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. He also mentions the fact that István Szilcz, the compiler of the volume, probably had a theory of his own concerning the genre and collecting of tales, and just because this did not coincide with the concept of the tale held by later canonisers, the
A new provocation for literary history: On describing canonization
Or: How could Virginia Woolf become as famous as she is right now?
Without Abstract
Cette étude est consacrée aux médiateurs — traducteurs, philologues, éditeurs, écrivains — grâce auxquels s’est effectué le transfert de la Tragédie de l’homme d’Imre Madách dans la sphère culturelle germanophone de 1862 à 1892. Cette période fut particulièrement féconde à deux points de vue. D’une part, elle a vu naître sept traductions, ainsi qu’une dizaine de recensions et de critiques. Celles qui sont parues entre 1888 et 1892 avaient pour but la préparation du public à l’apparition prochaine de la Tragédie sur les scènes allemandes. D’autre part, de nombreuses personnalités en vue de l’intelligentsia germanophone ont fait des déclarations élogieuses sur le drame hongrois, alors que d’autres se sont même réapproprié ce chef-d’oeuvre étranger en s’inspirant de lui.
This study attempts to give an interpretation of Horace’s final piece of his First Book of Epistles from the point of view of the ancient culture of books and literature. Horace’s Epistles expressly mention the Library of Palatine Apollo. From a distance, they refer to some of the principles of Augustan cultural politics which created the library itself, and also draw an accurate picture of the process of the auto-canonization process which created the (concept of the) golden age of Roman literature. First, the study outlines the basic characteristics of the Horatian epistle, then looks for answers to the following questions: what are the forms of literary publicity and how do libraries appear in the Epistles? What does the need for canonization mean? How is it possible to canonize the living? How does the concept of the golden age of Roman literature take shape in the literature around 10 BCE?
The reception of the works of George Eliot in Hungary offers an interesting perspective from which to rethink some of the fundamental questions of reception theory and the interrelationships between political and social contexts and attitudes towards works of literature. Furthermore, shifting responses to Eliot illustrate the significance of divergences in approach to translation in the canonization of a work of literature in another literary tradition.
Abstract
The study discusses the possibilities of the scholarly processing of Hungarian queer literature. In particular, it takes into account the diversity of interpretive strategies and focuses on methods that can productively liberate canonized interpretations and act subversively against the expropriation and manipulation of literary texts. The imported categories of queer study of literature can often only be applied with modifications to Hungarian and Central European literature. The author argues that queer interpretation is not a stigma, nor is it a trademark, but a field of freedom.
Das Grabmal der hl. Margarete von Ungarn. Versuch einer Neubestimmung des künstlerischen Ursprungs und der Entstehungszeit
The Tomb of St. Marguerite of Hungary, a revision of its attribution and dating
Abstract
The Author turns back to a dating of the Tomb of St. Marguerite, represented by numerous fragments found on site in the ruins of the Dominican Nuns'convent on the Danube Island near Buda, to the late 13th century, about the middle of the 1270ies. He returns to the main source, to the witness by the Vicar Michael OFP in 1276 in the canonisation process of the Saint, about the work by the Lombards Albert and Peter. He rejects the thesis about the attribution to a Neapolitan follower of Tino di Camaino, accepted by actual Hungarian art history, and proposes a comparison with followers of Nicola Pisano, mainly Arnolfo di Cambio. The Lombardian stylistic characteristics of the marble fragments of Buda are compared with works by Fra Guglielmo and with Genuese works of the Campionesi.
In the history of canonised lyrical texts the few hundred years that passed between the origin of these texts (6th to 5th cent. B.C.) and their getting into the Alexandrian library (3rd cent. B.C.) are veiled in mist. Because of the scarcity of information about the Antiquities this obscurity is unlikely to be dissolved definitively and to general satisfaction. However, the problem can be addressed theoretically, the questions to be answered can be arranged around some focal points, parallelisms can be pointed out, the information available can be gathered and scrutinised and some newly discovered minor details can be added to them. That is how far this paper has purported to go.
Abstract
The events of September 11th have had a deep impact on theoretical discourses. A reality marked by conflicts challenges the widely debated postcolonial theories which for a long time have described cultural contact in conciliatory, consensual terms as “hybridity” or “Third Space”. In the wake of this paradigm shift there has been a renaissance of antagonistically organized concepts such as Huntington’s “clash of civilization”, long considered obsolete. The rhetorical patterns of Franz Fanon, a forgotten founder of postcolonial studies, have also experienced a revival in the daily press since 9/11. In this sense the terrorist attacks are seen as the answer of the “wretched of the earth” to globalization. The recourse to Fanon’s metaphors highlights how far the canonized postcolonial theories of Said, Bhabha and Spivak are removed from their subject and how, due to their “fashionable” status, they have gained a problematic momentum. It also implicitly questions the purpose of theories in general.
In my paper, I am going to study Petrarch's autobiography through a standard theory of postmodern deconstructionism, and confute the traditional concept of this genre. According to this proposal, every text, canonized by tradition, breaks away from its own place, in order to reorganize everyday tabulations. My work proceeds at two levels. The first part is framed by the traditional quality of the act of writing/reading as self-confession or self-examination. The exact study of Secretum results in a new theory: the autobiography essentially becomes a kind of writing or reading method, recurring in every kind of text. The second part is dedicated to the true or verifiable character of the same composition. Shortly, in this part, I am going to confirm my previous hypothesis through the application of several philosophical prospects. Actually, this critical attitude results in the review of traditional paradigms turning every autobiography into a false-autobiography and all kinds of text into a virtual autobiography.