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), Kiskunfélegyháza 2009 Fodor, I. 2013. Ősi halotti maszkok [Ancient Burial Masks. Exhibition Catalogue], Hungarian National Museum

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This article analyses the image of Hungarians in Lithuanian customs of masking and oral folklore. The views of Lithuanians about this nation will be examined as they are reflected in the 19th and the first half of the 20th century in Lithuanian folklore.

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-Brence 1998 = A. Gačnik-A. Brence: Zgodbe o tradicionalnih pustnih maskah (Tales of traditional carnival masks). Ptuj 1998. Gimbutas 1974a = M. Gimbutas: The Gods and Goddesses of Old Europe: myths and cult images. London 1974

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The mask and the substance

The Kirilov theme in Dostoevsky'sthe possessed and Camus'sles possédés

Neohelicon
Author: Ervin Brody
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The lion dance is one of the most popular momentum of kagura ceremonies and folk feasts, the matsuris. It also appears in the ancient tradition of the nô theatre. The cult of the lion spread in China and it must have reached Korea and Japan by the transmission of Buddhist mythology. It was not only religion that had an intermediary role, but the practice of court music. The characteristics and musical structure of the folk or kagura variety of the lion dance are presented and analyzed.

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The much-cited theorist of autobiography, Philippe Lejeune, uses the term autobiographical pact to describe the silent contract between the author and reader, in which textual (and extra-textual) signals about referential and autobiographical nature of a narrative are understood as coming from the author and are accepted by the reader (Lejeune, 1989, 3–30). Autobiographical themes, connections and concrete allusions have always been present in Péter Esterházy’s fiction (e.g., Termelési regény, 1979; Helping Verbs of the Heart—A szív segédigéi, 1985; The Book of Hrabal—Hrabal könyve, 1990; Celestial Harmonies—Harmonia cælestis, 2000; Not Art—Semmi művészet, 2008). In this context, the text Revised Edition (Javított kiadás, 2002), written in the form of a diary, which describes a real event in the form of one of the most authentic autobiographical genres, signifies not only a change in the author’s understanding of the relationship between autobiography and literature, but also changes the reader’s expectations, i.e. the aforementioned silent covenant between him and the author. I will attempt to explicate the character of Esterházy’s autobiographical writing (understood on the one hand as autobiographical referentiality and on the other as an autobiographical way of writing) on the basis of the texts Celestial Harmonies and Revised Edition.

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Abstract  

Christopher Okigbo (Nigeria) and Edward Kamau Brathwaite (Barbados)are two poets of the African post-colonial experience who, in their works,display a keen awareness of the intricate histories of their people. Theycombine the autobiographical, social, and vatic dimensions of poetry to evokedeep historical and imaginative perspectives in their studied allegorizationof the predicament of the black race through their individual journeys ofself-discovery. They are the cultural and spiritual exiles who, on the onehand, engage in a ritual search for the recovery of a communal African authenticityand, on the other, who undertake what would seem to the reader as an ambiguousadventure, in which the poetic soul attempts a discovery and understandingof itself as it simultaneously examines the flaws inherent in Africa and theAfricans to which one could attribute the continent’s historical predicament.

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[Magyarfalu toponyms]. Magyar Névtani Dolgozatok 19. Budapest. Halász , Péter 1992: Adatok a moldvai magyarok kecskemaszkos játékához [Data on the goat mask mumming of the Moldavian Csangos]. In: Viga , Gyula (ed

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