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Spotkanie z Dziennikiem Sándora Máraiego

100%
Albingier A.
Facta Simonidis
|
2011
|
vol. 4
|
issue 1
111-119
EN
Márai started to write his diary as a renown writer when he was 43 years old. It is not an everyday report of somebody’s life but a chronicle of thoughts and reflections which tackles the problem of time and narration in the Diary. Sándor Márai’s Diary is not a light reading but it is worth being read.
PL
Márai zaczął pisać swój dziennik w wieku 43 lat, kiedy był już uznanym pisarzem. Nie jest to historia życia codziennego, ale kronika myśli i refleksji. Artykuł traktuje o problemach czasu i sposobach zapisu w Dzienniku. Dziennik Sándora Máraiego nie jest lekturą łatwą, ale wartą przeczytania.
2
Publication available in full text mode
Content available

Spotkanie z Dziennikiem Sándora Máraiego

100%
Albingier A.
Facta Simonidis
|
2011
|
issue 4
111-120
PL
Márai zaczął pisać swój dziennik w wieku 43 lat, kiedy był już uznanym pisarzem. Nie jest to historia życia codziennego, ale kronika myśli i refleksji. Artykuł traktuje o problemach czasu i sposobach zapisu w Dzienniku. Dziennik Sándora Máraiego nie jest lekturą łatwą, ale wartą przeczytania.
EN
Márai started to write his diary as a renown writer when he was 43 years old. It is not an everyday report of somebody’s life but a chronicle of thoughts and reflections which tackles the problem of time and narration in the Diary. Sándor Márai’s Diary is not a light reading but it is worth being read.
3

Albumy utraconej rodzinności – o doświadczeniu środkowoeuropejskości w prozie Sándora Máraiego. Kilka przybliżeń

63%
Osiński D. M.
Napis. Pismo poświęcone literaturze okolicznościowej i użytkowej
|
2013
|
issue 19
263-285
EN
The article focuses on the reflection of the Hungarian writer, Sándor Márai (1900-1989), about the family and Europeanism as identity traits. His novels, prose miniatures, essays, travel reports, and a diary, are analysed. The aim is an attempt to describe the experience of the Central-Eastern Europe in prose and intimate writing of the author of "Embers", as well as to diagnose the specific nature of private (family) and European identity of the character in such geopolitical map. For Márai Central Europe is a multicultural project of shattered identity, written project of space, far from the status of a federation of states. In his fictional worlds the writer – as if in the layer of language and plot – constructs Hungary, the former glory of the monarchy and the identity of Central Europe. The categories differentiating return to the sources, the collection of "lastness" (i.e. past experiences, meetings, reports, events) and melancholy as textual presence of a "lack" of language and search for space, which can be invoked as its own (a kind of "uterine myth"), form the writer's reflection on the trauma: "nothing that hurts". Márai's melancholia is both an existential experience, as well as the writing process – narrative and linguistic. These experiences contribute, through the prose and intimate works of Márai, as an album of "impossibility", showing a record of trauma of the Central-Eastern European experience, and displaying the impossibility of participation in family and culture.
4
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SÁNDORA MÁRAIA WIDZENIE MIAST (REKONESANS)

