Szerkesztőség

Narratológia – Válogatott bibliográfia


Allen, Robert C.: Reader-Oriented Criticism and Television. In: Channels of Discourse. Television and Compentorary Criticism. (ed. Allen, R. C. ) Chapel Hill: University of North Carolina Press, 1987.

Allen, Robert C.: Vaudeville and Film: 1895–1915: A Study in Media Interaction. New York: Anno Press, 1980.

Altman, Rick: Dickens, Griffith and Film Theory Today. South Atlantic Quaterly 88 (1989) no. 1. pp. 321–359.

Armour, R. A.: Genesis of American Film Narrative 1896–1903. Litterature/Film Quaterly 15 (1987) no. 4. pp. 268–273.

Barthes, Roland: Mitológiák. (ford. Ádám Péter) Budapest: Európa, 1983.

Barthes, Roland: S/Z. (ford. Mahler Zoltán) Budapest: Osiris–Gond, 1997.

Barthes, Roland: To Write: An Intransitive Verb? In: The Structuralist Controversy. The Languages of Criticism and the Scienses of Man. (eds. Macksey, Richard–Donato, Eugenio) Baltimore: John Hopkins University Press, 1972.

Barthes, Roland: A szöveg öröme (ford. Babarczy Eszter, Kovács Sándor, Mihancsik Zsófia, Romhányi Török Gábor) Budapest: Osiris, 1996.

Barthes, Roland: Bevezetés a történetek strukturális elemzésébe. (ford. Simonffy Zsuzsa) In: Bókay Antal – Vilcsek Béla (szerk.): A modern irodalomtudomány kialakulása. A pozitivizmustól a strukturalizmusig. Budapest: Osiris, 1998. pp. 527–542.

Barthes, Roland: Image-Music-Text. (trans., ed. Stephen Heath) New York: Hill and Wang, 1977.

Barthes, Roland: A kép retorikája. (ford. Angyalosi Gergely) Filmkultúra 26 (1990) no. 5. pp. 64–72.

Barthes, Roland: A harmadik értelem. (ford. Berkes Sándor) Filmspirál 3 (1997) no. 2. pp. 1–24.

Barthes, Roland: The Realistic Effect. (trans. Gerald Mead) In: Film Reader 3. Evanston: Northwestern University Press, 1978. pp. 131–135.

Barthes, Roland: Világoskamra. Jegyzetek a fotográfiáról. (ford. Ferch Magda) Budapest: Európa, 1985.

Barthes, Roland: L’aventure sémiotique. Paris: Seuil, 1985.

Barthes, Roland: L’obvie et l’obtus. Paris: Seuil, 1982.

Barthes, Roland: A két kritika (ford. Angyalosi Gergely) Helikon 38 (1992) pp. 277–282

Barthes, Roland: Lecke (ford. Gyimesi Tímea) Pompeji 4 (1993) nos. 1–2 pp. 143–163

Barthes, Roland: A műtől a szöveg felé (ford. Kovács Sándor) Pompeji 2 (1991) no. 3. pp. 90–97.

Barthes, Roland: Válogatott írások. (ford. Fodor István, Kelemen János) Budapest: Európa, 1976.

Bíró László: Nemzet és narráció. Metropolis 2 (1998) no. 2. pp. 59–65.

Bíró Yvette: In the Spiral of Time. Millenium Film Journal (1984–1985) pp. 173–177.

Black, David Alan: Cinematic Realism and the Phonographic Analogy. Cinema Journal 26 (1987) no. 4. pp. 39–50.

Black, David Alan: Narrative Films and the Synoptic Tendency. Ph.D. disszertáció, New York University Press, 1988.

Bordwell, David: ApProppriations and ImPropprieties: Problems in the Morphology of Film Narrative. Cinema Journal 27 (1987) no. 1. pp. 5–20. Magyarul: “Proppizmus és álProppizmus”. A filmi elbeszélés morfológiájában felvetődő problémákról. (ford. Pócsik Andrea) Metropolis 2 (1998) no. 2. pp. 40–51.

Bordwell, David: Happily Ever After, Part 2. Velvet Light Trap 19 (1982) pp. 2–7.

