Rezümékötet 2008. - vmtdk

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152 H U M Á N T U D O M Á N Y O K THE MUSIC AS A MEDIUM IN NOVELS OF GÉZA CSÁTH Author: Márta HUSZKA master studies Supervisor: Dr Éva HÓZSA professor Institution: Hungarian Language Teacher Training Faculty, Subotica In this exercise I treat with an up-to-date and wide-spreading problematic of literature and this is medialization. Mediums mediate between people and the world, we do not face with reality directly, and there is not an empty space between us. We can not pass by this problem, because the social development is strongly connected to the development and changing of mediums (medial turns). Making theories connected to this problem had been started in the area of every cultural study, and because of this there are new perspectives in literature, in interpretation of texts, because they are not anymore complexes, but always variable streams. The communication is more intensive between disciplines, what demonstrate the psychoanalyst theory of language. He said that we perceive things on the level of imaginary; we fill in the poverty of real things with linguistic symbols. We can not face with the real, because then everything would be on his own place, we would reach the end of desire. And that is that when we meet with an artwork, or when we dream; dreams show us what we hide in our subconscious mind. Subconscious is more then what imaginary could imagine; it has his own language, what we can not resolve. Géza Csáth intensifies the emotional impression, mood with music in his novels. When we read these texts, we can not choose if the musical inset is the part of the text, or the text is the part of the music. We can see this in the novel of „Vernal overture”, where the music generates the story. By this we can not classify this novels, he generate an original phraseology, which is not merely musical, not merely literary, which phraseology makes Géza Csáth the one of the biggest writer of the 20 th century. Keywords: medialization, Lacan, Csáth, music V I I . V A J D A S Á G I M A G Y A R T U D O M Á
H U M Á N T U D O M Á N Y O K MUZIKA KAO MEDIJ U NOVELIMA GEZE ÈATA Autor: Marta HUSKA student na masteru Mentor: Dr Eva HOŽA profesor Institucija: Univerzitet u Novom Sadu, Uèiteljski fakultet na maðarskom nastavnom jeziku, Subotica U ovom radu bavim se važnom i savremenom problematikom u književnosti, a to je medijalnost. Reè medij i medijalnost znaèe posrednik, posredovati. Izmeðu èoveka i njegovog sveta postoji posredovanje, ovaj prostor nije prazan, stvari se ne suoèavaju direktno. Ovu problematiku ne možemo ostaviti na stranu jer razvoj društva usko je povezan sa napredovanjem medija (medijalni preokreti). U svim društvenim/kulturalnim naukama su poèeli da formiraju teorije u okviru ove problematike, i zbog toga su u književnosti otvorene nove perspektive u interpretaciji tekstova, jer ih više ne smatramo zakljuèanim jedinicama, nego kao jedan promenljivi tok. Pojaèala se komunikacija izmeðu nauènih disciplina što dokazuje i psihoanalitièna teorija jezika Žaka Lakana. Po njegovom mišljenju život i stvari opažamo na imaginarnom nivou, nedostatak realnih stvari ispunjavamo jezièkim simbolima. Sa realnim, stvarnim stvarima se ne možemo sresti jer stvari bi došle na svoje mesto, stigli bismo do prestanka èežnje. Ista je situacija kada imamo posla sa umetnièkim delom, ili kad sanjamo, jer snovi nam pokazuju šta se krije u našoj podsvesti. Podsvest je složenija od imaginarnog, ima svoj jezik, što mi ne možemo razumeti. Geza Èat je u svojim novelama posredstvom muzike pojaèao emocionalne uticaje i raspoloženja. Èitajuæi ove tekstove teško je razluèiti da li je muzièki nanos sastavni deo teksta, ili tekst je deo muzike. To možemo videti u noveli „Proleæna uvertira”, gde muzièka partitura konstruira prièu. Zbog toga ni u jednu kategoriju ne možemo uvrstiti njegove novele, on je stvorio specifiènu dikciju koja nije ni samo muzièna ni samo književna, i zbog toga možemo reæi da je Geza Èat jedan od najveæih pisaca XX. veka. Kljuène reèi: medijalnost, Lakan, realna, imaginarna, Èat, muzika N Y O S D I Á K K Ö R I K O N F E R E N C I A 153
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