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There are two versions of the quote about Hungarians and talent. The Robert Capa version: “It is not enough to have talent, you also have to be Hungarian”, and the Alexander Korda version: “It is not enough to be Hungarian, you also have to have talent.”
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The study makes three remarks on the conceptual changes of “national character” at the end of the 18th century in Hungary. First, it ventures upon the comprehension of complex typologies regarding the Hungarian language and asks the following questions about contemporary texts? What was meant with them? And how different uses did they have? It defines a methodological problem, too, which have been proven to be extended in the references so far and handled the notion of national character subordinated to the longue dureé conceptual changes of “nation”. Our “language contextualist” solution claims the two to be separated in the hope of preventing the optical illusions in literature. The second remark applies to the Erfahrungsraum and the intellectual context of using “national character.” The fact that in the horizon of contemporary political thought, among other issues like the rivalry of people and the development of economy, military, constitution, administration, language and so forth were discussed, implies the question why contemporaries employed such rather pre-modern categories as national character in order to conceptualize the common good or the political community instead of describing a “refined nation” by a more modern vocabulary. The third argument approaches the intellectual background of the notion of national character, which shows links in particular to contemporary political affairs and to the realignment in the field of anthropology. In a Hungarian context, the disciplines of psychology, literature, philosophy (moral theology), pedagogy, medicine played an inevitable role in the changes that led to the creation of a new comprehension of the human being (in the centre with the human soul) and the community. In conclusion, the paper deduces a capable solution, which in theory bears a resemblance to the practice of retrofitting, to the conceptual turmoil at the turn of the 18th and 19th century.
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Szilágyi Márton: A költő mint társadalmi jelenség. Csokonai Vitéz Mihály pályafutásának mikrotörténeti dimenziói. Ráció Kiadó, Budapest, 2014. 508 oldal.
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The packetbook chapter analyzes a famous Hungarian rewriting, Csaba Csurgó’s Kukoricza [Corn]. It deals with the work’s worldbuilding, social structure and its connection to the original Petőfi epic poem, János vitéz [John the Valiant], which can be considered as a prologue or antecedent of Csurgó’s work. It also discusses the features of rewriting and its refreshing characteristic, and it unravels the intertextual references too. The work deals with problems raised by the narrative which cause serious consequences in our world: overflowed nationalism, xenophobia, populism, or the excessive loyalty towards certain ideologies. The work, in this form, functions as a teaching aid; it is an essential part of a continuously expanding literature packetbook, which discusses Kukoricza and includes hermeneutical and team-building exercises as well as tasks which aim at improving writing skills.
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Shortly before his death Hungarian writer and essayist Péter Esterházy (1950 – 2016) wrote the dramatic text of Mercedes Benz – Historical Revue in two parts for the Slovak National Theatre. In particular, it focuses on the famous noble family Esterházy’s influence in Slovakia. The author of the play had a very strong association with this matter. In his writing Péter Esterházy used a wide range of intertextualities: his literary texts are like the fabric spun from fibres of the autobiography of his own family history, but also fragments of Hungarian and Slovak history, legends, tales, as well as hearsay and myths. The interpreted dramatic text is remarkable because Esterházy, in addition to intertextual recycling of his own texts, also exploits the texts of the Hungarian classic author Imre Madách The Tragedy of Man. The author of the study has focused on clarifying the function, specification and effects of Esterházy’s intertextual writing.
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How to build the virtual world of a historical novel? How to create the perception of reality? What does it suggest for the contemporary readers and how do posterity readers understand the evoked past having to face three timelines (their present, the present of the writing which has become past and the past evoked in the work)? The author is searching for answers to these questions by comparing the poetics of Romanticism with that of postmodernism, starting from the first historical novel of Hungarian literature, Miklós Jósika’s Abafi (1836) and the postmodern novel Halál Budán (Death in Buda) by Gergely Péterfy published in 2008.
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In my study I analyse the populist poet’s, Újvári Anna’s habits of writing, method of working, the language of her poems and her parlance. The basic view of the analysis’s method is that the usage of writing is a form of communication the role of which can be interpreted in the context of the one’s path in life. In the research of the peasant habits of writing the question of the authorship, the dating, the execution of writing, the forms of the text’s wording, the time, occasions and motivation of writing are really important. Újvári Anna’s parlance totally reflects her mode of existence. In her texts orality becomes objectivized. The dialectal peculiarities still living in Szucság/Suceagu, the formal defects generally prevailing in the standard language appear in the writing, too. As regards her orthography and general written form, their level corresponds with her education, actually it surpasses that of the similar aged ones’. Her good descriptive talent and the fact that she writes frequently by comparison become visible on the leaves of the writing-books.
