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This paper presents a critical edition of a hitherto unknown Crimean version of the famous Noghay epic Edige. This version is anonymous and undated, probably copied in the 19th century. It contains seven pages of a codex of various contents and is incomplete. Despite being so short, this version is very interesting as it was copied in Hebrew script. After comparing this text with other versions, such as those in Crimean Tatar, Noghay, Baraba, Karakalpak and Kazakh, the article demonstrates that this version is closest to the Crimean Tatar and Noghay versions.

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Amongst the finds of the Chinese archaeologists at the centre portion of the West Zone of the Tuyoq Grottoes in the Turfan region of the Xinjiang Uyghur Autonomous Region, People’s Republic of China, there are three wooden plates with Old Uyghur writing, which I identify as nameplates. They have some similarities to the nameplates preserved in the Berlin Turfan collection of the Museum für Asiatische Kunst. However, the two nameplates from Tuyoq also show clear divergences from the known wooden nameplates in the Berlin Turfan collection of the Museum für Asiatische Kunst in regards to their form and content. They are unique, and it is the first time such wooden nameplates were discovered in the Tuyoq Grottoes. This article begins with a short survey of research of recent Old Uyghur materials discovered in the Tuyoq Grottoes. Then, it presents a philological investigation of the three wooden nameplates which is followed by a classification of the wooden objects with Old Uyghur writing. At the end, the article discusses the function of wooden objects with Old Uyghur writing in the Old Uyghur society, focusing on the function of the wooden nameplates.

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Little has been known about Weiwu’erbali, a place name found only in Chinese records from the Ming Dynasty. As this place name has not been thoroughly examined in sources other than Chinese, discussion related to it has so far been limited to its approximate location. However, Chaghatay documents recently found in Qomul shed new light on the place. By referring to documents and oral sources, the present study aims to identify the precise location of Urghuybalïq mentioned in the Chaghatay documents, and trace the change of the place name until its fall into oblivion.

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Some features of the North-Western Prakrit that was used as the administrative language of the kingdom of Kroraina (‘Niya Prakrit’) have in the past been more or less vaguely described as the result of language contact. One particularly striking feature that invites such an account is the innovative preterite of this Prakrit variety. We argue that, from a structural point of view, this formation and its morphosyntactic behaviour can be plausibly attributed to interference from Khotanese. In addition, a scenario involving Khotanese as a substratum language of Niya Prakrit may also be well accounted for from a historical and sociolinguistic perspective.

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„Ut pictura meditatio”. A győri volt jezsuita rendház díszlépcsőinek dekorációja a jezsuita Mária-emblematika kontextusában

“Ut pictura meditatio”. The decoration of the staircase of the former győr jesuit college in the context of jesuit marian emblematics

Művészettörténeti Értesítő
Author:
Ágnes Kusler

This paper aims towards a contextual analysis of the emblematic decoration of the staircase of the former jesuit (today Benedictine) college in Győr, North-Western hun-gary. The decoration, created in 1697, visualizes the prayer Salve Regina, and its content is closely connected to the jesuit spiritual exercise of meditation. According to my interpretation, the emblems of the staircase offered a visual aid to the jesuit clerks, for their meditations on the significance of holy Mary. The emblems, thus, embody the idea of “Ut pictura meditatio”, as defined by Walter S. Melion.

I offer an analysis of the meditational programme of the decoration of the Győr staircase, and a brief outline of its place in late 17th-century devotional emblematics. The source of the emblematic decoration could be found in the context of jesuit emblem literature and applied emblematics. Besides several analogous emblematic publications, according to my research, the visual source for the Győr programme was the Salve regina print-series by the Antwerp artist Anton Wierix. Through an analysis of this source, I aim to distance the interpretation of the staircase’s decoration from the former attempt of Éva Knapp, proposing that the decoration was based on creative visual translations of emblem-descriptions by jacob Masen.

Through my interpretation of the emblems and their overall programme, the decoration of the Győr college could be placed in the context of jesuit meditation and applied emblematics. I also aim to elaborate on the practical function of the decorative programme, and thus widening our knowledge on early modern practices of emblematic meditation in monastic communities.

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In this study, we examine the etymology of the the word alıg, which has appeared in various Turkic languages starting with Old Uyghur. Researchers have so far put forth different theories regarding the origins of this word, which survives today in different parts of the Turkic-speaking world with various phonetic and semantic changes. Some have associated it with al- ‘to take’ (‘almak’) (< al-ı-g), which is semantically problematic, or with hypothetical roots which they reconstruct variously as *al (< al+ıg), *al- or *alı-. Considering earlier proposals, we narrow down the set of possible etymologies for alıg in accordance with their relative merits.

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Русский и чешский лингвист В. Шерцль (1843–1906) известен, с одной стороны, как автор различных работ по формальным аспектам языка (как, например, Шерцль 1871–1873) и, с другой стороны, как семасиолог (см., например, его работу по энантиосемии: Шерцль 1883–1884). Именно последняя область деятельности Шерцля требует более пристального внимания.

В статье рассматриваются работы Шерцля «О конкретности в языке» (Шерцль 1884) и «Основные элементы языка и начала его развития» (Шерцль 1889). Рассматривая эти работы в контексте современной научной парадигмы, автор статьи подчеркивает их большое значение для исторической семасиологии и типологического изучения семантики. Несмотря на то, что кропотливая работа по критическому разбору примеров, приведенных Шерцлем, еще впереди, автор статьи утверждает, что Шерцль пытался выявить лексические и семантические универсалии задолго до того, как был издан словарь К. Д. Бака.

Таким образом, В. Шерцля несомненно можно отнести к тем, кто стоял у истоков русской и европейской «семасиологической» мысли. В работе «Основные элементы языка и начала его развития» Шерцль по различным тематическим группам и многочисленным подгруппам (одна только тематическая группа названий животных состоит из 14 подгрупп!) представляет типологию звукоподражательных слов, излагая словарный материал более чем на 50 страницах.

В трудах Шерцля находится множество примеров т. н. регионализмов из различных языков. В качестве иллюстрации автор статьи приводит просторечные и диалектные (региональные) слова русского языка, выражающие понятия лихорадки и вздора. Материал Шерцля – это не только собственно регионализмы, это еще арго (социальные диалекты), лексика в историческом аспекте и т. п.

В. Шерцль активно использует данные диалектов латышского и других языков. Он этимологизирует слова латышского языка задолго до появления словаря Мюленбаха–Эндзелина. В. Шерцль включает латышское диалектное pepe ‘мясо, каша’ в свои рассуждения о звукоподражательной природе слов в языках мира. В русских диалектах встречается папка в значении ‘хлеб, булка’, которое, на наш взгляд, соотносится с латышским pepe. Однако в этимологических словарях славянских языков отсутствуют примеры из балтийских языков, но в качестве базовой этимологии славянских лексем выбирается детский лепет.

В данной статье также идет речь об этимологии латышского tēvs / tētis. Согласно современным этимологическим словарям и версии Шерцля латышск. tētis (русск. диал. тата и др.) образовалось в детской речи через редупликацию слога te (ta), в основе tēvs – и.-е. te (из детской речи). К тому же, такой распространенный в диалектах способ образования новых слов, как редупликация, о чем пишет Шерцль, заслуживает пристального внимания и дальнейшего изучения.

The Russian and Czech linguist V. Šercl (1843–1906) is known, on the one hand, as the author of various studies on the formal aspects of language (as, for instance, A Comparative Grammar of Slavic and Other Cognate Languages, 1871–1873) and, on the other hand, as a semasiologist (see, for example, his work on enantiosemy, 1884). It is the latter area of Šercl’s activity that requires closer attention.

The present paper focuses on Šercl’s works On Concreteness in Language (1884) and The Basic Elements of Language and the Principles of its Development (1889). Considering these works in the context of modern scientific paradigm, the author of the paper emphasizes their great significance for historical semasiology and typologic study of semantics. Despite the fact that arduous work at the critical analysis of the examples provided by Šercl is still ahead, the author of the paper claims Šercl to have tried to reveal lexical and semantic universals long before the dictionary of C. D. Buck was published.

Thus, V. Šercl can undoubtedly be placed among those who stood at the beginning of Russian and European “semasiological” thought. In the work The Basic Elements of Language and the Principles of its Development, V. Šercl presents a typology of onomatopoeic words in various thematic groups and numerous subgroups (the thematic group of animal names alone consists of 14 subgroups!), describing vocabulary material on more than 50 pages.

