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Tétel Szabadon hozzáférhető A Csigolya fiú esete Pató Sárival(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 A hétköznapi tárgyhasználat mint kultúrafenntartó újrajátszás(2024-06-27) Nagy, Károly ZsoltLászló Kunkovács’s oeuvre, which focuses on the visual documentation of the socialist transformation of the peasant way of life, is a hard-to-miss achievement in the history of Hungarian photography in the second half of the 20th century. Not only because of the undisputed social historical significance of his subjects and the documentary value of his images, but also because he built up a very specific aesthetic vision of the subject on the borders of social science and photography. Kunkovács’s most significant works are concerned with the memory of objects, the mimetic memory and its ritual dimensions, but he is most interested in their interplay and interaction. Through the photography of these aspects he demonstrates the body techniques, in the Maussian sense, of transmitting cultural or culturally fixed knowledge that are difficult to grasp in other ways. is paper views Kunkovács’s work from the perspective of the role of memory and body techniques in cultural transmission and the possibility of addressing these issues through visual anthropology.Tétel Szabadon hozzáférhető Földút haza?(2023-11-09) Pataki, ViktorTh e aim of the article is to analyse the relationship between nature and the nature of narration in Imre Oravecz’ trilogy. Since the representation of nature and the depiction of landscapes play a prominent role in the author's novels, their poetic effects must also be considered. The crucial question of the last novel is whether agriculture as a way of life can be sustained on another continent. The paper therefore examines how agriculture and the relationship between humans and nature are presented in the trilogy.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.Tétel Szabadon hozzáférhető Újrajátszani, ami nem történt meg(2024-06-27) Fazakas, Gergely TamásTh is paper examines acts and artefacts that can be interpreted as performative statements. I focus on international and Hungarian, artistic and partly amateur re-enactments, as well as on fiction and works of history writing that can be considered pseudo-historical, counterfactual or, in Sylvia Sasse and Inke Arns’s term, “as-if ”-reenactments in their entirety or to some extent. These performative accounts of the past, both in the artistic and in non-artistic fields, have not been systematically investigated in reenactment studies.Tétel Szabadon hozzáférhető A mondhatóság határai(2024-01-23) S. Varga, PálRomantic poetry can be described with the conflicting terms of tradition and originality: its essence is not originality in the strict sense, but rather the deformation of tradition. The sovereignty of the Romantic poet does not come from the negation of tradition, but from acquiring and using it consciously. The paper discusses two poems of Petőfi which anticipate the unity of experience and representation, but they both end with arguing for the impossibility of such union. In What Shall I Call You? metaphorical expression becomes a questionable method, while in A Time of Fear narrative sense-making connected to temporal experiences turns out to be impossible. Both poems face the limits of expression, although in different ways: What Shall I Call You? deals with the impossibility of verbalising individual experiences, while A Time of Fear comes to the same conclusion regarding collective experiences. The two poems demonstrate it well how Petőfi initiated a phenomenon representative of the late Romantic period.Tétel Szabadon hozzáférhető A Tolsztoj-szövegek sajátos természete fordítói szemmel(2024-06-20) Molnár, AngelikaIn the following essay I discuss the linguistic-cultural aspects and editorial problems of the new translations of Leo Tolstoy’s certain works which determine the interpretation of A Prisoner of the Caucasus, A er the Ball, e Sevastopol Sketches, Russian Books of Reading, War and Peace, Anna Karenina. £e literary translation course launched for master’s students at the Institute of Slavic Studies of the University of Debrecen, the Center for Russian Language, and Regional Linguistic Studies of Leo Tolstoy Tula State Pedagogical University have been cooperating for several years in the project Language Poetics of Leo Tolstoy’s Works. An important place among the various areas of the project is occupied by the linguistic commentary of the writer’s classical texts, which aims to make them accessible to today’s young readers. The problems of Tolstoy translations based on the specific nature of his texts and the differences between Russian and Hungarian are demonstrated through the examples analyzed in this project.Tétel Szabadon hozzáférhető Mitikus távlatok, misztikus élmények és a szavak mágikus ereje(2024-06-27) Áfra, JánosAfter the liberation from the communist dictatorship, text in Hungarian visual art becomes more and more o¢en and directly a means of updating or subverting religious tradition, beliefs and myths, a recollection of sacred time, of the eternal present promised in discourses on transcendence. e analyses in this paper illustrate this through interpretations that do not consider textual elements as ancillaries but treat them on an equal footing with other visual elements, that also validate semantic contexts, poetic aspects, and that open up space for the movement of meaning experienced in the interpretative process. As can be seen in the interpretations, works that often imitate archaic systems of signification only in their visuality o¢en seem to be representative of forgetting rather than