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Moritz Benjowsky – ein (mittel)europäischer Held

Materialien der internationalen wissenschaftlichen Konferenz, Wien, 22.–26. Mai 2019


Edited By Alois Woldan and Katalin Blaskó

Die Beiträge dieses Bandes untersuchen das große Erbe, das der Abenteurer und Weltreisende Moritz Benjowsky (1741–1786) in Literatur, Theater und Film vieler europäischer Kulturen hinterlassen hat. Benjowsky ist Autor berühmter Memoiren und Held literarischer Werke in einem. Die Autoren dieses Bandes analysieren Werke über Benjowsky in deutscher, ungarischer, polnischer, slowakischer und russischer Sprache vom 18. bis zum 20. Jahrhundert, sie untersuchen die Verflechtungen innerhalb dieser Texte und die Bedingungen ihrer Entstehung. Sie zeigen, wie in diesen Texten ein Mythos von Benjowsky geschaffen wird, der auch als nationaler Erinnerungsort von Bedeutung ist. Ethnische Stereotypen in diesen Texten werden aufgezeigt, koloniale Mythen dekonstruiert.

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Vivat Beňovský! Moritz Benjowsky im Film

Anikó Dušíková, Jozef Tancer (Bratislava)


Für Dagmar Košťálová,

zu ihrem 70. Geburtstag

Abstract: Our article is dedicated to the TV series Vivat Beňovský!, which despite its popularity has so far been ignored by the strongly biographically oriented Benjowsky research in Slovakia. Vivat Beňovský! was the first TV series produced in Bratislava by the Slovak Television as a joint international co-production with the Hungarian Television between 1973 and 1974. It was also the largest, most expensive, and most technically complex television series in Czechoslovakia at the time. Our interpretation of the TV series is made from two perspectives: within the context of the literary treatment of Benjowsky´s live and works since his biography was first published at the end of the 18th century and in connection with the process of using television as a tool for nation building in Czechoslovakia where the communist regime used the TV series cult as an effective instrument for the so-called normalization of society as of autumn 1968 resp. 1970.

To do so we first offer a reinterpretation of Benjowsky’s Slovak-Hungarian fiction from the perspective of gender roles and then secondly focus on how the audience reacts to and receives the TV series within this context. We claim that the tension prevailing in the relationship between the two main male characters of the TV series, Benjowsky and Omachel, is rooted in a suppressed homoerotic subtext or an ambivalent physicality of the characters which can be seen as a continuation of...

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