Bordwell, David: Toto le moderne. La narration dans le cinéma européen d’apres 1970. Revue Belge du Cinema 36–37 (1994) pp. 32–39.

Bordwell, David: Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge: Harvard University Press, 1989.

Bordwell, David: Ozu and the Poetics of Cinema. Princeton: Princeton University Press, 1988.

Bordwell, David: The Films of Carl-Theodor Dreyer. Berkeley: University of California Press, 1981.

Bordwell, David : Narration in the Fiction Film. 1985. Magyarul: Elbeszélés a játékfilmben (ford. Pócsik Andrea). Budapest: Magyar Filmintézet, 1996.

Branigan, Edward: Diegesis and Authorship in Film. Iris 7 (1986) no. 3. pp. 37–54.

Branigan, Edward: Narrative Comprehension and Film. London, New York: Routledge, 1992.

Branigan, Edward: Point of View in the Cinema. A Theory of Narration and Subjectivity in Classical Film. New York, Berlin: Mouton, 1984. Magyarul részletek: Az azonosítatlan elbeszélő fogalma. (ford. Szilágyi Gábor) Filmkultúra 26 (1990) no. 2. pp. 52–54., Metaelmélet (ford. Szászi Fatime) Metropolis 2 (1998) no. 2. pp. 10–26.

Branigan, Edward: Sound and Epistemology in Film. Journal of Aesthetics and Art Criticism 47 (1989) no. 3. pp. 311–324.

Branigan, Edward: The Point-of-View Shot. In: Movies and Methods. An Anthology 2. (ed. Nichols, Bill) Berkeley, Los Angeles: University os California Press, 1985.

Branigan, Edward: The Space of Equinox Flower. In: Close Viewings. An Anthology of New Film Criticism. (ed. Lehman, Peter) Tallahassee: Florida State University Press, 1990.

Branigan, Edward: The Spectator and Film Space. Two Theories. Screen 22 (1981) no. 1. pp. 55–78.

Brewster, Ben: A Scene at the ‘Movies’. Screen 23 (1982) no. 2. pp. 4–15.

Brewster, Ben: Traffic in Souls. An Experiment in Feature-length Narrative Constructions. Cinema Journal 31 (1991) no. 1. pp. 37–56.

Browne, Nick: The Rhetoric of Filmic Narration. Ann Arbour: UMS Research Press, 1982.

Browne, Nick: Amerivan Narrative Studies of Film. Between Formalism and Postmodernism. Review of Film Studies 10 (1989) no. 4. pp. 341–346.

Budd, M.: Retrospective Narration in Film. Film Criticism 4. (1997) no. 1.

Burch, Noël: Passion, poursuite: la linéarisation. Communications 38 no. 38. pp. 30–50.

Burch, Noël: Life to those Shadows. (trans., ed. Ben Brewster) Berkeley: University of California Press, 1990. Magyarul részlet: Narráció, diegézis. Küszöbök és határok (ford. Kaposi Ildikó) Metropolis 2 (1998) no. 2. pp. 28–38.

Burgoyne, Robert: The Cinematic Narrator. The Logic and Pragmatics of Impersonal Narration. Journal on Film and Video 42 (1990) no. 1. pp. 3–16.

Burgoyne, Robert: The Interaction of Text and Semantic Deep Structure in the Production of Filmic Characters. Iris 4 (1986) pp. 69–79.

Carroll, Noël: Mystifying Movies. Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press, 1988.

Carroll, Noël: Toward a Theory of Film Editing. Millenium Film Journal (1979) nos. 1–2. pp. 79–99.

Carroll, Noël: Toward a Theory of Film Suspense. Persistence of Vision (1984) no. 2. pp. 65–89.

Carroll, Noël: Buster Keaton, the General, and Visible Intelligibility. In: Close Viewings. An anthology of New Film Criticism (ed. Peter Lehman) Tallahassee: Florida State University Press, 1990.

Casebier, Allan: A Deconstuctive Documentary. Journal of Film and Video 40 (1988) no. 4. pp. 34–39.

Cebik, L. B.: Fictional Narrative and Truth. An Epistemic Analysis. New York: University Press of America, 1984.

