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Arts and Humanities
Abstract
Parallel with the emergence of modern national identity and culture, from the late 18th to the early 20th century an emphasized consciousness underlined the attempt to create a ‘national’ dress. In the court cultures of Europe, a shift in the style of representation from ‘international’ to ‘regional/ethnic’ and ‘national’ served the aim of updating the monarch's role. Royals reaffirmed their sense of belonging to their own ‒ or adopted ‒ nations through the conscious introduction of national elements into the dress code of the court. Royal courts also played a leading role in the myth-making process surrounding the so-called national style. The connection between power, prestige, and the dynamics of costume as a fashion statement is obvious in this process.
New Results of Hungarian Legal Ethnography •
Guest Editors' Foreword
O Bojničićevoj Gramatici madžarskoga jezika iz drugoga kuta: uzroci i narav mijena izdanja gramatike na razmeđu dvaju stoljeća
On Bojničić’s Hungarian Grammar from Another Angle: The Causes and Nature of Changes in its Editions at the Turn of the 20th Century
U sjeni Bojničićeva rada, obilježenoga iznimnim prinosom hrvatskoj kulturnoj povijesti i pomoćnim povijesnim znanostima, ostala je Gramatika madžarskoga jezika (1888., 1896., 1905., 1912.) koja je na razmeđu dvaju stoljeća, u vrijeme smjene filoloških škola (zagrebačke školom hrvatskih vukovaca), doživjela nekoliko izmijenjenih izdanja. Gramatiku je – točnije njezino prvo izdanje – kao udžbenik odobrio Odjel za bogoštovlje i nastavu Kr. ugarskoga ministarstva, potom ju nagradio 1889., a naposljetku je ipak negativno ocijenjena, i to u službenom glasilu istoga Odjela koji ju je i nagradio, u Nastavnom vjesniku, a gotovo jednako ocijenit će ju i neki mađarski izvori početkom 20. stoljeća.
Pritom je riječ o kritikama koje su se mahom odnosile na (hrvatski) metajezik gramatike, donošenje netočnih pravila te na njezino, po sudu određenih kritičara, nesustavno oblikovanje, a samom se Bojničiću zamjerala nedostatna filološka naobrazba. Upravo ju stoga ti kritičari između ostaloga opisuju kao priručnik neprikladan za nastavnu uporabu. Od navedenih četiriju izdanja gramatike – iako konzultirani hrvatski i mađarski izvori ustvari ne donose nedvosmislen podatak o tome koliko je točno izdanja gramatika doživjela – spomenutoj je filološkoj ocjeni također podlegnulo samo prvo, a autor je poneke ispravke uklopio u kasnija izdanja svoga gramatičkoga priručnika.
U ovom se radu uspoređuju četiri izdanja Bojničićeve gramatike, utvrđuju se jezične, nazivoslovne i leksičke mijene njezina polaznoga (hrvatskog) jezika te se propituje u kojoj su mjeri potaknute objavljenim kritikama te koliki je odraz smjene filoloških škola vidljiv u pojedinim izdanjima. U sklopu tumačenja mijena što ih izdanja gramatike sadrže, posebice se ističu jezične osobitosti svojstvene normi zagrebačke filološke škole, čime se pak nastoji potkrijepiti činjenica kako je riječ o obilježjima koja su prisutna u svim četirima izdanjima gramatike neovisno o vremenu njihova izdavanja te jezično-političkim okolnostima i utjecajima pod kojima su nastala.
U konačnici se nastoji potvrditi (ne)opravdanost negativne recepcije koju je gramatika imala u dijelu filološke javnosti svojega vremena. Drugim riječima nastoji se dati odgovor na pitanje valja li Bojničiću pridružiti epitet autora čiji rad – pa tako ni njegova gramatika – u odgovarajućoj mjeri nije stručno potkovan ili mu pak, bez obzira na njegovu naobrazbu i upućene kritike, valja odati priznanje zbog neospornih prinosa što ih je dao u području hrvatsko-mađarske gramatikografije.
In the shadow of Bojničić’s work marked by exceptional contributions to Croatian cultural history and auxiliary historical sciences remained the Hungarian Grammar (1888, 1896, 1905, 1912), which at the turn of the century, at the time of change of philological schools (Zagreb philological school was supplanted by the school of Croatian Vukovians), saw several modified editions. This grammar book (to be exact, its first edition) was approved as a textbook by the Royal Hungarian Ministry of Worship and Education and awarded by the same institution in 1889. Eventually, the grammar was nevertheless negatively reviewed in Nastavni vjesnik, the official gazette of the same Ministry, which had previously awarded the grammar, and was almost equally evaluated by some Hungarian sources at the beginning of the 20th century.
The criticism mostly concerns the grammar’s metalanguage (Croatian), deriving incorrect rules, and its unsystematic format (according to certain critics), and Bojničić himself was criticized for his deficient philological education. This is exactly the reason why those critics, amongst other things, describe it as a handbook inadequate for school use. Of the four above-mentioned editions of the grammar – although the consulted Croatian and Hungarian sources do not explicitly state exactly how many editions the grammar had – only the first edition received the above-mentioned philological evaluation, and the author made some corrections in the later editions of his grammar book.
