<abstract xmlns="http://www.w3.org/1999/xhtml">Among the infinite variety of borders crossed in the theatre – social, national, cultural, gender, generic, aesthetic, existential, and many others – this essay focuses on self-reflexive border-crossings in Irish <italic>kunstlerdrama</italic> (artist-drama) and theatre. Spanning over eighty years, in selected plays from W. B. Yeats’s <italic>The King of the Great Clock Tower</italic> (1934), through Brian Friel’s <italic>Faith Healer</italic> (1979), Frank McGuinness’s <italic>The Bird Sanctuary</italic> (1994) and Marie Jones’s <italic>Stones in His Pockets</italic> (1999), to Enda Walsh’s <italic>Ballyturk</italic> (2014), a few forms of theatrical representation of transgressing and/or dissolving boundaries are explored while attempting to delienate which borders need to be respected, which contested, abolished, and then which to be transcended. Artist figures or artworks within drama, embodying the power to move or mediate between different realms of reality, including art and nature, stage and auditorium, life and death, reveal that sacrificial death proves crucial still in a non-sacrificial age, in enabling the artist and/or instigating spiritual fertility. In addition to his/her role, function, potential in affecting social and spiritual life, the representation of the artist necessarily reflects on theatre’s art seeking its own boundaries and opening itself to embrace the audience.</abstract>

Crossing Borders in Irish Drama and Theatre. Art, Artist and Sacrifice

<abstract xmlns="http://www.w3.org/1999/xhtml">Máirtín Ó Cadhain’s <italic>The Dirty Dust</italic> (1949, trans. 2015) and George Saunders’s <italic>Lincoln in the Bardo</italic> (2017) illustrate two very different uses of the literary device of conversations in a cemetery. Ó Cadhain distilled the venom of selfishness and vicious back-biting found in a small rural Irish village then refined it through comedy and satire, while Saunders created a collage of voices by employing a combination of fantastic devices together with fragments of history, newspaper articles and biography to eulogize Abraham Lincoln as grieving parent and to demonstrate that love does indeed transform the world – even the world of the dead.</abstract>

“This undiscovered country” in Máirtín Ó Cadhain’s <italic>Cré na Cille</italic> and George Saunders’s <italic>Lincoln in the Bardo</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">In our academic environment, borders are usually treated within the territorial-institutional demarcation or the political resistance against such actions. In his essay “What is a Border?” Étienne Balibar focuses on political examples. What kind of demarcation is at work here? What kind of boundaries integrate everything in the space of social historical relations as if there was nothing else outside us? Politically speaking, we have created the institution of border, but according to the Australian philosopher Jeff Malpas, our being-in-the-world implies all-encompassing places as the material condition for the appearance of things and living creatures. The Hungarian term “<italic>határ</italic>” (border) has a specific meaning referring to the natural environment of a settlement: not a concrete line, but a field with depth around the built habitat of people. Can we apply a border theory based on political issues to our neighbourhood with non-human creatures? To what extent will the concept of border be changed if we consider different spaces of contact making? Through the close reading of some fragments from Henry David Thoreau’s <italic>Walden</italic> and Jack London’s <italic>White Fang</italic>, my paper shows how literature and the arts help us ask and investigate such questions.</abstract>

Border, Environment, Neighbourhood

<abstract xmlns="http://www.w3.org/1999/xhtml">Due to his supernatural nature, but also to his place of origin, Bram Stoker’s well-known character, Dracula, is the embodiment of Otherness. He is an image of an alterity that refuses a clear definition and a strict geographical or ontological placement and thus becomes terrifying. This refusal has determined critics from across the spectrum to place the novel in various categories from a psychoanalytical novel to a Gothic one, from a class novel to a postcolonial one, yet the discussion is far from being over. My article aims to examine this multitude of interpretations and investigate their possible convergence. It will also explore the ambivalence or even plurivalence of the character who is situated between the limit of life and death, myth and reality, historical character and demon, stereotype and fear of Otherness and attraction to the intriguing stranger, colonized and colonizer, sensationalism and palpable <italic>fin-de-siècle</italic> desperation, victim and victimizer, host and parasite, etc. In addition, it will investigate the mythical perspective that results from the confrontation between good and evil, which can be interpreted not only in the postcolonial terms mentioned above, but also in terms of the metatextual narrative technique, which converts into a meditation on how history and myth interact. Finally, it will demonstrate that, instead of being a representation of history, Bram Stoker’s novel represents a masterpiece of intergeneric hybridity that combines, among others, elements of history, myth, folktale and historical novel.1</abstract>