Chatman, Seymour: Story and Discourse: Narrative Structure in Fiction and Film. Ithaca: Cornell University Press, 1978.

Chatman, Seymour: What is Description in Cinema? Cinema Journal 23 (1984) no. 2. pp. 4–11.

Chatman, Seymour: Characters and Narrators. Filter, Center, Slant, and Interest-Focus. Poetics Today 7 (1986) pp. 189–204.

Chatman, Seymour: Who is the Best Narrator? The Case of The Third Man. Style 23 (1989) no. 2. pp. 183–196.

Chatman, Seymour: Coming to Therms. The Rhetoric of Narrative in Fiction and Film. Ithaca: Cornell University Press, 1990.

Cohan, Steven–Shires, Linda M.: Telling Stories. A Theoretical Analysis of Narrative Fiction. New York: Routledge, 1988.

Coste, Didier: Narrative as Communication. Minneapolis: University of Minnesota Press, 1989.

Crafton, D.: Genre and Technology in 1909. Journal of Popular Film and Television 13 (1996) no. 4. pp. 166–170.

Crawford, L.: Actional Naneability and Filmic Narrativity. From Inner Speach to Identification. Quaterly Review of Film Studies 6 (1981) no. 2. pp. 265–277.

Critical Inquiry 7 (1980) no. 1. On Narrative – különszám.

Crofts, Stephen: Autorship and Hollywood. Wide Angle 5 (1983) pp. 16–22.

Culler, Jonathan: Fabula and Sjuzhet in the Analysis of Narrative. Some American Discussions. Poetics Today 1 (1980) pp. 27–37.

Culler, Jonathan: Problems of the Theory of Fiction. Diacritics 14 (1984) no. 1. pp. 2–11.

Currie, Gregory: The Nature of Fiction. New York: Cambridge University Press, 1990.

Danto, Arthur C.: Narration and Knowledge. New York: Columbia University Press, 1985.

Derry, Charles: Towards a Categorization of Film Narrative. Film Reader 2 (1977) pp. 111–122.

Dmytryk, Edward: On Film Editing. An Introduction to the Art of Film Construction. Boston: Focal Press, 1984.

Davies, Gill: Teaching About Narrative. Screen Education 29 (1978/79) pp. 56–76.

Eberwein, Robert T.: Film and The Dream Screen. A Sleep and a Forgetting. Princeton: Princeton University Press, 1984.

Eberwein, Robert T.: The Filmic Dream and Point of View. Literature/Film Quaterly 8 (1980) pp. 197–203.

Edmiston, William F.: Focalization and the First-Person Narrator. A Revision of the Theoty. Poetics Today 10 ((1989) no. 4. pp. 729–744.

Film/Narrative/The Novel. Ciné-Tracts 4 (1981) no. 1. pp. 1–68.

A film poétikája. A Leningrádi Művészettörténeti Intézet kutatói a filmről. (ford. Berkes Ildikó, szerk. Kelemen Tibor) Budapest: Magyar Filmtudományi Intézet és Filmarchívum, 1978.

Fleischman, Suzanne: Tense and Narrativiy. From Medieval Performance to Modern Fiction. Austin: University of Texas Press, 1990.

Gaudreault, André: Narration and Monstration in the Cinema. Journal on Film and Video 39 (1987) no. 1. pp. 29–36.

Genette, Gérard: Az elbeszélő diszkurzus (ford. Sepeghy Boldizsár) In: Az irodalom elméletei I. pp. 61–98. Pécs: Janus Pannonius Tudományegyetem–Jelenkor, 1996.

Genette, Gérard: Narrative Discourse. An Essay in Method. (trans. Jane E. Lewin) Ithaca: Cornell University Press, 1980.

Genette, Gérard: Stílus és szignifikáció. (ford. Kiss Ágnes) Helikon 41 (1995) no. 3. pp. 334–363.

Genette, Gérard: Transztextualitás (ford. Burján Mónika) Helikon 42 (1996) nos. 1–2. pp. 82–90.

Genette, Gérard: Boundaries of Narrative (trans. Ann Levonas) New Literary History 8 (1976) no. 3. pp. 1–13.