In the works of Šercl, there are many examples of the so-called regionalisms from various languages. As an illustration, the author of the paper shows common and dialect (regional) words of the Russian language, expressing the concepts of ‘fever’ and ‘nonsense’. Šercl’s material is not only regionalisms, it is also slang (social dialects), vocabulary in a historical aspect, etc.

Čeněk Šercl actively uses the data of dialects of Latvian and other languages. He etymologizes the words of the Latvian language long before the appearance of the Mühlenbach–Endzelīns dictionary. V. Šercl includes the Latvian dialect word pepe ‘meat, porridge’ in his discussions about the onomatopoeic nature of words in the languages of the world. In Russian dialects, there is папка in the meaning of ‘bread, bun’, which, in our opinion, correlates with the Latvian pepe. However, there are no examples from the Baltic languages in the etymological dictionaries of Slavic languages but baby talk is chosen as the basic etymology of Slavic lexemes.

This paper also deals with the etymology of Latvian tēvs / tētis. According to modern etymological dictionaries and Šercl’s version, Latvian tētis (Russian dialect тата, etc.) was formed in children’s speech through the reduplication of the syllable te (ta), tēvs is based on I.-E. te (in children’s speech). In addition, such a common method of forming new words in dialects as reduplication, as Šercl writes, deserves close attention and further study.

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Studia Slavica
Author:
И. В. Кузнецова

К ориентализмам относят слова, принадлежащие к разным группам тюркских, а также иранских и арабо-семитских языков. В нашей работе термины арабизм и персизм понимаются широко: не только как прямое лексическое заимствование, восходящее к арабскому или персидскому языку, но и как опосредованное. Языком-посредником проникновения слов арабского и персидского проис-хождения в языки балканских народов стал язык османских турок.

В статье анализируются устаревшие и активно употребляющиеся в наши дни на территории Бос-нии и Герцеговины фразеологические единицы с компонентами ориентального происхождения те-матической группы «Напитки» (кофе, буза и шербет), вошедшие в языки-реципиенты в результате языковой коммуникации, сопровождавшей диалог разных культур на протяжении многих столе-тий. В статье приводятся некоторые культурологические и историко-этимологические коммента-рии к фразеологическим единицам, а также толкование фразеологических оборотов и компонентов, входящих в них.

При обработке фразеологического материала применялся синхронно-описательный метод и ме-тод анализа компонентов. Привлечение фразеологического материала других языков (славянских и неславянских) позволило выявить универсальность или национальную специфику фразеологиче-ской единицы с компонентами кофе, буза и шербет в языке боснийских мусульман. Лексема кофе как компонент фразеологических выражений и пословиц может употребляться как в прямом зна-чении, так и в эвфемистическом.

В статье не рассматриваются устойчивые сочетания слов терминологического характера, связан-ные со способом приготовления кофе и его подачи (кофе по-венски, кофе с молоком, кофе глясе, чеш. ruská káva ‘кофе, в который добавляется водка’ и т. д.). Почти все рассмотренные фразеологи-ческие обороты с компонентом кофе идиоэтничны (кроме связанных с традицией гадания на кофе). Персизм буза как гастрономическая реалия кухни Востока известен не всем народам, что затрудня-ет перевод фразеологизмов с этим компонентом. Несмотря на популярность шербета, словарную прописку получили лишь боснийские фразеологизмы с лексемой шербет.

Фразеологический материал показывает, как в разные языки входили заимствования-ориента-лизмы восточной кухни, демонстрирует разный их фразеологический потенциал, ареальную проек-цию (или отсутствие таковой). В силу разных причин (исторических и актуальных ныне) названия напитков ориентальной кухни чаще встречаются в боснийских фразеологических единицах. Вари-анты фразеологизмов иллюстрируют параллельное использование в некоторых структурно-семан-тических моделях ориентализмов и славянизмов или германизмов.

Orientalisms include words belonging to different groups of Turkic as well as Iranian and Arab-Semitic languages. In our work, the terms Arabism and Persism are used in a broad sense: not only as a direct lexical borrowing going back to the Arabic or Persian language but also as an indirect one. The language of the Ottoman Turks became the intermediary language for the penetration of words of Arabic and Persian origin into the languages of the Balkan peoples.

The paper analyzes phraseological units both obsolete and actively used nowadays on the territory of Bosnia and Herzegovina with components of Oriental origin in the thematic group «Drinks» (coffee, buza, and sorbet), which entered the recipient languages as a result of linguistic communication that accompanied the dialogue of different cultures for many centuries. The paper presents some culturological and historical-etymological comments on phraseological units as well as the interpretation of these idioms and the components included in them.

When processing phraseological material, the synchronous descriptive method and the method of component analysis were applied. The use of phraseological material from other languages (Slavic and non- Slavic) allowed us to identify the universality or national specificity of phraseological units with components of coffee, buza, and sherbet in the language of Bosnian Muslims. The lexeme coffee as a component of phraseological expressions and proverbs can be used both in the direct meaning and in the euphemistic.

The paper does not consider stable combinations of terminological words related to the method of preparing coffee and serving it (Viennese coffee, coffee with milk, ice coffee, etc.). Almost all the considered phraseological units with the component coffee are idioethnic (except those related to the tradition of coffee fortune telling). The Persism buza as a gastronomic reality of the cuisine of the East is not known to all peoples, which makes it difficult to translate phraseological units with this component. Despite the popularity of sherbet, only Bosnian phraseological units with the lexeme sherbet received a dictionary registration.

The phraseological material shows how loanwords of Oriental cuisine were included in different languages, demonstrates their different phraseological potential, areal projection (or the lack thereof). For various reasons (historical and current), the names of Oriental cuisine drinks are more often found in Bosnian phraseological units. The variants of phraseological units illustrate the parallel use in some structural and semantic models of Orientalisms and Slavonisms or Germanisms.

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Studia Slavica
Authors:
О. С. Казаковцева
and
Н. В. Патроева

В порядке следования слов в русском литературном языке XVIII века, по замечанию многих иссле-дователей, еще не было строго закрепившейся нормы, однако грамматисты XVIII–XIX веков пред-принимали в своих учениях попытки объяснить расположение тех или иных частей речи. Особую роль в закреплении норм словорасположения сыграло учение М. В. Ломоносова, изложенное в его риторических трактатах.

В данной статье описывается функционирование атрибутивных словосочетаний в похвальных словах Ф. Прокоповича, М. В. Ломоносова и А. П. Сумарокова середины XVIII века. Целью настоя-щей работы является анализ порядка компонентов в атрибутивных словосочетаниях в похвальных словах XVIII века, а также описание стилистических средств, использующихся в словорасположе-нии данных атрибутивных конструкций.

Используя метод сплошной выборки, авторы выявили в привлеченных к анализу текстах 1837 атрибутивных конструкций. Преобладающим положением как в двучленных, так и в трехчленных словосочетаниях является препозиция атрибута. Однако было замечено, что количество препози-тивных атрибутивных словосочетаний в панегириках отличается: так, в текстах Ф. Прокоповича препозитивный атрибут используется в половине случаев, тогда как в текстах М. В. Ломоносова и А. П. Сумарокова препозиция атрибута увеличивается, доходя до 82%.

В панегириках М. В. Ломоносова, Ф. Прокоповича и А. П. Сумарокова атрибуты широко упо-требляются в роли однородных членов, наблюдается лексический и синтаксический повтор, спо-собствующий амплификации, и чередование препозитивного и постпозитивного атрибута; ис-пользуются конструкции с дистантным положением членов атрибутивного ряда, посредством параллельного расположения атрибутов подчеркивается противопоставление выражаемых при-знаков или объектов.

В похвальных словах важное место занимают атрибутивные словосочетания, активно используе-мые как стилистическое средство. Так, ряды определений содействуют созданию портрета истори-ческого лица (в данном материале – Петра Великого), которому посвящен панегирик, а также ярко-му изображению его деяний, военных подвигов. Ряды эпитетов, адъективных метафор, сравнение, градация, хиазм, инверсия, другие тропы и фигуры речи – важный в исследовательском плане мате-риал, демонстрирующий корреляцию между представленными в трактатах по теории красноречия и риторической практикой эпохи становления новых норм русского литературного языка после-петровского периода. Атрибутивные конструкции в похвальных словах XVIII века являются сти-листическим средством усиления экспрессивности выражения и создания торжественного пафоса.

