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REALISM OF THE BREAKTHROUGH. THE INTERNAL TEXT IN FYODOR DOSTOYEVSKY'S PROSE

100%

Pietrzak P.

Pamiętnik Literacki

2006

tom 97

nr 2

127-153

The author analyses the specific construction of Fyodor Dostoyevsky's prose, which he calls the 'internal text'. He assumes that it is an additional structure of signs placed into a literary text that breaks the text-reality tension (this is what makes it different from a common case of 'story within a story' and a quotation). Thus Dostoyevsky's writings transcends not only the borders of broadly understood realism, but also touches the relationship between literature and reality in total. At the same time, the author recalls the older, 'pre-Balzacian' type of novel, the sources of which are found in Cervantes's 'Don Quixote'. This model questions the narrator's credibility and obviousness of the world presented. Pietrzak proves that in Dostoyevsky's text, both the internal text and the world presented are in a dialectic tension and continuously shape one another.

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

86%

Dušíková A.

World Literature Studies

2016

tom 8

nr 1

61 – 73

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.