Genette, Gérard: Narrative Discourse revisited (trans. Jane E. Lewin) Ithaca: Cornell University Press, 1988.

Gledhill, Christine: Whose Choice? Teaching Films About Abortion. Screen Education 24 (1977) no. 1. pp. 36–37.

Gorbman, Claudia: Unheard Melodies. Narrative Film Music. Bloomington: Indiana University Press, 1987.

Gulich, Elisabeth–Quasthoff, Uta M.: Narrative Analysis. In: Handbook of Discourse Analysis 2. Dimensions of Discourse. (ed. Teun A. van Dyke) New York: Academic Press, 1985.

Guynn, William: A Cinema of Nonfiction. London – Toronto: Associated University Presses, 1990.

Gunning, Tom: Weaving a Narrative. Style and Economic Background in Griffith’s Biograph Films. Quaterly Review of Film Studies 6 (1981) no. 1. pp. 11–26.

Heath, Stephen: Film and System. Terms of Analysis 1. Screen 16 (1975) no. 1. pp. 7–77.

Heath, Stephen: Film and System: Terms of Analysis 2. Screen 16 (1975) no. 2. pp. 91–113.

Heath, Stephen: Questions of Cinema. New York: Macmillan, 1981.

Hedges, Inez: Breaking the Frame. Film Language and the Experience of Limits. Bloomington: Indiana University Press, 1991.

Jarvie, Ian: Philosophy of the film. Epistemology, Ontology, Aesthetics. New York: Routledge & Kegan Paul, 1987.

Kawin, Bruce: Mindscreen. Bergman, Godard, and First-Person Film. Princeton: Princeton University Press, 1978.

Khatchadourian, Haig: Space and Time in Film. British Journal of Aesthetics 27 (1987) no. 2. pp. 169–177.

Kinder, Marsha: The Subversibe Potential of the Pseudo-Iterative. Film Quaterly 43 (1989–1990) no. 1. pp. 3–16.

Kovács András Bálint: Film és elbeszélés. Budapest: Korona, 1997.

Kozloff, Sarah Ruth: Narrative Theory and Television. In: Channels of Discourse. Television and Compentorary Criticism. (ed Robert C. Allen) Chapel Hill: University of North Carolina Press, 1987.

Kozloff, Sarah Ruth: Invisible Storytellers. Voice-Over Narration in American Fiction Films. Berkeley: University of California Press, 1988.

Lanser, Susan Sniader: The Narrative Act. Point of View in Prose Fiction. Princeton: Princeton University Press, 1981.

Lehman, Peter–Luhr, William: Blake Edwards’ Engangement of the Slapstick Tradition in Blind Date. Film Criticism 13 (1998) no. 1. pp. 20–32.

Leff, Leonard: Reading Kane. Film Quaterly 39 (1985) no. 3. pp. 10–20.

Luhr, William: Raymond Chandler and The Lady in the Lake. Wide Angle 6 (1984) pp. 28–33.

Luhr, William–Lehman, Peter: Autorship and Narrative in the Cinema. New York: Routledge, 1977.

MacCabe, Colin: Realism and the Cinema: Notes on some Brechtian These. Screen 15 (1974) no. 2. pp. 7–27.

MacCabe, Colin: The Politics of Separation. Screen 16 (1975–1976) no. 4. pp. 46–57.

MacCabe, Colin: Days of Hope. A Response to Colin McArthur. Screen 17 (1976) no. 1. pp. 98–101.

MacCabe, Colin: Theory and Film. Principles of Realism and Pleasure. Screen 17 (1976) no. 3. pp. 7–27.

MacCabe, Colin: The Discursive and the Ideological in Film. Notes on the Conditions of Political Intervention. Screen 19 (1978) no. 4. pp. 29–43.

MacCabe, Colin: Tracking the Signifer. Theoretical Essays: Film, Linguistics, Litterature. Minneapolis: University of Minnesota Press, 1985.

Mandler, Jean Matter: Stories, Scripts, and Scenes. Aspects of Schema Theory. Hillsdale: Erlbaum, 1984.

Marshall, Stuart: Lady in the Lake. Identification and the Drives. Film Form 1 (1977) no. 3. pp. 34–50.

