Madách Könyvtár – Új Folyam 95

Madách Könyvtár – Új folyam 95. Zsuzsanna Máté Sorozatszerkesztő: Andor Csaba Transformations of Literary Texts (Comparative and Hermeneutic Studies on the Intertextual and Intermedial Relations in Some Major Works of Dante, Publication of this book was made possible Imre Madách and Béla Balázs) with the support of the Academic Advisory Board of the Szeged Foundation and the Academic Grant of University of Szeged Juhász Gyula Faculty of Education Proofreading by Emőke Varga Zsuzsanna Máté Transformations of Literary Texts (Comparative and Hermeneutic Studies on the © Zsuzsanna Máté Intertextual and Intermedial Relations in Some Major Works of Dante, Imre Madách and Béla Balázs) Published in Budapest, in 2016. Publisher: Bene Zoltán. Technical editor, cover: Csaba Andor Madách Irodalmi Társaság Szeged ISBN 978-615-5462-14-6 2016 ISSN 1219–4042 CONTENTS PREFACE .......................................................................................... 7 PART I ............................................................................................. 13 1 On the Transformation of Imre Madách‘s Dramatic Poem The Tragedy of Man ..................................... 13 2 Modalities of Existence of The Tragedy of Man in Music .... 47 3 The Tragedy of Man and Animated Movies .......................... 62 4 The Tragedy of Man as the Creator of Interartistic Relations ......................................................... 91 PART II On Dante‘ Commedia and Madách‘s The Tragedy of Man – From a Comparative Research Perspective ................................................. 105 PART III On the Contextual, Intertextual and Intermedial Network of Relations in Bluebeard Stories (Béla Balázs – Béla Bartók – János Kass – Péter Esterházy) ........................................................................................ 119 EPILOGUE ..................................................................................... 154 REFERENCES ................................................................................ 159 5 chapter, I aim to question the secret of the appeal in The Tragedy of Man. I shall describe the hermeneutic and aesthetic features in the first place PREFACE that make it a particularly prolific premedium within its intertextual and intermedial relations. In the second half of the book I shall undertake to carry out a partial comparison of Dante‘s Divine Comedy and Madách‘s The overall goal of the studies in this book is the existence of literary Tragedy with the help of Madách‘s literature. Then, as a new texts within each other yet in an independent manner. Among the perspective, I shall depict the prevalence of the common formative objectives there is also some (by means of language, images and principle. In the end, I shall compare the interartistic transfer tendencies musicality) intertextual and intermedial coexistence of the literary text, of the two grandiose literary texts in Hungary. As for the third part, I its related completion of meaning, and the comparative analysis of some shall analyze some highlighted Hungarian 20th century pieces from the works of art selected. 300-year corpus of Bluebeard narratives, within the intermediality of In the first part of the book I shall put Imre Madách‘s dramatic poem text-image-music. Perrault‘s 17th century tale Bluebeard intertextually titled The Tragedy of Man into the centre of attention. I am at studying converted into a text living on in the 20th century Bluebeard stories, thus the changes of the literary work of art having taken place within various among others in Béla Balázs‘s mystery play and in the short story of branches of art, including its inspiring nature, adaptations, further Péter Esterházy. Besides exploring its intertextual and contextual thoughts and transformations, which, compared to other works of relations, I shall compare Béla Balázs‘s mystery play with Bartók‘s Hungarian literature, lived on in the forms of diverse works of art in the opera shortening it and using it as a script, and the illustration series of past one and a half century. And actually this is what makes it special. János Kass, revealing relations of intermediality and processes of However, the number of various works of art in which any meaning-constitution. transformations of this work of art has occurred is immeasurable. All chapters concentrate on, apart from the study of some Without being exhaustive, I am presenting this abundance by collecting intertextual and intermedial connections of exact literary texts and the works of art created in various branches of art. At the same time, I introduction of a few medial convergences, the hermeneutic and intend to highlight the two ranges of change in Madách‘s text located aesthetic features. Thus, in comparisons, I consider