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INTERTEXTUAL ASPECT OF THE FAUSTIAN THEME IN 19TH-CENTURY SLOVAK AND CZECH LITERATURE: JONÁŠ ZÁBORSKÝ, ŠEBESTIÁN HNĚVKOVSKÝ, AND THE CATEGORIES OF “NATIONAL” VS. “WORLD”

100%

Zelenková A.

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nr 4

45 - 58

EN

The study attempts to identify the “inter-literary network” of the post-Romantic period from the perspective of “small national literatures” through an analysis of two Central European texts: Faustiáda (1864) by the Slovak writer Jonáš Záborský and Doktor Faust (1844) by the Czech writer Šebestián Hněvkovský. Although in the history of their respective literatures, both texts rank among the classics, they have been seen as “antiquary relicts” because of their genre hybridization, literary-orientation interference, and parallel coexistence of two different poetics within individual texts. The works belong to the genre of “Faustiads” whose purpose is to demythicize and desacralize the Faustian theme. The parody-humorous form or didactically patriotic presentation enables them to cope with the historical philosophy of their nations. The inter-literary interpretation of these works results in the transformation of fixed negative reflections in the literary discourse and in the confirmation of the diversity of the Central European post-Romantic tradition.

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PAVOL ORSZÁGH HVIEZDOSLAV A MÁJOVÉ OSLAVY 1918 V PRAHE (ČESKO-SLOVENSKÁ CESTA KU KANONIZÁCII CULTURAL SAINTS)

100%

Zelenková A.

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nr 6

643 – 659

EN

Drawing also on formerly unexplored period documents, the article analyses the impact of P. O. Hviezdoslav’s participation in the celebration of the 50th anniversary of the laying of the National Theatre’s foundation stone on the 16th – 18th May 1918. The contribution 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). Through the prism of Hviezdoslav’s visit, the article follows the transfer of his personality and work from the secluded microcosm of intellectual elites into the public macrocosm of the future state-forming community. The poet’s transformation into a cultural saint, facilitated among other things by his speech addressed to Czech and Slovak extra-literary recipients at the celebrations, signified his approval for the ideology of Czechoslovakism. Historical importance of this visit to Prague consisted mainly in the fact that it was the first public acceptance of the envisaged integration into a common state.

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HRY FRANKA WOLLMANA NA SCÉNE SLOVENSKÉHO NÁRODNÉHO DIVADLA V DVADSIATYCH ROKOCH 20. STOROČIA

100%

Zelenková A.

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nr 4

297 - 309

EN

Using new archival material, the study explores Frank Wollman’s plays staged by the Slovak National Theatre in Bratislava in the 1920s. Recognised as a Czech expert in Slavonic studies, he lectured at the Faculty of Arts of Comenius University in Bratislava. In the early years of his professional career, he presented himself as a “manifestly Czechoslovak” dramatist, whose drama Bohokrál (1921) [The Godking] published in book form portrayed Alexander the Great. The ideas of Czech and Slovak togetherness were conveyed through the Great Moravia theme in his historical tragedy Rastislav (1922). His Člun na moři (1924) [A Boat at Sea], a “human grotesque and political utopia” juxtaposing opposing human types, got a particularly keen public response. Overall, Wollman’s dramas reflected on major social conflicts, and by putting emphasis on moral ethos, they were intellectual in nature. They linked expressionist elements with the tradition of classical realistic drama. Even though the plays were not included in the basic repertory of the Slovak National Theatre when first staged, they have remained a witness of the author’s artistic formation as well as of the dramaturgy of SNT.

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LITERÁRNÍ VĚDA A KULTURNÍ DĚDICTVÍ V PRAGMATICKÝCH SOUVISLOSTECH. K ODKAZU PETRA LIBY

63%

Zelenková A. , Mikulášek A.

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nr 1

167 - 176

EN

The study evaluates the methodological contribution of a Slovak literary scholar Peter Liba (1931 – 2020), who was one of the founders of the Institute for Research of Constantine and Methodius’ Cultural Heritage and the University of Constantine the Philosopher in Nitra. As a literary scholar, Liba significantly influenced the theory of interpretation and communication in a number of humanistic fields of study and thematic areas (folklore, popular literature, translation, children’s and youth literature, bibliography, biography studies, textology, culturology etc.). The study also defines the researcher’s autonomous position within the so-called semiotic-communication Nitra school and its expressive theory of the text, which the work of aforementioned professor enriched interdisciplinary with diachronic and comparative aspects of not only primary but also secondary communication. Within its framework, Liba elaborated on the problems of the functions of literary education, typology of reading and literacy, literary-museum communication, biography studies and circulation of the so-called degraded layers of literary development. As a literary theorist, he came from textological analysis and heuristic research to uncovering the connections between literature and culture and its ethical dimension.

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K POČIATKOM SLOVENSKÉHO DIVADELNÍCTVA V DVADSIATYCH ROKOCH 20. STOROČIA. JÁN BORODÁČ A ŠTEFAN KRČMÉRY

63%

Zelenková A. , Himič P.

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nr 2

117 – 133

EN

The birth of the Slovak National Theatre did not immediately yield the growth of Slovak drama and Slovak theatre art. Its dramaturgical and staging challenges were just waiting for the first Slovak actors, dramaturges, and directors. In the early years of his career, by gradual steps, Ján Borodáč endeavoured to promote the Slovakness of the predominantly Czech drama ensemble of the national theatre. In person and in writing, he frequently exchanged views with the leading figures of Slovak culture, including the literary critic Štefan Krčméry. The discovered correspondence of Borodáč corroborates his efforts and supplements and clarifies some issues regarding the professionalization of theatre in the 1920s.