Enikő Sepsi is Full Professor and Director of the Institute of Arts Studies and General Humanities at Károli Gáspár University of the Reformed Church in Hungary.

• Introduction PART I: Image and presence: two trends in contemporary French poetry 1.Predecessors: Contemporary French poets in the pages of Nyugat and Nouvelle Revue Française (NRF) Between 1909 and 1937 2. Yves Bonnefoy and the poetry of presence 3. The new lyricism 4. Conclusion PART II: Theatrical presence, poetic rituality, and the theater of kenotic rituals 5. Methodological considerations and the Hungarian Context of Reception 6. Kenosis in theology 7. Kenosis in Simone Weil’s mysticism 8. Mysticism in the approach to theater: The "kenotic" theater 9. Figures and Disfigurations of the Human Face 10. On Bearing Witness to a Poetic Ritual. Robert Wilson’s Deafman Glance as seen by János Pilinszky 11. Valère Novarina and János Pilinszky, or the Theater of Unselfed Poetry 12. Sacred or Holy? Dramaturgy in Valère Novarina’s theater 13. Emptiness, Space, and time in Valère Novarina’s theater 14. Rituals in Valère Novarina’s works 15. The Imaginary Animal 16. Novarina’s works produced in Hungary Summary 17. Appendix 1 18. Appendix 2 19. Appendix 3 20. Appendix 4

Enikő Sepsi is Full Professor and Director of the Institute of Arts Studies and General Humanities at Károli Gáspár University of the Reformed Church in Hungary.

• Introduction PART I: Image and presence: two trends in contemporary French poetry 1.Predecessors: Contemporary French poets in the pages of Nyugat and Nouvelle Revue Française (NRF) Between 1909 and 1937 2. Yves Bonnefoy and the poetry of presence 3. The new lyricism 4. Conclusion PART II: Theatrical presence, poetic rituality, and the theater of kenotic rituals 5. Methodological considerations and the Hungarian Context of Reception 6. Kenosis in theology 7. Kenosis in Simone Weil’s mysticism 8. Mysticism in the approach to theater: The "kenotic" theater 9. Figures and Disfigurations of the Human Face 10. On Bearing Witness to a Poetic Ritual. Robert Wilson’s Deafman Glance as seen by János Pilinszky 11. Valère Novarina and János Pilinszky, or the Theater of Unselfed Poetry 12. Sacred or Holy? Dramaturgy in Valère Novarina’s theater 13. Emptiness, Space, and time in Valère Novarina’s theater 14. Rituals in Valère Novarina’s works 15. The Imaginary Animal 16. Novarina’s works produced in Hungary Summary 17. Appendix 1 18. Appendix 2 19. Appendix 3 20. Appendix 4

Enikő Sepsi is Full Professor and Director of the Institute of Arts Studies and General Humanities at Károli Gáspár University of the Reformed Church in Hungary.

• Introduction PART I: Image and presence: two trends in contemporary French poetry 1.Predecessors: Contemporary French poets in the pages of Nyugat and Nouvelle Revue Française (NRF) Between 1909 and 1937 2. Yves Bonnefoy and the poetry of presence 3. The new lyricism 4. Conclusion PART II: Theatrical presence, poetic rituality, and the theater of kenotic rituals 5. Methodological considerations and the Hungarian Context of Reception 6. Kenosis in theology 7. Kenosis in Simone Weil’s mysticism 8. Mysticism in the approach to theater: The "kenotic" theater 9. Figures and Disfigurations of the Human Face 10. On Bearing Witness to a Poetic Ritual. Robert Wilson’s Deafman Glance as seen by János Pilinszky 11. Valère Novarina and János Pilinszky, or the Theater of Unselfed Poetry 12. Sacred or Holy? Dramaturgy in Valère Novarina’s theater 13. Emptiness, Space, and time in Valère Novarina’s theater 14. Rituals in Valère Novarina’s works 15. The Imaginary Animal 16. Novarina’s works produced in Hungary Summary 17. Appendix 1 18. Appendix 2 19. Appendix 3 20. Appendix 4