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        <title>Hungarian Studies Yearbook Feed</title>
        <link>https://sciendo.com/journal/HSY</link>
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            <title>Hungarian Studies Yearbook Feed</title>
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            <link>https://sciendo.com/journal/HSY</link>
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        <copyright>All rights reserved 2026, Babeș-Bolyai University</copyright>
        <item>
            <title><![CDATA[Fama, malum qua non aliud velocius ullium: Ferenc Hunyadi’s 1583 epic poem about Stephen Báthory]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0004</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0004</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

Ferenc Hunyadi (1550?–1600), often referred to as the “Hun Virgil,” published a significant work in 1583 in Venice, celebrating the hero Stephen Báthory, King of Poland. Likely commissioned by the Polish Royal Chancellery, this volume serves as an example of Báthory’s deliberate political self-representation. This paper examines Hunyadi’s epic work as a piece of propaganda, particularly in relation to Báthory’s siege of Danzig (Gdańsk) and the Livonian War. Although Hunyadi’s epyllion does not appear to be a consistent or coherent composition, several compositional arcs can be identified within his work. This paper provides a concise summary of the epic poem, aiming to identify the motifs and larger compositional elements that function as deliberate propaganda tools.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Tradition and Transformation: The Changing Genre of the Short Story in Contemporary Hungarian Literature]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0009</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0009</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

As a dynamic literary form, the short story offers literary scholarship a unique opportunity to explore the complex tension between tradition and innovation. The interplay between historical continuity and poetic variability becomes particularly evident in the genre of the short story cycle, which integrates the poetic logic of both the classical short story and the novel. This study examines how the short story cycle emerges as a literary form of fragmentation, intertextuality, and narrative openness through the analysis of two contemporary Hungarian short story collections: László Csabai’s Szindbád, a detektív [Szindbád, the Detective] and Ádám Bodor’s Verhovina madarai [The Birds of Verhovina]. The investigation focuses on the adaptive potential and cultural mediating function of the short story genre, with special attention to the world-building models, cyclic composition strategies, and meaning-generating structures of contemporary texts.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Languages, Identities, and Transformations in András Ferenc Kovács’s Poetry]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0011</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0011</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

András Ferenc Kovács (1959–2023) was a contemporary Transylvanian Hungarian poet, translator, and editor, renowned for his innovative and multifaceted contributions to modern Hungarian literature. His poetry blends traditional lyricism with postmodern techniques, emphasizing intertextuality, allusions, and irony. In his poems, self-irony, rhetorical play, fragmented or deformed words, and nonsense serve the same purpose as the increasingly complex allegorization: exposing the mechanisms of power that insidiously undermine culture, language, and identity. Simultaneously, within certain socio-political contexts, his works highlight the morally questionable compromises of literary life under the shadow of the communist dictatorship. Kovács’s fragmented language and surreal imagery underscore the constraints of censorship and the absurdities of power. Themes of Transylvanian Hungarian identity emerge in his allegorical explorations, often layered with irony and self-reflection.
The study examines how András Ferenc Kovács’s poetry uniquely combines traditional lyricism with postmodern fragmentation, creating a layered dialogue with cultural and poetic heritage.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Theory and Practice of Imitation in the (Polyphonic?) Dido-tragedy by Nicodemus Frischlin1]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0003</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0003</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

In my study I will be focusing on the text transformation technique in the tragedy Dido by Nicodemus Frischlin (1547–1590) German Neo-Latin poet, this author’s first imitational drama was published in 1581 in Tübingen. In the first half of my work, I summarize Frischlin’s basic rhetorical principles, including his most significant ideas around imitation based on his 1587 oration in Wittenberg. Instead of precepts and definitions, the poet’s rhetorical concept operates with concrete examples, written passages, authoral texts by which he aims to educate the reader. In the second portion of my study, I aim to answer the question of how polyphonic imitation works in the play, and how this creative method makes it more difficult to identify the imitative techniques in the text, such as paraphrase, cento and parody. As I delve into my topic, I wish to point to examples of the switch of rhetorical theory, that is, a divergence from the tradition of Melanchton’s rhetoric textbooks, the connections between the different varieties of imitation techniques, genre transformation, the reinterpretation of the Virgilian epic into a tragedy.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The changing strategies of self-fashioning in minority literature, with special regard to Hungarian literature in (Czecho)Slovakia]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0012</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0012</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