This paper compares the four editions of Bojničić’s grammar, identifies linguistic, terminological, and lexical changes in its source language (Croatian), and examines the extent to which they had been motivated by the published criticism and the extent to which the change of philological schools is reflected in individual editions. Within the interpretation of the changes made in the different editions, linguistic features characteristic of the norm of the Zagreb philological school are highlighted, in an attempt to corroborate the fact that these features are present in all four editions of the grammar irrespective of the time of their publication as well as the linguistic-political circumstances and influences under which they came into existence.
Ultimately, the present paper seeks to confirm the (un)justification of the negative reception the grammar had in a part of the philological public of its time. In other words, we seek to answer the question of whether Bojničić is to be given the epithet of an author whose work – including his grammar – is to a certain extent not professionally grounded, or, regardless of his education and the criticism toward his work, he has to be given credit for his indisputable contribution to the field of Croatian–Hungarian grammaticography.
Гетеротопия Г. Ф. Квитки-Основьяненко «Вояжеры» в контексте теории пространственного поворота
The Voyagers by Hryhorii Kvitka-Osnovianenko: Heterotopia in the Context of the Theory of Spatial Turn
Статья посвящена не исследованной в современном литературоведении повести Г. Ф. Квитки- Основьяненко, интересной с точки зрения жанровых ресурсов, их сложного преломления в перспек-тиве художественного пространства. Рассмотрена пародия на имперское культурное пространство, которое множится, разрастается путем экспансии, трансгрессии на территорию чужого. Кумуляция фиктивных хронотопов с перенесенными на свою почву чужими идеологиями, воображаемой, отор-ванной от реальности, фальшивой европеизацией оборачивается опосредованной формой антико-лониальной критики. Мимикрия, бездумное копирование становится настоящим обезьянничаньем, удвоенным в гетеротопии как форме интенсивного «производства пространства», его лабильности, деформаций, семантических сдвигов и смещений. Продуцирование пространства осуществляется в воображении, с помощью фантазирования, которое превращается в цепочку причудливых соеди-нений, гротескных образов, зеркальных отображений.
Воссозданное Г. Квиткой-Основьяненко время и пространство построено на серии перемещений по имперским просторам, механистическом движении скульптурных поз и жестов, окаменелых тел, автоматов, кукол, марионеток вместо людей. При этом семантизация пространства непосредствен-но связана с субъективными интенциями, внутренним миром повествователя-визионера. Перед нами инверсивная, критически переосмысленная модель заряженного человеческими свойствами, чувствами, эмоциями феноменологического пространства, описанного Г. Башляром. Ее примене-ние по отношению к культурным реалиям первой половины XIX века позволяет адекватно интер-претировать весьма характерную для империи галломанию, моду на все французское, заграничное, обезьянничанье, слепое подражание образцам чужой культуры. Обращает на себя внимание соотнесенность этого поведения с культурной прецедентностью, следовательно, прочтение «вояжей» как риторических фигур, в аллегорическом ключе. Текстуальное прочтение пространственных перевоплощений обусловливает их трансгрессивный характер, выход за собственные пределы, экс-пансию, которая приводит к кризисному характеру гетеротопии без географических границ.
Отдельного внимания заслуживает то, что украинский прозаик предлагает собственную интер-претацию концептов просветительской культуры, в частности утопий психоавтоматов, механиз-мов, которые предстают аллегориями живых людей, их предсказуемого поведения. Пародийный эффект усиливается не только нанизыванием несоответствий формы и содержания, пространства действия и пространства воображения, но и полемикой с имперским травелогом, прежде всего его наиболее реакционными, оппозиционными по отношению к Квитке-Основьяненко представителя-ми. Однако антиколониальная критика подчинена все же решению жанровых задач на уровне ино-сказания, пространственного поворота, переосмысления бинарной и тернарной моделей культуры.
A parody of the imperial cultural space is considered in the paper. It is multiplied and grown through expansion and transgression into foreign lands. The accumulation of fictitious time-and-space notions with implicit foreign ideologies, which are imaginary, detached from reality, and erroneous Europeanization turns into an indirect form of anti-colonial criticism. Mimicry and mindless copying turn into real frills, doubled in heterotopy as a form of intensive space production, its lability, deformations, semantic shifts, and movements. The production of space is carried out in the imagination with the help of fantasy, which turns into a chain of bizarre combinations, grotesque, and mirror images.
The time-and-space created by H. Kvitka-Osnovyanenko is built on a series of movements through the imperial spaces, the mechanistic movement of cursed poses and gestures, petrified bodies, machines, dolls, and puppets instead of people. At the same time, the semanticization of space is related to subjective intentions and the narrator’s inner world. It is an inverted, critically rethought model of the phenomenological space charged with human qualities, feelings, and emotions described by Gaston Bachelard. Its application to the cultural realities of the first half of the 19th century allows us to adequately analyze Gallomania, which was very characteristic of the empire, and fashion for all French, frills, and blind imitation of foreign culture. The correlation of this behaviour with cultural precedent and the reading of the characters’ voyages as rhetorical figures of allegorical language is shown. Textual reading of spatial reincarnations determines their transgressive nature, going beyond their borders and expansion, which causes the crisis nature of heterotopia without geographical boundaries.
