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Abstract
After reviewing the reasons why Kafka, in his short story “Prometheus”, produces four versions of the myth of Prometheus, it is concluded that the text refuses to become a parable in any simple way. Instead, it pushes the act of interpretation itself into the foreground, in this sense it is a parable about interpretation, which is not about the one and undividable truth but about texts.
.” ( Németh, 2004a , p. 26) It reflects ironically on the non-existent tradition, e.g., Lajos Grendel in his “Csehszlovákiai magyar novella” [Czechoslovakian Hungarian short story], and the “oeuvre” of Sándor Tsúszó, brought to life in the 90s by Zoltán
Abstract
One of Faulkner’s Yoknapatawpha novels and short stories that pays special attention to the production of water symbolism is his The Sound and the Fury. Water in all its physical conditions and manifestations (branch, river, rain, tears, ice, wet drawers, wet clothes, bathing, bathroom, dropsy, mud, etc.) is present in Benjy’s, Quentin’s, Jason’s and Dilsey’s discourses and, consequently, acquires different symbolic meanings. They can be read in the context of purity, restoration, female sexuality, resistance/subversion and control/manipulation.
Abstract
This paper will show that Kafka, in his enigmatic short story, “A Visit to a Mine,” depicted the concept of identification in a literary manner, similar to the way Freud articulated identification in his psychoanalytic writings. It will be argued that the subjects found in “A Visit to a Mine,” and who were used by Kafka in his quest for personal and professional identification, were among the most important European writers of the early twentieth century. This group of authors with whom Kafka identified included many highly influential figures, such as; Gorki, von Hofmannsthal, H. Mann and Anatole France.
Tibetische Handschriften und Blockdrucke, Teil 17 (Die mTshur-phu-Ausgabe der Sammlung Rin-chen gter-mdzod chen-mo, nach dem Exemplar der Orientabteilung, Staatsbibliothek zu Berlin-Preussischer Kulturbesitz, Hs or 778, Bände 34 bis 40), beschrieben von Peter Schwieger; Long Dong (ed.): Ling ting Xizang, Yi xiaoshuo de fangsi [Listening to Tibet. Short stories]; Catalogue of the Collections of Sir Aurel Stein in the Library of the Hungarian Academy of Sciences. Compiled by John Falconer-Ágnes Kárteszi-Ágnes Kelecsényi-Lilla Russel-Smith, edited by Éva Apor-Helen Wang; Robert Hymes: Way and Byway; V. V. Trepavlov: Istorija Nogajskoj Ordy; Benderli Gün-Gülen Yılmaz-Kakuk Zsuzsa-Tasnádi Edit: Magyar-török szótár.
The aim of this paper is to demonstrate how M. Krleža takes advantage of the adaptabilities of multilingualism in his short story Hrvatski bog Mars. Soldiers from different linguistic areas served in the Austro-Hungarian multilingual army who needed to acquire the military language as well. However, establishing conversations with officers and soldiers of other languages was detained by misunderstandings and incomprehension, which lead to tragic and tragicomic consequences. The different social dialects created situations for talking at cross purposes, while the voided multilingualism of the upper classes signed cultural decadence, the coming of the end.
. 546–584). The parallel trajectory of artists who later became significant literary figures began in the columns of Mások . András Gerevich's first openly gay poems, Ádám Nádasdy's gay short stories also appeared in this subcultural space under various
Yugoslav (and within its framework, in Serbian) culture. Publishing projects such as anthologies of translations of Hungarian short stories or recent Hungarian poetry certainly belong to such praiseworthy, systematic attempts. Among them, the collection of
this, they had to adapt to the expectations of the continuously changing political power systems. In Pál Száz's work, we can read short stories and wise sayings which are the reflections and imprints of the historical events this community lived through
“From now on, Kolozsvár is always the way the train takes us home…” •
(The appearance of the Trianon theme in contemporary Hungarian fiction)
means the theme is portrayed when it appears in novels. In this sense, A röpülő falu. Magyar írók Trianon novellái (The Flying Village. Short Stories on Trianon by Hungarian writers) ( Körössi, 2002 ), published in an anthology series by Noran Kiadó
