A bold new collection of the writings of Miroslav Krleza, in English for the first time Miroslav Krleza was a giant of Yugoslav literature, yet remarkably little of his writing has appeared in ...English. In a body of work that spans more than five dozen books, including novels, short stories, plays, poetry, and essays, Krleza steadfastly pursued a radical humanism and artistic integrity. Harbors Rich in Ships gives English-speaking readers an unprecedented opportunity to appreciate the astonishing breadth of Krleza's literary creations. Beautifully translated by Zeljko Cipris, this collection of seven representative early texts introduces a new audience to three stories from Krleza's renowned antimilitarist book, The Croatian God Mars; an autobiographical sketch; a one-act play; a story from his collection of short stories; One Thousand and One Deaths; and his signature drama, The Glembays, a satirical account of the crime-ridden origins of one of Zageb's most aristocratic families. Born in 1893 Zagreb, then a city in the Austro-Hungarian Empire, Miroslav Krleza died in 1981 Zagreb, after it had become part of Croatia, a republic in socialist Yugoslavia. He was educated in military academies that served the Hapsburg monarchy, however, after fighting on the Eastern Front during the First World War, he was sickened by the War's lethal nationalism and became a fervent anti-militarist. Krleza joined the Communist Party of Yugoslavia in 1918, but his opposition to Stalin's artistic dictum of social realism, as well as his refusal to support Stalin's purges, led to his expulsion from the Party in 1939. He nevertheless helped found several literary and political journals, and became a driving force in Yugoslavia's literature. This collection will help readers of all interests and ages see just why Krleza is considered among the best of the literary moderns.
A bold new collection of the writings of Miroslav Krleža, in English for the first timeMiroslav Krleža was a giant of Yugoslav literature, yet remarkably little of his writing has appeared in ...English. In a body of work that spans more than five dozen books, including novels, short stories, plays, poetry, and essays, Krleža steadfastly pursued a radical humanism and artistic integrity.Harbors Rich in Shipsgives English-speaking readers an unprecedented opportunity to appreciate the astonishing breadth of Krleža's literary creations. Beautifully translated by Željko Cipriš, this collection of seven representative early texts introduces a new audience to three stories from Krleža's renowned antimilitarist book,The Croatian God Mars; an autobiographical sketch; a one-act play; a story from his collection of short stories;One Thousand and One Deaths; and his signature drama,The Glembays, a satirical account of the crime-ridden origins of one of Zageb's most aristocratic families.Born in 1893 Zagreb, then a city in the Austro-Hungarian Empire, Miroslav Krleža died in 1981 Zagreb, after it had become part of Croatia, a republic in socialist Yugoslavia. He was educated in military academies that served the Hapsburg monarchy, however, after fighting on the Eastern Front during the First World War, he was sickened by the War's lethal nationalism and became a fervent anti-militarist. Krleža joined the Communist Party of Yugoslavia in 1918, but his opposition to Stalin's artistic dictum of social realism, as well as his refusal to support Stalin's purges, led to his expulsion from the Party in 1939. He nevertheless helped found several literary and political journals, and became a driving force in Yugoslavia's literature.This collection will help readers of all interests and ages see just why Krleža is considered among the best of the literary moderns.
Over three centuries, some Croatian regions were in the geopolitical situation which could be qualified as between “the devil and the deep sea”, as far as they were under Venetian and Ottoman ...domination. In literature, the Ottoman occupation was a very fertile thematic field. Four major Croatian writers: Marko Marulić (16th century), Ivan Djivo Gundulić (17th), Ivan Mažuranić (19th) and Miroslav Krleža (20th) fictionalised the Ottoman topics. Hereby, we propose to study phenomena of transposition, i.e. shifting and sliding of historical items in the process of their aesthetic realisation. Why the literary transposition is contemporary to events by which it was inspired only in the case of Marulić and to some extent in the case of Gundulić? Why Gundulić and Mažuranić displaced the fictional topics of their epic poems Osman and The Death of Smail-Aga Čengić far from Croatian countries. Why Krleža used the form of ballads to treat this subject? What role the Christian Occident was supposed to play in four oeuvres? Did the literary transcription of fight against Ottomans contribute in the building of identity imaginary of Croatians.
