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BALADICKÉ TENDENCIE V OPERNÝCH DIELACH SLOVENSKÝCH SKLADATEĽOV 20. STOROČIA

100%

Ščepán M.

Slovenské divadlo (Slovak Theatre)

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2022

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tom 70

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nr 2

109 - 131

EN

The notion of being balladic is primarily linked to the idea of an atmosphere that is the sum of tragic, dramatic, and lyrical elements. The piercing atmosphere of balladic poetry and prose inspired several composers, and the balladic phenomenon was gradually adopted not only into short vocal genres, but also into large vocal-instrumental ones, including operas. In the course of the twentieth century, several operas were composed in Slovakia, which may be termed balladic due to their specific features. This study focuses on six Slovak operas. It examines the main inspiration factors that led their composers to adopt balladic subjects. It also introduces the motifs in the original literary works that contribute to creating this phenomenon and discusses what interventions and deviations were made with respect to the original literary model while writing the opera libretto and in what way the composers worked while composing the music to achieve the set balladic character and the musical characterization of the characters and the plot.

2

NĚKOLIK PŘEDBĚŽNÝCH POZNÁMEK K PROMĚNÁM ČESKÉ BALADY V LETECH 1860 – 1918

100%

Tureček D.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 4

297 – 311

EN

The goal of the article is to draw the basic outline of the transformations of the ballad as a genre in Czech literature in the second half of the 19th century. The material is the book editions of poetry from the year 1850 to the beginning of the World War I. The method is the synoptic-pulsating approach to a literary work of art as a dynamic process within which various discourse tendencies are configured and modified. The result is a preliminary model of Czech ballad transformation in that particular period of time: the genre happened to be in the magnetic field of Romanticism represented mainly by Erben´s Kytice (Bouquet). A number of modifications occurred in the course of time, Romanticism´s genre rules became gradually more and more relaxed, especially those related to the role of plot and dynamic motifs; one of the tendencies even inclined to parody of the traditional Romantic principles of the ballad (Mašek, Hašek). At the same time the ballad was penetrated by essential features of other literary discourses such as Parnasism (Hálek, Vrchlický), Naturalism (Sládek, Šimáček) or Decadence (Jan z Wojkowicz, Lešehrad). The transformations did not take place in a linear way, within an imaginary causal „evolution“, where individual stages would „overcome“ the previous ones, but they overlapped in synoptic dynamics. The main contribution lies in the actual proof of the thesis about the nonlinear, synoptic character of transformations of a key literary genre in the 19th century, which helped establish Romanticism and has always been so attractive for readers it has stayed vital in spite of the discourse transformations.

3

ÚSVIT MRTVÝCH. SOCIALISTICKÝ REALISMUS A BALADIČNOST

100%

Schmarc V.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 6

498 – 508

EN

The study deals with the ballad as a genre in the official poetry of the peak period of Czech Stalinism (1948 – 1954). It juxtaposes the basic definition of the folk ballad with the contemporary concepts of the folkiness, order and death, it examines the social ballad in the context of the Stalinist interpretation of literary history and in addition to that it draws attention to possible uses of the cantastoria as a tool of political campaign and mocking old order followers. The writer uses a corpus of the contemporary poems to demonstrate the new life of the ballad as a tool of heroicizing the war heroes and demonizing the „Imperialist war provocatuers“, and also the unintentional transition of the ballad stories into the common „literary life“. The offered statements about the collision between the traditional interpretation and the ideological outline of the genre and the new concepts try to look into the relation between the contemporary official poetry and the tradition, the mechanism of adopting old schemes, transforming them and adding new contents to them.

4

K VARIABILITE BALADY V ĽUDOVOM SPEVE

100%

Urbancová H.

