Pub Date : 2020-12-12DOI: 10.37415/STUDIA/2020/59/8574
Mária Hovánszki
In the article I demonstrate the connection between Fazekas and Csokonai through two poems. Fazekas’s Az érzékenységek énekben (The Senses in Song) was written in imitation of Csokonai’s A’ Reményhez, and A serdűlő bajuszhoz (To the Pubescent Moustache) was written similarly after Csokonai’s A’ Pillangóhoz, in these two poems by Fazekas Csokonai’s influence can be observed from formal characteristics through themes to intertextuality. However, this influence is not merely a copy of form, but it is an expression of Fazekas’s poetic irony and his polemic mentality with Csokonai. Both poems target the Lilla-affection and the love cult of sensitive poetry, as opposed to which, as poetic banter, Fazekas depicts on the one hand, an ordinary woman character who requites love, and on the other hand, a woman of easy virtue. The subtle irony is present on multiple levels in both poems due to the verbunkos (a Hungarian dance originated in military recruiting) and sensibility-classical melody.
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Pub Date : 2020-12-12DOI: 10.37415/STUDIA/2020/59/8578
Katalin Vargha
This paper discusses the riddles that appeared in print in the almanac founded and edited by Mihály Fazekas, entitled Debreczeni Magyar Kalendáriom. A total of 48 poetic riddles were published in the appendix of the almanac between 1819 and 1828, without indicating the author. The aim of this paper is to review the previous findings and opinions on the authorship of the texts, as well as to address a few broader questions regarding the 18–19th century riddle tradition in Hungary. It touches upon the antecedents of publishing this text type in Hungarian almanacs and the meaning of the term rejtett szó (logogriph). The last section explores text parallels of the riddles published by Mihály Fazekas that can be found among literary, popular and folk riddles.
本文讨论了由Mihály Fazekas创立和编辑的年历(题为Debreczeni Magyar Kalendáriom)中出现的谜语。1819年至1828年间，在年鉴的附录中共发表了48个诗性谜语，但没有注明作者。本文的目的是回顾以前的发现和意见的作者的文本，以及解决有关18 - 19世纪匈牙利谜语传统的一些更广泛的问题。它涉及在匈牙利年历中出版这种文本类型的先例和术语rejtett szó (logogriph)的含义。最后一部分探讨了Mihály Fazekas出版的谜语的文本相似之处，这些谜语可以在文学，流行和民间谜语中找到。
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Pub Date : 2020-12-12DOI: 10.37415/STUDIA/2020/59/8573
Gábor Vaderna
Mihály Fazekas’s poetry is often associated with the discourses of popular culture. His descriptive poems on nature, his songs and elegies describing the everyday life of the military, and his narrative poem, Lúdas Matyi, which is considered to be a classic in Hungarian literature, have all been interpreted as reaching back to the original culture of the Hungarian nation. This description was mainly based on Herder’s concept of nation and history. However, Fazekas was not interested at all in the problem of recovering a pure Volksgeist from folk culture. This essay argues that the fundamental aesthetic problem of his poetry is creating poetry of social life. For Fazekas, folk culture is not a cultural entity to be uplifted or an entity to be adapted, but an important register of cultural diversity. Poetry is nothing more than a means of making culture social. thus, poetry achieves its goal if the different poetical registers reach different social classes.
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Pub Date : 2020-12-12DOI: 10.37415/STUDIA/2020/59/8576
J. Gulyás
Lúdas Matyi (‘Matthew, the Goose Keeper, an original Hungarian tale’), an epic poem written by Mihály Fazekas in 1804 (published in 1815 and 1817 in Vienna), is the earliest known Hungarian variant of the tale type ATU 1538 (The Revenge of the Cheated Man). The poem has been interpreted as a pioneer work that introduced a peasant hero as well as the genre of the (despised) tale into Hungarian literature. Yet, hardly any variants of this tale type have been recorded from Hungarian oral tradition in the past two centuries. The author investigates this seeming contradiction, and analysing the eight oral variants as well as popular literacy argues that it was precisely the immense (written and theatrical) popularity of the plot that probably hindered the survival of an independent oral tradition of this tale.
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Pub Date : 2020-12-12DOI: 10.37415/STUDIA/2020/59/8570
Márton Szilágyi
Fazekas Mihály azon – meglehetősen kisszámú – klasszikus szerzőnk közé tartozik, aki körül látszólag minden rendben van. Létezik műveinek kritikai kiadása (meglehetősen régről, 1955-ből) van róla nagymonográa is, Julow Viktor tollából. Julow a könyvét hosszas kutatások után, évtizedekkel a részben tőle is gondozott kritikai kiadás megjelenése után adta ki: ez a könyv azóta is jelentős teljesítménynek számít. Ezek alapján azt is mondhatnók, nem csoda, hogy az utóbbi időben csönd övezi az író alakját, hiszen minden tisztázva van körülötte. Pedig korántsem. Érdemes közelebb lépnünk Fazekas alakjához és teljesítményéhez, mert akkor jobban látszanak a hiányok és a repedések azon a szakirodalmi hagyományon, amely vele foglalkozott.
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Pub Date : 2020-12-12DOI: 10.37415/STUDIA/2020/59/8571
Attila Debreczeni
The first part of the study gives a summary of the textological approach to the oeuvre of Mihály Fazekas, detailed elsewhere. Kis is followed by the highlighting of four contexts grouped around the concepts of Poetry, Morals, Sciences and Interpretation of self, all of which focus on a text source or group of text sources. The connection between the chapters is built retroactively, later chapters and the points discussed therein refer back to relevant concepts in previous ones. After the description of the possible contexts, the last chapter discusses the different aspects for the evaluation of the whole oeuvre, and gives a number of hypotheses, hoping to inspire further research.
