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1

KONTEXTY RANĚNOVOVĚKÉHO EXEMPLA: MOŽNOSTI DALŠÍHO BÁDÁNÍ

100%
Soleiman pour Hashemi M.
Slovenská literatúra (Slovak Literature)
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2022
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vol. 69
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issue 6
556 - 568
EN
The article defines the exemplum as an intertext in homiletic literature of various origins. The genre, modelled on the dichotomy of redemption (motives of virtue) and damnation (motives of sin), served the didactic function. Basic source texts for exempla were biblical and classical (or pseudo-classical) texts, patristic texts, religious and secular chronicles, various legends and other historiographic treatises, and books of emblems (the last of these have elicited least scholarly attention). However, other texts, less often associated with exempla, also served as their sources. These include such mediaeval and early modern period texts as the Golden Legend and the writings of Laurentius Surius (for exempla of the legend type) or (in postils) various partial legends (Vitae) – depending on which saint the sermon was devoted to. The study of exempla in early modern literature also encompasses such issues as geographical and temporal variation of the genre (period terminology), their literary value, secularisation (fairy tales, peddlers’ songs), and their permeation into other genres.
2
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SEMIOTICKÁ TRANSFORMÁCIA ARCIMOTÍVU ČAROVNEJ PREMENY V ROZPRÁVKOVEJ LÁTKE „KRÁSKA A ZVIERA“

100%
Danišová N.
ESPES
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2017
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vol. 6
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issue 1
4 – 13
EN
In the study we focused on identification of shifts and themes, expressions and semantics in the subject of magical transformation, as its firmly established in classification of folk tales by Aarne-Thompson-Uther 425C Beauty and the Beast, in author literary fairy tale by F. Hrubín and its following film adaptation by J. Herz, as well as between these two works arcs, which represent mentioned tale type in original, developmental and canonical form, on the background of broader cultural and anthropological relations, which are both socially and historically linked with this motif.
3
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Wzorzec czeskiej baśni filmowej i jego horrorowe odkształcenie w dwóch filmach Juraja Herza

100%
Pająk P.
Bohemistyka
|
2014
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vol. 14
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issue 4
362 - 377
EN
The fairy tale film is a second only to the comedy of manners flagship genre of Czech cinema. Its popularity in Bohemia is associated with a rich tradition of literary fairy tale, as well as with socio-political conditions, favoring the production of such films. There is prevailed a specific pattern of fairy tale - good-natured and comical. Two Juraj Herz's fairy tales from 1978 - Virgin and the beast and The ninth heart - stand on this background. Herz introduces the elements of horror to the fairy tale world and consequently gives both films a meaning which is gently objecting to the pattern of Czech fairy tale film.
4

SVOJBYTNOSŤ MEDITATÍVNEJ ROZPRÁVKY AKO ŽÁNRU PRE DETI

100%
Magalová G.
Slovenská literatúra (Slovak Literature)
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2017
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vol. 64
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issue 6
445 - 460
EN
The presented paper sets a goal to defend the concept of the meditative fairy tale amongst the other existing genres of the literary fairy tale. The introduction includes the description of the contemporary ununified genre classification of literary fairy tales at home and abroad. Its comparison with the genre of the philosophical fairy tale leads to reflecting on the meditative fairy tale as an autonomous genre in literature for children and youth and it points out its specific tendencies towards the „sacrum“ space. The paper makes an attempt to define these writings against abackground of the ideas formulated by the Romanian religious studies scholar Mircea Eliade and the contemporary research in the field of literature for children (Andričíková, Kubeczková, Magalová and others). Reading meditative fairy tales is recommended to all age groups. It presents a literary text of an intimate atmosphere for readers of all ages, where every human emotion comes to life – including the serious, gloomy, cheerless ones, which are rarely employed in literature for children. In the conclusion, the paper suggests new possible ways of looking at the evolution of the literary fairy tale in Slovakia against a background of the research into the „archetypical“ genre of the literary fairy tale – the fairy tale featuring Christian and didactic tendencies.
5

Baśnie alpejskie (relacjami z podróży przeplatane)

100%
Jonca M.
Góry, Literatura, Kultura
|
2010
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vol. 5
67-78
EN
The article is devoted to interpretations of several Alpine fairy tales from the collection Fairy tales from the mountains edited by Elena Chmelová. The aim is not only to delimit the themes present in the tales – typical of magical folk tales – but also to point out characteristic regional, ethnographic, topographic and landscape-related motifs associated with specific features of the various parts of the Alps (Pennine, Bernese, Urner, Glarus, Rhaetian, Allgäu, Provence Alps etc.). A “commentary” is provided by 19th century accounts of Polish travellers.
6

