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Attempts at creating a new concept of literature •
(The Hungarian literature in Slovakia between the two world wars)
considerations as literary criticism, and behind the systemic procedures are considerations that are defined in part by the paradigm of the particular age, in part by the author's individual system. Thus, when it comes to Hungarian literature in Slovakia, the
A XI–XII. századi, ismeretlen szerzőtől származó Timarión című szatíra főhőse egy utazás során tetszhalott állapotba kerül, két démon erőszakkal az alvilágba kényszeríti, ahol egy bírósági tárgyaláson bebizonyítja, hogy még nem halt meg, úgyhogy visszatérhet az élők közé. Jelen tanulmány célja, hogy bemutassa és értelmezze Kónstantinos Akropolités kétszáz évvel később keletkezett rövid levelét, melyben a szerző éles kritika tárgyává teszi a Timariónt, anélkül hogy kifogásait pontosan kifejtené.
Abstract
Beginning with a review of ecocriticism’s scholarly and activist origins and development through the related fields of eco-composition, ecofeminist literary criticism, and environmental justice literary studies, this essay discusses children’s environmental literature from the intersecting standpoints of animal studies, environmental justice, and ecofeminist literary criticism. From that intersectional standpoint, the essay raises three central questions for examining children’s environmental literature, and offers six boundary conditions for an ecopedagogy of children’s environmental literature.
Who protects children in the Roman religion? From whom?
Some reflections concerning Carna, Ino, and Thesan, in connection with Mater Matuta
calendar from the 1st of June to the 11th of June was full of details which might allude to one another, with the aim of underlining the importance of human and divine kourotrophia by using the concept of intertext in literary criticism
Sensibility is a category of literary criticism, which was associated with the psychology of characters, and reproduced the transience of their inner life. It acquired signs and characteristics of personality type in the general typology of
Although the 20th-century Slavic literary criticism provided several variants of methods, the most specific and clear-cut principles were established in Vyach. Ivanov’s dissertation Dionysus and Pre-Dionysianism . Ivanov’s four-dimensional hermeneutics developed the traditions of Schleiermacher’s and Boeck’s philological hermeneutics, complemented by the results of phenomenology and the study of mythological and ritual roots of text. It found its followers in Mikhail Bakhtin and to some extent in the school he generated. It was also promoted by Toporov’s influential methodology, which was close to it in principles and reflected both in Russia and outside its borders.
Summary In this paper I read Géza Gárdonyi's novel, The Eclipse of the Crescent Moon, as a narrative of the Hungarian nation. After surveying the reception of the novel in the past century, pointing out the difficulties Hungarian literary criticism was facing when dealing with The Eclipse, I proceed to read the novel itself as a text that depicts an “imagined community' of Hungarians. I argue that while the Hungarian Self is imagined as an innocent child in the novel, the Turkish Other becomes depicted as a cunning animal dominated by primary instincts. I read The Eclipse as the story of expulsion from Paradise, invaded by the Turkish snake, focusing on the different paths the novel's main characters, Gergely and Éva, take, with the aim of analysing the feminine and masculine aspects of the nation imagined by the novel through their diverging stories.
Abstract
The expulsion of the notion of literary value from literary theory in late modernity belies the connection between morality and art, morality and beauty, morality and aesthetic judgement that has been formative and transformative of aesthetic theory in the wake of reflexive modernity. In this paper, I would like to trace the formations and transformations wrought in the relations between notions of taste, morality, and aesthetic judgement. And I will attempt to show how literary value is integrally bound up with aesthetic judgement and critique, not only at the inception of the practice of literary criticism in the eighteenth century, but at the point of its expulsion in the mid-twentieth century. The expulsion of literary and artistic value, I will argue, coincides with the inclusion of the negation of art in the definition of the modernist work of art itself, which thereby becomes assimilated to philosophical inquiry.
Abstract
“The same key would not open both, though a 'master key' might” Due to the traditional views on metaphor and narrative, they are usually discussed in different contexts as if they had nothing in common. However, during the last decades the theories of metaphor and narrative underwent a number of changes, and what was taken for granted in traditional literary criticism is no longer evident. In particular, it should be investigated whether metaphor and narrative are wholly unrelated or they have some kind of common structure. In this essay, the possibilities and difficulties of comparing metaphor and narrative theories are illustrated with the example of Max Black's theory of metaphor and Mikhail Bakhtin's theory of the dialogical novel.
The paper claims that thematic approach has played an essential role in Polish literary criticism for the last fifty years. Although the typological criteria for thematic classification are usually disputed, literary works depicting the tragic experience of the Second World War do not lack the consensus of scholars in this respect. There has been intense debate over Jewish topics as literary controversy has been determined by external factors for the past half-century. Further complications may arise from the manifestation of demythologization and myth-creating tendencies in deheroizing and heroic forms in works on the Second World War. While these facts can be merely used as classifying factors in the case of existential-historical themes, the heroic and myth-creating approach indicates the posterity's negative aesthetic evaluation of works describing life in concentration camps.
