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Going along the trace of the essay, the lecture outlines the thesis of the 20th century socialist literature well-known to Attila Jozsef and influencing his poetry, dealing with the woman’s estimation, her duties, her situation that being attached to certain ties of the European cultural history starting from the thesis of Martin Luther through the texts of August Bebel and Max Beer finally penetrate into the Freudian psychoanalysis.
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The study is part of a bigger research, the subject of which is the presence of literature in the Hungarian nationality papers of the new state, Yugoslavia, in the period between 1947−1952. The work deals with the writings of Vojvodinan, Southern Slav, Hungarian and other foreign authors and poets appeared at the time of Christmas 1944 in the Magyar Szó formed from the Hungarian-speaking Szabad Vajdaság, respectively with the frequency of their appearance and its circumstances, with the reasons and background of the changes. In the examined era the political situation and the propaganda of the new state had considerably impact on everything, consequently on selection of the literary texts: the literary texts published had been essentially sorted according to such aspects. From the foreign authors primarily the works of the Soviet-Russian authors can be read. The Hungarian and Southern Slav authors are also present in the paper, and although gradually, but do appear the local Hungarian authors as well, the young authors, poets and the ones who have any sort of literary past.
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In Anton Straka’s black diary, beside Lőrinc Szabó György Sárközi is also mentioned on the same attendance sheet with the authors of poems being recited on culture nights. The linkage of Lőrinc Szabó to the Friday nights and his participation is evident, but how was György Sárközi engaged to these occasions and what role did he play there? How was Lőrinc Szabó’s and György Sárközi’s former career set up, and what was their relation to each other like? The name of Lőrinc Szabó and György Sárközi are not only connected by the memories of the culture nights. Their career practically started at the same time. They were inspiring, competitive, eternal debating partners for each other. One moment of which effectively and authentically snatched it was Lőrinc Szabó’s poem entitled A bazilikában zúg a harang [The bell rings in the basilica]. In the endeavours of the author generation arising after the big war, they found an ally in each other. This is traceable in their active participation in the generation debate continued with Babits, respectively their joint action in the journal. Although the era did not leave their friendship untouched (Jew issue) and later the act of cruelty of the succeeding generations (Lőrinc Szabó’s lawsuit), their publicistic writings are evidence of following closely the other’s career, the peer review, and of solidarity lying close behind the lines and tone. By utilising the evidences of personal documents and correspondences, the present study makes an attempt at outlining György Sárközi’s participation on Friday nights, respectively his relation to Lőrinc Szabó and their career start, by inviting the reader to further researches.
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For reasons of space, only the first third of a bigger history of literary criticism dissertation appears here, which walks around, from the middle 18th towards the beginning of the 20th centuries the questions in which era what was considered bad poetry in the European and Hungarian literatures. While, starting from Horatius through Winckelmann and Wieland, to the end of the 18th century the big masters and poetical rules were merely underrated as emulating the formalities, so called “apes”, from the beginning of the 19th century, in the spirit of the originality program elaborated by Edward Young, practically all kind of text linkage turned out to be imitation, and consequently so, bad poetry. In the 1830s, at the same time with the vulgarization of the concept of authenticity, spread the attribute epigone, employed for the imitating poets. At the end of the 1850s, János Arany outlined in his study entitled Zrinyi and Tasso, which can be defined as ars poetica as well, the theory of text contacts in the modern sense, on the basis of which the question of originality and imitation proved to be irrelevant. At this time revived the question that Goethe and Schiller drew up in a sketch at the end of the 18th century: in so far as there are imitating, but good and original, but bad poets, then which are the poetical criteria of bad poetry. From the texts of the secondary poets János Arany and János Erdélyi created the catalogue of the toolbar, mistakes of bad poetry, practically in a unique way in the Hungarian literature. The dilettante concept introduced by Goethe and Schiller from the 1860s until the turn of the century spread gradually, in several phases, and started to represent the professional, but not the top-rank artist.
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The study is actually the expose of the doctoral dissertation entitled Intermedial correspondence between text and illustration in “children’s prose” by Éva Janikovszky. The defense of the dissertation took place on 8 July 2015 at the University of Novi Sad, Faculty of Philosophy, Department of Hungarian Language and Literature. The present paper summarizes the results of the study, with especial regard to the jointly created “picturebook” of the authors Janikovszky–Réber; respectively it provides an outlook to the afterlife of Éva Janikovszky’s illustrated texts.
