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Based on the literary and cultural material, the article discusses two functions played by the term of emigrantology as a legacy of three waves of Russian emigration in the 20th century. The term was introduced by Lucjan Suchanek to the research space of Slavic emigration. It has systematized the area of intellectual and scientific self-reflection (including literary studies, historiography, philosophy and theology, and cultural studies), which developed in the community of Russian emigration. Additionally, the term provides modelling of the need for interdisciplinary and in the nearest future trans-disciplinary studies on the complex cultural phenomenon of Slavic emigrations. In this particular context, the article presents major research directions and achievements of Russian studies in Poland.
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Prokůpek, Tomáš, Pavel Kořínek, Martin Foret, and Michal Jareš. Dějiny československého komiksu 20. století, Vols. 1–3. Prague: Filip Tomáš – Akropolis, 2014, 996 + 87 pp.,ISBN 978-80-7470-061-3. The reviewer presents a three-tome publication titled "History of the Czechoslovak comics of the 20th century" and written by four authors as the most comprehensive work on the history of comics in the Czech Lands and Slovakia, or in Czechoslovakia, in the twentieth century. In addition to the text, an opulent graphic accompaniment containing more than five hundred illustrations plays an equal role; an important part of the work is a rich technical apparatus concentrated in the third volume. In the reviewer’s opinion, a clear arrangement of the contents, unified methodology, and chronological structure of chapters contribute to a generally positive impression of the book. The chapters bring, in particular, an overview and description of Czechoslovak pictorial serials as well as domestic translations of foreign comics, but there is also a description of a more general historical context and a capture of the period (frequently rather critical) reflection of this pop culture phenomenon. However, much less space has been devoted to an analysis of transformation of comics in Czechoslovakia and their context. Still, the reviewer believes the work is, save for a few minor details, beyond reproach, its uniqueness and contributionare illustrated by many awards and nominations it has earned.
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Prokůpek, Tomáš, Pavel Kořínek, Martin Foret, and Michal Jareš. Dějiny československého komiksu 20. století, Vols. 1–3. Prague: Filip Tomáš – Akropolis, 2014, 996 + 87 pp.,ISBN 978-80-7470-061-3. The reviewer sees the three-tome publication titled "History of the Czechoslovak comics of the 20th century" as a work which is impressive at first sight and based on extraordinarily voluminous and meticulous heuristics bringing amazing results in the form of a mass of reliable and often hitherto unknown information, and with an excellent graphic design. However, the superb positivistic performance of the authors implies, in the reviewer’s opinion, a problem with the reader’s ability to absorb the deluge of data often presented as tiresome lists of authors, names and characteristics of the pictorials without a framework that would keep them together. As a result, the general impression is fragmentary rather than compact and concise. In addition, the authors perceive comics as a specific literary-graphic genre and almost ignore interactions between this pop culture phenomenon and the society. The reviewer concludes that the authors have created a basic inventory of Czechand Slovak comics, but have not progressed toward a structured historical analysis.
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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.
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V roce 1997–98 byl na Ústavu slavistiky z iniciativy prof. Iva Pospíšila, dr. Ireny Hrabětové a již zvěčnělých doc. Vlastimila Válka (1932–2019) a doc. Jarmily Bartákové (1933–2003) založen obor Slovenština ve všech třech formách studia – bakalářské, magisterské a doktorské. Obor pomáhali konstituovat slovenští vysokoškolští učitelé, mezi nimi prof. Juraj Dolník, pozdější docentka Mira Nábělková (za výuku slovenštiny jí na konci jejího působení, kdy odešla do Prahy, na návrh vedoucího Ústavu slavistiky byla udělena stříbrná medaile Masarykovy univerzity) a další. Řadu let tu vyučovala dnešní docentka Anna Zelenková (často koeditorka Brněnských textů k slovakistice, sama Slovenka a slovakistka) a její manžel prof. Miloš Zelenka poměrně dlouho tato česko-slovenská setkání spolu s vedoucím ústavu spoluorganizoval a často také koeditoval publikační výstupy.
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This contribution deals with Die Nummer auf deinem Unterarm ist blau wie deine Augen. Erinnerungen (The number on your forearm is blue like your eyes. Memories, 2016) by the Jewish-German author and psychotherapist Eva Umlauf (born in Nováky, Slovakia, in 1942, she emigrated to Munich in 1967). Its objective is to follow some of the clear traces of interdiscursive communication in the text and to point out how a personal life story became a multi-layered autobiography. In the first part, the originating points of literary theory are outlined and the structure of the work and its interdiscursive dimensions are presented. The second part deals with the incorporation of knowledge of historiographical discourse, exemplified by the events of the Nazi era (including her birth in the labor camp for Jewsin Nováky and her internment in the Auschwitz concentration camp 1944–1945).
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Spiritual poetry of the baroque era in Slovakia has been relatively little interpreted from the viewpoint of the theme and motives until now. It used to serve like a language material that has been explained form the aspect of lexical historicism and archaism. In the baroque texts unattractive for readers it is possible to disclose again the relevant interest for readers through interpretation anthropologically aimed to the picture of the then world.
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Slavic myths increasingly survive in people’s consciousness as supernatural elements or as literary characters rather than as real beliefs in their existence. Adult readers in Poland and Slovakia, for example, encounter Slavic supernatural beings in the fantasy literature book series such as Wiedźmin by Andrzej Sapkowski and Černokňažník by Juraj Červenák; however, literature cannot be expected to portray superstitions and demons in the same way as belief legends. Placing Sapkowski’s and Červenák’s works within the context of ethnographically recorded beliefs illuminates various aspects of intercultural and intertextual relationships within the literary setting. This article shows that there are several types of literary adaptation of Slavic myths: adaptation in accordance with folk beliefs, denial of superstitions, incorporating a folk myth in order to create an illusion, and using the name of a demon while also adding characteristics from other sources – especially from popular culture.