Musicologica Slovaca

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2013

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tom 4 (30)

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nr 1

5 – 32

EN

The traditional Slovak repertoire includes two groups of ballads, differing in terms of genesis and development: ballads from the oral tradition, and ballads with a model in printed song sheets. The category of song type provided the starting point for a study of their variability, making it possible to follow the variant process in a broader circle of song variants. In three selected cases the author has been able to illustrate the forms in which the variant process affected several layers of the song structure, the textual poetics, and the musical style. Besides variant changes of the action and its episodes, there was also a regrouping of features relating to type and musical style, resulting from the song’s adaptation to a different singing occasion. These changes prove that the ballad’s variability is closely connected with the genesis and development of the song type and also with the social function of singing.

5

HVIEZDOSLAVOVA BALADICKÁ TVORBA

100%

Gbúr J.

Slovenská literatúra (Slovak Literature)

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2021

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tom 68

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nr 6

614 – 630

EN

The article concentrates on interpreting Pavol Országh Hviezdoslav’s (1849 – 1921) ballads – the part of his oeuvre which has only been investigated marginally so far. His ballads from the late of the 19th and early 20th centuries (U kaplice [At the chapel], Zuzanka Hraškovie [Zuzanka Hraškovie], Anča [Anča], Margita [Margita], Studnica [The well], Smelá Katka [Daring Katka], Topeľci [Drowned], Jedlica [Fir tree], Krivoprísažník [False witness], Mladá vdova [Young widow], Matúš Stolár [Matúš Carpenter]) adapt some of the traditional themes of folk and Romantic ballads (crime and punishment, moral failure, folk customs), but also bring new motives (search for the spiritual path from pragmatic truth criteria, property disputes and unorthodox solutions to life problems, social and economic disparity and its effects). Comparison of Hviezdoslav’s ballads with those written by Slovak poets of the Romantic period Janko Kráľ and Ján Botto shows his authentic realist attitude in the handling of the genre. Hviezdoslav accentuated the epical side of the narratives, employing several means of representation (on the level of the narrator and on the level of the structure of the stanza and verse). He realised the lyrical side of the narratives, their balladic atmosphere – also through the functional structure of the verse – but primarily through expressive, lyrical depictions and commentaries.

6

BALADICKÉ AKO TRAVESTIA (DUŠAN KUŽEL: LAMPA)

88%

Prušková Z.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 6

509 – 516

EN

The study is an attempt to read anew the novel Lampa (Lamp) by Dušan Kužel. The novel was written in the first half of the 1970s as a brave attempt to put across an authentic message of the generation, whose textual outcome included prosaic works which were varied in terms of genre and multi-layered in terms of meaning. On the one hand, the piece of writing was inspired by the influences of pop-art and pop-culture (the Western, Sci-fi, literary persiflage). On the other hand, it simultaneously refers to the inspirations by classic Romantic ballad, which is mainly represented by Janko Kráľ´s modern ballads in the context of Slovak literature. The study builds on N. Frey´s theory of the mythical-archetypal interpretation of epic and poetic narratives and tries to identify analogical approaches in Kužel´s novel. This results in perceiving the piece of writing as a considerably artificial and constructed work of art, which does not lack spontaneous, up-to-date relation to serious literary assignment and enterprise, though. The ambition of the study is to identify the essential schemes of the theme, genre and topology (the myth of spring, a new beginning, topics of the demonic initiation), where Kužel´s narrative is situated. The method as well as the result of the reflection is a genre-topological interpretation of the narrative as a move on from the fixed ideological assignment to possible aesthetic innovations. This is the context where the study introduces the issue of size and reach of the literary travesty as an open and semantically productive text-forming technique.

7

Dvořák et le poème symphonique

75%

Velly J.-J.

