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At the beginning of the study, the author makes essential definitions about Hungarology as a discipline, and then outlines some typical Hungaro-scientific aspects. The paper summarizes the most important aspects of cultural identity conceptually and emphasizes the concrete results that are the most relevant to Hungarian minority ethnicity. Finally, the author points out the prospective tasks that require further research.
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In Hungary from the 16th century on there was a tendency to make a “harmonization” of the Hungarian customary law with the Roman Legal Codex. Baranyai Decsi, besides other activities, made a book on Romanisation of the Hungarian Law. The book, Syntagma institvtionvm ivris imperialis ac Vngarici… (1593) was using both the Tripartitum by Werbôczy (a legal compendium for Hungary), and the manuscript for its later variant: Quadripartitum (originally by 1552). In the autumn of 1593 Baranyai Decsi became the rector of the college at Székelyvásárhely (Transylvania). From then on, he ceased to do legal work. His book Syntagma is an interesting milestone of the reception efforts in Hungary.
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The birth of the 19th century literary parodies and travesties falls on the moment of transition from the romanticism to the realism. In the present paper I deal with the problem, whether Hungarian Sándor Petöfi, Slovenian Simon Jenko and Croatian Ante Kovacić's works have served the conservation of the already existing literary canons and poetic discourses or, on the contrary, became examples of a central evolutionary genre, which have put an end to the romantic conception of the literature helping realistic prosaic formations to gain ground radically. Another interesting problem is that in these works besides the poetic transition a strong manifestation of individual poetism and that of several political problems of the authors’ time can be found.
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The variant of the Saint-Ursula-legend, which is preserved in the Polish chronicle written by Maciej Stryjkowski (Königsberg 1582) and put in the Hunnish period, is an unaltered borrowing from Cyprian Bazylik’s Polish translation (Cracow 1574) of Miklós Oláh’s work (Nicolaus Olahus) Athila (Basel 1568). Around 1580 an anonymous Belorussian translation was made from this Polish version in Vilna (Vilnius). As Cyprian Bazylik, the first translator did not indicate the name of the author (that is of Miklós Oláh) in his Polish translation (1574), the later translators, both Stryjkowski and the unknown Belorussian one, carried on this legend without mentioning its author. Later, in the 17th century Stryjkowski’s chronicle was translated twice into Russian Church Slavonic and in this way the Ursulalegend, as part of these translations, got into the Russian literature in the version formulated by the Hungarian humanist Miklós Oláh. At the end of our study we publish the text of the Ursula-legend in the following variants: 1) the original Latin work of Miklós Oláh (1568), 2) Cyprian Bazylik’s Polish translation (1574), 3) the anonymous Old Belorussian manuscript translation (around 1580), 4) the legend according to the Polish chronicle of Maciej Stryjkowski (1582), 5) the anonymous Russian Church Slavic translations of 1673-1679 and 6) 1688.
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The study analyses the state-novel that was written by György Bessenyei (1746?–1811) in the last section of his life, and remained unpublished then. It chiefly explores the picture the novel draws about ideal government, and the way it imagines the working of parliament in the world of idealized kingship. This work, a late Hungarian adaptation of a genre that had been representative throughout the 18th century, uses its utopia-like structure to present political questions that were on the agenda in contemporary Hungary: the key motif is the state that creates harmony in both the agrarian world and among the various religious confessions. In the novel this ideal monarchy also proves its strength on the battlefield: it defeats the aggressive country in its neighborhood, governed tyrannically, and exports its own form of government into the political vacuum that evolves after the fall of tyranny. The novel ends in a rather mysterious way: the ideal state, governed by a beautiful and wise queen, proves inable to integrate the novel’s hero, a visitor coming as a guest from outside. Married in the meantime, this protagonist, instead of settling there, decides to return with his bride to the provincial house of his parents. Thus, the ideal state, while embodying the common good, cannot serve as the worthy framework of individual happiness even in a fictional novel.
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The text is an interview taken by Francisko Kocsis to the Hungarian writer and politician, representing the Hungarian minority in Romania, Marko Bela.
