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The paper discusses the legacy of the renowned Hungarian writer, Miklós Mészöly, in the literary and political context of the ’50s and ’60s of the last century. The research is based on genetic criticism − on the exploration of autograph diary notes, written drafts, various original manuscripts − and focuses on previous versions of Mészöly’s final texts. The study deals with a specific part of Mészöly’s wide-ranging oeuvre. The paper focuses on the early prose works Az atleta halala (Death of an Athlete, 1966), Saulus (Saul, 1968), and Pontos tortenetek, utkozben (Exact Stories on the Road, 1970) that have had a poetically and theoretically stimulating effect on the Hungarian contemporary authors and scholars. The paper includes several important and formerly unknown documents from the Mészöly heritage collection, kept in the Petőfi Literary Museum, which revise the interpretations of Mészöly’s above-mentioned works.
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In the paper we tried to find the answer for how the Saxon responded for the injuria of the Josephine and the 1790-91 diet’s regulations. The analysis of the solely printed texts was mainly lingual: which are the instruments of the enemy formation and self-definition, as well as the elements of argumentation for proving the righteousness of the privileges. The always situational self-definition offers the Saxon different strategies which they parlay as good as they can.
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Jovan Kenejevic, who was a clergyman in Rats Titos in Baran region of Hungary, has copied the religious work “Pravila Svyatim Ili Sobraniye” (Правила свјатим или Собраније) in 1800 to be used in church service. This 372 page book is written in Rusko-slovenski (Kilisi Slavic) in Cyrillic letters. Knejevic has mentioned 606 Turkish words in the first four pages of this handwritten work and has made this note over the top line: “We cannot communicate in our daily lives without the Turkish words that are presented here.” ( Зде назначаются турске речи кое ми употребляемь и без нихъ говорим не умъемъ). This note of Parson Knejevic shows the existence of Turkish in Baran region of Hungary in 18th century. Information about this manuscript is provided in the research. Turkish words that were written in Cyrillic letters are translated into Latin letters, their meanings in the Turkish of Turkey are included and they are thematically categorized. As a result of this study, the aim has been to shed a light on the extent of the Turkish sphere of influence in 18th century Hungarian territory.
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Adalék a vajdasági magyar irodalom kezdeteihez
The present study is based on the example of Nagybecskerek, takes into consideration the cultural/literary happenings, manifestations, and also the relevant social background events of the time, and presents the beginnings of minority Hungarian literary, first utterances and characteristics. The writers of the former county seat, in the absence of adequate institutional background, and the austerity measures of the Serb-Croatian-Slovenian Kingdom, which came into effect on 1st of December 1918. were the first to emerge as creative enthusiasts circles, informal discussions. From these roots later emerged the Hungarian newspaper and book publishing and the Hungarian literature in Vojvodina, for which one of the important pillars were the great writers of Nagybecskerek. Not only because the first novel of Hungarian literature in Vojvodina was published in 1919 (János Tarkó: While the Great Storm had left...), but also because it was the pioneer of the minority Hungarian literature publishing (Renaissance – 1920, Fáklya – 1922) and literary organization (Ady Társaság – 1923).
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This paper examines how the Hungarian contemporary writers and intellectuals reflected upon the occupation of Czechoslovakia in August 1968. It quotes negative criticism and condemnation expressed by, among others, Sándor Márai, Péter Veres, Gyula Illyés, Ferenc Karinthy.
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The aim of the paper is the examination of the appearance of the sick body in Kata Árva Bethlen’s Önéletírás[Autobiography]. The introductory part of the work outlines the differences between the early modern and the modern body image. It examines the presence of epidemics and different illnesses in the autobiography, as well as the metaphorical linguistic representations of the illness. The paper goes into detail about the effects, alongside which the body is formulated; herein it analyses the effect of widows’ prayers, Protestant asceticism and of pietism.
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The study examines the role that the peasant revolt of 1514, generally attached to the name of György Dózsa, played in the collective memory in Hungary in the 1840s. It contests the argument according to which alongside the traditional, conservative approach, which condemned the revolt, there would have emerged a revolutionary view, which already presented the events as examples to follow. It argues, rather, on the basis of several contemporary literary works, that there continued to exist in the 1840s an attitude which extended back to 1514 and was influenced by consequent waves of violence, and which, as a result, regarded the peasant revolt as a shocking example and rejected all forms of collective violence. This, however, was certainly not conservative in terms of ideology or the history of ideas, but reflected simply the norm. It was certainly not the reinterpretation of this conceptual framework which started then, and it is totally mistaken to suppose that the new tones in praise of Dózsa emerged with equal force: the examples which apparently prove this are to be assessed in a different way. What, indeed, can be regarded as a novelty is the sporadic yet total negation of the attitude regarded as the norm (as in the gesture of Sándor Petőfi , the most outstanding poet of the period), or its logical transcending (as the Christian salvational approach in the novel of József Eötvös). None of them amounts to a presentation of the Dózsa peasant war as an affirmative example, however, for both preserve a strong aversion to destructive violence.
