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1

Warden Oom, Regionalist: Authorial Ethos, Generic Functions

100%
Lambrecht B.
Werkwinkel
|
2016
|
vol. 11
|
issue 1
7-28
EN
Recent scholarship in Dutch literature of the interwar years has revalued to an important degree the genre of regional or rural literature. Whereas existent research in this field mainly zooms in on the thematic motives and rhetorical structures of the regional text, this paper aims at combining a textual and contextual approach. It hopes to do so by linking the functions of the regional genre to the construction of the regional author’s ethos or authority outside his oeuvre. One author here functions as a representative case in point: Warden Oom (Edward Vermeulen), a once successful but now forgotten Flemish folk writer and regionalist. This paper analyzes how Vermeulen, in autobiographical documents and interviews, embodies both an encyclopedic and an artistic authority. These two forms of extra-literary authority are a means to guarantee, so the argument goes, the efficacy of the informative and documentary as well as the esthetic functions of Vermeulen’s regional oeuvre. In this way, this paper not only pays attention to the rarely documented and therefore highly neglected voice of the regional author himself but it also grasps these autobiographical writings to situate the regional text in its broader context. Moreover, this article’s focus on the esthetic ambitions and functions of the regional author and his oeuvre may shed a new light on a genre which is usually considered to be heteronomous in the first place.
2

Persoonlijke contacten in vooroorlogse receptie van Nederlandstalige literatuur in Tsjechische vertaling

86%
Engelbrecht W.
Neerlandica Wratislaviensia
|
2017
|
vol. 27
141-154
EN
The paper concerns the influence of personal contacts on what has been translated from Dutch and Flemish literature into Czech before 1989. After ashort introduction about Czech translation culture, the paper gives asurvey of acouple of interesting cases. The first is the series 1000 nejkrásnějších novell 1000 světových spisovatelů (The 1000 most beautiful novels of 1000 world authors) from the beginning of the 20th century. The second is the translator Jaroslav Kamper from the same period. The third is the Czech symbolist writer and translator Arnošt Procházka. The last case is the professional translator Lída Faltová, who made the first translations of Willem Elsschot’s work. In all cases, alook is given how their personal contacts partly influenced their translation production.
3

The Genesis of the Idea ‘Dutch Written Literature’ in Bohemia

86%
Engelbrecht W.
Werkwinkel
|
2016
|
vol. 11
|
issue 1
73-94
EN
Since mid-19th century Dutch and Flemish literature has often been translated into Central European languages. We find authors like Conscience, Multatuli or Heijermans almost everywhere, often with the same works. Until the late 19th century translations were often made via German. Czech had a special position. Though there is not that much translated into this language as into German, until World War II Czech was the language into which was translated more than into other Central European languages. Until the 20s many translators were writers themselves. This gives rise to questions such as how the choice was made, what is the position of a particular author or his work within translated literature? How was Dutch literature defined? In this paper, we give a look how the choice was made, at the position of translators of Dutch literature in the late 19th and early 20th century in the Czech literary field, the position of Dutch in their work and how this literature was received in translation.
4

Ecologische thematiek in hedendaagse fi ctie: Uitdagingen van milieufi losofi e, ecokritiek en animal studies voor de Nederlandstalige literatuur/ Ecology in the Contemporary Fiction: The Challenges of Environmental Philosophy, Ecocriticism and Animal Studies for the Study of Dutch and Flemish Literature

86%
Sedláčková L.
Werkwinkel
|
2015
|
vol. 10
|
issue 1
99-114
EN
This article is based on the belief that in every historical period, there is a certain part of the literary production that reflects the recent events or tendencies in the contemporary society. Using my dissertation, in which I did research on the representations of the globalisation in recent Dutch and Flemish fiction, as an example of which issues were or were not represented in a number of selected Dutch-written novels, I point out that ecology, which turned to be a non-issue in my corpus, deserves new attention at this moment. My article suggests some attitudes that can help to interpret the ecological issues and the tightly connected subject of animal rights. The new challenges for the literary studies are first of all presented by the ecocriticism and the (critical) animal studies
5

Vlaamse literatuur in vertaling in Centraal-Europa tot WO I

86%
Engelbrecht W.
Neerlandica Wratislaviensia
|
2015
|
vol. 25
243 - 262
EN
In this paper a concise overview of the reception of Dutch literature in Hungarian, Polish, Slovak and Czech until the end of World War I is given. The first translations are from 1805 (Polish), and 1846 (Czech) respectively. At present, some 175 translations from this period have been found, most of them in Czech and the fewest in Slovak. From publications of literary history the idea arises that especially Flemish literature has been received in Central Europe for political reasons. The researchers point towards the Belgian Revolution of 1830 which was, in contrast to most other revolts from this period, successful. Moreover, the Flemish struggle for the use of Dutch language in Flanders showed similarities with similar issues in Central Europe. A closer look reveals, however, that these ideas have to be modified. The results of the study are sometimes surprising.
6

