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Tomus 7 Fasciculus 2 • 2005

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Tomus 7 Fasciculus 2 • November 2005
  • Szerző Nuzzo, Armando
    Füzet Vol. VII/2005/2
    Kategória Artes
    Oldal pp. 341-371
    Absztrakt Coluccio Salutati (1332-1406) was the most sensible inheritor of Petrarch's doctrine in Florence. An example for this is the continuity from Petrarch's Vires illustres to Salutati's Famosi cives, that is, to illustrate paintings depicting famous people with verses. Filippo Scolari (1369-1426), better known as Pippo Spano or Ozorai Pipó, spent a major part of his life in Hungary. The paper considers an unsigned official state letter sent to Scolari in 1405 from Florence to have been written by Salutati. It signals the first step towards the Scolarian myth as a devoted statesman, eventually immortalized by Andrea del Castagno in his frescos of Florentine figures. Many other of Salutati's state letters offer similarly interesting material to study the onset of humanism in Europe and the relationship between Florence and the Hungarian Kingdom.
  • Szerző Gorilovics, Tivadar
    Füzet Vol. VII/2005/2
    Kategória Critica
    Oldal pp. 375-403
    Absztrakt The opposition between written and spoken language is particularly conspicuous in French. The issue can be approached from various angles and at various levels. This paper discusses the problems of (standard) usage as well as the representation of the spoken language with a special emphasis on the age of romanticism and realism (Balazac, Monnier, Zola, Maupassant, Courteline). 20th-century poets and artists will also be considered (Barbusse, Céline and Raymond Queneau). The paper highlights the use of certain tenses (imparfait du subjonctif, passé simple) in French because of their practical and literary importance.
  • Szerző Martonyi, Éva
    Füzet Vol. VII/2005/2
    Kategória Critica
    Oldal pp. 405-422
    Absztrakt As a starting point of this study, we suppose that verbality and the use of written records come across in a different way in the francophone or the so-called post-colonial literature than, for instance, in the European literature, in which it has a longer tradition. To establish the truth of the thesis and to show the typical features, we have chosen two novels, one is by Patrick Chamoiseau, the other is by Fouad Laroui. The first one is linked to creole traditions, the latter one to Arabic- Moroccan traditions but both of them use the genre of the (post)-modern novel. The paper, on one hand, reveals the manner of verbality, embedded into the text, on the other hand, it shows the general structures, hidden under the surface like for example the child's path towards the school, i.e., towards knowledge, or the otherness of the home-comer compared to the ones who stayed at home. Nevertheless, the key point of the interpretation of both novels is their relationship to the French culture and language which in both cases is simply an inevitable fact, but nowadays this fact does not raise any difficulties in forming an independent identity or applying post-modern discourses in their own contexts.
  • Szerző Šimková, Soňa
    Füzet Vol. VII/2005/2
    Kategória Critica
    Oldal pp. 423-429
    Absztrakt The present paper is concerned with the question of the substance of language in the work of Marguerite Duras. Her works can be characterised as a fluid passage between the novel, dramatic text and film script. In the French literature, her theatre work is subsumed under the concept of théâtre-récit, which refers to an uncanonical type of theatre, the theatre of narration rather than direct representation. The author created a specific vision of text presentation which was best fulfilled by the director Claude Régy and Duras herself in her own stagings. In fact, this new and alternative way to text presentation was based on telling and not on showing. By telling the text from a distance, all its orality emerges and plays a main role in the performance - the language of Marguerite Duras being a texture of oral, spoken and written style.
  • Szerző Durnová, Anna
    Füzet Vol. VII/2005/2
    Kategória Iuvenilia
    Oldal pp. 433-442
    Absztrakt The work of Henri Michaux still represents a rich source of inspiration for both critics and readers. The paper focuses on the hermeneutic aspect of the double dimension of the voice; the transcribed one that emerges as the lyric subject in the text and the physical one that occurs during the act of reading. On example of use of the female lyric subject in the poem La Ralentie, the author tries to present the act of reading as an important dimension of interpretation, caused by what Ricoeur calls "distanciation". Two versions of the poem are compared: the text of Michaux and its recorded recitation by the actress Germaine Montero. The aim of the paper is to show, how the act of reading can modify the interpretation of the original version, whereas this possibility of more dimensional conceiving is to be understood as one of the main purposes of the Michaux's literary creation in general.
  • Szerző Kaló, Krisztina
    Füzet Vol. VII/2005/2
    Kategória Iuvenilia
    Oldal pp. 443-456
    Absztrakt For centuries the letter was considered to be the best way of communication when meeting was impossible between people far away from each other. At modern times we also have the telephone to bring our family or friends closer. A telephone conversation is more personal, more vivid and takes less time. 18th century French literature produced fictive letters to create fascinating novels. Two contemporary authors, Marguerite Cassan and Lucie Faure, attempted to do the same with fictive phone-calls in their novels: Fil à fil ('Line to line') and Mardi à l'aube ('Tuesday at dawn'), respectively. An evident outcome of the "live" conversations is that the language of the novels is strikingly close to spoken French. The present paper wishes to detect the modus operandi of creating the illusion of spoken language in writing.
  • Szerző Kotowska, Katarzyna
    Füzet Vol. VII/2005/2
    Kategória Iuvenilia
    Oldal pp. 457-464
    Absztrakt In his cubist poetry, Max Jacob follows the declaration of Mallarmé to create poems not with ideas but with words. He was advocating the siginifiant to the detriment of signifié. Thus, for Jacob, a word has become the same thing as the object for painters - an element of the construction. The ordinary and everyday objects enchanted cubist aesthetics. The same process can be observed in Jacob's poetry. The poet considers everyday spoken French as equivalent to the objects in cubist pictures. The discrepancy between spoken and written French has also been shown to be able to bring closer cubist poetry to painting. Among others things, he uses multiple-word games which have the purpose of highlighting the essence of words, just like in cubist pictures where an object suffers all kind of decompositions, syntheses and analyses.
  • Szerzők Bartoss, Réka
    Bors, Edit
    Domokos, György
    Martonyi, Éva
    Füzet Vol. VII/2005/2
    Kategória Recensiones
    Oldal pp. 467-474
    Recenziók István Csűry : Le champ lexical de mais. Étude lexico-grammaticale des termes d'opposition du français contemporain dans un cadre textologique. Studia Romanica de Debrecen, Series Linguistica, Fasc. VII., Kossuth Egyetemi Kiadó, Debrecen, 2001, 341 pp. (Bors Edit)

    Ildikó Lőrinszky : Utazás Karthágóba. Kelet és mítosz Flaubert műveiben a fiatalkori írásoktól a Szalambóig [Voyage en Carthage. L'Orient et mythe dans les oeuvres de Flaubert, des écrits de jeunesse à Salammbô]. Kossuth Egyetemi Kiadó, Debrecen, 2005, 297 pp. (Martonyi Éva)

    Maria Teresa Angelini - Fábián Zsuzsanna: Olasz–magyar főnévi valenciaszótár [Dizionario italiano-ungherese della valenza dei nomi]. Szeged, Grimm, 2005, 352 pp. (Domokos György)

    Giancarlo Petrella: L'officina del geografo. La "Descrittione di tutta Italia" di Leandro Alberti e gli studi geografico-antiquari tra Quattro e Cinquecento. Milano, Vita e Pensiero, 2004, 636 pp. (Bartoss Réka)
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