Minority literatures are politicized entities organized along rather complex strategies of self-interpretation. Minority literature is always a relational concept: it tries to interpret itself in relation to the literature of the majority or the universal, while also trying to take into account specific, individual qualities. This study attempts to draw the lines of the strategies of self-interpretation and face-shaping in Hungarian literature in (Czecho)Slovakia from 1918 to the present. It traces the historical and poetic changes in the various interpretative frameworks and also attempts to pay attention to the relationship between Hungarian literature in Slovakia and Hungarian literature in Romania (Transylvania), since what has been called Transylvanism has long been the model of Hungarian literature in (Czecho)Slovakia, too. Various ideological constraints led to the development of increasingly specific concepts, such as minority messianism or the ideology of communist universalism. Self-fashioning is a term of new historicism, but the theoretical framework will also be extended to transcultural literary interpretation. The relationship to identities is also a fundamental issue in minority studies, and their performativity and malleability become especially interesting. It is very important to distinguish between the poetic and political aspects of these phenomena. Today, the poetics of transculturalism makes some of the products of minority literature exceptionally exciting, in which linguistic hybridity, transitions, vernacular linguistic experience or minority esthetics may play a major role. Social homogenization and insularity have been replaced by strategies of poetic dynamism. The study also looks at trends in polycultural integration.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Translation History of the Gesta Hungarorum]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0001</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0001</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

The Gesta Hungarorum (Deeds of the Hungarians) is an important source for the early history of the Carpathian Basin and, more broadly, of Europe. More than 300 years have passed since the discovery of the Gesta, and debates about the identity of its author and the authenticity of its narrative have continued ever since. Alongside the expansion of scholarly literature, the number of published editions of the text has also increased. Today, numerous transcriptions and translations – both in Hungarian and in other languages – are available to researchers and interested readers. In my opinion, it is among the responsibilities of Hungarian historians and historical linguists to follow the domestic and international reception of our historical sources and linguistic relics. In this paper, undertaking this task, I present the textual and translation history of the Gesta.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Providence and Contingency in the Autobiography of Miklós Bethlen]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0006</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0006</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

The distinction between the necessary and the accidental, between events that serve a purpose and those that are meaningless, can be found in the semantics developed by a wide variety of cultures to interpret the world. In the religiously dominated culture of the Middle Ages and the early modern period, the question of contingency was thematized primarily in relation to the concept of providence, and its most typical manifestation was the ancient-rooted notion of fortuna. However, the fortune concept lost its explanatory power during the 17th century, in connection with scientific, economic and social changes. There are many signs that, at the same time, ideas about divine providence were transformed. Although there are signs of this already in the 16th century (such as in the popular Fortunatus), especially from the end of the 17th century onwards there is a noticeable erosion of the traditional metaphysics based on the centrality of the providential God. Literary studies can also contribute to the study of changing ideas about providence, since it is often in genres that provide a more flexible framework than theological or philosophical discourse that the first signs of change appear. Miklós Bethlen’s autobiography, written in the early 18th century is a good example of this. The overall framework of the self-interpretation of the autobiography is a belief in providence, yet there are also elements that are in tension with it. These have so far only been referred to in a few scattered references in the literature, but have not been comprehensively examined and interpreted. An examination of the literary conceptualisation of providence and chance can show how traditional conceptual frameworks become problematic in the face of new experiences, while their meaning is also modified.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Prayers Reused]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0005</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0005</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

