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Tőzsér Árpád életműve (poszt)modern kontextusban
Csehy Zoltán–Polgár Anikó (szerk.): A mittelszolipszizmus terei. Tőzsér Árpád életműve (poszt)modern kontextusban. Media Nova M, Dunaszerdahely, 2017, 192 p.
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Magyar líra és epika a 20. században
Grendel Lajos:A modern magyar irodalom története. Magyar líra és epika a 20. században. Második, bővített kiadás. Dunaszerdahely-Budapest, Kalligram, 2019, 544 p.
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The following study is one of the chapters of the doctoral thesis entitled Continuing writing the stereotypes of the Monarchy-literature and interculturalismin the contemporary Hungarian short story literature in Vojvodina. The study seeks the answer to the question of how the stereotypes of the Monarchy-literature are written and survive in the contemporary Hungarian short stories in Vojvodina. In the short stories various motives can be found that act as a stereotype. As such is the homeland, military, army, language and the railroad. The railroad, the army and the homeland appear in the short stories of all the three authors.The historical, retrospective narration is frequently extended by tale elements. It is necessary to treat the next concepts coherent: tale, fairy-tale, history, storytelling, narration.I consider important to examine together the sites and stories of the migrant authors’ short stories full of nostalgia. The micro stories I have examined represent a mosaic of the history. The study is in search of these contexts and also compares them.
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The sixth book of his life work series spring from an assumption that an artwork hardly examinable in itself, unseparatable from it's mode of existance, it's always gets into new contexts and changes because of this.
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The research topic of my ongoing PhD-research aims to find the answer to the question: what kind of space representations have the Transylvania-related literary works of the last few years, increasingly present on the European book-market created, and how are they capable of shaping the image of the region? The author of this paper intends to choose the literary works for analysis according to an own methodical model, and also intends to gather data about the chosen authors and poetical components through which the representations can be optimized during the demonstration.
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Szajbély Mihály: Intermediális randevúk a 19. században. Arany, Kemény, Jókai & Co. Exkurzus: Fényképíró úr Nádas Péter, Pro Pannonia Kiadói Alapítvány, Pécs, 2008.
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Lázár Péter és a Folklore Fellows egri gyűjtése, 1913-1914
Roman Catholic priest Péter Lázár (1893–1942), as a student, in the years 1913 and 1914 carried out a collection of folk poetry in his native village of Nagytárkány. The framework of this activity had been provided by a national programme lasting several years. The collection starting in 1912 was organized by the Hungarian Ethnographical Society and the Hungarian Department of Folklore Fellows among secondary school and university students. The winning project of Péter Lázár has been preserved in an excellent condition in two handwritten booklets of 301 pages, and can be found in the Ethnological Archives of the Museum of Ethnography in Budapest. The beautiful handwritten, orderly collection classified according to theme and genre, contains folk songs, ballades, description of customs and folk beliefs, as well as texts of children´s folklore. In addition to materials of Nagytárkány, the manuscript has included texts from further municipalities too, such as from Keresztespüspöki, Eger, Parád, Ajak and Vásárosnamény. The publication entitled Nagytárkányi népköltési gyűjtemény (English: A Collection of Folk Poetry of Nagytárkány) is an equivalent critical edition of the entire manuscript. The introductory study presents the story of the collection and the biography of Péter Lázár. The collection of more than 500 texts complemented by notes and first line index helps to preserve text tradition, and contributes to further comparative research.
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A bonyhai grotta elemzése
During the Romantic era in Hungarian literature works which were able to associate the verbal and visual became especially significant, and the task of verbal depiction of visual elements had become a real challenge. Dániel Berzsenyi was very efficient at it at the height of his poetic career as well as later when he wrote his theoretical papers, and also in his great dissertation Poétai harmonistika, which he wrote towards the end of his life. The poem A bonyhai grotta is a good example of a poetic accomplishment which connects the visible with the utterable world, what more, of the problem of verbal reproduction of an “unseen picture”. The poem was written when the poet learned that a countess from Transylvania vowed that she would have a poem of his engraved in a marble plaque and place it into a grotto built for this purpose. The poet created his poem without having seen the grotto to be built or having met the countess. The study analyses lessons learned from this unusual poetic situation by making a comparison between the visual structures of A bonyhai grotta and the poem which gave rise to its writing.
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The study compares depictions of foreignness in Jókai’s texts of various genres. The analysis is based on works with the topic of the 1848 Revolution and War of Independence because these events confront one most acutely with the issue of relations or attitude towards strangers. The difference between the shaded representations in his novels or short stories and the attitude of the factual literary texts is striking. In addition to narratological aspects, the context of literary history and the study of 19th century works of historiographic narration aid towards shedding light onto the causes of this difference. Some of them formulate the ideal of assimilation for national minorities. Jókai, realizing the relativity of truth, presumably did not believe in this view, but did not contradict the historian canon; in his historical writings he evaded a more thorough examination of the issue. The better-known part of his oeuvre, his novels and short stories reveal an author open to tolerance, yet at the same time deeply attached to his national values.
