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Maria Rózsa: Wiener und Pester Blätter des Vormärz und ihre Rolle der Kulturvermittlung. Kontakte, Parallelen, Literaturvermittlung, Redakteure und Mitarbeiter. (Studien zur Literaturwissenschaft, 6.) Gabriele Schäfer Verlag, Herne, 2013. 278 olda
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The study explores the way Sándor Márai’s novel entitled Féltékenyek (The Jealous Ones) has modernized the anecdotal tradition of the 19th century Hungarian literature. In addition, it aims to point out the one-sidedness of the approach that considers anecdotal narration old-fashioned in the context of modern literature. The major assumption of the study is that Márai applies anecdotal familiarity as an expression of commonly accepted values of the bourgeois way of life. This concept of familiarity primarily differs from its 19th century version characterized by intimate informality in being more abstract, more intellectual and more formal.
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The main issue of the novel The Bonfire (Original title: Máglya) by the Hungarian writer György Dragomán is the confrontation of the child narrator (a 13-year old girl) with the traumas of the twentieth century which marked her parents’ and grandparents’ life and are still influencing her life in the post-communist era. The first premise of the central argument is that the child’s special point of view determines the perception of history and forgiveness. The second premise is that this point of view can be analysed in the context of the magical realism conception developed by Tamás Bényei. According to this, magic realism is a mode of writing, so the appearance of magic is a rhetorical, not an ontological question. The magic provides a language, through which the elements of reality get meanings and can be integrated into a system. One of the main conclusions is that the magical realism manifested through a child’s perspective can be an efficient mode of representing not only the collective and individual traumas, but also the process of forgiving and healing them.
More...Kinde Annamária költészete
It can be said that the critical response to the poetic work of Annamária Kinde, a poet who lived in Oradea, publishing nine individual volumes of poetry in the past eighteen years, and died in January 2014, has not been overwhelming either in Hungary or Transylvania. Although some reviews of her works were published, most of these appeared in literary reviews with which she was in more regular contact (such are, for instance, the Látó of Marosvásárhely/Targu Mures, Helikon of Kolozsvár/Cluj, Irodalmi Jelen of Arad, or the review Várad, of which she was also an editor), and where she also published her works from time to time. Albeit rarely, her poetry has also been published in reviews from Hungary (Hitel, Holmi), but criticism of her work has almost exclusively been published in Hungarian literary forums of Transylvania. This perspective, tragical perhaps, reflecting on her entire lifework, has several points of reference. First, one must speak about the place of Annamária Kinde’s poetry in contemporary Hungarian literature (from Hungary and from Transylvania), because the previous criticism has always only focused on the evaluation of her individual volumes, and failed to delineate the poetic, historical or genre traditions along which her poetry can be grasped and interpreted.
More...Adam Franck (1639–1717) pályája
Adam Franck is a key figure of the Hungarian-related historical events occurred at the turning decades of the 17–18th centuries. He had important role in publishing literary works gaining Europe-wide reputation and was one of the most committed envoy of the Transylvanian book printing in the contemporary capital of book industry, Amsterdam. Though not returning home he continued to keep his close contacts with his birthplace for all his life and out of the Transylvanian peregrini he made the most impressive career, with European horizon, in the countries of maritime powers. Through the sources passed down to us by him we can come to the conviction that the Dutch, Prussian and following the glorious revolution, English decision-makers, not without in consideration of their own interests, showed more and more understanding to the contemporary Transylvanian and Hungarian endeavours. Adamus Francus Transylvanus’ letters are data-full sources on the less known chapters of the 17th century’s Transylvanian history and the Rákóczi movement.
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The paper discusses the methodological challenges of the historical study of Hungarian Holocaust literature. It mainly examines the specific methodological questions that arise when we want to historically analyze a text corpus the interpretation of which is greatly determined by a major discourse, which only emerged relatively late. As, from the 1970s, certain preconceptions as well as aesthetic and ethical norms were crystallized around the Holocaust, the entirety of which we may call Holocaust discourse. In Hungary, all this happened later, and it mostly got linked to the reception of Imre Kertész in the study of Hungarian literary developments, thus the harsh interpretation and description of the Holocaust that appears in his works influenced the reading of previous works as well. In my paper, through a case study, the examination of the reception of works published immediately after 1945, I argue in favor of the necessity of contextual analysis. At the time, these works belonged to an independent genre category within the field of literature called “experience literature”. By describing the debates about the concept of experience literature as well as the ideological and aesthetic discussions I make an attempt to explore how the discourses surrounding the contemporary descriptions of sufferings in World War II worked.
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Among the key issues of Hungarian literature in Vojvodina during the Yugoslav wars is the discourse of space, more specifically, several acute problems of space poetics. The authors who decided to stay in their homeland embed into their texts their attitudes to the local space, local colours and the aspects of mythization and demythization. Migrant authors, on the other hand, often refer to their memory spaces. In this period, Ottó Tolnai’s local texts emerge, as well as István Németh’s mythicized spaces, Nándor Gion’s or István Szathmári’s memory spaces and Erzsébet Juhász’s historical approach to the borderland area. The turn of the millennium provided an opportunity for the reappraisal of space discourses and an examination of the culture of translation.
