scholarly journals Węgierski Październik ’56 oczami dziecka. Trzy (warianty) lektury

Author(s):  
Daniel Warmuz

The purpose of this paper is to demonstrate three possible methods of reading and interpreting three consequent literary works on the Hungarian Revolution of 1956 that describe the events from a perspective of an adolescent boy. The mentioned works are the following: The Radiance of Childhood  (Gyermekkor tündoklete) by Istvan Kovacs, Hungarian Revolution 1956: Diary  (Magyar Forradalom 1956. Naplo) by Gyula Csics and Kalef by Zsolt Berta. The first demonstrated approach provides a documentary-like look on the October 1956 that is given by dint of (auto)biographical elements or diaristic form. The second method ensures much closer analysis of the Hungarian history across time (before, during and after the Revolution) and space (Hungarian country and Budapest). The third approach targets the aspects of initiation into adulthood, masculinity and Hungarian history of the 20th century that allows to read the three stories as a novels of initiation.

2019 ◽  
Vol 15 ◽  
pp. 183-204
Author(s):  
Міхал Павліч

Contemporary Rusyn Literature in Slovakia after 1989 The turbulent history of European nations in the 20th century culminates in 1989, the year of the Velvet Revolution, which has resulted in many positive changes for big as well as for small nations on the continent. In the history of Rusyn literature this period is called the Literature of the Third National Revival as it sees a significant increase in the number of writers, literary works and various publishing activities. The first part of the paper presents the socio-cultural situation of Rusyns in this period and possibilities of publishing literary texts in their language. The second part contains thematic and genre characteristics of the Rusyn literature in Slovakia after 1989. The last part is an interpretation of a poetry collection by Daniela Kapraľová which belongs to the most interesting works in the contemporary Rusyn literature in Slovakia.


2020 ◽  
Vol 65 (Special Issue) ◽  
pp. 23-33
Author(s):  
Alin Constantin Corfu

"A Short Modern History of Studying Sacrobosco’s De sphaera. The treatise generally known as De sphaera offered at the beginning of the 13th century a general image of the structure of the cosmos. In this paper I’m first trying to present a triple stake with which this treaty of Johannes de Sacrobosco (c. 1195 - c. 1256). This effort is intended to draw a context upon the treaty on which I will present in the second part of this paper namely, a short modern history of studying this treaty starting from the beginning of the 20th century up to this day. The first stake consists in the well-known episode of translation of the XI-XII centuries in the Latin milieu of the Greek and Arabic treaties. The treatise De sphaera taking over, assimilating and comparing some of the new translations of the texts dedicated to astronomy. The second Consists in the fact that Sacrobosco`s work can be considered a response to a need of renewal of the curriculum dedicated to astronomy at the University of Paris. And the third consists in the novelty and the need to use the De sphaera treatise in the Parisian University’s curriculum of the 13th century. Keywords: astronomy, translation, university, 13th Century, Sacrobosco, Paris, curriculum"


2016 ◽  
Vol 61 (1-2) ◽  
pp. 77-82
Author(s):  
Jana Kantoříková

The aim of this article is to present the roles of Miloš Marten (1883–1917) in the Czech–French cultural events of the first decade of the 20th century in the background of his contacts with Hanuš Jelínek (1878–1944). The first part of the article deals with Marten’s artistic and life experience during his stays in Paris (1907–1908). The consequences of those two stays to the artist’s life and work will be accentuated. The second part takes a close look at Miloš Marten’s critique of Hanuš Jelínek’s doctoral thesis Melancholics. Studies from the History of Sensibility in French Literature. To interpretate Marten’s reasons for such a negative criticism is our main pursued objective. Such criticism results not only from the rivality between Czech critics oriented to France, but also from different conceptions of the role of critical method and the role of the critic and the artist in the international cultural politics. The third part concludes with the critics’ „reconciliation‟ around 1913 by means of the common interest in the work and personality of Paul Claudel.