The Research Group on Baroque Literature and Spirituality, which has been active since 2012, among other researches aims to study the history of prayers in Hungary before 1800. This includes the systematisation and database recording of individual prayers found in prayer books and other types of printed matter and manuscripts. This paper presents this work, outlines the difficulties arising from the methodology, and gives examples of possible uses of the database, for example to demonstrate the phenomenon that we typically have no verifiable data on the authorship of prayers in prayer books, but that the database can be used to show that editors of newly published prayer books prefer to use texts from earlier publications – in the era of religious controversies – regardless of denomination.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[A Hungarian Priest from the 19th Century who Translated Homer]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0007</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0007</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

István Szabó was considered the most outstanding Hellenist of Hungary in the 19th century. He was the first who translated the two great Homer’s epics, the Iliad and the Odyssey into Hungarian, as well as the fables of Aesop. István Szabó began his service as a priest in the villages of Nógrád. Ferenc Kazinczy also noticed the young priest during his traveling in Northern Hungary, in Palócföld. In 1863, the Historian Frigyes Pesty presented his intention to collect Hungarian toponyms to the Hungarian Royal Council of Governor-General. He collected the toponyms of all the settlements in the Carpathian Basin. The handwriting and correction of the priest-translator István Szabó can be found in the text of the toponym-collection. In my study, on one hand, I will write about the significance of the Pesty’s collection, as well as about the literary activity of István Szabó, and his contribution to the collection of toponyms in Nógrád.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Júlia Apraxin’s Unknown Radical Folk Drama in 19th-Century Hungary: The Reimagining of Roma Identity1]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0008</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0008</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

In the latter half of the 19th century, the restructuring of society and the spread of democratic ideals forced a reassessment of the aristocracy’s role. Values such as honor, courage, and nobility—long viewed as the preserve of the elite—were redefined and applied to groups that had previously been excluded from such moral recognition. This article explores one striking dimension of this cultural transformation: the literary representation of the “Gypsy” in 19th-century Hungarian literature. It focuses on the startlingly unconventional depiction of Roma identity in Corra, the Gypsy, a recently rediscovered manuscript folk drama by Júlia Apraxin—an aristocratic yet radical female author of mid-19th-century Hungary.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Changes of Eras in the History of 20th Century Hungarian Literary Translation]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0010</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0010</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This paper discusses the changes of eras in the history of 20th century Hungarian literary translation, and, as a case study, focuses what was called the “Horace dispute” in more detail. The dispute analysed was connected with the bilingual (Latin– Hungarian) Horace volume published in 1961, but its focus was not only on Horace and the translation of ancient poetry, but also on general questions of translation theory: the questions of fidelity to form, the perception of the nature of the other language, and the demarcation of the boundary between translation and transposition. The paper explores the background of the Horace dispute and the network of relations between editors and translators, based on editorial correspondence and manuscript documents. The aim of the paper is to examine the background patterns of cultural mediation and to explore the underlying factors of the change of eras through the chosen sample.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Hungarian Rhythm, Humanist Poetry]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0002</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0002</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

Psalterium Davidis by Miklós Bogáti Fazakas is the first complete rhymed Hungarian translation of the Book of Psalms. It has been studied mainly from the aspect of congregational singing and antitrinitarian theology. Although its melodies and metres are also related to the popular register of vernacular poetry, the metrical variety makes it akin to humanist psalm translations. The paper demonstrates this humanist layer through the translation of Psalm 66 that paraphrases George Buchanan’s humanist Latin translation. Buchanan shaped the sacred text using the metres and language of secular ode poetry. Comparative and metrical analysis shows that Bogáti kept the humanist allusions (in a very subtle form) adopting the metre, thus the humanist and popular layers of the text enter into dialogue. Bogáti turned the secularised poetic imagery back into religious context, and used it for a historical interpretation of the psalm, reinforcing the antitrinitarian position of his own Hungarian-speaking audience.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[From I Ching to the Beatrice Concerts]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0013</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0013</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