conveying communal memory. Th e majority of the works examined here make sense in dialogue with various sacred texts or canonical documents, and in some cases, the potential of intertextual relations to make meaning is explicitly revealed in the dialogue of distant moments in time or different conceptions of time. In a further group of works, the attempt to cross the boundary between spheres of being is expressed in ritual action, in prayer or supplication, as an apostrophic discourse that is essentially an approach to the non-human or the unborn.Tétel Szabadon hozzáférhető Város és biedermeier Petőfi költészetében(2024-01-23) Vaderna, GáborThe term of Biedermeier – which was used to describe the interior style of the middle class at first and then it was connected to some of the literary phenomena in the first half of the 19th century – made it possible to interpret the culture of the modern city and the urban middle class – o en creating an opposition between the city and its antithesis, the country. The questions connected to urbanitas were o ften discussed in the most important space of the culture of modernity: the press. They published articles and reports on foreign cities as well as the forming middle class culture of Buda and Pest in the fast-spreading metropolitan journals. The city and the country are recurring themes in the poetry of Sándor Petőfi along with the different lifestyles and identities connected to them. The first collection of Petőfi, which was published on 10 November 1844, caught people’s attention because of the way the poet’s role was represented in it: Petőfi’s poetic identity is the innocent and moral child of the nation – he is the one who has just arrived in the city, showing what the people are really like. However, the collection entitled Poems 1842-44 does not represent the culture that could by described by sociological or ethnographic terms, but rather the folk culture seen through the lenses of a Biedermeier (urban) culture: Petőfi therefore constructed the image of the country for the city.Tétel Szabadon hozzáférhető Morus Tamás Utópiájának magyar fordításai(2024-06-20) Czigányik, ZsoltThe first Hungarian translation of omas More’s Utopia by Ferenc Kelen was published rather belatedly in 1910, followed by an abridged translation in 1941, by László Geréb. Two years later a new, precise but modern translation was prepared by Tibor Kardos. A shorter selection of More’s original was also published in the fi fties in András Bodor’s translation. Until the 1963 edition of Kardos’s translation, Utopia was presented as an important text in social philosophy, with detailed introductions, aft erwords, and notes to the text. Recent editions usually place the emphasis on the literary qualities of the text. All the translations are based on the Latin version, usually the 1518 Frobenius (Basel) edition or Michels and Ziegler’s 1895 critical edition. The presence of the paratexts varies in the different translations: More’s letter to Giles is usually translated, yet most of the other parerga are ignored. Recent editions are usually illustrated, with the illustrations oft en (but not always) based on the 1518 Frobenius edition. Th e absence of a Hungarian translation in the first four centuries aft er the first publication of More’s Utopia is counterweighted by not fewer than eleven editions in the twentieth and twenty-first centuries.Tétel Szabadon hozzáférhető Az emberi élet határai Kosztolányi Dezső Tengerszem című kötetében(2023-11-09) Bengi, LászlóThe last collection of short stories by Dezső Kosztolányi, Tengerszem (Mountain Lake, 1936), repeatedly raises the question of where the boundaries of human life are and how human beings can be defined. In the context of natural affects and mechanical existence, the book questions the privileged position commonly attributed to humanity. As human and nonhuman actors o en intertwine in the narratives, life can only be understood as part of a complex constellation. Consequently, the structure of the short stories involves different perspectives, which also serves to develop a critical approach to the homogeneous interpretations of human dignity.Tétel Szabadon hozzáférhető Fürjek és akácok(2023-11-09) Mészáros, MártonAn important problem of Imre Oravecz’s trilogy is the relationship between man and nature. Th is brief analyses concentrates only on two motifs and provide a more detailed interpretation of a few short passages of the text, which show striking motivic and structural similarities and seem to be organized in a way that they interpret each other. The problem of the ’quail’, which is also the title of the volume, is one of the most important elements of a rather complex web of references. It signifies (o ften in a proleptic way) the changes occurring in the relationship between human and nature, domesticity and strangeness, community and individual, or even father and son. In order to gain a clearer picture of the novel’s fractal-like motivic structure, I concentrate on the episodes in which István encounters quails and point out that in each case, the birds are associated with similar feelings and emotions by the language of narration.Tétel Szabadon hozzáférhető Táj és ember viszonya(2023-11-09) Kerber, BalázsIn this paper I will focus mainly on the biopoetic aspects of Miklós Szentkuthy’s novel, Chapter on Love. In his novel, Szentkuthy creates an intense rhetorical web of biological metaphors and imagery, also elaborates a specific literary language, a unique world of fiction, in which the boundaries between man and nature are blurred or, on the contrary, even sharpened. e novel, like many of Szentkuthy’s works, uses a theoretical, philosophical vision to approach the experience