Relevant bibliographies by topics / Hungarian fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Hungarian fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Hungarian fiction"

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Hegyi, Pál. "Distancing Gender in Contemporary Hungarian Fiction." Hungarian Cultural Studies 12 (August 1, 2019): 268–80. http://dx.doi.org/10.5195/ahea.2019.363.

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Representations of gender crossing go back to a rich tradition in Hungarian literature. The most conspicuous achievements for performing gender passing on the authorial plane are epitomized in such fictionalized female literary alter egos as Erzsébet Lónyay (Sándor Weöres), Lili Csokonai (Péter Esterházy), and Jolán Sárbogárdi (Lajos Parti Nagy). Providing a unique sensibility to seek out innovative forms that could accommodate interrogations into distancing gender, it is a legacy that finds continuation in the works of a new generation of young Hungarian prose writers. By conducting close-readings of literary pieces by two present-day writers, Pál Hegyi’s paper endeavors to give instances of how gender passing is transposed from the authorial plane to the level of narratives. The short stories “Karambol” [‘Crash’] by Ádám Berta and “Pertu” [‘On Intimate Terms’] by Edina Szvoren will be interpreted to adumbrate distancing narrative strategies for crossing gender boundaries.
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Gergely, Gábor. "You cannot beSirius! Hungarian nationalist science fiction." Studies in Eastern European Cinema 8, no. 2 (February 7, 2017): 117–30. http://dx.doi.org/10.1080/2040350x.2017.1284979.

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Iakimenko, Oksana A. "New hero in the 1960s Hungarian fiction and film." Vestnik of Saint Petersburg University. Language and Literature 19, no. 3 (2022): 595–606. http://dx.doi.org/10.21638/spbu09.2022.312.

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The article explores the formation of a new hero in Hungarian cinema of the 1960s against the background of transformations that took place in Hungarian society during the so-called Kádár Consolidation period, and in the context of changes that affected the country’s literature and film. The emergence of a new hero is closely connected with literature due to the traditional literary-centricity of Hungarian cinema. A brief description of the situation in literature and film in 1960s of this period is followed by references to three films-symbols of the era: Cantata by Miklos Jáncsó, based on József Lengyel’s short story, Age of Illusions by István Szabó and Good Evening, Summer, Good Evening, Love by Sándor Szőnyi and László Márton based on a short novel by Endre Fejes. The works of Jancsó and Szőnyi are screen adaptations of literary works (the book behind Szőnyi’s film is based on real events), while Sabo’s picture uses an original script, but using documentary materials. Versatile visual solutions, and an appeal to the current narrative techniques in current film speak in favor of the departure of 1960s’ Hungarian films from texts’ adaptations and signal the desire to talk about modernity using new modalities and practices of European cinema, as well as principles of composition inherent in the Hungarian visual arts (especially photography).
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Imre, Attila. "Rendering Science Fiction, Culture, and Language While Translating Ready Player One." Acta Universitatis Sapientiae, Philologica 12, no. 3 (November 1, 2020): 70–87. http://dx.doi.org/10.2478/ausp-2020-0024.

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AbstractThe amazing science fiction setting and plot depicted by Ernest Cline in his Ready Player One may constitute a real challenge to translators and subtitlers alike as his book was also turned into a movie by Steven Spielberg. We have collected hundreds of terms from the original book (2011), its Hungarian translation (2012), the Hungarian dubbed version (March 2018), the most popular Hungarian fansub (2018), and the professional subtitle (July 2018, from the same person who translated the script for the dubbing). Having classified the collected terms into various categories, we have managed to identify successful Hungarian renditions of cultural allusions from the 1980s (movies, books, videogames, shows, songs, characters, objects, vehicles, etc.).
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Fomin, Eduard Valentinovich. "Modern Foreign Chuvash Studies: Melinda Takács." Ethnic Culture 3, no. 1 (March 25, 2021): 22–25. http://dx.doi.org/10.31483/r-97771.

