Korunk 2023 (III. folyam 34.)

2023 / 6. szám = Performativitás a művészetekben - ABSTRACTS

ABSTRACTS Ferenc André ■ What Am I Talking about when Talking about Slam? Keywords: author, culture, performa­­tivity, slam poetry, standup Slam poetry achieved most of its goals. Those who defend slam poetry argue in favour of its artistic merits, the power of performance poetry, and its community-building power. Thus it can play a more intense, and therefore socially active role through its imme­diacy. Slam poetry fails mostly when it lacks poetry. When it is just discourse for the sake of discourse, repeating empty phrases. The author summa­rizes his own decade-long experiments with slam poetry, focusing on its performative elements. Imre József Balázs ■ The Margins of Poetry Keywords: beat culture, music, perfor­mance poetry, performativity, song lyrics The author explores the margins of poetry, beyond its written aspects, highlighting its connections with beat culture and contemporary music culture. While presenting ten volumes dealing with this topic, the analysis refers to poems and performances by Amanda Gorman and János Arany, volumes dedicated to the history of be­at, rock and hip hop culture, and also books concerning theories of poetry and of song lyrics. Gábor Bujk ■ Addenda to the Biography of Ernő Ligeti and His Family Keywords: biography, Ernő Ligeti, fa­mily tree, Holocaust The biography of Ernő Ligeti (1891- 1945), a writer, journalist and Holoca­ust victim from Cluj, and his family in Budapest, is rather incomplete and often inaccurate in Hungarian literary history sources. Using the results of his research, the author has now filled in or clarified some of these data. Accordingly, many biographical data about the members of the Ligeti family are now being published publicly for the first time, with the sources indicated. The persons concerned are the author’s parents, József Ligeti (Lichtenstein) (1860-1924) and Júlia Diamant, his son Károly Ligeti (Charles Moshe Ligeti; 1928-2015), his wife Margit Szántó (1899-1945) and her parents Soma Szántó (Steiner) (1864- 1935) and Szeréna Schück (1876- 1961). Rumen István Csörsz ■ Tunes between the Lines: In the Wake of the Eighteenth-Nineteenth- Century Sung Poetry Keywords: composer, lyrics, melody, music, sung poetry The essay explains the most important functions of Hungarian sung poetry in the eighteenth and nineteenth cen­turies. In the Mediaeval European model, the poet was often a composer as well (like the troubadours etc.), but it was not characteristic in Hungary in the Early Modern period, and later was also rare. At the end of the eighteenth century, two poets, Mihály Csokonai Vitéz (1773-1805), and Ferenc Verse­ghy (1757-1822) were considered to be trained musicians, but perhaps only Verseghy, a Pauline monk, a liturgical musician, and a harp player was active as a composer. The majority of the poets used the ad notam ‘on the tune’ method, which was a constant tech­nique in Hungarian poetry since the sixteenth century. They wrote their poems/songs based on a concrete me­lody, or marked the opening line or title of another song, whose tune the new lyrics could be sung with. It somewhat reflected the author’s con­ception, but the ráfogás method (in the nineteenth century) hung only on the public, the new singers. They matched e.g. Sándor Petőfi’s poems with free, popular melodies or folk songs. The concrete song-compositions (compo­sing melodies for the existing poems) came into focus in this period, when professional composers wrote new 125 2023/6

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