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Maximilianus Venceslaus Schimek – magni vir ingenii, magnaeque industriae, homo eruditus et politicus

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Newerkla S. M.

Listy filologické (Folia philologica)

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2014

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vol. 137

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issue 1-2

73-95

EN

Styria-born Maximilian Schimek, the son of an immigrant brewer from Bohemia and his wife, was the polyglot author of several books, articles and maps on various topics, translator and engraver, teacher of Czech in Vienna and elsewhere as well as an important trailblazer of the Czech National Revival movement and the scientific pursuit of Slavic studies in Austria. Schimek’s manuscripts of a comparative grammar and history of the Slavic languages are of great significance to the reflection of the roots and the origin of methodically and scientifically pursued Slavic philology. They help us to obtain a clear idea about the state of knowledge concerning the Slavic languages at the end of the 18th century. We can at the same time clearly show the differences to Josef Dobrovský and his scientific approach in his Institutiones linguae Slavicae dialecti veteris (1822) as well as identify the organically grown developmental stages in scientific Slavic studies. Schimek’s role in this context was one of an eclectic. His main achievement was the condensation of the then current understanding of Slavic studies, but also other subjects. At the same time, he was a politically alert scholar who had his finger always on the pulse of time. In this respect, he can be rightly called a homo eruditus et politicus.

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Jak mluvil (a psal) český venkovan na přelomu 18. a 19. století?

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Fidlerová A. A.

Historie – Otázky – Problémy (History, Issues, Problems)

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2017

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vol. 9

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issue 1

48-65

EN

The paper deals with authentic written and spoken utterances of ordinary Czech people of the turn of the 19th century, as recorded in linguistic works by the Czech philologist and translator František Jan Tomsa (1751–1814). It analyses the examples published in the books Elementarwerk der böhmischdeutsch-und lateinischen Sprache (1784), Von den Vorzügen der čechischen Sprache (1812), Über die Veränderungen der čechischen Sprache (1805), and Über die Bedeutung, Abwandlung und Gebrauch der čechischen Zeitwörter (1804), which are at least partly written with scholarly precision and often provide accurate information about who said what when, and in what situation. Thus they represent a unique source of information not only about the manner of speaking of ordinary Czech people at the beginning of the National Revival period and about the differences between the language spoken in Prague and in the country, but also about the usual topics of conversation, including the history of agriculture.

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„Nejstarší nejvíc nes’”: stáří Shakespearova krále Leara v českých obrozeneckých překladech

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Krajník F.

Slavica Wratislaviensia

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2016

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vol. 163

449-462

EN

A number of critics have noted the importance of the motif of old age in Shakespeare’s King Lear, chiefly the old age of the play’s eponymous character. Indeed, the King’s age serves in the play as a powerful dramaturgical device, a kind of prism through which the audience sees not just Lear’s character, but also other characters’ deeds and most of the play’s action. When watching the play, the audience is constantly reminded of Lear’s age, both directly, through Lear’s or other characters’ speeches, and indirectly, through a number of physical details. It could be said that the King’s age is employed at all possible levels of the drama, becoming the main impulse for the development of the plot. King Lear is one of the first plays by Shakespeare to be translated into Czech, and various dramatists attempted to localise it for Czech audiences. The present paper examines three early translations of King Lear into Czech: by Prokop Šedivý (1792), Josef Kajetán Tyl (1835), and Ladislav Čelakovský (1856). While the last mentioned version is the first “true” translation of the play into Czech, using Shakespeare’s unabridged English original as the source text, the two earlier translations are rather loose adaptations, almost certainly based on various German stage versions, altering significant portions of the story and cutting entire scenes and speeches (or even characters). Surprisingly, even the earliest Czech translators seem to have been aware of the dramaturgical importance of the dominant motif in the original play and, in spite of the (sometimes) drastic alterations, tried to preserve it in their versions as much as possible. Nevertheless, in various passages from the Czech versions, we may observe that even with this knowledge, the translators at times struggled with a number of nuances in the original, not always being able to preserve the complexity of a character or dramatic situation. This was only achieved by Ladislav Čelakovský, whose mid-19th century text was the first to represent Shakespeare’s King Lear, both in terms of form and, of course, in terms of the motifs of the original.

