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Journal articles on the topic 'Hungarian fiction'
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1
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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Nagy, Zsolt. "Reading Science Fiction in Socialist Hungary." Hungarian Studies Review 50, no. 1-2 (November 1, 2023): 88–105. http://dx.doi.org/10.5325/hungarianstud.50.1-2.0088.
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Abstract The article explores the emergence of science fiction as a genre in socialist Hungary. By focusing on the origins and role of the science fiction anthology Galaktika [Galaxy] and the book series Kozmosz Fantasztikus Könyvek [Cosmos fantastic books] and exploring the role of their editor, Péter Kuczka, the article argues that book publication from the mid- to late 1960s onward was much more elastic and variable than one would think. Readers’ growing interest in science fiction, and the commercial success of science fiction publications, convinced the state that it needed to accept science fiction as a legitimate literary genre. By examining the intellectual and cultural development that led to this legitimization and by analyzing some of the key publications and their themes and topoi, the article hopes to contribute to a better understanding of Hungarian socialist cultural policy.
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Iványi, Márton Pál. "“Double enemies” within the Gates." Central European Cultures 2, no. 2 (March 8, 2023): 19–36. http://dx.doi.org/10.47075/cec.2022-2.02.
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A relatively unknown facet of Central European Orientalism becomes manifest when encountering the epistemological heritage of the historical experiences of the Ismaelite community in Medieval Hungary. Accordingly, hegemonic themes of Hungarian historic fiction about this Muslim minority range from from being speculative/profiterring arms dealers. Such patterns span across the entire trajectory of Hungarian literature. This paper introduces this virtually unknown attitude with the frame of reference based on oeuvres of the Romantic and the Modern periods, with the broader intention to understand the nuances of the Saidian paradigm.
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Kisantal, Tamás. "Beyond the Battlefields of Memory: Historical Traumas and Hungarian Literature." Porównania 27, no. 2 (December 15, 2020): 47–58. http://dx.doi.org/10.14746/por.2020.2.3.
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One can describe the contemporary Hungarian collective memory as an interpretational field of some traumatic historical events of the twentieth century. The essay aims to sketch some important tendencies of the literary representation of these events after the millennium. At first, it outlines the wider social and political contexts of these literary works. Secondly, it models the current Hungarian cultural field as an opposition between two strategies of memory labeling them in Michael Rothberg’s terminology as competitive and multidirectional ones. These approaches to the past are also associated with different ideological implications and literary canons. Finally, with a brief overview of some recent novels, the essay demonstrates some pathways of representing multidirectional attitudes to the past in the Hungarian literary fiction of the 2000s.
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Heiniger, Abigail. "Undead Blond Hair in the Victorian Imagination: The Hungarian Roots of Bram Stoker’s "The Secret of the Growing Gold"." Hungarian Cultural Studies 4 (January 1, 2011): 10–21. http://dx.doi.org/10.5195/ahea.2011.28.
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The Hungarian folktale “Woman with Hair of Gold” is a part of what Nina Auerbach calls feminine mythos in Woman and the Demon. It is a story about the murder and revenge of a “very strange but beautiful woman with golden hair as fine as spun gold.” This paper explores how Bram Stoker’s short story “The Secret of the Growing Gold” reworks this folktale, stripping away its uniquely feminine voice, to create a story expressing British Victorian racial anxieties. The message of Teutonic superiority, which Stoker links with Hungarian folklore, is this author’s most dangerous and nefarious fiction.
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Portuges, Catherine. "The Third Generation: Hungarian Jews on Screen." Hungarian Cultural Studies 2 (January 1, 2009): 11–17. http://dx.doi.org/10.5195/ahea.2009.21.
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The post-Cold War era, with its redrawn European topographies and renegotiated political and cultural alliances, has witnessed the return of Central European Jews to the screen in fiction features, documentary and experimental films, and new media. A younger generation of filmmakers devoted to speaking out on the Holocaust and its aftermath is opening vibrant new spaces of dialogue among historians, literary and scholars, as well as within the framework of families and audiences. By articulating unresolved questions of Jewish identity, memory and history, their work both extends and interrogates prior narratives and visual representations. My presentation compares recent films by several filmmakers with regard to the contested meanings of Jewish identity; issues of gender and the filmmaker’s voice and subject position; the contextualization of historical evidence; and innovative modes and genres of cinematic representation.
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Farkas, Tamás, and Mariann Slíz. "Translating Family Names in Hungarian: A Diachronic Survey." Hungarian Cultural Studies 6 (January 12, 2014): 82–95. http://dx.doi.org/10.5195/ahea.2013.114.
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In our paper we focus on the translating practice and translatability of surnames used in Hungarian, from the problems of translating the immediate predecessors of surnames to the questions of translating surnames today. Our main interest is in how multilingualism, language contact situations, language prestige considerations, customs, fashion and other potential factors affect the use of these names in different languages, and the translatability in a wider sense in the actual practice in Hungary and other countries. We shall look at name translation practice in medieval documents, the relevant questions of spontaneous and conscious surname changes, the changes of Hungarian surnames used outside of Hungary, and finally the questions of translating surnames occurring in fiction.
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Sedelnikova, Olga V., and Enhzaya Vandan S. "Marcell Benedek. The Double of Mr. Golyadkin." Dostoevsky and World Culture. Philological journal, no. 4 (2021): 196–209. http://dx.doi.org/10.22455/2619-0311-2021-4-196-209.
