Dobos István
Academic degrees and work experience
I am a full professor, head of the Department of Literature. I completed the process of academic Habilitation in 2001. My dissertation, written in the field of literary theory, was published under the title of Az irodalomértés formái (The Forms of Understanding Literature). In 2004, I earned the DSc degree “A Magyar Tudományos Akadémia doktora” (Doctor of the Hungarian Academy of Sciences) for my monograph titled Önéletrajz a huszadik századi magyar irodalomban (Autobiography in Twentieth-Century Hungarian Literature), which came out in 2005.
I worked as a visiting professor at the University of Vienna in 2008, and several times in Finland.
Courses taught
In my academic work at the university, courses in literary theory and in literary history are both important. A collection of my papers prepared on literary theory and related to these academic courses was published in 1983 under the title Beszédhelyzetben (In Discourse Position). I also prepared university textbooks called Bevezetés az irodalomelméletbe (Introduction to Literary Theory) in 1995 and Olvasáselméletek (Theories of Reading) in 2000.
Memberships in professional organizations, organization of academic research work
I am an active participant in the work of several academic and scholarly professional bodies (Committee on Literary Scholarship of the Hungarian Academy of Sciences). I am vice president of Nemzetközi Magyarságtudományi Társaság (International Association of Hungarian Studies)
I have been in academic cooperation with the most significant foreign and Hungarian institutions. For the Finnish and other students and scholars of Hungarian Studies, I prepared a manual on the terminology of Hungarian literary scholarship with a focus on the conceptual shift in the 1990s. In a publication issued at the Frankfurt Book Fair, I introduced contemporary Hungarian literary scholarship in the form a survey study.
Phone: 06302799878
Address: Országház u. 7.
I am a full professor, head of the Department of Literature. I completed the process of academic Habilitation in 2001. My dissertation, written in the field of literary theory, was published under the title of Az irodalomértés formái (The Forms of Understanding Literature). In 2004, I earned the DSc degree “A Magyar Tudományos Akadémia doktora” (Doctor of the Hungarian Academy of Sciences) for my monograph titled Önéletrajz a huszadik századi magyar irodalomban (Autobiography in Twentieth-Century Hungarian Literature), which came out in 2005.
I worked as a visiting professor at the University of Vienna in 2008, and several times in Finland.
Courses taught
In my academic work at the university, courses in literary theory and in literary history are both important. A collection of my papers prepared on literary theory and related to these academic courses was published in 1983 under the title Beszédhelyzetben (In Discourse Position). I also prepared university textbooks called Bevezetés az irodalomelméletbe (Introduction to Literary Theory) in 1995 and Olvasáselméletek (Theories of Reading) in 2000.
Memberships in professional organizations, organization of academic research work
I am an active participant in the work of several academic and scholarly professional bodies (Committee on Literary Scholarship of the Hungarian Academy of Sciences). I am vice president of Nemzetközi Magyarságtudományi Társaság (International Association of Hungarian Studies)
I have been in academic cooperation with the most significant foreign and Hungarian institutions. For the Finnish and other students and scholars of Hungarian Studies, I prepared a manual on the terminology of Hungarian literary scholarship with a focus on the conceptual shift in the 1990s. In a publication issued at the Frankfurt Book Fair, I introduced contemporary Hungarian literary scholarship in the form a survey study.
Phone: 06302799878
Address: Országház u. 7.
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Papers by Dobos István
The study suggests that in Ferenc Molnár’s play The Game in the Castle, the staged and narrated versions of the performance together form a blended genre in which humor is complemented by a philosophical perspective. In the foreground of the play is a rehearsal process of an operetta about to be performed. The story of the play is inextricably intertwined with the real-life love story that takes place in the castle. The castle is not only a place to stay, but also an auditorium and a stage. A natural gateway between life and art is opened in the play, infinitely crossing the boundary between the real and the fictional, personality and role, true and false. The play calls into question whether referential reality can be identified. Molnár’s play presents both the performance of the story and the story of the performance. This poetic experiment was inspired by the self-reflexive variety of anecdotal narrative, in which the storyteller also enacts the performance itself to enhance the effect on the reader. Molnár’s work is constantly interpreting itself: it is literally about creating artificial illusions. Molnár’s theatre is linked to the aesthetics of crossing boundaries, as it experiments without pause to cross the boundaries (art and life, auditorium and stage) that emerged at the end of the 18th century.
The study suggests that in Ferenc Molnár’s play The Game in the Castle, the staged and narrated versions of the performance together form a blended genre in which humor is complemented by a philosophical perspective. In the foreground of the play is a rehearsal process of an operetta about to be performed. The story of the play is inextricably intertwined with the real-life love story that takes place in the castle. The castle is not only a place to stay, but also an auditorium and a stage. A natural gateway between life and art is opened in the play, infinitely crossing the boundary between the real and the fictional, personality and role, true and false. The play calls into question whether referential reality can be identified. Molnár’s play presents both the performance of the story and the story of the performance. This poetic experiment was inspired by the self-reflexive variety of anecdotal narrative, in which the storyteller also enacts the performance itself to enhance the effect on the reader. Molnár’s work is constantly interpreting itself: it is literally about creating artificial illusions. Molnár’s theatre is linked to the aesthetics of crossing boundaries, as it experiments without pause to cross the boundaries (art and life, auditorium and stage) that emerged at the end of the 18th century.