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In this chapter the topic is for the Hungarian poetry and its development reviewed from its place in Hungarian language from 20th century.
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This chapter follows the changes of the prefered Hungarian genre of poetry into a novel. In it a relation is being made between the change of the literary taste and the historical changes that took place in Hungary. The author is following the Hungarian novelist Kosztolanyi, who wrote short stories, although the intended literary work to be produced was a novel and although he wrote few novels he stayed as one of the figures that made the poetry-to-novel change.
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This chapter gives an analysis of the works of Milan Fust, of his life, his believes and the motives of his works. Here are reviewed the theory and the poetics of this Hungarian author as well as his standings, his virtues and interests that led to the creation of his plays, poems and other literary works.
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This chapter about the Hungarian revolution in 1956 and the position of the authors then - aout the major changes not only of the institutions but of the thinking, the literary life and how the revolution made the once strong authority shake. This were times of change when the communist-reformer writers were no longer regarded and even were attacked in the press, many authors were "silent" and even emigrated.
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"Fateless" by Imre Kertesz is a book that is discovering to the readers how Hungary was affected by the Holocaust. The information in the book is based on saved documents of that period, which adds historical realism to the described dark times. The author of the article, Agnes Heller, is analyzing the book in depth and makes comparisons with other works concerning the Holocaust.
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This article is about the reforms in Hungarian prose in the late seventies up to the late eighties. The author is reviewing the critic towards the prose genre and the denial of its independence as a genre.
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Agota Kristof (1935–2011) was an internationally recognized writer: she was among the most famous Hungarian intellectuals of her time. Despite her reputation abroad, she received much less attention in her home country. Her life story displays her central European identity. How? The goal of the present study is to answer this question. Kristof left Hungary in 1956 as one of the 200,000 refugees who fled from the Soviet invasion af-ter the fall of the revolution. She settled down in Switzerland where she could not fashion herself in a literary career, but worked in a watch facto-ry for years. She made a name for herself after publishing a novel, The Notebook in 1986. The story reflected on her childhood in Kőszeg, a small town in western Hungary, although it was not an autobiography. It was a story, written in French by a Hungarian writer who used very simplified language to evoke the atmosphere of an overly cruel world during WWII. This world was cruel in the public sector as well as in private life. Where does this extraordinary brutality come from? What distresses Kristof ex-perienced as a child which are echoed in the novel?
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Jenő Rákosi (1842–1929) was writer, translator, journalist and he took part in the political life as well. Although he had a German origin (his mother's native language was German), as the founded director of Népszínház (Folk Theatre) and the founded editor in chief and the own-er of a nationwide daily (Budapest Hírlap) he became an important lead-er of the campaign (policy) of the Hungarian cultural assimilation and chauvinism. He wanted the members of the national minorities to be-come Hungarians partly because of that liberty and prosperity which should have characterized Hungary according to his purpose. It means that his political beliefs can be described as liberal and nationalist ones in the same time. His political aim was a kind of modernization (Westerniza-tion) of Hungary but in a Hungarian nationalistic manner.
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Investigations by: Âgoston Hugo, Anavi Âdâm, Balâzs Imre-Jôzsef, Biro Béla, Mircea Cărtărescu, Demény Péter, Paul Drumaru, Läng Zsolt, Mircea Martin, Carmen Mușat, Anamaria Pop, Ion Pop, Mircea Popa, Szilâgyi Julia, Szonda Szabolcs, Geo Șerban, Vallasek Jûlia, Daniel Vighi, Visky Andrâs.
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Apărut în ajunul celui de-al doilea război mondial, romanul scriitorului și jurnalistului maghiar Mârai Sândor este un produs tipic central-european, un fel de manual de inițiere în istoria mentalităților Europei mediane, o carte care se potrivește aproape perfect într-o grilă de lectură pe care cititorul o poate folosi cu același succes ca în cazul romanelor lui Joseph Roth, de pildă. Aceasta, însă, nu o face mai puțin ofertantă sau imprevizibilă.
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Formula „geometrie variabilă” reprezintă unul dintre locurile comune cu care este desemnată Europa Centrală. Sintagmă generoasă, ea poate să migreze și către alte zone ale discursului ; un exemplu în care transmutarea se poate face cu succes ni-I oferă proza modernă.
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În peisajul geopolitic și cultural al Europei Centrale de început de secol XX, evenimentele primului război mondial coincid cu momentul destrămării unei ordini seculare, Monarhia austro- -ungară, într-un proces a cărui ireversibilitate constituie unul din punctele lucrării de față, proces care se definește prin criza unei identități perimate și, drept urmare, prin căutarea alteia, atât la nivel individual, cât și general (statal). Ultima zi de război dobândește astfel o durată mult prelungită, și în același timp relativă. Unul dintre momentele semnificative ale acestei durate le instituie lipsa de vlagă a unui război prea lung, ilustrată de A. Kusniewicz, care, născut în 1904, e marcat puternic de experiența războiului, așa cum el însuși o mărturisește într-un articol publicat în revista „Secolul 20” : „Am scris Lecția de limbă moartă în decurs de 3 luni, dar ideea se născuse mai demult. Doream să închei într-un fel epoca primului război mondial care mi se întipărise prea adânc în memorie... să închei cu această perioadă atât de puternic fixată în mine”. Apoi, un moment de impas târziu, ilustrat de T. Déry, care, la rândul lui, trăiește din plin evenimentul războiului, chiar dacă nu este recrutat decât spre sfârșit, în 1918. Din toate aceste experiențe se naște ficțiunea, înscrisă în „Marele Text al Istoriei”, și mai precis dintr-o dorință de ordonare a haosului întâmplărilor reale prin filtrul literaturii, așa cum arată și Nemoianu în cartea sa, O teorie a secundarului : „...literatura influențează realitatea creând forme, tropi, imagini, care pot înlocui în mod satisfăcător dezordinea sălbatică a percepțiilor profund discontinue care ne asaltează”.
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18.1. Literature and »national consciousness« 18.2. Delimitations and border crossings 18.3. The ideology of »Yugoslavism« 18.4. Brief overview of the individual national literatures
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