrácia (The Restauration) by Ján Kalinčiak (1822- 1871), Faustiáda by Jonáš Záborský (1812-1876) and Večne je zelený (Forever Green) (1989) that was written much later fall into this category. Yet, the author thouroughly focuses only on Bendegúz (1841) by Ján Chalupka and Faustiáda by Jonáš Záborský. In these works laughter shapes into comic, humor, irony, satire, pamphlet, anecdote etc., which are meant to reveal the most stringent aspects of reality (national oppression, lack of national consciousness, social relations, and immorality).

Aspekt dieťaťa a princíp hry v čítaní pre mladého čitateľa

Author(s): Viera Žemberová / Language(s): Slovak Issue: 2/2018

The study deals with effective ways of coping with both semantics of literary prose texts and their artistic values for a young reader. Semantics of artistic text is relevant for comprehension of a story. Artistic value analysed in the article concerns the poetics utilised by an author of literary text. Important author’s strategies include text composition, child’s aspect, adult’s aspect and playfulness. With a focus on text comprehension, the authors Hana Lasicová and Ľubica Brix modified the way in which they harmonised communication contact of the narrators and the acts of children’s characters in both of their texts. The potential of both texts is fulfilled in cognitive, educational, moral and emotional forms of contact between the main idea and the story.

Attempt to Outline the Situation in the Publication of Literature in Slovakia (1980 - 1989)

Author(s): Marián Grupač / Language(s): English Issue: 2/2016

Autobiografia P. Paulína Bajana OFM (1721–1792)

Author(s): Author Not Specified / Language(s): Slovak Issue: 03+04/2016

KAČIC, L. – ZAVARSKÝ, S. (Eds.): The Autobiography of P. Paulinus Bajan OFM (1721–1792), Slavica Slovaca, 51, 2016, No. 3 (supplementum), pp. 3 – 93 (Bratislava). The Franciscan preacher, organ player, and composer P. Paulinus Bajan OFM (1721–1792) was a prominent figure of Slovakia’s culture in the eighteenth century. Bajan’s Latin autobiography provides a vivid picture of the vicissitudes of his life, beginning with his childhood and taking us through the adventures of his education, his entrance into the Fransciscan Order, and his years as a musician and long-time preacher in Skalica, his hometown. Bajan’s autobiography is written in a fresh and sprightly style. The Latin he used was obviously very close to the colloquial form of the language spoken in his contemporary Slovakia. This critical edition, accompanied by a Slovak translation, is intended to become a basis for further philological, historical, and literary research.

Autobiografizm w prozie Jána Roznera – wybrane zagadnienia

Author(s): Rafał Majerek / Language(s): Polish Issue: 2/2020

The paper focuses on autobiographical aspects of Ján Rozner’s prose, which was published in Slovakia after his death (2006), and soon became a great literary sensation. In three books: Sedem dní do pohrebu (Seven Days to the Funeral, 2009), Noc po fronte (The Night after the Front, 2010), Výlet na Devín (The Trip to the Devín Castle, 2011) Rozner, a leading communist journalist and critic of the 1950s, then one of the active proponents of the Prague Spring’s democratization process, thrown out of work and blacklisted after the Soviet invasion in Czechoslovakia in 1968, finally in emigration in Germany after 1976 – combines individual problems with social and cultural issues making a specific interpretation of his own life, his intimate affairs and political choices. His writing can be considered as a kind of therapeutic process, especially the novel Seven Days to the Funeral, in which the author deals with death of his wife, Zora Jesenská, distinguished translator, mainly from the Russian literature. In the article the novel is interpreted as a literary attempt to cope with the pain caused by the great loss, but also as a kind of engaged, subjective reflection on history and politics with its devastating impact on people’s lives.

AVANGARDA ÎN LITERATURA SLOVACĂ

Author(s): Gheorghe Călin / Language(s): Romanian Issue: 1/2004

Spre deosebire de ţările occidentale, de Franţa spre exemplu, unde suprarealismul pătrunsese aproape în toate ramurile culturii naţionale, în Slovacia avangarda se manifestă mult mai târziu şi aceasta ca urmare a rezistenţei cercurilor conservatoare, de stânga, care-şi publicaseră în 1934 în revista „DAV” protestul cu privire la impactul pe care suprarealismul l-ar putea avea asupra scriitorilor slovaci.

Bariaková, Zuzana – Jakubík, Henrich – Kubealaková, Martina: Hranice okolo nás a v nás. Literárne podoby migrácie v slovenskej literatúre

Author(s): Lívia Barnišinová / Language(s): Slovak Issue: 6/2021

Review of: Bariaková, Zuzana – Jakubík, Henrich – Kubealaková, Martina: Borders Around us and Within us. Literary Representations of Migration in Slovak Literature, Bratislava: ARThur, s. r. o., 2019. 160 s.