Streekromans en het Tsjechische ruralisme

72%
Engelbrecht W.
Werkwinkel
|
2014
|
vol. 9
|
issue 1
75-90
EN
In the netherlands regional novels have never been considered as real literary works. in Flanders regional literature had a better status, especially because several writers of the Van Nu en Straks movement such as Stijn Streuvels wrote about regional themes. in Czech literature since 1848 regional themes was viewed as important in novels and stories, mainly till the end of world war ii. in 1932 the Catholic writer Antonín Matula defined the so-called ruralism, which became a movement of mainly Catholic writers from the countryside. Most of them were severely persecuted in a constructed Stalinist show trial against the green international in 1951. in his work Hlasy země v evropských literaturách (The Voice of Earth in European Literatures, 1933) Matula discussed nearly all major european literatures, i.e. Flemish regional writers. it is no coincidence that especially Flemish writers such as ernest Claes, Stijn Streuvels and Felix timmermans, were translated into Czech during the second quarter of the 20th century.
7

Een merkwaardig geval van ‘vertaalplagiaat’: De serie 1000 nejkrásnějších novell 1000 světových spisovatelů

51%
Engelbrecht W.
Roczniki Humanistyczne
|
2018
|
vol. 66
|
issue 5: Neofilologia. Zeszyt specjalny
243-257
PL
Między 1911 a 1915 r. wydawca J.R. Vilímek wprowadził do swojej serii dla czeskich czytelników pt. 1000 nejkrásnějších novell 1000 světových spisovatelů [„Tysiąc najlepszych nowel tysiąca autorów świata”] dzieła kilku holenderskich i flamandzkich autorów. Najlepszymi przykładami są Herman Teirlinck czy też Stijn Streuvels. Każdy tom serii zawierał pisarzy z różnych obszarów, a każda nowela była poprzedzona krótką biografią autora. Wśród tłumaczy znajdują się słynne nazwiska, takie jak Arnošt Procházka czy też Gabriele Kafková (siostra Franza Kafki). Większość niderlandzkich nowel została jednak opublikowana już wcześniej, w latach 1910–1913, we francuskiej serii zatytułowanej Les mille nouvelles nouvelles. Okazuje się, że nie tylko koncepcja, ale układ graficzny, a często także teksty wprowadzające zostały dosłownie przejęte z francuskiej serii. W rzeczywistości wydawca dopuścił się pewnego rodzaju plagiatu, zwłaszcza jeśli zauważymy, że w Czechach od drugiej połowy XIX wieku dobrą praktyką było tłumaczenie bezpośrednio z języka źródłowego.
EN
Between 1911 and 1915, publisher J.R. Vilímek introduced in his series 1000 nejkrásnějších novell 1000 světových spisovatelů [The 1000 best novellas of 1000 world authors] to Czech readers the work of several Dutch and Flemish authors – the best examples being Herman Teirlinck and Stijn Streuvels. Each collection of the series contained writers from different areas, each novella being accompanied by a short biography of the author. Among the translators we find famous names like Arnošt Procházka or Gabriele Kafková (sister of Franz Kafka). However, most Dutch short stories had already been published before, between 1910 and 1913, in the French series Les mille nouvelles nouvelles. Not only the concept but also the layout and often also Czech introductory texts are literally translated from French. In fact, the publisher committed a kind of plagiarism, especially if we consider that since the second half of the 19th century it had been good practice to translate directly from the source language.
NL
In de jaren 1911–1915 introduceerde uitgever J. R. Vilímek in de serie 1000 nejkrásnějších novell 1000 světových spisovatelů [De 1000 beste novelles van 1000 wereldauteurs] het werk van verschillende Nederlandse en Vlaamse schrijvers bij het Tsjechische publiek — de beste voorbeelden zijn Herman Teirlinck en Stijn Streuvels. Elk bundeltje van de serie bevatte schrijvers uit verschillende gebieden, elke novelle werd voorafgegaan door een korte biografie van de auteur. Onder de vertalers treffen we bekende namen als Arnošt Procházka of Gabriele Kafková (de zuster van Franz Kafka) aan. De meeste Nederlandstalige werkjes waren echter al eerder gepubliceerd in 1910–1913 in de Franse serie Les mille nouvelles nouvelles. Niet alleen het concept maar ook de layout en vaak ook de introductietekstjes waren letterlijk uit het Frans overgenomen. In feite had de uitgever een soort plagiaat gepleegd, vooral als we bedenken dat het in Tsjechië sinds de tweede helft van de 19e eeuw good practice was om rechtstreeks uit de brontaal te vertalen.
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