Hudební věda (Musicology)

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2005

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tom 42

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nr 3-4

273-282

EN

Dvorak's five symphonic poems, composed between 1896 and 1897, attempt to bridge the antagonism existing between pure and programmatic music. Trying to overcome their typical differences, Dvorak reconciled the characteristic features of poetry and folklore with grand classical forms, demonstrating in this way his ability to utilise Liszt's model and transform it by creating a new concept of programmatic music founded on the use of the Czech folkloric heritage. Four of the five poems are based on ballads by K. J. Erben, taken from the poetry book, The Bouquet (Kytice), where Dvorak found the sense of wonder, where simplicity meets with moral strength. Dvorak underlines the narration and the folk tone, applying the new processes which are based on the unity of poetic and musical setting. He, who initiated truly national music, models his orchestral ideas on the rhythms and intonations of the poetic text, creating a musical expression which conforms to the Czech character of the poem, opening in this way the path for Janacek. The folkloric character and his treatment of music setting, based on the will to translate as closely as possible the Czech soul, make these works an elaborate synthesis of Dvorak's aspirations of appeasement between learned music and folklore.

8

PRINCÍP BALADICKOSTI V DIELACH JÁNA LEVOSLAVA BELLU A TADEÁŠA SALVU

75%

Lengová J.

Musicologica Slovaca

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2013

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tom 4 (30)

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nr 1

58 – 76

EN

This analysis of selected works on ballad poetry by Ján Levoslav Bella (1843 – 1936) and Tadeáš Salva (1937 – 1995) addresses structural-formal aspects, the relationship of texts and music, semantics, and musical symbolism. J. L. Bella composed three ballad songs for vocals and piano: Sehnsucht (ca. 1905) in German, Románc (ca. 1905) in Hungarian and Gajdoš Filúz (Filúz the Bagpiper, 1927) in Slovak. They are distinguished by a highly composed form, integrity of the vocal and instrumental components, and rich musical symbolism. T. Salva created the first Slovak television opera Margita a Besná (Margita and the Fury) for soprano, contralto, sixteen-voice mixed choir and a silent dancer (1971), on the model of a ballad by J. Botto. He worked freely with the musically arranged text, in the typical manner of literary adaptations. Salva used the technique of limited aleatory, sound blocks, and the timbral capacities of the human voice. The differentiated compositional approaches of both authors stem from their individual musical poetics, the different genre form, and the change of music-stylistic paradigm.

9

“NIEKEDY SA VRACAJÚ.“ TRANSFORMÁCIA BALADICKEJ LENÓRSKEJ TÉMY V MODERNIZME

75%

Horváth T.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 4

324 – 337

EN

The study analyses the reinterpretation of Bürger´s ballad Lenore (1774) in terms of inter-textuality, genre and literary movement in the modernist short story by the Polish writer Antoni Lange Lenora (1912). According to Lange, his short story „tries to explain the ´balladic´, spiritualist phenomena by rational means“. Lange´s modernist reinterpretation modifies the motif of the return of the dead: in Bürger´s poem it is a physical return of the dead – a spectre having physical features, in Lange´s short story it is Konrad´s revelation interpreted as a meta-psychic phenomenon when a telepathic transmission occurs at the moment of Konrad´s death. The syuzhet of the story does not contain a contact with the afterlife and a crossing of the borderline between the opposite semantic territories, being life and death. Therefore Konrad does not act as a diabolical revenant as opposed to all the other balladic variations of the theme.

10

BALADA G MOL E. H. GRIEGA V KONTEXTE VÝVOJA KLAVÍRNEJ BALADY

75%

Štefková M.

Musicologica Slovaca

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2013

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tom 4 (30)

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nr 1

33 – 57

EN

This paper aims to highlight certain features of the use of the ballad genre and poetics in music, with particular reference to the piano literature of the 19th century. Based on a definition of epic, lyrical and dramatic poetics in literature, their analogies in the field of music have been also indicated. After the close consideration of the genesis and formation of the piano ballad genre, attention is focused on the Ballade in G minor op. 24 by the Norwegian composer Edvard Hagerup Grieg, which represents a distinctive synthesis of two types: the virtuoso piano ballad and the ballad inspired by literature. Typical of the latter, apart from its inspiration by a particular source of folk provenance, is the use of folklore elements for the purpose of idealising a certain ethnic group and nationality. Based on analysis of Grieg’s work, the author demonstrates the use of epic, lyrical and dramatic poetics in music and the methods by which the composer integrates folklore idiom within their context, as well as the specifically musical strategies by which he seeks to evoke the ballad character and the tragic rupture at the work’s conclusion.