BEDNÁRIKOVA KAVIAREŇ LÝRA AKO PALIMPSEST, DIALÓG I REKONTEXTUALIZÁCIA DIEL DOBROSLAVA CHROBÁKA

Author(s): Jana Dudková / Language(s): Slovak Issue: 01/2022

The study focuses on the textual analysis of Jozef Bednárik’s television film Kaviareň Lýra [Lyra Café] (1992) and on its comparison with the two literary model texts by Dobroslav Chrobák, which the film picks up on and on which it is based. The authoress pinpoints the dialogical relationship between the two text models and their television adaptation, as well as the recontextualisation of the literary source texts in the context of a different time period, while refuting the notions of undue sentimentality attributed to Bednárik’s television adaptation by other authors. The study draws on contemporary theories of adaptation, particularly as palimpsest (Linda Hutcheon) and a dialogue with the model text, or as a version of a unified work (John Bryant).

Bilješke o narodnom životu u romanima Martina Kukučina

Author(s): Nevena Škrbić Alempijević / Language(s): Croatian Issue: 16/2004

This article discusses the way and the mode in which fiction can be used as a source of ethnographic data, using the novels of the Slovak writer Martin Kukučin (1860-1928) as a case study. Novels by Kukučin can be used as a source of ethnographic data to Croatian ethnologists because the author spent almost half of his life living among Croats. For thirteen years he lived in the village of Selca on the Island of Brač, while he spent the next fifteen year among the immigrants from the island of Brač in Chile. He based two of his novels on his experiences there: Kuća u strani, which is located in a patriarchal, somewhat idealized rural community on the Island of Brač, and Mati zove, in which he described the life of Croatian, mostly Dalmatian immigration community in the Chilean county of Magellanas. Both novels are filled with descriptions of different segments of traditional culture (notes on traditional economy, clothing, traditional architecture, customs, magical rites, etc.). The importance of folk heritage in the work of Kukučin is emphasized in such a way that his starting points can be compared with the principles which Antun Radić, his contemporary, has introduced into folk research. In creating a model for his literary, fictional societies, the author frequently employs traditional worldviews and concepts, and especially emphasizes the distinctive characteristics which one community carries in relation to Others, as well as the conflicts which exist inside the community itself, between different strata in society. Novels by Kukučin can be interesting for ethnologists for a number of reasons. For example, in Kuća u strani, he describes: cultural differences between different groups inside the village community, between Us and Them, everyday life of village people which Kukučin includes in his novel; the organization of village family, unwritten rules and moral principles followed by the community. In the novel Mati zove he tackles the following issues: integration of Dalmatian immigrants to the apparently homogenized Croatian community in Chile, assignment of collective character and mentality to all the members of a given community. He also includes memories of homeland in the form of ethnographic description, where he emphasizes the notion of the undiminished value of rural heritage; a conflict but also an inter-fusion of two different ways of life seen from the point of view of the immigrants: which elements of their own culture have they preserved in the immigration, which new elements have they adopted in the new country. However, in accepting Kukučin's novels as sources of ethnographic data, we have to bear in mind that they were written by a person whose cultural background was quite different; many paragraphs signify a certain intercession between the two cultures. In his works on Brač and the immigrant Dalmatians, sometimes consciously and sometimes not, he includes data from another traditional culture the one he originated from.

Bondyho bratislavská Epizóda

Author(s): Radoslav Passia / Language(s): Slovak Issue: 3/2021

The introductory section of the article reconstructs the arrival of the Czech writer, philosopher and foremost member of underground culture, Egon Bondy (1930 – 2007) to Bratislava in 1993. There he became part of the city’s intellectual and cultural (literary, musical and artistic) life. The novella Epizódaʼ96 [Episode ʼ96] Bondy wrote in Slovak is an important contribution to the literary identity of the city. The article interprets the close relationship between Bondy’s narrator and space and also looks at the central topoi present in Bondy’s portrayal of Bratislava. He presents the city via “emptiness”. Diachronically, this means putting into spotlight some of the key episodes (unknown territories) of the weakened historical memory of the city (life and work of the sculptor F. X. Messerschmidt and the fates of the Jewish community). Synchronically, the author focuses on the structure of the city formed by socialist planning and on the empty spaces as natural spaces that to a great extent determine Bratislava’s genius loci (the Danube, the Little Carpathians).

Bratislava na prahu – Bratislava prahov (Mesto v epoche normalizácie: Životy unikajúce Dušana Krausa)

Author(s): Vladimír Barborík / Language(s): Slovak Issue: 3/2021

The article takes a look at the representations of Bratislava in Dušan Kraus’s debut novel Životy unikajúce [Lives Leaking; 1979]. It reconstructs the methods that model the city and its image in the context of other portrayals of the urban setting in Slovak prose (Ladislav Ballek: Pomocník [The helper]; Agáty [The locust trees]; Stanislav Rakús: Temporálne poznámky [Temporal notes]). The novel does not name the city in which it takes place, but from the names of locations and the typical spatial arrangements it pertains that the text is set in Bratislava. The differentiation of the spatial structure is complementary with the division of space into the private and public spheres. Social life functions (work and amusement) are situated in the centre while private lives unwind in the new housing estates at the outskirts of the city. Kraus portrayed Bratislava of the normalisation era in line with its period character, i.e. as urbs, but not as civitas (Olivier Mongin: The Urban Condition) – as a city without a public space. The novel works with two semantic layers. The narrative is of factual or even official record character, the symbolic generalisation rests on the double meaning of the title that evokes both a gas leak and the movement of its victims from life to death as well as the city as a fluid, unstable entity where life “leaks” from its inhabitants.