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Szerzők
Acél, Zsuzsanna
Ádám, Anikó
Adorjáni, Zsolt
Ágoston, Piroska
Alario, Leonardo R.
Alba Reina, Maria José
Almási, Zsolt
Alves, Ida Ferreira
Alves, Maria Theresa Abelha
Andersson, Daniel Christopher
Angelini, Maria Teresa
Antal, Beatrix
Babics, Zsófia
Báder, Petra
Balázs, Zsuzsanna
Barbieri, Edoardo
Bárkányi, Zsuzsanna
Bársony, Zsófia
Barta, László
Bartha-Kovács, Katalin
Bartoss, Réka
Basco, Louis
Bauernhuber, Enikő
Bencze, Ágnes
Benda, Mihály
Bene, Krisztián
Beránková, Eva
Bermúdez Medina, Lola
Bernardi, Ulderico
Berta, Tibor
Berzeviczy, Klára
Bisetto, Antonietta
Blackwell, Constance
Blum, Paul Richard
Bobay, Orsolya
Bocz, Zsuzsanna
Boda, László
Bodor, Mária Anna
Bolberitz, Pál
Bolpagni, Marcello
Bors, Edit
Botos, Máté
Boyon, Jérôme
Brambilla, Simona
Brix, Michel
Budetta, Enrica
Bylaardt, Cid Ottoni
Campos Carrasco, Nuria
Cannavacciuolo, Margherita
Cappelli, Guido M.
Carpentieri, Chiara Maria
Carriero, Leonardo
Cepraga, Dan Octavian
Cerda Montes de Oca, Susana
Charmet, Anne
Chodaková, Polina
Chovancová, Katarína
Cioba, Mianda
Claudon, Francis
Colombo, Michele
Consales, Ilde
Cselényi, István Gábor
Cselik, Ágnes
Cser, András
Csocsán de Várallja, Eugène
Csuday, Csaba
Csűry, István
Cuasante Fernández, Elena
Curlo, Vittoria
Cusimano, Christophe
Czerkawski, Jan
Czigány, Ildikó
Czöndör, Klára
D'Angelo, Biagio
Dagron, Tristan
Dardano, Maurizio
Darida, Veronika
De Vettor, Luisa
Deen Schildgen, Brenda
Del Lungo, Andrea
Demetracopoulos, John A.
Désfalvi-Tóth, András
Devís Márquez, P. Pablo
Dézsi, Melinda
Dobák-Szalai, Zsuzsanna
Dombi, Anikó
Domokos, György
Dondoli, Luciano
Draskóczy, Eszter
Drégeli, Krisztina
Duarte, Lélia Parreira
Dudley, John
Durnová, Anna
Ebbersmeyer, Sabrina
Edelheit, Amos
Egerland, Verner
Erb, Frederick III
Erb, Heather M.
Erős, Katalin Renáta
Ertl, Péter
Fábián, Zsuzsanna
Facca, Danilo
Fejérdy, Gergely
Finazzi-Agrò, Ettore
Fodor, Andrea
Foucault, Yann
Fouilleul, Thierry
Francisco, Denis Leandro
Frasso, Giuseppe
Fréchet, Claudine
Frenguelli, Gianluca
Fričová, Eva
Fritsch, Matthias J.
Fulka, Josef
Funk-Deckard, Michael
Füzesi, Piroska
Gajos, Mieczysław
Gángó, Gábor
Garrett, Jeffrey
Gatti, Giuseppe
Gazdik, Anna
Gazzotti, Marisa
Gecse, Mária Veronika
Gerfaud, Jean-Pierre
Gheno, Vera
Giolitto, Marco
Giuliani, Pierre
Giusti, Giuliana
Gleize, Joëlle
Gorilovics, Tivadar
Gotia, Andrei
Grall, Catherine
Guimarães, Elisa
Gulyás, Adrienn
Gutbrod, Gizella
Gyimesi, Timea
Hajnóczi, Eszter
Hajnóczi, Gábor
Hajnóczi, Kristóf
Hámori Nagy, Zsuzsanna
Hardi, Ferenc
Harmath, Erzsébet
Házas, Nikoletta
Hegyi, Ágota
Hende, Fanni
Hoffmann, Béla
Holló, Zsuzsanna
Hoppál, Bulcsú Kál
Horányi, Lilla
Horváth Faller, Eija
Horváth, Alexandra
Horváth, Kornélia
Horváth, Márton Gergely
Horváth, Miléna
Huszthy, Alma
Huszthy, Bálint
Ila-Horváth, Zsófia
Imrei, Andrea
Janeczek, Stanisław
Joubert, Jean-Marc
Junqueira, Maria Aparecida
Kaliska, Agnieszka
Kalla, Stéphane
Kaló, Krisztina
Kanász, Viktor
Kanozsay, Katalin
Kaposi, Márton
Kardos, Orsolya
Keglovich, Rita
Kelemen, János
Kéri, Henriett
Kharissov, Ildar
Király, Erzsébet
Kirsch, Fritz Peter
Kiss, Kornélia
Klimová, Katarína
Knasas, John F. X.
