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The book provides the reader with an insight into the significant achievements of contemporary Hungarian prose, while the analytical aspects raised by the author can also be effectively applied to the analysis of other postmodern novels written in any language that focus on history.
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Poems by Károly Fellinger - "Isten hozott!", "Döglégy", "Kollázs", "Fűhárfa".
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Poems by Szántai János - "1. A búvófolyami térkép", "2. A hely színe és visszája", "3. A dubovai halott", "4. Az álom".
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Interview With Poet István Beszédes.
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Poems by Tibor Zalán - "Vendégség", "Elhagyott magtárak", "A semmi ünnepe".
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Poems by Levente Szente B. - "Minden kezünk kéne", "Holmi leszakadt függönnyel".
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This study examines a specific type of language use in contemporary Hungarian literature in Slovakia. The literary works of several Hungarian authors in Slovakia include a language based on the contact phenomena and regional dialectics of the Hungarian and Slovak languages. This phenomenon is interpreted using the methodological tools of pluricentrism, which serves as a theoretical framework for the linguistic interpretation, and transculturalism, which is a point of departure for literary analysis. The interpretation of language contact phenomena, the levels of hybridisation and dialect focuses on the works of Gábor Kálmán, Lajos Grendel, Mila Haugová, Anikó N. Tóth, Anikó Polgár, Norbert György, Zoltán Hizsnyai, Árpád Tőzsér, Pál Száz.
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The Harris Manchester College Library at Oxford contains four volumes of György Enyedi’s (1555–1597) Explicationes locorum Veteris et Novi Testamenti (Explanations of the Places of the Old and New Testaments) – two Latin editions and two Hungarian editions. One of the Hungarian editions contains some curious notes, old prayers (relating to superstition, magic and folklore traditions) and notes about exchanging manuscripts of sermons for copying. The main aim of this article is to introduce this handwritten heritage (prayers and practical notes), and the related body of sermons and contemporaneous sources, and to provide practical details about 17th-century copying traditions.
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In the spring of 1942, Prime Minister Miklós Kállay sent 200,000 troops to the Russian front to strengthen Hungary’s position in the struggle for Transylvania, following the German demand. These soldiers’ equipment was not comparable to that of the Germans or the Russians. The army, which in January 1943 had a total of approximately 245,000 soldiers and 50,000 Jewish forced labor servicemen, lost some 128,000 soldiers and 45,000 forced labor servicemen in one year: 173,000 men in total. Other figures put the number of killed and wounded at 50-50,000, with 80,000 missing and 42,000 captured. The press was silent about the greatest catastrophe in Hungarian military history, the writers were unaware of it, and after 1945 the survivors were branded as fascists by the communist regime. Many of those who returned home were recruited and monitored by state security until 1989; those who spoke about their imprisonment were sent to Recsk for forced labor. Victims could not be commemorated; families could not mourn their dead. A change only occurred in the 1960s. The turning point came with István Nemeskürty’s essay Requiem egy hadseregért (Requiem for an Army), which refuted the false communist explanation of history. Requiem brought the forgotten victims into the public consciousness, making the facts part of national self-awareness. The search for human and historical justice continued in the 1980s with Sándor Sára and Sándor Csoóri’s monumental documentary series Krónika (Chronicle), which the authorities tried to prevent from being shown under Soviet pressure. The study traces the process in which the mourning and the struggle for truth, silenced for decades, has been accompanied by a confrontation with the regim in poetry, epic literature and essays, as well as in music and film, in Hungarian literature in Hungary, in Upper Hungary, Transcarpathia, Transylvania, and Vojvodina.
