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Sándor Márai is one of the most significant Hungarian authors of the twentieth century. His career started in the second half of the 1920s, in the late modernist era, and then suffered some sharp turns when he emigrated to Italy in 1948 and then moved to the United States. From that time onwards, his works were not published in Hungary until his death in 1989.To a large extent, the recognition of his oeuvre, in certain part for the second time, occurred in the 1990s. In the reception of his work, a more prominent emphasis fell on his autobiographical prose and his diaries. Although his fiction, both his short novels and novels, was exceptionally successful among readers in Hungary and abroad, Hungarian critics produced ambivalent responses to it. Until now, relatively little attention has been paid to the poetic characteristics of these works, and in terms of other literary influences, usually western authors are mentioned. In all the research devoted to Márai’s oeuvre to date, the role of Russian literature has not been discussed yet. Nonetheless, the influence of the Russian classics whose legacy Márai was well-acquainted with can be clearly detected in his pre-emigration works.It is from this particular aspect that this paper examines The Seagull, a novel which was published in 1943 and has received scant attention in Hungarian literary criticism. The hypothesis presented here is that this was an experimental novel, which is demonstrated through the background of Chekhov’s poetics. Firstly, the author considers an intertextual link with Chekhov’s eponymous play, primarily on the level of the system of relationships between the characters themselves and the relationship between the characters and the symbol of the seagull. Secondly, there are clearly manifested examples of certain features that were typical of Chekhov’s later prose. Following an exploration of Márai’s novel’s poetic features, the author attempts to place the work within the context of the author’s oeuvre., Шандор Мараи (Márai Sándor) — один из выдающихся венгерских писателей XX в. Его творческий путь начался во второй половине 1920-х гг., в эпоху позднего модернизма, и претерпел кардинальные изменения после эмиграции писателя в 1948 г., — сначала в Италию, а потом в США. С этого момента и до самой смерти Мараи в 1989 г. его произведения в Венгрии не издавались.Широкое признание творчества писателя (отчасти повторное) произошло в 1990-е гг., причем интерес исследователей прежде всего был направлен на его автобиографические тексты и дневники. Повести и романы с их чисто беллетристическими сюжетами, несмотря на огромный успех как в Венгрии, так и за рубежом, у венгерских литературоведов вызывали противоречивые мнения. Художественной прозе Мараи до сих пор уделялось не слишком большое внимание, а когда речь идет о влиянии на Мараи других писателей, то здесь рассматривается лишь «западный» литературный контекст. Вопрос же о влиянии русской литературы на творчество Мараи до сих пор никем не ставился, хотя оно — если иметь в виду произведения русских классиков, с творчеством которых писатель был хорошо знаком, — отчетливо сказывается в его произведениях доэмигрантского периода.В представленной статье именно с точки зрения русского литературного контекста рассматривается недооцененный в венгерской критике роман Мараи «Чайка» («Sirály», 1943). Выдвигается предположение, что роман носит экспериментальный характер, который проявляется в основном на фоне классической чеховской поэтики; исследуется интертекстуальная связь с одноименной пьесой Чехова (прежде всего, на уровне системы персонажей и их отношения к символу «чайки»); выделяются конкретные приемы, использованные Мараи, но характерные для поздней прозы Чехова; делается попытка определить место романа в творчестве Мараи.

The projective norm graphs $\text{NG}(q,t)$ provide tight constructions for the Tur��n number of complete bipartite graphs $K_{t,s}$ with $s>(t-1)!$. In this paper we determine their automorphism group and explore their small subgraphs. To this end we give quite precise estimates on the number of solutions of certain equation systems involving norms over finite fields. The determination of the largest integer $s_t$, such that the projective norm graph $\text{NG}(q,t)$ contains $K_{t,s_t}$ for all large enough prime powers $q$ is an important open question with far-reaching general consequences. The best known bounds, $t-1\leq s_t \leq (t-1)!$, are far apart for $t\geq 4$. Here we prove that $\text{NG}(q,4)$ does contain (many) $K_{4,6}$ for any prime power $q$ not divisble by $2$ or $3$. This greatly extends recent work of Grosu, using a completely different approach. Along the way we also count the copies of any fixed $3$-degenerate subgraph, and find that projective norm graphs are quasirandom with respect to this parameter. Some of these results also extend the work of Alon and Shikhelman on generalized Tur��n numbers. Finally we also give a new, more elementary proof for the $K_{4,7}$-freeness of $\text{NG}(q,4)$., 41 pages + 6 pages of Appendix