Studia Litteraria (DE-journals)
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Tétel Szabadon hozzáférhető Árkádia Somogyban: Horváth Ádám verse Csokonai sírkövéről(2024-12-04) Mészáros, GáborThe paper analyses a poem entitled the Tomb of Mihály Csokonai Vitéz. Th e work was published anonymously, but the poem was written by Ádám Pálóczi Horváth (1760–1820), a close friend of Mihály Csokonai Vitéz (1773–1805) and is an under-analyzed poetic commentary on the early cult of Csokonai. The paper analyses an unknown text variant from Horváth Pálóczi’s collection of poems. The poem is linked to the 1806 Arcadia trial, surrounding Csokonai’s tomb in Debrecen. It is a commentary on the controversy from the point of view of a friend, and thus an important element of the cult of Csokonai from a Debrecen perspective. It designates a local memorial site and lists the places, the persons and the events that were significant for Csokonai during his stay in Somogy County.Tétel Szabadon hozzáférhető Csokonai és Debrecen: (A lokalitás szerepe egy hagyaték fennmaradásában)(2024-12-04) Szilágyi, MártonThe paper asks how the literary legacy of Mihály Csokonai Vitéz (1773–1805) has been handed down: why did Csokonai’s legacy remain so intact that it is still accessible to modern research (a significant part of the material is currently housed in the Hungarian Academy of Sciences), and how did Csokonai become such a timeless marker of Debrecen’s urban space and local identity in the 19th century and later? The answer lies in the fact that there were people in Csokonai’s immediate Debrecen environment (his family and circle of acquaintances) who, immediately after his death, considered it important to preserve his intellectual legacy. The role played by Csokonai’s mother in this process should be highlighted. Later, after his mother’s death, there was a person (László Gaál) who not only preserved his own memories, but also passed on Csokonai’s legacy and his own memories to the persons and institutions of the slowly centralising scientific community in Pest, who were able to shape the outlook and canon. In other words, the survival of Csokonai’s legacy and its emphatic inclusion in the literary historical canon was the result of the cooperation of local and central factors. This did not mean, however, that Csokonai was discovered by the city of Debrecen itself: the discrepancy between the preservation of manuscripts and the preservation of the Csokonai-related material world is striking. While the former reaches the most important places of the institutionalised literary memory almost as fast as lightning, the musealisation of objects does not follow, and the Csokonai Circle (Csokonai Kör), which was founded in Debrecen only much later, in 1890, vainly tried to collect such relics, but could hardly find anything that could be authentically connected to Csokonai.Tétel Szabadon hozzáférhető „Furtsa epopeák”: A Dorottya műfaji kérdéseihez(2024-12-04) Hermann, ZoltánCsokonai’s Treatise on Epopeia, written for a vague purpose, is surprisingly close to the modern approach taken in Ritchie Robertson’s monograph Mock-Epic Poetry from Pope to Heine. Neither Csokonai nor Robertson considers the serious and parodic versions of the epic as a distinct tradition, as heroic epics also contain parodic elements, and mock-epic poetry is not really a travesty of the heroic epic, but – in Aristotelian terms – a pseudo-heroic, pseudoactionary or pseudo-narrative (mock-heroic, mock-actionary or mock-narrative) discourse. Hence the canon-historical misconception – to which, of course, Csokonai himself falls victim in the Treatise on Epopeia – that only the genres belonging to the “high-brow”, heroic epic can be considered classics of national literature. But Csokonai’s poetic practice shows otherwise. Although the reception of Csokonai may see biographical reasons for this, reasons for the fragmentary nature of his oeuvre, in fact it may seem that Csokonai regarded an ironic, satirical version of the double epic tradition as his poetic ideal. At the end of this paper, I argue that in his poetic procedures of what Csokonai calls the „furtsa epopea” – which involve heroes and literary figures, and which can be linked to plot and narrative forms – female discourses, female focus, or narrative positions empathic with female perspectives also play a prominent role in most cases. This is also evident in Csokonai’s poem Dorottya.Tétel Szabadon hozzáférhető Csokonai, a Debreceni Kollégium és a költő helyi kultusza(2024-12-04) Győri L., JánosI argue that the research into the relationship between the poet and his former school has become overwhelmed by the infamous trial of Csokonai. Whenever the topic is discussed, researchers often come to a standstill during the interpretation of why and how Hungary’s most significant Enlightenment poet came into conflict with his own school an institution to which he owed both his impressive education and the development of his poetic talent. As a result, the examination