KRATKA PROZA
Short prose: Dušan Benka - DIRIGENT; Nikola Kitanović - DIRIGENT; Miroslav Demak - ROĐENDAN.
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Short prose: Dušan Benka - DIRIGENT; Nikola Kitanović - DIRIGENT; Miroslav Demak - ROĐENDAN.
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The article focuses on agents facilitating translation and interpreting and provides a sociological probe into the particulars of interlingual intercultural transfer in Slovakia on the background of political and economic specifics of the region. The observed tendencies seem to point to the fact that in the past half century, despite the changes brought about by the Velvet Revolution, the social standing of translators and interpreters has been less determined by officially proclaimed ideologies than economic forces. From the legislative point of view, language policies have had a significant impact on the phenomena in question.
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The motif of architecture is a common element in illustrations for children. It is widely held that it serves only a decorative function in the illustration’s background. Related to particular texts, however, the motif of architecture may bear also other, additional functions. Such functions are examined in the illustrations to Fairy Tales of Zamagurie by Vincent Hložník. The close connection of architectural motif with the text of these fairy tales allows for more accurate identification of literary and non-literary sources of inspiration. In the introductory chapter of the study, a semantic overlapping of the illustration’s function with the function of real architecture reflected in some aspects in the illustrated architectural motifs is analysed. The Fairy Tales of Zamagurie belong to the genre of Slovak magic folk fairy tales, which specifically affects their artistic rendition. Their imaginative, symbolic and magic aspects influence overall rendering of the architectural motif. Their functions and educational implications are briefly defined in the final chapters.
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Reconfiguration of Slovak Romanticism, its openness towards the model of literature and art as it was formulated by German philosopher Friedrich Schlegel (1772 – 1829) in the early 19th century, and the unambiguous position of the prose writer Ján Kalinčiak (1822 – 1871) as an author of Romanticism together form space which can be interrelated on the basis of common aesthetic principles to the characteristic features of the works writtern by authors of Hungarian literary Romanticism of the Schlegelian type. This provides space for research into the particularities of the (assumed) interliterary/interlinguistic dialogue. It shows that despite the isolationist form of the foreign-language public spaces of cultures and literatures in Hungary in the 1830s and 1840s the way Ján Kalinčiak and Mihály Vörösmarty handled two selected motifs (wilt and blood revenge) in their texts can be interpreted as a manifestation of the ongoing yet no longer visible process of exchanging information. Also, they can be seen as another proof of the fact that the particularities of the Schlegelian model of Romanticism had a noticeable influence on forming Slovak literature at that time.
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The study analyzes the linguistic means representing social phenomena, structures and processes in Dominik Dán’ s criminal novel Noc temných klamstiev (2009; Night of Dark Deceptions). Methodologically, it is based on the concept of interactive stylistics, specifically its socio-stylistic subsystem. The main aim of the analyzed linguistic means in the structure of the novel is (i) to characterize the setting, characters, situations and relations; (ii) to indicate the more complex stylistic qualities, mainly the contrast with the often humorous solution between textual tension and detension; and (iii) to be a part of irony as the main author’s attitude towards reality.
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The paper examines the intrinsic nature of humour in the comic book The Worries of King Michael by Juraj Martiška. The paper draws on the definitions of comic book by H. Bergson and V. Borecký and argues that hyperbole is a key compositional element on which Martiška’s comic books depends. By virtue of this, Martiška relays moral failures of his characters. Owing to the use of various forms of hyperbole (facial expressions, gesture, posture), Martiška’s comic book induces comic effects even in stories with non-humorous situation. Furthermore, the paper examines situational comedy as another compositional element that imparts humour to Martiška’s comic books. Situational comedy is based on a moment of surprise; on a disappointed expectation occasioned by challenging stereotypes; a break in continuity; and on the making of contrast between the expected and the “real”. Finally, the paper arrives at a conclusion that the analysed comic book by Juraj Martiška is thought-provoking due to both the compositional elements through which humour is conveyed and the value and/or a moral lesson that the story implies.
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The article deals with an interpretation of current literary works of Monika Kompaníková, a Slovak author of literature for children. In particular, the article zooms in on the proses Piata loď, Hlbokomorské rozprávky, Koniec sveta a čo je za ním, and Kde je Ester N? In addition, the article includes a brief interpretation of an experimental book project called The Toddler Punk. Ťulinove hudobné príbehy, in which M. Kompaníková participated. This article also deals with the unconventional movement of M. Kompaníkova’s conveyed through literary types and genres, as well as her willingness to tackle topical issues of contemporary society. To this end, the author brings to the reader’s consciousness her personal concept of values, meaning and function of the literary text. Her literary work lends itself to a changing image of the young reader and fits the contemporary society.