Judit Kemenczky is one of the most important Hungarian neo-avant-garde female poets, although relatively few people seem to know her oeuvre. As a member of the Fölöspéldány [Duplicate] Group, she performed at several „literary evenings” and meetings combined with rock concerts (mostly with the group Beatrice), where participants from literary backgrounds often presented their works in an almost performance-like manner. This subversive way of presentation, or even the neo-avant-garde poetics of her texts, played with and subverted at the same time esoteric themes and motifs borrowed from different historical periods and cultures. East Asian culture was an important source for her work, and she integrated I Ching [The Book of Change] also into her writing. In my study, I will focus on this connection in Judit Kemenczky’s works, i.e. the complimentary dualism of tradition and experimentation, as well as of movement and constancy.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Regional Dialect Use in School and Teachers in Southeast Hungary]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2025-0014</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2025-0014</guid>
            <pubDate>Wed, 31 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This paper is part of a larger ongoing research project titled Patterns of Language Regard in the City of Szeged, Hungary and Its Vicinity: A Study in Perceptual Dialectology. The data were collected in the research site in southeastern Hungary, in Szeged, Hódmezővásárhely, and Balástya, through sociolinguistic interviews with ten teachers at each site. The paper focuses on one aspect of the relationship between regional dialect and education: teachers’ attitudes toward the use of regional dialects during classroom interaction. The central question is how primary and lower secondary school teachers perceive the role of dialectal speech—both their own and their students’—in formal classroom settings. Attitudes toward regional dialects— whether negative or tolerant—do not vary significantly according to the location of the school (village, town, or city), but reflect the individual teachers’ personalities. Some tolerate their students’ regional dialect while others correct non-standard language use.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[‘Nobody Appreciates the Soldiers’]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2024-0002</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2024-0002</guid>
            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The variants of the song analyzed in this paper have persisted in Hungarian popular poetry (manuscript songbooks) and folklore from the 1710s to the present day. The song, composed after the fall of Ferenc Rákóczi II’s War of Independence (1703–1711), expresses the grievances of soldiers regarding public order. Despite their heroism and victories, they were not appropriately honored by their noble officers, which facilitated the Habsburgs’ ability to suppress the revolt. Nearly all variants of the song criticize the arrogant Hungarian nobility for their delusions. Later versions of the song transcend the Kuruc era, addressing soldiers’ experiences more broadly across different historical periods. It was sung by Hungarian soldiers fighting against Napoleon and other adversaries, as well as in the context of conflicts with outlaws. Starting in the mid-19th century, the rise of “Kuruc romanticism” imbued this popular song type with renewed significance, leading new written versions to be perceived by the public as “original.” The Tyukodi Song (Te vagy a legény, Tyukodi pajtás – ‘You are the guy, our pal Tyukodi’) stands as one of the most renowned examples. It can be regarded both as an authentic relic and as a counterfeit, reflecting its dual role in Hungary’s cultural memory.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Land: Distribution, Concentration, and Social Meanings]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2024-0009</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2024-0009</guid>
            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The analysis argues that the social history and meaning of landed property is far from a closed process, and makes the important point that land should be seen as an integral part of the human world, society and culture. As such, we need to map out the roles and meanings that land assumes in particular social situations. In this sense, the land is a kind of social actor, not an entity outside society, independent of it, behaving and changing in a certain sense. Thus, the study sees land as endowed with agency in relation to human society, a land that can be seen as elastic even in its physical extent, as the wrangling over restitution has shown. The first three parts of this paper will review the social meanings of land and the issue of land reform. The fourth part illustrates the evolution of these meanings through some concrete examples of Transylvanian rurality.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“Dance, Too, Originates From a Celestial Muse”]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2024-0005</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2024-0005</guid>
            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The Italian-born ballerina, Claudina Couqui (1835–1913), performed as a guest artist in numerous cities, including two appearences to Pest during the 1860s. Her first performance in 1863 was preceded by great anticipation, and after receiving an enthusiastic reception, she returned to the National Theatre the following year. This study seeks to explore the context of Pál Gyulai’s lesser-known–and, to our knowledge, only–ballet-related dramaturgical work through the lens of the guest performances of the ballerina who had come from Vienna. The investigation is justified by the fact that Gyulai’s critical writings and theatre reviews primarily focused on dramatic productions. However, Couqui’s guest performances required the clarification of some fundamental questions: What role did ballet play among theatrical genres? Where did it stand in relation to drama and opera? And what expectations did contemporary theatre critics and dramaturgists have regarding the genre? Furthermore, what could Gyulai have known about the ballet productions in Pest at the time, and to what extent? Addressing these questions requires an examination of the reception of specific ballet productions.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Lessons from a Book in Alba Iulia Tamás Balásfi: Epinicia, 1616]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2024-0001</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2024-0001</guid>
            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The only complete copy of Tamás Balásfi’s Epinicia Benedicto Nagi known today is preserved among the old books at the Batthyaneum in Alba Iulia (Gyulafehérvár). This work was published in Pozsony in 1616. According to current knowledge, only three copies of this small volume, consisting of about forty pages, have survived. The copy in the Hungarian National Library is missing the entire first sheet (A), including the title page and dedication, as well as two pages from the end. This small book is particularly significant for the study of Péter Pázmány’s controversial writings before his archbishopric, representing the final piece in a series of polemics (1614–1616) written against the Lutherans of Western Transdanubia. Pázmány became archbishop in 1616 and was either unable or unwilling to continue engaging in this controversy, leaving Tamás Balásfi to conclude the polemic on his behalf. At the end of this paper, I will provide a transcription of a missing part from the Budapest copy: the Latin dedication at the beginning of the book.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Women Artists of the Hungarian Avant-Garde and Their Connections to the Cobra Group]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2024-0007</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2024-0007</guid>
            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