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The study provides one of the most important sections of Dezső Kosztolányi’s biography: the story of his love with Hedda Lányi. To outline the issue, it was necessary to talk about the cultural role of the Lányi-family – with especial regard onto the musical life in Subotica–, since this also means a connecting link between the members of the Lányi-, Kosztolányi, and the Brenner families. After getting acquainted with each other, Dezső Kosztolányi entered into intensive correspondence with Hedda Lányi. This correspondence became the main source of the biographical episode, respectively Hedda Lányi’s diary, published by Zoltán Dér. The study also dwells on Kosztolányi’s life during the time of love: on the everyday life of the bohemian journalist from Budapest. Besides this, his first Parisian journey is also mentioned – likewise from this period –, in the course of which he planned to meet Rainer Maria Rilke. The love he had for Hedda Lányi after all ended in great disagreement, and also the families quarrelled with each other. The description of the biographical episode is based on the results of philological basic researches.
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After Hofmannsthal’s biographical researches with a new approach, the paper raises the problems of the Austrian author’s places, and the new viewpoints of the discourse from the end of the Monarchy. The volume of Wilhelm Hemecker, Konrad Heumann and Claudia Bamberg entitled Hofmannsthal. Orte (2014) serves as a starting point to the approach of the oeuvre in the 21st century to highlight the places that become subjective and the position of things. The differentiation of the places, their intimacy and context, provide an opportunity to the reinterpretation of the contact between the pseudonym and the mask, respectively to the examination of some text places. The study touches upon the Hungarian parallels, mainly the Hofmannsthal interpretations of Mihály Babits and Dezső Kosztolányi, and some approaches from Vojvodina. By the choice of the subject, the author recollects the memories of the literary historian Zoltán Kanyó (1940–1985), former tutor of the University of Szeged.
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After the Second World War, the middle class Dezső Kosztolányi (1885–1936) was not merely excluded from the leftist Híd (Bridge) (until 1953), but from the Ifjúság (Youth) (until 1955) as well. As Klára S. Gordán writes in her volume outlining the Kosztolányi cult in Vojvodina, the Hungarian literary history writing in the 1950s looked at the poet with the decadent middle-class feelings, at the same time the literary men in Vojvodina did not want/dare to deal with him. However, this conscious ignoring (besides the fact that the communist power did not affirm the middleclass writers from the beginning because of ideological reasons) had an important political reason, namely the Yugoslav confrontation with the Information Office (1948–1953). Since Hungary adopted the Soviet policy, the Hungarian authors also “fell prey to” the press- and propaganda war lasting for ages, among others Kosztolányi as well. In parallel with this political process, there took place an important, inner, literary change of view as well in the Yugoslavian Hungarian literature: at this time took place breaking with the phrase literature and poetry, and in this way the changed literary/cultural atmosphere and mood made possible, among others, Kosztolányi’s “return”: by the appraisement of his works, putting his plays on stage, keeping his memory alive. His book review published about the Pacsirta for László Tomán, in connection with the Ifjúság, signified the breakthrough in January 1955. Then – strangely enough, for several years – did not took place the affirmation of the writer Kosztolányi, but the value mediator translator’s: through his literary translations the European literary values penetrated into the journal, and (among others) those ones meant then the overview into the European literature. Or, one might say, (one) “window” of the young generation after the Second World War onto the European poetry.
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The subject of our research is the thematizations of the First World War in the Hungarian novel literature in Vojvodina between the two wars. This interest drags into our scope István Szabó’s legionnaire novels, being published in 1931[?] in Novi Sad, which were prepared for press by the journalist Dezső Andrée based on the original diary notes. From the two-volumed /two-part legionnaire adventureand diary novel only one single episode represents the Russian events of the First World War, at the same time it raises such referential concerns and inter-textual connections, the interpretation of which can make our examinations more complete. Moreover, the genetic context of the work, together with the phenomena of the interwar Hungarian pulp fiction draw our attention to authentic literary endeavours in Vojvodina, infiltrating by this a further link into our conception about the history of the regional Hungarian literature.
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The predecessor of the Híd (Bridge) literary, artistic and sociologic journal appeared for the first time in 1934 in Subotica by the same name, and owned the subtitle of “Social and literary journal of the Yugoslavian Hungarian Youth”. Ever since 1947, the journal regularly appears in Novi Sad. Between the two world wars, and soon after the Second World War, it is one of the leftist press media in Vojvodina. I examine the issue of the journal published in April 1950, and the newly appearing short story writers publishing in it. I review the so-called growth of the prose issue of the Hídfor youth on the level of enumeration, since I examine the works of the young short-story writers, recently coming in sight only. Because of this, I review shortly the opus and lives of István Németh, Kálmán Petkovics and Nándor Major – until their first volumes, – by analysing their short stories appeared in the Híd in April, I only discuss the debates caused by the issue of the journal and its programme by confining myself to the most important facts, without attempting to be comprehensive.