OSOBITOSŤ JAZYKA ROZPRÁVOK M. J. SALTYKOVA-ŠČEDRINA

88%
Mäsiarová K.
Slavica Slovaca
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2013
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vol. 48
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issue 2
153 - 160
EN
One of the most famous satirical works by M. Y. Saltykov-Shchedrin is a collection of fairy tales. Despite of their popularity, not only in Russia, but also abroad, fairy tales are still little-studied. The vast majority of studies devoted to this work are of general nature and have an ideological coloration. Proceeding from these facts, the researcher set out to determine the original character of the language of Saltykov-Shchedrin´s fairy tales, which is a one of the most important element of his sharp satire.
7

NO SLEEPING BEAUTY WITHOUT THORNS: TRANSLATING FAIRY TALES. A MODEL FOR COMPARATIVE ANALYSIS (Nie ma spiacej krolewny bez kolcow. Tlumaczenie basni. Propozycja modelu analizy porownawczej)

88%
Coillie J. V.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
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issue 2-1(22-23)
11-35
EN
Few stories have been translated so often and into so many languages as the classical fairy tales. Therefore, they are a true challenge for translation studies. This article wants to outline a methodology for investigating fairy tales in translation. The method is essentially a comparative textual analysis, inspired by translation studies, literary theory, linguistic criticism and discourse analysis. It can be applied to the synchronic research of fairy tale translations within a restricted period of time as well as to the diachronic research of translations of one or more fairy tales over a longer period of time. A step-by-step model is presented which makes it possible to classify and analyze changes in translations as well as adaptations. In order to bridge the gap between content and linguistic levels, a linguistic analysis is linked to focal points, grouped under categories from literary studies. The examples are taken from six recent Dutch translations of Sleeping Beauty, published between 1995 and 2007. In the final part of this study, a scheme is offered for the interpretation of the changes the analysis brought to light.It takes into account individual as well as social factors and it is based on the concepts of norms, systems and functions. By presenting a structured method of analysis, this article hopes to reinvigorate the study of fairy tales in translation.
8

OPRAŠOVANIE POKLADOV (K MOŽNOSTIAM TEXTOLOGICKÉHO SPRACOVANIA RUKOPISNÝCH ROZPRÁVKOVÝCH ZBIEROK – CODEXY REVÚCKE)

88%
Pácalová J.
Etnologické rozpravy (Ethnological Disputes)
|
2018
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vol. 25
|
issue 1
25 – 44
EN
In the contribution, the author reflects, while drawing on the example of Codexy revúcke, on the practical aspects of the textual work with hand-written collections of the prosaic narratives from the first half of the 19th century that served as a baseline for the editors of fairy tales collections in terms of materials. The author build on the state to date – of the methodology of transcription that was used by Jiří Polívka and Mária Dzubáková – with regard to the possibilities and objectives of publishing of this type of monuments. The contribution is centred on the approximation of the practical problems arising in the process of transcribing of the manuscript into a print medium, then on the approximation and justification of the textual principles that have proved as the most optimal ones in terms of the work of this type so far (in terms of transcription and editorial processing of Codexy tisovské).
9

ZBIERKA AMÁLIE SIROTKOVEJ

88%
Piroščáková J.
Slovenská literatúra (Slovak Literature)
|
2023
|
vol. 70
|
issue 4
349 – 375
EN
The paper is devoted to the collection of Amália Sirotková (1813 – 1892) – the oldest known Slovak woman storyteller. Part of her manuscript collection from the 1850s has been preserved thanks to the estate of Pavel Dobšinský (1828 – 1885) who prepared two of her tales for publication in his edition Prostonárodné slovenské povesti (Slovak folk tales, 1880, 1882). The preserved notebooks are probably a fragment of a larger collection, but the extent of the manuscript remains unknown. “Povesti od Amálie Sirotkovej [Tales by Amália Sirotková]” archive stored in the Literary Archive of the Slovak National Library in Martin contains three notebooks by A. Sirotková and one notebook written by another person and probably unrelated to A. Sirotková’s collection. The first part of the article reflects on the question of authorship and the extent of the collection. The second part of the paper reconstructs the origin of the collection and outlines the possible ways in which the manuscript of A. Sirotková’s might have reached P. Dobšinský. The aim is not to reflect on the language, spelling, style, or genre of A. Sirotková’s tales, but on the contexts of the collection with regard to parallel manuscript sources and the way it was used by editors of fairy tale books in the 19th century. The third part of the paper deals with this issue in more detail.
10