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This paper is focused on the literary interpretation of the utopian novel Inžinier Riava (1929) written by Ervin Holéczy, the peripheral Slovak writer. In this paper there are represented the opinions of the literary critics based on their critiques and reviews that were published in periodicals of those times. In this contribution there are confronted individual opinions of the literary critics amongst each other. These opinions create the image of acknowledgement of this novel by both – the critics and the readers in those times. The author of this paper summarises the opinions of literal critics and contemplates about the novel in context of so called “Trivial Literature“. The author of this paper offers the evaluation of the novel’s aesthetics and contemplates about whether this novel is rightfully placed to literary periphery and to the edge of the literary history interest.
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In the contribution i offer an analysis of the central stage of Hlbina’s creative period, when he was a well-established author who published poetry magazines and also various poetry considerations, but he was still alone and the only author of Slovak modern spiritual poetry. The greatest contribution of Hlbina poetry is seen in the application of the new authentic form of spirituality that he has achieved through his own creation of poetic prayer as a reliable medium between God and the poet. The aiming of the poetic expression of the poetic expression through the play with the word meant for Hlbina the corresponding form of new spirituality and at the same time clarification of the contemporary Slovak poetry by applying the elements of avant-garde. In the collection of Cesta do raja, Hlbina attempted to combine seemingly unrelated: new individual poetic vision and expression with traditional belief. It moves between Franciscan humility, overexposed simplicity, faithfulness to the tradition of Christian literature, and therefore does not impose biblical motifs, saints, prayers, traditional symbols.
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Anna Horáková-Gašparíková came from the well-known Gašparík family from the city of Martin. Despite the fact that she lived in the Czech lands for the most part of her life, she regularly came back to Martin and maintained an intense contact with her countrymen. Her positive relation to the city was manifested in various forms in her literary work as well. Besides the chapter about Martin in the monograph Slovensko (Slovakia), she dedicated several newspaper articles to the city as well as a small booklet called Údolí Turce. Dva dopisy (The Valley of Turiec. Two Letters) written together with Karl Vik. As a literary critic, she also wrote forewords to collections Jozef G. Tajovský v kritike a spomienkach (Jozef G. Tajovský in Critical Works and Memoirs) and Janko Jesenský v kritike a spomienkach (Janko Jesenský in Critical Works and Memoirs), which represent a probe into the history (as well as the then events) of the city of Martin.
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The present paper focuses on the theme of the home and homeland in selected proses written by J. Čajak jr., who, despite a strong relationship to the surroundings of Dolná zem, returns in his proses to the youth spent in Slovakia and reminisces in them about the members of his national community. The author depicts the features of the life reality from different regions of Slovakia and the relation of individual characters to their home, which is reflected especially in their autobiographical character. The concept of the home in the proses from the Slovak environment is for Čajak connected with the feeling of emotional perception of the birthplace, which is reflected also in their literary processing.
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In a paper I will focus on three aspects of the selected prose by P. Jaroš from book Krvaviny. The first line will be the authorʼs work with older literary genres: folk-tale, fair-song, legend, which were popular in the Slovak territory mainly in the 18th century. They served as the dominant platform for talking, lecturing, or singing about the outlaw theme. I will analyse transformation of the traditional face of an outlaw in Slovak literature. On the plan of the character Pacho I will focus on what comes in story after the national symbol, which was Juraj Jánošík in Slovak native tradition. The third point is that I will try to answer the question of the importance and function of a subversive writing about the traditional outlaw theme in the literature, cultural, but also social or political context in the sixties and seventies of the 20th century.
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The article The Linguistic Picture of Politeness in Dobšinský's legends and Erben's tales brings up the question how the meanings of the politeness concept and its context usages contribute to the broader Slovak and Czech linguistic picture of the world. To be able to answer this question we observed and interpreted various definitions of the concept we found in Slovak and Czech dictionaries and ethical manuals. With this theoretical base we have continued our observations of the concept within the literary field of legends and tales by Slovak romantic author Pavol Dobšinský and Czech romantic author Karel Jaromír Erben.
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In my paper I focus on selected poems of Štefan Strážay, which are analysed in regard to their (a)typical relations with the genre of elegy. First I outline the theoretical basis of the paper while stating that the main idea on which a classical elegy is formed I consider to be the verbalization of the feeling of loss through a lyrical form. Then I consider the way in which this moment is reflected in the poems of Štefan Strážay—I consider his work to be heavily influenced by elegy. Out of the whole collection of Strážay’s poems in my paper I focus on poem Elégia (Elegy) from collection of poems Igram (the name of Strážay’s home village, 1975), poem Za riekou (Beyond the river) from Malinovského 96 (the address on which Strážay lived in Bratislava, 1985) and two fragments of Zápisník (Notepad) from collection Elégia (Elegy, 1989). The aim of the paper is to comment on how the genre of elegy and its components are reflected upon in the work of one of the most important Slovak poets of the second half of 20th century, Štefan Strážay.
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This paper focuses on the writer Gejza Vámoš (1951 – 1956), namely his two publications of different natures, i.e. the novel Atoms of God and his Dissertation thesis in philosophy, The Principle of Cruelty. These are texts that were more or less created in the same time period, and in which the writer communicated his philosophical worldview in almost identical ways. The aim of this paper is to show the semantic proximity of philosophical and literary communication, and at the same time to make accessible how the various philosophical theses were “imprinted” into the novel through a literary setting.
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