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Beggary and homelessness have been and still are a persisting problem of society, for this reason the key question is: how does one get to become a beggar? The affix less alludes to the state of being without a home or may it refer to other human values or the loss of these? Who may be called a homeless? One who does not have a home, someone from the street or this term may only refer to a person who is a bum? The study looks at the personality of beggars in short stories, the centralization of the marginalized position and the reflection on homelessness. The beggar’s tool is the beggar’s stick and bag: these objects are underlined in literary texts, too, for this reason I analized terms like the beggar’s cloak, bag and stick as metatexts, and conducted an in depth research on the methodology of begging in texts of Krisztina Tóth, Miklós Mészöly’s The Beggars’ Dance, Zsigmond Móricz’s Seven Pennies, William Modisane’s The Dignity of Begging, István Szathmári’s The City and the Poet and Géza Ottlik’s The Christmas Mute. The aim of the study is to draw attention to stereotypes that characterize the life and path finding of people living on the margins.
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The study discusses the Czechoslovak relations of Lőrinc Szabó’s oeuvre. Lőrinc Szabó and Erzsébet Korzáti went on a round tour in Czechoslovakia lasting for over a week beginning on 1. August 1933. The tour was promoted by Anton Straka, the Czechoslovak cultural attaché. Most information about the trip we find in Hungarian from the posthumous papers: Vékesné Korzáti Erzsébet’s journal of her travels, Lőrinc Szabó’s poems and his letters to his wife Klára Mikes. Lőrinc Szabó met eminent Czech and Slovak poets at the Barrandov terraces in Prague, with whom he afterwards kept up a lively correspondence. During Straka’s stay and activities in Budapest, he organized the ‘Friday evening gatherings’, where he hosted outstanding Hungarian, Czech and Slovak artists. As an outcome of this Czechoslovak-Hungarian rapprochement Straka edited the Anthology of Czech and Slovak Poems.
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Mihály Románecz, who was born in Máramaros (Maramures) County, spent almost two decades in Pancsova (Pančova) as the teacher of Hungarian language and literature, Croatian-Serbian language and literature as well as history in the local Gymnasium between the years 1880–1889; in addition to his duties at school he also took part in the communal cultural and educational activities. Namely, in this Lower-Danube town, following the imperial and royal discipline of the military frontier region, the rise of the middle class and the establishment of civil society institutions started in the last decades of the 19th century. Scholars transferred from the capital: György Tordai, headmaster of the Gymnasium and teacher of geography and history, Ernő Fináczy, doctor of philosophy, the teacher of Greek and Latin philology, Zakariás Vizoly, the teacher of the history of German language and literature and Latin linguistics, János Wigand the teacher of Hungarian and German languages and history of literature and József Erdős Protestant clergyman and religion teacher had the task of developing a bourgeois image to the town inhabited by Hungarian, German and Serbian population. It was a delicate, sometimes impossible task to establish the institutions of Hungarian public administrtation; results could only be achieved if they complied with the spirit of the land. Mihály Románecz wrote a Serbian Grammar Book for his pupils, while also translating Serbian heroic ballads and historical works in order to raise awareness to the common values of cultures having lived together for centuries. It was his task as a secondary school teacher to teach Hungarian language and literature, however, by drawing examples from the past, he pointed out to his pupils the humane potentials of the intellectual construction at the turn of the century.
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The history of Hungarian books and publishing in Vojvodina, the beginnings of the minority literature in the region and its intercultural and textual connections, interoperability within genres, etc. present the systems of relations in terms of which the discovery or emergence of an until then unknown Hungarian book or author is of great importance, regardless of the aesthetic quality or artistic value of the literary product. If we do not imagine literature as a linear order of writers’ opuses, but rather as a complex texture of events and phenomena, then this newly discovered literary event and phenomenon can contribute to the forming of a more complete overall picture of the region’s literature. The novel by János Tarkó: Amíg a nagy vihar tombolt... (While the great storm raged...) published in Nagybecskerek (Zrenjanin) in 1919 is also a missing data in the summaries or syntheses of the history, bibliographies and lexicographies of Hungarian literature in Vojvodina. This analysis of the novel aims at revealing the historical context and the possible intercultural connections of the novel; it inevitably addresses the polemics concerning the beginnings of Hungarian literature in Vojvodina.