63%
Zwolińska B.
Świat Tekstów. Rocznik Słupski
|
2019
|
vol. 17
31-42
PL
W artykule interesuje mnie sposób przedstawiania miast węgierskich, włoskich i amerykańskich widzianych oczyma podróżnika i emigranta, wielkiego mistrza prozy XX wieku, Sándora Máraia, określanego mianem pisarza miejskiego. Wypowiada się on w różnych formach: dzienniku, wspomnieniach, szkicach z podróży, felietonach i powieściach. Dzieli miasta na swojskie, rodzime (Kassa, Budapeszt) i obce (amerykańskie, np. Nowy Jork), a do postrzegania w kategoriach swojskości pretendują też miasta włoskie (Posillipo, Neapol). Dla Máraiowskich ujęć charakterystyczny jest zabieg antropomorfizacji i animizacji miast, a także uwrażliwienie sensualne i zdolność syntetycznego określenia ich odrębności.
EN
In the article I am interested in the way of presenting Hungarian, Italian and American cities seen through the eyes of a traveler and emigrant, the grand master of prose of the twentieth century, Sándor Márai, known as the city writer. He expresses himself in various literary forms: journal, memoirs, travel sketches, columns and novels. He divides the cities into familiar, native (Kassa, Budapest) and foreign (American, e.g. New York). To be perceived in terms of familiarity pretend also the Italian cities (Posillipo, Naples). A characteristic literary device for Márai is the anthropomorphisation of the cities, as well as the sensory sensitization and the ability to synthetically define their distinctiveness.
5
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Rewolucja 1956 w literaturze węgierskiej. Na marginesie literackiego kanonu

62%
Piotrowiak-Junkiert K.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2016
|
issue 29
151-163
EN
The article is an attempt at an outline of the situation in Hungarian literature confronted with the revolution of 1956. The events of the Hungarian October are some of the more frequent themes in revisionist literature. Selected examples of literary works show the most important features of that literature, writing strategies, patterns of artistic message. From the wide selection of the literature, a poem, fragments of a diary, a novel, and an authobiographical essay by Sandor Marai, Gyorgy Moldova, Istvan Orkeny and Imre Kertesz were selected.
6
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Uważność i żarliwość lektury a „duch nowej humanistyki”

62%
Janus-Sitarz A.
Polonistyka. Innowacje
|
2018
|
issue 7
3-10
EN
The article reflects on two aspects of the literature lessons, bringing back the dimension of the significance of functioning in the contemporary culture. The first aspect is the mindfulness interpreted as Derrida’s responsibility in reading and the secondo one is the fervency described by Sándor Márai as reading “with intensity bigger than that used to write the text”. The essential conditions of developing such way of reading, are the choice of literary works that speak of the important things for youths and the respect of the rules of the creative reading that allows young readers go out beyond the philological obligations.
PL
Artykuł rozważa dwa aspekty lekcji literatury, przywracające wymiar doniosłości funkcjonowaniu we współczesnej kulturze. Pierwszy aspekt to uważność, rozumiana jako etyczność i Derridiańska odpowiedzialność w czytaniu, a drugi – żarliwość określana przez Sándora Máraiego jako czytanie „z intensywnością większą od tej, z jaką pisano tekst”. Kluczowy dla wykształcenia u młodego czytelnika tego sposobu lektury jest dobór tekstów literackich, które mówią o sprawach ważnych, a także respektowanie zasad kreatywnego czytania, pozwalających czytelnikowi wyjść poza powinności filologiczne.
7

Identity in the Movement (in) space of Berlin and Budapest (based on Sándor Márai's In Journey and Péter Nádas' The Memory)

54%
Zwolińska B.
Anthropos?
|
2018
|
issue 27 W ruchu
166-180
EN
In the article I look at places of memory important for two Hungarian writers of the 20th and 21st century: Sándor Márai and Péter Nádas. These are primarily two cities: Budapest and Berlin, shaping the identity of the traveler (in the sketches of Márai In Journey) and the identity of heroes involved in complex interpersonal relations inspired by the biography of Nádas, the author of an extensive novel titled Memory. Although I am combining two different literary genres here, I notice similarities in terms of urban spaces and the way the two authors live. The identity of a modern man, whose condition is diagnosed on the pages of his works, equally determines the deflection into the past, the reticence of memory, as well as thinking about the present through the prism of what has already happened. This is a memory imprisonment, often leading to the repetition of similar events, to constant thinking about the continuity of time, the curse of associations of what was with what is, does not allow to live without burdens in the present tense, constantly corrected by the shadow falling from the past. Time in the urban perspective becomes looped, exposes the person to constant returns to a place that is significant for him. Berlin and Budapest, with their specific topography, monuments and history, become important spaces of identity.
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