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It is here presented the Russian translation of the introduction Dostoevsky’s short story The Double, firstly published in the fourth volume of the Hungarian translation of Dostoevsky’s Collected Works (1922) that was part of a large educational project by the publishing house Révai. The author of this short article about The Double, Marcell Benedek (1885–1969), writer, translator, and literary scholar, was an eminent representative of the Hungarian culture of the early and mid-20th Century. His works and media appearances were intended to familiarize readers with the works of Hungarian and European literature, to teach them to understand the language of fiction and the mechanisms of the aesthetic interpretation of reality. Benedek wrote one of the first articles about Dostoevsky’s early work in the European history of Dostoevsky studies and is at the origins of a tradition of deep reflection on the nature of the writer’s aesthetic principles.
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Tóta, Benedek Péter. "Hungary Overrun: a Source of Fortitude and Comfort (Reading Hungary in A Dialogue of Comfort against Tribulation)." Moreana 40 (Number 156), no. 4 (December 2003): 17–40. http://dx.doi.org/10.3366/more.2003.40.4.5.
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After approaching A Dialogue of Comfort from the point of view of Utopia, focusing on what is fact and what is fiction, this paper concentrates on More’s knowledge of the facts concerning Hungarian history, with an emphasis on the Battle of Mohacs of 29 August 1526 and its aftermath. Among More’s possible sources, special attention is devoted to the memorials of the Chancellor of Hungary, Bishop István Brodarics, whose historiography written in Latin was published between 18 March and 18 April 1527. A series of extended quotations from this work, made by a Hungarian in Latin and translated out of Latin into French by Martin Fumée, and out of French into English by “R.C.”, serve to illustrate how a chain of events in Hungarian history acts as an objective correlative in order to raise an appropriate intellectual, spiritual and emotional response to a turbulent state of affairs in political and existential matters, which ultimately results in fortitude and comfort.
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Ragozin, German. "“The Middle Ages on Imperial service”: Czech, Hungarian and Polish historical images in works by Franz Grillparzer, 1825–1830." Slavic Almanac 2022, no. 3-4 (2022): 335–55. http://dx.doi.org/10.31168/2073-5731.2022.3-4.4.01.
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The paper deals with historical images of non-Germanic peoples living in the Austrian empire and presented in romanticist fiction. The author analyzed several narratives from the heritage of Franz Grillparzer, the Austrian writer and dramatist. He referred to images of Czech, Hungarian and Polish medieval and early modern history. The chosen dramas are “Fortune and Fall of the king Ottokar” and “A Faithful servant to his Lord”, and the novella “A monastery in Sandomir”. They had a significant role in forming the image of non-Germanic Habsburg realms medieval history for subjects of the Empire. Romanticism and medievalism dominating in the European and Austrian public opinion and politics have put an impact on perception of Czechs, Hungarians and Poles by the German community of Austria. Despite the fact, that medieval narratives got the attention from national movements, Grillparzer referred to them basing on the Austrian conservatism. In this way his works enforced the Habsburg myth and “organic constitution” for the state. The author came to a conclusion that images of Czech, Hungarian and Polish medieval and early modern history presented in works by Grillparzer have filled the gap in official historical memory. It became possible due to overweighting Austro-German and Habsburg emphasis in official discourse, what gave a certain ground for national movements and became a disadvantage for official historiography. Appeal to dynastic patriotism and legitimism has got a certain enforcement with reflections on disunity of Hungarian, Czech and Polish elites. According to the author, the mobilization of the elites was to illustrate the thesis and to promote the official version of the Habsburg empire history.
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SZÁZ, Pavol. "HASIDIC INFLUENCES IN HUNGARIAN LITERATURE AFTER 1989." Ezikov Svyat (Orbis Linguarum), ezs.swu.v21i3 (October 30, 2023): 209–2017. http://dx.doi.org/10.37708/ezs.swu.bg.v21i3.21.
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The present study is an overview of the reception of literary Hasidism and its impact on Hungarian literature after 1989. Even at the end of the 1980s, traces of the anamnesis of the Jewish and Hasidic heritage of rural Eastern Hungary can be discerned in literature and public discourse. In fact, we can speak of the reception of literary Hasidism after the end of the fall of the regime and the tabuization of Jewish topics. Indeed, publishing the Hungarian translation of Martin Buber’s (1995) and Jiří Langer’s (2000) collection of Hasidic stories has influenced several works of fiction. Géza Röhrig’s prose poetics of his “imaginary Hasidic stories” resemble those of the magical realism, with their traditional mixture of imitation and imaginary elements. Langer and other Hasidic story collections inspired some dramatic works in the years following the millennium, notably the plays of Péter Kárpáti, Martin Boross and Szilárd Borbély. Szilárd Borbély’s case is special for our study, as he incorporates Hasidic motifs and reminiscences in several of his works, but mixes them with Christian elements, creating a specific, culturally hybrid bricolage-poetics.
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Szolláth, Dávid. "Inventory of magic textual constructions of the unnatural in Hungarian postmodern fiction." Neohelicon 45, no. 2 (September 11, 2018): 461–77. http://dx.doi.org/10.1007/s11059-018-0461-x.
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Szönyi, György E. "The Vicissitudes of Twentieth Century Hungarian Adepts, from the Austro- Hungarian Monarchy, through World Wars, Revolutions, Communism to Intellectual Liberation." Polish Journal of the Arts and Culture New Series, no. 17 (1/2023) (May 2023): 33–52. http://dx.doi.org/10.4467/24506249pj.23.003.18996.
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My paper maps the most important representatives of the occult and esoteric currents in twentieth century Hungary. Their works and tes- timonies encompass the genesis of modern esotericism in Hungary, but their careers also demonstrate the catastrophic watershed caused by fascism and the Second World War, only to be continued (however mostly secretly) during the communist era. The paper first provides an overview of the development of major esoteric trends in modern Hungary (from the late nineteenth century to the time of the regime change in 1989), then focuses on three outstanding seekers of holistic enlightenment: Ervin Baktay (1890‒1963), Béla Hamvas (1897‒1968), Mária Szepes (1908‒2007). All three developed their philosophy after WWI; all were influenced by Theosophy and Indian mysticism; all were scholars of various fields of the humanities, at the same time as being writers of “belle lettres” – poetry as well as fiction. After WWII, all three were looked at with suspicion and were silenced; however, they also found ways of expressing themselves and gathering disciples in various interesting ways.
