![Renáta Bojničanová – Tamara Šimončíková-Heribanová (eds.): Komplexnosť tvorivosti. Zborník príspevkov k jubileu Márie Bátorovej [The Complexity of Creativity. Proceedings for the jubilee of Mária Bátorová]](/api/image/getissuecoverimage?id=picture_2021_60140.jpg)
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The article takes as its topic quantitative approaches used in the study of literature. In the field of digital humanities, these are most readily represented by the method of distant reading developed by Franco Moretti. The aim of the article is to evaluate the possibilities and challenges the given method poses. At the same time, it wishes to offer new solutions with regards to the explanation of the seemingly asymmetrical quantitative data in the context of possible interpretations of a work of literature from the perspective of cognitive literary studies. Reflections presented in the paper are based on Richard Změlík’s quantitative research. In his methodologically-centred monograph Konceptualizace barev v narativní fikci na pozadí kvantitativních modelů ([Conceptualisations of colours in narrative fiction on the background of quantitative models] Olomouc: Univerzita Palackého, 2019, 320 pp.), he summarised the distant reading of colour semantics in the fiction of the Czech writer Ján Čep (1902 – 1973). A close critical reading of Změlík’s research reveals strengths and weaknesses of the method he employed. Greatest attention is paid to developing supplementary conclusions regarding the reading of Čep’s book Modrá a zlatá [Blue and gold]. The collection of short stories works with specific colour semantics and as such presents a challenge to the quantitative method employed by Změlík.
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The article provides an insight into the writings of Slovak Catholic literati published between the end of World War II and the establishment of the communist totalitarian rule in Czechoslovakia in 1948. The writing of Catholic literary critics concentrated in two religious-cultural periodicals Nová práca and Verbum. For both magazines, the article draws on their respective historical-contextual backgrounds and points to differences in their visions of cultural work. Subsequently, it characterises the way the periodicals profiled their literary criticism in reviews, glosses, commentaries and articles dealing with more general cultural topics and provides profiles of the three most significant literary critics – Aloš Stankovský (1925 – 2002), Vojtech Mihálik (1926 – 2001) and Jozef Kútnik Šmálov (1912 – 1982). The article is a contribution towards a better knowledge of the Catholic literary criticism that formed alongside the poetry of Slovak Catholic Modernists. The work of Catholic literary criticism has not been studied as much as the poetry of Catholic Modernists and this article aims at rectifying this deficiency somewhat.
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Sourced even on hitherto unexplored contemporary materials, the paper analyses the impact of P. O. Hviezdoslav`s participation in the celebration of the 50th anniversary of laying the foundation stone of the National Theatre on 16th-18th May, 1918. It is methodologically grounded in the comparative-analytical model of the canonisation of cultural saints as outlined by J. Leerssen and M. Dović (J. K. Helgason – M. Dović: National Poets, Cultural Saints: Canonization and Commemorative Cults of Writers in Europe, 2017). Our study uses Hviezdoslav`s visit to follow the transfer of his works and personality from the secluded microcosm of intellectual elites into the public macrocosm of the future state community. The poet`s transformation into a cultural saint, facilitated among others by his address to Czech and Slovak extra-literary recipients at the celebrations, signified his approval for the ideology of Czechoslovakism. The historic importance of this visit to Prague consisted namely in the fact that it was the first public acceptance of the envisaged integration into a common state.
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The primary goal of this paper is to elucidate the attachment to place (topophilia) throughout the poetry of Juraj Kuniak - the Slovak contemporary poet. Our aim is to focus on the most significant aspects of his poetic discourse pertaining to home, landscape, and identity. The origin of the phenomena is also explored as well as how it affected Juraj Kuniak and his writing process. From his poetry, we exemplify concepts such as rootedness, birthplace bond, and devotion to native land. The research-based evidence consists of decoding allusions and intertextual meanings which are incorporated in the selected collections of poems. Our analysis reveals the diversity of author's poetic discourse and his interest in global issues. The paper concludes that Juraj Kuniak's poetry could be used effectively in terms of cultivating our inner selves, love for landscape, homeland, national culture and language alongside the cultivation of key life values.
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The study focuses on the issue of revitalizing values that are coming to the fore in times of crisis in society during the difficult times accompanied by the plague epidemic. The focus of the research is »The Song of the Plague Infection«, which was printed in Trnava in 1759 and it is about the plague epidemic in the town of Místek in Moravia in 1710. It describes the situation of death and the crisis of spiritual values. The plague is seen as God’s punishment for the sins of the people. In this borderline near-death situation, people turn to Saint Rochus, the protector against the plague, for help. At the core of the song is a description of his pious life and acts of mercy, where the song appeals for a change in people’s behaviour. The song draws attention to the changes in spiritual values, in the intent of the Baroque period, that should guide man on the path of faith.
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The story about death of seven-year-old boy Gabriel Hruškovic is recorded fragmentarily, just as a small recollection, of his brother Samuel. Slovak Lutheran superintendent Samuel Hruškovic, the major Baroque author, translator, and intellectual, wrote his autobiographic book Vita Samuelis Hruskowitz (1719) being twenty-five-year-old. His autobiography was meant as a resource for a funeral sermon in case of his death. Of course, one can think he was too young to think of death, but his approach reflects instable life circumstances in the territory of Slovakia, typical for that time. Although being young he had survived several serious attacks against his life. He had also experienced loss of people whom were close to him. In the article I deal with an interpretation of contents referring to areas of values and emotional processing of life. Through those topics the author in terms of literary syncretism, a method used in contemporary writing, creates and model his own auctorial message. Distinguishing formal and semantic elements of syncretic modelling a text makes a space for a reader to contemplate and to process an extensive content and depth of a message.
