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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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A budai Egyetemi Nyomda kiadványainak szerepe a románok identitásának erősödésében
The first part of the study presents the indirect relations of Gh. Șincai, member of the Transylvanian School with the Society for the cultivation of the Hungarian language in Transylvania and with Aranka György. Through the presentation of relations, we have tried to outline how the Transylvanian Hungarian intellectuals could help the work of the Romanian scientist and how contributed to his nomination of reviser and censor of the University Press of Buda in the first place. The second part of this academic paper deals with the Romanians four languages Lexicon, paying attention especially to the strengthening of the Romanian identity.
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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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My study investigates into the way the ideas of philanthropism appear in Hungarian children’s books released in the first half of the nineteenth century and into the value system reflected in these books. My aim is to draw attention to a wider audience concerning children’s books, laying outside the traditional canon of Hungarian children’s literature. The examined children’s books are limited to two authors’ works: the ones written by Jakob Glatz and translated into Hungarian, as well as Gábor Döbrentei’s book entitled A kis Gyula könyve. The philanthropist educational reform movement put the children’s literature into a new position: children’s literature became important, since it was the source of children’s entertainment and enjoyment. The following aspects regarding philanthropist characteristics are tackled: title and topic selection, the characters of the stories/plays, the frame story bedding (a common narration technique) and the highlighted role of leisure activities. Philanthropism was an educational movement adapted to the practical needs of the middle-class – that’s why pedagogical concepts and civic values are closely intertwined. In the children’s books I examined, we can observe the small bourgeois family being shown as an example; however, these stories often praise hard work and manual labour. The main emphasis concerns highlighting civilian occupations, but the social role and the line-up of virtues have the same importance. The civic virtues “catalogue” is not limited to men and sons, but it is harmonically completed with the presentation of women’s role and the virtues linked to it. In my opinion the Hungarian children’s literature of the first half of the nineteenth century shows a much more varied picture than the way it is presented in the manuals and lecture notes on the history of Hungarian children’s literature. Beside the examination of the national children’s literature it is worth examining the children’s books of this period in a broader context.
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After several initiations at the end of the 19th, it was only in the early 20th century (1906) that the association, the Literary Society of Bács-Bodrog County was founded, which brought together the writers of the regions and was active until the First World War. Its founders had intended it to be more of an educational and cultural society, but aside from that, its foundation was an integral part of both the literary effervescence of the time and the ambition to establish associations in the county seat. The literary society engaged in activities within the framework and grip of the golden age of middle class cultural habits and the relatively isolated provincial cultural life, and for this reason, those who attempted to appraise it differed in their opinions, and were rather unflattering in their assessment, without engaging into a thorough analysis of its work. This study gives a factual outline of the work of the literary association in Zombor proving, that in spite of its provinciality, beyond its original intent, by organizing literary evenings (Bács, Szabadka, Bezdán, etc.), celebrating the 40th anniversary of Mikszáth’s anniversary of his literary career (1910), announcing a literary competition (1910), and publishing a literary bulletin (Irodalmi Értesítő – 1909) and a literary almanac (A Bács-Bodrog Megyei Irodalmi Társaság Évkönyve, Zombor, 1912) it focused its activities on boosting literary life.
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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 article intends to thematize several structural aspects of Imre Bori’s broad world, specifically exploring the complex system of multidimensionality. We are confronted with a literary-historical way of thinking, whose characteristics are the identification of certain problems of modernity, the interpretation of avant-garde discourse, the placement of Yugoslav literary relations in a particular perspective, or the problematization of prose, taking into account thematic-bodily innovations. It is not only a genre issue, but the content composition of the opus that is specifically complex. One of our starting questions is this: from the metaperspective of writing literary history, what are our chances of articulating interrelationships, specific areas of work and components of different roles. The inevitable question is, how do the expression of models, from the beginning of oeuvre, provides a way of seeing within a cohesive system, or within a logical framework of a specific minority program in accordance with special social positions and a special system of opportunity must be counted.
