Thesis--Universität Hamburg. / Includes bibliographical references (p. 161-196) and index.

Thesis--Universität Hamburg. / Includes bibliographical references (p. 161-196) and index.

Esta dissertação propõe uma interpretação da trilogia do escritor húngaro, judeu e sobrevivente dos campos de concentração e extermínio nazistas, Imre Kertész, composta por Sem destino, O fiasco e Kadish Por uma criança não nascida. A trilogia traça um movimento que vai da afirmação à negação da linguagem literária, deixando transparecer a impossibilidade de transmissão da experiência do horror do Holocausto. A trilogia de Kertész desenvolve-se no entrelaçamento dos discursos da literatura, da memória e da história e constitui um conjunto de obras que busca insistentemente um meio de expressão do horror e da opressão absoluta. Mas a resistência da linguagem frente à experiência, faz com que a primeira se volte contra si mesma e tenda à aniquilação, ao desnudar sua condição impossível. Ao analisar as obras em conjunto, este trabalho procura mostrar que a trilogia de Kertész é propositiva, uma vez que ela busca uma linguagem própria que visa não apenas representar o horror, mas também trazê-lo para dentro da narrativa e repensar, a partir da linguagem, a permanência ou não do pensamento que produziu a barbárie. / This dissertation proposes an interpretation of the trilogy Fatelessness, A kurdac (The failure), and Kaddish for an unborn child, by Imre Kertész, a Hungarian writer, a Jew and a survivor of concentration and extermination Nazi camps. The trilogy outlines a motion undergone by the literary language, from assertion to denial, baring that transmitting the experience of the Holocausts horror is an impossibility. Kertészs trilogy develops in the intertwining of literary, memory and historical discourses and constitutes a set of works that urgently seek a means to express absolute horror and oppression. But as language resists when facing experience, it turns against itself and tends annihilation while revealing its impossible circumstance. Analyzing the works as an ensemble, this dissertation shows that Kertészs trilogy is purposeful, as it seeks its own language which intends not only to represent the horror, but also to bring it into the narrative and rethink, from the language itself, the permanence or not of the mindset that produced that inhumanity.

Esta dissertação propõe uma interpretação da trilogia do escritor húngaro, judeu e sobrevivente dos campos de concentração e extermínio nazistas, Imre Kertész, composta por Sem destino, O fiasco e Kadish Por uma criança não nascida. A trilogia traça um movimento que vai da afirmação à negação da linguagem literária, deixando transparecer a impossibilidade de transmissão da experiência do horror do Holocausto. A trilogia de Kertész desenvolve-se no entrelaçamento dos discursos da literatura, da memória e da história e constitui um conjunto de obras que busca insistentemente um meio de expressão do horror e da opressão absoluta. Mas a resistência da linguagem frente à experiência, faz com que a primeira se volte contra si mesma e tenda à aniquilação, ao desnudar sua condição impossível. Ao analisar as obras em conjunto, este trabalho procura mostrar que a trilogia de Kertész é propositiva, uma vez que ela busca uma linguagem própria que visa não apenas representar o horror, mas também trazê-lo para dentro da narrativa e repensar, a partir da linguagem, a permanência ou não do pensamento que produziu a barbárie. / This dissertation proposes an interpretation of the trilogy Fatelessness, A kurdac (The failure), and Kaddish for an unborn child, by Imre Kertész, a Hungarian writer, a Jew and a survivor of concentration and extermination Nazi camps. The trilogy outlines a motion undergone by the literary language, from assertion to denial, baring that transmitting the experience of the Holocausts horror is an impossibility. Kertészs trilogy develops in the intertwining of literary, memory and historical discourses and constitutes a set of works that urgently seek a means to express absolute horror and oppression. But as language resists when facing experience, it turns against itself and tends annihilation while revealing its impossible circumstance. Analyzing the works as an ensemble, this dissertation shows that Kertészs trilogy is purposeful, as it seeks its own language which intends not only to represent the horror, but also to bring it into the narrative and rethink, from the language itself, the permanence or not of the mindset that produced that inhumanity.

The diploma thesis deals with Czech-Hungarian translation difficulty, especially in the linguistic field. It covers the most frequent issues that a particular beginning translator confronts with when translating from Hungarian into Czech language. Working on concrete examples of contemporary translations (created after 2000), it provides a possible solution in terms of adequately transferring content and form of the original. The comparison of translational transformations is the subject in varios linguistic levels, starting from morphological to a syntactical level. Depending on the type of solution and transformation, the effects of these changes will be mentioned on a stylistic level. The thesis is designed as a guide for novice translators. Keywords: theory of translation, critique of translation, methods of translation, Hungarian literature, manual, Czech translation, Hungarian translation, linguistics

