JÁN SMREK: THE POET AND THE WOMAN ). by Michal Habaj

“…The aim of the study is to point out the ethical, moral foundation of Smrek´s artistic philosophy, his concept of love and erotic in the context with his poetic composition Básnik a žena (The Poet and the Woman). The poetic composition Básnik a žena (The Poet and the Woman) was published in 1934. …”
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Poet in Time. Ján Poničanʼs Poetry between 1929 and 1942. by Michal Habaj

“…His switch over to using rural and rustic images of national identity and reconnecting with cultural tradition is a kind of paradox with regard to the poet´s past as a representative of the civilizational poetry movement pursuing the ideals of revolution, industrialization and modernization. …”
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The Poet in Time (of Oppression). The Inner Exile as a Subject Paradigm. by Michal Habaj

“…Insisting on the humanistic meaning of a poet´s message is proved by Smrek´s lyric subject in the existence of two parallel poetic worlds, which enter unexpected relations and confrontations despite being seemingly autonomous as regards poetology and aesthetics. …”
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Poet in Time. The Synthesis of the „Split“ World in the Subject (Laco Novomeský´s Poetry 1923 – 1939) by Michal Habaj

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ADDITIONAL REMARKS ON BÁSNIK A ŽENA/THE POET AND THE WOMAN (TWO VERSIONS OF THE SAME POEM) by Michal Habaj

“…The aim of the article is to show the process of transformation of Smrek´s poetic gesture according to how the differences between the versions of poetic composition Básnik a žena (The Poet and the Woman) published in the magazine (1925) and in the book (1934. …”
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Ján Rob Poničan (I am, I think, I feel, I love everything, but darkness I hate) by Michal Habaj

“…Contribution of the study is mainly based on questioning the problem of the simplified conventional picture presenting Ján Poničan as a poet of proletarian ideology. Contrary to that it reveals variety and complicacy of typologically stylistic identity of Poničan´s debut.…”
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The Concept ofThe Human And The World In Ján Smrek's Poetry: The Conclusions And The Prospects by Michal Habaj

“…The restoration of the human soul as the purpose of the art – this is how the hidden struggles of Smrek´s situation as a poet can be read, not only during the period of freedom in the 1920s and 1930s but also in the changed cultural-social conditions of the 1940s and 1950s. …”
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Ján Smrek (Condemned to Eternal Thirst/Odsúdený k večitej žízni) by Michal Habaj

“…I can identify three basic semantic gestures and author’s stylisations in connections with three cycles of the debut: mystically erotic gesture in Čaša opojnosti (The Bowl of Potency), gesture of suffering in Básnik bolestí (The Poet of Sorrow) and redeeming gesture in the cycle Dnes milujem svoj deň (Today I Love My Day). …”
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Ján Smrek (Eva Ave) by Michal Habaj

“…Smrek´s para-literary composition makes an innovation in the scheme of love, erotic lyrics in a way how they used to function in domestic literary tradition and he directly enters into confrontation with the compositions Ave Eva (Ján Kostra), Noc (Night, Ján Poničan) a Básnik a žena (The Poet and A Woman, Ján Smrek). In spite of pornographic generic identity he establishes in the background of value (ethic and moral) starting points characteristic for the official part of Smrek´s works: Eva Ave is not only an expression of a subversive gesture of destruction of noble ideals, but behind the scene of instinctive and instinctual powers presented in a man he also identifies religious and sacral resources playing a role. …”
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