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The article tackles selected representations of animals in Ivan Laučík’s (1944 – 2004) poetry. From the wide range of animals which the poet invites into his verse, it focuses on the motifs of insects, birds, and whales. In the world of Laučík’s poetry, insects serve as a litmus test for the quality and viability of an ecosystem. The poet, however, also handles insects in relation to the question of the expressive possibilities of language. Laučík’s ethical and ecological worldview also encompasses numerous motifs of birds which serve functions similar to those of insects. The motif of the whale occupies an important position in the poet’s debut collection, Pohyblivý v pohyblivom ([Mobile within mobility] 1968) and is also an indicator of how people relate to fauna and nature in general: as either conquerors or explorers. The ideal of a peaceful cohabitation of humankind with other animals can be glimpsed in Laučík’s handling of the human as a “human animal.” Such ethos can be observed both in individual poems and in the poet’s system of values in general. It accentuates an eco-friendly attitude towards nature to which the human is radically related.

Problematika automatizovaných vozidiel už nie je len predmetom vedecko-fantastickej literatúry, ale čoraz viac členských štátov prijíma regulácie predmetného fenoménu. Predkladaný článok sa venuje problematike úzko súvisiacej – vzdialeného vodičovi. Rola vodiča, ktorý ovláda automatizované vozidla na diaľku môže byť iná z pohľadu povinností v tradičnom vnímaní vodiča motorového vozidla. Predkladaný článok sa zameriava na oblasť automatizovaných vozidiel z pohľadu role a povinností vzdialeného vodiča. Cieľom tohto článku je v prvom rade porovnať rolu vodiča klasického vozidla a vzdialeného vodiča automatizovaného vozidla. V druhom rade autori ponúkajú diskusiu a odporúčania pre právnu úpravu v kontexte povinností a otvorených otázok praktického fungovania vzdialeného vodiča.

The article reads Miroslav Válek’s (1927 – 1991) poem “Večer [Evening]” published in the poet’s first collection of verse Dotyky ([Touches], 1959) as a deconstructive subversion of lyric tradition – of Ivan Krasko’s (1876 – 1958) symbolist model of the lyric and Edgar Allan Poe’s (1809 – 1849) “The Raven” (1845). The author argues that Válek subverts the tradition by the specific way he tackles the motifs of the night, rain, and raven known in the Slovak poetry mainly from the writing of Ivan Krasko and by the way the poet updates the lyric situation of Poe’s notoriously well-known poem and its central motif. Another aspect that gets subverted is the tragic-elegiac melancholic modality of the poem. The analysis notices the first line of the poem where the night setting is outlined, then moves on to the key image of rain “without melancholy” and the updated motif of the raven. Finally, it discusses the detachment of the speaker from what goes on in the poem – the speaker in the poem is different from the subject affected by emotions and moods modelled in the lines. The reading grasps Válek’s poem and sophisticated subversive deconstruction of the traditional model of symbolic poem concerned with romantic love.

The article provides interpretation of the changes the prototext of Ivan Laučík’s (1944 – 2004) poems “Biely film” ([White film] from the collection Havránok, 1998) and “Tam, kde nie som” ([There, Where I’m Not] from the collection Na prahu počuteľnosti [At the threshold of hearing], 1988) underwent since it was included in the letter to Peter Repka from 10 September 1970. The contribution concentrates on three main issues. The first one concerns the intertextual reference the prototext makes to the poem by the French journalist and author Jean-Paul de Dadelsen (1913 – 1957) “Jonas” and the possible meanings it brings to the prototext. The absence of this reference in the poem “White film” serves the convergent function. The article then provides a comparative interpretation of the changes between the prototext and the poem “White film”. These appear to have made the poem clearer and strengthened its metaphysical aspect through intensifying the presence of “illumination/light” motives and elements in the poem. Finally, the contribution analyses the modifications the last four lines of the prototext underwent before they were included in the poem “There, Where I’m Not”. The article argues that the poet attempted at simplifying the segment as to the poetic devices it employs and at making it clearer. In result, the singular lived experience was transformed into a general maxim.

Handbook of Polish, Czech, and Slovak Holocaust Fiction

Authors discuss actual state in the area of waste management in the Slovak Republic in the light of achieving recycling targets and obligations arising from the legislation of the European Union. The article presents and explains current trends, policies and legislation in this area in the Slovak Republic with emphasis on introducing the new piece of legislation – Act No. 329/2018 Coll. on fees for the waste landfilling.