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Páskándi kolozsvári műfajspektruma
A literary study following poet Géza Páskándi's career and broad spectre of genres in Cluj-Napoca.
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A literary study following poet Géza Páskándi's career and broad spectre of genres in Cluj-Napoca.
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The Strange and Familiar Eternity. The Experience of God in Contemporary Hungarian Lyrical Works. While in the second part of the 20th century Hungarian literary criticism, the topic of sacrality in lyrical poetry was quite emphatically present in many scientific studies (e.g. in György Rónay’s, László Rónay’s, György Rába’s, and Éva Cs. Gyimesi’s works), this area has been unfairly neglected for the past few decades. We might say that, apart from a few lucky exceptions, among the contemporary lyrical analyses, one can hardly find a study that focuses mainly on the various motifs of Christianity, the aesthetic-poetic characteristics of transcendental experience, and the forms of expression of faith and doubt. The essay examines transcendental experiences in contemporary Hungarian poetry, and seeks to identify that attitude of the modern author, which can be described as a dialog-based approach to the Christian tradition. In this paper, we propose to present those aesthetic-poetic initiatives in István Bella’s, István Ágh’s, and Imre Oravecz’s lyrical works, in which the relations between man and sacrality are reevaluated, as well as the role of poetry and the entire modern culture.
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Those who can read and write join the dynamic system of producing and receiving texts and become economic factors and subjects to author’s and publication rights where applicable. The general effort to spread literacy, the significant increase in the number of potential authors caused by the legal obligations and educational practices of public schools in Eötvös’s time, the shifts in the status of authorship, along with the broadening publicity in the media due to the sudden rise of journals made the modern regularization of producing, distributing and reproducing texts inescapable in Hungary in the last third of the nineteenth century. If a dimension in the history of education isresponsible for producing the authors and readers who are able to create and accept modern literature in the interest of founding the modern literary consciousness, then the legal and economic contexts reformed in the last third of the nineteenth century are responsible for the institutionalization of authorship, for outlining and stabilizing authorial, press and reading subjects, as well as the relationship between author and text. This study aims to analyze the modern authorial subject’s legal constitution, and the role of Ferenc Toldy in inaugurating it.
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The study discusses contemporary theories of world literature, transnationalism and transculturation in the context of East-Central Europe as a historical, cultural, geopolitical in-between territory, and reconceptualises the phenomenon of the Hungarian Transborder Literature from the perspectives of multilingual affiliations. Hungarian and Romanian novels as “contact narratives” create 1989 as a historical nodal point and – through the poetics of accents – shape the local as multilingual. The embodied memory of the dictatorial system in the novels recalls the tradition of the Bildungsroman in a specific way – like a self-alienated de-formation process of socialist propagandistic formation techniques which were efficiently inscribed into the body. In the novels, the reflection and even deconstruction of the societal conditioning could be seen as a common generational search for a new realistic language. In the discussion of the theoretical and literary texts, the study applies the collage as a reading strategy, which – according to Susan Stanford Friedman – “stages a juxtaposition that foregrounds the tension – the dialogic – pull between commensurability and incommensurability”.
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The study is a contextual analysis of a drama from Ágnes Nemes Nagy’s rich activity as a literary translator. She published, in early 1956, the translation of Pierre Corneille's Cid at the Új Magyar Könyvkiadó (The New Hungarian Publishing House, renamed Europa Publishing House only a year later). Two years later, this new translation was used for a theatrical production at the Csiky Gergely Theater in Kaposvár, which was on the repertoire for several months. The study also presents the professional dialogue between the translator and the theatre company and seeks explanations for the thematic (Corneille, Cid) and directorial analogies from France and Hungary in the 1950s.
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From the point of view of a transcultural and/or transnational approach, Hungarian literature in Sweden includes works that have authors of Hungarian origin who migrated to Sweden, but their works are not necessarily written only in Hungarian. There are authors who only write in one language (Hungarian, Swedish or English), and there are also those who are publishing in both Swedish and Hungarian. For mapping these works, we can take as starting point the date of the authors’ migration, distinguishing four groups of authors. The study of the groups shows certain language and thematic similarities. This article intends to present the literature written by Swedish authors of Hungarian origin between 1945 and 2015. These are works that have authors of Hungarian origin, but very few of them are known by readers in Hungary. The presentation by groups helps to examine common features of the authors and their works. Focus is on the language choice, but also on the need for the translation of these works between Hungarian and Swedish. However, the most relevant question remains whether this literature is part of the Swedish literature, the Hungarian literature, or both literatures, or neither of them.
