Korunk 2008 Március
Synecdoche and Trance
Zsigmond Kemény’s historical novel (The Fanatics) makes clear that 19th century “realist” novels cannot be distingushed perfectly from the poetics of Romanticism, it gives us a mixture of Realism and Romantic irrationality, and it has a figurative language: operates with metaphors, metonymies and synecdoches. Like in 19th century historiography (in Ranke, Michelet, Humboldt, Marx etc.), in The Fanatics the rhetoric of synecdoche has a strong political meaning. As one of the most important novels in Hungarian literature of this period Kemény’s text inserts the history of Transylvania into European context, and by the apocalyptic atmosphere of the narrative it becomes relevant for the readers of contemporary age.
The Possibilities of Participatory Journa-lism
The article presents the short history of participatory journalism – the weblogs, wikis as sources of information, competing with the professional journalists. Some events are pointed out, such as 9/11 where participatory journalism was quite successful, and also some areas where participatory journalism offers the most reliable pieces of information (as in the case of some totalitarian states). In the Hungarian media from Romania, blogs also produced already some headlines in offline newspapers, but these cases (like many other American cases for example) show that the real success of this type of writing is based on the communication between professional journalism and alternative approaches of distributing information.
The Self Writing a Diary
The paper offers a theoretical approach upon diary writing, based largely on pieces of classical literature. The main questions that are treated in the text are: Who is the writer of a diary? What is the relationship of the diary to history and a narrative in general? What is the status and position of the narrator in a diary?
Emigrating Genres? The History of Weblogs and Diaries
The article shows how weblog writing rewrites the history of diaries. The starting point is a book by Philippe Lejeune, “Cher écran”, where one of the most important researchers of autobiographical writing tried to show the connections between diary writing (handwritten and typed to a computer) and online weblogs. Lejeune based his book on a 1999 survey of French autobiographical writing. The paper argues that many of the assumptions in Lejeune’s book were overwritten by the weblogs of the past few years, and a much wider variety of texts emerged, where the inverted logic (from weblogs to diaries) seems much more appropriate for a relevant study. The “autobiographic pact”, argues the author, works quite differently or does not work at all in the case of weblogs, and these texts are referred to not necessarily through their authors, but rather through their type of knowledge about the world.
A Poetry of Identity Issues in the Postmo-dern Age
The author analyses the poetical strategies of János Térey, one of the most influential young Hungarian poets in the context of the postmodern concepts about the self. Delimitating three stages in Hungarian Postmodernist poetry, the author shows that Térey took a risk to promote a sort of representational poetry in the 90s, when the mainstream in Hungarian literature was a poetry of simulation, of intertextuality and parody, but the reception of his works showed that another type of discourse can be successful as well. A possible reading of this poetry (within the context of gender and so-called ‘marginal’ issues) considers the ’masculinity’ of Térey’s work, and also its special concepts about the fictional and the real.
The Diary of a Theatre
As a consequence of the 19th century professionalization of literary criticism, dramatic criticism became a separate, independent genre. The dramatic criticism was a genre without traditions, not possessing a generally accepted terminology, thus it used other genres as a source to define itself. Interestingly, these were not scientific genres, but those of the belles-lettres (diary). As a result, dramatic criticism became more personal than other genres of criticism, its range of established language was different. By looking into Ferenc Salamon’s writings, this paper follows the logic behind the process of dramatic criticism becoming an independent genre.