IN:\u00a0<\/span><\/strong>Partit\u00fara Irodalomtudom\u00e1nyi foly\u00f3irat, Volume XVIII. , Issue 1, 2023, p. 65-100 ,\u00a0ISSN 1336-7307<\/span><\/p>\n DOI:\u00a0<\/strong>10.17846\/PA.2023.18.1.65-100<\/p>\n Abstract:<\/strong><\/p>\n The study deals with two works by two outstanding authors of Hungarian interwar prose. Both Ern\u0151 Sz\u00e9p and Rodion Markovits were born into Jewish families, but they performed their work outside the confessional framework. Both authors have written two autobiographical works that can be read more or less as autoethnography, since the autobiographer narrates his own origins, the world of his childhood, in relation to its culture. The articulation of Jewish identity differs between two works of each author. The articulation of Jewish identity in Rodion Markovits\u2019s short prose collection, Reb \u00c1ncsli \u00e9s m\u00e1s avasi zsid\u00f3kr\u00f3l sz\u00f3l\u00f3 sz\u00e9phist\u00f3ri\u00e1k [Reb \u00c1ncsli and other stories about the Jews of Avas] plays key role: the narratives depict a closed Jewish world of which the family is a part. In contrast, in his memoir Any\u00e1m kertje [My mother\u2019s garden], he makes no mention of his family being Jewish. There is a similar contradiction in the case of Ern\u0151 Sz\u00e9p, who, in his autobiographical novel Dali dali dal [Dali dali song], mentions only once the Jewish identity of the protagonist, his father, at the end of the book. Sz\u00e9p\u2019s Feln\u0151tteknek [For Adults] is an autoethnographic memoir, dealing with themes of family and childhood, so that Jewish \u201atraits\u2019 appear as a matter of course. The contradiction between these two works by the two writers points to the example, how the narrative identity is constructed, and the fact, that autobiography is a subject of fabrication.<\/p><\/blockquote>\n