The Ukrainian novelist offers his interpretation of the concepts of educational culture, in particular the utopias of psycho-automated machines, the mechanisms that appear as allegories of people and their predictable behaviour. The parody effect is enhanced by a stringing of inconsistencies in form and content and spaces of action and imagination and by polemics with the imperial travelogue, especially the representatives most oppositional to H. Kvitka-Osnovyanenko. However, this anticolonial flow is aimed to solve genre problems at the level of allegory, spatial turn, and rethinking the binary and ternary models of culture.
Морфосинтаксические особенности русского языка в закарпатском Солотвине и приднестровском Тирасполе
Morphosyntactic Features of the Russian Language in Transcarpathian Solotvyno and Transnistrian Tiraspol
Данная работа представляет результаты нашей полевой работы, проведенной с 2004 года по 2011 год в двух трехъязычных городах: Солотвино (Закарпатская область, Украина) и Тирасполь (При-днестровье, Молдова) и направленной на выявление функционирования русского языка как язы-ка-посредника между национальными меньшинствами этих населенных пунктов: между венграми и румынами в Солотвине и между молдаванами и украинцами в Тирасполе. Мы делали письменные заметки, записи спонтанной речи, а также интервьюировали собеседников. Для выявления особен-ностей русского языка респонденты делали письменные и устные переводы, писали сочинения и заполняли тесты. Нашей целью было выявление сходств и различий между этими двумя языковыми ситуациями, а также описание местного варианта русского языка.
В первой части работы представлены изучаемые языковые сообщества, особенность которых со-стоит, с одной стороны, в том, что в обоих случаях языки национальных меньшинств относятся к разным языковым семьям. С другой стороны, русский язык в Приднестровье имеет статус госу-дарственного языка наряду с украинским и молдавским и преподается во всех учебных заведениях Приднестровья, а в Закарпатье, как и на всей Украине, он не имеет никакого официального статуса. В Солотвине еще действуют венгерская и румынская школа наряду с украинской, но русский язык уже нигде не преподается в последние 6 лет. Несмотря на это, даже местные дети продолжают поль-зоваться русским языком в общении с иноязычными соседями. Многоязычие сохранилось именно благодаря потерявшему коннотацию языка власти и ставшему «нейтральной», «сверхнациональ-ной» lingua franca русскому языку.
Во второй части работы описаны некоторые фонетические, лексические и грамматические осо-бенности солотвинского русского языка в сопоставлении с русским языком в Тирасполе. Местный русский язык подвергается всестороннему влиянию близкородственного официального украинско-го языка и, в меньшей мере, неродственных румынского и венгерского языков, которые в сознании местных говорящих резко отделяются от языков славянской группы.
В третьей части работы мы рассматриваем результаты тестов по использованию глагольного вида школьниками данных населенных пунктов. Мы уделили особое внимание глагольному виду, так как он не имеет полноценного аналога ни в румынском / молдавском, ни в венгерском языках и правильность его использования доказывает высокий уровень владения языка. В случае употреб-ления видовых пар, интерференция с украинской грамматикой может даже оказаться «положи-тельной» по сравнению с интерференциями из румынского и венгерского субстратов. Однако зна-ния солотвинских школьников не имеют теоретической основы, и, скорее всего, свидетельствуют о «панграмматическом» подходе к вопросу глагольного вида, так как они осваивают русский язык в процессе общения и спонтанной речи.
В заключение мы приводим примеры из сочинений школьников о местных языках и даем прогно-зы по поводу возможного будущего русского языка в исследуемых регионах.
This paper presents the results of our fieldwork conducted from 2004 to 2011 in two trilingual cities: Solotvyno (Transcarpathian region, Ukraine) and Tiraspol (Transnistria, Moldova) and aimed to identify the functioning of Russian as an intermediary language between national minorities in these settlements: between Hungarians and Romanians in Solotvyno and between Moldovans and Ukrainians in Tiraspol. We made written notes and recordings of spontaneous speech as well as interviewed interlocutors. In order to identify the features of the local Russian language, respondents made written and oral translations, wrote essays, and filled out tests. Our goal was to identify similarities and differences between the two linguistic situations as well as to describe the local variant of Russian.
The first part of the paper presents the language communities under study, the peculiarity of which is, on the one hand, that in both cases, the languages of the ethnic minorities belong to different language families. On the other hand, Russian in Transnistria has the status of a state language along with Ukrainian and Moldovan and is taught in all educational institutions in Transnistria, while in Transcarpathia, like the rest of Ukraine, it has no official status. In Solotvynо, there is still a Hungarian and Romanian school along with Ukrainian but Russian has not been taught anywhere for the past 6 years. In spite of this, even local children continue to use Russian in communication with their foreign-speaking neighbours. Multilingualism has been preserved thanks to the Russian language, which has lost its connotation as the language of power and has become a “neutral” or “supra-national” lingua franca.
The second part of the paper describes some phonetic, lexical, and grammatical peculiarities of Solotvyno’s Russian language in comparison with the Russian language in Tiraspol. The local Russian language is subjected to the comprehensive influence of the closely related official Ukrainian language and, to a lesser extent, of the unrelated Romanian and Hungarian languages, which in the minds of local speakers are sharply separated from the languages of the Slavic group.