of the institution’s intellectual influence on the poet is overshadowed. Th e study reviews the ritualistic elements of student life, such as the daily routine, the legation, and fundraising, which had a strong impact on Csokonai’s personal development, but have so far escaped the attention of literary historians. Th e paper also outlines the main characteristics of the cult of Csokonai at the college. It highlights that, unlike the now-defunct cult in Debrecen, it is the students’ literary societies–originally created by Csokonai–continue to keep this tradition alive to this day.Tétel Szabadon hozzáférhető Hiba hiba hátán: Szállóige és protestáns műbíráló epigramma Csokonai Vitéz tollából(2024-12-04) Rédey-Keresztény, JánosA composite volume in the Hungarian National Library contains a signature by Csokonai Vitéz Mihály (1773–1805). However, instead of Csokonai V. Mihály, the signature uses an unusual form, “Cs. V.”, meaning that Vitéz (roughly meaning ‘virtue’) functions as a proper name. The handwritten note also contains a two-line Hungarian epigram, unanimously attributed to Csokonai as a book review in the milieu of the Reformed colleges in the Kingdom of Hungary. This paper presents arguments, based on Csokonai’s sentimental poetry, suggesting — without absolute certainty — that the signature is more likely than not to be that of Csokonai’s. The paper also examines the European context of the epigram, concluding that the verse is a translation, the original of which was written in Latin during a critical period of the European Protestantism (1570–1580).Tétel Szabadon hozzáférhető A Csokonaihoz köthető latin propozíciós versek és a 18. század végi debreceni latin poétikaoktatás(2024-12-04) Balogh, PiroskaThe paper examines the Latin proposition poems of the Green Codex from a historical poetics perspective. These poems, whether written by Csokonai himself or under his direction, are representative of the poetic approach that characterised the atmosphere of the Debrecen College in the years when Csokonai studied and taught there; how the students were introduced to ancient Roman lyrical and epic poetry, as well as mythological topos and how they came to reconsider these works. They also epxlore the aesthetic approach students developed regarding the purpose and possibilities of poetry and art. The study also reveals the differences along which, by the end of the 18th century, Debrecen’s poetics education had become partially separated from the foundations of Jesuit poetics education, which had been the model for the earlier period.Tétel Szabadon hozzáférhető Csokonai Csókjai: Egy szöveg formálódásának tanulságai(2024-12-04) Fülöp, DorottyaCsokonai’s A’ Tsókok ("Th e Kisses") is a love epic in prose that borrows from the world of pastoral drama and was originally intended to comprise twelve cantos. It remained unfinished but is nevertheless often considered the greatest accomplishment of Csokonai’s early literary career. Csokonai borrowed liberally from his earlier readings and translation attempts during the creation of the text, and literary historiography has already made a detailed accounting of the exact locations and sources of such transplants. This study uses close textual analysis to reveal the sensitive poetical solutions employed by Csokonai to uncover parts where he inventively deviated from the patterns followed, and to point out the carefully structured network of motifs present in the finished parts.Tétel Szabadon hozzáférhető Csokonai anyagi helyzetéről(2024-12-04) Orbán, LászlóThe figure of Csokonai appears to both contemporaries and posterity as a genius but impoverished poet. The only known job of the ‘poor poet’ was that of a teacher’s assistant, but he did not accept any income for his work. Several similar financial events in his life raise the question: why did he not take a regular job with a steady income, why did he give up the idea of an independent civil existence? These questions shed light on a financially difficult and seemingly contradictory life since Csokonai was able to live an independent, free, creative life in spite of all this. In line with the findings of the most recent monograph, this essay is shows that Csokonai’s career was financially supported primarily by his mother, Sara Dioszegi.Tétel Szabadon hozzáférhető A kaméleon pennájú Csokonai: (Szempontok a pályakép újraformálásához)(2024-12-04) Debreczeni, AttilaIn the past thirty years, there have been great changes in the philology and chronology of the Csokonai oeuvre. The consequences of which have to be applied to the whole oeuvre. This study aims to present the transformation of the fundamental aspects of interpretation. The basic groundwork for this is examining when and which works Csokonai intended to present to the public. The result of the analysis shows that the chameleon metaphor in the title not only means a multifaceted personality, but also the instinct with which Csokonai intended to adopt the cultural layers of his age, and thus representing its