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Abstract

The study investigates one arresting detail in Julian's Caesars (333B) that is related to Marcus Aurelius: “four-square and made without a flaw” – τετράγωνος ἄνευ ψόγου τετυγμένος. The central concern is to examine the background which could have influenced Julian's Neoplatonic thoughts in the 4th century AD by the Syrian Neoplatonist, Iamblichus. Marcus Aurelius as a symbol of perfection in Julian's opinion is another interesting question that needs to be answered.

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Abstract

Within half a century, there were two Unitarian authors who created rhymed Hungarian translations of the Book of Psalms – Miklós Fazakas Bogáti at the end of the 16th century and János Thordai in 1627. There are still unanswered questions regarding these translations: why did Bogáti's translation not spread among Unitarian congregations? Was Thordai acquainted with Bogáti's translation?

This paper explores the circle of possible answers to these questions from various perspectives. It also examines Bogáti's biography and the subsequent legacy of his Psalterium, taking into account the context of Church history and the history of publishing Unitarian songbooks. In addition, the poetics of the two translations are analysed. Based on these it transpires that there were several circumstances that made the spreading of the Psalterium difficult.

However, Thordai's work should not be viewed solely as depending on Bogáti's translation, since it is not certain that Thordai was trying to fill a gap with his translation. The Transylvanian Unitarians did not necessarily intend to publish a complete Unitarian translation of the Book of Psalms in their songbooks.

Open access

Abstract

One of the most outstanding cultural events of the year 2019 is the facsimile edition of the Hungarian Szalkai Codex, thanks for which are due to cooperation between the Library of the Primate of Esztergom and the Collection of the Roman Catholic Church at Sárospatak. This outstanding cultural asset, written at Sárospatak (called Patak at that time) and guarded at Esztergom, serves as a curiosity not only for researchers interested in palaeography but also for specialists working in different fields of the history of education. This codex is not only the oldest, but at the same time the only surviving Hungarian schoolbook from the Middle Ages. With its help we may reconstruct some of the ways in which town (parish) schools operated under the reign of King Matthias. The present study focuses on medieval music education.

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Abstract

Carolus Clusius (Charles de l’Écluse, 1526–1609), one of the most renowned naturalists of sixteenth-century Europe, was a versatile man of letters. One of his fields of interest neglected in scholarship is his attitude and activities around what was called fossilia at that time, and what can today be called non-living naturalia: metals, gems, various strange „stones”, fossils, medicinal earths. Such naturalia appear several times in his correspondence: this study reviews how Clusius took part in the collecting, exchange and discussions about these inorganic objects in the European respublica litteraria. He could even be involved in geological or palaeontological issues of his age. The investigation will not only throw light on the activities of Clusius and some of his correspondents, but also taps into to the broader topic of communication and exchange in the Literary Republic of the time, and may even contribute to the history of the natural sciences in the period. Some of the non-living naturalia Clusius was interested in (like „Saint Ladislaus's coin” or the medicinal earth of Tokaj) could be found in Hungary and he looked for them by way of friends in that region (it is known that one of his most important patrons was the Hungarian aristocrat Boldizsár Batthyány). For reasons of space, the study will be published in two parts: Sections 1–3 can be read in this issue, while Sections 4–7 will be published in the next.

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Abstract

When one examines the descriptions of Hungarian travellers of the 16th–17th centuries, it can be stated that the young people – as the listed examples all bring to life the journeys of young people – were prepared for the trips. These young travellers were also accompanied by teachers, and they could read about the geography and people of the area to be visited in the libraries at home. It is also important that eruditive knowledge, complemented by the experience of the trip, reinforces the knowledge read. They also knew the importance of book publishing and the book trade, and we could cite more passages in this regard than in the case of libraries. The libraries they saw were admired, but usually left unmentioned. They must have visited the university library, yet we can hardly find any information about this in the letters and diaries sent to patrons and parents. In our study, we present and cite some examples, but we mention cases where the traveller also noticed the decoration of the library – paintings, sculptures – and furnishings. Globes are mentioned more often. At the end of the study, I mention that from the end of the 17th century we know of a university debate (dissertation) about libraries. Under the leadership of praesens Johann Georg Zihn, Adam Gruber, a citizen of Sopron, defended his thesis, Disputatio de bibliothecis (Leipzig, 1678). It is also the first library science work by an author from Hungary.

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Abstract

The paper deals with the copperplate engraving that stands at the beginning of the main theological treatise of Álvaro de Cienfuegos, bishop of Pécs (Hungary) between 1737 and 1739. The sophisticated work includes also an artistic engraving which is clearly part of the written treatise. The study aims to point out how comprehensively the engraving presents the author's basic intellectual attitude and essential details of the theoretical work. It is a real challenge for the audience of all times: Only in the case of a successful decoding it is possible to feel not only worthy, but also suitable and prepared to read, study and understand the two-volume treatise.

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Es ist nicht alles Weiß, was so zu sein scheint

Bemerkungen zur Interpretation einiger ungarischer und kroatischer Örtlichkeitsnamen

Not all is White that Looks White: Remarks on the Interpretation of Some Hungarian and Croatian Place-Names

Studia Slavica
Author:
István Vig

Adjektive, die Farben bezeichnen, kommen häufig in Örtlichkeitsnamen vieler Sprachen vor. Unter ihnen befindet sich auch das Adjektiv weiß. Die Motivation und Bedeutung des Farbadjektivs weiß in der Namensgebung einiger Örtlichkeitsnamen bilden den Gegenstand dieser Untersuchung. Der vorliegende Aufsatz ist in zwei Teile gegliedert. Im ersten Teil wird den Beweggründen für die Wahl des Adjektivs weiß in einigen ungarischen, kroatischen und serbischen Örtlichkeitsnamen nachgegangen. Im zweiten Teil werden einige kroatische Ortsnamen behandelt, in denen eine Komponente nur scheinbar die Bedeutung ‘weiß’ hat. In der Wirklichkeit haben die Denotate dieser Örtlichkeitsnamen keine weiße Farbe.

Zur ersten Gruppe gehören die ungarischen Örtlichkeitsnamen Székesfehérvár, Gyulafehérvár, Nándorfehérvár, das kroatische Biograd na moru und das serbische (und auch kroatische) Beograd. Sie sind Zusammensetzungen aus fehér, bio- / beo- ‘weiß’ + vár, grad ‘Burg’. Nach allgemeiner Meinung der Fachliteratur bezieht sich das Adjektiv weiß auf die weiße oder helle Farbe der Steine der Burgen.

In der ungarischen Sprachwissenschaft wurde auch erforscht, wie alt das Kompositum fehérvár sein könnte. Es wurde festgestellt, dass die Magyaren schon drei Burgen bzw. befestigte Städte kannten, bevor sie sich am Ende des 9. Jahrhunderts im Karpatenbecken niederließen.

Zwei Örtlichkeitsnamen davon befanden sich auf chasarischem Gebiet, Sarïγsïn und Šarkel / Sarkel. Der zweite Örtlichkeitsname hat die Bedeutung ‘hell, gelb, bleich, weiß’. Der erste ist ein Kompositum von sarï, sarïγ ‘weiß’ + kil / käl ‘Haus’. Nach der bisherigen Erklärung hätte die Komponente sarï, sarïγ eine Beziehung zur weißen Farbe der Festung. Diese Meinung beruht auf der fehlerhaften Interpretation der schriftlichen Quelle. Erstens: die Mauern der Burg wurden aus roten Ziegeln gebaut. Zweitens: die jüngsten turkologischen Forschungsergebnisse weisen darauf hin, dass die Farbe Weiß eine symbolische Bedeutung hatte. Sie ist die symbolische Farbe von Burgen und Gebäuden, die auf ein gehobenes und großes Prestige hindeuten.

Beim dritten Beispiel handelt es sich um den Namen einer Festung am Dnister-Liman, der in verschiedenen Sprachen wiedergegeben wird. Hier wird die Motivation der Komponente weiß durch die hellgraue Mauer der Festung bestätigt.

Fazit. Die Existenz des Namens fehérvár war schon in der urmagyarischen Periode der ungarischen Sprache möglich. Man kann nicht entscheiden, wie er entstand: als Lehnübersetzung oder aufgrund einer gene-rellen Anschauung.