In the third part of this paper, we examine the results of tests on the use of the verbal aspect by schoolchildren in these localities. We paid special attention to the verbal aspect because it has no full-fledged analogue in Romanian / Moldovan or Hungarian, and its correct use proves the high level of linguistic proficiency. In the case of the use of aspectual pairs, the interference with Ukrainian grammar may even be “positive” as compared to the interference from Romanian and Hungarian substrata. However, the knowledge of Solotvyno’s school-children has no theoretical basis, and most likely indicates a “pangrammatic” approach to the question of verbal aspect, as they master the Russian language in the process of communication and spontaneous speech.
In conclusion, we give examples from schoolchildren’s essays about local languages and some predictions about the possible future of the Russian language in the regions under study.
ABSTRACT
In the Theogony, Hesiod tells us that there was a primitive, loveless Eros at the beginning of the universe, but later in the poem Eros appears as the god of love and the follower of Aphrodite. Asian kings, Greek tyrants, and Athenian imperialists experienced a loveless desire for absolute power and sexual abuse, but the Greek poets celebrate Eros and Aphrodite as gods of love who bring happiness into their lives. Euripides will later question the benevolence of Eros and Aphrodite, and Plato will violently rejects all physical and sexual love. Plato imagines love as being a manifestation of the primitive loveless god of Hesiod, and he uses this nightmare to attack human love, and the Athenians, and their democracy.
Abstract
Investigation about Greek lexicography is very important for the Byzantine culture and for the knowledge of classical authors. The German-Danish school has studied lexicography with a historical view and in particular in the nineteenth century it reconstructed lost lexicons. In contrast, the Italian school had a functionalist and structuralist approach. In recent years, however, scholars have adopted the best aspects of both schools. Indeed, now the method of lexicographic studies is unitary.
Abstract
Love is one of the most frequent literary motifs, often differentiated in various forms. A plurality of words for love in ancient Greek corresponds to a plurality of their divine representations in particular works, and more generally in Ancient religious and philosophical images. The most famous concept is that of the two Loves which is represented in Plato's dialogue Symposium. In the paper, the author revises the standard interpretation of the ‘Two Loves Topos’, considered in Mart. 2. 144–148, literalized as the presence of Amor and absence of Cupid in Philology's suite during her journey to heaven, in terms of literary intertextuality. After a brief outline of the literary evidence of the ‘Two Loves Topos’, Martianus Capella's comprehensive picture is analysed, connecting the archaic opposition between Amor and Cupid and the Platonic division to support his compositional intention to create a ‘new’ comprehensive Love god person, who is in accordance with the unified and harmonious world of mythological, cosmological, and philosophical scholarship.
The article suggests identifying two scenes on a Gandhara slab from Karamar with plays written by Aśvaghoṣa. One, preserved in the Berlin Turfan collection, is among the oldest known Indian theatre plays (Śāriputraprakaraṇa) focusing on the conversion of Śāriputra and Maudgalyāyana, two of the most important Buddhist monks certainly belonging to the 2nd century. The second scene shows the conversion of Nanda, the half-brother of the Buddha as described in the Saundarananda attributed to the same author. Attempts shall be made to identify the art historical templates and at the same time to trace its subtle iconography.
After the Tibetan Empire lost its power over Central Asian regions in the 9th century, a group of people in North-eastern Tibet (Amdo), known as wamo 嗢末, made its way into the Chinese chronicles of the subsequent dynasties. The corresponding Tibetan name for the group of people has been disputed since the late 1950s, when scholars first put hypotheses forward on the subject. This paper contends that the correct rendering in Tibetan is ’Od-’bar ‘blazing light’, a suggestion initially offered by Hungarian Tibetologist Géza Uray. Moreover, by reviewing all the proposals Western and Chinese scholars provided, this paper presents hitherto overlooked textual and phonological evidence to settle this dispute.
The paper constitutes part of a long-range series aiming, step by step, to identify the Afro-Asiatic heritage in the etymologically little explored lexicon of Omotic (West Ethiopia), a branch displaying the least of Afro-Asiatic traits among the six branches of this ancient macrofamily.
… Quid sit Amor… •
The vision of love as destructive force in Sappho's fragments and in Vergil's Eclogues
Abstract
The paper examines the parallelisms in the poetic presentation of love as a phenomenon and Love as a divine figure in the fragments of the Aeolian poetess Sappho and in Vergil's Eclogues. Having shown the strong echoes of Sappho's opus in the Roman culture of Vergil's time, the research focuses on analogies at the semantic and expressive level. The two poets share a vision of love/Love as a deeply destructive force, which threatens human existence – a vision introduced by Hesiod – but they also share some refined models of sublimating that destructiveness. The paper particularly explores those models and the layering of thought that the motif of love acquires, thanks to them.
This paper offers a reexamination of the role of Nogai (c.1237–1300) in the Golden Horde. Commonly portrayed as an almighty khanmaker appointing the Jochid khans at will, I argue that this is a creation of the secondary literature. Instead, based on a rereading of the relevant primary sources, I argue for a far more limited role of Nogai within the Horde’s politics. While influential as both a military commander (first as beylerbeyi and then tammachi) and as the elder member of the Jochid lineage (aqa), Nogai’s power over the Horde was never as great as the scholarship has consistently portrayed.