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The present study intends to answer the question regarding the role and place of the woman, the profile of the ideal woman used in the unique Pax-series. After the presentation of the series itself follows the individual study of the prefaces as four of the Pax-es have female protectors that implies the existence of praising tropes. The prefaces create a well-known female profile; the protectors are enhanced with positive characteristics according to the century’s expectations. In the same time, it creates a slightly different ideal woman profile on the pages of Pax Aualae, one that resembles a lot the portrait of the ideal man, the rules presented in the introductory parts of the volume.
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One of the best works of András Dugonics is considered to be Bátori Mária (1794). Although the drama is based on Soden’s Ignes de Castro that takes place in Munich in 1784, Dugonics’s play is set in the Hungarian Middle Ages. In Kálmán Könyves’s medieval court, the dramatic conflict arises when duke István frees himself of his first marriage that was arranged for political reasons, and he does not want to mourn his deceased wife, but instead he wants to raise his affair with Mária Bátori to the level of approved marriage by the Church. The specific motifs of the Hungarian literature of the 18th century can be found in the text of the sad play, but, opposed to Kálmán and István, Dugonics did not put on the stage only an element of the era like the rejection of the parental will, but also the conflict for the throne between father and his son. In my study, I reveal how the motive of violence against women appears in András Dugonics’s drama, and I intend to add contributions to the dramatic tradition of József Katona’s national tragic drama of Bánk bán.
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Karel Jaromír Erben és Arany János balladáiról
By studying parallels between the poetry of János Arany and Karel Jaromír Erben, the paper adds to the history of 19th century Czech and Hungarian literary relations. Next to similarities between their biographies and roles as poets, it also tackles the parallel features in the thick atmosphere of their ballads, which compared to European tendencies were written a little behind time. The structural analysis brings forth the complexity and similarities of their worldviews, too.
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Béla Lázár’s A Munkácsy-kérdés (The Munkácsy Question), published in 1936, provided a controversial overview of the literature on Munkácsy. The author expresses himself at times with a passion that indicates that he connected the problem of the proper evaluation of Munkácsy's painting with the international recognition of Hungarian art as such, and its ranking in Europe. His book is an example of a tradition which has survived in some form in Hungarian art history right up to the present; it can best be described as the teleological^ view. And despite the many monographs and studies on the subject since the publication of Lázár’s book, the Munkácsy question has remained open to this day. Most of the authors were concerned primarily with whether, or to what extent, Munkácsy had fulfilled the cluster of expectations that goes under the name of ‘national art’.
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Karinthy Ady-paródiáinak és Weöres Sándor Ady szelleme mondja című hommage-ának stílusjellemzői
In the introduction of the paper the author is dealing with the types of translation defined by Roman Jakobson and Torop, which are close(r) to interpretation of literary texts. Since the concept of parody is not completely unambiguous in special literature, the author does not make an attempt to define it, but rather accepts Umberto Eco’s concept of double coding, and she places the parody among intralingual translations. Subsequently the author analyses Ady parodies by Karinthy and the homage by Sándor Weöres entitled Ady’s spirit is speaking, and compares the two texts on the basis of style imitation.
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By reconsidering the difference between ethnographical description and literature, and here the author mostly refers to Clifford Geertz and Laplantine's works, the research of some literary texts as an ethnographical description would be possible. Taking into consideration these concepts the author has studied two of Márai Sándor's novels: The Confessions of a Bourgeois (Egy polgár vallomásai) and Kassa Patrol (Kassai őrjárat). The study contains the following points of views and themes: 1. the author has examined the bourgeois concept in Márai's two novels, comparing it with the definition of a bourgeois in social science; 2. the author has observed that the identity of the narrator in both novels, his special opinion about bourgeoisie and about art is in fact the author's artistic conception, and this answers to the literary critics' question why Márai remained at the tradition of classic modernism throughout his carrier: because of his attachment to the bourgeois value; 3. and thus the author tries to prove that a literary text can be the topic of an anthropological study because of the documentary value of the bourgeois description.
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Sámuel Brassai was called the last Transylvanian polyhistor in Imre Mikó’s book. We also know about publications that use this same term for Brassai’s disciple, namely Ottó Herman who was much younger than his master and whose scholarly activities extend even to the 20th century. Sámuel Brassai, mentioned as Nestor of sciences was a peculiar figure of his century’s academic life. His all-embracing works were difficult to understand in the 1860s, and they are still hard to comprehend, since he had published his discoveries, opinion, professional findings and objections in several disciplines and languages. Exactly the disciples segregated and the professional identities differentiated in the course of the 19th century have made more difficult the treatment of the oeuvre that had been still founded upon the earlier notion of the scholar and had left the specialization out of consideration. However, this is due to the successful meeting of the scholarly personality and Brassai’s figure and socialization. His scholarly attitude didn’t hurt any disciples studied by him, but he has become strange, incomprehensible with time and on the other hand reason of cultic attitude due to the high standard of his knowledge and his efficiency. His socialization, bringing-up and confession can be standpoints of research, since all these are components of his becoming a scholar. This presentation on one hand traces this becoming through Brassai’s published writings, and on the other hand works on those sources of book history, institutional history and cultural history by which we can build up the system of both the meanings of Brassai’s status as polyhistor and the survival of this scholarly attitude in the 19th century.
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