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Soós, Anita. "“Let’s have a cup of tea” – Scandinavian crime fiction through Hungarian eyes. Zoltán Kőhalmi’s practical guide to crime writers." Folia Scandinavica Posnaniensia 34 (December 29, 2023): 45–55. http://dx.doi.org/10.14746/fsp-2023.34.04.
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In recent decades, a wide range of Scandinavian crime novels have conquered Hungarian readers, providing a more sophisticated perspective on the existing image of Scandinavian cultures and societies, with their intriguing social content and appealing landscapes. This wave of crime fiction has not only contributed to a better understanding of Scandinavia, but also drawn attention to the genre itself, which culminated in a parody written by a Hungarian stand-up comedian, Zoltán Kőhalmi. In his incorporation of all the obligatory ingredients of Scandinavian crime novels, the comedian not only reuses the self-image that Scandinavian crime narratives convey, he pillories the genre requirements by exaggerating the use of the most well-known characteristics. The analysis of Kőhalmi’s satirical use of Scandinavian crime narratives serves as a case study for a closer understanding of conceptions of Scandinavia in contemporary Hungary.
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Gusev, Yury, and Alexander Stykalin. "“If I was given some kind of flight resource, then I exhausted it to the maximum extent, working at the Institute of Slavic Studies”. The memoirs of Yu. P. Gusev." Slavic World in the Third Millennium 18, no. 1-2 (2023): 175–214. http://dx.doi.org/10.31168/2412-6446.2023.18.1-2.11.
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At the request of the editors of the Slavic World in the Third Millennium, Yury Pavlovich Gusev (born in 1939), Doctor of Philology, a well-known researcher and translator of Hungarian literature, speaks about his life and path in science. Yu.P. Gusev was born and raised in the Urals. After graduating from the Faculty of Philology of Moscow State University, he worked for two years as a teacher of Russian language and literature in a Hungarian village in the Transcarpathian region of Ukraine, having perfectly mastered the Hungarian language. After post-graduate studies in the Institute of World Literature of the Academy of Sciences of USSR, he became a member of that Institute and worked there until the early 1990s, rising from junior to leading researcher. A quarter of a century of his activity is associated with the Institute of Slavic Studies of the Russian Academy of Sciences, where he worked in 1994–2019 as a leading researcher. Since the early 1970s, Yuri Pavlovich has been actively combining his research work with his work as a translator of Hungarian fiction, both classical and contemporary. For his merits in the field of translation and study of Hungarian literature Yu. P. Gusev was awarded prestigious state awards and prizes in Hungary. Yu. P. Gusev talks about his childhood during the war and in the first post-war years, his youth, studies at the Moscow University and his impressions of those times, his work at the Institute of World Literature and the Institute of Slavic Studies, his many trips to Hungary and communication with Hungarian colleagues. He also shares his opinion on the development of the Hungarian studies in Russia, the possibilities for further dialogue between the two cultures. The article was prepared with the support of the Russian Foundation for Basic Research, project No. 21-59-23002 "Soviet-Hungarian scientific relations in the field of the humanities: communication channels, intellectual presence, transfer of ideas (1945–1991)". Interviewed and prepared the text for publication by A.S. Stykalin.
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Gadpaille, Michelle. "Elementary Ratiocination: Anticipating Sherlock Holmes in a Slovene Setting." ELOPE: English Language Overseas Perspectives and Enquiries 11, no. 1 (May 8, 2014): 67–82. http://dx.doi.org/10.4312/elope.11.1.67-82.
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The paper reevaluates an obscure, German-language crime novel from the nineteenth century and its better-known English translation: Carl Adolf Streckfuss’s Das einsame Haus: nach den Tagebüchern des Herrn Professor Döllnitz: Roman (1888), translated as The Lonely House (1907). Although written in German by an author from Berlin, the novel is set on the territory of Slovenia. The paper situates the novel geographically and historically, while considering its place in the developing genres of crime and later detective fiction. Moreover, the novel’s depiction of intraethnic tension in the Slovenian village where the crime occurs will be shown to reflect the ethnic tensions on the frontiers of Austro-Hungarian territory, and to align with later trends in English detective fiction towards the use of ethnic taxonomies in constructing and solving crime.
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Sherwood, Peter. "Inside Animalinside, Ottilie Mulzet's Translation of László Krasznahorkai’s Állatvanbent." Hungarian Cultural Studies 14 (July 16, 2021): 123–44. http://dx.doi.org/10.5195/ahea.2021.432.
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László Krasznahorkai is now the best-known Hungarian writer in the English-speaking world (perhaps in the world, period). But what is the precise nature of the relationship between his Hungarian works and their English translations that have been, on the whole, so well received in Britain and especially the USA? This article takes a very close linguistic look at one his shorter works, ÁllatVanBent, in a version by Ottilie Mulzet, co-recipient with George Szirtes of the translators’ share of the 2015 Man Booker International Prize, which recognized Krasznahorkai for his “achievement in fiction on the world stage.” I argue that Ottilie Mulzet’s translation is in a hybrid English that in some places evidences a misunderstanding of the Hungarian, and in others claims to be a foreignized, “Krasznahorkai-English” that is, however, insufficiently justified by the original. More broadly, the article thus takes issue with the increasingly widely held view that the translator is not merely a co-author but enjoys a kind of authorial autonomy that implies that the translation can be judged without close reference to the original. As Krasznahorkai’s known views on translation suggest the acceptance of this notion, he is therefore, to a degree, complicit in the partial misrepresentation (and hence misconstrual) of his work.