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The article is devoted to the study of the Hungarian section of the Chuvash studies. The aim of the work is to familiarize the scientific community with new Hungarian scientists. The author uses traditional descriptive and analytical methods practiced in scholarship. The Hungarian section is the most developed area of foreign Chuvash studies. It is due to the linguistic contacts of the Turkic languages of the Chuvash type with Hungarian, which took place in the period before the conquering of homeland by the Hungarians. Currently, Hungarian Chuvash studies are mainly represented by linguistic and musicological trends. There are works of a historical and literary plan. One of the representatives of modern scholars of the Chuvash language in Hungary is M. Takács, who asserted herself by direct translations of the works of the Chuvash fiction into Hungarian, mainly the stories of E. Lisina. She also published scholarly works based on personal experience and devoted to the problems of translation and linguistics of a literary text. Thus, a distinctive feature of M. Takács’s Chuvash studies at the moment is a departure from the problems recognized as traditional for the Hungarian Chuvash studies – language contacts. Another direction of M. Takács’s research is the study of nouns published in the book «Works related to the grammar of the Chuvash language» of 1769. Another direction of M. Takács is the study of the problems of «Works belonging to the grammar of the Chuvash language» 1769. The author comes to the conclusion that the scientific developments of M. Takac in Hungarian Chuvash studies develop the traditions of studying the literary texts of Chuvash authors in linguistic and translation aspects.
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David, Jaroslav, and Tereza Klemensová. "Still having a conflict potential? German and Hungarian toponyms in the Czech and Slovak national corpora texts." Miscellanea Geographica 23, no. 3 (July 31, 2019): 158–62. http://dx.doi.org/10.2478/mgrsd-2019-0005.

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Abstract The paper focuses on German forms of place names in Czechia and Slovakia, and Hungarian forms of place names in Slovakia, especially on their revitalization and perception after 1989. This concerns their thematization, which is illustrated on the Czech National Corpus and the Slovak National Corpus materials, and on the 1990s discussions about their restoration. German place-name forms are not considered to be a crucial political topic these days; however, Hungarian forms still represent a conflict potential. German forms in Czechia are only thematized in poetry and fiction books, in order to evoke lasting time and the complicated modern Czech history. On the other hand, they are predominantly used in trade names as a marketing tool aimed at German (localization function) and Czech customers (allusive function). In Slovakia, Hungarian forms are not used in marketing and are not thematized in fiction as a positive value connected with the national history.
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Sohár, Anikó. "From the United States (via the Soviet Union) to Hungary." Pázmány Papers – Journal of Languages and Cultures 1, no. 1 (June 13, 2024): 195–212. http://dx.doi.org/10.69706/pp.2023.1.1.12.

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Isaac Asimov was the favourite American science-fiction author in the Kádár era due to extraliterary reasons, many of his works were therefore translated when science fiction, a previously prohibited popular genre was introduced to the Hungarian public. This paper analyses the first two Hungarian translations, that of a short story entitled ‘Victory Unintentional’ and that of a collection of short stories entitled I Robot. Both indirect and direct translations exhibit multiple traces of censorship and revision, significantly changing the structure, atmosphere and message of the original works. The paper also calls attention to the need to gather information about the literary translators of the Kádár era as long as some of them are still alive, make use of oral history.
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Török, Ervin. "Inventions of personalness in Hungarian documentary filmmaking." Apertura 17, no. 1 (2021): 1–42. http://dx.doi.org/10.31176/apertura.2021.17.1.12.

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The study examines the “personalness” of Hungarian creative documentary films, and compares this new kind of personalness to the one characteristic of Hungarian documentaries from the 1970s. Three traditions of Hungarian documentaries are distinguished: vérité-films, avant-guard experimental films, and tabloid cinema, adapting the heritage of direct cinéma. The argument offers a discussion of diverse interpretive conditions of personalness for each of the three trends. Films in the tabloid cinema tradition make up the decisive trend of Hungarian documentaries, offering a specific attempt at “novelification”, the introduction of a sociological sensitivity, an attempt at representing social relationships in an objective way, as well as an ambiguous flirting with forms of fiction films. With the rhetorical structuring of the theme, the countrapuntal and dialogical representation and diverse stylization techniques, contemporary documentaries shift the sociological perspective of the documentaries from the 1970s, and point to its frequently limiting nature. They change the point of departure of films close to or continuing the tradition of verité-films: the “singularity of the witness” in these films takes over the fiction of neutral/objective observation dominant in the films of the 1970s. As a result, the documentary nature of the film image is fundamentally rethought in these films.
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Götz, Andrea. "Vajon in Translated Hungarian." Acta Universitatis Sapientiae, Philologica 8, no. 3 (December 1, 2016): 31–41. http://dx.doi.org/10.1515/ausp-2016-0029.

