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the author of several, critically acclaimed volumes of novels and short stories. Her most highly acclaimed book, winning several prizes, was her novel Der schwimmer [ The Swimmer ] ( 2004 ), telling the story of a Hungarian family, set in post-1956
varying standard and qualification. Most prolific among them was the young Emil Ábrányi; he chose themes for his operas from short stories and selected his librettists with good intuition, which fitted the style of the time very well. He composed Monna
., “Ballet Jókai egy novellájából” [A ballet based on a short story by Jókai], Fővárosi Lapok 27/358 (December 31, 1890), 2673. According to the newspaper, with the title Dióra, the ballet queen (!). On the preceding day, Pesti Hírlap also published the
pretext feel entitled to add or subtract; nor to explain at points where the people do not deem it necessary; to render probable something that is absurd, nor to cast a literary hue over it all as if he were writing some kind of an artistic short story
-known illustrated non-fiction periodical in Hungary in the second half of the 19th century, published weekly from 1854 to 1921. On January 16, 1859, this paper with a wide reach published a short story about Jacob Grimm having recently been visited by a little girl
, January 31; February 9, 2023. 146 Halasné Török, Ágnes (b. 1952), manager of Folkart kézművesház . Budapest, October 7, 2022. 147 Personal contact is very important in sales, when professional, ethnographic knowledge and short stories can be provided
The expression xuuč yaria can be translated as ‘story’ or ‘gossip’, and indeed, they are short stories about interesting, extraordinary or sometimes fearful events heard or seen by the storyteller. As far as their content is concerned, the stories are colourful and ramifying, and it is beyond doubt that the xuuč yaria has some connections with domogs, tales and even heroic epics. Unfortunately, research into this field has begun relatively recently, so these connections are far from being clear. Moreover, the xuuč yaria stories are interesting not only from the point of view of folklore, but they also shed light on the history of ideas, since the first ones were collected in the 1950s, and thus some of them reflect the political atmosphere of the socialist era. In this article an attempt is made to give the broader outlines of the xuuč yaria as a genre of Mongolian folklore, and establish a typology in the hope that it will be helpful for further research.
This paper intends to present the innovation of stream of consciousness techniques by Sasha Sokolov in School for idiots within the theory of post-structuralism, William James' concept of “consciousness” and the aspects of fictionality. The main stress is laid on how radically Sasha Sokolov renewed a special end of the 19th-first half of the 20th century novel tradition marked by Lewis Carroll, Dujardin, Proust, James Joyce, Faulkner, Vaginov. This article undertakes to demonstrate that Sasha Sokolov in 1970 took with his new concept of the deviant personality and intertextualism a step towards the postmodern, thereby considerably contributing to wind up normative restrictions then reigning soviet belles-lettres. In the narrator's free schizophrenic act of speech, fighting for freedom against the power of persons in control, where the distance between presentation and representation is apparently abolished, strained relations between speaking and writing are created. There is no author's intention which could direct the reception. Past, present and future, imagination and “reality” (within the scope of fiction), life and death are perceived to be reciprocally exchangeable. But despite this discursive way of “showing” the ill boy's inner world, a considerable composing attitude prevails in the text, which is established by the exact mythological and quotational structure, made up mainly by motifs borrowed from Hermetism, by allusions to poems of Pushkin, Hölderlin or Rilke and short stories by Gogol´ and Poe.
This paper examines the iconolographical origin of Johannes Sambucus’ emblem dedicated to Carlo Sigonio, which – according to its title – displays the difference between grammar, dialectics, rhetoric and history. I focus on the central female figure whose innocent nudity represents the truth and whose connection with the ideal historiography standing – balancing together with Dialectics and Rhetoric – on the head of the young virgin Grammar. The special relationship between History and naked truth also defines its symbolic connection with the costumes of the other two figures: Dialectics in rough working clothes and Rhetoric in her long luxury dress. Three symbolic animals also belong to the three female figures: a sphinx to Dialectics, a chimera to Rhetoric and a winged dog to History. Contextual examination of the emblem reveals the possible source of the strange winged dog symbol is Plutarch’s short story of Osiris and Isis. In addition, the paper draws attention to an ironic twist of History in connection with Carlo Sigonio that shows that its nudity is not always so innocent.
While Tolstoy’s ideological and religious turn is often mentioned in the special literature, the turn in his poetics is hardly ever. The present study focuses on the latter phenomenon. After the turn in his ideology and poetics, Tolstoy searched for such new forms to express his moral and philosophical thoughts as the legend, the apologue, the parable, the hagiography and the confession, etc. He elaborated such a comprehensive form of the short story which approaches the novelette in its length but condenses the conflict in a dramatic manner at the same time. The works to be analyzed here are the following: What Men Live By?, How Much Land Does a Man Need?, Father Sergey, Master and Man, Posthumous Papers of the Elder Fedor Kuzmich, The False Coupon. It is possible to understand the deeper meaning of these parables only if one is able to discover the archetypal mythemes in the deep structure of the concrete text, and trace them back to their primal form, which universalizes the mystery of resurrection for the receiver. The conclusion of this paper is that Tolstoy considered self-improvement a universal law, with the help of which man can learn truth and transform it into living practice: aletheia turns into ethos.