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This article gives a summary of the life and works of Hungarian linguist and literary translator Irén N. Sebestyén (1890–1978) and Finnish novelist, playwright, journalist, and popular educator Johannes Linnankoski (1869–1913; originally Vihtori Peltonen). It presents Linnankoski’s first novel, Laulu tulipunaisesta kukasta (1905; The Song of the Blood-Red Flower, translated by W. J. A. Worster, 1920), whose translation marks the beginning of Irén N. Sebestyén’s career as a literary translator (Dal a tűzpiros virágról, 1914). In connection with the birth of this translation, Linnankoski’s letter welcoming N. Sebestyén’s intention to translate the novel (1911) is also published. After giving an overview of the reception of the Finnish novel and its Hungarian edition, the paper examines some characteristics of N. Sebestyén’s translation by means of examples from the text. Lastly, the other Hungarian translation of the work, by Ágoston Ambrózy (1948) is also discussed briefly.
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Pelbartus de Themeswar wrote four Latin sermons on the feast of Saint Katherine of Alexandria, the first sermon also containing the legend of the saint. To a greater or lesser extent, these texts served as a source for the three Hungarian legends of Katherine in the Hungarian codex literature. According to the stories of virgin martyrs, a beautiful and clever virgin of noble descent defends her faith against a man in a position of power who wants to possess her ideologically and sexually – this conflict is at the core of the legend. Starting from this main conflict, I examine Katherine’s role in these three very similar legends, that is, how much she prevails as a woman, as a scholar, as a ruler, and as a Christian, how much these roles become predominant in the three texts as a result of minor changes to the source.
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The article analyzes the German translations of the Hungarian word eszme ’idea’ used in the philosophical drama Az ember tragédiája (The Tragedy of Man) by Imre Madách. Using a comparative and contrasting method, the article presents the different ways of creating equivalence by translating the keyword into German. The analyses reveal that the meaning of the Hungarian word is rendered variously in the German texts, with different connotative meanings, and it also shows the creativity of the translators in the process of achieving equivalence.
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My essay deals with some questions raised while translating the novel written by Franz Hodjak entitled Koffer voll Sand (German title) into Hungarian, and discusses them based on selected textual places. These questions are being answered starting from higher level (text, syntax) heading to smaller units (morphology, parts of speech) which on the one hand are more general in German-Hungarian translations, while on the other hand are specific, characteristic to Hodjak`s texts. The challenges of the translation are built up around the organizing role of the space and time, and the question of identity in the novel.
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In the case of literary translations, the definitive title of the book is a right held by the publisher. The article aims to map the works translated into French by one of the most famous Hungarian writers of the past, Sándor Márai, by reconstructing the intertextual dialogue between title and reader, while trying to formulate some considerations on the publishing strategy that was the basis of its international success.
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Based on more than 25 orations presented on the funerals of prominent Transylvanian women like Kata Bethlen, Mária Bethlen, Eszter Ráday, Eszter Teleki, Polixéna Daniel, Polixéna Wesselényi and others, the study tries to underline the womens' roles as wifes, mothers and housekeepers in the 18th century.
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In the course of research several sources were found concerning the funerals of the Apafi princely dynasty. The 17th century texts on the funeral of the Prince of Transylvania Michael Apafi senior (1632–1690) have been published 6 years ago. I am planning to publish in a next volume the text on the whole family from the 17th to 20th century. The funeral rites of Michael Apafi were planned to be performed according to tradition. However, politics intervened. Namely, the Prince did not have an unquestionably acceptable successor. Nevertheless, when Michael Apafi the senior died, his son, Michael junior (1676–1713) was only 14 years old, under the age threshold necessary for playing a leading role, which was at this time 20. Consequently, a power vacuum developed and the potent Transylvanian Estates had to choose between a great many forms of interregnum and a provisional government under the authority of a protector. Michael Apafi junior was constrained to move to Vienna, and died there in 1713. Through his death, his family line also died out, therefore a different funeral rite should have been organized. This didn’t happen because in this case it was a disturbing fact, a complicated political constellation occurred. His catafalque and delivery of the body to Transylvania symbolizes this kind of misfortune.
