Slovenská literatúra

3

Authors: Jana Števlíková

Review

4

Authors: Marta Fülöpová

Review

10

Authors: Anikó Dušíková

Reconfiguration of Slovak Romanticism, its openness towards the model of literature and art as it was formulated by German philosopher Friedrich Schlegel (1772 – 1829) in the early 19th century, and the unambiguous position of the prose writer Ján Kalinčiak (1822 – 1871) as an author of Romanticism together form space which can be interrelated on the basis of common aesthetic principles to the characteristic features of the works writtern by authors of Hungarian literary Romanticism of the Schlegelian type. This provides space for research into the particularities of the (assumed) interliterary/interlinguistic dialogue. It shows that despite the isolationist form of the foreign-language public spaces of cultures and literatures in Hungary in the 1830s and 1840s the way Ján Kalinčiak and Mihály Vörösmarty handled two selected motifs (wilt and blood revenge) in their texts can be interpreted as a manifestation of the ongoing yet no longer visible process of exchanging information. Also, they can be seen as another proof of the fact that the particularities of the Schlegelian model of Romanticism had a noticeable influence on forming Slovak literature at that time.

13

Authors: Nikola Danišová

The subject of the paper is transcultural comparison of Slovak and foreign-language stories based on the fairy-tale subject about a sister who seeks her brothers turned into animals. According to Aarne-Thompson-Uther´s international catalogue of folktale types, the fairy tales dealing with the subject in question fall into the central motif type 451 The Maiden Who Seeks Her Brothers. The paper places weight on morphology and iconization of the metamorphosis motif, which is an irreplaceable part of the invariant plot diagram of the fairy-tale subject in question with the aim of finding out what syuzhet and motif constellations include transformations of the characters involved and what (if anything at all) makes depiction of the metamorphosis motif in the Slovak variants of the fairy-tale subject being researched specific in comparison with the foreign equivalents. The sources are constituted by ten fairy tales from all over Slovakia – one authorized record by Pavel Dobšinský and regional versions from Nitra, Trnava, Považská Bystrica, Žilina, Žiar nad Hronom, Trebišov and Humenné, which are mostly compared with the sources from Slavic linguistic and cultural territories (Czech, Bulgarian and Ukrainian fairy tales). The research materials also include a fairy tale The Seven Ravens by the Brothers Grimm, which is in terms of reception one of the best-known European versions of the tale type in question. The variants from the non-Slavic cultural area include a Norwegian fairy tale The Twelve Wild Ducks and a Danish fairy tale The Twelve Ravens, which feature motif elements untypical of the Slavic linguistic and cultural territory in terms of the plot structure.

24

Authors: Dana Hučková

Štefan Krčméry’s (1892 – 1955) wide-ranging interest in art did not concern only lite- rature and music, but also painting and sculpture. In the autumn of 1920, he attended an exposition in the Autumn Salon in Paris about which he informed in an extensive article in the National Newspaper. His aesthetic standpoint was fully determined by the classical perception of the category of the beautiful, which had a negative impact on his aesthetic experience in terms of reception of the modern works. He perceived the modern art as being in the opposition to the tradition, he refused the abstraction, which he did not understand. He stressed the traditionalism, also at the thematic level, and the need of interconnecting the new with the old also in terms of the reflection of the young contemporary Slovak literature. The study refers to S. H. Vajanský’s ideological heritage in Krčméry’s perception of the modern art and literature and its building on such postulates as was the national activism and the emphasis on the positive values, (national) self-confidence, will and optimism, that were characteristic of the supporters of the conservative orientation of the national culture from the end of the 19th and the beginning of the 20th century.