Electronic Library of Scientific Literature - © Academic Electronic Press
Volume XLVIII, 2001 / No 3
FROM SCHOLARLY LIFE 278
Milan Matiaška, Gymnázium J. Papánka, Bratislava
The study deals with the way of digression functioning (it is defined as a turn-off the main motivic line) in three Hviezdoslav texts: Hájniková žena, Ežo Vlkolinský, Gábor Vlkolinský. There are found more types of digressions: explicative, parenthetic, descriptive, episodic, atmospheric, exemplar, sentence, odic, rhythmic, stylistic. The object of our research is also tendency of the Hviezdoslav’s digression to be an independent semantic line. We can use it as criteria for distinguishing digression from description, parenthesis and side line of main action. This emancipating tendency is evident the most distinctly in the stylistic of Hviezdoslav’s Hájniková žena and much more in Ežo Vlkolinský where redundant character of Hviezdoslav ’s digression draws back to polyphony. It is a process of delinearisation that is beyond of usually dominant principle of interiorisation of motivic drain which makes the main action digressive in relationship to the polymotivic whole.
Michal Habaj, Ústav slovenskej literatúry SAV, Bratislava
The study about Tido J. Gašpar is a part of a dissertation work devoted to the delayed wave of Modernism which remarkably influenced the character of the young Slovak prose from twenties of the 20th century (we use term “the second wave” in this connection).
We come out from the basic confrontation of the Gaspar’s prose. It is a contradiction of traditional and modern. It has expression in two lines of Gaspar’s prose: national and decadent. We stress that both of them are only developing of a common romantic line. In the level of theme we can distinguish three groups of Gaspar’s texts: nationalistic-patriarchal, naval-war and decadent- hedonistic. The decadent-hedonistic features of Gaspar’s prose are object of our research. We are interested in pictures of masculine-feministic relationships, reflecting of so called “war of sexes” and in a picture of woman. In the second one Gaspar follows cultural type femme fatale. Opposite to a weak psychically injured man he shows phantom of a strong, noble, proud woman, incompassioned and beautiful femme fatale (”a woman in luxury”). There are evident Gaspar’s inspirations from staying in Wien (1913) and influences of modern authors from the circle Das Junge Wien (we consider D’Annunzio to be a main literary-aesthetic idol). The main spirit of the stories is ”the one of loss” (Števček). Man heroes are defined from the attitude of mental sadomasochism, romantic gestures, ecstatic psychical states and emotional exaltations. Cunning and delicately aesthetic attitudes, are characteristic for the proses of Gaspar, as well as decorative mannerism and linguistically-stylistic ornamentalism.
Vladimír Petrík, Ústav slovenskej literatúry SAV, Bratislava
The article deals with the works of two poets: Janko Silan (1914 – 1984) and Ján Smrek (1898 – 1982). These works written after the February 1948 and it was a kind of protest against the communist totality. Because of this reason it could be published only after 1989. There are relatively few poems to bedealt with from the work of Silan (part of them also connects with the occupation in 1968); Ján Smrek constantly critically coped with the communist regime during the whole decade and there are over thousand dissident poems devoted to it. Janko Silan was a Catholic priest (as a poet belonged to the circle of so called Catholic Modernism) and that was a reason why he dominantly reacted against the persecution of Church, imprisoning priests, liquidation of the monastic orders and so on. Except of the unequivocal denouncing of the facts, he articulated hope that the Catholic Church survives the torture of the historical situation and finally it will be strengthened. Ján Smrek responded the beginning of the totality regime from the position of democrat. He was convinced that socialism would mean liquidation of the civic rights and impossibility of free expression in creative works. He radically denounced political trials from the beginning of 50th which were folloved by in imprisoning and executions. On the other hand he ironically commented the of those authors who were able to serve to the regime ”for the mess of pottage”. Silan’s and Smrek’s ”poems of inner exile” proves that not all authors accepted the new political orientation spontaneously and positively as it has been usually talking about.