SOPHIINA PREDESTINÁCIA V KLASICKÝCH NARATÍVOCH (CINDERELLA) A V POJMOVÝCH MODELOCH (M. R. COXOVÁ)

88%
Čechová M.
Studia Historica Nitriensia
|
2014
|
vol. 18
|
issue 1
120 – 126
EN
The article follows stories of two women. One of them – archetypal-symbolic (Cinderella) belongs to fictional world, whereas the other one (M. R. Cox) is historical character from the real world. Despite rather schematic briefness and selective partialness the author points out that initiative of M. R. Cox unfolded (on rich material of stories about Cinderella) still lively and expanding territory for several disciplines – from ethnography through cultural anthropology to literary history. This territory relates to most fundamental, universal archetypes of human worldview and orientation in it, with the key role played by feminine principle.
11

OD ROZPRÁVOK K ALEGÓRII NÁRODNÉHO ŽIVOTA (KU KONŠTITUOVANIU ALEGÓRIE ZAKLIATEJ KRAJINY V SLOVENSKOM ROMANTIZME)

88%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2017
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vol. 64
|
issue 1
5 – 32
EN
The paper is concerned with establishing the allegory of a cursed country in Slovak Romanticism, which is one of the defining signs in the works by the poets of the so-called Levoča School, however, their sphere of action was actually (as it is demonstrated in the material processed) considerably wider. The goal of the paper is to show when, in what way and through what mechanisms an originally neutral and general term, which was and still is an integral part of the language schemes (in the general sense, featuring a potentially implicit reference to the Bible – a curse), has transformed to one of the defining motifs of the Romantic topics, what way, in what forms and functions, it has become part of the mythic and poetic image (simile, symbol, allegory) and what mechanisms made it possible for the term to develop a form of one of the Slovaks´ best-known national myths.
12

ONCE UPON A TIME THERE WAS A PUSS IN THE BOOTS: HANNA JANUSZEWSKA'S POLISH TRANSLATION AND ADAPTATION OF CHARLES PERRAULT'S FAIRY TALES (Polish title below)

88%
Wozniak M.
Przekładaniec. Półrocznik Katedry UNESCO do Badań nad Przekładem i Komunikacja Miedzykulturowa UJ
|
2009/2010
|
issue 2-1(22-23)
60-79
EN
(Polish title: Jak to z Kotem w butach bylo. Basnie Charles'a Perraulta w przekladzie i w adaptacji Hanny Januszewskiej). The opening of the article examines the history of the reception of fairy tales - in particular Perrault's tales - in Poland since 1700; it attempts to explain the reason for the long established Polish tendency to adapt rather than to translate this kind of literary works. The introductory presentation is followed by an in-depth comparative analysis of the fi rst ever Polish translation of Mother Goose Tales by Hanna Januszewska, published in 1961, and the adaptation of Perrault's tales made by the same author about ten years later. The examination focuses on two questions: firstly, on the cultural distance between the original French text and the Polish context of fairy-tales tradition, resulting in a series of objective translation difficulties; secondly on the cultural, stylistic and linguistic shifts introduced by Januszewska to the tales in the process of transforming her earlier translation into a free adaptation of Perrault's work. The goal of this scrutiny is not only to compare originality or literary value of Januszewska's two proposals, but also to try to understand the reasons that lie behind the enormous popularity of the adapted version. The faithful translation, by all means a good text in itself, did not gain any recognition, and if not exactly a failure, was nevertheless an unsuccessful attempt to introduce Polish readers to the original spirit of Mother Goose Tales.
13

MY, VYDAVATELIA

75%
Pácalová J.
Slovenská literatúra (Slovak Literature)
|
2013
|
vol. 60
|
issue 2
115 – 138
EN
The goal of the article is to show cultural environment factors which determined the form and reception of the two parallel collections of fairy tales, Slovenské povesti (1858 – 1861) by August Horislav Škultéty and Pavol Dobšinský and Slovenské pohádky a pověsti (1857 – 1858) by Božena Němcová, accenting the differences in the concept of fairy tales and the publishing of them, and mainly how the subjects traditionally called publishers or editors understood their own function and role. Recognizing the roles and functions of the subjects of the processes (those of authors´ and those of publishers´) proved to be essential for the form of the collections in question – it is closely connected to the Romantic concept of authorship as they have been seen lately in relation to Rukopis královédvorský (Dvůr Králové manuscript) and Rukopis zelenohorský (Zelená Hora manuscript) by David L. Cooper (2012). The categories and aspects related to the forgery as one of the Romantic forms of authorship which the American bohemist writes about correspond in several respects with the process and phenomenon accompanying the edition of Slovenské povesti and subsequently condition of the Slovak national revivalists´ attitude to the collection (in a narrower sense the reception of Slovenské pohádky a pověsti). The categories such as authenticity, originality and simulation make it possible to view the authors of the fairy tales in Slovenské povesti in the literary-theoretical sense with regard to the category of author without the traditional burden of the folklorist approach, which has so far refused to identify the particular fairy tale authors.
14

