Keresés

Keresési eredmények

• Az útbaigazított emlékezet Kazinczynál: Identitásminták Kazinczy önéletrajzi szöveghálózatában – a kulturális emlékezethely gondolatának megjelenése

  89–102.

  Orbán László

  Megtekintések száma:

  195

  Történetek’ Kalendarioma is one of the most exciting recollective texts by Kazinczy. This is, in fact, a diary of anniversaries, constructed from short memos and notes, in which personal, cultural and historical events are mixed. The text’s structure is formalized by the dates, thus personal memories, cultural and community events, feasts and anniversaries are randomly juxtaposed. The construction of these notes into stories can often be observed in Kazinczy’s autobiographical texts, so the separate personal and public notes of Történetek’ Kalendarioma are arranged in one narrative. This is how a piece of personal memory related to Mohács – the memory of a lunch or an itinerary – and the historical thinking related to Mohács become constitutive parts of Kazinczy’s identity. Kalendariom provides a sketch of a rather complex personality, which is built up from elements of national and religious history, family traditions and narratives of personal memories. Történetek Kalendarioma’ is the formalized map of Kazinczy’s own knowledge-network, a collection of identity samples, a catalog of roles. All in all: a version of Kazinczy’s identity.

• Kazinczy eladósodása az 1820-as években

  53–70.

  Orbán László

  Megtekintések száma:

  196

  Ferenc Kazinczy planned several agricultural enterprises in the 1820s. They mostly meant that he intended to purchase land, vineyards, and livestock but he also planned to trade with wine. However, he was not able to ˆnance his plans from his own resources, thus he needed loans. This paper is aimed to examine these economic plans: their personal background, the peculiarities of the ˆfinancial transactions and the serious consequences of indebtedness.

• Csokonai anyagi helyzetéről

  47–72.

  Orbán László

  Megtekintések száma:

  224

  The figure of Csokonai appears to both contemporaries and posterity as a genius but impoverished poet. The only known job of the ‘poor poet’ was that of a teacher’s assistant, but he did not accept any income for his work. Several similar financial events in his life raise the question: why did he not take a regular job with a steady income, why did he give up the idea of an independent civil existence? These questions shed light on a financially difficult and seemingly contradictory life since Csokonai was able to live an independent, free, creative life in spite of all this. In line with the findings of the most recent monograph, this essay is shows that Csokonai’s career was financially supported primarily by his mother, Sara Dioszegi.