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The purpose of this study is to give an overview of the role of Béla Vikár in the Hungarian-Finnish relations. The study is divided into two: the first part examines the development of cultural relations between Hungary and Finland from the nineteenth century until 1937, when the first cultural agreement was signed between the two states. The second part focuses on Béla Vikár’s key role in promoting relations: as the translator of the Finnish epic, Kalevala, as editor of newspapers and cultural journals, and as founder of literary societies.
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Für die kultische, bzw. hagiographische frühe Rezeption der Dichtung von Miklós Radnóti erwies sich jene Stelle bei Abda unter dem Damm des Flusses Rábca, wo er mit 21 anderen jüdischen Zwangsarbeitern Ende August 1944 von einem ungarischen Soldaten erschossen wurde, als ein bindender Ort. Nachdem der Körper des Dichters in einem Massengrab mit anderen Leichen verscharrt worden war, wurde er noch zweimal exhumiert und neu bestattet. Der traumatische Ort des Mordes schreibt sich durch die letzten Gedichte ins Gedächtnis der Generationen. Die traumatisierte frühe Rezeption von Radnóti besteht auf den Stillstand der Zeit, auf die Nähe zum mehrmals beigesetzten und wieder ausgegrabenen Körper des Dichters. Diese seltsame Art der Rezeption, die die Dichtung von Radnóti der Historisierung zu entziehen versucht, ist als eine Antwort auf die Frage zu verstehen, ob der Holocaust in seiner Außergeschichtlichkeit zu bewahren ist. In der Ästhetik der Zeugenschaft wiederholt sich die Frage, wie man eine einmalige Raum-Zeit-Beziehung in ihrer Form bewahren kann, die sowohl das Trauma der Zerstörung einer historischen Gemeinschaft, der Gemeinschaft der ungarischen Nation als auch die Hoffnung auf eine Therapie, auf eine Neustiftung der Gemeinschaft miteinschließt. Das Gedicht von Radnóti „Nem tudhatom“ stiftete in der frühen Rezeption eine neue Perspektive für die Neubelebung der durch den Holocaust zerrissenen Gemeinschaft der Nation, es konnte aber von der romantischen Ideologie der nationalen Identität nicht Abschied nehmen, und dadurch blieb diese neue Perspektive unvollendet.
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Within half a century, there were two Unitarian authors, who prepared rhymed, Hungarian translations of the Book of Psalms. Miklós Fazakas Bogáti (1548–1592/early 17th century) at the end of the 16th century, and János Th ordai (1597?–1636) in 1627. There are still unanswered questions regarding these translations: why Bogáti’s translation did not spread among Unitarian congregations? Did Thordai know Bogáti’s translation at all? This paper explores the circle of possible answers from various perspectives. It examines Bogáti’s biography and the subsequent legacy of his Psalterium as well, taking into account the context of church history and the history of publishing Unitarian songbooks. In addition, the poetics of the two translations are analysed. Based on these, it seems several circumstances made the spreading of the Psalterium difficult. However, Thordai’s work should not be viewed solely depending on Bogáti’s translation since it is not certain, that Th ordai tried to fi ll a gap with his translation. Th e Transylvanian Unitarians did not necessarily intend to publish a complete Unitarian translation of the Book of Psalms in their songbooks.
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Grendel Lajos:A modern magyar irodalom története. Magyar líra és epika a 20. században. Második, bővített kiadás. Dunaszerdahely-Budapest, Kalligram, 2019, 544 p.
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Lajos Kassák’s major poem, The Horse Dies the Birds Fly off was usually interpreted in the context of other long size poems of world literature, written by Blaise Cendrars, Guillaume Apollinaire and others. The author of the article argues that other possible relevant contexts of the poem emerge when examining pieces of poetry published in Kassák’s journals – shorter dadaist poems by Cendrars or Schwitters that does not stand out with their size. Following the ethnographic sources of Cendrars’s dada poetry, the author highlights possible similarities between the functioning of Kassák’s and Cendrars’s texts when using seemingly exotic linguistic material.
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This philological-contactological study sets about to trace the literary versions of the Faust phenomenon. It aims at outlining a thematic, motivational and poetic network of variations of the Faust legend. It attempts to map how the Faust legend has been passed down throughout history to contemporary literary editions, first and foremost in Europe, and more particularly in Hungarian and Croatian literature.
