This article discusses the early phase of the Hungarian reception of the aesthetic views of Edmund Burke. It does so by considering two reference works on aesthetics, one by György Alajos Szerdahely (1740–1808), the other by Johann Ludwig Schedius (1768–1847). Both authors were, in their day and later, well known amongst the scholars of Europe. Their reference works became university textbooks, and should therefore not now be neglected. The specialist literature has, however, to this day one-sidedly interpreted their conceptions as eclectic mixtures of German, English, and French works on aesthetics. In this article, the author seeks to surmount the poor methodology and unsatisfactory conclusions concerning the reception of foreign authorities in Hungarian aesthetics. She does so by using the example of Burke, reconstructing the context of the places that he is mentioned, presenting them as period topoi, and analysing the narrative strategies of the two Hungarian authors. These approaches allow her more profoundly to explore the relationship between Burke’s Enquiry and the two reference works. In the foreground of the comparison are the key terms ‘beauty’ and ‘the sublime’, the use of narration and metaphor, and also reflections on art, society, and sociability.
The culture of Hungary held Neo-Latin literature in a unique place, which was closely tied to the special status of the Latin language in the country. Latin was not only encouraged for cultural, scientific, or diplomatic purposes, but it also served as the language of public life until 1844. As a result, a significant part of Hungarian literature was written in Latin, even in the nineteenth century. The language of the first comprehensive works on the history of Hungarian literature-the manuals of the so-called historia litteraria tradition-was also Latin. In this paper, an exploration is made of how the Neo-Latin tradition appears in the handbooks on the history of Hungarian literature published since the beginning of the eighteenth century. It is investigated whether authors reflect on the Latinity of a particular cultural segment in Hungary, whether they consider it as part of the national literature, and if so, in what framework and with what methodology they attempt to present and process it. The first handbook examined is the first (Latin) lexicon dedicated to Hungarian literature, Specimen Hungariae Literatae, virorum eruditione clarorum natione Hungarorum, Dalmatarum, Croatarum, Slavorum atque Transylvanorum, vitas, scripta, elogia et censuras ordine alphabetico exhibens, published by Dávid Czvittinger in 1711. The latest compendium investigated is the Magyar irodalom (The Hungarian literature), edited by Tibor Gintli, published in 2010 Together with the volumes published in the intervening period, a three-hundred-year history of Hungarian Neo-Latin Studies is presented based on a review of nearly fifteen literary history manuals and five literary lexicons. The context of changes is reflected upon, such as the relationship with the development of academic disciplines, the relationship with the change in the concept of the nation, and the methodological context, including the interaction with positivist, and other research methodologies. In the view of the author, the historical overview of Hungarian Neo-Latin studies may be considered a paradigmatic example not only for Hungary but also for the Central and Eastern European region.
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