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The purpose of this study is to make a literary journey into the interwar literary landscape to observe the development of Romanian-Hungarian relations. Improvement and increasing interest in Romanian literature by Hungarian readers can be observed. Hungarian-Romanian translations are encouraged. An important aspect in this regard is Ion Chinezu's book, Aspects of Transylvanian-Hungarian literature (1919-1929), which investigates the works of Hungarian writers for ten years. His study captures the Hungarian literature numbness awakening which develops qualitatively and quantitatively. Through his study, the Transylvanian critic revealed his appreciation of Hungarian literature and its writers, creating an approachable atmosphere towards Hungarian literature understanding and opening the eyes of translators; it can even be said to have demonstrated the closeness to Hungarian literature and its study. He certainly wanted to correct the injustice of ignorance concerning this literature. Just as neither gold is a noble metal in fact, except when there is a miner to bring it to light and a craftsman to process it, the valuable Hungarian literature does not come to be really known until someone discovers it and presents it to those who are eager to find out the literary secrets. Ion Chinezu had taken over these cultural responsibilities.
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Current developments in German-language literature show how much literature is shaped by social changes. In the past, Germanlanguage literature has repeatedly reported on waves of emigration and refugee movements, and that's what it does today. The refugee problem is therefore also in the literature a recurring theme. Contemporary authors from the German-speaking countries such as Emine Sevgi Özdamar, Feridun Zaimoğlu, Ilija Trojanow, Catalin Dorian Florescu or Abbas Khider, who experienced migration for a variety of reasons, are proof of this current trend. The Hungarian-Swiss author Melinda Nadj Abonji with her novel Tauben fliegen auf (2010) and the Slovak-Swiss author Irena Brežná with their most recent novel Die undankbare Fremde (2012) are also part of this trend. The own experiences of escape, foreignness and integration of the two authors, who make an important contribution to intercultural literature in Switzerland, characterize their work in a particularly emphatic manner and thus also repeatedly implicate a discussion of the autobiographical background.
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The reformed reverend from Magyarigen (Ighiu, RO), Péter BOD (1712–1769), is considered by the specialty literature to be the foremost Protestant scientific figure of the 18th century in Transylvania. The influences of the historiography of the type Staatenkunde, and also a true attempt to go from ecclesiastical to laical history can be noticed in Brevis valachorum historia, in which he researched the history of the Romanian people from a double perspective: ecclesiastical and laical. A researcher of objective causality, Péter BOD synthesized the failures and degeneration of the romanian religious Union under the pressure of confessional revolts.
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The novel Sorstalanság by the Hungarian Nobel Prize winner Imre Kertes was translated into the Serbian language by the translator and author Aleksandar Tišma. Looking at Tišma's translation procedures, it is not difficult to notice how he cleverly uses various narrative means that are available to him in the Serbian language. The focus of this paper is on the use of the pluperfect in the translation of this novel into the Serbian language. The pluperfect is a verb form that, in its basic sense, refers to an action or situation at a time earlier than a time in the past already referred to. The Hungarian language does not have a verb form that has such a specified meaning and therefore it was necessary to investigate which means served as a signal to Tišma to use the pluperfect. In the first place, as the number of examples shows, the signals of anteriority in the original are temporal adjuncts among which the most frequent is már (= već). The meaning of the anteriority of a past action in relation to another past action is often seen within complex and compound sentences, of which temporal, causal and coordinate ones are recorded with a large number of examples. In a significant number of examples, Tišma uses a passive structure with a passive participle as the equivalent of Hungarian constructions which also have a passive meaning or the meaning of a generalized agent.The relatively high frequency of the pluperfect in the translation is certainly conditioned by the narrative nature of the original text and the fact that between the moments of the described events and the moment of writing the novel there is a significant time distance. Using this, primarily narrative verb form, Tišma significantly contributes to the stylization of the narratives.
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This article discusses the early theoretical works of the Hungarian psychoanalyst and a close disciple of Sigmund Freud, Sándor Ferenczi. This study offers an interpretation of his short case study Homosexualitas Feminina, published in 1902, concentrating on the analyst’s narrative and stylistic strategies before he met the founder of psychoanalysis. The article is devoted to the analysis of a popular medical genre – the case study – which is seen in the light of its relation to life-writing literature. Rather than follow Michel Foucault’s deconstructive scheme of interpretation, I offer a more affirmative reading of the case study of Rosa K. and thus seek to understand Ferenczi’s early work through the impact of life-writing genres, such as biography and autobiography, on psychiatric discourse at the turn of the twentieth century.