Koest, Bernard
Koós, Eszter
Kormos, József
Körömi, Gabriella
Kotowska, Katarzyna
Koudriavtsev, Alexandre
Kováč-Petrovský, Dušan
Kovács, Marietta
Kozelská, Irena
Kpalap, Linus
Kricka, Anna
Kuffart, Hajnalka
Kun, Csilla
Kupčihová, Katarína
Kyloušek, Petr
La Rosa, Emanuele
Laky, Krisztina
Lalla, Sebastian
Lario-de-Oñate, M. Carmen
Larson, Pär
László, Tímea
Lautner, Péter
Lécrivain, Claudine
Lehrberger, James, O. Cist.
Lemba, Robert
Lobato, Abelardo
Loiacono, Rocco
Loreti, M. Alessio
Lőrinszky, Ildikó
Loureda Lamas, Óscar
Ludmann, Ágnes
Lukácsi, Margit
Lukovszki, Judit
Lupinu, Giovanni
Maár, Judit
Majorossy, Imre Gábor
Malinovská, Zuzana
Marádi, Krisztina
Marosvári, Mária
Marsó, Paula
Martin, Evelyne
Martínez-Radío Garrido, Evaristo C.
Martonyi, Éva
Matucci, Andrea
Matula, Jozef
Mátyus, Norbert
Maziarczyk, Anna
Mazzoleni, Marco
Medveczká, Mária
Menaker, Angelika
Menczel, Gabriella
Méndez Robles, Pedro Salvador
Mezei, Balázs M.
Miklós, Barbara
Miklós, Eszter Gerda
Miskolczi, István
Montagnon, Beatrix
Montes Nogales, Vicente E.
Mora, Luisa
Morani, Moreno
Mourão, Cleonice Paes Barreto
Müller, Sigrid
Mundevová, Lenka
Mussó, Zsófia
Nagy-Zekmi, Silvia
Najbar, Anna
Náray-Szabó, Márton
Nejeschleba, Tomaš
Neme, Rauf
Nemrava, Daniel
Nuzzo, Armando
Olay, Csaba
Őrsi, Tibor
Paál, Zsuzsanna
Pajorin, Klára
Pálková, Jana
Pallai, Károly Sándor
Paolini, Michele
Papp, Eszter
Pardo Jiménez, Pedro
Parry, Mair
Pastor, Pablo Tornero
Pataki, Elvira
Payet, Marie
Penello, Nicoletta
Petkova, Ingrid
Petrovszki Lajszki, Brigitta
Pleciński, Jacek
Podhorná-Polická, Alena
Pokorný, Martin
Por, Peter
Portalés Mananós, David
Prohászka, Erzsébet
Prokopp, Mária
Puskás, István
Pusztai, Gabriella
Quinn, Patrick
Radvánszky, Anikó
Rees, Valery
Renzi, Lorenzo
Révész, Enkratisz
Rey Mimoso-Ruiz, Bernadette
Riedenauer, Markus
Righi, Federico
Robiglio, Andrea A.
Rodríguez Mansilla, Fernando
Rokay, Zoltán
Rollin, Pascal
Romito, M. Bruna
Rónaky, Eszter
Rosenthal, Alexander S.
Rowland, Clara
Rózsavári, Nóra
Ruiz, María Jesús
Russell, Paul A.