integrative character.Tétel Szabadon hozzáférhető Szerkesztői előszó(2024-12-04) Debreczeni, Attila; Szilágyi, MártonCsokonai Vitéz Mihály születésének 250. évfordulója alkalmából zajlott le 2023. november 8–9-én Debrecenben a Csokonai 250 című országos tudományos konferencia, melynek szervezői a Debreceni Egyetem Magyar Irodalom- és Kultúratudományi Intézet, a Klasszikus Magyar Irodalmi Textológiai Kutatócsoport, a Bölcsészettudományi Kutatóközpont Irodalomtudományi Intézet, az ELTE BTK Magyar Irodalom- és Kultúratudományi Intézete, a Debreceni Református Kollégium, a Tiszántúli Református Egyházkerület és Közgyűjteményei, a Debreceni Református Hittudományi Egyetem, Debrecen Város Önkormányzata és az Alföld folyóirat voltak. A Studia Litteraria jelen lapszáma e konferencia előadásainak szerkesztett változatát tartalmazza: tíz tanulmányt és két recenziót.Tétel Szabadon hozzáférhető De elbeszélhető…: (Borbély Szilárd „Nyugszol a’ nyárfáknak lengő hívesében”. Tanulmányok Csokonairól című könyvéről)(2024-12-04) Lakner, LajosIn Szilárd Borbély’s book, life and literature are almost inextricably linked. In order to separate them, the first part of this essay presents – or rather describes – the book chapter by chapter, and then explores what might have shaped and determined the author’s focus and methodology. In particular, the paper examines why the book focuses on the question of life’s transcribability into text and the interplay between reality and fiction, as not only Csokonai’s life story, but also that of Szilárd Borbély, compel us to examine the strategies they used to textualize their lives and make them narrative.Tétel Szabadon hozzáférhető „Mint Hubai”: A Csokonai-imitáció típusai Hubay Miklós költészetében(2024-12-04) Tóth, OrsolyaAn example of the comparison between the poetry of Miklós Hubay and that of Csokonai can be found in a canonical text in the history of Hungarian criticism. In his criticism, Ferenc Kölcsey condemns the author for his excessive respect for Csokonai. In 1817, Miklós Hubay was known as the author of a single volume of lyrics, and he never published again. His poetry was mostly associated with a negative critical evaluation, but contemporaryreception was not unanimous in its assessment of whether Csokonai was Hubay’s only model author. Th is paper will show how contemporary criticism and literary historiography have assessed the volume, and then examine the Csokonai parallels in Hubay’s poetry.Tétel Szabadon hozzáférhető Csokonai Vitéz Mihály összes művei: Elektronikus kritikai kiadás(2024-12-04) Boldog-Bernád, IstvánThe text reviews the new scholarly digital edition of The Complete Works of Mihály Csokonai Vitéz. It gives a brief overview of the Hungarian scholarly digital editions and discusses the importance of the TEI-XML markup language. It gives a structural overview of the scholarly digital edition based on genetic principles, argues why it fundamentally changes the reception of Csokonai’s oeuvre, and then illustrates various possible uses through examples.Tétel Szabadon hozzáférhető A Csigolya fiú esete Pató Sárival: (Petőfi Sándor: A fakó leány és a pej legény)(2024-01-23) Béres, NorbertTh e oeuvre of Sándor Petőfi is one of the most well-researched one, still it has parts which are – paradoxically – lesser-known in the literary consciousness. Th e prose of Petőfi can be seen as a “blind spot” which has not been integrated into the curriculum of public education and it was hardly ever discussed in the professional discourse as this corpus was considered to have a marginal status. Petőfi, who o en declared his versatility in the 1840s, translated prose and experimented with different narrative techniques in his novel and short stories. Petőfi’s short stories are strongly connected to the financial aspects of publishing, however, they should not be viewed simply as “fillers” since these texts can be analysed from a literary perspective, considering the variation of genre conventions, narrative styles and tones in these experimental short stories which interact with the other texts of the oeuvre, as well. Th is paper reviews Petőfi’s latest published short story regarding the reality effects of the text.Tétel Szabadon hozzáférhető Petőfi Sándor és a hiteles kép(2024-01-23) Bódi, KatalinTh e history of Sándor Petőfi’s visual representations can be examined with the concept of the true image of Hans Belting which makes a connection between faith and picture: the existence of Christ is confirmed by portraits for Christian worshipers and pictures have their devotional function for Christian communities. There are many portraits and genre paintings made during Petőfi’s life, but thanks to his cult there were many pictures painted of him even after his death. It is known to posterity that his portrait was recorded in a daguerreotype in the 1840s, but its status in his cult is still uncertain, because it was only found in 1868 in the legacy of her wife Júlia Szendrey, meaning that his depictions right after his death were based above