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In my study I examine the political and poetic changes in Hungary around 1968. The way in which Hungarian cultural politics tried to control literary life after the 1956 revolution and then changed this, partly out of necessity and partly because of accumulated tensions, from 1968 onwards, should be instructive for the international academic community. A little-studied question is how the political changes might have been related to the changes in poetry at that time, and I will try to answer this question in my study. I find that the response of Hungarian poets to political repression was both an ironic rejection of the role of the missionary poet and the inclusion of neo-avant-garde solutions expressing freedom in formal and linguistic terms in their poetic toolkit. My research required both a historical and a literary historical perspective. I began by describing the social constraints that led the political leadership to decide to relax censorship on literary life from 1968, and as a result, what was allowed to be published and what was still banned. Then I will show what poetic innovations the texts that were finally published brought to Hungarian literature.
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Poems by Ady Endre - "Pe ogorul maghiar (A magyar ugaron)", "Să nu mă vedeţi (Ne lássatok meg)", "Car roşu pe mare (Vörös szekér a tengeren)", "Mi-e groază de viaţă (Rettegek az élettől)", "Ruda Morţii (A Halál rokona)", "Femei pe mal (Asszonyok a parton)", "În Sălajul bătrân cu hârtoape (Hepehupás, vén Szilágyban)", "Bani şi carnaval (Pénz és karnevál)", "Eu nu-s maghiar? (Én nem vagyok magyar?)", "Fericita dezonoare a lui Avesalon (Absolon boldog szégyene)", "Casă mică, ţărănească (Kis, falusi ház)", "Nici urmaş, nici fericit strămoş... (Sem utódja, sem bolgod őse...)", "Râs şi plâns (Kacagás és sírás)", "Drum de care în noapte (Kocsi-út az éjszakában)", "Cei ce mă vor petrece (Akik majd elkisérnek)", "Nu mă mai joc (Nem játszom tovább)", "Cain l-a ucis pe Abel (Kain megölte Ábelt)", "Şi nu-s nicicum (És sehogyse vagyok)", "Muzica toamnei (Az ősz muzsikája)", "Dorinţa de bine (Jóság siró vágya)".
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In this study, I examine the way natural surrounding is mirrored in the poems of two Finno-Ugric poets, Lajos Áprily, one of the main representatives of the so-called Transilvanist movement in Romania, and Bengt Pohjanen, the best known Meänkieli poet, writer and language activist living in Sweden, in the Torne Valley. Both of them were trying to connect their own and their language group’s identity to safety-promising factors in the midst of an ever changing political situation. One of these factors is their close homeland with its specific features. I am especially interested in how natural landscape becomes moral value in their works. The disharmony between the negative cause (being forced to a minority existence) and the positive eff ect (dedicated tendency to preserve their own language and culture), is evident with both of them, as well as the fact that they finally dissolve this disharmony into poetry.
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The refugee crisis of recent years is a marginal topic in Hungarian literature, but Iván Sándor reflects on it in two of his latest novels (A hetedik nap [The seventh day], 2018; Amit a szél susog [What the wind whispers], 2020.). The two works are far apart in time and space, but the two narratives complement each other to paint a nuanced picture of the modes, cultural history, and role of escape in the life of an individual. The former novel creates the perilous, hopeless atmosphere of the depicted era with the constant flow of huge crowds, while the latter volume focuses on individual escape stories. Not only the motif of escape is common in these works, but they are also connected by several threads. This study examines the motif of escape and its stratification in the two novels and aims to show how escape becomes a life programme in the analysed books.
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In this study, I compare the chapter entitled The Tunnel (Alagút) in György Dragomán’s novel The White King (A fehér király) with Ervin Lázár’s short story A Sneak Thief (A tolvaj)part of the short story series of The Devil`s Horseshoe and Other Short Stories. My focus is on meeting the stranger. I will analyse this by exploring the peculiarities of the child’s point of view and the characteristics of magical realism. Both works put a child in the narrator`s position. The world familiar to him represents the field of reality, while the conceivable world revealed by the appearance of the stranger represents the supernatural code. I pay attention to the description of the stranger, to the behaviours and prohibitions associated with him. I present the roles that determine the attitude of the child and the process of accepting the stranger.
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Text about the Hungarian writer, Szilard Borbely, written by Raluca-Ana Prahoveanu.
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