Ruszel, Joanna
Sadkowska-Fidala, Agata
Sághy, Marianne
Salvi, Giampaolo
Samarini, Francesco
Sárdi, Krisztina
Saxlová, Tereza
Scheib, Andreas
Schneller, Dóra
Schoentjes, Pierre
Schuerewegen, Franc
Sciacovelli, Antonio Donato
Senardi, Fulvio
Seres, Krisztina
Seth, Catriona
Siest, Amélie Celinda
Šimková, Soňa
Sità, Michele
Skibińska, Elżbieta
Skřivánek, Hanna
Sliwa, Dorota
Solymosi, Milán
Sotkóné Grosz, Anikó
Šotolová, Jovanka
Soulages, François
Špička, Jiří
Squillacioti, Paolo
Stachová, Klára
Stančienė, Dalia Marija
Stanilewicz, Grażyna
Staszewska-Zatońska, Anna
Ştefănescu, Ariadna
Stojkovski, Boris
Stráner, Zsófia
Svoboda, David
Szabados, Edina
Szabó-Gilinger, Eszter
Szabó, Anita Noémi
Szabó, Ferenc S.J.
Szabó, Tibor
Szávai, Dorottya
Szijj, Ildikó
Szilágyi, Imre
Szőnyi, Gergely
Szőnyi, Tamás
Szörényi, László
Szovák, Márton
Szuhaj, Katalin
Takács, László
Tarabochia Canavero, Alessandra
Tassoni, Luigi
Tat, Alin
Tedesco, Alessandro
Teschke, Henning
Timenova-Valtcheva, Zlatka
Tombi, Beáta
Török, Tamara
Torre Giménez, Estrella de la
Toso, Fiorenzo
Tóth, Ágnes
Tóth, Andrea
Tóth, Gábor Mihály
Tóth, Gabriella
Tourrel, Jean-Paul
Trouvé, Alain
Turai, Laura
Vacovská, Marta
Vajk, Zsuzsanna
Valentová, Eva
Valenzuela, Luisa
Vanelli, Laura
Váradi, Márta
Vasoli, Cesare
Vasvári, Louise O.
Vázquez-Amador, María
Vecchi, Roberto
Viana, Joaquim
Volek, Peter
Vykypělová, Klára
Vyšniauskas, Gintautas
W. Somogyi, Judit
Walicka-Popis, Anna
Wildburg, Gabriella
Zabojnikova, Hviezdoslava
Zentai Horváth, Krisztina
Zoppello, Mariateresa
Zsák, Helga

A kategória cikkei a Verbumban:
  • Szerző Cselényi, István Gábor
    Füzet Vol. XII/2010/1
    Kategória Filologia
    DOI 10.1556/Verb.12.2010.1.4
    Oldal pp. 71-83
    Kulcsszavak thomisme, esse, ens, participle, infinitive
    Absztrakt Scientists of our time have the advantages ofmodern technology such as computers. In a matter of minutes you can find an author, a work or any expression. In the past there were only lexicons and concordances available for this purpose. One of the early encyclopedic studies on St. Thomas Aquinas's life-achievement is the Tabula Aurea (‘Golden Table'), which was written in Latin by Pietro Bergamo in 1473, 200 years after Thomas Aquinas's death. The Tabula not only lists every expression in St. Thomas's works, it also states how often, where, and in what context they appear. This way we get a wholesome overview of Aquinas's philosophy and theology. In this study I strive to present the Tabula, both its author and the work itself. Furthermore, through focusing on a selected example, the modern issue of being (ens) and "to be" (esse), I aim to prove that Bergamo and even Aquinas, whose message is so humbly reviewed by the Tabula, were very modern, well ahead of their times. This example is also a significant segment of Romanistics, the career history of an infinitive (esse) and a participle (ens).
  • Szerző Brix, Michel
    Füzet Vol. XII/2010/1
    Kategória Filologia
    DOI 10.1556/Verb.12.2010.1.5
    Oldal pp. 85-98
    Kulcsszavak Diderot, Bougainville, travel, colonialism
    Absztrakt In the Supplément au Voyage de Bougainville (‘Supplement to Bougainville's Voyage'), Diderot develops the idea of the problem of travelling and colonizing, which the scholars misunderstood. The main point does not focus on the conflict, or the competition, between two civilization patterns — the so-called "primitivism" of Tahiti and the advanced society of Europe. Regarding the anti-colonialist impact, Supplément goes far beyond a simple stand: Diderot indeed anticipates the disastrous consequences (of which we are very aware today) of the travels made by Europeans to the more distant regions of the world from the 15th century.