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Abstract This paper presents an analysis of the structures the discourse marker vajon forms in translated Hungarian fiction. Although translation data has been deployed in the study of discourse markers (Aijmer & Simon- Vandenbergen, 2004), such studies do not account for translation-specific phenomena which can influence the data of their analysis. In addition, translated discourse markers could offer insights into the idiosyncratic properties of translated texts as well as the culturally defined norms of translation that guide the creation of target texts. The analysis presented in this paper extends the cross-linguistic approach beyond contrastive analysis with a detailed investigation of two corpora of translated texts in order to identify patterns which could be a sign of translation or genre norms impacting the target texts. As a result, a distinct, diverging pattern emerges between the two corpora: patterns of explicit polarity show a marked difference. However, further research is needed to clarify whether these are due to language, genre, or translation norms.
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Gombár, Zsófia. "Imagens (hommo)sexuais proibidas em ficção curta traduzida em Portugal durante o Estado Novo e na República Popular da Hungria entre 1949 e 1974." Diálogos 26, no. 1 (April 13, 2022): 123–37. http://dx.doi.org/10.4025/dialogos.v26i1.61771.

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The article aims to compare literary translation production with respect to Anglophone homosexual-themed short stories in Portugal and Hungary, when both countries lived simultaneously under opposing dictatorial regimes. It also investigates the strategies adopted (or not) by the Portuguese and Hungarian publishers to evade censorship regarding same-sex representations in short fiction in English. The study complements the previous research findings on homosexual-themed long fiction (GOMBÁR 2017; GOMBÁR 2018).
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Dissertations / Theses on the topic "Hungarian fiction"

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Szilágyi, Anikó. "Gabriel the Victorious and Hungarian fiction in contemporary English translation." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30644/.

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This thesis employs multiple methodologies in order to explore Hungarian fiction in contemporary English translation as a distinct body of literature. It comprises three interrelated contributions: a bibliography, three case studies, and a translation. A bibliography of English translations of Hungarian novels published between 2000 and 2016 is presented in Appendix A, and Chapter 1 contains an overview of contemporary Hungarian-to-English fiction translation based on the bibliographic data, including a description of the assembly process. Chapters 2-4 focus more closely on a selection of these texts, tracing publication histories as well as target culture reception and interpreting translation shifts. Chapter 2 considers the language of Seiobo There Below by László Krasznahorkai (2013, tr. Ottilie Mulzet) in relation to the author’s vernacular oeuvre, and offers meta-artistic commentary on the target text. Chapter 3 investigates the concept of corporeal writing in Parallel Stories by Péter Nádas (2011, tr. Imre Goldstein), arguing that the organising principle of the source text is compromised in translation, which produces a fragmented work. Chapter 4 uncovers and categorises translation shifts in Journey by Moonlight by Antal Szerb (2002, tr. Len Rix) as an example of a recently translated Hungarian classic. Chapter 5 connects the analytical section of the thesis with the creative component that follows it. It departs from traditional academic discourse and uses a more reflective, lyrical mode of writing to explore the subjectivity of the translator and introduce the new text to its English-language readership. Finally, my English translation of the 1967 Hungarian novel Győzelmes Gábriel by György Méhes is presented under the title Gabriel the Victorious.
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Jones, Gwenyth Ann. "Urban narratives in Hungarian literature : the prose fiction of Budapest, 1873-1939." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/1445705/.

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This thesis examines ways in which Hungarian writers depicted their capital city, Budapest, in the years between the creation of Budapest in 1873 and the beginning of the Second World War in 1939, and discusses ways in which these literary representations of the city contributed to wider constructions of identity and difference. During this period, at the same time as Hungarian society became increasingly dominated by its rapidly expanding capital city, it also became more receptive to anti-urban sentiments. The late nineteenth-century explosion in population and publishing created a substantial body of new writing. Budapest came to represent everything that was new, and formed the context for broader discussions of morality, belonging, assimilation, race, and the nature and purpose of art. A thematic approach traces the development of urban narratives and tropes over time, and in each chapter, I discuss a number of works in social and literary- historical context. My argument is that Hungarian authors, despite their best efforts, failed to write the city in convincingly simplistic terms: the greater the urge to impose a form of logic or an ideology on the city, the less successful its realisation.
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Books on the topic "Hungarian fiction"

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Péter, Esterházy, and Péter Esterházy. A little Hungarian pornography. Evanston, Ill: Hydra Books, 1995.

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Bánffy, Miklós. They were divided. London: Arcadia, 2001.