In several Runic Yenisei inscriptions dating from the 8th and 9th centuries, there are words related to Sogdian, such as Arγu in monument E42, Čač (Tashkent) in E52, Čaγar (柘羯, ‘warrior’) in E55, Pülüs (Paulus / Paul, personal name) in E69, etc. Among them, Pülüs (Paul), the tomb owner of E69, comes from the Shi 石 Kingdom (Tashkent) in Sogdiana. This provides key historical data for understanding the relationship between the Sogdians and Kirghizs,and indicates that there was a material and cultural exchange between them in the Yenisei basin at that time.
By sorting and comparing 18 verb forms in Khitan Small Script and 7 verb forms in Khitan Large Script that denote ‘to marry, to be given as wife’, the current study deals with the relation between the Khitan Large Script and Khitan Small Script forms. Further, it analyzes problems connected with their orthography, morphological and grammatical structure, with the grammatical cases governed by the verb and considers possible etymologies of the verbal stem.
In this paper we would like to introduce two newly identified Old Uyghur fragments kept in the Research Department of Dunhuang Academy, China. The first one (D0913) is a small fragment which we identified as part of another copy of the Ci’en zhuan 慈恩轉, namely of a colophon to the 4th book of the Old Uyghur translation. The second one (D0623) written on the verso side of a Chinese Buddhist scroll of T. 643 is an Old Uyghur poem which can be compared to the Ratnasūrya avadāna.
Two Old Uighur manuscripts housed in the National Museum of China have remained unidentified and unedited since their discovery by Huang Wenbi in 1928–30. A philological study based on examination of the originals is given in this paper. The first manuscript, a fragmentary codex with seven folios, can be identified as an Old Uighur transcription of the dhāraṇī text belonging to the Sanskrit Mahāpratisarā Mahāvidyārājñī. It may have served as a handbook for Uighur Buddhist monks or practitioners to recite the dhāraṇī in public ritual or private practice. The reconstructed Vorlage demonstrates a close relationship with the Tibetan and Tangut versions. A group of blockprint fragments in the Pelliot Collection from Dunhuang can also be identified as coming from the same text. The second manuscript, with 30 lines of text, belongs to a thus far unknown Old Uighur Buddhist treatise related to the qualities conducive to the attainment of ‘entrance into the stream’ (srotaāpattyaṅga) in Buddhist spiritual practice. It is likely a commentary composed by Uighur Buddhists.
Abstract
Transformer-based NLP models have achieved state-of-the-art results in many NLP tasks including text classification and text generation. However, the layers of these models do not output any explicit representations for texts units larger than tokens (e.g. sentences), although such representations are required to perform text classification. Sentence encodings are usually obtained by applying a pooling technique during fine-tuning on a specific task. In this paper, a new sentence encoder is introduced. Relying on an autoencoder architecture, it was trained to learn sentence representations from the very beginning of its training. The model was trained on bilingual data with variational Bayesian inference. Sentence representations were evaluated in downstream and linguistic probing tasks. Although the newly introduced encoder generally performs worse than well-known Transformer-based encoders, the experiments show that it was able to learn to incorporate linguistic information in the sentence representations.
Abstract
The Word-in-Context corpus, which forms part of the SuperGLUE benchmark dataset, focuses on a specific sense disambiguation task: it has to be decided whether two occurrences of a given target word in two different contexts convey the same meaning or not. Unfortunately, the WiC database exhibits a relatively low consistency in terms of inter-annotator agreement, which implies that the meaning discrimination task is not well defined even for humans. The present paper aims at tackling this problem through anchoring semantic information to observable surface data. For doing so, we have experimented with a graph-based distributional approach, where both sparse and dense adjectival vector representations served as input. According to our expectations the algorithm is able to anchor the semantic information to contextual data, and therefore it is able to provide clear and explicit criteria as to when the same meaning should be assigned to the occurrences. Moreover, since this method does not rely on any external knowledge base, it should be suitable for any low- or medium-resourced language.
Abstract
Ernő Dohnányi, the world-renowned musician, was almost entirely forgotten during the decades between his emigration in 1944 and the change of political regime in Hungary: his name actually disappeared from public cultural knowledge. Though there may have been several explanations for the ignorance, it is not an exaggeration to state that the main reasons behind the tragic gap in his posthumous reception are of a political nature. It is widely known nowadays that during the settlements after World War II, Dohnányi – in his absence – was charged with intellectual collaboration with the Hungarian far right-wing regime. According to the present state of research, the charges were finally withdrawn as they were mostly ungrounded. Yet, the formerly adored artist and central personality in cultural life had become persona non grata for more than 40 years. After the political changes, his oeuvre seemed to be rehabilitated but without a thorough investigation of the charges and their background. This is why political prejudices are currently experienced simultaneously with a total bagatellization of the possible mistakes in his interwar activity. Thus, a systematic research into this subject has become very urgent. This study, which is intended to be a chapter of a full-length monograph on Dohnányi and politics (expected in 2023/24), was founded by the János Bolyai Scholarship of the Hungarian Academy of Sciences, and is one of the very first publications of this project in English. It aims to give a thorough description of the first two years of the official proceeding against Dohnányi at the different investigative levels such as the justificatory committees, public prosecutor, and government ministry.