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Pub Date : 2020-12-12DOI: 10.37415/STUDIA/2020/59/8575
Rumen István Csörsz
Mihály Fazekas had the chance to get to know several layers of Hungarian popular poetry in the Reformed College in Debrecen, as well as during his soldier years and in the end after he returned to his homeland. Although his popular poems are not as complex as the songs of the contemporary poets, Ádám Pálóczi Horváth and Mihály Csokonai Vitéz, in a few cases it is clear that he was inspired by one or more popular songs, and he wrote his poems following these models or launching a dialogue with them. The study tries to explore the background of the most famous two poems of Fazekas. The source and prefiguration of Hortobágyi dal ’Hortobágy Song’ (’O blessed Canaan’) was a drinking song with similar open formulas which was very popular until 1800 in Debrecen, as well as in Transdanubia, paraphrased to the region of lake Balaton. A little detail of the Hortobágy Song was torn off from the text by Fazekas and spread as an anonymous popular song after 1820 (just in the life of the author!) as Betyár Dal ’Outlaw Song’. Its English translation was published in the anthology of John Bowring (Poetry of the Magyars, London, 1830). The other poem, the Katonai búcsúének ’Military Farewell Song’ (‘Armies, who often sweat in the workshop of Mars, on the battlefield’) was written after Fazekas was promoted to lieutenant in 1796 and he disarmed unexpectedly. He bids farewell to the excruciating soldier life, which although promises the palm branch of victory, and imitates the rhythm and melody of the contemporary Hungarian marches, in a way writing a counter-song to the tune of trumpets.
Mihály法泽卡斯在德布勒森的改革宗学院学习时，以及在他当兵期间和最后回到祖国后，都有机会接触到匈牙利流行诗歌的几个层次。虽然他的流行诗歌不像当代诗人Ádám Pálóczi Horváth和Mihály的歌曲那样复杂，但在一些情况下，很明显他受到一首或多首流行歌曲的启发，他按照这些模式写诗，或者与他们进行对话。本文试图探讨法泽卡最著名的两首诗的创作背景。Hortobágyi dal ' Hortobágy Song '('哦，祝福迦南')的来源和预示是一首具有类似开放公式的饮酒歌曲，直到1800年在德布勒森以及外多瑙河地区非常流行，转述到巴拉顿湖地区。这首Hortobágy歌曲的一些细节被Fazekas从文本中撕掉，并在1820年之后(就在作者的生活中!)作为一首匿名流行歌曲Betyár Dal ' Outlaw Song '传播开来。它的英文译本发表在约翰·鲍林的选集里(《马扎尔人的诗歌》，伦敦，1830年)。另一首诗，Katonai búcsúének“军队告别歌”(“军队，经常在火星的车间里流汗，在战场上”)是在1796年法泽卡斯被提升为中尉之后写的，他意外地解除了武装。他告别了痛苦的士兵生活，虽然这预示着胜利的棕榈枝，但他模仿了当代匈牙利行军的节奏和旋律，在某种程度上写了一首小号曲调的反曲。
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Pub Date : 2020-08-26DOI: 10.37415/studia/2020/59/8150
József Goretity
A kötetben szereplő tanulmányok a fordításelméleti kérdésektől kezdve az orosz irodalom magyarországi recepcióján keresztül konkrét fordítási problémákat tárgyaló írásokig a legkülönfélébb aspektusból mutatják be a műfordítás elméletét és gyakorlatát. Ezt a sokszínű anyagot ugyanakkor az orosz-magyar (illetve magyar-orosz) nyelvpár fogja össze: egyfelől az orosz irodalom konkrét fordítási példáinak absztrahálása vezetett bizonyos elméleti megfontolásokra, másfelől általános fordításelméleti problémák egy-egy orosz irodalmi mű fordításának példáján keresztül konkretizálódnak.
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Pub Date : 2020-01-01DOI: 10.4467/20843933st.20.022.12543
B. Hackman
This article focuses on the novel att våga vara… [to dare being…] (1948) based on the life of the explorer Isabelle Eberhardt (1877–1904), by the Swedish author Ulla Bjerne (1890–1969). Annotations in her diary as well as Eberhardt’s diary and biography, are in addition taken into account, read as examples of female situated embodiment and part of a feminist nomadic practice, as elaborated by Rosi Bradidotti, in Bjerne’s aim to give representation to a new type of woman. It entails resistance to hegemonic, fixed and exclusionary views on feminine subjectivity, the affirmation of movement and the process of becoming, and the construction of new conceptions and images of women. The central hypothesis in the article is that travelling in att våga vara… has a potential to nomadize the female subject both literally and figuratively, in the quest to give representation to a situated, embodied female subjectivity, in both body and word.
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Pub Date : 2020-01-01DOI: 10.4467/20843933st.20.012.11899
Natalia Palich
The intention of this paper is to give a coherent, and possibly complete interpretation of violence representation in Pavel Hak’s novel Vomito negro , and to argue the thesis that the analysed text is an emblematic expression of a new vision of literature, namely “effective literature”. Drawing on the approach proposed by the postcolonial studies, the analysis conducted here aims to explore violence present in Hak’s novel in order to give a novel insight into the tech-niques of textualizing this phenomenon. The study is divided into two parts – expository that intends to present the author, his concept of literature, and features symptomatic for his literary texts; and analytical in which Vomito Negro is explored in the light of the main thesis argued in the paper. Finally, conclusive remarks introduce an opening to further interpretations of Hak’s literary texts.
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