  • Szerző Sadkowska-Fidala, Agata
    Füzet Vol. XII/2010/1
    Kategória Filologia
    DOI 10.1556/Verb.12.2010.1.6
    Oldal pp. 99-109
    Kulcsszavak internal monologue, self-centering, artificiality, Joris-Karl Huysmans
    Absztrakt In Huysmans' novels, one may notice that evolution of the composition leads to the rejection of the traditional model of writing. The novel's action gradually disappears and consequently the dialogues are being transformed into internal monologues. The exchange of artificial and didactic ideas between the characters is used to replace the traditional conversation. The aim is to create the world in which the authors' fascinations are transmitted from one character to another reflecting the whole complexity of Huysmans adoration for art, literature, food, etc. These monodialogues become a space where the author and its work unites to form a new quality of art.
  • Szerző Révész, Enkratisz
    Füzet Vol. XII/2010/1
    Kategória Filologia
    DOI 10.1556/Verb.12.2010.1.7
    Oldal pp. 111-118
    Kulcsszavak Elizondo, short stories, enigma, frustration, periphery
    Absztrakt The aim of this paper is to reveal — through the analysis of one of the early short stories of Salvador Elizondo, "En la playa" — some of the most important features that already present in these early works of the Mexican writer and which recur obsessively later, displaying an unusual, rather idiosyncratic and dark universe. We argue that due to their outstanding literary value, the works of the writer should deserve wider appreciation. Also, with the help of this particular work, we would like to call attention to the early short stories of Elizondo, which, we think, have not received enough critical attention in the shadow of the author's two novels, as well as later texts focusing on the problem areas of the writing process.
  • Szerző Majorossy, Imre Gábor
    Füzet Vol. XI/2009/1
    Kategória Filologia
    DOI 10.1556/Verb.11.2009.1.4
    Oldal pp. 35-61
    Kulcsszavak Flamenca, fin'amors, Occitan novel, jealousy, biblical references
    Absztrakt This paper deals with one of the medieval Occitan novels and mainly with its dialogues. The popular love story of Flamenca and Guillem is shattered by the jealousy of Archambaut. As part of a major work, this paper shows how complex dialogues define the plot along the conflicts and lead persons to their next measures. Besides the analysis of the most famous dialogue, which was organised in the church, new aspects of other dialogues will be unveiled. The queen acts as the Bible's serpent, the young husband as a beast, the young woman as a fairy queen, the unknown lover as a priest, etc. They all begin to talk to each other, but nobody communicates what they really mean.
  • Szerző Benda, Mihály
    Füzet Vol. XI/2009/1
    Kategória Filologia
    DOI 10.1556/Verb.11.2009.1.5
    Oldal pp. 63-86
    Kulcsszavak Théophile Gautier, art critic, ut pictura poesis, language, visual
    Absztrakt Théophile Gautier used the arts as major references in his writings. This paper brings to light which artistic values are handled by his critical reviews and for what purpose. We will reassess the notion of transposition d'art, and highlight the differences between works of art and poems.
  • Szerző Kotowska, Katarzyna
    Füzet Vol. XI/2009/1
    Kategória Filologia
    DOI 10.1556/Verb.11.2009.1.6
    Oldal pp. 87-95
    Kulcsszavak Marie Redonnet, Splenid Hôtel, corporeal monologue, diary, female writing
    Absztrakt The narrative structure in Marie Redonnet's novel Splendid Hôtel (Splendid Hotel) is ambiguous. It has the characteristic features of the literary genre, diary (journal intime). In the novel, the Narrator - a woman with indefinite name and age - reports all prominent measures she has undertaken while she was running a hotel, a property she had inherited from her grandmother. She tries to cope with different kinds of pests (flies, mosquitoes, rats, bedbugs, spiders, termites), workers (carpenters, cabinetmakers, thatchers, plumbers) and their bills, and guests (prospectors, geologists, team foremen, engineers). She also copes with two spoiled and irritating sisters: sickly Ada and a would-be actress - Adel. Redonnet makes a skillful use of metaphoric possibilities. Splendid Hôtel remains a female body, and the body seems to be the actual author of monologue. That is why the monologue can be called 'corporeal'.