Unter den analysierten kroatischen Örtlichkeitsnamen befinden sich Städtenamen und geographische Namen. Die Stadt Pélmonostor gehörte bis 1918 zu Ungarn. Der kroatische Name ist eine behördlich festgelegte Bezeichnung. Die Komponente monostor wurde übersetzt und der Eigenname Pél wurde durch das ähnlich lautende Adjektiv beli ‘weiß’ ersetzt. Das Adjektiv hat keinen Zusammenhang mit Pél. Der Stadtname Bjelovar ist ungarischer Herkunft (< Bélavár). Der Eigenname Béla wurde volksetymologisch als kroatisch bijel, bijela ‘weiß’ interpretiert und ersetzt. Bei den geographischen Namen Rt (‘Kap’) Bela und Uvala (‘Bucht’) Bela ist die Komponente Bela nicht als Adjektiv, sondern als ein italienischer Familienname zu interpretieren.

Adjectives that denote colours are common in toponyms in many languages. Among them we can also find the adjective white. The motivation and meaning of the colour white in the naming of some place-names form the subject of this study. The present paper is divided into two parts. The first part explores the motivations for choosing the adjective white in some Hungarian, Croatian, and Serbian place-names. The second part deals with some Croatian place-names in which a component only seems to have the meaning ‘white’. In reality, the denotates of these toponyms have no white colour.

The first group includes the Hungarian toponyms Székesfehérvár, Gyulafehérvár, Nándorfehérvár, the Croatian Biograd na moru, and the Serbian (and also Croatian) Beograd. They are compositions of fehér, bio- / beo- ‘white’ + vár, grad ‘castle’. According to the general opinion of the literature on the subject, the adjective white refers to the white or light colour of the stones of the castles.

Hungarian linguists have also researched how old the composite fehérvár could be. It was found that the Magyars already knew three castles or fortified cities before they settled in the Carpathian Basin at the end of the 9th century.

Two of these place-names were located on Khazar territory, Sarïγsïn and Šarkel / Sarkel. The second place-name has the meaning ‘light, yellow, pale, white’. The first is a composition of sarï, sarïγ ‘white’ + kil / käl ‘house’. According to the previous explanation, the component sarï, sarïγ could be related to the white colour of the fortress. This opinion is based on the erroneous interpretation of the written source. First, the walls of the castle were built of red bricks. Second, recent Turkological research suggests that the colour white had a symbolic meaning. It is the symbolic colour of castles and buildings that indicate an upscale and great prestige.

The third example is the name of a fortress on the Dniester Liman, which is reproduced in different languages. Here the motivation of the component white is confirmed by the light gray wall of the fortress.

Conclusions. The existence of the name fehérvár was already possible in Proto-Hungarian. One cannot decide how it was created: as a loan translation or on the basis of a general view.

Among the analyzed Croatian toponyms are city names and geographical names. The town of Pélmonostor belonged to Hungary until 1918. Its Croatian name is an officially defined designation. The component monostor was translated and the proper name Pél was replaced by the similar adjective beli ‘white’. The adjective has no connection with Pél. The city name Bjelovar is of Hungarian origin (< Bélavár). The proper name Béla was folk-etymologically interpreted and replaced by Croatian bijel, bijela ‘white’. In the case of the geographical names Rt (‘Cape’) Bela and Uvala (‘Bay’) Bela, the component Bela is not to be interpreted as an adjective but as an Italian surname.

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The paper interprets M. Krleža’s political and psychotic bestiary on the example of his plays, beginning with the first fragmental drama Saloma, which opens Krleža’s diary entries (dated 26 February 1914) from the First World War (this is his diary-memoir book Davni dani, subsequently published in 1956), and ends with the screenplay Put u raj (1970), by which Krleža completed his drama work. Focusing on that period (1914– 1970), the paper considers Krleža’s dominant zoo-metaphors in the framework of his negative anthropology. In Saloma, for instance, the zoo-lexeme dog is reflected as the dominant zoo-metaphor. Specifically, for Saloma, everything that happens on war-like Earth is determined by the dog’s existence as a subservient ingratiator toward all forms of power in the government. Instead of O. Wilde’s somewhat precious Secessionist ornamental language, Krleža’s Saloma begins with her aggressive nihilism and with Kyon-metaphors: “Nothing! You are as boring as wet dogs!” (Davni dani, diary entry dated 26 February 1914). This paper identifies Krleža’s dramatic political and psychotic bestiary on select examples (one play per dramatic period), taking into account the classification of Krleža’s dramatic work (18 plays) in five stylistic-generic cycles as part of Krleža’s negative anthropology.

In the screenplay Put u raj, a cricket as the dominant zoo-metaphor discloses himself by his singing to the drama binomials (the ego and alter ego: Bernardo and Orlando) in the urinal, while they are urinating together (the male urinating topos) following their narcotic bliss. By combining two issues, the subject of meditation on the death from the novel Cvrčak pod vodopadom and the theme of the eternal repetition of Human Stupidity from the Finale (see the book of political essays Deset krvavih godina, 1937), Krleža rounds out his personal view of the global anti-utopia and dystopia in this anti-war requiem play.

We conclude that Krleža’s political and psychotic bestiary which we have examined on select examples using the drama menagerie on a timeline from 1913/1914 to 1970 is consistent: within the framework of a permanent negative anthropology, Krleža’s preoccupation with documenting the all-powerful human stupidity of the man-ape who, when it learned to fly, bombs other apes, although in speciesist zoo-metaphors, we can say that Krleža does not find utopia in nature “as there is no justice even among flowers”, as the title of one of his ballads states. In short, by negating Feuerbach’s anthropological thesis Man with manthe unity of I and Thouis God and by promoting the Ape to / as Man’s deputy, as Desmond Morris does with the cover of Naked Ape, Krleža shows that Man is at its core and being (the ontological structure of the human being) is not homo sapiens. Today’s pandemic picture of the world demonstrates all of this, or as Krleža would say in speciesist manner: man is still an ape, or as a non-speciesist statement: man is still man, the bloodiest animal.

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Mór Jókai’s novel And Yet It Moves [És mégis mozog a föld] was published in Lithuanian translation in 1892. The translator, Antanas Kriščiukaitis-Aišbė took as the basis the Polish translation of the book, which in turn was based on the German translation. In fact, it is not a translation in the traditional sense but a shortened, abridged version. The translation has attracted a great deal of interest, with numerous reviews by leading Lithuanian literary figures of the time, moreover, the influence of the Hungarian novel can be traced in several Lithuanian literary works. The impact of the work on Lithuanian culture is illustrated by the fact that several prominent figures of the time used the title of the novel as a kind of slogan of the Lithuanian national revival movement.

The aim of the study is to examine how the Lithuanian translation came into being, to analyze the text of the translation itself, to demonstrate how it was received by Lithuanian critics, which contemporary Lithuanian works show its influence, how the title of the work survived in Lithuanian culture, and what factors influenced its popularity in Lithuania. Accordingly, it briefly describes the original work, the most important bibliographical data of the German and Polish translations, the translator’s personality and his works, and examines the factors and aspects that may have played a role in the choice of the work to be translated. In addition to the bibliographical data of the Lithuanian edition and the circumstances of its publication, I will analyze the preface and then examine the translator’s retention or omission of certain passages, the internal logic behind these, the stylistic differences from the original version, and how these may have affected the reception of the work.

The paper briefly discusses contemporary reviews and tries to answer the question of how the Lithuanian reception was influenced by the characteristics of Lithuanian society at the time. The study also examines which Lithuanian literary works show the influence of Jókai’s novel, and analyzes Maironis’s poems Through Pains to Glory [Tarp skausmų į garbę] (1893) and Young Lithuania [Jaunoji Lietuva] (1905), where the similarities in plot and motives with Jókai’s work are so numerous that these works can clearly be considered to be inspired by Jókai; as well as Šatrijos Ragana’s short novels Viktutė (1901) and In the Old Manor House [Sename dvare] (1922), and Liudvika Didžiulienė-Žmona’s For the Fatherland [Del tevynes!] (1893).

Finally, it presents documented instances of the use of the novel’s title as a slogan and examines their context. The paper concludes that the success of the work in Lithuania can be explained by similarities in the historical and social development of the two countries and between the social conditions in Hungary pictured in the novel and prevailing in Lithuania at the time of the publication of the translation.

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Предложен комментарий, проливающий свет на темные места в одном из наиболее дискуссионных стихотворений О. Мандельштама. Результаты проведенного исследования позволяют утверждать, что концептуальную основу текста составляет метафора чтения книги природы. Судя по контексту, эта книга, представленная здесь как учебник, написана языком математики, что отражает отноше-ние поэта к математике как базисной науке, которая, по его мнению, выраженному в статье «Де-вятнадцатый век» (1922), единственная из всех иных способов познания мира способна привести к объективным решениям.