Abstract
Vergil interweaves the varying meanings of amor, from not only a positive force, to aggressive desires and to all its varied aspects, making it both harsh, deceptive and cruel, and conversely something very special reflecting things most cherished and respected.
Abstract
In the first seasons of the Royal Academy of Music in London, its directors saw George Frideric Handel as one among several composers whose style reflected expectations of what Italian opera in London should be like. At one point, Handel’s slightly older Italian contemporaries Giovanni Bononcini and Attilio Ariosti were in equal positions to compete for success. This paper will focus on Attilio Ariosti as the seemingly most moderate party in the rivalry between the three composers to see if the specificities of the centers he was active in affected his output in the realm of the vocal duet, a less common and somewhat less important constituent of dramatic vocal genres as opposed to the dominant arias. The examination of duets in some of Ariosti’s works written for Berlin, Vienna, and London, and some comparisons with the duets by both Bononcini and Handel will shed a light on these relationships affected by competition and rivalry.
Abstract
Following the debut of Károly Szabados's ballet Vióra on March 14, 1891, the daily newspaper Pesti Hírlap called the date a glorious day not only for Hungarian music, but also for Hungarian genius and spirit in general, and treated the debut at the Hungarian Royal Opera House in Budapest as an allegory for spring: “It was as if the refreshing, revitalizing breaths of that traditional March breeze had blown across the hall of muses on Andrássy Road: such was the enthusiasm dominating the spectators' benches and the stage alike.” 1 According to the newspaper, it was the long-anticipated victory of “the Hungarian genius, which some had begun to consider as almost alien to the Hungarian royal theater,” and it was all thanks to Géza Zichy (1849–1924), one of whose first acts as intendant was bringing this long neglected piece to the stage. 2 In the context of Vióra's premiere, the “Hungarian genius” and the “Hungarian spirit” manifested on several levels, as it was the decision of a Hungarian intendant to present the evening-long ballet of a Hungarian author revolving around Hungarian themes; but this raises the question, why did a Hungarian ballet carry such significance at the time? What place does Károly Szabados, the author of the ballet, occupy in the history of Hungarian music, and how was the ballet and its music received by contemporaries in and out of the limelight? This study attempts to answer these questions by examining contemporary Hungarian and German news articles and music critiques published in Budapest.
Abstract
The performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research.
Legende und Wirklichkeit •
Anmerkungen zu den frühesten Angaben zur Orgelgeschichte Siebenbürgens
Abstract
This study examines the earliest data of the history of the organ in Transylvania collected in the past one hundred and fifty years. A thorough examination proved that data, based on incomplete documentation, on erroneous hypotheses or conclusions, had been quite unprofessionally put into contexts to which they had no proven connection. Thus, legends regarding the first representation of an organ, the first organ, the earliest organ builders etc. appeared in the costume of historicity and were widely circulated among different authors.
Abstract
This article offers a phenomenological description of Béla Bartók's Improvisation op. 20 no. 3, with a focus on temporality as experienced in listening. Such a description aims at understanding the structure of eventings, through which we encounter and experience, grasp and take up the work's Gestalt in time as a singular dynamic whole, which is its being as becoming, its presentation in its idea and form. As a result, what we hear, perceive and understand as we listen to the work is revealed as the unfolding of a complex network of intersecting eventings, the crossing of contrarily directed motions, interpenetration of intonations and gestures, circularities on different perceptual levels from delaying and returning notes, intonations, gestures and themes, to thematic repetition and variation, their recallings and cross-referencing. These micro-eventings yield eventings on a larger perceptual level that include ternarity, cyclicity in its broadest sense and a concentric concave-shaped contour. This is the work's Gestalt; the unique balance as ratio, correlation and interrelation, not equilibrium, of all these eventings and temporalities.
Abstract
Folk art and applied folk art have been constantly shaped by cultural and political actors, as well as social and economic processes and the local society affected by them. In the context of these changes, the definitions of authentic, original, and genuine were given a new interpretation, which can be examined in different contexts. The question of authenticity in material folk art arose shortly after the birth of the concept of folk art and the “discovery” of folk art, and has accompanied the history of the revival of material folk art. Nevertheless, although discourses on the subject have been ongoing for a long time in the fields of folklore, theoretical works dealing with material folk art have not paid much attention to the issue of authenticity. The study first describes the contexts through which the issue of authenticity was articulated in artifact production inspired by folk art. The changed social conditions during the 20th century have also generated, and are still generating, new legal dilemmas in the field of artifact production at both community and individual levels, such as the extent to which folk art is individual or community-owned (taking into account the narrower and wider community), and the copyright of an authentic folk artist or craftsman or a creator recognized as a folk artisan. The questions lead to the evolution of the definition of authenticity and point out, among other things, the role that the issue of authenticity plays in the process of the heritagization of folk art.