The comparative analysis of the Ady poem "Sírni, sírni, sírni" and the Krleža poem "Tužaljka nad crkvom" convincingly proves the paraphrasic character of the latter and thus the creative reception of ...the poem of Ady. With the comparative investigation of the motif world and the linguistic archaisms of Ady and Krleža, the facts of the Ady reception, which are everywhere present in the Kerempuh ballads, are made visible.
Durch die komparatistische Untersuchung des Ady-Gedichtes "Sírni, sírni, sírni" und des Krleža-Gedichtes "Tužaljka nad crkvom" kann man den Paraphrasencharakter des letzteren und damit die kreative Rezeption des Ady-Gedichtes überzeugend beweisen. Mit der komparatistischen Untersuchung der Motivwelt und der sprachlichen Archaismen Adys und Krležas sind die in den Kerempuh-Balladen überall vorhandenen Tatsachen der Ady-Rezeption sichtbar gemacht.
Les représentations des Ottomans dans la littérature croate chez Marko Marulić (XVIe s.), Ivan Djivo Gundulić (XVIIe s.), Ivan Mažuranić (XIXe s.) et Miroslav Krleža (XXe s.). Pendant trois siècles, ...certaines régions croates se trouvaient dans une position géopolitique très fragile, entre « le marteau et l’enclume », en l’occurrence entre la Sérénissime et la Sublime Porte. Dans la littérature, l’occupation ottomane est un très fécond filon thématique, l’un des topoï de l’histoire littéraire croate. Pour examiner les représentations des Ottomans dans la littérature, notre corpus comprend quatre écrivains majeurs : Marko Marulić, Ivan Djivo Gundulić , Ivan Mažuranić et Miroslav Krleža. Notre communication se propose d’étudier les déplacements, les écarts et les glissements entre les données de l’histoire événementielle et le processus de leur esthétisation. Pourquoi la transposition littéraire n’est-elle contemporaine aux événements qui l’inspirent que dans le cas de Marulić, et, dans une moindre mesure, de Gundulić ? Pourquoi Gundulić et Mažuranić devaient-ils déplacer loin des contrées croates le lieu de l’action de leurs épopées Osman et La mort de Smail-Aga Čengić ? Pourquoi Krleža a-t-il abordé le sujet sous forme de ballades ? Quel est le rôle attribué à l’Occident chrétien dans les quatre œuvres étudiées ? La transcription littéraire de la lutte contre les Ottomans devait-elle prendre part dans la construction de l’imaginaire identitaire national ?Over three centuries, some Croatian regions were in the geopolitical situation which could be qualified as between “the devil and the deep sea”, as far as they were under Venetian and Ottoman domination. In literature, the Ottoman occupation was a very fertile thematic field. Four major Croatian writers: Marko Marulić (16th century), Ivan Djivo Gundulić (17th), Ivan Mažuranić (19th) and Miroslav Krleža (20th) fictionalised the Ottoman topics. Hereby, we propose to study phenomena of transposition, i.e. shifting and sliding of historical items in the process of their aesthetic realisation. Why the literary transposition is contemporary to events by which it was inspired only in the case of Marulić and to some extent in the case of Gundulić? Why Gundulić and Mažuranić displaced the fictional topics of their epic poems Osman and The Death of Smail-Aga Čengić far from Croatian countries. Why Krleža used the form of ballads to treat this subject? What role the Christian Occident was supposed to play in four oeuvres? Did the literary transcription of fight against Ottomans contribute in the building of identity imaginary of Croatians.
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Abstract
Ideological expectations coupled with opportunism, personal advancement, friendship, and the political and ideological
loyalties held by those who served as patrons for publishing ...translations were the factors that informed decisions about what would be
translated in the Cold War years between 1945 and 1989. This article considers the choices made by publishers Frederick A. Praeger, Harcourt
Brace Jovanovich, and Vanguard Press when publishing the fiction and non-fiction of Milovan Djilas and Miroslav Krleža, writers from Yugoslavia.
The backstories behind the publishing of the translations lie at the intersection of the public and private spheres of culture, and
demonstrate how ideological agendas interlace with personal bonds, loyalties, aspirations, and ambitions.