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Szomolai, Tibor. Felvidéki saga: Szomolai Tibor. Rimaszombat: Szerző magánkiadása, 2013.

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Kevey, Andrew. Béla Keredy: A Hungarian odyssey. Santa Barbara: Fithian Press, 1991.

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István, Bart, ed. Present continuous: Contemporary Hungarian writing. [Budapest]: Corvina, 1985.

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Miklós, Bánffy. They were counted. London: Arcadia Books, 1999.

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Lajos, Turczel, ed. Szlovákiai magyar írók, 1939-1945: Ének az éjben. Bratislava: Madách, 1986.

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István, Bart, ed. The kiss: 20th century Hungarian short stories. Budapest: Corvina, 1997.

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Márton, Tarnóc, Berkes Erzsébet 1940-, and Rónay László, eds. Két dióhéj: Nyugat-európai és tengerentúli magyar prózaírók. Budapest: Szépirodalmi Könyvkiadó, 1987.

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Ferenc, Kulcsár, ed. Piknik a Szaharában: Fiatal írók antológiája. Dunaszerdahely: Lilium Aurum, 1993.

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Book chapters on the topic "Hungarian fiction"

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Takács, Bogi. "Censorship or Cultural Adjustment? Sexualized Violence in Hungarian Translations of Asimov’s Second Foundation." In Studies in Global Science Fiction, 189–213. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84208-6_10.

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Acƶel, Richard. "Postmodernism and its Histories: Representations of the Past in Contemporary Hungarian Fiction." In Literature and Politics in Eastern Europe, 33–46. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22238-4_6.

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Kella, Elizabeth. "From Survivor to Im/migrant Motherhood and Beyond: Margit Silberstein’s Postmemorial Autobiography, Förintelsens Barn." In Narratives of Motherhood and Mothering in Fiction and Life Writing, 93–114. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17211-3_6.

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AbstractThe Swedish journalist and author Margit Silberstein’s autobiographical memoir, Förintelsens Barn (2021), represents her post-war upbringing in a survivor family. Both parents were Hungarian-speaking Jews from Transylvania, who were the only members of their respective families to survive horrendous persecution and conditions during the war. After the war they immigrated to a small town in Sweden, where Margit and her brother were born. This chapter examines the tensions in Silberstein’s account of her childhood and her relations with her parents, particularly her mother, viewing these tensions as stemming from characteristics of and contradictions between later postmemorial writing and the im/migrant literature of Sweden today, both of which are conditioned by their social contexts, including those of antisemitism. Silberstein’s work brings Holocaust postmemoir into dialogue with im/migrant autobiography in contemporary Sweden, and it suggests that this dialogue will continue to the third generation, Silberstein’s children.
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Rode, Alan K. "Hungarian in the Promised Land." In Michael Curtiz. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813173917.003.0010.

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Curtiz arrived in New York City via the ocean liner Leviathan on June 10, 1926; the story that his ship docked on July 4 and he thought the holiday fireworks were a celebration of his American arrival was a PR fiction that would be repeated for decades by Warner, Hal Wallis, and Curtiz. Curtiz arrived in Hollywood with his treatment of Noah’s Ark, but instead Jack Warner assigned him a crime drama, The Third Degree (1926), based on a 1908 stage play. He scrambled to learn about American criminal procedures by spending time in the L.A. County Jail and having the script translated into Hungarian. He added a great deal of unscripted material to the picture, a harbinger of future strife between him and the studio.As he completed more pictures for Warner Bros., including A Million Bid and The Desired Woman, he began his long association with Darryl F. Zanuck.He also met the screenwriter Bess Meredyth,who would become his second wife. His immigration status proved to be a problem, as it had to be extended each year by Warner Bros. until he could become a legal resident.
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Matz, Jesse. "Introduction." In Lasting Impressions, 1–34. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231164061.003.0001.

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This chapter introduces the problem of impressionism today through a personal-criticism discussion of the work of the Hungarian painter Bela Kontuly and then sets up central questions about impressionism especially as it seems to have survived into the contemporary fiction of Zadie Smith and David Mitchell.
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Varga, Balázs. "Familiar, much too familiar… HBO’s Hungarian original productions and the questions of cultural proximity." In A European Television Fiction Renaissance, 275–94. Routledge, 2020. http://dx.doi.org/10.4324/9780429326486-25.

