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1

SUBJEKT A MELANCHÓLIA U GEJZU VÁMOŠA

100%

Horváth T.

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2015

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tom 62

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nr 5

366 – 392

EN

Alongside partial interpretation of the debut collection of proses by Gejza Vámoš Editino očko (Edita´s little eye, 1925), the paper is focused on modelling a constitution as well as decomposing some of the modalities of the literary subject, also defined in terms of literary movement. An attention is paid also to how these ways of representing the literary subject in Vámoš´s texts are related to the subject´s mood of melancholy. Vámoš´s paranoid character (of the short story Paranoik, The Paranoid) cannot live and enjoy life because he lives in „death´s coldness“, which makes him already a corpse, although he is still alive – the future of the death is present during his life: therefore a paranoid lives his life in the melancholy mode. A paranoid´s abnormality segregates him from the low crowd (misera plebs) of people who forget about their mortality. Vámoš´s premises of biological philosophy suggest that a paranoid cannot be an exclusive subject, „a spiritual aristocrat“: it is because at the level of a biological species in Vámoš´s philosophy occur destruction, dissolution of an individual in general. An individual helps the actual biological species perceive and feel itself, and it is the species that becomes the true subject, which is moulded into its manifestations, unimportant individuals. This is where Vámoš´s melancholy springs from. The eternity of life at the cosmological-biological level means the eternity of suffering at the level of individuals: eternal life (at the cosmological level), which cannot be ended (by a ridiculously feeble suicide of an individual), will eternally reproduce the mortality of individual atoms, individuals.

2

SUBJEKT A MELANCHÓLIA U GEJZU VÁMOŠA

100%

Horváth T.

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nr 6

485 – 494

EN

Alongside partial interpretation of the debut collection of proses by Gejza Vámoš Editino očko (Edita´s little eye, 1925), the paper is focused on modelling a constitution as well as decomposing some of the modalities of the literary subject, also defined in terms of literary movement. Attention is paid also to how these ways of representing the literary subject in Vámoš´s texts are related to the subject´s mood of melancholy. Vámoš´s paranoid character (of the short story Paranoik, The Paranoid) cannot live enjoy life because he lives in „death´s coldness“, which makes him already a corpse, although he is still alive – the future of the death is present during his life: therefore a paranoid lives his life in the melancholy mode. A paranoid´s abnormality segregates him from the low crowd (misera plebs) of people who forget about their mortality. Vámoš´s premises of biological philosophy suggest that a paranoid cannot be an exclusive subject, „a spiritual aristocrat“: it is because at the level of a biological species in Vámoš´s philosophy there occur destruction, dissolution of an individual in general. An individual helps the actual biological species perceive and feel itself, and it is the species that becomes the true subject, which is moulded into its manifestations, unimportant individuals. This is where Vámoš´s melancholy springs from. The eternity of life at the cosmological-biological level means the eternity of suffering at the level of individuals: eternal life (at the cosmological level), which cannot be ended (by a ridiculously feeble suicide of an individual), will eternally reproduce the mortality of individual atoms, individuals.

3

MARTIN KUKUČÍN – „VYHNANEC A PESIMISTA“

75%

Taranenková I.

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nr 4

324 – 342

EN

Building on the stimuli from ontological genre theory and thematology, the study reconstructs the autobiographical line of Martin Kukučín´s work and, in a wider sense, defines the writer´s semiotic gesture present in the whole of his work. The line in question is represented by the marginalized writings, shorter in size and vaguely recognized (sketches, short stories, columns), which were not exposed to interpretation so much. Besides the „children´s“ proses, they include „retrospective“ proses, the sketch Na obecnom salaši (At the Village Sheep Farm, 1887), the novella Vianočné oblátky (Christmas Wafers, 1890), the short story Tichá voda (Quiet Water, 1892), which thematize the motifs of becoming „estranged“ (O. Čepan) or realizing the „bitterness of half-blooded status“ of a man who is a peasant by origin and an intellectual by education. The last group within the autobiographical line comprises the Prague-related proses, which present Kukučín as a confident city author, whose relationship with the environment is very specific. The central motifs of the writings – melancholy and nostalgia – show the situation of the modern era subject, typical of which is an unanchored individual, the loss of support, the disappearing world of the traditional, archaic values, and the response to the intrusion of the modern era into people´s lives. There are various passages and layers of his work where he discloses the defining moment of the essential certainties of human life (family, background, tradition) being undermined, but it is not a catastrophe moment, rather an argument, which also stems from the natural course of events, an argument of life. In conclusion, the analysed texts cast light on the distinctive attitude in Kukučín´s writing style, and definitely prove that he was the kind of author who thematized human existence full of contradictions at the dawn of modern era with confidence. Thematizing lonely feelings, being cut off roots and losing the original world integrity expressed in the motifs of melancholy and nostalgia, which gave rise to his creative activity.

4

LAUGHING BENJAMIN AND MELANCHOLY BAKHTIN: PROBLEMS OF AN UNELECTIVE AFFINITY

75%

Beasley-Murray T.

Slovak Review. A Review of World Literature Research

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2007

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tom 16

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nr 1

73-79

EN

The author of the study shows some of the ways in which the thought of Benjamin can be brought alongside that of Bachtin. He impugns the ossified conceptions of both thinkers and tries to compare their thinking through their temperaments. He examines two crucial aspects of their thought - laughter and seriousness/melancholy - often emphasized by some strands of critical literature to the extent of emptying their thought of any substance. The apparent incommensurability between these two personalities (Bachtin the theorist of carnival laughter and Benjamin the melancholic) may be, according to the author, reconsidered to double effect. First, looking at unelective affinities might present both thinkers in a new transforming light; second, such a reillumination may save them from their depolitization at the hands of over-serious or over-jolly academics and reveal in them the potential for joyful but serious political action.

5

Ciało, choroba i kicz: melancholijne sublimacje we współczesnej ukraińskiej prozie młodzieżowej

63%

Hundorowa T.

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tom 153

55-71

EN

This paper focuses on the symptom of a “sick body” that symbolizes the phenomenon of dissociation and dis-communication in the prose of contemporary Ukrainian young writers. Homelessness, rupture of generations, autism, and loser’s self-consciousness become the existential modes of being in the works of young writers O. Ushkalov, I. Karpa, M. Brynykh, and T. Maliarchuk. The paper analyses an extravagant character of self-representation of their heroes and shows how a particular morphology of body, such as annihilated body, monstrous body, fetish-body, is brought about. Another aspect of this paper concerns the melancholic sublimation that takes form of kitsch images of pop-culture and serves as a means to overcome a syndrome of total homelessness in the post-postmodern time.