‚HOCH‘ UND ‚NIEDRIG‘ – DIE DISKUSSION ÜBER POPULÄRLITERATUR IN DER ZEITSCHRIFT NYUGAT

Author(s): Zsuzsa Gáti / Language(s): German Issue: 1/2013

This article addresses the complexities of the distinction between “high” and “low” literature. I offer a brief survey of the development of so-called Unterhaltungsliteratur, or light fiction, in Hungary, followed by a presentation of the essays and articles on this topic in the Hungarian literary journal Nyugat (1908–1941), which the passing of time notwithstanding retain much of their relevance today.

“ÁRPÁD AND ABRAHAM WERE FELLOW-COUNTRYMEN”

Author(s): Szilvia Peremiczky / Language(s): English Issue: 2/2004

The earliest Jewish literary works in Hungary were late-medieval religious writings in Hebrew, and literary contributions in the Hungarian language only began to appear toward the middle of the 19th century. The first generation of Hungarian-Jewish writers firmly believed in the viability of a dual Hungarian and Jewish identity and in the prospects of Jewish and Hungarian coexistence, and these two concerns have remained central to Hungarian-Jewish literature ever since. Jewish emancipation was warmly supported by the intellectual and political elite of Hungary, and Jewish Hungarians gained full civil rights in 1867. However, to their bitter disappointment, they were soon facing a rapidly rising tide of anti-Semitism that ultimately led to the Hungarian Holocaust, in which over half a million Jewish Hungarians perished. Some Hungarian-Jewish writers responded to the rising tide of anti-Semitism with a classical dual identity position that censured assimilation involving a denial of Jewish identity, others responded by attempting to deliberately shed their own Jewish identities through conversion to Christianity or by becoming Communists, a handful of others by opting for Zionism, and in one controversial instance, by advocating the adoption of an ethno-national minority identity. After the Holocaust, many among the remnant Jewish Hungarians believed that Communism would help resolve the core existential questions facing them, but the studious silence of the totalitarian regime about the Holocaust merely left these sores festering in an unresolved limbo for decades. Curiously, the regime eventually did permit the publication of Fateless by Kertész, undoubtedly because of its anti-Nazi message, and quite missing the irony that its resolute anti-totalitarianism applied equally to them. During the 75 years between Emancipation and Holocaust, the magnitude of Jewish contributions to Hungary’s literature, journalism, scholarship, culture, science, industry, banking and commercial enterprise had been almost without precedent in the annals of diaspora Jewish communities, and post-Holocaust Jewish Hungarians continue to play a prominent role in the literary, cultural, political, and academic life of contemporary post-Communist Hungary.

“NEM JOBB Ô IS A DEÁKNÉ VÁSZNÁNÁL” A HUNGARIAN FIDDLER’S SONG BEFORE 1580

Author(s): Pál Ács / Language(s): English Issue: 3-4/2000

There is probably only one idiomatic phrase in the proverb collection by János Baranyai Decsi that doubtless originates in contemporary everyday Hungarian language and the 16th century literary background of which can be clearly identified. The phrase “Nem jobb ô is a deákné vásznánál” (“Not a whit better than anybody else”) has always been popular since the 16th century. The funny, sarcastic poem (The cloth of the famous deákné, written before 1580) recounts the fatal marriage of a certain Máté deák – partly in the form of dialogue. This poem is one of the oldest Hungarian women mocking songs within the genre of wedding songs. It demonstrates all the characteristics of the old Hungarian trufa genre: it can be performed as a farce, the joke has its cream and it is based on mummery and pretence: it provides a parody of a well-known human type. It is possible that this trufa was a stock play of contemporary popular tricksters and jugglers. It mocked the wife of Máté deák who was “lazy to weave”.