  • Szerző Timenova-Valtcheva, Zlatka
    Füzet Vol. XI/2009/1
    Kategória Filologia
    DOI 10.1556/Verb.11.2009.1.7
    Oldal pp. 97-110
    Kulcsszavak absence, silence, writing, dialogue, Marguerite Duras
    Absztrakt This paper deals with the silences of dialogue in Moderato Cantabile by Marguerite Duras. The starting hypothesis is that silence is a phenomenon of constructive and significant absence which could justify a choice of writing. The concrete question which we would like to analyze is how fictional dialogue creates meaningful silences.
  • Szerző Horváth Faller, Eija
    Füzet Vol. XI/2009/1
    Kategória Filologia
    DOI 10.1556/Verb.11.2009.1.8
    Oldal pp. 111-125
    Kulcsszavak Latin-American literature, interculturality, translation, adaptation, reception
    Absztrakt Re-writing a literary work in another language is not a simple translation task, but rather an adaptation process, the work needs to be able to find its room in the universe of the host literature. A fundamental question of this process is the following: to what extent can the re-written literary text provide its readers with new forms of representation? This paper presents an intercultural progress that spans between the 1970s of Argentina and the 1990s of Canada. Pablo Urbányi, the Argentinean writer of Hungarian descent, who emigrated twice in his life, re-wrote his novel Un revolver para Mack before the new edition of the book originally published in Buenos Aires in 1974 - in order to help the work of his French translator. The comparison of how the original and the revised text anticipates the involvement of the readers in the process of reception reveals the differences between two - distant and probably incompatible - horizons of expectations.
  • Szerző Brix, Michel
    Füzet Vol. X/2008/2
    Kategória Filologia
    DOI 10.1556/Verb.10.2008.2.1
    Oldal pp. 277-289
    Kulcsszavak Nerval, Watteau, Cythera, Arcadia
    Absztrakt It is a well-known fact that Gérard de Nerval showed a great interest in Jean Antoine Watteau, and especially in the picture of "Le Pèlerinage à l'île de Cythère". This picture evokes the nostalgia for a lost world where the arcadian happiness pervaded: that's also the subject of the novel Sylvie. Nerval, who situates his Arcadia in the Valois, claims to be the heir of Watteau. This article endeavours to examine the connection between Nerval andWatteau, a relationship which does not only concerns Sylvie, but also Les Faux Saulniers and Voyage en Orient.
  • Szerző Benda, Mihály
    Füzet Vol. X/2008/2
    Kategória Filologia
    DOI 10.1556/Verb.10.2008.2.2
    Oldal pp. 291-319
    Kulcsszavak travel, Orient, romantic, Spain, 19th century
    Absztrakt Travelling in the Orient has been an old dream shared by many travellers since the beginning of the 18th century and a popular theme in philosophical and political writings. The Orient is a universe where life is radically different from that in the West. In the 19th century, exploring the Orient first helped one get to better know the other and satisfy a desire for the exotic. For a European of this era, the Orient was the tales of One Thousand and One Nights, full of fantastic lives and enchanted palaces. The travel to that wide romantic East, spreading from Spain to the Levant, was quite often at the origin of a sudden awareness and always an opportunity for a restatement for such writers as Lamartine, Nerval, Flaubert, or even Gautier and Chateaubriand.
  • Szerző Alba Reina, Maria José
    Füzet Vol. X/2008/2
    Kategória Filologia
    DOI 10.1556/Verb.10.2008.2.3
    Oldal pp. 321-338
    Kulcsszavak relevance, metaphor, publicity, contextual effect
    Absztrakt This paper provides an analysis of metaphoric utterances from a Relevance Theoretic point of view. We propose that only a theory which includes the concept of contextual effects is able to explain, in an exhaustive way, how publicity manages to capture the targeted customer's attention to make them buy the promoted product.
2012 PPKE BTK Romanisztikai Intézet© Horváth Márton