Текст существенно, вплоть до герметичности, затемнен в результате применения сложного ком-плекса элокутивных тактик. Этот комплекс, фактически превративший восьмистишие № 11 в се-миотическую энигму, в частности, составляют: 1. Ряд метафор, три из которых – развернутые: а) математическая метафора; б) метафора чтения; в) флористическая, уподобляющая человеческие познания запущенному саду. 2. Три зевгмы, соединившие звенья указанных развернутых метафор в многомерное ассоциативное целое. Характерная для акмеизма тактика «накладывания образа на образ» (А. Н. Толстой) существенно осложнила смысловую структуру восьмистишия, которое с этой точки зрения представляет собой семантический палимпсест, сформированный рядом об-разных наслоений. 3. Два переноса abstractum pro concreto.

В научной литературе, посвященной восьмистишию № 11, приняты буквальные трактовки ряда переносных выражений, что не способствует адекватному осмыслению этого сложного произведе-ния. Текст написан высоким стилем, чему отвечают: 1) длина стиха: девятисложный стих чередует-ся с восьмисложным, что характерно для жанра оды (этот же силлабический альтернанс находим в одах М. В. Ломоносова, Г. Р. Державина, И. А. Крылова, В. В. Капниста, П. Г. Антокольского и др.); 2) долгий (трехсложный) метр; 3) пространность синтаксических конструкций; 4) отсутствие рез-ких стиховых переносов и стиховых членений; 5) характерный для Библии полисиндетон на «и».

Следует полагать, что в лирической поэзии, в частности в текстах Мандельштама, высокий сти-левой регистр коррелирует с элокутивной затемненностью. Толкование темных мест требует при-менения конситуативного, а также контекстуального анализа, современная версия которого обли-гаторно предполагает обращение: а) к типологии элокутивных тактик, в частности семантических переносов; б) к приемам экспериментальной методики, прежде всего к трансформационному ана-лизу.

Результаты конситуативного тестирования должны быть верифицированы данными лингвисти-ческого анализа et vice versa; в противном случае, а также в случае удаленности исследователя от этих методов, оказываются искажены связи между художественным миром и отраженной в нем действительностью; именно в этих двух случаях наблюдаем методологические упущения в сфере исследования поэтики Мандельштама.

A commentary is proposed that sheds light on the dark places in one of the most debatable poems by O. Mandelstam. The results of the study suggest that the conceptual basis of the text is the metaphor of reading a book of nature. Judging by the context, this book presented here as a textbook is written in the language of mathematics, which reflects the poet’s attitude to mathematics as a basic science, which, in his opinion, expressed in the paper The Nineteenth Century (1922), one of all other ways of knowing the world can lead to objective solutions.

The text is significantly obscured as a result of the use of a complex set of stylistic tactics. This complex, which actually turned the octave No. 11 into a semiotic enigma, in particular, consists of: 1. A number of metaphors, three of which are extended: a) a mathematical metaphor; b) a metaphor of reading; c) a floral metaphor, likening human knowledge to a neglected garden. 2. Three zeugmas that combined the links of these expanded metaphors into a multidimensional associative whole. Characteristic of Acmeism is the tactic of “superimposing an image on an image” (A. Tolstoy) extremely complicated the semantic structure of the octave, which from this point of view is a semantic palimpsest formed by a number of figurative layers. 3. Two transfers abstractum pro concreto.

In research devoted to the octave No. 11, literal interpretations of a number of figurative expressions are accepted, which does not contribute to an adequate understanding of this complex work. The text is written in an elevated style, which corresponds to: 1) the verse length: a nine-syllable verse alternates with an eight-syllable one, which is characteristic of the ode genre (the same syllabic alternance is found in the odes of M. Lomonosov, G. Derzhavin, I. Krylov, V. Kapnist, P. Antokolsky, etc.); 2) a long (three-syllable) meter; 3) the spaciousness of syntactic constructions; 4) the absence of sharp verse transfers and verse divisions; 5) the polysyndeton on “and” characteristic of the Bible.

It should be assumed that in lyrical poetry, in particular in Mandelstam’s texts, a high stylistic register correlates with an elocutive obscurity. The interpretation of dark places requires the use of consituative as well as contextual analysis, the modern version of which obligatorily assumes an appeal to: 1) the typology of elocutionary tactics, in particular semantic transfers; 2) the techniques of experimental methodology, primarily transformational analysis.

The results of the consituative testing must be verified by the data of the linguistic analysis et vice versa; otherwise, as well as in the case of the researcher’s distance from these methods, the connections between the artistic world and the reality reflected in it are distorted; it is in these two cases that we observe methodological omissions in the field of the study of Mandelstam’s poetics, the level of the image of comparison, the structural-semantic model, or both at the same time.

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Abstract

The present paper aims at giving a text edition of Antonio Cassarino's humanist Latin translation of Plutarch's dialogue Bruta animalia ratione uti. This is the earliest of three translations made of this dialogue in the course of the 15th century. The text itself is extant in three different manuscripts, one of which is a codex of the Vatican Library (Vat. lat. 3349), compiled after Cassarino's death by Panormita. A comparison of the text variants has led to several results. First, some of the errors shared by all three manuscripts show that they go back to a common archetype already at some distance from the translator's original copy. Second, Panormita relied heavily on a codex of the Biblioteca della Società Siciliana per la Storia Patria in Palermo (MS Lodi XII E 13) in preparing his own version. Third, the Vatican codex is far from being the best representative of Cassarino's original translation. Though Panormita corrected several of the common inherited errors, he made changes to the text without consulting the Greek. In almost every instance, it is a codex of the Biblioteca Casanatense of Rome (Bibl. Casan. 665 C II 8) which gives the best reading, providing the clue for a successful reconstruction of the text. An attempt will be made to trace the version contained in this codex back to a certain person named Balbi, referred to in the dedicatory letter as being a learned expert of both languages, Greek and Latin. Along with the establishment of the text, it will also be possible to define the original Greek source codex Cassarino used for his translation (Vat. Pal. gr. 170).

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Im Wald des Hippolytus •

Zur Intertextualität von Plin. ep. 1. 6 und Sen. Phaedr. 1–83; 483–504

Acta Antiqua Academiae Scientiarum Hungaricae
Author:
Boris Hogenmüller

Abstract

Pliny's Epistle 1.6 is a relatively short, apparently personal letter within the first book of Epistles, addressed to his friend Cornelius Tacitus. Besides intertextual references to Lucretius, Calpurnius Siculus and Tacitus, there is also an interesting allusion to Seneca's tragedy Phaedra, which influenced Pliny in the conception of the letter's frame story, as the present study aims to prove.

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Abstract

In this discussion note we explore why and how we need a pragmalinguistic and speech act-anchored approach to systematically study a key pragmatic phenomenon: phatic interaction. By so doing, we aim to draw attention to a special issue which we plan to publish in Acta Linguistica Academica. First, we present a general model through which phatic interaction can be replicably studied across different data types and linguacultures, by breaking it down to speech act types occurring in different slots of an interaction. Second, we provide a case study involving Chinese learners of English as a foreign language, in order to illustrate how the proposed framework can be put to actual use.

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The main goal of this paper is to analyze, depict, and characterize the semantic construction of the latest novel Przewóz [The Carriage] (2021) written by one of the most significant contemporary Polish writers Andrzej Stasiuk. A key way of organizing Stasiuk’s novel is juxtaposing semantically distant wholes, which creates strong tensions not only at the level of language but above all at the level of meaning. Categories of different meaning interpenetrate in the novel, creating a conglomerate of new meanings, showing the fractures of the world described by the novelist, the incoherence of a reality infected by war.

Such construction of the novel, based on contrasts and the tensions resulting from their occurrence, allows Stasiuk to reflect the tragedy of wartime experience. War is a catalyst that makes us aware of the uncertain anchoring of concepts and categories, hitherto considered unchanging and permanent, it allows us to capture the illusory nature of human beliefs, the incoherence of human actions, and the naivety of human recognition. The marginal comes to the fore, becoming a model of the world under a microscope, a theatre of history, revealing the nakedness of human existence. Such basic and key concepts as strength, courage, beauty, sacrifice, patriotism, culture, universality, boundary, and truth are questioned.