Dracula – Hybridity and Metafiction

<abstract xmlns="http://www.w3.org/1999/xhtml">My paper discusses the dialogue between Robert Frost’s verse and William Faulkner’s works: from the first poems he published as a young writer, especially in his debut volume <italic>The Marble Faun</italic> (1924), to <italic>The Hamlet</italic> (1940), an acknowledged novel of maturity. Three world-famous poems: “Birches,” “Mending Wall,” “Nothing Gold Can Stay” will represent here Frost’s metaphorical counterpart. The allegorical borders thus crossed are those between Frost’s lyrical New England setting and the Old South of Faulkner’s Yoknapatawpha diegesis; between (conventional patterns of) Romanticism and Modernism – in both writers’ cases; between poetry and prose; between “live metaphor” and “emplotment” (applying Paul Ricoeur’s theory of “semantic innovation”); between (other conventional patterns of) regionalism and (actual) universality. Frost’s uniqueness among the American modern poets owes much of its vital energy to his mock-bucolic lyrical settings, with their dark dramatic suggestiveness. In my paper I hope to prove that Frost’s lesson was a decisive inspiration for Faulkner, himself an atypical modern writer. If Faulkner’s fiction is pervaded by poetry, this is so because he saw himself as a “poet among novelists.” Faulkner actually started his career under the spell of Frost’s verse – at least to the same extent to which he had once emulated the spirit of older and remoter poets, such as Keats or Swinburne.</abstract>

The Frost in Faulkner: Walls and Borders of Modern Metaphor

<abstract xmlns="http://www.w3.org/1999/xhtml">There are countless ways of crossing borders, be they physical, geographic, social, economic, cultural or psychological. When coming up against a border, one has two options: either to cross it or to remain within. This essay investigates Csaba Székely’s <italic>Bányavidék</italic> [Mine District] trilogy primarily from the perspective of such concepts of imagology as region, center-periphery dichotomy, identity, image, representation, as well as stereotypes and clichés, and examines whether the playwright truly deconstructs such stereotyped representations of the specific geographical and cultural space and its people the trilogy focuses on.</abstract>

Sapientia Hungarian University of Transylvania

Inability of Crossing Borders: Csaba Székely’s <italic>Bányavidék</italic> [Mine District] Trilogy

<abstract xmlns="http://www.w3.org/1999/xhtml">The relatively short history of the Transylvanian Principality (one hundred and fifty years or so) was full of unexpected changes. From the tragic Battle of Mohács, fought against the Ottoman invasion (1526), until the Diploma Leopoldinum, which integrated the Principality in the huge Habsburg Empire, events like the rise of Lutheran, Calvinian or Unitarian reforms, the Catholic Reformation or Counter-Reformation – despite the Edict of Torda in 1568, which declared religious tolerance and freedom of conscience – brought forth more disagreements. In the 1670s a new population coming from Moldova appeared in the Principality: the Armenians. The history of the establishment of this population was mentioned by the Catholic priest István Lakatos in his work <italic>Siculia</italic> (1702). Through the analysis of this work, we search for answers to the question regarding the relatively short integration period of this ethnic group.</abstract>

The Integration of the Armenian Immigrants in István Lakatos’s <italic>Siculia</italic>

<abstract xmlns="http://www.w3.org/1999/xhtml">Gabriella Pusztai and Zsuzsanna Márkus, eds. 2017. <italic>Hungarian in the Motherland: Schools and Students beyond the Borders</italic> Debrecen: Debrecen University Press 334 pp</abstract>

Gabriella Pusztai and Zsuzsanna Márkus, eds. 2017. Hungarian in the Motherland: Schools and Students beyond the Borders

Schubert, Gabriella. 2017. Was ist ein Ungar? Selbstverortung im Wandel der Zeiten [What is a Hungarian? Self-Positioning through the Ages]

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Acta Universitatis Sapientiae, Philologica

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Acta Universitatis Sapientiae, Philologica

Volume 10 (2018): Issue 1 (October 2018)

Crossing Borders in Irish Drama and Theatre. Art, Artist and Sacrifice

“This undiscovered country” in Máirtín Ó Cadhain’s Cré na Cille and George Saunders’s Lincoln in the Bardo

Border, Environment, Neighbourhood

Dracula – Hybridity and Metafiction

The Frost in Faulkner: Walls and Borders of Modern Metaphor

Inability of Crossing Borders: Csaba Székely’s Bányavidék [Mine District] Trilogy

The Integration of the Armenian Immigrants in István Lakatos’s Siculia

Gabriella Pusztai and Zsuzsanna Márkus, eds. 2017. Hungarian in the Motherland: Schools and Students beyond the Borders

Schubert, Gabriella. 2017. Was ist ein Ungar? Selbstverortung im Wandel der Zeiten [What is a Hungarian? Self-Positioning through the Ages]

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