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Pieldner, Judit. "Representations of Female Alterity in Contemporary Hungarian and Romanian." Acta Universitatis Sapientiae, Philologica 5, no. 1 (July 1, 2013): 95–110. http://dx.doi.org/10.2478/ausp-2014-0008.
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Abstract The present study carries out a comparative/contrastive analysis of two ways of contemporary Hungarian and Romanian film discourse, namely magic realism and micro-realism, and will focus on the representation of the woman in the contemporary films entitled Witch Circle (Dezső Zsigmond, 2009),exploring a subversive female mythologem of a confined traditional community, that of the Csángó people, Bibliothéque Pascal (Szabolcs Hajdú, 2010),which creates a private mythology, materialised in form of surrealist images, of the female self interpreting herself out of her conditions, and Beyond the Hills (Cristian Mungiu, 2012), drawing its topic from a real event -reality generating fiction-that inspired Tatiana Niculescu Bran’s Deadly Confession [Spovedanie la Tanacu), Judges’ Book [Cartea Judecătorilor), as well as Zsolt Láng's The Monasteryr of Protection (Az oltalom kolostora). Beyond dealing with related female patterns, the films imder discussion are engaged in mediating collective and private mental representations, as well as in creating film narratives with the convergent feature of juxtaposing the real and the mythical. The films approach the topic from distinct possibilities of cinematic representation and offer, in my view, a complementary and intercultural image of the woman trapped between the East and the West, between social and religious institutions and victimised by the stereotypical view of society.
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Szemessy, Kinga, and Viktória Végvári. "Performansz alapú táncos/bábos részvételi játékok." Theatron 15, no. 1 (2021): 54–69. http://dx.doi.org/10.55502/the.2021.1.54.
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This paper summarises the shared creative and educational experiences of authors who come from the fields of dance and puppetry respectively, setting down nine principles, a glossary, and the description of multiple exercises that are less dominant in, or completely absent from the canon of contemporary Hungarian theatre education. These are the following: the agency of (bodily and inanimate) material, the creative potential brought forth by discomfort, an anti-elitism that isn’t achieved at the cost of technical training, event-like-ness, world-creation that is not the equivalent of fiction, and the impossibility of accurate reconstruction.
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Pál, Ferenc. "Camões e a literatura húngara do século XIX." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 02 (2019): 12–26. http://dx.doi.org/10.53943/elcv.0119_03.
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Camões, because of his romantic,life and the patriotism that reflects his masterpiece, Os Lusíadas, became very popular in nineteenth-century Hungary. On the one hand, it was the romantic feeling of the time that consecrated him a prominent poet and, on the other hand, the political and mental conditions of Hungary fighting at that time for the mental and political independence of the country. That is why frequent references are made to both his figure and his work, and the poet appears several times as a central figure in Hungarian works of fiction and poetry.
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Avram, Larisa, Anca Sevcenco, and Veronica Tomescu. "The acquisition of recursively embedded noun modifiers in Romanian by Hungarian-Romanian bilinguals." Bucharest Working Papers in Linguistics 22, no. 1 (2020): 90–103. http://dx.doi.org/10.31178/inter.11.25.4.
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My article is related to the use of Gloria Anzaldua’s concept of mestizaje and Frederick Jackson Turner’s frontier thesis in analyzing the possible hybridity in Joss Whedon’s Firefly, where an intergalactic Sino-American federation called the Alliance recreates the palimpsest of civilization of the kind described by Turner, but also forges a new cultural mix: a Wild West backdrop with Chinese characteristics. I examine the ways in which Whedon’s show differs from other space opera settings like Star Trek or Star Wars, but also how it ends up reproducing certain orientalizing tropes that feature in science fiction. I aim to see how mestizaje is mirrored in linguistic, sexual, and religious ways through the show’s engagement with in-betweenness, especially in the guise of its adoption of Chinese culture, and whether Whedon’s Firefly enables the creation of Anzaldua’s type of hybridity.
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Kistler, Jordan. "A POEM WITHOUT AN AUTHOR." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 875–86. http://dx.doi.org/10.1017/s1060150316000255.
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These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).
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Chmurski, Mateusz. "From Autobiography to Fiction, or Translating Géza Csáth’s Diary from Hungarian to French and to Polish." Hungarian Cultural Studies 6 (January 12, 2014): 65–81. http://dx.doi.org/10.5195/ahea.2013.113.
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The aim of this paper is to analyze the complex relation between autobiography and fiction in the work of the Hungarian psychiatrist, writer and music critic Géza Csáth (the pen name of József Brenner [1887–1919]), in particular his 1912–1913 diary, usually called the morfinista napló [diary of a morphine addict], by comparing its Polish and French translations as a means of highlighting alternative interpretations of the diary itself. Because the choices that were made when translating such fragmented texts already imply more or less developed interpretations of them, variations between them can be examined side by side in order to reveal sometimes widely diverging understandings of the diaries’ meaning, purpose and general structure. The decision-making that led to the translators’ choices is not only examined here case by case, but also in the context of an assumed overarching reading of these diaries, accounting for a sense of consistency in their differentiation patterns. Scrutinizing these choices allows for the discussion of relevant internal contradictions within the text itself, which in turn accounts for its richness and poetic value; they invite us to immerse ourselves into a world of tangled streams of thoughts where life and work crisscross, into a narrative that is neither a proper diary nor a novel. Beyond attempting to assess the degrees of validity of the given translations, this paper focuses mainly on showcasing them as alternative yet equally relevant interpretative stepping stones into Csáth’s monstrously complex and tormented literary world.