One of the most fascinating examples of networked art groups in 20th century art history, the Cobra art movement (1948‒1951), disrupted the logic of center-periphery relations in art through a model of cooperation between artistic hubs, in this case, Copenhagen, Brussels and Amsterdam, as the name of the group suggests. However, Cobra soon became a model that was easy to extend to further connections and hubs, including Scandinavia and East Central Europe. Unexpected and mutual exchanges occurred within this artistic network. The article explores these exchanges through two lesser-known episodes of Cobra’s East Central European connections. Hungarian women artists like Margit Eppinger Weisz and Madeleine Kemény Szemere became involved with the activity of Cobra, and their case studies show specific models of circulating ideas.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The 19th-Century Beginnings of the Modern Hungarian Art Novel/Novella and the Emergence of the Modern Literary Profession]]></title>
            <link>https://sciendo.com/article/10.2478/hsy-2024-0004</link>
            <guid>https://sciendo.com/article/10.2478/hsy-2024-0004</guid>
            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The article explores the emergence and significance of the modern Hungarian art novel and novella in the 19th century, situating it within a broader transnational literary framework. The genre, often overlooked in literary histories, reflects the socio-cultural modernization of the era and the professionalization of the arts. Through the lens of seminal Hungarian works like Pál Gyulai’s The Old Actor and Júlia Apraxin’s The Diary of Ilma Szerendy, the study delves into themes of artistic autonomy, emotional depth, and the societal challenges faced by artists, particularly actors and actresses. These narratives illuminate the paradoxical nature of artistic independence – intertwined with societal expectations and market constraints – while also addressing gender dynamics in the context of artistic creation. By linking Hungarian and global literary traditions, the paper argues for a reevaluation of the 19th-century art novel/novella/short story as a critical expression of artistic and intellectual modernity, emphasizing its enduring relevance in understanding the complex identity of the modern artist.
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