This paper investigates the translation of pejoratives referring to persons. The corpus is comprised of literary dialogues in the collection of short stories about the First World War by Miroslav ...Krleža. The dialogues describe the relationship between officers and soldiers. Soldiers are not well prepared for the war and are the trigger of officers’ anger. Therefore, the dialogues are rich with emotionally loaded outbursts resulting in swearwords. Swearwords relate to the intellect and skills of soldiers, and can be divided into absolute and relative pejoratives. Absolute pejoratives refer to the words that carry the negative meaning as the basis, whereas relative pejoratives are those that gain the negative meaning in a certain context. They derive from names of occupations and zoonyms. The analysis comprises the emotional embedment of swearwords, their metaphoric character and the strategies of translation from the Croatian into the German language.
The paper A Balkan-Universal dystopia - Miroslav Krleza, Banquet in Blithuania analyzes an imaginary demonstrative space, the Blithuania, speaking about the dictator typology and about the ...dictatorship in tonalities of political satire. The novel-essay Banquet in Blithuania by the Croatian writer Miroslav Krleza is the last part of the trilogy of the human condition (moral, esthetical); the two others - The Return of Philip Latinovicz (the status of the total artist) and On the Edge of Reason (the moral condition of the artist suffocated by the social hypocrisy). The signification of the title sends to an anthropological symbolization of the word 'banquet', because it's not about the conviviality, but about a perpetual ritual of dominance in the power field, supposing an abhorrence for liberty, for individual choices, for broadmindedness. The imaginary space built by the Croatian writer transcends a geographical space, curdling the Balkans, the Central Europe and the Occident. PUBLICATION ABSTRACT
Dans l’étude de la réintégration des galicismes de Krleža au niveau stylistique en traduction française de ses œuvres nous avons analysé les galicismes stylogéniques et les causes d’obstacles à leur ...réintégration: les contraintes causées par les différences entre les systèmes morphosyntaxiques de deux langues, la relativité de la signification des mots, les statuts linguistiques différents des mots, la discontinuité diachronique, l’influence de la langue intermédiaire et la liberté de traduction. Au niveau phonostylistique nous avons détecté que l’auteur a utilisé dans un de ses romans un nom propre dans la forme transcriptionnelle d’après la prononciation française de ce nom pour obtenir de la couleur locale (Öžen).Dans la traduction française, l’effet par évocation correspondant n’a pas été atteint parce que le nom Eugène en français ne porte pas de note stylistique. Au niveau morphologique, nous avons trouvé un cas où le galicisme ayant des nuances stylistiques dans la forme augmentative (naivčina) n’était pas réintégré à cause des limitations du système morphologique français, donc la traduction excluait la transmission de la valeur expressive exprimée par ce galicisme. Au niveau sémantique, nous avons analysé l’utilisation des emprunts français, adaptés et inadaptés, pour obtenir l’effet par évocation, c’est-à-dire caractériser des personnages appartenant à une classe supérieure de la société (par ex. kuzina, attituda). Dans la traduction française ces mots perdent leur valeur expressive. Certains gallicismes stylogéniques ne sont pas réintégrés en français en raison de la différence de statut linguistique entre le modèle et la réplique (par ex. pisoar) ou en raison de la discontinuité diacronique (par ex. hazarder). Dans le corpus, nous avons également trouvé quelques exemples de figures de style qui n’ont pas été réintégrées en français pour des raisons sémantiques (par exemple, le changement de signification du mot kulisa utilisé dans le sens métaphorique) ou à cause de la méthode en traduction (par exemple, la négligence de répétition stylistique du mot kušovati). Les résultats de la recherche montrent de nombreux obstacles à la réintégration, et c’est seulement en analysant les causes de ces obstacles qu’on obtient des indications précieuses sur le niveau d’ajustement des emprunts au nouvel environnement linguistique et sur le degré de distance par rapport à la langue prêteuse. En d’autres mots, une analyse des emprunts conduite seulement dans la langue emprunteuse ne permet pas d’acquérir pleinement la connaissance de l’étendue des changements que les emprunts subissent en adaptant à une langue étrangère. C’était le but de cette étude-ci.
PDF