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The following study is one of the chapters of the doctoral thesis entitled Continuing writing the stereotypes of the Monarchy-literature and interculturalismin the contemporary Hungarian short story literature in Vojvodina. The study seeks the answer to the question of how the stereotypes of the Monarchy-literature are written and survive in the contemporary Hungarian short stories in Vojvodina. In the short stories various motives can be found that act as a stereotype. As such is the homeland, military, army, language and the railroad. The railroad, the army and the homeland appear in the short stories of all the three authors.The historical, retrospective narration is frequently extended by tale elements. It is necessary to treat the next concepts coherent: tale, fairy-tale, history, storytelling, narration.I consider important to examine together the sites and stories of the migrant authors’ short stories full of nostalgia. The micro stories I have examined represent a mosaic of the history. The study is in search of these contexts and also compares them.
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The aim of the paper is the examination of the appearance of the sick body in Kata Árva Bethlen’s Önéletírás[Autobiography]. The introductory part of the work outlines the differences between the early modern and the modern body image. It examines the presence of epidemics and different illnesses in the autobiography, as well as the metaphorical linguistic representations of the illness. The paper goes into detail about the effects, alongside which the body is formulated; herein it analyses the effect of widows’ prayers, Protestant asceticism and of pietism.
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The present study undertakes the comparison of the genre features of the 20thcentury verse novels and that of the contemporaries, with especial regard to JánosTérey’s work entitled Paulus. Among these features belong the alteration of the story teller method, generic combination of the poem and the novel, the presence of irony in the texts, as well as the revival and transcription of the antecedent literary works. In case of the contemporary verse novels and in case of Paulus as well, the reader has to face an exceptionally wide-ranging text with the constant change of the scenes and the register. Although by its generic formulation, the text carries the generic features of the 20th century verse novel, it is more eclectic, and requires a different reading strategy.
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Main focus of this paper is set to the analysis of the Hungarian literature in the Árpadian era in order to find the information about the unusual and luxurious goods that the nobility used in their everyday life or as the means of representation. Connected to this is the lifestyle, marked by the social prestige or noblesness. This mentality is based on the ownership of these various luxurious commodities, either movable or real, or it could be vice-versa, meaning that the ownership of these luxurious goods affected and formed the mentality and the social status of the aristocracy. People could value the luxurious goods either for their high price and artwork or either for their symbolic value. And the symbolic value of the object was given to it by the literature. The goods in the literary works, such as hagiographic legends, chronicles or deeds, were influenced by the real-world goods, as well as the real-world goods were influenced by the symbolic value that literature gave them. That is the power of the literature and its author: it can affect its reader or listener in the way he desire, and the whole society with it. This paper will try to provide some new view on the narrative sources, when identifying the luxurious objects and their role in medieval culture and society.
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His contemporaries took notice of the fact that István Vas’s fourth volume of poems Kettős örvény [A Double Whirl] published after a long silence (due to historical reasons) in 1947 was an achievement comparable only to the works of the greatest poets, and that it had introduced a qualitative change into the opus of the writer. He dared to be fractured, introduced a creative new touch to the metrical forms he had earlier often used rather scholastically, and first and foremost he had become aware of issues characteristic of the era in the events of his own life. The twilight of history, the memory of his dead wife and complications of new love affairs created a setting for poetic elaboration of faith and doubt, faithfulness and change, and several other eternal questions. The study provides an insight into the pathways of thoughts and poetic characteristics of this volume of poetry.
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kaže Oto Tolnai: »blizu je već dan / kada ćemo ponovo morati da razrežemo svoje jezike / da se dogovorimo oko nefeih praktičnih stvari / jer nešto nije u redu«. Ućutali smo, tišina je oko nas, muk — to je dijagnoza pesnika Tolnaija o stanju, položaju našeg pesništva (književnostii); zbog toga bi trebalo ponovo da razrežemo svoje jezike, zbog toga nije u redu ono što je zaista bilo u redu onda kada nije bilo ćutanja i tišine, kada je pesma odjekivala jer se sukobila s otporom onih koji su je obasipali drvljem i kamenjem, trebalo je probiti ovaj zid, usred velikih halabuka; bilo je, dakafeo, sve u redu onda kada — barem je tako izgledallo — ništa na svetu nije bilo u redu. U vreme prvih pesama, prvih eseja, Tolnai jasno vidi: treba ponovo »da razrežemo svoje jezike«.
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The article is an attempt at an outline of the situation in Hungarian literature confronted with the revolution of 1956. The events of the Hungarian October are some of the more frequent themes in revisionist literature. Selected examples of literary works show the most important features of that literature, writing strategies, patterns of artistic message. From the wide selection of the literature, a poem, fragments of a diary, a novel, and an authobiographical essay by Sándor Márai, György Moldova, István Örkény and Imre Kertész were selected.
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