The aim of this paper is to open up the typological parallelisms (motives, colours, and the position of the lyrical “me”) between the city imageries of Rilke and Blok. The analysis covers Rilke’s lyrics and Blok’s three cycles (The City, Terrible World and Italian Verses). The comparative analysis focuses on the poetry of their hometowns (Prague and St. Petersburg), that of modern cities, and of Italian towns visited by the authors. The question of the modern city and the criticism of civilization represent several similarities in the two poets’ works, but the secessionist garden, park, and castle motives occur only in Rilke’s poetry. The topics of Venice and St. Petersburg, which are related to each other in many ways, are formulated in the objective lyrics of Rilke’s volume New Poems. In Blok’s poetry, it is the composition and the philosophical content of the Italian Verses cycle as a high-ranking and complete literary work that deserves special attention.
Gyula Illyés, Hungarian poet, fiction writer, essayist and dramatist, emigrated to Paris after the fall of the Hungarian Republic in 1919. There, he came into contact with the working class movement as well as with surrealistic circles. Strongly influenced by modern French writing, Illyés nevertheless adopted realism in his novels. He reflects upon his emigration times in Paris in his novel,
Huns in Paris
]. The present paper focuses on the following main issues in relation to this novel: types of description, panoramic views, walks, atmosphere of certain districts, the stylistic characteristics of the descriptive sequences. Illyés’s description of Paris is a classic example of a type of urban literature that was pioneered in Paris of the 1840s, and was used to celebrate the diversity and dynamismof themodern city. At the center of his description was the figure of the
, or urban stroller, who embodied and represented the quintessential qualities of urban modernity.
ogroženosti od »moloha velikega mesta« (WÜRZBACH 2006: 3), zlasti za žensko, podrobno obravnava Natascha Würzbach. Raziskovalka meni, da je podoba po- hajkovalca (flaneur) kot zdolgočasenega esteta pogosto prisotna v modernističnih literarnih delih (na primer
slabe ljudi z zlobnimi nameni. Temo ogroženosti od »moloha velikega mesta« ( W Ürzbach 2006 : 3), zlasti za žensko, podrobno obravnava Natascha Würzbach. Raziskovalka meni, da je podoba pohajkovalca (flaneur) kot zdolgočasenega esteta pogosto prisotna v