Stasiuk’s ontology is based upon a constant play of tensions between particular categories that make up reality. Nonetheless, the writer does not propose a coherent, unambiguous assessment of reality but rather draws attention to its complexity, impossibility of complete cognition, elusiveness, and delusion. These tensions, so pronounced in Stasiuk’s novel, reveal the illusory nature of the concepts in which a human is immersed, and at the same time, as one of the fundamental elements determining the artistic value of artwork, they are expected to lead to a catharsis, to a release of emotions, they also help to understand better the situation into which a person is thrown at the border moments. Thus, works designed in this way – as cleansing and releasing, and saturated with tension and contrasts – become, as it were, automatically universal, going far beyond transient vogues.

The goal of the paper is also to focus on these aspects of Stasiuk’s novel, to demonstrate how war as a border situation can lead to a relativization of concepts, how it can introduce confusion and chaos into a well-established, as it would seem, axiological system, which the writer demonstrates precisely by creating clear tensions. In his novel, Stasiuk does not offer a zero-one vision of the world, tensions are not created mechanically, and the writer uses contrasts and paradox, but what is really important for him are halftones, ambiguities, multivocalities, and a smooth transition in between categories. This is what sets Stasiuk’s world in motion.

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Abstract

This note argues that the text of Ciris 58 should read: illam etiam aerumnis quod saepe legamus Ulixi.

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Das anekdotische Erzählen als moderne poetische Form im Kontext der tschechischen und der ungarischen Literatur

Anecdotal Narrative as a Modern Poetic Form in the Context of Czech and Hungarian Literature

Studia Slavica
Author:
Tibor Gintli

Die Anekdote wird durch den in der Literaturwissenschaft entstandenen Konsens als eine Gattung angesehen, die im 20. Jahrhundert endgültig veraltet ist. In meinem Beitrag möchte ich am Beispiel von Bohumil Hrabal und Péter Esterházy zeigen, auf welche Weise sich die anekdotische Tradition in der tschechischen und der ungarischen Literatur auch in der zweiten Hälfte des 20. Jahrhunderts sowie im ersten Jahrzehnt des 21. Jahrhunderts als auch weiterhin fortsetzbar erwies. Die Erzählweise von Jaroslav Hašek auf das Lebenswerk von Bohumil Hrabal eine bedeutende Wirkung ausgeübt hat. Inwieweit erneuert Hrabal diese anekdotische Tradition?

Hinsichtlich der Betrachtungsweise ist ein wesentlicher Unterschied, dass Hrabals Texte mit Vorliebe über die im allgemeinen Sinne genommene existenzielle Situation des Menschen reflektieren. Man kann kaum bezweifeln, dass sich hinter der ausgelassenen Heiterkeit und der gesteigerten Lebensfreude in den Werken Hrabals immer die durch das Bewusstsein der Endlichkeit ausgelöste Beklemmung abzeichnet. Das anekdotische Erzählen wird in diesem Kontext zum Ausdruck des dionysischen ekstatischen Rausches. Auf die Deutung der Existenz auch die existentialistische Philosophie eine Wirkung ausgeübt hat, doch zugleich antworten die Werke Hrabals nicht mit einem hoffnungslosen Heroismus auf das Gefühl der Ziellosigkeit des Seins, sondern mit einer exzessiven, beinahe verzweifelten Lebensfreude.

Péter Esterházy hat ebenfalls eine Anregung aus der anekdotischen Tradition geschöpft. Kálmán Mikszáth und noch mehr die anekdotische Erzählweise des 19. Jahrhunderts mit seinem Werk Kornél Esti neu inter-pretierenden Kosztolányi stellten für ihn die wichtigste Anregung dar. Kosztolányi hat die ungarische anekdotische Erzähltradition dadurch umgeformt, dass er die anekdotische Oralität mit der plaudernden Art der Gattung des Feuilletons verband. Dank dieser Verbindung erhielt die anekdotische Sprechweise so eine Art intellektuelle Schichtung, dass sie dabei auch ihren unterhaltenden Charakter behielt. Diese spielerisch ernste Sprechweise konnten aus dem Grund auf die postmoderne Prosa von Esterházy eine anregende Wirkung ausüben, da sie eine Möglichkeit zur Verwirklichung des spielerischen Crossovers der Register und Gattungen bot, beziehungsweise den durch den postmodernen Geschmack derart bevorzugten selbstreflexiven Verfahren des literarischen Textes einen Raum eröffnete. Auf dem Gebiet des Abbaus der Großerzählung betrachtet Ein Produktionsroman die Poetik von James Joyce als das zu befolgende Beispiel, so hatte die Neudeutung der traditionellen Form eine Art neoavantgarder narrativen Invention zum Ergebnis.

A consensus has emerged in literary studies that the anecdote is a genre that finally became obsolete in the 20th century. In my contribution, I would like to show, using the examples of Bohumil Hrabal and Péter Esterházy, how the anecdotal tradition can be proven to have continued in the second half of the 20th century and in the first decade of the 21st century and beyond in Czech and Hungarian literature. Jaroslav Hašek’s storytelling had a significant impact on Bohumil Hrabal’s oeuvre. To what extent did Hrabal renew this anecdotal tradition?

In terms of approach, a key difference is that Hrabal’s texts tend to reflect on the existential situation of people in a general sense. One can hardly doubt that the anxiety triggered by the awareness of finiteness is always behind the exuberant cheerfulness and elevated joie de vivre in Hrabal’s works. In this context, anecdotal narration becomes an expression of Dionysian ecstatic intoxication. Existentialist philosophy also had an effect on the interpretation of existence, however, Hrabal’s works do not respond to the feeling of the aimlessness of being with hopeless heroism but with an excessive, almost desperate joie de vivre.

Péter Esterházy was also inspired by the anecdotal tradition. Kálmán Mikszáth and particularly the storytelling style of Kosztolányi were his most important inspirations. Kosztolányi reinterpreted the anecdotism of the 19th century in his work Kornél Esti and transformed Hungarian anecdotal storytelling tradition by combining anecdotal orality with the chatty nature of the feuilleton genre. Thanks to this combination, the anecdotal language received an intellectual layering while also retaining its entertaining character. This playfully serious manner of speaking had a stimulating effect on Esterházy’s postmodern prose because it offered an opportunity to realize the playful crossover of registers and genres as well as opened up space for the self-reflective methods of literary texts favoured by postmodern taste. In the context of the destruction of the grand narratives, Esterházy’s A Production Novel, following the example of James Joyce’s poetics, reinterpreted the traditional form of anecdote in the spirit of the neo-avant-garde.

Open access

Polski dopełniacz w węgierskiej perspektywie porównawczej

The Polish Genitive in the Hungarian Comparative Perspective

Studia Slavica
Author:
Wiesław Tomasz Stefańczyk

Polszczyzna i język węgierski są językami odrębnymi zarówno pod względem genetycznym, jak i typologicznym. Polszczyzna jest językiem indoeuropejskim, słowiańskim o zdecydowanej przewadze cech fleksyjnych, natomiast język węgierski jest językiem uralskim, ugrofińskim, a ściślej ugryjskim, aglutynacyjnym typu postpozycyjnego. Owe odrębności obejmują wszystkie płaszczyzny systemu językowego, zwłaszcza słownictwo i morfologię. Zasadnicza różnica między aglutynacyjnym i fleksyjnym typem językowym wyraża się w tym, że morfemy aglutynacyjne doklejane do rdzenia wyrazu są zasadniczo jednofunkcyjne, natomiast morfemy fleksyjne kumulują w sobie kilka funkcji, np. w konstrukcji w samochodach końcówka -ach jest jednocześnie wykładnikiem przypadka (locativus) i liczby (liczba mnoga). W analogicznej formie węgierskiej autókban występują dwa morfemy -k-, wskazujący na liczbę mnogą oraz -ban, wyrażający przypadek (inessivus). Przykłady aglutynacji można odnaleźć również w języku polskim, dominują one w formach czasu przeszłego i trybu przypuszczającego.