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As Éva Janikovszky is the main representative writer of the anti-authoritarian movement in Hungary, so is Éva Berniczky in the Transcarpathian Hungarian Literature, only in a slightly different way. In her surrealist style and world she created a new relationship of equality between adults and children, a world in which children not only can be, but are indeed right; the way to achieve this is through the unlimited phantasy of children, which only a few adults are able, wish and know how to follow. The works of Éva Berniczky give the impression of having learnt both from Éva Janikovszky and from Ervin Lázár. Her choice of topic and names of characters reflect surrealistic elements, just as one can also detect them in the characters of Ervin Lázár’s novels.
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After several initiations at the end of the 19th, it was only in the early 20th century (1906) that the association, the Literary Society of Bács-Bodrog County was founded, which brought together the writers of the regions and was active until the First World War. Its founders had intended it to be more of an educational and cultural society, but aside from that, its foundation was an integral part of both the literary effervescence of the time and the ambition to establish associations in the county seat. The literary society engaged in activities within the framework and grip of the golden age of middle class cultural habits and the relatively isolated provincial cultural life, and for this reason, those who attempted to appraise it differed in their opinions, and were rather unflattering in their assessment, without engaging into a thorough analysis of its work. This study gives a factual outline of the work of the literary association in Zombor proving, that in spite of its provinciality, beyond its original intent, by organizing literary evenings (Bács, Szabadka, Bezdán, etc.), celebrating the 40th anniversary of Mikszáth’s anniversary of his literary career (1910), announcing a literary competition (1910), and publishing a literary bulletin (Irodalmi Értesítő – 1909) and a literary almanac (A Bács-Bodrog Megyei Irodalmi Társaság Évkönyve, Zombor, 1912) it focused its activities on boosting literary life.
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It would be possible as well to virtually admit Mr Devil Schnapps (Pálinka Ördög) from János Herceg’s short story into Dezső Kosztolányi’s novel, Lark (Pacsirta). The study focuses on the recent translations of the ninth chapter of the novel. The term “diabolic” could be rather more connected to the fierce card game and winnings at the stag party in the mentioned chapter of the novel, yet the passion of drinking likewise represents the power which overtakes the subject. The adoption of the term pálinka (schnapps/brandy) is not always attained in the examined target language texts, it mostly remains unacquainted, and so the Hungarian cultural aspect becomes prominent from the viewpoint of the German recipients. The study indicates the alterations of the theoretical concepts and the translation practice, since modern translations–in the spirit of translation theories–increasingly lay emphasis upon the unknown cultural dimension. The emphasized target language texts initiate further interpretational opportunities and perspectival dialogues.
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As one of the representatives of modern Hungarian literary aspirations, Béla Balázs published his first works in the early issues of Nyugat and was present among the „Holnaposok” literary circle at Nagyvárad, yet later he distanced himself from them (from 1919 completely) and thus from the mainstream of current Hungarian literature as well. There were several reasons for this, among others debates on divergent views concerning principles of the philosophy of art, as well as occasional misreadings of some pieces of work in his oeuvre. In this paper I study the above considerations in the focus of the author’s drama, Doctor Margit Szélpál, or rather the contemporary readings of the work. This reception history analysis is based on reviews published in the literary journal Nyugat, namely, on writings by Miksa Fenyő, Mihály Babits and György Lukács.
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The study deals with a new cultural model which is the cultural gravity. This new model describes the cultural relations between the Hungarian minority literary cultures, the Hungarian literary and the foreign languages literary cultures. The earlier models focused on the mediator roles and on the interdependencies. The cultural gravity emphasizes the independent cultural operation. This theory come from the natural sciences. This study focus on the relations of the Hungarian literature in Vojvodina, and it tries redefines these connections. This literary historical research talks about the conditions of the independent culture. The cultural gravity is in close connection with the other theory, with the network theory. The literary cultures are independent to varying extent. The cultural gravity shows these differences and examines the regional cultures also from this viewpoint.
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In 1903 a merchant from Zrenjanin named Dániel Guttmann launched a journal titled Fáklya-Világ which was an exceptional undertaking in the history of the Hungarian press in Vojvodina before 1918. His journalʼs – only one known issue – credo-like introduction is irrational, idealized, and utopist, however shows the philosophical aspects of an undeniably unique “peculiar world”. Guttmann was the publisher, the editor and the only author of Fáklya-Világ, the journalʼs contents consisted of unusual philosophical essays, religious and biblical literary texts and articles, and pamphlets discussing the advantages of socialism. There is little to be known about the author, but based on what we know he seemed to be a widely read young intellectual with a particular sensibility for philosophy. Since we know nothing about Guttmannsʼs readings and his texts lack references we can only make assumptions based on his work and the eraʼs theoretical schools about the philosophical background resulting in this – so far – unknown press and intellectual historical event. Therefore the research cannot contain exact facts and references, but a review of the theoretical influences that effected Dániel Guttmannʼs philosophical ideas.
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