Mgr. et Mgr. Magdalena Garbacik-Balakowicz Filozofické souvislosti v literárním díle Sándora Máraiho The Philosophical Dimension of Sándor Márai's Work Školitel: PhDr. Evžen Gál, Ph.D. Abstract The present thesis explores the relationship between literature and philosophy in the works of a Hungarian prose writer Sándor Márai (1900-1989). The first chapter presents the methodology applied in the thesis. I discuss the main questions of hermeneutics as methodology of literary studies. As an example, I depict and critically reflect on three attempts to develop hermeneutics on a strictly literary academic ground - the approaches of Hans Robert Jauss (Aesthetic of Reception and his Literary Hermeneutics), Peter Szondi (Material Literary Hermeneutics), and Richard Palmer (A Hermeneutical Manifesto). In Hans Georg Gadamer's hermeneutics, however, I seek his propounded literary theory, i.e. Gadamer's approach to the interpretation of a literary work. On this basis I present the principles of the hermeneutic model of the analysis of literary texts that I will use to analyse Márai's work. Next part addresses the issue of the relationship between philosophy and literature. In a triple, thematically narrowing perspective, I deal with the relationship between literature and knowledge in general, then with the issue of...

<p>Pola veka nakon ukidanja apsolutizma je u mađarskoj književnosti bio period preporoda, razvoja građanstva, kada su &scaron;irom Mađarske osnivane nove institucije književnosti i naučnog života. U gimnazijama Bačke i Banata su posle 1867. godine omladinu poučavali visokoobrazovani profesori klasične filologije i književnosti, njihove studije sa tematikom iz istorije književnosti i kritičke recenzije dela su redovito objavljivane u &scaron;kolskim biltenima, a njihovi udžbenici i radovi namenjeni &scaron;iroj publici su bili dostupni i brojnijoj čitalačkoj publici. Pažnja nekolicine učenih profesora somborske i pančevačke gimnazije se tada okrenula prema srpskoj književnosti, nastao je ceo niz prevoda srpskih junačkih pesama i srpske romantične poezije, a pojavili su se i prvi tomovi mađarsko&ndash;srpskih rečnika. Prvi roman na mađarskom jeziku je objavljen 1868-e godine u Somboru, da bi se nakon toga do 1918-e razvijao i obogaćivao u sve čistijoj estetskoj formi. U lirici se 1880-ih godina javljaju atmosfera, doživljaj života i predela u Bačkoj i Banatu, dok autori istovremeno i naučnih i beletrističkih putopisa otkrivaju lepote i kulturnu ba&scaron;tinu zavičaja, pa i &scaron;ire: donjeg toka Dunava, Slavonije i Bosne. Mađarska književnost na&scaron;ih krajeva je u prvih pet decenija&nbsp;postojanja od početnih uspeha stigla do generacije Dežea Kostolanjija (Kosztol&aacute;nyi Dezső), čiji su članovi stvorili najveća dela mađarske književnosti XX veka.</p> / <p>The half century following the eradication of absolutism witnessed the renaissance of literature, the era of embourgeoisement, the time when the new literary and scientific institutions were established throughout Hungary. After 1867 young people in gymnasiums were taught by teachers erudite in classical philology and literature; their papers in literary history and analyses were regularly published in the school reports, and their school textbooks and studies written for the general public reached a wide circle of readers. It was at this time that the interest of a number of teachers in the gymnasiums in Zombor and Pancsova was aroused in Serbian literature; consequently, works of Serbian romantic poetry and heroic songs appeared in Hungarian translation one after the other, and the first Hungarian &ndash; Serbian dictionaries were compiled. The first Hungarian novel was published in Zombor in 1868, and was followed by several in aesthetically more and more purified form until 1918. Lyric poetry became imbued with the atmosphere, sensation of life and experience of the landscape of B&aacute;cska and B&aacute;n&aacute;t, while travelogues, scientific and literary at the same time, revealed the beauties and the cultural history of the homeland and beyond it of the Lower Danube Region, Slavonia and Bosnia. Within the span of fifty years Hungarian literature of our region developed from its initial successes as far as Dezső Kosztol&aacute;ny&rsquo;s generation whose members created works worthy of being ranked among the&nbsp;best works of 20th century Hungarian literature</p>