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This study deals with the comparison of a literary and theatrical version of the fairy tale The Four Elves and the Fairy written by Ján Uličiansky. Ján Uličiansky is a contemporary Slovak author who is not only writing texts for children and youth but he is also a playwright and a radio dramaturge. The interpretation of the author’s fairy tale offers two views on the same text that has various sign forms, since the text was also adapted for theatre. Such a view on the above mentioned two forms of one text offers the reader different parallels that are elaborated on in this study.
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Book review of: MARKOVIČ, P. (2020): Slovenský literárny klasicizmus a preromantizmus. Prešov: Vydavateľstvo Prešovskej univerzity v Prešove, 144 s. ISBN 978-80-555-2496-2.
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The Orient (as well as the Balkans) is one of the deepest rooted images of “the Other” in European culture. Contact with the Other open the possibility to set the limits of one’s own identity, but also create the opportunity to formulate a number of stereotypes about that otherness. One of the central stereotypes is the myth of eastern/southern femininity and sensuality. In other words, one of the central points of the phenomenon of “orientalism”, as described by Edward Said, is the figure of a woman dangerously sensual and dissolute or – on the other hand – deprived of her femininity. The attitude towards oriental and southern beauties anticipates, on the basis of pars pro toto, the attitude towards the Orient and the Balkans in general. In this relation, like in the lens, a series of colonizing aspirations of the West is focused. Both Slovak writers approach the East and South just as representatives of Western European civilization. The reports of their journeys in their journals confirm Said’s findings that the ideas of Western European intellectuals about the Orient and the Balkans had little to do with the reality of the East and South.
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The question of encouraging love for one´s own language as an essential identifying sign of a nation is one of the significant subjects in the poetry of Bohuslav Tablic (1769 – 1832), who did a lot to help stimulate the interest in the original language of the Slovak population as well as in its literary form. Although his literary language is usually superficially described as Czech, it is not accurate as he himself promoted the project of the common literary language for both Slovak and Czech language communities, where Czech and Slovak elements would be applied equally. The choice of his literary language was supported by the three-hundred-year-old tradition of Czech language (also in the Slovak environment), which he regarded as one of the proofs of its full develoment. The analyses of his poetry show that he considered it to be a suitable platform for reflecting on the problems in the society at that time including the issue of language. There are a number of poems in which he appealed to the Slovak society to realize the importance of the language for its life in the multilinguistic Habsburg monarchy. He often called for study of the national language, for its development and refinement mainly through its active use in literary production.
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The article focuses on selected folklore elements in Slavic Baroque poetry. It opens with an overview of the historical background, followed by a discussion and exemplification of folklore elements (among others: characteristic names, motifs of plants and animals, situations presented in texts, motifs of heart and brawl) which appear in anonymous Baroque works coming from two collected volumes.
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Two main research strains have been noted in the reception of Pavel Vilikovsky’s work. The first one is centered around the thematic-stylistic and narratological aspects of postmodernism. The second strain, which appeared in the mid-1990s, focuses on the function of language deconstruction, widely observed both in the structure and the semantics of Pavel Vilikovky’s works and observed especially in their reception in a foreign literary context. The reception of intertextuality in the Slovak literary context has contributed to viewing Vilikovsky’s prose as a special type of an “autobiographical memory“ (Peter Zajec). The translations of Vilikovsky’s works into various foreign languages play an important role in developing new intertextual relations. The Serbian translations of the intertext in the novella Koň na poschodí, slepec vo Vrábľoch, the novel Posledný kôň Pompejí and the collections of short stories entitled Krutý strojvodca and Čarovný papagáj a iné gýče reveal new metatextual processes in translation and illustrate how the new intertextuality redraws the boundaries of the metatextuality of translation. The intertexts in the Serbian translations of Vilikovsky’s works have contributed to establishing a new metatextual connection between the Slovak and Serbian works of literature, clearly exemplified by the lines from three Serbian poems about a Slovak smith, which appear in the translation of the novel Posledný kôň Pompejí.