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Török, Zsuzsa. "Sartorial heroism and nation-building: Female cross-dressing in nineteenth-century Hungarian fiction (a case study)." Hungarian Studies 30, no. 1 (June 2016): 73–87. http://dx.doi.org/10.1556/044.2016.30.1.4.
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Varga, Adriana. "Languages of Exile and Community in Dezső Kosztolányi's Esti Kornél Cycles." Hungarian Cultural Studies 4 (January 1, 2011): 45–57. http://dx.doi.org/10.5195/ahea.2011.31.
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An avid translator, the poet, novelist, essayist and journalist, Dezső Kosztolányi believed in linguistic relativism, the uniqueness of each language-created world view, and the impossibility of translation. Paradoxically, one of his main concerns was to express in fiction various encounters between individuals belonging to different linguistic and cultural communities, and to explore whether communication between them was at all possible. It is exactly this double bind—this status of finding oneself between two or more cultures and languages—that the Hungarian novelist explored in many of his works, particularly in his last fictional writings, the Esti Kornél cycles: Esti Kornél (1933) and Esti Kornél Kalandjai (The Adventures of Kornél Esti, 1936). Several of the Esti Kornél episodes are linguistic explorations of the encounter between “self” and “other,” when these two often belong to different cultural and linguistic communities. The result of estranging language during such encounters leads to a better understanding of language and the context that created it—just as, in translation, the loss and, therefore, the presence of the original’s linguistic form is most acutely felt and understood by the translator.
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Mushketyk, Lesia. "Specific Character of the Folklore Translation: After the Material of Hungarian and Slavic Languages." Folk art and ethnology, no. 2 (June 30, 2023): 23–31. http://dx.doi.org/10.15407/nte2023.02.023.
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The translation of fiction and folklore works has its own specific character. It covers poetry and prose, lyrics and drama. Modern translators use the advice and creative heritage of their predecessors, in particular Maksym Rylskyi, who has combined scientific and folkloristic activities with translation from Slavic and non-Slavic languages, made a number of valuable comments on the issues of translation, its adequacy, transmission of the national identity of works, etc. Attention of the other translators and researchers has been also drawn to the issue of the translation of folklore works into Hungarian and Ukrainian. É. Grigássy, Zs. Rab, I. Petrovtsii and others are among them. They testify that besides the language competence, this work requires certain extralinguistic knowledge of ethnology, history, local studies, etc. They talk about two main dangers in such translations: on the one hand, it is the leveling of the national flavor of the work, its transformation into one’s own work; on the other hand, the text should not sound foreign, but should be natural and easy to read. The translation of various genres and types of folklore has its own specificity. Thus, significant difficulties arise when translating the Slavic heroic epos into Hungarian, the volumetric form of dumy and byliny, their epicness, dynamism, etc. Reproduction of the flavor of folk songs is demonstrated in the article exemplified by the translations of Hungarian calendar and love songs into Ukrainian. Then the authoress presents a number of samples of her own translations from the bilingual collection Hungarian Folk Fairy Tales of Uncommon Beauty, commenting the transmission of realia, proper names, phraseological units, language formulas – initial, medial and final. Despite certain doubts about the ability to translate folklore works into very different (not close) languages successfully, it can be said with certainty that it is possible, but this process requires, in addition to deep linguistic and discourse knowledge, extralinguistic, as well as poetic skill and talent of the translator.
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Szolláth, Dávid. "Narrative Style and Gender Relations in the Creative Relationship of Miklós Mészöly and Alaine Polcz." Hungarian Cultural Studies 12 (August 1, 2019): 239–54. http://dx.doi.org/10.5195/ahea.2019.361.
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As a couple, Miklós Mészöly (1921-2001) and Alaine Polcz (1922-2007) have a special status in Hungarian literature. Mészöly is one of the most important figures of postwar Hungarian fiction. His wife, Polcz, became an author at the age of sixty-nine when her first book, a wartime memoir entitled Asszony a fronton [1991, ‘One Woman in the War’] (Polcz 2005, 2002b), gained attention. Although she has been generally regarded only as an írófeleség [‘a writer’s wife’] (see Borgos 2007), by the turn of the century she eventually became more popular than her husband. This paper focuses on a novel by Mészöly, Pontos történetek, útközben [1970, ‘Accurate Stories on the Road’], that was based on Polcz’s tape recorded narration of her journeys mostly to Transylvania. My analysis poses two questions; the first regards the issues of style and narration, while the second examines the topic of gender. In other words, this approach to Mészöly’s novel aims to grasp the characteristics of the narrative style of Mészöly by comparing his transcription to the text recorded on the tape made by Polcz. How was it possible for the husband to publish a novel exclusively under his own name from his wife’s “raw material”?
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Kierzek, Andrzej. "Otorhinolaryngological achievements of Samuel Lehm (18791954)." Polski Przegląd Otorynolaryngologiczny 10, no. 4 (October 21, 2021): 51–54. http://dx.doi.org/10.5604/01.3001.0015.5920.
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Samuel Lehm (1879-1954), a Jewish doctor from Lvov, graduated from the Faculty of Medicine at the Jan Kazimierz University in Lvov, received his medical diploma in 1909. He was a doctor of the Otolaryngology Clinic and the ENT Clinic of this University. During the First World War he served in the Austro-Hungarian army. After the First World War he was an active ENT specialist in Lvov and a member of the Polish Society of Otolaryngology. After the Second World War, he lived in Krakw. His son Stanisaw Lem (1921-2006) was a famous Polish science fiction writer, philosopher, futurologist, literary critic and also doctor. Samuel Lehm was involved in various cases related to otorhinolaryngology, including: monocytic angina, membranous septum of larynx, laryngeal papillomas, purulent parotitis, but most of all scleroma.