of elementary perception. I examine the narrator’s interpretation of the individual’s relationship to the larger biological processes, and how the text creates a kind of visual and rhetorical forest.Tétel Szabadon hozzáférhető A kifejezés és befogadás boldog lehetetlensége(2024-06-27) Kovács, EdwardThis study explores the possible correlations between the aesthetic procedures of artistic re-enactments as a critical re-translations and performative modes of recontextualizing the events of the past and the mythical narratives/tropes preserved in cultural memory that mainly have been transmitted by literary and visual art history. Th ese practices are still alive today through a contemporary Hungarian artwork, Szabolcs Süli-Zakar’s video installation Sisyphus. The experimental artistic approach shows the myth of Sisyphus, which embodies certain insights of existentialism and the absurd, through reappropriation, becoming a specific metacommentary on aesthetic communication and cognition. It also addresses productive expression and reception, while condemned to eternal repetition and the inaccessibility of transcendental sign and meaning.Tétel Szabadon hozzáférhető Fábchich József Pindarosa(2024-06-20) Imre, FlóraThis study is an introduction to the work of József Fábchich. Fábchich started translating Greek poems in their original metres around the end of the 18th century. The only work he published is a volume that appeared in 1804, comprising the Odes of Pindar and a few pieces by Aeolic lyric poets. This article analyses this volume, arguing that Fábchich’s work is rather paradoxical from numerous perspectives. Firstly, he keeps the original metres and he seems to have read the secondary literature available at the time on Pindar, but in the end, his metrical practice is based on his own particular ideas. Secondly, he wishes to contribute to the development of the Hungarian language with his translations, but it seems that the texts he produced were hard to read even for his contemporaries. The study concludes that Fábchich was an thought-provoking and colourful character of this phase of the history of translation into Hungarian, but his oeuvre and his influence does not bear comparison with more successful contemporaries like Benedek Virág.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 A Petőfi-filológia legfőbb bázisa, a versgyűjtő füzetek(2024-01-23) Szilágyi, MártonTh e poem collecting notebooks had an important role from the beginning in the history of Petőfi editions – especially in terms of philology. Th is paper, however, does not focus on the philological importance of these manuscripts, but examines their function instead: why is it important that Petőfi created an autographical collection of texts for archival purposes? Petőfi started this method as early as the beginning of his career and the publishing agreements made it even clearer that his poems have market value not only as separate items, but also as a whole. Therefore, it was worth keeping the notebooks in order to establish the basics of a future collection.Tétel Szabadon hozzáférhető Az eunuch visszaherélése(2024-06-20) Horváth, Imre OlivérThe paper compares Péter Olty’s translations of Gerard Manley Hopkins’s poetry with a selection published in the Lyra Mundi series by Európa Kiadó in 1985. Olty’s newly published collection, Istenáram (Kalligram, 2023) strives to preserve the particularities of Hopkins’s enigmatic and eccentric language. These include, among other things, sprung rhythm and consonant chiming, a vocabulary rich in neologisms, archaisms, and dialect words, and a stretching of grammatical conventions. These attributes make Hopkins’s poetry unique, highly enjoyable, and also challenging for readers. Whereas the translators of the Lyra Mundi selection toned down the peculiar language of the originals in favor of readability, Olty’s translations retain Hopkins’s distinctive style.Tétel Szabadon hozzáférhető Transz-Atlantik(2024-06-20) Pálfalvi, LajosGrácia Kerényi started working on Gombrowicz’s Trans-Atlantyk a er translating Ferdydurke, but the work was completed by Irén Fejér. is Hungarian version is considered poor, so Gábor Körner re-translated the novel anew. e differences between the two translations can be shown by the expression of two key concepts: ojczyzna (Vaterland) and synczyzna (Kinderland). While the first translation presents the equivalents of the French version: pátria, fitria, although the latter does not make sense; the second (Gábor Körner) rather showcases przetlumaczyl jako hazafiúság and lazafiúság. e novel is modelled on Jan Chryzostom Pasek’s Baroque memoir, Gábor Körner found stylistic equivalents in the Hungarian Baroque tradition and in examples of archaic stylisation found in contemporary Hungarian literature.Tétel Szabadon hozzáférhető Petőfi Sándor A hóhér kötele című regénye és az 1840-es évek bosszúprózája(2024-01-23) Biró, AnnamáriaSándor Petőfi’s novel, The Hangman’s Rope, published in 1846, has been a source of controversy for researchers since its publication, its position within Petőfi’s oeuvre and in the literature of the period has not been stabilised. This study attempts to discuss Petőfi’s novel not in isolation, but as an integral part of the period’s burgeoning prose literature, primarily by grouping together texts in which the concept of revenge is the main thematic component and its elaboration and its mode of execution may have prose-poetic significance. In this analysis, Petőfi’s short novel will be compared exclusively with prose works, and precisely because of its specificity in terms of length, I have tried to collect and analyse both thematically similar novels and short prose published in journals or volumes.