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This article pertains to the information about the religious situation and church unions in Transcarpathia area. The analysis of sources shows almost a overall lack of interest in these matters in historical and religious literature in the Republic of Poland (Rzeczpospolita). An attempt to explain the reasons why the area of Transcarpathia did not interest Polish and Ruthenian polemical and historical writings in the 17th – 18th century.
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In this edition, we provide the first Slovak academic traslation of the Basilovits´s work Imago vitae monasticae (Cassoviae 1802) that is considered a masterpiece in the filed of his ascetical work. Critical translation from Latin into Slovak and original transliterated Latin text are preceded by an analysis of the ascetical work with an emphasis on the linguistic aspect. Philological research of a relatively extensive text and dealing with several specifics of the source and target language pointed to translation complexity in terms of theological concepts and facts in the ecclesiastical and religious context. In our study, we focused mainly on the language of the Neo-Latin text from the point of view of orthography, morphology, syntax, and lexis. An important part is also the apparatus of sources that inspired Basilovis when writing his work. Based on the research of the source, it is necessary to emphasize the fact that the work is a kind of culmination of the author´s ascetical literature about Basilian monastic tradition in our territory. It should be added that Basilovits was the first author paying such detailed attention to Eastern monasticism in Slovakia and the entire Subcarpathian region.
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In this paper, the author tries to present the relationship between Božena Slančíková's two moods as reflected in her private hypostasis and the one as a writer, pointing at the way in which Timrava's energetic double manages to share her profound experience with others.
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Based on the idea that the sociolect is a linguistic variety specific of a particular social class, which function aims at both self-identifying and identifying social entities, which means that language becomes an epiphenomenon, a symptom associated with society, ensuring the cohesion among members (Dolník), while the idiolect refers to the linguistic specificity of a writer, which represents the idealization and abstraction of specific language marks, by means of which language becomes a heterofenomen, a symptom of the subjective vision of the world, mediated by the writer and shared by the others, ensuring the connection between the members of society, we have analyzed Timrava's short story The Heroes from the linguistic perspective.
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The study summarizes the results of the author’s previous researches about the entry of literary translations for children and youth to Slovak context. In the intentions of his literary-historical concept, the author examines the presence of individual national literatures in reading fund of the Slovak children and youth and he evaluates their participation in the process of changing a didactic-utilitarian model of literature to the artistic model. He thus brings the knowledge of how the translations from foreign literatures, as well as the specific literary works, more or less positively influenced the formation of the national literature. In the first part of the study, the author examines the process in didactic-utilitarian phase of development of the Slovak literature for children and youth (until 1918), in the second part he examines the process in the period of classical artistic works (1918 – 1945).
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The paper points to the literary image of the everyday life of Slovaks in southern Slovakia. However, this Rye Island existence is panhuman – even determinative – behind historical events of the turbulent 20th century. In the monumental (up to nine hundred pages) and in an artistically strong way, the trilogy (and hence the paper) describes the complicated (and not always idyllic) coexistence of Slovaks and Hungarians in this space-time: their problems, conflicts, desires and expectations. The metatext also gradually introduces the broader scope of Ivan Habaj’s biobibliography and him as an important author of the ˊSlovak Southˊ in the cross-section of the specifics of his continuous literary work. Emphasis is placed on his ˊemblematicˊ trilogy Kolonisti (Colonists), which provides a cross-section of the time, surroundings and characters of chronotope. It is also mentioned by various literary-critical responses to origins, using both analysis and synthesis. Thanks to the gradually applied interpretative objective- subjective approach to prototexts, the perceptive reader can learn about the troubled fate of Slovak colonists who during the difficult historical periods of 1918, 1938, 1945, 1965... lived (and metaphorically still live) their not easy life in this corner of our homeland.
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The article studies the reflection of cultural values in folk tales and fairy tales. Based on the analysis of 20 original Slovak folk tales collected and slightly adapted by Pavol Dobšinský, we compared the values discovered in the texts with a set of values ascribed to the Slovak culture by two external (non-members of the culture) authors. Their insight and evaluation of the most important cultural values were considered as more objective than any local source due to the emotional load associated with any cultural matters. The article presents the variety of protagonists, both heroes and villains whose behaviour clearly exemplifies the appreciated behaviour patterns driven by values in contrast with the most detested ones. Those positive and negative messages help the mind of children to discover the unspoken standards of their culture as part of the acculturation process. Our results show that though the folk tales were created a long time ago they still carry relevant ideas worth transmitting to further generations.
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