The study continues in research of literary aesthetic opinions of S. H. Vajanský in the context of cultural conception. In the aesthetic starting points of Vajanský's conception a significant role was played by classicizing ideal, characterised by 'simplicity', 'adequacy', harmony and also by avoiding of extremes. Another important effect had also Hegelian aesthetics making its part on forming Vajanský's opinions on phenomenon of 'everyday course of life', trivial as an object of an artistic activity. Vajanský inclines to a model of art denoting a limited meaning and is disposed towards connection with an ideology. This connection is inseparable - it is obvious that the idea, which is demanded in the Vajanský as an aesthetics, is strictly defined by Vajanský - as ideologue. Art is not true by concurrence with reality, imitation of it, but by making the only truth present, that means the idea: in this case the idea of 'ourness', nationality, which reveals the substance of 'ideal realism' of Svetozár Hurban Vajanský. Art and literature operates in his conception, which is with no doubts a part of nationalistic cultural model, as means of cultural legitimisation being involved in creating, confirming and representation of national identity. This function of literature and art, in which pathos of nationalistically reviving process occurs, as well as Vajanský's religiosity, are resources of his demand on ethic measure of literature. In his articles published in this period Vajanský continues in reconstruction of the history of Slovak culture, the substance of it is 'ourness' - an abstract principal of collective self-identification, which is not only an act of renewing of the cultural memory - through confirmation of its continuity, stating its perspectives. It shows also a strong ambition to present it as a whole, that means that his conception tends to creating a cultural model which on a certain level of cultural development provides its unity and arrangement. In addition to his program texts Vajanský made and presented cultural and aesthetic conception during the 80th of the 19th century, which without any significant changes in the period of 90th of the 19th century up to the beginning of the 20th century became a foundation for his confrontations not only with the modernistic trends but generally with phenomena which seemed to him 'destruction of unity'.
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