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The drinking song as a genre just as the intoxication as a topic always belonged to literature. The drinking song was very popular in Hungarian literature in the 18th-19th centuries. It became a very significant form for two reasons. On the one hand it was based on a very strong ethical and aesthetical community which gave a collective voice to the writers of drinking-songs, and on the other hand wine as a drink was a forming element of the early modern nationalist Hungarian identity within the Habsburg Empire. The genre was so popular that most of the representative authors of the Enlightenment, Romanticism and different eras of Modernism wrote poems of this style - while every one of them shaped the genre for their own way of writing. For the 20th century the drinking song’s possibilities have changed completely. The historical and ontological experiences of the World Wars brought a brutal end to the previously accepted relations between the individual and his/her community. The ethical and poetical community which once had given the basis to the genre was over. The so called Kádár-era, the “soft-dictatorship” of the second half of the 20th century, converted the joy of common drinking into the alcoholism of lonely self-destruction, so the Hungarian poetry of the epoch had to “renew” the genre. The sometimes ironic, sometimes melancholic way of speaking was able to express that the values of the ancient drinking songs were not valid any more.
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Háttérvázlat a Faust-motívum áthagyományozódásának vizsgálatához a magyar és a horvát irodalomban
This philological-contactological study sets about to trace the literary versions of the Faust phenomenon. It aims at outlining a thematic, motivational and poetic network of variations of the Faust legend. It attempts to map how the Faust legend has been passed down throughout history to contemporary literary editions, first and foremost in Europe, and more particularly in Hungarian and Croatian literature.
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Balázs Béla drámájának recepciótörténeti szempontú vizsgálata
As one of the representatives of modern Hungarian literary aspirations, Béla Balázs published his first works in the early issues of Nyugat and was present among the „Holnaposok” literary circle at Nagyvárad, yet later he distanced himself from them (from 1919 completely) and thus from the mainstream of current Hungarian literature as well. There were several reasons for this, among others debates on divergent views concerning principles of the philosophy of art, as well as occasional misreadings of some pieces of work in his oeuvre. In this paper I study the above considerations in the focus of the author’s drama, Doctor Margit Szélpál, or rather the contemporary readings of the work. This reception history analysis is based on reviews published in the literary journal Nyugat, namely, on writings by Miksa Fenyő, Mihály Babits and György Lukács.
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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 presentation focuses on circulating drama publications of the era, considering library book catalogues and loan registers from schools, and booksellers’ available lists as primary sources. In the wide sense of literature history approach the personal and institutional features of literacy interconnect, thus the references of school, theatre, library, readers’ circle, bookseller, book collector and lender run into another throughout the analysis. In our inquiry we pay attention not so much on the circumstances of the reading practice, which can be read about in detail in diaries, correspondence, memoirs, but we endeavour to grasp the drama reading culture of group and community through the drama offer of reading circles and information recorded in boarding school libraries.
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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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The first part of the study describes the typology of colour names in a functional grammatical framework. In the next part of the paper the associative use of colour is described in various stylistic image systems in two Ady verses and their English and Russian translations. In Ady’s poetry, however, colour symbology is not central; it is the idea that is primary for him, although he also used various colours in his synesthesia to express the sense of sight in his synesthesia. Several studies have been conducted on the symbology of black and white colours, so the authors focus primarily on these colours when examining Ady’s colour symbology in both the source and the target language texts.
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The author as a continuation of his study Introduction into the World of Cruelty: Civilisation, supervisory power and cruelty in Géza Ottlik’s works sums up the modes of cruelty found in the novel, and also shows how human order and world order are connected in the world of Géza Ottlik’s novels. He compares Ottlik’s main work with Imre Kertész’s Fatelessness, and points out the parallels which can be drawn between a cruel regime of surveillance and a concentration camp, or between the literary representation of them.
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(Kételyek és tézisek az irodalomtörténet historiográfiáját illetően)
In the study the author tries to answer questions like what we understand under the term the literature of the Enlightenment, what kind of and how many writings can fit in this category, whether all the literary creations of the period can be interpreted in the same analytical scheme, what are the time limits of the period, or who were the subjects or the actors of the Hungarian Enlightenment.
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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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