Podobnie jak większość języków ugrofińskich, węgierszczyzna jest językiem o silnie rozbudowanym systemie przypadkowym. W zależności od ujęcia wyróżnia się od 18 do 25 przypadków. W języku węgierskim przypadki są zasadniczo jednofunkcyjne, natomiast przypadki polskie pełnią na ogół jednocześnie kilka funkcji. Najbardziej wielofunkcyjnym przypadkiem w polskim systemie kazualnym jest dopełniacz. W sposób ewidentny świadczy o tym fakt, że ma on ekwiwalenty w siedmiu różnych przypadkach węgierskich, tj. elativus, illativus, delativus, adessivus, ablativus, allativus i terminativus. Ich ekwiwalencja, choć nie w pełni precyzyjna, jest możliwa dzięki przyimkom jako konstytutywnym komponentom przypadka. W przeciwieństwie do afiksów węgierskich, polskie przyimki jednak są wielofunkcyjne, np. za pomocą prepozycji z(e) oraz do oddaje się dwa, a nawet trzy różne przypadki węgierskie. Afiksy węgierskie, będące odpowiednikami polskich przyimków i końcówek fleksyjnych, pełnią na ogół jedną, ściśle określoną funkcję.

Z polskiego punktu widzenia najbardziej skomplikowaną kategorią w języku węgierskim jest sposób realizacji konstrukcji dzierżawczych. Wyraża się to w całkowicie odmiennym szyku składników, istnieniu morfemów dzierżawczych dodawanych do członu oznaczającego przedmiot posiadany, a zatem zupełnie odrębnej relacji: posiadacz – przedmiot posiadany. W konstrukcjach tych ukryty jest językowy obraz świata: inny w polszczyźnie i całkowicie odrębny w języku węgierskim. Konstrukcje te stanowią olbrzymie wyzwanie zarówno dla osób uczących się języka węgierskiego jako obcego, jak i ich nauczycieli.

Polish and Hungarian are separate languages, both genetically and typologically. Polish is an Indo-European, Slavic language that is heavily inflected, while Hungarian is a Uralic, Finno-Ugric, or more precisely, an agglutinative Ugric language that is post-positional in its form. These differences encompass all levels of the language system, especially with regard to vocabulary and morphology. The main difference between the agglutinative and inflectional linguistic types is expressed in the fact that agglutinative morphemes attached to the word root are essentially monofunctional, while inflectional morphemes accumulate several functions, e.g. in the construction samochodach, the ending -ach is also an exponent of the case (locative) and number (plural). The analogous Hungarian form autókban includes two morphemes: -k-, indicating the plural, and -ban, representing the case (inessive). Examples of agglutination can also be found in Polish, where they dominate the past tense and the conditional forms.

Like most Finno-Ugric languages, Hungarian is a language with a highly developed case system. Depending on the conceptualization, there are 18 to 25 cases. In Hungarian, cases are essentially monofunctional, while in general Polish, cases perform several functions simultaneously. The genitive is the most multifunctional case in the Polish case system. Evidenced of this is the fact that it has equivalents in seven different Hungarian cases, i.e. elative, illative, delative, adessive, ablative, allative, and terminative. Their equivalence, although not fully precise, is possible thanks to the prepositions acting as constitutive components of a case. However, as opposed to Hungarian affixes, Polish prepositions are multifunctional, e.g., by means of the prepositions z(e) and do, two or even three different Hungarian cases are rendered. Hungarian affixes, which are equivalents of Polish prepositions and inflectional endings, usually have one, strictly defined function.

From the Polish point of view, the most complicated category in Hungarian is the way in which possessive structures are formed. These are expressed in a completely different order of components, the existence of possessive morphemes being added to the element denoting a possessed object, which results in a completely separate relationship: owner – possessed object. Hidden in these structures is the linguistic image of the world: different in Polish and completely separate in Hungarian. These structures pose a huge challenge for both learners of Hungarian as a foreign language and their teachers.

Open access

Abstract

Ethologists have observed that some animals use organised violence against members of their own species. Some well-known scholars call this form of animal aggression war, deliberately omitting the quotation marks. And how was it in antiquity? Was war believed to be part of the animal world? The aim of the presented article is to analyse the ancient written sources in search of correlations between the notion of war and animals, and to determine what conceptual assumptions lie at the heart of this correlation. In light of the preserved records, it seems that the conviction about the existence of an inherent correlation between war and the animal world emerged slowly; that is, basic military terms (polemos, machē, etc.) were used with respect to animals reluctantly in the beginning and rather metaphorically, but gained popularity over time. Even though animals appear in the military context beginning from Homer's Iliad, Aristotle was most probably the first one to explicitly formulate a thesis about the presence of war (polemos) in the animal world. Aristotle's concept of war comes down to a series of duels fought between animals. It seems that what made it easier for Aristotle to transfer the notion of a battle (machē) from the human world to the animal world was the Greek tendency to present duels between soldiers as being equivalent to a clash between two armies.

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Studia Slavica
Author:
Ю. С. Макарець

Стаття присвячена дослідженню паремійного фонду як джерела народної лінгвофілософії. Об’єк-том аналізу стали українські паремії з базовими лексемами мова та слово. У прислів’ях та приказках ці поняття витлумачені не лише як засоби комунікації та передачі смислів, а й як морально-ціннісні категорії. Українська народна лінгвофілософія розглядає слово у його відношенні до дійсності (дій і речей) і до ментальності, зберігає відгомін давніх вірувань у його здатність матеріалізуватися й впливати на життя людини. На уявлення про магічний потенціал слів пізніше нашарувалися по-всякденні спостереження за їхньою спроможністю впливати на емоційні стани та дії індивіда.

Народна мудрість насамперед оцінює слово і мову як інструменти соціалізації та встановлення соціальних зв’язків, як мірило інтелектуальних здібностей і моральних достоїнств людини, тому до-сліджені паремії містять переважно своєрідні комунікативні аксіоми (За грубе слово не сердься, а на ласкаве не здавайся; Добре слово не коштує нічого, а поможе много; Лагідні слова роблять приятелів, а острі словазавзятих ворогів; Від ласкавих слів утихає гнів; Не кидай словами, як пес хвостом). Менша їх кількість сформувалася в період активних націєтворчих процесів, коли мова була інтер-претована як особистісна цінність та основа самоідентифікації, тобто етична категорія (Рідна моване полова, її за вітром не розвієш; Хто мови своєї цурається, хай сам себе стидається). Подібні ідеї характерні й для великої групи афоризмів, що з’явилися в ХІХ – на початку ХХ ст.: у період ста-новлення української національної ідеї, яка, як і у інших представників слов’янського світу, була лінгвоцентричною і початково оберталася навколо ствердження прав рідної мови та її виражальних можливостей. Ідейне суголосся малих жанрів української народної творчості та літератури свідчить про ідейний резонанс між широкими верствами українців та відносно вузьким колом інтелектуаль-ної еліти в сприйнятті мовного питання.

Сьогоднішня мовленнєва практика українців свідчить, що значний шар паремій лінгвофілософ-ського змісту переміщується на периферію паремійного фонду. Комунікативний потенціал зберіга-ють паремійні одиниці, які стосуються мови як комунікативного коду. Переважно вони реалізують не стільки первинну настанову на підтримці ближнього «добрим словом» (ця група спочатку була найбільшою в українській мовній практиці), скільки рекомендацію не говорити зайвого, щоб не нашкодити собі, що опосередковано свідчить про ціннісну переорієнтацію сучасного суспільства.

The paper pays special attention to the paremic fund as the source of folk linguophilosophy. The object of analysis is the paremias in the Ukrainian language with the basic lexemes language and word. Proverbs and sayings interpret these concepts not only as the means of communication and transmission of meanings but also as moral and value categories. Ukrainian folk linguophilosophy considers a word through its relation to reality (actions and things) and to mentality and retains echoes of the ancient beliefs in its ability to materialize and influence human life. The belief in the magical influence of words later was layered by everyday observations about their sufficiency to influence emotional states and actions.

Folk wisdom, first of all, evaluates words and language as the tools of socialization and establishing social connections, as the measure of a person’s intellectual abilities and moral virtues, that is why paremias mostly contain peculiar communicative axioms (За грубе слово не сердься, а на ласкаве не здавайся; Добре слово не коштує нічого, а поможе много; Лагідні слова роблять приятелів, а острі словазавзятих ворогів; Від ласкавих слів утихає гнів; Не кидай словами, як пес хвостом). The later layers include a smaller group of paremias formed during the period of active nation-building processes and interpreting language as a personal value and the basis of self-identification. The native language is understood as an ethical category, and the attitude to it – as a mirror which reflects a person’s attitude to himself (Рідна моване полова, її за вітром не розвієш; Хто мови своєї цурається, хай сам себе стидається). Similar ideas are also characteristic of a large group of aphorisms which appeared in the 19th and the early 20th century: the period when the formation of the Ukrainian national idea took place, which, as in the Slavic world as a whole, was linguocentric and initially revolved around the assertion of the rights of the native language and its expressive usefulness. The ideological harmony of small genres of folk art and fiction testifies to the ideological resonance that existed between the broad masses of Ukrainians and a relatively narrow circle of the intellectual elite in the perception of the language issue.

