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Letters about Hlapich

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Majhut B. , Lovrić Kralj S.

Libri & Liberi

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2013

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tom Vol 2

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nr No. 2

269-356

EN

This contribution consists of letters which either refer to or at least mention Čudnovate zgode šegrta Hlapića [The Strange Adventures of Hlapich the Apprentice], whether as a novel or as a dramatization or play, and which were written during the lifetime of Ivana Brlić-Mažuranić (1874 – 1938). In addition to the letters, two contracts and a list of performances of the play Hlapich the Apprentice are also included.

HR

U ovaj pregled uvrštena su pisma koja se tiču Šegrta Hlapića ili se u njima spominje Šegrt Hlapić (bilo kao roman, bilo kao dramatizacija), a napisana su za života Ivane Brlić-Mažuranić (1874. – 1938.). Osim pisama uvrštena su dva ugovora te popis predstava Šegrta Hlapića.

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Children’s Literature in Europe at the Start of the 20th Century and the Intellectual Place of Ivana Brlić-Mažuranić’s Children’s Story Čudnovate zgode šegrta Hlapića1

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Ewers H.-H.

Libri & Liberi

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2013

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tom Vol 2

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nr No. 2

179-186

EN

The essay presents the cultural circumstances and the main ideas of the educational reform in Europe at the beginning of the 20th century and gives an overview of the trends found in children’s literature of the time. The author places Čudnovate zgode šegrta Hlapića [The Strange Adventures of Hlapich the Apprentice], a Croatian classic by Ivana Brlić-Mažuranić, in the tradition of children’s non-fantastic literature of childhood autonomy, of a partly idyllic, partly parabolic, nature. He also relates it to stories by the German children’s author Otfried Preußler, which appeared in the mid 20th century, at the time when Hlapich was translated into German. It is the kind of literature which aims to create for its young readers the feeling of happy agreement between the self and the world, and it thus instils a basic sense of trust in its child readers.

HR

Esej prikazuje kulturni kontekst i ideje vodilje obrazovne reforme u Europi početkom dvadesetoga stoljeća te donosi pregled trendova prisutnih u dječjoj književnosti toga vremena. Autor smješta Čudnovate zgode šegrta Hlapića Ivane Brlić-Mažuranić, klasično djelo hrvatske dječje književnosti, u tradiciju ne-fantastične dječje književnosti dječje autonomije, dijelom idiličkoga, a dijelom paraboličnoga značaja. Također to djelo dovodi u vezu s pričama njemačkoga dječjega pisca Otfrieda Preußlera, koje su se pojavile sredinom dvadesetoga stoljeća, u vrijeme kad je Hlapić preveden na njemački jezik. Radi se o vrsti književnosti usmjerenoj na to da u mladim čitateljima stvori osjećaj sretnoga sklada između sebe i svijeta te tako u djecu čitatelje ugradi temeljni osjećaj: povjerenje.

DE

In dem Essay werden der kulturelle Kontext und die Leitideen zur Bildungsreform in Europa zu Beginn des 20. Jahrhunderts vorgestellt, sowie der damalige aktuelle Stand der Kinderliteratur umgerissen. Den kroatischen Kinderliteraturklassiker Čudnovate zgode šegrta Hlapića von Ivana Brlić-Mažuranić verortet der Autor in der Tradition der nicht-fiktionalen Kinderliteratur, wobei das Werk sowohl idyllische wie auch parabolische Merkmale aufweist. In dem Essay wird sodann das Werk in Beziehung zu den Erzählungen des deutschen Kinderautors Otfried Preußler gebracht, die um die Mitte des 20. Jahrhunderts veröffentlicht werden, als Hlapić ins Deutsche schon übersetzt war. In beiden Fällen handelt es sich um eine Art der Kinderliteratur, die darauf ausgerichtet ist, in den Kindern das Gefühl des Einklangs mit der Umwelt hervorzurufen und ihnen damit eine Form von Urvertrauen zu vermitteln.

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Azijsko putovanje Šegrta Hlapića na krilima esperanta

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Štimec S.

Libri & Liberi

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2013

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tom Vol 2

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nr No. 2

253-266

HR

U radu se opisuju okolnosti nastanka prijevoda Čudnovatih zgoda šegrta Hlapića Ivane Brlić-Mažuranić na esperanto, pod naslovom Mirindaj aventuroj de metilernanto Hlapić (1998). Prikazuje se potom odjek toga prijevoda Maje Tišljar u esperantskim krugovima i okolnosti u kojima je Hlapić s esperantskoga kao posrednoga prijevoda preveden na japanski, bengalski, kineski, perzijski, vijetnamski i korejski jezik. Pokazuje se kako je Hlapić uz pomoć esperanta postao dostupan velikom broju čitatelja širom svijeta.

EN

The paper reveals the circumstances of the appearance of the Esperanto translation of the 1913 Croatian children’s classic Čudnovate zgode šegrta Hlapića [The Strange Adventures of Hlapich the Apprentice] by Ivana Brlić-Mažuranić, titled Mirindaj aventuroj de metilernanto Hlapić (1998). It records the wide popularity of this translation by Maja Tišljar in international Esperanto circles and chronicles the events which led to further translations of Hlapich from this one as a relay translation into Japanese, Bengali, Chinese, Persian, Vietnamese and Korean. It is shown how Hlapich the Apprentice has become accessible to a large number of readers around the world through Esperanto.

