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It has been suggested that literary history focused on reception can resolve the tension between aesthetic and historical criteria, especially if we concede that the concept of originality is deeply unstable and has both historical and aesthetic implications. The turn from impact to reception can be seen as a consequence of the fact that the ideal of the immanence of the self-contained work of art has fallen into disrepute. It is quite possible that a national literature does not lend itself as a subject to narrative history, just as the identity of an author's output or the continuity of the history of a genre can be questioned.
that he expressed himself so cautiously in his witness statement. Although he did mention the facts, notably that Dohnányi attended Szálasi's cultural reception (together with Zathureczky, by the way 54 ) and left the country for Western Europe in
Abstract
The article examines how energetically and biomechanically-based aesthetics, reception theories, and political ideas could inform, or inspire, leftist visual and poetic representation and choice of style in Hungarian modernism during the 1918–19 political upheavals, as a response to modern technology's effects. In connection to these views, the article also reconsiders the political ambiguities of Bortnyik's art in relation to Hungarian anarchism.
The translation of Maximos Planudes is a curiosity of Byzantine literature. The subject of this paper is the translation of the Disticha Catonis and its reception in the Byzantine world and later in Western Europe. The final conclusion is that the Disticha Catonis were adapted to the Byzantine curriculum and used as a sample text in the progymnasmata-method.
This paper studies the reception of Brazil and Brazilian literature in Hungary to explain how Mário de Andrade’s Macunaíma achieved great editorial success among the public and analyzes the possibilities of translating the text of the work into Hungarian and the translator’s method to reproduce culture-related words in the target language as it is shown by Mário de Andrade’s rhapsody.
In most opera manuals Heinrich A. Marschner receives but common-place epitheta like German composer — intermediary between Weber and Wagner — advocate of a national opera. To which extend does this point of view originate in consciously launched and passed-on notions? Regarding the opera Hans Heiling (1833), Marschner’s history of reception will be examined exemplarily.
the reception, reborn, and Fortleben of classical culture and Latin language from the Middle Ages until the modern times.
The essay presents some data hitherto unobserved in the history of the reception of Evgeni Onegin in Hungary. It is an analysis of the important role of the Onegin-reminiscences in the novel of Kálmán Csathó (1881-1964), author and stage director, When the Old Were Young. In the first Hungarian translation of Onegin, in Károly Bérczy's most impressive rendering of Pushkin's novel in verse, which was partly based on Bodenstedt's translation, the negative aspects of Onegin's character are brought much more in relief than in Pushkin's own presentation of his hero; this shift in emphasis is reflected in Csathó's central character. This is an example of how any deviation from the original in translation is bound to influence the reception of any work of art in a foreign cultural set-up.
The critical reception of the novel “Lolita” today. Nabokov's novels and contemporary Russian prose trends: symbolism, avant-garde. Nabokov and western literature. Love, passion, cult of the female in Russian art in the early 20th century. The novel's child heroine. The novel's problems of form: the role of the narrator and the writer in the text of the novel. The English and Russian versions of the novel.
A travers un pseudo récit de voyage le long du Danube L'Œillade de la comtesse Hahn-Hahn (1990) de P. Esterházy met en cause les clichés (littéraires) attachés à l'identité nationale par rapport à une identité régionale aussi problématique et à un modèle donné comme universel et aussi démythifié (l'Europe). La réception de ce texte à l'étranger nous interroge sur la possibilité de traduire l'expression d'un spécifique étroitement lié à la langue de la création littéraire.