11

BALADA AKO INTERMEDIÁLNY RYTMUS. MANIFESTÁCIA ŽÁNRU AKO ERÓZIA SOCIALISTICKO-REALISTICKÉHO CHRONOTOPU

75%

Paštéková J.

Slovenská literatúra (Slovak Literature)

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2017

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tom 64

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nr 3

236 – 249

EN

The goal of the paper is research into applying one of the key genres of the 19th and 20th centuries, which found its way to Slovak literature after year 1945. The balladic structure principle as well as the balladic tone was not only employed in literature, but it can also be noticed in the research into the intermedial connections with the other forms of art. While researching the chosen subject, the author applied the methods and terminology of the grant project named VEGA Poetika slovenskej literatúry po roku 1945. The project uses terms such as figuration and reconfiguration when working with historical material, reconstruction and historical process records. Although the author seeks support in Alfonz Bednár´s works, particularly the novel Sklený vrch (The Glass Hill, 1954) and the literary screenplay of the film Tri dcéry (The Three Daughters, 1967), the hermeneutic interpretation of them is not the goal. After a brief outline of the evolution of assessing the relationships between the arts within the development of the current research into intermediality, the author considers the balladic principle to be a transmedial concept, which is – in the context of the research into modern Slovak art and culture. She drew inspiration from literary historian Štefan Krčméry and his essays on Slovak folk songs, especially ballads. The terms such as rhythm, translation and transfusion in relation with music and melody correspond with the current terms of intermediality, while regarding the chosen subject, rhythm is the key one. The author´s most important anticipation marker directed at a later reconfiguration is the position of the ballad and the balladic principle in the 1950s and 1960s in Slovakia is Bednár´s dissertation on European ballad, which was inspired by folklore expert professor Horák during his Prague studies. Bednár´s writing featured an apparent aspect of tragedy and fatefulness, which comes from the Ancient inspirations. The paper is a contribution to the research into the mechanisms and modes that were disintegrating the strict norms of Socialist Realism in the 1950s. Alongside the manifested genre forms of „happiness“ the latent Slovak dispositions of balladic elements such as tragic tone and sadness were gradually legitimized and in the context of contemporary literature and art they became a form of manifestation.

12

SLOVENSKÁ LENÓRA (JÁN BOTTO: ŽLTÁ ĽALIA)

75%

Bystrzak M.

Slovenská literatúra (Slovak Literature)

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2021

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tom 68

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nr 6

671 – 681

EN

The article is a contribution towards interpretations of Ján Botto’s (1829 – 1881) ballad Žltá ľalia ([Yellow lily] 1849, published in a magazine in 1860). It tackles the resonances between the Slovak Romantic poet’s poem with Lenore (1774), a ballad written by the German Pre-Romantic poet Gottfried August Bürger (1747 – 1794). It draws on comparatist works of the Slovak literary historian Zlatko Klátik and the Polish researcher Marie Janion, but also on literary-historical research that takes into account the specifics of Slavic versions of the motive of Lenore. The article dwells mainly on the female persona, primarily on the model set by Bürger, but also on other intertextual variants in Slavic poetry. Based on Botto’s ballad, the author identifies the Slovak variant of the motive of Lenore. This variation derives from folk literature, but simultaneously draws on some of the basic features of the Romantic imagination – the intertwining of the world of the living with the world of the dead and the presence of mysterious elements in everyday worldly life experience. Intertextual relations between the Slovak poem and Bürger’s Lenore, textual development of the female persona in the two texts and the position which female personas attain in Romanticism by way of accentuating feminine otherness are the central themes tackled in the article.

13

TRANSFORMACE BALADICKÉHO ŽÁNRU V BÁSNICKÉ TVORBĚ JANA NERUDY

75%

Mocná D.