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Molella, Arthur, and Robert Kargon. "Atomville: Architects, Planners, and How to Survive the Bomb." Technology and Culture 64, no. 3 (July 2023): 823–44. http://dx.doi.org/10.1353/tech.2023.a903974.
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abstract: In the post-Hiroshima era, atomic cities—designed to survive a nuclear attack—remain in the science fiction realm. Yet Hungarian émigré Paul Laszlo, a successful architect in Southern California suburbia, had a utopian vision for a futuristic, paradoxically luxurious atomic city he called "Atomville," never built but nonetheless seriously proposed. Laszlo was one of the very few architects known to venture into atomic survival on this scale. This article focuses on why the architectural profession for the most part ignored the issues raised by the atomic bomb, and on Laszlo's role as an outlier. It also deals with the genesis of Atomville and its place among the many unrealized ideas put forward in the 1940s and 1950s for urban survival, including underground buildings, urban dispersal, linear cities, and cluster cities.
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Virginás, Andrea. "Embodied Genetics in Science-Fiction, Big-Budget to Low-Budget: from Jeunet’s Alien: Resurrection (1997) to Piccinini’s Workshop (2011)." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 149–66. http://dx.doi.org/10.2478/ausfm-2014-0031.
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Abstract The article uses and revises to some extent Vivian Sobchack’s categorization of (basically) American science-fiction output as “optimistic big-budget,” “wondrous middle-ground” and “pessimistic low-budget” seen as such in relation to what Sobchack calls the “double view” of alien beings in filmic diegesis (Screening Space, 2001). The argument is advanced that based on how diegetic encounters are constructed between “genetically classical” human agents and beings only partially “genetically classical” and/or human (due to genetic diseases, mutations, splicing, and cloning), we may differentiate between various methods of visualization (nicknamed “the museum,” “the lookalike,” and “incest”) that are correlated to Sobchack’s mentioned categories, while also displaying changes in tone. Possibilities of revision appear thanks to the later timeframe (the late 1990s/2000s) and the different national-canonical belongings (American, Icelandic-German- Danish, Hungarian-German, Canadian-French-American, and Australian) that characterize filmic and artistic examples chosen for analysis as compared to Sobchack’s work in Screening Space.1
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Mašek, Petr. "Zámecká knihovna Nové Syrovice." Acta Musei Nationalis Pragae – Historia litterarum 67, no. 1-2 (2022): 62–65. http://dx.doi.org/10.37520/amnpsc.2022.008.
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The Nové Syrovice Castle library was collected by the Counts of Nimptsch, in particular Count Johann Heinrich von Nimptsch (1723–1806) and Count Karl von Nimptsch (1803–1869), and it also contains traces of the library of the Counts Marcolini. A later part of the collection was added by the Counts of Stubenberg. What is interesting is the manuscript collection, including a set of plans and drawings depicting the Hungarian fortress of Eger (Erlau) and the legal norms applicable to the duchies of Silesia. Works coming from the 16th century were mainly written by ancient authors. Early printed books are mostly in French and Latin, to a lesser extent in German, and occasionally in other languages, such as English. In addition to fiction, the library comprises numerous works of law, history, and French scientific publications. The collection contains relatively few 19th-century books; 20th-century works are completely absent, having been discarded in the 1950s.
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Митровић, Борјан. "СЛИКА СРПСКОПРАВОСЛАВНОГ САРАЈЕВА У ПРОЗИ МАЊЕ ПОЗНАТИХ ПРИПОВЈЕДАЧА НА РАЗМЕЂИ 19. И 20. ВИЈЕКА." ИСХОДИШТА 9, no. 1 (July 5, 2023): 177–86. http://dx.doi.org/10.46630/ish.9.2023.13.
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The paper deals with the image of the Serbian Orthodox community in the late Ottoman and Austro-Hungarian Sarajevo, given through the narrative work of lesser-known authors of the second half of the 19th and the first half of the 20th century: Stevo Kaluđerčić, Mita Živković, Novak Simić. Since most of these authors also wrote historiographical texts about Sarajevo (which we will also refer to), and their fiction is based on the poetic principles of realism and is intended primarily for a local and regional audience, we introduced the hypothesis that the horizon of expectations at the time had to impose a high mimetic referentiality of the work. Therefore, through this work, we will try to prove the real relevance of the literary images of the city and its Serbian community, with the hope that such a modest contribution would shed the light on the still insufficiently researched cultural history of the Sarajevo Serbs.
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Vervaet, Stijn. "Linguistic Diversity in East-Central European Minority Literature: The Post-Imperial Borderlands of Petar Milošević." Zeitschrift für Slawistik 67, no. 4 (November 4, 2022): 628–54. http://dx.doi.org/10.1515/slaw-2022-0031.
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Abstract Most recent studies on multilingual writing deal with literature by first- or second-generation immigrants. This article responds to debates about multilingual literature by examining the asymmetrical, historically-rooted multilingualism of minority groups in East-Central Europe. It does so by exploring linguistic diversity and its effects in the novels of the bilingual Serbian-Hungarian author Petar Milošević, novels that put the Serbian minority in Hungary centre stage. It is argued that Milošević’s prose fiction not only invites the reader to rethink the nature of script, standard language and cultural identity as historically contingent and multiply entangled, but also effectively refashions the cultural memory of the Serbian minority in Hungary. The novels’ broader relevance lies in their foregrounding of the minority’s cultural and linguistic doubleness, both in relation to the nation-state in which they live and to the external homeland. As such, they also potentially illuminate the position of other linguistic minorities in former Habsburg borderlands.
