– …a japánokat kicsit untad, de még nem beszéltél arról, hogy mi történt Venezuelában. – Az a nagy megbízás a venezuelai jegybanktól jött az olajárrobbanás után. Akkoriban egyes jegybankok azzal a jelenséggel szembesültek, hogy elözönli õket a dollár, és csak halmozódik-halmozódik a rengeteg pénz. És ebbõl egy elviselhetetlen inflációs nyomás keletkezik a belföldi piacon.
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Molnár Gusztáv: Beszélgetések Méliusz Józseffel (1930–1939), Korunk–Komp-Press, Kvár, 2012.
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Jakab Albert Zsolt (szül. 1979) – a kolozsvári Nemzeti Kisebbségkutató Intézet kutatója és a Kriza János Néprajzi Társaság elnöke – idén megjelent kötetei egy 2002 óta végzett, hosszabb kutatásnak az eredményeit foglalják össze szintetikus módon.
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Keywords: censorship; literary norms; ambiguity; body; sexuality; journalism; historical novel
Many Czech writers whose first books were published during the First Republic (1918–38) revised those considerably for re-edition after the Communist takeover in 1948. Using a vast range of examples this paper track types of changes and aspires to characterize the literary norms of the 1950s. Revisions of these works led to a fundamental shift of the genre that could be described as ‘journalistic prose fiction’, and served as an ideological variant of the historical novel. The study argues that a novelist could become a Socialist Realist by abandoning the perspective of the engaged witness, and narrate stories with the task to legitimize the present. The present was to be depicted as a necessary consequence of the whole course of history until the point of publication.
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Hornyák József: Évek, õrangyalok. Szerelmeim, Pont, Bp., 2002.
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Sofi Oksanen: Tisztogatás, Ford. Pap Éva, Scolar Kiadó, Bp., 2010.
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Keywords: Hungarian minority; Hungarian Party; Bernády; mayor; politics
György Bernády had an important role in the Romanian politics, representing the Hungarian minorities, and was a founding member, of the Hungarian Party (1922). Known as the famous mayor of the pre-war Marosvásárhely (Târgu Mureş), he had shaped the Hungarian Parties’ strategy, and was an influential figure because of his relations with the governing Romanian National Liberal Party. His political ambitions were strictly connected to the ideology which supported the Romanian liberals, and this was accepted only by a small group within the Hungarian Party. Bernády almost became the president of the Party, but was ultimately rejected because of his political views. In the first free elections, he was one of the few Hungarians, who had been elected to be a member of the Romanian parliament, and also, he was the first Hungarian who gave a speech. His actions (he joined an inside-party reform-movement) eventually ended up in him leaving the Hungarian Party (1927). These events gave him more opportunity to focus on city-governing, as he was elected (again after several years) mayor of Marosvásárhely. His career as a mayor ended soon, because of the Romanian administration, which made it impossible for him to act as needed (1926–1929). He is remembered for playing an important role in the urbanization of Marosvásárhely, however, more research is needed to judge and conclude his political activity.
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Ezredfordulós reneszánsz mesternek merném nevezni Jakobovits Miklóst. Ilyen gazdag skálán legalábbis Erdélyben kevesen játszanak, mint amelyen õ játszik. Ráadásul nem is játék ez, hanem maga az élet. Oltárképet restaurál, kiválóan rajzol portrét is, valamikor groteszk olajkompozícióival figyeltetett föl magára, mi több, a politikai diktatúra éveiben-évtizedeiben tette ezt. Végigjárta az absztrakció stációit, legújabban pedig annak a felfedezésnek ad hitelt, hogy a szín nem csupán hagyományos festékkel valósítható meg, hanem úgynevezett hulladékanyagokból is. És e mélyen átélt kísérletek közben nem szakad el környezetétõl, szervez, rábeszél, kortársairól ír kritikát, könyvet. Jelen van Erdélyben, magyar, román és örmény környezetben, jelen Európában.