Martin, Wallace: Recent Theories of Narrative. Ithaca: Cornell University Press, 1986.

Sternberg, Meir: Expositional Modes and Temporary Ordering in Fiction. Baltimore: Johns Hopkins University Press, 1978.

Mulvey, Laura: Visual Pleasure and Narrative Cinema. Screen 16 (1975) no. 3. pp. 1–18.

Mulvey, Laura: Visual and Other Pleasures. Bloomington: Indiana University Press, 1989.

Naremore, James: Acting in the Cinema. Berkeley: University of California Press, 1988.

Narrative, Apparatus, Ideology. A Film Theory Reader. (ed. Rosen, Philip) New York: Columbia University Press, 1986.

New Literary History 6 (1975) no. 4.: On Narrative and Narratives – különszám.

New Literary History 11 (1980) no. 1.: On Narrative and Narratives – különszám.

Nichols, Bill: History, Myth and Narrative in Documentary. Film Quaterly 41 (1987) no. 3. pp. 9–20.

On Narrative (ed. Mitchell, W. J. T.). Chicago: University of Chicago Press, 1981.

Peterson, James: The Artful Mathematicians of the Avant-Garde. Wide Angle 7 (1985) pp. 14–23.

Plantinga, Carl: Defining Documentary. Fiction, Non-Fiction, and Projected Worlds. Persistence of Vision 5 (1987) no. 1. pp. 44–54.

Plantinga, Carl: The Mirror Framed. A Case for Expression in Documentary. Wide Angle 13 (1991) no. 1. pp. 40–53.

Poetics 15 (1986) no. 1 különszám: Narrative Analysis: An Interdisciplinary Dialogue.

Poetics Today 11 (1990) no. 2. különszám: Narratology Revisited.

Poetics Today 11 (1990) no. 4. különszám: Narratology Revisited.

Poetics Today 12 (1991) no. 3. különszám: Narratology Revisited.

Polan, Dana: Power and Paranoia. History, Narrative, and The American Cinema. 1940–1950. New York: Columbia University Press, 1986.

Prince, Gerald: A Grammar of Stories. An Introduction. The Hauge: Mouton, 1973.

Prince, Gerald: Narratology. The Form and Functioning of Narrative. New York: Mouton, 1982.

Prince, Gerald: A Dictionary of Narratology. Lincoln: University of Nebraska Press, 1987.

Riffaterre, Michael: Fictional Truth. Baltimore: John Hopkins University Press, 1990.

Rimmon-Kenan, Shlomith: Narrative Fiction. Contemporary Poetics. New York: Methuen, 1983.

Rodowick, David N.: The Difficulty of Difference. Wide Angle 5 (1982) pp. 4–15.

Ropars-Wuillenmier, Marie-Claire: Narration and Signification. Quarterly Review of Film and Video 11 (1990) no. 4. pp. 7–20.

Ruthrof, Horst: The Reader’s Contraction of Narrative. London: Routledge & Kegan Paul, 1981.

Salt, Berry: Film Style and Technology. History and Analysis. London: Starword, 1983.

Sesonske, Alexander: Cinema Space. In: Explorations in Phenomenologhy. (eds. David Carr, Edward S. Casey) The Hague: Martinus Nijhoff, 1973.

Sesonske, Alexander: Time and Tense in Cinema. Journal of Aesthetics and Art 38 (1980) no. 2. pp. 419–426.

Smith, Margareth: Cognition, Emotion and Cinematic Narrative. Post Script 13 (1993) no. 1. pp. 30–45.

Staiger, Janet: Interpreting Films. Studies in the Historical Reception of American Cinema. Princeton: Princeton University Press, 1992.

Sternberg, Meir: Expositional Modes and Temporary Ordering in Fiction. Baltimore: Johns Hopkins University Press, 1978.

Stewart, Garett: Photo-gravure. Death, Photography and Film Narrative. Wide Angle 9 (1987) pp. 11–31.

Stewart, Garett: Reading Voices. Literature and the Phonotext. Berkeley: University of California Press, 1990.