Slovenská literatúra (Slovak Literature)

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2012

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tom 59

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nr 4

312 – 323

EN

The goal of the article is to examine the transformation of the ballad as a genre in Jan Neruda´s poetry, especially in his mature collection of poems called Balady a romance (Ballads and romances) - year 1883. The study builds on the existing, quite extensive scientific literature dealing with the making of the book, the models and the sources of inspiration for individual poems and Neruda´s distinction between the ballad and the romance, and then first critical feedback on the collection. The ballad was one of the favourite genres of the May School members, who filled it with new, especially social-critical contents. This is the way young Jan Neruda went, too, nevertheless, in his mature production, he seems to have come back to the traditional form of the genre. In fact, it was only a partial comeback as despite all the admiration for his powerful poetry, he transformed it so as to able to express a modern man´s experience. First of all, he extended the scope of the genre by overlapping it with the legend, the genre in the atmosphere of which he had spent his childhood. His stories of saints´ lives are of humorously mocking nature (in this respect he cannot conceal his inclination for Heinesque provocations) however, they are also just as serious. This particularly applies to the subjects related to Jesus, who became the central character of the collection. He appears there in many forms: as a baby in a crib, as a political revolutionary, as a crucified son of God and as a kind humanist as based on the modern concept of Renan´s. The list of the forms makes it clear that the ballad was considerably politicized by Neruda. Besides the biblical subjects he used for that purpose the motifs related to national history as well as the contemporary political events. While the political aspect in the romances is very often obvious (including explicit revolutionary appeals), the ballads call for deeper contemplation about the social processes and the fate of the nation. Despite the fact that there is available evidence Neruda was inspired by folklore, his ballads and romances are only seemingly simple; the presented folksiness is the result of sophisticated artistic pretence. The writer did not abandon the old forms, he filled them with modern contents expressing how complicated the contemporary world is.

14

Antyczne Przemiany i romantyczne metamorfozy. Tropami Metamorfoz Owidiusza w Świteziance Adama Mickiewicza

63%

Klausa-Wartacz J.

Symbolae Philologorum Posnaniensium Graecae et Latinae

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2010

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tom 20

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nr 1

109-127

EN

The article is a new proposition in the field of philological research regarding connections between ancient and romantic literature. This paper presents an analysis of Mickiewicz's ballad called Switezianka as a text based on Ovid's Metamorphoses.

15

MODERNISTICKÉ VARIÁCIE ŽÁNRU BALADY

63%

Hučková D.

Slovenská literatúra (Slovak Literature)

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2013

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tom 60

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nr 3

177 – 192

EN

The ballad as a genre represents a relatively frequent lyric form in the poetry of the authors of Slovak literature. On the one hand it signals continuity of the Slovak Romantic tradition (J. Kráľ, J. Botto, S. Chalupka) and through the social ballad (in the works of V. Roy and M. Rázus) refers to the works of the previous Realist-Parnasist generation (S. H. Vajanský, P. O. Hviezdoslav), on the other hand it is the evidence of the Modernist way of understanding literary type syncretism and applying it to lyric poetry, with the emphasis put on the lyric element. The ballads of the Slovak Modernist poets (I. Krasko, Š. Krčméry, Ľ. Groeblová) saw a meaning and a function shift in seeing the traditional components of the genre, including innovations in semantics and poetics. The main innovation lay in reassessing the lyric-epic and subject-object nature of the ballad reinforcing the lyric and the subject aspects, and also in a different way of seeing literary type syncretism. The new approach included also the update of the motif catalogue (the motifs of a pilgrim, journey, guilt and punishment, solitude). The poem Balada (Ballad) by I. Krasko and the parallel expansion of the subject in the poem Balada by Š. Krčméry are examples of the fact that even seemingly objective poems carried a concentrated subjective message about the mental state of a human. Another kind of the Modernist ballad variation is then represented by the poem Balada by Ľ. Groeblová.