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Intercultural Reflections on Translating Petőfi onto Serbian Language

100%

Németh F.

Acta Universitatis Sapientiae, Philologica

2014

vol. 6

issue 1

17-24

Only six years subsequent to Petőfi’s disappearance, i.e. his death, in 1855 the Petőfireception took on in Serbian literature, when Jovan Jovanović Zmaj translated the poem A csárda romjai (Razorena čarda [The Ruins of the Inn]). From that point on, Petőfibecame part of Serbian literature as well: famous and popular, to such an extent that there was hardly a Serbian poet who would not engage in translating at least one of Petőfi’s poems. Sava Babić, who made an account of the Petőfitranslations published between 1855 and 1980, listed as many as 658 entries in his bibliography. Translating Petőfi’s poems, according to literary historians, “proved an outstanding bridge between the lives of the two neighbouring nations” (Nagy 1994).1 These poems substituted for what Serbian literature lacked-the Serbian folk epic poem. Towards the end of the 19th century, the reception of Petőfi’s poetry in Serbian literature virtually bloomed into a cult, namely because his poems of patriotic and social themes as well as his revolutionary poetry quite complied and were even consonant with the increasingly aggressive patriotism of the so-called New Serbian Youth (Nova omladina). In the second half of the 20th century, the receptive attitude towards his poetry waned significantly. The study looks into the characteristics and effects of the translations of Petőfi’s poetry from its ‘literary transfer,’ its receptive situation, up to the intensification of its popularity and folklorization. In fact, it analyzes the literary/cultural transfer which fulfilled certain needs and conjunctures, but which was surprisingly integrated into the Serbian literary tradition of the late 19th and early 20th century.

A Hungarian Writer’s Experience of the Mediterranean: On Ferenc Herczeg’s Szelek Szárnyán Travelogue/ Ship's Log

63%

Bence E., Németh F.

Acta Universitatis Sapientiae, Philologica

2015

vol. 7

issue 3

37-53

One of the works of the much disputed and until recently often avoided oeuvre of Herczeg Ferenc is the attention-grabbing work entitled Szelek szárnyán [On the Wings of the Wind] (1905). a travelogue and a ship’s Jog. Its analysis casts another view on the life of this writer, bom in South Banat. who. at the beginning of the 20th century, sailed the Adriatic and the Mediterranean with his nephew in his sailing boat called Sirály (The Seagull) - thus demonstrating and choosing a secessionist lifestyle, even abandoning Budapest -, and his inspiration by the sea reached a peak in this volume (Secessionist in every sense, advertising the beauties and values of the Adriatic). This prose work was created in the context of Rijeka, Zadar, Sibenik. Trogir, Split, Dubrovnik, and Boka Kotorska. which (apart from its Secessionist character), owing to its cross-artistic and multicultural features, blends various art forms and ways of expression. It gives a superb experience to the reader. The study interprets and analyses Ferenc Herczeg’s volume Szelek szárnyán as a complex genre created in a cross-artistic environment, with the objective to emphasize and present its special role and standing in Hungarian literature as well as in the field of fine and applied arts.

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2 Acta Universitatis Sapientiae, Philologica

2 Németh F.

1 Bence E.

1 2015

1 2014

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Intercultural Reflections on Translating Petőfi onto Serbian Language

A Hungarian Writer’s Experience of the Mediterranean: On Ferenc Herczeg’s Szelek Szárnyán Travelogue/ Ship's Log