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This article pays attention to the relation between historical knowledge and historical prose. It describes the historical genre as an interdiscursive invariant of author and reader conventions. Its production and reception variants activate interdiscursive action, important for the proper functioning of the genre convention. The author focuses on thematic elements, which in historical knowledge represent a trace of the past – a proof of past events. The writer incorporates documents, photographs, facts found in archives, findings of archaeologists, etc. into the theme of the text. In examining different ways of incorporating these traces existing behind the text into fiction, the article treats Jozef Banáš’s Zastavte Dubčeka! (Stop Dubček!, 2009), Jaro Rihák’s Pentcho (2015), Pavol Rankov’s Matky (Mothers, 2011) and Silvester Lavrík’s Nedeľné šachy s Tisom (Sunday chess with Tiso, 2016) and Posledná barónka (The last Baroness, 2019). In historical prose, the rules of text reception include recognizing the correlation between the thematic elements and historical knowledge, as well as observing the creative transfer these elements undergo to co-create new horizons of meaning
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This study examines the internal complexity of Slovak literary realist discourse, which is explained in Slovak studies as the result of diverse relations to the heterogeneous artistic, cultural and ideological discourses of the last third of the 19th century. However, since realistic fiction forms a subsystem of art as a social system (Niklas Luhmann), attention is focused on communications with other social systems and corresponding stimuli, and on the specific (self-referential) literary operations (with their inevitable contingency) involved in the constructionof a view of reality. In order to illustrate these communicative exchanges, the final section uses two short interpretations to give examples of different modes of the (literary-) realist interdiscursive construction of reality – voluntaristic (in the fiction of Svetozár HurbanVajanský) and deterministic (in the context of the short stories of Ladislav Nádaši).
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Review of: KLAPÁKOVÁ, Mária: PERSPEKTÍVY PRÍTOMNOSTI. METAKRITIKA SLOVENSKEJ LITERATÚRY PO ROKU 2000. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove. Opera Litteraria 14/2020. 131 s.
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Abstract: The subject of this article is the Slovak literary manifesto “Prospective Talks on Children's poetry.” The text examines the type of wording typical of the manifesto that can be found in it and its direct impact on the work of some of representatives of the poetry group who wrote it. In addition, the changes which took place in the field of Slovak children's literature during the second half of the last century and the contribution of the so-called Concretists are also considered. The analysis is based on the possible connection between the manifesto of the Tarnava group and similar gestures that preceded it in Slovak literature.
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This paper, along with an introduction into the biography of the Slovak ethnographer and publicist Ján Čaplovič, brings a translation one of the chapters of his primary work, „Slavonia and a part of Croatia”, I-II., Pecs, 1819 into Croatian, which speaks on the Daruvar area.
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This scholarly text provides an analytical-interpretative perspective of current literary work for children of the contemporary Vojvodinian Slovak writer Zoroslav (Spevák) Jesenský (1956). The author of this text focuses on Jesenský’s work after 2015, especially on his poetry for children published in eight poetry collections. The author particularly observed the circumstances of Jesenský’s return to children’s literature, his main creative postulates and program focus, the main motifs, shapes and thematic, expressive and the overall poetic characteristics of his poetry for children. This text registers and evaluates the (un)balanced representation of several functions of artistic text for children in individual collections.
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The aim of the study is a comprehensive analysis of the little-known dramatic fragment Na Luciu, written by the classic of Slovak literature Pavol Országh Hviezdoslav. The complexity of the applied approach lies in the use of several research methods (heuristic, comparative, analytical-synthetic), which are used to assess relevant facts of theoretical (the form-genre area of drama, romantic-realistic creative principle) and the material character (the circumstances of the creation of the dramatic fragment, the thematic background of its creation, the structural characteristics of the text).
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Pavel Orszagh Hviezdoslav’s masterpiece, the lyrical-epic composition Hájnikova žena [The Gamekeeper’s Wife] boasts undeniable dramatic qualities, which have been reflected on by Slovak theatre in several dramatisations and productions. The study primarily analyses the dramatisation of a specific literary work in its relation to its future stage adaptation. It focuses on the relevant attempts to come to terms with a language-specific, genre-syncretic form in an inter-genre-al and intersemiotic artistic space.
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Elena Holéczyová (1906 – 1983) entered professional theatre as a playwright with her play Onedlho bude svitať [Soon It Will Dawn], which was directed in 1959 by her brother Martin Hollý Snr. at Peter Jilemnický Theatre in Žilina. From the initial version of the text through the first reading rehearsal down to the reviews of the production, her work was accompanied by negative criticism. This was partly due to the ideological pressure on art exerted by the ruling communist party, which, despite political relaxation, had an adverse effect on both the adaptation of the play and the evaluation of the production. Based on documents from the estate of Elena Holéczyová in the Literary Archives of the Slovak National Library, the study reenacts her initial intentions and a gradual transformation of the text into stage form.
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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).
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Postmodernism is one of today’s most read and beloved literary movements, one which allows authors to freely experiment in writing and readers to freely interpret texts. A Scroll of Resolutions and A Bit of Space are thematically quite heterogeneous works that both allow for various interpretations and analyses of the stories contained in them. Anna Rău-Lehotská, a Slovak writer living in Romania, has, on one hand, publicly embraced Postmodernism; yet, at the same time, she uses only individual devices from the cannon, refusing to explicitly adopt it as a whole. Existence, being, and emotionality are the dominant phenomena she addresses and deeply cares about in her prose. In the study, these aspects are examined from the point of view of their functions and meanings in individual texts.
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