<p>Korpus književnih tekstova, književna<br />produkcija štampe u periodu od šest godina, njen<br />prikaz u celini, iziskivao je jedan širi<br />istorijski i kulturnoistorijski osvrt na<br />prethodni period. S jedne strane, u velikim crtama<br />su predočeni počeci manjinske mađarske štampe na<br />ovim prostorima u međuratnom razdoblju ,a s druge<br />strane prikazano je osnivanje listova i časopisa u<br />novoj socijalisti-čkoj državi. Predmet proučavanja<br />su činili sledeći listovi: subotički H&iacute;d,<br />pokrenut maja 1934. kao društve-ni, književni i<br />kritički časopis, koji je ponovo pokrenut 1.<br />novembra 1945. Po ugledu na Slobodnu Vojvodinu,<br />24. decembra 1944. pokrenut je prvi mađarski<br />dnevni list Szabad Vajdas&aacute;g, koji se od 27.<br />septembra 1945, objavljuje pod naslovom Magyar Sz&oacute;.<br />Omladinski list Ifjus&aacute;g Szava pojavio se 7. marta<br />1945, a od 17. marta 1951. objavljivan je kao Ifjus&aacute;g.<br />Oktobra 1946. pokrenut je list za žene Vajdas&aacute;gi Dolgoz&oacute; Nő koji posle šest brojeva menja naziv u</p><p>Dolgoz&oacute; Nő. Pored ovih izlazila su još dva<br />nedeljnika: 5. aprila 1946. pokrenut je 7 Nap, a 13.<br />novembra 1947. radnički list Dolgoz&oacute;k.<br />Prva vojvođanska mađarska knjiga iz oblasti<br />književnosti , antologija T&eacute;gl&aacute;k &eacute;s bar&aacute;zd&aacute;k (Cigle<br />i brazde), pojavila se 1947. godine. Mada su knjige<br />na mađarskom jeziku izlazile već od 1945, one su<br />bile mahom društveno-političke brošure u<br />službi aktualne politike i vladajuće ideologije.<br />U vrlo važna izdanja posle 1945. spadaju narodni<br />kalendari koji su štampani uvek krajem godine za<br />narednu godinu, a donosili su obilje književnih<br />priloga: pesme, novele, pripovetke i to u vreme<br />kada jedva da je bilo objavljenih mađarskih<br />književnih tekstova vojvođanskih pisaca. Ove<br />periodične publikacije su objavljivane u vrlo<br />velikom tiražu, (npr. Narodni kalendar za 1948. u<br />75000 primeraka), a često su imale i drugo izdanje,<br />što znači da su dospeli do širokih slojeva<br />čitalačke publike. U korpus tekstova uključeni su<br />i svi književni tekstovi iz kalendara do 1952.<br />godine.<br />U vidu priloga, sastavni deo disertacije<br />čine Bibliografija književnih priloga u<br />periodici i Bibliografija posebnih izdanja. Pored<br />toga, urađen je i Biografski leksikon pisaca koji se<br />spominju u radu.<br />Rezultali istraživanja i proučavanja ukazuju<br />na to da je u periodu 1947-1952 najvažnija<br />pokretačka snaga bila politika i propaganda, i da<br />je od njih zavisila uređivačka koncepcija listova i<br />časopisa. Naime, što je bilo više problema u<br />politici i spoljnoj politici, sve je bilo manje<br />književnih priloga u listovima. Politička<br />propaganda je bila skoro najvažnija, jer je<br />određivala tematiku književnog teksta, da li ona<br />odgovara očekivanoj ili preporučenoj temi. Od<br />stranih pisaca najviše su se objavljivani ruski, i<br />skoro u svakom članku ili kritičkom osvrtu preporučivala se ruska literatura kao uzor koji treba slediti. Znakovi promene modu se primetiti tokom 1951-1952. godine.U poslednje dve godine proučavanog perioda mnogo</p><p>je više književnih priloga u listovaima, teme su<br />raznovrsnije i čini se da je književnost manje<br />izložena dnevnoj politici, ali ona još uvek deluje<br />iz pozadine kao i ranije, a mnogi pisci još uvek su<br />zatočeni na Golom otoku.</p>

The aim of this thesis is to map and analyse literature written by authors with a Hungarian-language background who moved to Sweden between 1945 and 2015, and who have published literary works in book format. From the perspective of the sociology of literature, this thesis focuses on publishing channels and possibilities, the authors’ and their works places in the literary value system and feed-back in the form of reviews, but also choice of language, theme, and genre. The approach of the research for this thesis is new in Hungarian and Swedish literary studies, as the literary works are analysed irrespective of the language in which they are written. The research corpus consists of both Hungarian and Swedish literary works and one book in English. The second chapter presents the research that Hungarian researchers have conducted on Hungarian migration literature and offers an overview of the questions and results arising from this research. The authors with a Hungarian-language background in Sweden were divided into four groups, based on the time of their migration to Sweden. Four chapters, which comprise the analytic part of the thesis, present and analyse the author groups and their literary activities regarding language, purpose of any code-switching, chosen theme, and genre. The first group consists of authors who migrated to Sweden during the decade after the Second World War (1945–1955). The second group came between 1956 and 1958 in the aftermath of the Hungarian Revolution of 1956. The third group consists of Hungarians who moved to Sweden during the communist era, between 1959 and 1989. Finally, the fourth group came after the fall of communism (1990–2015). As many as half of the authors chose either Hungarian or Swedish as their language and there are surprisingly few authors working in both languages. The publishing channels depend on the literary works language and theme, and only half of the books have been published at established publishers. The literary works of these authors are categorized as Swedish-Hungarian migration literature. Literary history works until now have neglected these type of literatures, but it is imperative that the study of literature finds a way to acknowledge, include, position, and group them.