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Bollobás, Enikő. "The Double Entendre of Sex: Pornographies of Body and Society in Péter Esterházy’s Fiction." Hungarian Cultural Studies 12 (August 1, 2019): 255–67. http://dx.doi.org/10.5195/ahea.2019.362.
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Informed by feminist theory on the one hand and thematic and rhetorical criticism on the other, this article examines the components of discourse in two books by Péter Esterházy that share an emphatic attention to sexuality. The author interprets Esterházy’s discourse of sex as grounded in the figure of the double entendre, with a different function in each work. In Kis magyar pornográfia [‘A Little Hungarian Pornography’], vulgar corporeality and communist politics are shown as commensurate; both have a double meaning, with sex and politics referring both to themselves and to each other. In using one discourse as a cover for another, Esterházy continues the Central European Witz [‘joke’] tradition, giving a particular twist to it by making the transference of meaning two-directional, thereby assigning double meanings to sex and politics alike. In Egy nő [‘She Loves Me’], Esterházy attaches a double meaning to sex in a different manner; here sex is not a cover for something else but is shown to be reduced to itself, with a double meaning attached to its internal power relations. Sex is presented as a power game, in which man is repulsed by women yet is hopelessly attracted to them. Moreover, sex acts as the only tellable story taking the place of the untellable story of love. In this piece of postmodern fiction, the multiple perspectives bring about an interpretational uncertainty on the part of the reader as to whether sexist discourse is legitimized or subverted, and whether this legitimization and/or subversion is carried out by the narrator and/or by the implied author.
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Karizs, Krisztina. "“Family secrets.” The Difficulties of Remembering and the Distortion of Memories in a Contemporary Hungarian Novel." Journal of Arts and Humanities 6, no. 01 (January 11, 2017): 01. http://dx.doi.org/10.18533/journal.v6i01.1068.
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<p>The concept of memory and the process of remembering is an interesting and important topic in numerous theoretical and literary works since ancient Greece. Memory studies connect scholars from different fields such as philosophy, literary theory, cognitive and neuroscience, and psychology, while the uncharted processes of our brain and the often paradoxical characteristics of memories have inspired writers throughout the world. Their work and research resulted in — among others — autobiographies, family novels, or trauma fiction. In my research, I concentrate on the psychological aspects of memory studies and analyse how certain disturbances in the process of remembering and ‘special’ mental states (such as dissociation or post-traumatic stress disorder) form or deform narrative and result in particular narrative strategies. In my current paper, I analyse a contemporary family novel by a famous Hungarian writer, Krisztián Grecsó, Mellettem elférsz (There is space beside me), which was published in 2011. The plot concerns the life of a young man who attempts to imbue his life with meaning, and while doing so, seeking out the lost memories of his ancestors. In my analysis, I propose three core problems: Firstly, I give a brief description of the connection between memories and personal identity and examine if exact knowledge of the past is needed to retain a stable identity. Secondly, I argue if it is possible to retrieve the aforementioned knowledge. And lastly, I analyse the variables that possibly cause the disturbance in remembering and the distortion of the family history as pictured by Grecsó in his novel.</p>
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Molnár, Gábor Tamás. "Art of Annotation." Central European Cultures 2, no. 2 (March 8, 2023): 52–73. http://dx.doi.org/10.47075/cec.2022-2.04.
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This paper aims to interpret the process of self-documentation in Péter Esterházy’s A Novel of Production (1979), an important Hungarian novel which utilizes extensive endnotes to link a parodic narrative to a body of fictionalized autobiographical commentary. Drawing on theories of play and self-reflexivity as well as critical studies on the history of annotation in nonfiction and fiction, the article presents the structure of Esterházy’s novel and elucidates some textual connections between seemingly disconnected parts. The interpretation focuses on a storyline involving the attempted signing of the fictionalized author, also a lower-league football player, by a club bigger than his current one. The article argues that this narrative demonstrates the intersection of several thematic levels and discourses within the narrative, including football, finance, politics and literature—and illustrates the way in which a complex reality is modeled by the intersections and mutual displacement of competing discourses or fields of play. In conclusion, the article considers the role of self-documentation and self-commentary in the process of semiotic modeling, and links Esterházy’s creative method to Greimas’s semiotic square.
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Kim, Ji Young. "The debates on Holocaust memories in Hungary after political transition." Korean Society For German History 52 (February 28, 2023): 45–75. http://dx.doi.org/10.17995/kjgs.2023.2.52.45.
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Hungarians' perceptions and debates about the Holocaust show diversified aspects through the socialist period and the period after the transition of the socialist system. Hungarian victim consciousness, or collective perception, which can be called victimhood, lies at the base of Hungarian consciousness, and this consciousness is consumed for political purposes by Hungarian politicians and mass media. By combining the narrative of Hungarian alienation and loneliness with nationalism, the extreme logic advocated by the Hungarian far-right appeared. It is Hungarian nationalism that is used as a nutrient to lead this trend. However, in fact, Hungarian nationalism is also likely to be a fictional phenomenon. Nationalist tendencies in Hungary have grown stronger since the transition in 1989 and are still a highly favored political tool today. For this reason, the Jewish victims are regarded as a 'unitary group' and regarded by nationalist Hungarians as a 'common enemy'. Hungarian right-wing politicians are using this narrative to acquire and maintain power. After all, emphasizing the victimhood of Hungarians using nationalism, which is a very attractive tool for politicians, is a worrisome aspect in that it promotes the revival of the anti-Semitic movement and the fading and contempt of memories of the Holocaust.
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Druker, Jonathan. "Mothers and Daughters in the Holocaust Writing of Edith Bruck, Liana Millu, and Giuliana Tedeschi." Italica 100, no. 1 (March 1, 2023): 87–97. http://dx.doi.org/10.5406/23256672.100.1.06.