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The traditional literary representation of the village has completely changed in the contemporary literature. It is no longer the symbol of isolation, narrow-mindedness, of a non-informative medium, but that of the individuality and originality. The depiction of the local scenes from an ironic, parodistic aspect characterizes the writings of the younger generation. The documentation of the micro worlds and over-mythologization of the village-situations manoeuvre the texts. All stories are related, get written further and take a shape in a closed space of a micro community that already transforms its characters with undetermined identity and its discouraged readers into the virtual literary medium.
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Tudományos könyvkiadásunk egyre lejjebb hajló kényszerpályán halad, és ez a kritikus számára is okozhat zavart. Örvendetes, hogy a néprajztudomány egyik vezető egyéniségének számító Gunda Béla tanulmánykötetét legalább egy „közművelődési” kiadó megjelenteti. Nem világos azonban, hogy milyen alku köttetett a szerző és a kiadó közt; mennyit kellett engedni a „tudományosságból” azon túl, hogy a jegyzetek - igen sajnálatos módon -, elmaradtak. Az például valószínű, hogy bizonyos közhelyszerű evidenciák talán a szélesebb nagyközönség kedvéért kerültek bele vagy maradtak a műben, különösen ami a Bevezető gondolatokat illeti, amely e kiadás számára íródott. Ezt a fejezetet (a kultúráról és működésének szabályszerűségeiről) mindenesetre most nem tesszük tudományos műnek szóló kritika tárgyává. A cikkeknél azonban már nem tehetünk különbséget, pedig nem tudhatjuk, hogy a válogatásba és a cikkek változó színvonalába - olykor igénytelenül „népszerű” megfogalmazásaiba - mennyire játszott bele a vélt vagy a valós közművelődési igény. Az mindenesetre bizonyosnak látszik, hogy az írások, akár régi, 1956-tól kezdve publikált tanulmányok utánközlései, bővített vagy magyarított változatai, akár itt jelentek meg először, a szerző intenciói szerint szakcikkek vagy tudományos esszék.
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In this study the author describes linguistic means of expressing humour, irony and sarcasm based on texts in Magda Szabó’s book of letters entitled Dear Kumacs! Letters to Éva Haldimann. Dealing with terminology issues in the beginning of the study, the author states that, since they appear together in humorous texts, in many cases notions of humour, irony and sarcasm are treated as synonyms in literature. The style of the letters by Magda Szabó is characterised by varied tone adequate to the given topics: elaborate, humorous, playful, ironic or sarcastic. The study primarily focuses on playful, humorous and ironic names in the address forms and closing formulas of the texts of the letters. The author chooses from the letters those repetitive figures expressing humour which have text-cohesive function.
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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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E tanulmánykötet a költő halála után fél évszázaddal jelent meg, a József Attila személyét és művészetét érintő, szűnni nem akaró ideológiai kisajátítások áradata után: s csak egy relatíve szabad időszakban, 1988 és 1992 között jöhetett létre. A szerzők hihetetlenül gondos filológiai munkálkodás során adtak közre eddig ismeretlen vagy hibásan-töredékesen megismert szövegeket, melyek részben a költő privát szférájából származnak, betegségével, gyógykezelésével kapcsolatosak, részben párttagsága bonyodalmait ismertetik. További tanulmányok írásművészetével, kreativitásával foglalkoznak. A mintegy tizenöt szerző írását tartalmazó, mindvégig igen tömény, egyenletesen magas színvonalú szöveg egyforma részletességű elemző ismertetése itt megvalósíthatatlan. Egyes fejezetek kiemeltebb tárgyalása nem minőségi szempontok szerint történik, hanem az e recenziót vezérlő gondolatmenethez való hozzájárulásuk alapján.
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Serestély Zalán: Az állomás három kutyái. Erdélyi Híradó Kiadó – Fiatal Írók Szövetsége, Kvár–Bp., 2017.
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The novel Spring Comes to Budapest by Ferenc Karinthy was considered to be an emblematic literary depiction of the siege in the 1950s. The literary representation of the end game of the Second World War in Hungary met the historical and social image of the communist cultural policy; nevertheless, in addition to following the guidelines of the socialist realistic representation, scope was left for articulating other, namely, non-communist social perspectives, too. The analysis follows the “evolutionary history” of the bourgeois-intellectual hero in the space of social-ideological positions embodied in the characters. In addition to the structural and ideological functions of the characters, it also presents the role of endowing the nation-stereotypes with moral and political connotation, the metaphorical and topical network of the novel, layers of meaning resulting from the organisation of space and time, and the compositional significance of the accentuated scenes, namely, their ideological meanings.
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A preliminary to a possible history of Hungarian literature in Romanian presents several methodological problems, which partly concern the methodology and practice of writing a literary history, and partly various phenomena in the Romanian and Hungarian literary media. The paper first deals with the international practice of writing a literary history and its influence on Hungarian discourse, then surveys the past twenty or twentyfive years’ experience of Hungarian literary studies concerning the topic. Next, it brings up several characteristics of Romanian literary history writing which may be relevant from the viewpoint of writing a history of Hungarian literature in Romanian. Last, it covers issues of fiction and literary translation, which can by no means be bypassed when planning and undertaking such a project.
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