DE

Im Beitrag werden die Umstände dargelegt, unter denen die 1998 unter dem Titel Mirindaj aventuroj de mitilernanto Hlapić veröffentlichte Esperanto-Übersetzung des kroatischen Kinderromans Čudnovate zgode Šegrta Hlapića [Wunderbare Reise des Schusterjungen Clapitsch] von Ivana Brlić-Mažuranić entstanden ist. Ferner wird über die Nachwirkungen dieser von Maja Tišljar geleisteten Übersetzung in internationalen Esperanto-Kreisen berichtet, sowie über die Umstände, unter denen der Roman vom Esperanto ins Japanische, Bengalische, Chinesische, Persische, Vietnamesische und Koreanische übersetzt wurde, wodurch der kroatische Hlapić mit Hilfe von Esperanto weltweit neue Leserkreise erschließen konnte.

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Prostor u Čudnovatim zgodama šegrta Hlapića

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Rezo V.

Libri & Liberi

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2013

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tom Vol 2

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nr No. 2

225-240

HR

Polazeći od teorijskih postavki suvremenih teoretičara poput Henrija Lefebvrea, Edwarda Soje, Michela Foucaulta, Gastona Bachelarda i dr., rad iščitava Čudnovate zgode šegrta Hlapića kao roman ceste (kretanja) i roman prostora (razotkrivanja značenja prostornih uporišta), uz neizbježno isprepletanje dviju perspektiva, uzimajući u obzir autoričino u proslovu višekratno nagoviješteno žanrovsko određenje djela (pripovijest). Protagonist romana napušta sigurno utočište vlastitoga doma prešavši kućni prag, a upravo se ova prostorna minijatura na kojoj se odvija Hlapićev izlazak iz kuće malim recipijentima sugerira kao točka iz koje trebaju stupiti u priču, kao mjesto njihova ulaska u narativni prostor. Našavši se na putu, mali flaner (od trenutka krađe čizmica, tragač za rješenjem problema) osvaja prostor raznim osjetilima, registrirajući mahom pozitivne značajke ruralnoga krajolika, a negativne urbanoga. Hlapićevo se lutanje odvija po nemapiranome prostoru, topografski ispražnjenome, po kojemu su razmještena sporadična spacijalna hvatišta poput štaglja, mosta ili kamenoloma te posebno važna heterotopija sajma i njoj subordinirana heterotopija cirkusa, dva mjesta „izvan svakoga mjesta“ (Foucault), koja je ipak moguće locirati.

EN

Starting from theoretical assumptions of contemporary theoreticians such as Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Bachelard, this paper considers the novel Čudnovate zgode šegrta Hlapića [The Brave Adventures of Hlapich the Apprentice] as a ‘road novel’ and a representative of the ‘space-oriented novel’, taking into account the genre’s specification as implied in the preface by the author. The main protagonist of the novel leaves the safe haven of the only home he has by crossing the doorstep, and it is precisely this space miniature, in which Hlapich’s departure takes place, that is offered to young readers as their point of departure into the story, i.e. their entry point into the narrative space. Finding himself on the road, the little flâneur (from the moment his shoes are stolen, he becomes a problem solver) conquers place with various senses, registering mostly the positive features of the rural landscape and the negative ones of the urban one. Hlapich’s wandering occurs in an unmapped space, topographically emptied, across which sporadic spatial points of reference, like a barn, a bridge or a quarry, are deployed, as well as the particularly important heterotopia of the fair, and the one subordinated to it − the heterotopia of the circus − two places that “are outside of all places” (Foucault), even though it may be possible to locate them in reality.

DE

Ausgehend von den Ansätzen zeitgenössischer Theoretiker wie jenen von Henri Lefebvre, Edward Soja, Michel Foucault, Gaston Beachelard u. a., wird der Roman Čudnovate zgode šegrta Hlapića [Wunderbare Reise des Schusterjungen Clapitsch] als „Straßenroman“ bzw. Variante des „raumorientierten Romans“ interpretiert. Dabei wird die durch die Verfasserin im Vorwort vorgenommene Gattungsdefinition des Textes als Erzählung berücksichtigt. Der Protagonist verlässt den sicheren Hafen seines Heimes, indem er die Hausschwelle übertritt. Gerade diese räumliche Miniatur, innerhalb der sich Hlapićs Auszug in die Welt vollzieht, dient sowohl als Ausgangspunkt der Geschichte wie auch als Eintrittspunkt für die Rezipienten in den Erzählraum des Romans. Der kleine Flaneur, der Vagabund Hlapić, der nach dem Raub seiner Stiefel zum Problemlöser wird, erobert auf seinem Weg den Raum mit unterschiedlichen Sinnen. Dabei nimmt er die vornehmlich positiven Merkmale ländlicher bzw. negativen Aspekte urbaner Landschaften wahr. Hlapićs Wanderung vollzieht sich durch einen unvermessenen, topographisch entleerten Raum, in dem sporadisch räumliche Bezugspunkte wie die Scheune, die Brücke oder der Steinbruch vorkommen. Darunter ist der Heterotopie des Jahrmarktes, sowie dem ihr untergeordneten Zirkus besonderer Stellenwert beigemessen, denn obgleich sie lokalisierbar sind, handelt es sich um „Orte außerhalb aller Orte“ (Foucault).