SEMIOTIZÁCIA KAŽDODENNOSTI 19. A 20. STOROČIA V UMELECKOM OBRAZE (SELEKTÍVNA REKOGNOSKÁCIA)

75%
Čechová M.
Studia Historica Nitriensia
|
2015
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vol. 19
|
issue 2
318 – 324
EN
This paper focuses on the interpretation iconic (semiotic) portrayal of everyday reality in fairy tales from two northern authors - the Danish writer Hans Christian Andersen (19th cent.) and Latvian writer Karlis Skalbe (20th cent.), on the comparative background of opposition realistic / historically factual / believable – fictional / magic / fantasy.
15

ROZPRÁVKA BRATOV GRIMMOVCOV ŽABÍ KRÁĽ (ATU 440) V INTERETNICKOM KONTEXTE

75%
Liszka J.
Slovenský národopis (Slovak Ethnology)
|
2015
|
vol. 63
|
issue 1
7 – 24
EN
It is generally known that The Frog Prince (further referred to as “KHM–1”) is the very first fairy tale from the collection Kinder- und Hausmärchen by the Grimm Brothers (further referred to as “KHM”). It is less known though that the fairy tale no. 13 (The Frog Prince) from the 2nd volume of the 1st edition (1815) also represents the same type of fairy tales (KHM2–13). Since the authors included the KHM2-13 text version in the notes of the later editions (1822 or 1856) of the well-known Grimm collection, it does not appear in the next popular German editions. Preliminarily, with respect to this study and on the basis of later versions from the Hungarian, Slovak and Czech environments, the Frog King type (ATU 440) should be divided into two sub-types: Frog King sub-type (ATU 440A = KHM–1), and Frog Prince sub-type (ATU 440B = KHM2–13). Since the later editions of the collection served as a basis for almost all translations into foreign languages, the ATU 440A sub-type has been present in translations among Central European nations (in this case, in the Hungarian, Slovak and Czech literatures in translation) since the 19th century. Naturally, the ATU 440B sub-type is missing. In spite of that, the latter sub-type prevails in the oral literature of the above-mentioned nations, and the ATU 440A sub-type appears rather occasionally. Yet, experts consider the versions of the ATU 440B subtype to be a Grimm influence on oral literature. The question, however, is how this fairy tale by the Grimm Brothers could become part of the oral literature of the nations which supposedly did not dispose of printed translations of these fairy tales? The study seeks to answer this question on the basis of comparisons between Hungarian, Slovak and Czech (assumed) printed copies and published versions from oral literature.
16

FORMY, PREJAVY A MYTOLOGICKÉ ASPEKTY HRANÍC V ĽUDOVEJ ROZPRÁVKE

75%
Gábor Ľ.
Slavica Slovaca
|
2015
|
vol. 50
|
issue 2
116 - 131
EN
This paper analyses functions and semantics of borders in the Slovak and Czech fairy tales. The study attempts to verify a hypothesis about the cosmological value of borders and boundaries like water surfaces, bridges, houses or woods in fairy tales, which are connected with the Indo-European and Slavic mythology based on G. Dumézil's theory. These borders include also magical value, because they delimitate the outside world and so they create two opposite, but perpetually connected faces of the world – inside the borders there are guaranteed stability, safety, health, life and peace for all characters and heroes of fairy tales, but outside the borders rule instability, fear, death and chaos. The hero crosses over the border to an unknown place, because he is displeased at the circumstances and wants to change his position in the society or find a princess that is when the process of his initialisation begins. The element of crossing over the border seems to be a magical ritual of pilgrimage to another world, in which the hero has been attacked by dark power (witches or forest robbers). The hero takes something from them and then he escapes back to his world coming through the borders, which cannot be violated by a dark power. His success lets him constitute new order and demark his world with new rules (cosmological and magical act).
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