the same motive, the closest to the text. Such are the illustrations almost as old as the symbolism, identical themes, narratives, formative principles, text (from Mór Than to contemporary fine arts), and the largest set of philosophy and the intersections of enwreathing of image-text-sound as intermedial networking of connections, namely theatrical adaptations a point of contact. Analyses dealing with the intertwining of (from Ede Paulay to the contemporary direction of Attila Vidnyánszky). communicative channels primarily emphasize the meaning- As for the second chapter, I shall deal with the so far uncultivated field transformative and meaning-constituting processes in literary texts, of musical transformations, from cantatas of Lajos Bárdos or Ernő from the aspect of hermeneutic activity and aesthetic way of existence in Dohnányi, as well as the opera adaptation of György Ránki. Also, as a works of art. novel approach, in the third chapter I plan to provide a demonstration According to Gadamer, the hermeneutic activity is universal. of the Tragedy‘s intermediality to complete meanings in the ―seven and However, hermeneutics do not possess a comprehensive theoretical a halfth‖ branch of art, the inspiring impact in János Kass‘s animated system.1 Just as Gadamer‘s hermeneutics offer neither a strategy of movie, and the animated movie of Marcell Jankovics, stressing out the modalities of autonomy within the adaptation. Finally, in the closing 1GADAMER 1984. 11. 7 8 interpretation nor a method,2 but instead, it examines the nature of music.6 This is true. Nevertheless, apart from acknowledging this, for comprehension and interpretation.3 The hermeneutic activity is the most man, perceivable existence and human universe are mediated from the fundamental among all human life activities, and its universal aspect aspect of language in the first place, since it relies on the internal lies, according to Gadamer, in Augustine‘s ―verbum interius‖. oneness of word and object.7 Therefore, understanding something, ―Universality stems from the internal language, from the very fact that such as mediating the perception of works of art is articulated in the not everything can be explained and expressed.‖ We are unable to form of language in the first place. Yet it must be emphasized that as express all that is to be found within the soul by means of the language per Gottfried Boehm, hermeneutics has always recognized spaces with a sense. This absurdity of expression, as an ―internal word‖ makes outside of speech in communication, nevertheless language has still hermeneutics universal.4 In this way, hermeneutic speech, a discourse managed to appear as such a reflexive medium that ―hardly no on a given issue can always be conducted and continued, including attempts have been made to create the hermeneutics of a non-verbal topics such as history, human existence, human individuals, art or any expression.‖8 entities apprehensible by experience. The above process can be pursued As such, a work of art is comprehension in itself. Since the age of throughout a whole life, or even spanning centuries, as the things to be Dilthey, as Gadamer points out, art has been ―the organon of uttered will always remain unutterable, thus the discourse will end up apprehending life.‖9 All works of art mediate this apprehension of life being interminable. using a medial and peculiar formative language in a characteristic In Gadamer‘s interpretation, too, starting from Heidegger, manner (visual and/or verbal and/or auditive). In the case of perception is no longer one of the many relations of human thinking, but apprehending apprehension, thus comprehending the work of art, the ―the basic orientation of human existence in the present‖.5 Gadamer only measure of interpretation is its meaning content, thus what the claims that apprehension of human universe for man primarily artwork ―meant‖.10 In order to accomplish this, we get closer to it by articulates in the form of language. At the same time, comprehension is means of a dialogue conducted with the work of art, in the dialectics a more extensive phenomenon, a ―pre-language and post-language of a ―question – answer‖.11 However, the correspondence of sense experience, too‖, as emphasized by Miklós Almási, as we can apprehended is constantly expanded toward the direction of the apprehend things not mediated by words, for instance in fine arts or ―differently apprehending‖ of the already apprehended, as ―apprehension is not merely a reproductive, but always creative 6 ALMÁSI 1992. 163. 2BOEHM 1993. 87. Plessner is of the same opinion, too, as he claims that there exist ways of expression 3GADAMER 1984. 11–13. which language is incapable of mediating and comprehending with its own tools. Also,

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