“Who is who—the face as a mask” Péter Esterházy’S autobiographical pact with his readers (Celestial Harmonies, Revised Edition)

Author(s): Judit Görözdi / Language(s): English Issue: 1/2016

The much-cited theorist of autobiography, Philippe Lejeune, uses the term autobiographical pact to describe the silent contract between the author and reader, in which textual (and extra-textual) signals about referential and autobiographical nature of a narrative are understood as coming from the author and are accepted by the reader (Lejeune, 1989, 3–30). Autobiographical themes, connections and concrete allusions have always been present in Péter Esterházy’s fi ction (e.g., Termelési regény, 1979; Helping Verbs of the Heart—A szív segédigéi, 1985; The Book of Hrabal—Hrabal könyve, 1990; Celestial Harmonies—Harmonia cælestis, 2000; Not Art—Semmi művészet, 2008). In this context, the text Revised Edition (Javított kiadás, 2002), written in the form of a diary, which describes a real event in the form of one of the most authentic autobiographical genres, signifi es not only a change in the author’s understanding of the relationship between autobiography and literature, but also changes the reader’s expectations, i.e. the aforementioned silent covenant between him and the author. I will attempt to explicate the character of Esterházy’s autobiographical writing (understood on the one hand as autobiographical referentiality and on the other as an autobiographical way of writing1) on the basis of the texts Celestial Harmonies and Revised Edition.

„A forma rutinból fáj”

Author(s): Attila Szabó / Language(s): Hungarian Issue: 01/2019

Németh Gábor Dávid: Banán és kutya, FISZ, Bp., 2017.

„a kellékek már összezsúfolódtak”

Gyűjtés és muzealizálás Tolnai Ottó Nem könnyű című kötetében

Author(s): Anikó Novák / Language(s): Hungarian Issue: 3/2018

„A Magyar Parnaszszus virágjai”. Aranka György kéziratos versgyűjteményének paratextusai

Author(s): József Kerti / Language(s): Hungarian Issue: IV/2017

One of the most active figures of the Hungarian and Transylvanian Enlightenment literary movement was the judge from the Royal Table of Târgu-Mureș, György Aranka. A large part of his poetic work lies in manuscripts in the archives of Cluj-Napoca (Kolozsvár) and Budapest. The dissertation, on the basis of reception history, history of sources and archival research analyses the paratexts of György Aranka’s collection of poetry entitled The Flowers of the Hungarian Parnassus.

„A reális élet által szuggerált anyag”: Mészöly Miklós hagyatéka a Petőfi Irodalmi Múzeumban

Author(s): Diána Márjánovics / Language(s): Hungarian Issue: 1/2019

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.

„csak az idõ köt össze minket, meg a hit”

Author(s): Kinga Sebestyén / Language(s): Hungarian Issue: 10/2019

Grecsó Krisztián: Harminc év napsütés. Magvető, Bp., 2017.

„Csokonai redivivus”, avagy Szilágyi Márton Csokonai-biográfiája mint irodalomtörténeti jelenség.

Author(s): György Tevelÿ Arató / Language(s): Hungarian Issue: 67/2017

Szilágyi Márton: A költő mint társadalmi jelenség. Csokonai Vitéz Mihály pályafutásának mikrotörténeti dimenziói. Ráció Kiadó, Budapest, 2014. 508 oldal.

„Ellopták az apám sírját, odamenni nem lehet...”

Author(s): Ibolya Szamborovszkyné Nagy / Language(s): Hungarian Issue: 04/2019

Zelei Miklós: A kettézárt falu. Dokumentumregény. Kortárs Kiadó, Bp., 2017.

„Ez a világ egy őrült kombájn”

Author(s): Hilda Nagy / Language(s): Hungarian Issue: 08/2017

Hazai Attila: A maximalista (és más írások) Magvető. Bp. 2015.

„Furcsa kis operett”: Juhász Gyula és az Atalanta

Author(s): Árpád Levente Biró / Language(s): Hungarian Issue: 03/2017

Създаване на перспектива за световна литература

Излиза първият брой на списание "Нюгат" - 1908

Author(s): Mihály Szegedy-Maszák / Language(s): Bulgarian Publication Year: 0

The Hungarian elite states in 19th century that for literature the intercultural comparison is needed. This notion has played role in the founding of the literary magazine "Nyugat"("West"), which formed the taste of the Hungarian readership. This magazine has been published for over thirty years and some of the most notable Hungarian authors and poets have worked as editors for the magazine.

Тайното зрънце на съществуването

Нови гледни точки към един роман на Мараи

Author(s): Janos Savai / Language(s): Bulgarian Publication Year: 0

In this chapter the novel "The candles burn down to the stump" is being analyzed and more closely which properties of the novel made it possible for its author Marai to gain popularity in the European literature.

