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        <title>Hungarian Studies Yearbook Feed</title>
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            <title><![CDATA[The Translation History of the Gesta Hungarorum]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0001</link>
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            <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>
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            <title><![CDATA[Hungarian Rhythm, Humanist Poetry]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0002</link>
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            <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>
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            <title><![CDATA[The Theory and Practice of Imitation in the (Polyphonic?) Dido-tragedy by Nicodemus Frischlin1]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0003</link>
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            <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>
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        <item>
            <title><![CDATA[Fama, malum qua non aliud velocius ullium: Ferenc Hunyadi’s 1583 epic poem about Stephen Báthory]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0004</link>
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            <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>
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        <item>
            <title><![CDATA[Prayers Reused]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0005</link>
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            <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>
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        <item>
            <title><![CDATA[Providence and Contingency in the Autobiography of Miklós Bethlen]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0006</link>
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            <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>
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        <item>
            <title><![CDATA[A Hungarian Priest from the 19th Century who Translated Homer]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0007</link>
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            <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>
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        <item>
            <title><![CDATA[Júlia Apraxin’s Unknown Radical Folk Drama in 19th-Century Hungary: The Reimagining of Roma Identity1]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0008</link>
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            <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[Tradition and Transformation: The Changing Genre of the Short Story in Contemporary Hungarian Literature]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0009</link>
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            <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[Changes of Eras in the History of 20th Century Hungarian Literary Translation]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0010</link>
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            <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[The changing strategies of self-fashioning in minority literature, with special regard to Hungarian literature in (Czecho)Slovakia]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0012</link>
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            <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[Regional Dialect Use in School and Teachers in Southeast Hungary]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0014</link>
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            <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[From I Ching to the Beatrice Concerts]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0013</link>
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            <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[Languages, Identities, and Transformations in András Ferenc Kovács’s Poetry]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2025-0011</link>
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            <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[Sent from the Heavens, Received in Budapest]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2024-0010</link>
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            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[The paper examines heavenly letters by combining folkloristic, historical, and anthropological perspectives. First, it analyses and compares variations collected by Hungarian folklorists, critically evaluating their findings. Secondly, to reframe these interpretations and explore the character and late modern uses of the letters, the paper traces the origins of this tradition, and looks at the early medieval counterparts of the letters. Based on this brief review of their original form and function, the paper offers an anthropological reading of the communicative role of the letters. My central argument is that through the mere act of copying the metonymic relationship between the letter and the divine power is metaphorically altered, and that the act of copying gradually became an expressive, rather than a technical action. As a result, the changes in their character, the various protective functions incorporated into them or associated with their possession, can be understood as part of a process in which heavenly letters shifted from being indexes to signals.]]></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://reference-global.com/article/10.2478/hsy-2024-0004</link>
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            <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.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Layers of Tradition in Lilla Bulyovszky’s Travelogue]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2024-0003</link>
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            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[The paper offers an analysis of Lilla Bulyovszky’s Norwegian travelogue, published in 1866. An important context for the interpretation is the socio-historical connections of the author’s biography, particularly her conflicts concerning gender and nationality. Lilla Bulyovszky’s subversive career led to a deprivation of her social roles in two senses: the contemporary press responded to both her “anti-national” and “unfeminine” behaviour with discursive exclusion. The second part of the paper tries to identify the cultural and literary historical traditions that enabled Lilla Bulyovszky to write Norvégiából: Úti emlékek in a way that bears virtually no marks of her conflicts concerning social roles. The comparative investigation ends with the conclusion that the travelogues produced by classical authors of European literature (especially Dante), and female writers (above all, Mary Wollstonecraft and Polixéna Wesselényi) provided a tradition to build on and to continue for Lilla Bulyovszky. The confidential conversational tone of her travelogue was the result of a conscious connection to available traditions.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Economics of Survival]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2024-0008</link>
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            <pubDate>Mon, 30 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[In this paper, I aim to analyse Imre Kertész’s Fatelessness from the perspective of its economic systems. In Kertész’s work they form a discursive network that permeates the entire novel (Szirák 2022). It is also important to see that the circulation of symbolic and material values also plays a key role in the demarcation of the boundaries between the concentration camps and the world outside. However, in the novel’s memorable yet perplexing conclusion, this distinction turns into a speech about the relative purity and simplicity of life in the camp. In an attempt to answer the questions arising from this statement by György Köves, I will argue that understanding of the economic models and the differences between them in the worlds of the inside and the outside is essential to the interpretation of Fatelessness.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“Dance, Too, Originates From a Celestial Muse”]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2024-0005</link>
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            <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>
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        <item>
            <title><![CDATA[‘Nobody Appreciates the Soldiers’]]></title>
            <link>https://reference-global.com/article/10.2478/hsy-2024-0002</link>
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            <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>
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