Abstract
Many of the drafts and notes of Ernő Szücs Tárkány are in manuscript, and they can offer valuable clues for European legal ethnography. One of them is a manuscript by Tárkány Szücs, both in Hungarian and English, in the Archives of the Institute of Ethnology of the Research Centre for the Humanities, dated 1982 and titled Administering Justice — without State Courts, which has been awaiting publication for forty years. This study is an important milestone, as it demonstrates, based on a broad international perspective, that even in a field that was monopolized by the state very early on, such as administering justice, legal customs have survived to a great extent; and that legal ethnographic approaches make it possible to arrive at valid conclusions of practical importance through an expert comparison of legal phenomena that are distinct in time and space but have common characteristics. The English-language version of the study is being published verbatim (first publication).
Abstract
In 1967, Ernő Tárkány Szücs published his article summarizing the results and tasks of European legal ethnography in the columns of Ethnologica Europeana in Paris (under the title Results and Task of Legal Ethnology in Europe). With this, he revived an important tradition of Hungarian legal ethnography: Károly Tagányi published his summary of international research history in German in 1922 (Lebende Rechtsgewohnheiten und ihre Sammlung in Ungarn. Ungarische Bibliothek. Für das Ungarische Institut an der Universität Berlin. Erste Reihe. Vereinigung wissenschaftlicher Verleger. Berlin und Leipzig). At the time of the publication of Ernő Tárkány Szücs's article, he was working as a ministerial official, but in Hungarian academic life he took a backseat. At the same time, however, he was in constant contact with several European representatives of legal folklore. As soon as he had the opportunity, Tárkány Szücs opened up to international scholarship, and became not only an active participant but also a prime mover of the international discourse on legal folk custom research. His recognition was indicated by the fact that throughout Europe, not only his studies published in various world languages but also his papers exclusively in Hungarian were often cited. Although the science policy in his country was not able to integrate the specifically interdisciplinary scientific research of Ernő Tárkány Szücs, or only haltingly, his international recognition was unquestionable all along.
Abstract
Ernő Tárkány Szücs (1921–1984) was a researcher who created a synthesis of Hungarian legal ethnography, a mediator of his results for European legal ethnographic research, and his scientific work is still an essential part of Hungarian research history. During the most intensive period (1939–1948) of Hungarian legal folklore research — which was delayed compared to European legal customs research — he became a lawyer and a researcher of Hungarian legal ethnography along with legal history professor György Bónis from Kolozsvár (nowdays Cluj-Napoca). Although in the next phase of his life (1950–1975), during the decades of socialism in Hungary, as a practicing lawyer, he could not professionally engage in legal ethnographic research, when he finally had the opportunity to do so in 1975 in the Ethnographic Research Group of the Hungarian Academy of Sciences, he presented a series of results of Hungarian legal ethnography. One of the most important of these was the publication of a monograph (Tárkány Szücs 1981), which is still considered to be the fundamental work of Hungarian legal ethnography, the conceptual and methodological foundation of the research field, the summary of research findings and at the same time its legitimation. Although the institutionalization of legal ethnographic research had not yet taken place at that time, Hungarian ethnography recognized Ernő Tárkány Szücs's research on legal folk customs as a “one-man” research field. During his research career, Tárkány Szücs continued to take an active role in international scientific life. He always considered it his task to make the findings of European legal ethnography known throughout Hungary, as well as to publish the findings of Hungarian legal ethnographic research in international scientific forums. The 2021 jubilee professional programs and publications of the Tárkány Szücs Ernő Legal Cultural Historical and Legal Ethnographical Research Group — an interdisciplinary research workshop established in 2011 with the aim of processing and enriching his research legacy and publications — were an opportunity to publish new research findings and formulate the ongoing tasks of Hungarian legal ethnography, beyond the evaluation of his research career and Hungarian legal ethnography from the dogmatic and methodological perspective.
Abstract
In the Káli Basin in the Balaton Uplands, four of the eight settlements bordering each other (Balatonhenye, Köveskál, Kővágóörs, Monoszló) were inhabited by petty nobles belonging to the gentry, living in curial villages, with a great deal of autonomy, self-governance, and within the framework of their established legal norms and legal customs. They lost most of their privileges in the mid-19th century, but some of their old and new legal customs survived until the mid-20th century. The study reviews part of their extensive living conditions, essentially from the last third of the 18th century. The way of life in this region, known for high-quality grapes and livestock, has changed a lot in the more than 200 years. The study describes each typical component of this life in view of the provisions of established law, customary law, and legal customs. Considering legal distinctions, it addresses secular and ecclesiastical administration, legal relationships regarding vineyards, certain work customs, succession laws, and the vestiges of petty nobility that survived into the 20th century. The role of certain legal customs contrary or complementary to the laws (contra legem, praeter legem) is also mentioned. The study provides a brief overview, or at least a taste, of the special (petty noble) legal folklore of the Káli Basin, which is rich in legal customs.
Chalcocondyles Latinus •
Konrad Clauser's translation of Chalkokondyles
Abstract
Zurich scholar Konrad Clauser's translation of Chalkokondyles was printed in 1556 at Oporinus' publishing house in Basel. The present paper reconstructs the circumstances of the formation of that translation, provides a detailed account of the publication, attempts to establish which manuscript may have served as the basis for the translation, and presents an outline of the immediate reception of the translation.