all on the painting tradition and the personal practice of remembrance. In the 1870’s, after the presentation of the daguerreotype to the larger public, there was a debate in the press about the true image of Petőfi, which shows a rivalry between artistic and technical portraits. In my paper, I review the changing relationship between Petőfi’s pictorial representations and the concept of the true image in the 19th and early 20th centuries.Tétel Szabadon hozzáférhető „Sas lelkek” és tengersík vidékek: a szabadságkép mint a Petőfi-kultusz tartós problémaforrása(2024-01-23) Rákai, OrsolyaThe concept of freedom plays a central role not only in Petőfi’s reception, but also in constructing the poet’s own image and it is the base of the cults of Petőfi as well. His poem, The Plains is of central importance in this process: the metaphorization and the semantization of the concept of freedom happens through this poem in public education. It is also responsible for the specifically national image of freedom which facilitates the process of making the national images of the 19-20th literature a factor in forming a collective identity. However, the central metaphor for freedom in The Plains is very specific: it expresses negation rather than standing up for values – freedom from something rather than freedom to do something. In this paper I would argue that this metaphor can be used effectively in different kinds of cults. Even though the metaphor seemingly serves its purpose well in constructing the collective identity and it can have a strong emotional-mobilizational aspect, it also poses a lot of problems for further analysis.Tétel Szabadon hozzáférhető „Szegény Sándor! Szegény Sándor!” Petőfi emlékezete Arany János Emlények (1851–1855) című versciklusában(2024-01-23) Owaimer, OliverPetőfi not only became (remained) an extremely popular figure in the literary, journalistic, and critical discourses of the 1850s, but his figure and literary heritage – in addition to national pantheonization and widespread popularization – also became a competition for the appropriation of competing memory constructions and commemorative communities. The dilemma arises: how could personal grief be given a public voice in this communication dumping? Were the media, discursive and genre frameworks of the era at all suitable for the literary representation of the depths of grief? Or do media noise and public forms necessarily empty private dimensions? If we ask these questions, perhaps the seemingly suffocating atmosphere of Hungary in the middle of the 19th century does not seem so distant and foreign.Tétel Szabadon hozzáférhető Az apostol lappangása a 19. században(2024-01-23) Margócsy, IstvánThe Apostle is the most elusive work of Petőfi and its reception is just as telling as the work itself. The homogenous consensus on Petőfi’s poetry was challenged by The Apostle as it is significantly different from the rest of the oeuvre both in terms of content and poetics. That is why this work was underrated or simply was not mentioned in the early reception; later it was merely interpreted as an ideological and poetical statement without taking into consideration the poetic inventions of the text. Moreover, the whole text was published 25 years a fter it had been written, therefore it could not be integrated into the image of Petőfi. This paper focuses on the presence of the text in the hidden canon of the 19th century, emphasizing that the influential folk-national style could not have come into existence without recognising The Apostle: the text (could have) had the potential of an alternative canonical development because of its irregularities and the obvious ignorance of the categories ’folk’ and ’national’.Tétel Szabadon hozzáférhető „Köztudomásu dolog ez ott és látták is többen”: Petőfi Sándor „mezőtúri versei”(2024-01-23) Boldog-Bernád, IstvánTh e study examines two articles published simultaneously by Kornél Tábori which contain a detailed description of Sándor Petőfi’s visit to Mezőtúr and record the circumstances of the creation of two poems purportedly written by Petőfi. e research takes an account of contemporary sources to uncover the sequence of events that form the basis of the two articles. While the available data suggests that the texts record fictitious events, they are nevertheless of an academic interest when examined as legends from the perspective of folklore literature. Th e essay also uncovers the parallels between the legend and the tropes connected to the story recorded by Tábori. Tábori’s two texts are included in the study as appendices.Tétel Szabadon hozzáférhető Szerkesztői előszó(2024-06-20) Darab, Ágnes; Hudácskó, Brigitta; Regéczi, IldikóA Fordítás – újrafordítás – újraírás című tematikus lapszámunk a műfordítás elméletéről és gyakorlatáról zajló, s napjainkban igencsak megélénkülő szakmai diskurzusba kapcsolódik be, három tematikus alegységben közölve tanulmányokat az antik görög-latin, a szláv, valamint az angol nyelvű irodalom hazai műfordításának a jelenségeiről.