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Dokumentumok a kolozsvári Bölcsészet-, Nyelv- és Történettudományi Kar történetéhez (1872–1892). Szerk. T. Szabó Levente – Zabán Márta, Kolozsvári Egyetemi Kiadó, Kvár, 2012. (Fontes Historiae Universitatis Claudiopolitanae)
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Az írás átfogóbb kontextusaként Pier Paolo Pasolini forgatókönyveinek mûfaji, strukturális, stilisztikai jelenségeivel foglalkozom, pontosabban azzal, hogy forgatókönyveiben a leírás és a szabad függõ beszéd irodalmi technikáit alkalmazó szövegrészletekben milyen értelemben tekinthetõ problémásnak a Pasolini által autonómként, dinamikusként meghatározott és leírt forgatókönyvi struktúra, s hogyan lesznek ezek a részletek irodalmi szövegekké, amelyeket forgatókönyvi struktúrába szõtt regény- vagy filmnovellarészletként is olvashatunk.
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Milián Orsolya: Átlépések, Palimpszeszt–Prae.hu, Bp., 2012.
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Vaszilij Grosszman: Panta rheim, Ford. Enyedy György, Európa, Bp., 2011.
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Benõ Attila: A dolgok másik neve, Komp-Press Kiadó, Kvár, 2011.
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Váradi Nagy Pál: Urbia, JAK–Prae.hu–Korunk, Bp.–Kvár, 2012.
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Keywords: literary criticism; the Fifties; avantgarde; socialist realism; continuity; discontinuity; discourse; comment
A significant part of Slovak literary historiography uses „schematism“, a notion introduced in the early 1950s for marginalizing the literary production of the late 1940s and the turn of the decade – a notion that served as a literary parallel for the criticism of “certain political mistakes” of the same years. Reflections on the „childhood diseases” of socialism from the 1950s on contributed to the disentanglement of post-Stalinist regimes from Stalinist ones. These interpretation that found their methodological grounds in historical materialism, enables critics to construct the history of modern Slovak literature as a linear and continuous movement. Alternatively, the 20th century history of Slovak literature could be understood as a series of discontinuous shifts of the dominant aesthetic units. This study follows the changes of criteria which in the activities of literary criticism helped to establish the primary values of the new political power at the turn of the 1940s and 1950s: the doctrine of socialist realism. It argues that this period is one of the key turning points in the history of Slovak literature.
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Keywords: socialist realism; Hungarian literary historiography; Marxism-Leninism; Stalinism
The paper serves as an introduction to the present Korunk issue on socialist realism. It identifies the negligence of Soviet and Marxist-Leninist literary and cultural theory, on the one hand, and socialist realist literature and cultural products, on the other, as a major shortcoming of Hungarian literary historiographical discourse of the past two decades. It argues that socialist realism profoundly defined the cultural field in the 20th century, and without having a closer look on its political and semantic mechanisms it is difficult to meaningfully engage with well-established interpretive patterns, ideas, narratives that originate in the socialist period, but remain to be used without any further reflection. The article is also an attempt to provide an overview on recent research of socialist realism.
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A 75 éves Paulovics Lászlót köszöntjük ezzel a kis tárlattal: megbecsüléssel, baráti szeretettel. Egy életmû van mögötte, s ezért húsba vágó kérdés: hogyan, milyen valóságos és méltó formában, mi módon lehet összefogni, kiállításban vagy írásban összefoglalni a több mint fél évszázad óta épülõ mûvet. Lényeges kérdés: hogyan határozható meg a képzõmûvészetek európai térképén az õ alkotói teljesítménye, festõi attitûdje.
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Keywords: monumentality; functionality; verbocentrism; monumental propaganda; architecture parlant; description
The paper presents the consequences of literature ascribing special significance to architecture, regarded to be a socially useful art. The influence of architecture on literature resulted in the ambition to turn texts into buildings by adding emphasis to functionality, verbal economy, and the special proprieties of materials. However, the impact of literature on architecture is even more important in Stalinist culture, as it shows its „verbocentrism”. Edifices erected according to the principles of socialist realism were destined to „speak”. The idea of „monumental propaganda” means, on the one hand, reactivation of the principles of architecture parlante; and, on the other hand, the rebirth of descriptive poetry. Thus, one may argue, the architecture of 1949–1955 „speaks” through literary texts.
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