Abstract
In the scope of this research, we aim to give an overview of the currently existing solutions for machine translation and we assess their performance on the English-Hungarian language pair. Hungarian is considered to be a challenging language for machine translation because it has a highly different grammatical structure and word ordering compared to English. We probed various machine translation systems from both academic and industrial applications. One key highlight of our work is that our models (Marian NMT, BART) performed significantly better than the solutions offered by most of the market-leader multinational companies. Finally, we fine-tuned different pre-finetuned models (mT5, mBART, M2M100) for English-Hungarian translation, which achieved state-of-the-art results in our test corpora.
Abstract
Ancient classical culture usually links gambling (plays with knucklebones, dice, pawns) with divination and love's matters. It is noteworthy, to examine playing by knucklebones (Greek astragaloi). The connection between astragals, games and the erotic sphere clearly appears in Eros-Ganymede episode in the 3rd Book of Apollonius' Argonautica. A fragment of Callimachus also deals with knucklebones. Many Greek lyric and epigrammatic poets echo this topic. In sum, Apollonius allows us to discover a usual imagery: Eros as a player with knucklebones shows that Love masters the human life. It is thus an evident symbol of fate.
Abstract
One of the most important NLP tasks for the industry today is to produce an extract from longer text documents. This task is one of the hottest topics for the researchers and they have created some solutions for English. There are two types of the text summarization called extractive and abstractive. The goal of the first task is to find the relevant sentences from the text, while the second one should generate the extraction based on the original text. In this research I have built the first solutions for Hungarian text summarization systems both for extractive and abstractive subtasks. Different kinds of neural transformer-based methods were used and evaluated. I present in this publication the first Hungarian abstractive summarization tool based on mBART and mT5 models, which gained state-of-the-art results.
Abstract
In a lesser known mythological tradition Eros is the son of Iris and Zephyros. His mother, Iris, belongs to a lineage of winged beings who are connected to a pre-cosmic dimension that precedes the historical reality ruled and guaranteed by Zeus. His father, Zephyros, is a wind and also a winged being whose story is linked to the birth of other superhuman beings who contribute to the foundation of a reality not yet fully established. Equally, Eros is a primordial superhuman being, whose nature at a mythical level is that of preceding the foundation of the cosmos. The purpose of this work is to investigate – through the meanders of mythological heritage – which elements of the narratives referring to these characters are relevant to classical Greek culture.
Ildikó Enyedi: Testről és lélekről •
Skizze zu einer semiotischen Analyse eines Films zwischen Romantik, Strukturalismus und Psychoanalyse
Abstract
This article is about Ildiko Enyedi's film “Testről és lélekről”. It proposes a semiotic analyse. Its thematic frame is a theory of the fantastic literature and film and refers to Tzvetan Todorov (part 1). Following Roand Barthes “S/Z” it discusses the codes in the film, the sequences and spaces in the film (part 2). In the next part the composition of the film comes into play (e. g. repetition, analogy). The fourth part is dedicated to the uncanny and fantastic element that are created by a lack of knowledge about the world in the and the figures of the movy. The article refers to Freud's “Traumdeutung”. Part 5 analyses the funktion of silence in the film on several levels (level of narrating, communication of the figures in the film). The film is seen in a post-romantic tradition which is in-written in “classical modernism”.
Abstract
In this paper, we argue that the very convincing performance of recent deep-neural-model-based NLP applications has demonstrated that the distributionalist approach to language description has proven to be more successful than the earlier subtle rule-based models created by the generative school. The now ubiquitous neural models can naturally handle ambiguity and achieve human-like linguistic performance with most of their training consisting only of noisy raw linguistic data without any multimodal grounding or external supervision refuting Chomsky's argument that some generic neural architecture cannot arrive at the linguistic performance exhibited by humans given the limited input available to children. In addition, we demonstrate in experiments with Hungarian as the target language that the shared internal representations in multilingually trained versions of these models make them able to transfer specific linguistic skills, including structured annotation skills, from one language to another remarkably efficiently.
Abstract
Although the name of Ferenc Hunyadi is known in Hungarian literary history mainly for his Hungarian-language historical song about the peril of Troy, there also exist more than five thousand lines of Latin poetry by him which have not been collected or published since the 16th century. Another eleven of his poems are known from a manuscript written by a Unitarian pastor in the early 17th century. A further, one-distich poem was recorded by István Szamosközy. The date of composition of his poems in manuscript can be placed roughly between the end of 1586 and 1599. In addition to these, there is also a manuscript kept in Oxford in which Hunyadi gives prescriptions for febrile diseases. As a starting point for further research, this paper summarises what is currently known about Hunyadi and his works.
Abstract
Hungarian has a prolific system of complex predicate formation combining a separable preverb and a verb. These combinations can enter a wide range of constructions, with the preverb preserving its separability to some extent, depending on the construction in question. The primary concern of this paper is to advance the investigation of these phenomena by presenting PrevDistro (Preverb Distributions), an open-access dataset containing more than 41.5 million corpus occurrences of 49 preverb construction types. The paper gives a detailed introduction to PrevDistro, including design considerations, methodology and the resulting dataset's main characteristics.