2013 ◽  
Vol 21 (2) ◽  
pp. 21-46 ◽  
Author(s):  
Massimiliano Tomba

Abstract The purpose of this paper is to re-read Marx’s Eighteenth Brumaire by highlighting the political meaning of a materialist historiography. In the first part, I consider Marx’s historiographical and political intention to represent the history of the aftermath of the revolution of ’48 as a farce in order to liquidate ‘any faith in the superstitious past’. In the second part I analyse the theatrical register chosen by Marx in order to represent the Second Empire as a society without a body, a phantasmagoria in which the Constitution, the National Assembly and law – in short, everything that the middle class had put up as essential principles of modern democracy – disappear. In the third part I argue that Marx does not elaborate a theory of revolution that is good for every occasion. What interests him is a historiography capable of grasping, in the various temporalities of the revolution, the chance for a true liberation.


2020 ◽  
Vol 18 (2) ◽  
pp. 180-229
Author(s):  
Andrei Ustinov ◽  

The essay reconstructs history of the 1924 publication of Piotr Potiomkin’s (1886—1926) poem for children Green Hat in a wider context of the Russian émigré literary culture. A well-known writer before the revolution, the author of two books of poetry Funny Love and Geranium, Potiomkin found himself after emigrating to Chishinau and further to Prague, on the periphery of the Russian Diaspora. In 1922 he slowly started to publish his works in the periodicals of “Russian Berlin.” Sasha Chiornyi, his friend from the era of the Satyricon magazine, included two of Potiomkin’s poems in the Rainbow, the first children’s anthology which Chiornyi edited for the Slovo publishing house. By that time Chiornyi occupied a leading position in the émigré children’s literature. He began to invite Potiomkin’s partici- pation in the publishing enterprises of “Russian Berlin,” and recommended the poet to the Volga publishing house as a potentially valuable author. Potiomkin was one of the creators of the genre of “a poem for children” in pre-revolutionary children’s literature—-in 1912 the magazine Galchionok published his “story in verse” Boba Skvozniakov in the Country. Therefore, Potiomkin offered the Volga to publish another “poem for children” Green Hat. As a book designer he invited Hans Fronius (1903—1988) who at the time was a student at the Kunstakademie in Vienna. Later Fronius became the first illustrator of the literary works of Franz Kafka.


Author(s):  
Sarah Covington

The 17th century is one of the most important periods in England’s history, eliciting highly charged and often ideologically driven debates among scholars. The story of England, as it was told during the 19th century, was central in defining British identity and creating a national myth, known as Whig history, of triumphant progress toward liberty. Not surprisingly, the 20th century revised this history in accordance with contemporary ideologies that included communism, while the 1970s witnessed a further revisionist turn when Conrad Russell, most notably, asserted the contingent nature of the causes leading to the war, in response to the traditional position that emphasized long-term events originating in a division between the crown and an oppositional parliament. This position has, unsurprisingly, been amended in recent years. Meanwhile, another shift has extended the midcentury upheavals to include the “Three Kingdoms” approach, which decenters England in its readings and incorporates Scotland and Ireland into the larger turmoil. But the 17th century was not simply about the Civil War and Interregnum dominated by Cromwell; the Restoration itself was also determined by the events that preceded it, with continuities as well as the more obvious cultural and political shifts blurring the demarcating historical line. And in some respects, the revolution of 1688 served as a culminating answer to the questions raised but never fully resolved by issues earlier in the century. Whether the revolution of 1688 was truly significant or not—and it was certainly once thought to be the crowning achievement of liberty and rights—has itself provoked debate, with James II’s “absolutism” or William III’s victory convincingly modified by historians. So many debates abound, and so many figures are subject to different readings, that it is difficult to fix this period into any stable meaning without lending it heavy qualifications. As a result, it is revealing that an increasingly common subgenre in the field consists of books solely devoted not to the history of these revolutionary years, but to the debates about it—just as the names of historians such as Gardiner, Hill, Stone, or Russell have become inextricably a part of the historical narrative as well. Such debates will continue as long as the 17th century resists clear interpretation—a testament to the dramatic complexity of the time, and to the historians who continue to interpret it.