Угорські переклади в Україні

Author(s): Lesya Mushketik / Language(s): Ukrainian Issue: 1/2012

The works of Hungarian literature were systematically translated during the classical epoch and the later period of time in Ukraine; most of them were published in the second half of the 20th century. The choice of work to be translated was influenced to a great extent by political factors, the topic of the publication, and the popularity of the author or the work either in Hungary or in Ukraine. Considerable experience has been accumulated in the theory and practice of literary translation from Hungarian into Ukrainian, especially in the field of lexicography, lexicology, and others.

Уз темат „Српско-мађарска књижевна и културна прожимања“

Author(s): Marko Čudić / Language(s): Serbian Issue: 163/2017

Философские искания в драме Павола Орсага- Гвездослава «Ирод и Иродиада» и «Трагедии человека» Имре Мадача

Author(s): Elena Rozhkova / Language(s): Russian Issue: 1-2/2006

This article is an attempt to compare the dramas by Slovakian and Hungarian dramatists. As an introduction a very brief issue throws light upon the Slovakian and Hungarian literary relations, which were the course of coexistence of two nations in the united state field. The outstanding Slovakian poet of the last quarter of the 19th century Pavol Ország-Hviezdoslav admired Hungarian culture and literature. In 1905 he translated into Slovakian “The Tragedy of Man” by Imre Madách and a few years later he wrote his own philosophical drama “Herodes and Herodias”, what made possible to follow some parallels between these works. At first sight there isn’t much in common, however what makes them similar are some philosophical subjects such as the Bible motives, interest in history and human moral problems. At the same time the article deals with genre of these works (dramatical poem, philosophical drama, symbolical poem). The analysis of two dramas makes reasonable to confirm that between them there are typological and contact relations which are the part of the general Slovakian and Hungarian cultural context.

Формы национальной идентичности и неоформленность инаковости

Author(s): István Vörös / Language(s): Russian Issue: 3-4/2001

At the turn of the 18th and 19th centuries the small nations began to identify themselves on the grounds of their native language. The Czech, Slovak and Hungarian languages, however, were not prepared for this task. Therefore, the small nations wishing to identify themselves in this new way, tried to solve some of the problems simply by skipping them. This resulted in creation of myths, in a Romantic understanding of the notion nation. An appropriate example for this are the works of Berzsenyi (1776-1836) and Kollár (17831852). At the background of their considerable poetic oeuvre we find the same Romantic interpretation of the nation. Their exaggerations are similar even if they had their own separate way in literature. It would be interesting to know what they would have said to each other, if they had met, let’s say, in 1830 in Pest-Buda. Both of them found a classical poetic form for the expression of the new idea still in the process of formation: Berzsenyi the classical stanza structure, Kollár the sonnet. The ideas of freedom and nation can appear in a poem only in words and symbols, according to the rules of the language. Both poets wanted to awaken their nation from a „state of sleeping”. They wanted to use the words „I” and „you” interchangeably. At the end of their career both of them were taken with some pseudoscientific ideas. They tried to prove the originality and European significance of their culture and nation.

Эквиваленты в рассказах о женщинах Чехова и Костолани

Author(s): Ildikó Regéczi / Language(s): Russian Issue: 1-3/2003

We often come across thematic and formal equivalences in small narrative works of Chekhov and Kosztolányi on women’s fate. Connecting situations and actions especially characterizes these works, as well as the presentation of equivalent episodes on the basis of a similar pattern of selection. The first part of the thesis mentions novellas by Chekhov and Kosztolányi in which examples of the fore-mentioned method of editing are present and where the starting and ending points of the work emphasize this practice. A similar way of thinking can be found in the background of those novellas of Chekhov and Kosztolányi, in which equivalence appears not as an analogy, but as an opposition. The second part of the thesis discusses two novellas, one by Chekhov, the other by Kosztolányi, of remarkable content and poetic similarity. Chekhov’s Душечка (1899) and Kosztolányi’s Erzsébet (1929) are both stories that can be modelled as lines of equivalency based on the same paradigm: the wholeness of the heroine, the unity of her individuality can only be realized through another person and the efforts made towards that goal are almost comical, yet their presentation is not altogether ironic in any of the cases—the author’s perspective moves rather towards understanding and immersing. Both Chekhov and Kosztolányi set a seemingly unambiguous human deficiency to be multi-dimensional through the situational similarity and contrast in the equivalent episodes.