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Abstract This article focuses on Italian Holocaust testimonies written by three female survivor-writers—Edith Bruck, Liana Millu, and Giuliana Tedeschi. It considers how these authors use diverse literary forms to represent the experiences of mothers and daughters in the Auschwitz-Birkenau concentration camp. Key passages in Tedeschi's survivor memoir C’è un punto della terra show the extent to which her experience was shaped by her separation from her children, and by feelings of maternal longing. Millu's autobiographical story collection Il fumo di Birkenau deftly employs the imaginative techniques of fiction to represent maternal nurturing and sacrifice. In these stories, the brutal lack of solidarity inside the camp is balanced by depictions of sisterly and motherly care among the female prisoners. Hungarian-born Bruck feels unable to recount her Holocaust memories in her mother tongue, even though much of what she has written is either for or to her mother. One such work is Lettera alla madre, a deeply affecting autobiographical novel that takes the form of an undeliverable letter. The text focuses on the unresolved relationship between the survivor-daughter and her mother, who was gassed on the day they arrived at Auschwitz-Birkenau.
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Lebovics, Viktória. "On the Issue of Onomastics Rendering in Literary Translation." Folk art and ethnology, no. 1 (2023): 21–28. http://dx.doi.org/10.15407/nte2023.01.021.
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The article is dedicated to the problem of rendering of eloquent proper names in the translations of fiction writing. Attention is paid to the Hungarian and English translations of The Black Council historical novel by Panteleimon Kulish. The author has informed the editor of the magazine Moskvityanin of M. Pogodin on October 15, 1843. Kulish promises to create a whole gang of Cossacks in the novel, who receive eloquent nominations with interesting, diverse, associative characterization of the heroes encoded in them. In literary translation one can find relatively few such examples when speaking proper names are translated and not transmitted by transcription or transliteration. Many researchers consider the translation of speaking names to be impossible mission or super task. Ukrainian literature is extremely rich in works, the literary and onomastic analysis of which will certainly lead to new explanations and open new nuances in their interpretation. The examples of onyms rendering in the Hungarian translation, created by Anna Bojtár in 1978, submitted in the article, are the evidences of the fact that in many cases the semantic and associative meanings of onyms are lost, and the translator finds the appropriate solution when translating them only in some cases. The decisions of Yurii Stepan Nestor Lutskyi and his wife Moira in the English abridged translation of the novel, created almost at the same time, in 1973, are not much different. Nowadays scholars pay much more attention to the problems of translation of literary onomastics. More and more often there are the proposals to use the exact, adequate, appropriate, apt equivalent of eloquent names in the target language along with the recognition of their partial or complete untranslatability. Various possibilities of this issue solving can be found in scientific articles devoted to the translation of eloquent proper names of literary works. In reality, the choice of one or another variant of reproduction of eloquent proper names in the translation is motivated by various grammatical, lexical, semantic, connotative, culturological, ethnic, historical, pragmatic and other factors, among which the subjective desires of translators are also significant.
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Ziemann, Zofia. "Polish Kafka? O pewnym stereotypie anglojęzycznej recepcji Schulza." Schulz/Forum, no. 15 (September 24, 2020): 26–43. http://dx.doi.org/10.26881/sf.2020.15.02.
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The paper revisits a popular trope of the anglophone reception of the work and figure of Bruno Schulz, offering an overview of its history based on examples from literary criticism and paratextual framing since the first edition of Celina Wieniewska’s translation in 1963 to the present. It is argued that although in the beginning the mentions of Kafka naturally had a marketing potential, helping to introduce a then unknown author to Englishspeaking readers, the analogy was not used in a cynical or superficial way, nor was Schulz ever presented as Kafka’s poor relative. Its early proponents (Isaac Bashevis Singer, Cyntha Ozick, and Philip Roth) genuinely believed in Schulz’s affinity with Kafka and the Central European Jewish tradition at large. At least since the early 1990s, Schulz has been listed on a par with Kafka, other high modernists, and other eminent authors from the Austro-Hungarian Empire, often becoming a point of reference for reviewers of translated fiction. If the phrase “Polish Kafka” still sometimes appears in this shorthand form, it is usually presented as a cliché and/or critically elaborated. In contrast to the contemporary understanding of “Polish Kafka” in Poland as almost an evocation of an inferiority complex, in the anglophone realm the comparison to Kafka has been an expression of bona fide admiration for Schulz.
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Pašalić, Enes. "Higher Education in Brčko District BiH." Društvene i humanističke studije (Online) 7, no. 4(21) (December 30, 2022): 415–28. http://dx.doi.org/10.51558/2490-3647.2022.7.4.415.
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Education as a differentia specifica of man can not be reduced to an instrument of training individuals, by acquiring knowledge and skills, to achieve certain goals. With Hegel and his notion of "bildung", education is no longer treated as a means, but as an end in itself, an immanent moment of the historical development of individual self-awareness and the world spirit. The tradition of education in Brcko is rooted in religious education from the Ottoman period, with certain steps forward towards civic education in the periods of Austro-Hungarian rule, the Kingdom of Yugoslavia, and socialist Yugoslavia. The greatest strides in the field of education, Brcko has achieved in the economic and commercial scientific fields, especially after The Faculty of Economics was established in 1976. Unfortunately, in the period after the establishment of The Brcko District of Bosnia and Herzegovina in 2000, and the founding of private universities, higher education in Brcko has been reduced to goods and profit, a corrupt combination of politics and university management, that not only has distanced Brcko’s higher education from the ideal of Hegel's “bildung”, because it has never even been close to that ideal, but it also largely canceled the achievements of higher education in the economic and commercial scientific fields. Higher education in Brcko today produces educational fiction that has no basis in reality.