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Ágnes Nemes Nagy’s late poetry is driven back by the impossible desire to shroud (forget) the abject experience in the Kristeva sense to the limit moment where difference as the condition of signification and Self emerges. While the poem Hó transcribes the subject becoming as a non-self to an almost-self, a self-to-be, in the objective testimony of Eső, hó (dalmát kutyák?) gőzölögnek the desire for the empty canvas of the non-self (purification rituals of continuous self-forgetfulness) identifies with mourning for the other. The failure to clear the narcissistic screen is in fact the preservation of the missing other’s/Other’s shroud. In this sense, this ultimate move demonstrates the weakness and power of objective poetry, the inability to testify, which is the testimony itself. The theoretical propositions of the analysis are mainly motivated by the writings of Julia Kristeva, Cynthia Chase and Georges Didi-Huberman.
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The present study – in the foreground of Eginald Schlattner’s complete work – deals with the female figures in the latest book by the Transylvanian Saxon author, published in 2018 under the title Wasserzeichen / Watermarks. The specific text analysis of the article refers on one hand to the female figures of the fictional convent life, i.e. on the closed world of the Orthodox nuns, and on the other hand on the recalled auto fictional and autobiographical female figures (i.e. the female family members, former love interests) of the volume. Eginald Schlattner describes the Orthodox convent’s world through a complementary view and writing, that often combines his well-known sense of humor with a revealing critique of the depicted Orthodox world. In addition to the collective description of this closed women’s community, the author emphasizes the individualization of the nuns. In the study, the remembered female figures are represented by two paradigmatically validated portrait analyzes (the mother and the wife of the novelist). With the author’s permission, this article publishes selected passages of Wasserzeichen (selection by Gabriella-Nóra Tar) for the first time in Hungarian translation.
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Weöres was experimenting with musical genres in his lyrics. His poem, Symphony Eleven consists of three (musical) movements: Astral-Music, Tour, and Astral-Music Finale. The analysis of Astral-Music Finale is an overview of the poem’s ’score’ – its linguistic and crafting solutions. Music is an art that frequently uses variations. The source of its aesthetic value lies in the comparison of the variations with the original and in its recognition by the reader. The variations are mostly diverse repetitions. The permutations of the text can be seen as musical interpretations of theme, motif, and phrase and are similar to the structure of a musical piece.
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In our paper we set out a general description of József Benkő’s works, which can be classified in the field of historia litteraria and we have briefly outlined the process of developing this discipline. We presented the chapter entitled De re litteraria in Transsilvania and we talked about the replacements related to the volume of Péter Bod’s (Magyar Athenas). In our study, we investigated the circumstances of their creation, but we also discussed about the structure and content structure of this works.
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My study investigates into the way the ideas of philanthropism appear in Hungarian children’s books released in the first half of the nineteenth century and into the value system reflected in these books. My aim is to draw attention to a wider audience concerning children’s books, laying outside the traditional canon of Hungarian children’s literature. The examined children’s books are limited to two authors’ works: the ones written by Jakob Glatz and translated into Hungarian, as well as Gábor Döbrentei’s book entitled A kis Gyula könyve. The philanthropist educational reform movement put the children’s literature into a new position: children’s literature became important, since it was the source of children’s entertainment and enjoyment. The following aspects regarding philanthropist characteristics are tackled: title and topic selection, the characters of the stories/plays, the frame story bedding (a common narration technique) and the highlighted role of leisure activities. Philanthropism was an educational movement adapted to the practical needs of the middle-class – that’s why pedagogical concepts and civic values are closely intertwined. In the children’s books I examined, we can observe the small bourgeois family being shown as an example; however, these stories often praise hard work and manual labour. The main emphasis concerns highlighting civilian occupations, but the social role and the line-up of virtues have the same importance. The civic virtues “catalogue” is not limited to men and sons, but it is harmonically completed with the presentation of women’s role and the virtues linked to it. In my opinion the Hungarian children’s literature of the first half of the nineteenth century shows a much more varied picture than the way it is presented in the manuals and lecture notes on the history of Hungarian children’s literature. Beside the examination of the national children’s literature it is worth examining the children’s books of this period in a broader context.
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Primedba da je proza u nepovoljnijem položaju u odnosu na poeziju nije nikakvo novo otkriće ni u relacijama književnosti jugoslovenskih Mađara, niti u relacijama jedinstvene mađarske književnosti.
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