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Mochalova, Victoria. "Fiction from “Semi-Asia”: Galicia, Podolia, Bukovina in Karl-Emil Franzos’ Texts." In Laughter and Humor in the Slavic and Jewish Cultural Traditions, 71–88. Institute of Slavic Studies, Russian Academy of Sciences; Sefer, 2021. http://dx.doi.org/10.31168/2658-3356.2021.5.

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The purpose of this article is to analyze the texts of Karl Emil Franzoz, reflecting in an ironic, comic way the peculiarities of the existence of different ethnic groups in the multi-confessional, multicultural region of Galicia, Podolia and Bukovina during their entry into the Habsburg Empire. The sources of the research are short stories and ethnographic sketches of an Austrian writer of Jewish origin, an expert on the way of life and customs of the inhabitants of the eastern provinces of the Austro-Hungarian Empire, which he called semi-Asia due to the contrast of their cultural poles. Analysis shows that an adherent of the ideas of the Enlightenment, K.E. Franzos is critical toward the traditional views of his fellow Jews, but the target of his criticism is also the Christian population. Due to the fact that Franzos combined closeness to both Jewish tradition and European culture, he was able to depict the multicultural situation of Austria-Hungary volumetric, without one-sided pathos and accusatory tonality, while maintaining an ironic distance.
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Rigó, Máté. "Introduction." In Capitalism in Chaos, 1–9. Cornell University Press, 2022. http://dx.doi.org/10.7591/cornell/9781501764653.003.0001.

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This introductory chapter explores why business elites survived and occasionally thrived amid chaos and uncertainty. It explains that businessmen were swept up in similar processes of war, economic nationalism, border changes, and political integration under the hegemony of Germany and France. Despite political ruptures and the weakness of ethnic nationalism, continuities in social hierarchies are best studied in regions with turbulent politics and violent nationalist clashes. The chapter considers why the economic ties born from the German and Austro-Hungarian empires endured despite defeat in the First World War and the disintegration of the two empires. It explains that political, social, and economic histories blend with a cultural history of businesses and their contexts that draw from either archives, newspapers, or fiction.
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McCulloch, Margery Palmer. "Changing Worlds and a Hampstead Idyll 1930–1933." In Edwin and Willa Muir, 129–45. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192858047.003.0010.

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Abstract 1930–1933. The chapter begins with a discussion of the literary renaissance in Scotland, Edwin’s engagement with it, and his friendship with Hugh MacDiarmid and James Whyte, the editor of The Modern Scot. Edwin and Willa are sent to Budapest in May 1932 as representatives of Scottish P.E.N. They are glad to be back in Europe, but it is not a happy occasion, tainted by a harsh Hungarian regime and shadows of fascism. On their return the Muirs decide to move to London, using an inheritance from Willa’s mother to rent a house in Hampstead. Here they will spend five happy years, in close contact with publishers and writers, including expatriate Scots such as Catherine Carswell, George Malcolm Thomson, and younger poets including Stephen Spender, Dylan Thomas, and George Barker. Edwin’s last novel Poor Tom (1932) is his best piece of fiction, but lukewarm reviews convince him that his métier is poetry. Willa’s second novel, Mrs Ritchie, appears in 1933 as a scathing vision of a puritanical narrowness in Scottish society. More overtly polemical, it is less successful than Imagined Corners. In May 1933, Edwin attends another P.E.N. conference, this time in Dubrovnik, sadly marked by anti-Semitism and the presence of Nazi sympathizers. Back in London, Gavin is injured by a lorry while fleeing from the servant girl whose hell-fire religious fanaticism had frightened him, an already nervous child.
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Gelencsér, Gábor. "The Experimentalism of Gábor Bódy." In Experimental Cinemas in State-Socialist Eastern Europe. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462982994_ch01.

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This chapter frames the work of Gábor Bódy within Hungarian avantgarde cinema. It connects Bódy’s output to László Moholy-Nagy’s films via intersecting modes of formal experimentation and social critique, a duality that regularly appears in late socialist Hungarian experimental cinema. It then highlights linkages between the film cultural activities of Lajos Kassák, the editor of the interwar journal MA, and Bódy’s function as an overall organizer of interdisciplinary film culture at the Balázs Béla Studio some fifty years later. Finally, it turns to Bódy’s feature films American Postcard, Narcissus and Psyche, and Dog’s Night Song to consider how experimental, documentary, and fictional elements coalesced in these works and how the juncture of such filmic forms pervades Bódy’s film theory.
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