1954 ◽  
Vol 34 (1-2) ◽  
pp. 38-43
Author(s):  
Blaise de Montesquiou-Fezensac

The engravings devoted to the Trésor in Dom Félibien's history of the abbey of Saint-Denis, in spite of their inaccuracy, are a precious source of information about the pieces, some extremely ancient, that composed that celebrated ensemble, unfortunately dispersed at the Revolution. On the plate by Nicolas Guérard, dealing with the third armoire, is pictured a reliquary consisting of two oval rock crystals, placed one above the other, in a rich gold setting (Fig. I). The crystal situated beneath, which is the larger one, is engraved with a representation of Christ on the Cross between the Virgin and St. John the Evangelist. We learn from Dom Félibien that in his time—his book was printed in 1706—this reliquary enclosed some remnants of the clothes of St. Louis, king of France.


2017 ◽  
Vol 23 (1) ◽  
pp. 46-59
Author(s):  
Gábor Attila Csúr

Abstract The Hungarian literary translator Henrik Hajdu (1890–1969) was one of the most extraordinary persons in the history of translating Scandinavian literature into Hungarian. Aside his activity as a translator from Norwegian and Swedish, Hajdu was also an important promoter of Danish authors of the 19th and 20th century. He held lectures on Nordic culture and literature, wrote reviews in prominent Hungarian journals and maintained regular contact to many of the Scandinavian publishers, writers, dramatists and poets. He translated novels by Henrik Pontoppidan, Martin Andersen Nexø and Sigrid Undset, made an edition of Ibsen's complete works and a great amount of short stories and poems. His oeuvre numbers about a hundred separate publications. This paper focuses on how he contributed to the general acceptance and reception of Danish literary works written between 1850 and 1930 among the Hungarian readers.


2021 ◽  
Vol 11 (22) ◽  
pp. 53-72
Author(s):  
László András Magyar

Even in the early twentieth century, northern Italian children were intimidated by the Bloodsucker Ezerino. We find Ezerino or Ezzelino Da Romano (1194-1259) also in the seventh circle of Dante's Hell, but the horror tale of the cruel tyrant has been mentioned in several romantic literary works as well. The reign of the Ghibellin Ezerino could only be terminated by the alliance of the Pope, the Lombard League and the Venetian Republic through a crusade against the tyrant, but its terror and the hatred of his opponents left their mark on later narratives as well. Later analysts pointed out that most of the horrors detailed here may only have been exaggerations or fictions with which the victors tried to defeat the former deadly enemy – as we have already seen by a few examples. But also the history of the 20th century demonstrates clearly that there is no unimaginable horror committed by man over time. Our presented text is the 13th chapter of an early 15th century Venetian chronicle. The first half of the story is a slightly confusing story of petty family quarrels, wealth-seeking tricks, minor skirmishes, but later there are unfolding terrible events before our very eyes that remember the tragedy of Richard the III. We can see how an average nobleman became an almost unearthly evil, paranoid tyrant by the end of his life. The narrative is slowly rising from the middle of the text to literary niveau and deepens into an impressive tyrannical biography framed by the completely meaningless Guelf-Ghibelline wars. Its pages are populated by historical and supra-historical figures: ruthless mercenaries, cruel hangmen keeping the account of their victims, family members whistleblowing each order, self-whipping flagellants, diligent denunciators and humiliated truncated children liberated from their prison as living sceletons.


2004 ◽  
Vol 38 ◽  
pp. 1-10
Author(s):  
Stuart G. Hall

A revolution in book-production marked the beginning of the Church. Almost all literary works were written on scrolls (or roll-books), and were read by unrolling from one hand to the other. It was and remains the obligatory form of the Jewish Torah-scroll. The revolution replaced the roll with the codex or leaf-book of papyrus or parchment: ‘the most momentous development in the history of the book until the invention of printing’. A quire or quires of papyrus or parchment, folded and bound at the back, produced the kind of book with pages familiar to us.


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