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The study presents the correspondent activity of József Benkő that he carried out in the journal Magyar Hírmondó. We examined the topic of his writings in the magazine and tried to show whether or not these publications were related to his activity as a literary historian. In addition to this, we tried to show whether his writings contributed to the development of the concept of publishing a new volume that would have included information on the cultural life of Transylvania. The results of our research show clearly that half of the published writings present the careers of scientists, the history of scientific institutions, the detail of research trips, etc., so these publications fall within the conception of literary history. Benkő, although he could not write a new volume, through the character and theme of these articles he developed his chapter De re literaria in Transsilvania of his work published in 1778.
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In my paper I examine the role of Aladár Bán (1871–1961) in the Finnish-Hungarian cultural relations. The study also addresses the reception of the history of relations from the early twentieth century, as it has influenced how Bán’s role has been studied so far. Examining Aladár Bán’s correspondence, the study focuses on correlations that lead to new insights and information regarding Bán’s role in these relations. Compared to Béla Vikár’s work, the study concludes that Bán mostly played a role in the official relations and therefore he is less prominent in the works about the history of the Finnish-Hungarian cultural relations.
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The article focuses on Borbála Kálnoki, a noble woman from pre-modern Transylvania, who, in the contemporaries’ memoirs and letters, is not pictured, like other contemporary women of the same status, as good housewife, faithful spouse or caring mother. The contemporary sources, particularly the wills of her spouse, the historiographer Péter Apor, chronicle also her stubbornness, her social incompatibility with most of her peers and also her powerful personality. To nuance this unilateral view, I gathered from the Apor family archive her correspondence and other documents, personal notes she left in writing. Through these sources combined I reassemble her life’s social roles, as spouse, mother and relative.
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In the Hungarian literature, debates about the role of women in literature began in the mid-nineteenth century. These theoretical disputes were connected to the more general question of the education of women, but they do not touch upon those female authors who by that time had already been represented in the literary field through their own individual volumes. In my paper I investigate the female poets appearing at the turn of the eighteenth and nineteenth century, trying to uncover why texts which prioritised individual fate, and represented it as a passion narrative, became more dominant during the process of literary canonisation. In my reckoning, the primary reason for this was that the male mentors of the generation favouring epistles designated Borbála Molnár and her poetry as the pattern to follow. Although several authors deviated from this pattern, the general impression that these women wrote primarily as a means to mitigate their unfortunate circumstances remained prevalent.
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Nemes Nagy Ágnes a 20. század második felének kiemelkedő magyar költője. Költészete a század történelmi kataklizmáiról tesz tanúságot, annak a társadalmi/erkölcsi/nyelvi rendnek a válságáról, amit Jacques Lacan pszichoanalitikus szubjektumelmélete Szimbolikusnak nevez. A tanulmány Nemes Nagy lírájának emblematikus darabját, a Közöttet elemzi. Megközelítése szerint a vers alakzatai a jelentés költői elbizonytalanítása-kijátszása révén a jelentés traumatikus összeomlásáig vezetnek, azaz a jelölő és a jelölt, az én és a másik, a test és a nyelv közti határ sérüléseit viszik színre. Ezt a köztesség-tapasztalatot Julia Kristeva az abjekt teorémájával ragadja meg. Az abjekt az a határsértő nem-tárgy, amely veszélybe sodorja a szubjektum integritását, mert odavezeti a szubjektumot, ahol szubjektum még/már nincs – hiszen az említett határ/különbség a jelentés és bármiféle identitás alapja, lehetőségi feltétele. Nemes Nagy Ágnes érett költészete éppen ezért nem valamiféle jelentésre, sokkal inkább a jelentés (illetve az identifikáció) feltételére irányul, egyszerre hangot adva a különbség krízisének és vágyának. A dolgozat teoretikus alapját Julia Kristeva, Jacques Derrida, Georges Didi-Huberman és Kiss Attila Attila szubjektum- és művészetfilozófiai munkái adják, melyek felől az elemzés gondolatmenete a Nemes Nagy-líra befogadástörténetének kurrens meglátásaihoz is kapcsolódik.
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