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DUCHAPLNÝ ŠĽACHTIC DON QUIJOTE DE LA MANCHA: KONTEXT VZNIKU PRVEJ SLOVENSKEJ ADAPTÁCIE CERVANTESOVHO ROMÁNU „EL INGENIOSO HIDALGO DON QUIJOTE DE LA MANCHA“

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Dušíková A.
World Literature Studies
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2016
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vol. 8
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issue 1
61 – 73
EN
The study reviews the first Slovak adaptation of Cervantes’s novel Don Quixote. It maps the route of this novel on its way towards Slovak and Hungarian audiences, pinpointing the specifics of its reception in the 19th century in the context of national literatures. Despite the fact that the first complete Slovak translation of the novel appeared only in 1950, the novel Bendegucz, Gyula Kolompos und Pista Kurtaforint published by Ján Chalupka in 1841 indicates a much earlier presence and significance of this topic. The first Hungarian translation of the novel from the Spanish original by Vilmos Győry appeared between the years 1873 and 1876. It achieved importance in the Slovak context as well, considering that the translation by the Slovak translator Ján Rovnan ml. (Milo Urban) from 1926 has some significant similarities with the Hungarian translation, particularly in the translation of aphorisms, but also in calling the knight Don Quixote “The Sad Face”. Because the differences between these two texts are, however, so comprehensive, it is not possible to prove that the Slovak text was based on the Hungarian. One of the following Hungarian adaptations based on Győry’s translation, the one by Vilmos Huszár published in 1900, however, bears a very strong resemblance to the Slovak version of 1926 and their concordance can be considered a confirmation of the hypothesis that the first Slovak adaptation of Cervantes’s novel was indeed created as a second-hand translation of the Hungarian adaptation for the young people.
2

KALINČIAK V UHORSKU – MOTÍV AKO SIGNÁL KONTEXTU

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Dušíková A.
Slovenská literatúra (Slovak Literature)
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2020
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vol. 67
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issue 2
105 – 114
EN
Reconfiguration of Slovak Romanticism, its openness towards the model of literature and art as it was formulated by German philosopher Friedrich Schlegel (1772 – 1829) in the early of the 19th century. The unambiguous position of the prose writer Ján Kalinčiak (1822 – 1871) as an author of Romanticism together form space which can be interrelated on the basis of common aesthetic principles to the characteristic features of the works written by authors of Hungarian literary Romanticism of the Schlegelian type. This provides space for research into the particularities of the (assumed) inter-literary/inter-linguistic dialogue. It shows that despite the isolationist form of the foreign-language public spaces of cultures and literatures in Hungary in the 1830s and 1840s the way Ján Kalinčiak and Mihály Vörösmarty handled two selected motifs (wilt and blood revenge) in their texts can be interpreted as a manifestation of the ongoing yet no longer visible process of exchanging information. Also, they can be seen as another proof of the fact that the particularities of the Schlegelian model of Romanticism had a noticeable influence on forming Slovak literature at that time.
3

ŠPECIFIKÁ PRI FORMOVANÍ NÁRODNÝCH IDENTÍT V LITERÁRNYCH DIELACH DO ROKU 1867 (TRANSKULTÚRNE A INTERTEXTUÁLNE RELÁCIE: JÁN CHALUPKA, JÁN KALINČIAK A JÁN PALÁRIK)

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Dušíková A.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 4
364 - 371
EN
The article aims at describing some of the particulars of the formation of national identities in the 19th century in the work of Ján Palárik (1822 – 1870) Inkognito ([Incognito]1858) and Ján Kalinčiak (1822 – 1871) Reštavrácia ([County elections], 1860), Milkov hrob ([Milko’s grave]1845/1846), and Knieža liptovské ([Prince of Liptov], 1852). The article analyses these works through the prism of Ján Chalupka’s (1791 – 1871) oeuvre which, with regards to identities, seeks a balance between national identities in the multilingual Hungary. Ján Palárik and Ján Kalinčiak strive for similar goals in these works. Key notions in this regard are future and progress which is connected with youth. Starting point in this respect is the self-reflective space of the fictitious town of Kocúrkovo as the space of a possible, projected change embodied in the character of the young teacher Svoboda. Attention is devoted to the hypothesised reasons underlying those attitudes that diverge from the notions established in (national) cultural memory (such as the problem of the relationship towards Hungarian literary tradition or interpretations of the past). The article mainly focuses on the elements reflecting the relationship towards the Hungarian context of the times.
4
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POSSIBILITIES OF THE TRANSCULTURAL NARRATIVE IN CENTRAL EUROPE OF THE 19TH-CENTURY: JÁN CHALUPKA AND GUSZTÁV SZONTAGH

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Dušíková A.
World Literature Studies
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2022
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vol. 14
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issue 3
114 - 127
EN
Simultaneously with the disintegration of the concept of the Hungarian nation (natio hungarica), which was considered to be valid up to the 19th century, the process of creating parallel, self-enclosing literary canons that promoted homogeneous monolingualism began in the Kingdom of Hungary. The dialogue of enclosed spaces built on the opposition of “the self” and “the foreign” evokes, in particular, the need to highlight elements of otherness and becomes a source of conflict. Although the term “transculturality” is largely used to describe the culture of the 21st century, it also appears a suitable tool for overcoming some of the language-related barriers to reception (overcoming the limits of the original reception horizon) in the environment of Slovak-Hungarian/Hungarian-Slovak literary/cultural relations of the 19th century. The study (using examples of texts from the Slovak author Ján Chalupka and a one-act play by the Hungarian author Gusztáv Szontagh) explores the intersections and interpenetrations of texts and contexts of the first half of the 19th century, considered as reciprocally “foreign”. Its conclusions draw attention to the fact that the transcultural perspective is of importance in determining the nature of the dialogue/relationship of the national literatures of the Kingdom of Hungary. This makes it possible to uncover contexts and to identify those nodal points of discourses that are invisible in the monolingual, homogeneous spaces of reciprocally isolated national canons.
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