PL

Wielu badaczy zwróciło uwagę na znaczenie motywu starości w Królu Learze Szekspira, zwłaszcza na starość tytułowego protagonisty dramatu. Królewska starość służy w istocie jako mocny środek dramaturgiczny owego utworu, w pewnym sensie jest to pryzmat, przez który widzowie spoglądają nie tylko na samego Leara, ale także na czyny pozostałych postaci i akcję sztuki w ogóle. Podczas przedstawienia uwagę widzów nieustannie przyciąga wiek Leara, bądź bezpośrednio, a więc w samych wypowiedziach Leara lub innych postaci, bądź za pomocą szeregu detali fizycznych. Można stwierdzić, że wiek króla pojawia się we wszystkich warstwach dramatu i staje się głównym impulsem rozwoju akcji. Król Lear jest jednym z pierwszych dramatów Szekspira, które zostały przełożone na język czeski, a w sumie istnieje około piętnastu czeskich przekładów tego tekstu. Niniejszy esej bada trzy wczesne przekłady wersję Prokopa Šedivego (1792), Josefa Kajetána Tyla (1835) i Ladislava Čelakovskiego (1856). Podczas gdy ostatni wymieniony tekst jest pierwszym „prawdziwym” przekładem Króla Leara na czeski, wychodzącym z nieskróconego angielskiego oryginału jako wzorca, pozostałe dwa przekłady są raczej wolniejszymi adaptacjami, prawie na pewno opartymi na różnych niemieckich adaptacjach pierwotnej sztuki, w których zmienione są znaczące elementy historii, a czasem całe dialogi i sceny (a nawet postaci). Jednak nawet pierwsi czescy tłumacze mimo wszystko świadomi byli dramaturgicznego znaczenia dominującego motywu starości w pierwotnym tekście i nawet w pewnych drastycznych skrótach tekstu starali się go w jak największym stopniu zachować. Z konfrontacji różnych fragmentów badanych wersji czeskich wypływa, że i w tym wypadku tłumacze często walczyli z różnymi niuansami oryginału i nie zawsze potrafili zachować daną postać czy sytuację w całej jej rozpiętości. Osiągnął to dopiero Ladislav Čelakovski. Jego przekład zpołowy XIX wieku był pierwszym, w którym udało się w pełni wyrazić tekst Szekspirowskiego Króla Leara od strony formalnej, oraz zachować sens poszczególnych motywów oryginału.

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Počátkové českého básnictví a německá metrika : K proměnám českého verše v nadnárodním kontextu

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Dobiáš D.

Česká literatura (Czech Literature)

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2012

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vol. 60

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issue 3

355-367

EN

The work Počátkové českého básnictví, obzvláště prozódie (The principles of Czech verse, with special reference to prosody, 1818) by Pavel Josef Šafařík (1795-1861) and František Palacký (1798-1876) (and Jan Blahoslav Benedikti [1796-1847]) and its influence on early-nineteenth discussions about the character of Czech verse have till now usually been considered in the context of Czech (and Slovak) literature. By contrast, this article, after a characterization of the work, considers its relation to the German concepts of prosody and meter (Friedrich Gottlieb Klopstock, Gottfried Hermann, and Johann August Apel), and also to Josef Jungmann´s (1773-1847) no-longer extant Nepředsudné mínění o prozódii české (An impartial opinion on Czech prosody, 1804). This article explores Šafařík and Palacký´s treatment of those relationships. Although the authors of Počátové turned it only selectively, Hermann´s work appears to have been an important intellectual basis for Šafařík and Palacký´s endeavour to develop a complex delineation of modern Czech verse, which had much in common with the principles of music. In its conclusions, the article thus follows on from Miroslav Červenka´s later ideas that it would be useful to study the history of Czech verse in its European context, without detracting from what made Czech verse special.

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Thámův Veleslavínův nomenklátor

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Černá A. M.

Naše řeč (Our Speech)

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2018

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vol. 101

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issue 3

158-175

EN

In 1598, Daniel Adam of Veleslavín published the systemic dictionary entitled Nomenclator quadrilinguis Boemico-Latino-Graeco-Germanicus. This dictionary significantly influenced the works of younger lexicographers. However, one such work that drew from Veleslavínʼs quadrilingual dictionary the most, more precisely, it completely reproduced the Nomenclator’s content excluding the Latin and Greek entries, has remained somewhat forgotten. The work in question is Nejnovější ouplný česko-německý slovník (Neuestes vollständig böhmisch-deutsches Wörterbuch; Prag 1807 and 1808), whose author is Karel Ignác Thám. In this paper, we compare the macro- and microstructures of the two dictionaries.

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Roráte karlo-arnoštské: Kapitola z historie českých obrozenských mystifikací

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Škarpová M.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

115-140

EN

One of the most significant changes in the manner of reproduction, distribution, usage and interpretation of Czech Rorate chants took place in the 1830s and 1840s. It was then that Czech catholic priest Václav Michael Pešina (1782–1859) provided an interpretation of early modern Czech utraquist liturgical Rorate chants (which were newly available in the edition published in 1823 by Jan Hostivít Pospíšil) as Charles-Ernest Rorate, i.e. as old Czech chants of an advent worship for people, which, according to Pešina, were introduced into St. Vitus Cathedral and other Czech churches by Archbishop Ernest of Pardubice with the support of Charles IV. Pešina also put into effect new ways in which Czech Rorate chants were reproduced and distributed, and initiated their introduction into Czech catholic churches, including the Prague cathedral, as revived Old Czech morning advent catholic worship for the people. In this paper, we analyze the strategies which were used to assert the interpretation of Czech Rorate chants, such as the Charles-Ernest Rorate, in the Czech cultural domain, as well as the strategies which led to the Rorate from the year 1823 being determined as the primary source. We also focus on the demystifying processes which resulted in the rejection of the concept of the Charles-Ernest Rorate, and in the virtually complete erasure of Pešina’s person from the Czech collective memory. Attention is also paid to the identity- and culture-forming function of this Revivalist mystification and its potential to become a valuable analytic tool for the modern-day Czech society.

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1 Historie – Otázky – Problémy (History, Issues, Problems)

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1 Slovo a smysl - Word & Sense

1 Česká literatura (Czech Literature)

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1 Fidlerová A. A.

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1 Newerkla S. M.

1 Černá A. M.

1 Škarpová M.

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