Electronic Library of Scientific Literature - © Academic Electronic Press
Volume 2001 / No 1
ARTICLES
SOURCES AND DOCUMENTS
TOMÁŠ HORVÁTH, Ústav slovenskej literatúry SAV, Bratislava
A synecdochecal hierarchy of the relationships in the discourse of the history of literature of Jaroslav Vlček is schematised like this: „a spirit of a period“ like totum pro parte and a „writer“ like pars pro toto reversibly marks a „writer“ and „work“ as a „period“ and a „period“ as a „writer“ and „work“. The writer is either a product of a period or he founds a new period: he is always integrated into a period (synecdoche is integrative). Synecdoche – as an principle organising different levels of Vlček’s discourse – changes figuration of the field of knowledge and enables a construction of such and no others relationships among semas. On the other levels of discourse we can watch initiative of the principle of synecdoche in production of a line of anthology, on the level of micro style it produces detailed style: Vlček often uses very concrete details that as a part are to characterise the whole of the spirit of a period. Vlček’s hypertrophying synecdoche is without a mediating, more abstract part.
The field of the history of literature is build in hierarchy based on two levels – the level of depth („period“) and the one of surface („manifestations“, expressions) Literary text is stratified in two orders – in the order of ideas and the one of form that are not’ to be evaluated separately. The effect of continuity that means narrative coherence, produces metaleptic-proletic rhetoric structure: e. g. one writer sows a seed and it is reaped by a next author in future. The context is constructed methonymically – in objective connection with two contiguous semas (e. g. by connection of the „influence“ of a certain writer on another one) – and mainly synecdochecally (relationship: a writer – „the spirit of a period“).
JÁN GBÚR, Katedra estetiky a vied o umení FF PU, Prešov
The study analyses the place of Pavol Hečko in the Slovak literature in the beginning of the seventies of the 19th century. It pays special attention to the author’s philosophical-cultural project that was presented to the Slovak public on the pages of the magazine ‚Dennica a Orol‘. In it Hečko tried to prepare the birth of a new reality through orientation towards man as an integral being determined by three basic Christian values – the truth, the good and beauty. The project realization was seen in the national education, which should result in shaping the man into an „ideal-real“ member of the family, of the nation, state, Church and of human society. Hečko’s project did not find a positive response either of the members of his generation, or among student youth for whom it had been designed. Although the project contained several stimulating reflections and suggestions in the area of culture, moral and aesthetic education, which cannot remain unappreciated from the point of view of the national educational programme of the Slovak culture in the 19th century, his ideas about the aesthetic function of art were tributary to the functionalist thesis on the relation between beauty and purposefulness. Therefore they cannot be inspiring for that part of the coming realistic of artists who were searching for their own ideal of creativity.
ZORA PRUŠKOVÁ, Ústav slovenskej literatúry SAV, Bratislava
The study The Suicide (with its subtitle The coming back of a motive) is a part (the 4th chapter) of a monograph about a life and work of a writer Rudolf Sloboda. The monograph is, as well as the matter in hand chapter, an attempt to explore thematic and poetologic connections of Rudolf Sloboda’s great prosaic work as the whole. In the chapter called The Suicide two texts from the 60th (Narcis – The Narcissus and Šedé ruže – The Grey Roses) are objects of our research as well as marginally the author’s texts from his final period of writing, from the first half of the 90th.
The author’s reflections are framed as well as purposed in putting locating a literary presented motive of suicide into the interval between authentic and stylised cultural gesture of an author. She tried to situate the motive into the context of other thematic constants of Sloboda’s writing and to call its specific semantic and poetological expression in the great corpus of works as the whole.
PAVEL MATEJOVIČ, Ústav slovenskej literatúry SAV, Bratislava
The study deals with the latest works of Ivan Kadlečík from the 90 – ties. The author of the study at the same time compares the Kadlečík’s works written in this decade with his previous writings and put them into connections with the themes, resonating in the literary discourse of the period (pathos versus irony, authenticity versus conventional, autobiographical writing like a rhetoric figure). The author pays attention especially to transformations in autobiographical writing and to changes in genres – changing of non-fiction with prosaic genres. In this aspect he dominantly gives attention to a post-modern prose Taroky (The Tarot). He compares it with traditional forms of autobiographical writing that are relevant in the works of Kadlečík. The changing in genres are considered to be an effort to defend a motive of autobiographicity against the attacks of literary discourse that makes the true value of self – confirmational gesture problematic and relative. In the self – confirmational gesture he finds extra literary connections that have psychological context.
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