Studlar, Gaylyn: Masochism and the Perverse Pleasures of Cinema. Quaterly Reveiew of Film Studies 9 (1984) no. 3. pp. 267–282.

Szilágyi Gábor: Cselekmény, elbeszélés, képmező. Filmkultúra 30 (1995) no. 5. pp. 5–2.

Szilágyi Gábor: Film és cselekmény. A szöveg/cselekmény fogalma és modellálása a filmen. Budapest: Magyar Filmtudományi Intézet és Filmarchívum, 1983.

Szilágyi Gábor: A filmkép harmadik jelentése. Filmkultúra 31 (1995) no. 9. pp. 14–12.

Szilágyi Gábor: Formaesztétika és strukturalista szemiológia. Filmkultúra 31 (1995) no. 8. pp. 12–9.

Szilágyi Gábor: Új film – új szemiológia. Filmkultúra 31(1995) no. 10. pp. 9–7.

Sweeney, Kevin W.: The Dream of Disruption. Melodrama and Gag Structure in Keaton’s Sherlock Junior. Wide Angle 13 (1991) no. 1. pp. 101–120.

Telotte, J. P.: Dancing the Depression. Journal of Popular Films 8. (1980) no. 3. pp. 15–24.

Telotte, J. P.: Siodmak’s Phantom Women and Noir Narrative. Film Criticism 11 (1987) no. 3. pp. 1–10.

Telotte, J. P.: The Big Clock of Film Noir. Film Criticism 14 (1980–1990) no. 2. pp. 1–11.

Theories of Autorship. A Reader. (ed. John Caughie) London: Routledge & Kegan Paul, 1981.

Thompson, Kristine: Breaking the Glass Armor. Neoformalist Film Analysis. Princeton: Princeton University Press, 1988.

Todorov, Tzvetan: The Two Principles of Narrative. Diacritics 1 (1971) no. 3. pp. 37–44.

Todorov, Tzvetan: Introduction á la literature fantastique. Paris: Seuil, 1970.

Todorov, Tzvetan: Categories of the Literary Narrative. (trans. Ann Goodman) Film Reader 2 (1977) pp. 19–37.

Todorov, Tzvetan: Poétique de la prose. Paris: Seuil, 1971.

Todorov, Tzvetan: Genres du discours. Paris: Seuil, 1978.

Todorov, Tzvetan: Théories du Symbole. Paris: Seuil, 1977.

Todorov, Tzvetan: Sémantique de la poésie. Paris, Seuil, 1979.

Toolan, Michael J.: Narrative: A Critical Linguistic Introduction. New York: Routledge, 1988.

Turim, Maureen: Flashbacks in Film. Memory and History. New York: Routledge, 1989.

Turner, Dennis: Film Noir and the Apparatus of the Fetish. Introduction to Flickerings of Black and White. Structuralist Review 2 (1984) no. 1. pp. 34–43.

Vajdovich Györgyi: Az elbeszélés rombolása. A francia Új Regény hatása a filmre. Metropolis 2 (1998) no. 2. pp. 52–58.

Vaughn, Dai: The Space Between Shots. In: Movies and Methods. An Anthology 2 (ed. Bill Nichols) Berkeley: University of California Press, 1985.

White, Hayden: The Content of the Form. Narrative Discourse and Historical Representation. Baltimore: John Hopkins University Press, 1987.

Wide Angle 8(1986)nos. 3–4. pp. 4–127. Narrative-Non-Narrative – különszám.

Wilson, George M.: Narration in Light. Studies in Cinematic Point of View. Baltimore: John Hopkins University Press, 1986.

Wollen, Peter: Signs and Meaning in the Cinema. Lomdon: Secker and Warburg, 1969.

Wood, Robin: Narrative Pleasure. Two Films by Jacques Rivette. Film Quaterly 37 (1981) no. 4. pp. 2–12.

Wood, Robin: The Incoherent Text. Narrative in the 70’s. Movie 27–28 (1980–1981) pp. 24–42.

Wood, Robin: Personal Views. Explorations in Film. London: Gordon Fraser, 1976.

Youdelman. Jeffrey: Narration, Invention, and History. A Documentary Dilemma. Cineaste 12 (1982) pp. 8–15.

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