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The article scrutinizes how autobiographism, fiction and autoanalysis crisscross in the psychoanalytical study Elmebetegségek psychikus mechanizmusa (On the psychic mechanisms of mental illnesses) by the Hungarian writer and psychiatrist Géza Csáth (1887–1919) in the light of his diary and Carl Gustav Jung’s doctoral thesis.
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Questions concerning God and creation are constants in the prozaic work of Péter Eszterházy and constitute a topic which the author approaches mainly through the prism of an individual confronted with historical circumstance. This study is a reading of the novel Egyszerűtörténet vessző száz oldal – a Márk-változat (A Simple Story Comma One Hundred Pages – the Mark Version, 2014), which portrays the dark communist 1950’s in Hungary via paraphrasing of the gospel. The concern here is mainly with aspects of the textual expressionof religious experience, which includes philosophical and phenomenological questions about the possibilities of articulation and expression of the individual (emotional) testimony of faith. The analysis looks at perspectives as represented by the two main characters. The one represents silence as the true communicational space for the relationship with the transcendent, the other represents the alternative of a linguistic approach (writing a story about God asimitation, as a ritual mastery, as betrayal). The study approaches the historical circumstances of the narrative as a theodicy, i.e. as an attempt to understand the meaning of the passion story in the broader context of human history.
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Post-war Surrealism was often considered by contemporaries as no more than an appendix to thecurrent’s glorious interwar period. However, the international dimension and impact of Surrealismwas prominently acknowledged after the Second World War. The present article identifies the 1947International Surrealist Exhibition as a site and model of mutual intellectual exchange and examines,from the point of view of the authors participating in the exhibition, the sort of importance that wasattached to the participation itself, and the way in which these authors positioned themselves relativeto Surrealism, before and after the event. Through these contributions and their preparationdocumented in letter exchanges, a post-war Surrealist network structure is outlined.
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In the 17–18th centuries the interest for works concerning the history of Protestantism in Hungary and Transylvania has increased. Such an opus is the Historia Ecclesiae Reformatae in Hungaria et Transilvania (1706) by Pál Debreceni Ember. The author of this ecclesiastical history not only presents the history of the Reformed Church in Hungary, but he also tries to present the origin of the Hungarian Christianity projecting it onto the apostolic period. To prove his theory, he turns to the early Christian writers. The aim of this paper is to present the reception of his sources.
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The congregations of the Reformed Church District of Királyhágómellék and Transylvania replaced the older hymnbooks twenty years ago. The replacement of 1921 hymnbook, previously used in the Partium region, and of the 1923 hymnbook used in Transylvania, opened a new chapter in the church singing practice. When comparing the origin and style layer of the songs in the two hymnbooks, the difference is striking, especially with respect to the 19th century melodies and the amount of 18–19th century ad notam songs in the 1921 hymnbook. From a structural point of view, the Hungarian Reformed Hymnbook focuses mostly on the hymns of the Reformation era and the German choral melodies, quantitatively closely followed by the Anglo-Saxon and Romantic hymns. The other valuable medieval, baroque and 20th century hymns are present in a merely symbolic proportion. During a hymnbook revision, it is not enough to drop rarely used or undervalued hymns. Rather, hymns with weakened influence need to be replaced. This is how we should approach our new hymnbook published nearly a quarter of a century ago. Its substantially new material should be regarded as a “profit” that needs to be discovered repeatedly and adopted in our worship services.
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The paper looks at two major representatives of fin-de-siècle utopian fiction, Edward Bellamy’s 1888 Looking Backward 2000–1887, William Morris’s 1890 News from Nowhere, and an earlier work by the Hungarian novelist Mór Jókai, The Novel of the Century to Come (A jövőszázad regénye, 1872–1874). I examine their various strategies regarding the spatial and historical aspects of utopian transformation as well as their respective positions toward the relationof commerce and community. On the whole, I suggest that the pattern of nationally informed or biased internationalism that seems to underlie all three novels might be traced back to the enlightened concept of patriotic cosmopolitanism.
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