Today’s speech practice of Ukrainians shows that a significant layer of paremia linguophilosophical content is moving to the periphery of the paremia fund. The communicative potential is preserved by those paremic units that relate to the communicative code, mainly implementing not so much the instruction on verbal support and a kind word (this group was initially the most numerous in Ukrainian language practice) but on the need not to say too much, so as not to harm yourself, which indirectly indicates the general value reorientation of modern society.

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Феномен музыки в прозе Л. Улицкой

The Phenomenon of Music in L. Ulitskaya’s prose

Studia Slavica
Author:
Тюнде Сабо

В данной статье рассматривается роль музыки в романах Л. Улицкой. Из высказываний Улицкой ясно, что музыка всегда играла чрезвычайно важную роль в ее жизни. Это отражается и в ее твор-честве: музыка как тема и аспект жизни героев является основополагающим фактором во многих ее произведениях.

В данной статье мы попытаемся исследовать поэтическую функцию музыки в этих произведени-ях. На основе анализа произведений Веселые похороны, Казус Кукоцкого, Зеленый шатер и Лестни-ца Якова можно выделить три основных аспекта этой функции: создание референциального фона, создание специфического музыкального дискурса и структурирование различных уровней текста.

Создание референциального фона связано с формированием мира героев: герои посещают реаль-ные места (музыкальные школы, концертные залы и т. д.), характерные для данного исторического периода и они слушают или играют конкретные произведения конкретных композиторов. Прото-типами для некоторых героев послужили музыканты, сыгравшие важную роль в русской культуре.

Герои-музыканты Улицкой относятся к музыке по-разному: они могут быть воспринимателем, композитором или теоретиком музыки, и, как правило, они признают музыку как основной прин-цип жизни. Формулировка чувств и идей о музыке, взятая в целом, создает в произведениях вполне определенный музыкальный дискурс, который взаимодействует с другими дискурсами (научным, религиозным и т. д.), связанными с героями-немузыкантами.

Само по себе создание музыкального референциального фона не входит, а музыкальный дискурс входит лишь отчасти в круг интермедиальных явлений. Взаимодействие музыки и литературы как двух видов искусства наиболее ярко проявляется в использовании музыкальных структур. В статье представлены два примера, в которых макро- и микроструктуры текстов организованы по прин-ципу музыкального рондо. В повести Веселые похороны чередование настоящего времени процесса умирания главного героя и прошлых эпизодов, связанных с второстепенными персонажами, со-ставляет форму музыкального рондо, а в одном из эпизодов романа Зеленый шатер форма рондо вытекает из чередования различных форм высказывания (голос повествователя / внутренний голос героя / переплетение голоса повествователя и голоса героя).

В целом, произведения Улицкой чрезвычайно разнообразно используют литературную репрезен-тацию музыки. Созданный в них музыкальный мир, характерный для ограниченной части сюжета, предстает в сочетании с другими сегментами культуры и способами их репрезентации, в результате чего возникает очень богатая, синкретическая поэтика романов.

This paper examines the role of music in L. Ulitskaya’s novels. It is clear from Ulitskaya’s statements that music has played an extremely important role in her life, which is reflected in her oeuvre: music as a theme and an aspect of the heroes’ lives is a fundamental factor in many of her works.

This paper tries to explore the poetic function of music in these works. Based on the analysis of The Funeral Party, The Kukotsky Enigma, The Big Green Tent, and Yakovs Ladder, three basic aspects of this function can be distinguished: the creation of a referential background, the creation of a specific musical discourse, and the structuring of the different levels of the text.

The creation of the referential background is linked to the shaping of the world of the heroes: the activities of some heroes take place in real places (music schools, concert halls, etc.) specific to a given historical period and linked to specific works by specific composers. Musicians who have played an important role in Russian culture served as prototypes for several of these heroes.

Ulitskaya’s musician heroes relate to music in a variety of ways: as a recipient, as a creator, or as a theoretician, and they all recognize music as a principle of life. The formulation of feelings and ideas about music, taken as a whole, creates a well-defined musical discourse in the works, which interacts with other discourses (e.g. scientific, religious, etc.) related to non-musician heroes.

The creation of a referential background in itself is not, and the musical discourse is only partly an intermediary phenomenon. The interaction between music and literature as two artistic disciplines is most evident in the use of musical structures. The paper presents two examples where the macro- and micro-structures of texts are organized by the principle of the musical rondo. In The Funeral Party, the alternation of the present of the protagonist’s dying and of past episodes related to minor characters constitute the musical rondo form, while in an episode of The Big Green Tent, the rondo form is drawn from the alternation of different forms of utterance (the narrator’s voice / the hero’s inner voice / the interweaving of the narrator’s voice and the hero’s voice).

All in all, Ulitskaya’s works make extremely varied use of the literary representation of music. The musical world created in them, which is specific to a limited part of the plot, is presented in conjunction with other segments of culture and their modes of representation, resulting in a very rich, syncretic poetics of the novels.

Open access

Abstract

This paper investigates the (hybrid) agreement patterns with collective and military rank nouns in Jordanian Arabic, both inside and outside the determiner phrase (DP). It will be argued that the number, unit (group), and feminization features are hosted on functional heads merged in various positions in the course of the syntactic derivation of the DP, and that agreement is determined on the basis of the Merge sites of those functional projections. More particularly, it will be shown that the heads Num(ber) and Unit may be situated higher or lower within the DP, and that each head controls agreement on the adnominals above it via feature sharing prior to movement, consequently producing different patterns of number agreement inside the DP, which in turn feeds DP-external agreement. The feminizing head, by comparison, is optionally merged, but when it is present, mixed gender agreement arises, depending on its Merge position. Finally, it will be shown that the above assumptions are substantiated by empirical data from Jordanian Arabic as well as from other languages.

Free access

Abstract

In describing the form of his Fourth String Quartet, Bartók employed the terminology of the German Formenlehre with which he was acquainted thanks to the teaching of Hans Koessler. Bartók's elucidation suggests that the models for the construction of thematic units, contrasts, developments and closing segments, which were normative for the sonata cycle in the nineteenth century, continued to exercise their influence despite the distance from functional tonality. An analysis of the five movements of the Fourth String Quartet with systematic reference to Bartók's synopsis shows that a subtle dialectic between adoption and transformation was at stake. The principles of traditional form gained new strength through the reinvention of harmonic structures, melodic lines and hypermetric groups. The symmetrical–architectural framework was preserved but filled with unconventional tone progressions, irregular phraseology, and a new sense for development and reprise.

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Abstract

In movement I of String Quartet no. 5 inversion shapes of the themes are recapitulated in reverse order – probably the most daring concept of a palindromic structure of a sonata-form movement in Bartók's realm. After all, for him a strict hin und zurück form with strong thematic characters was unthinkable. Already the strategy of this opening movement involved danger. If Theme I after a transition leads to Theme II, which leads to Theme III, as a dramatic series of actions, how could the reverse order of these themes be “natural”? To minimize the danger, in this movement Bartók reconsidered the usual dramaturgy of the exposition. Instead of a continuous growth of the musical “scenes” welded together, he presented three thematic blocks very much different in character, heavily punctuated by fragments of the first theme. Therefore, dramatic contrast rather than organic development is the key term, and so the reverse order of the thematic blocks in the recapitulation is less artificial.

Open access

Bartók: The String Quartets •

An International Colloquium Organized by the Budapest Bartók Archives in Association with the Bartók World Competition at the Liszt Academy (Bartók Hall, Institute for Musicology, Research Centre for the Humanities October 29, 2021)

Studia Musicologica
Author:
László Vikárius
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Abstract

The present paper is a preliminary study to a deeper understanding of Bartók's compositional process: how he filled the music paper even if the notation appears continuous. He did not always write the draft from the top-left corner to the bottom-right corner but occasionally skipped some measures or phrases that he intended to write down later. Thus, the continuity draft is not necessarily regarded as a continuity; it might have consisted of fragments but they have been eventually concealed in the final form of the draft. This may directly affect our interpretation of Bartók's creative process. The present research takes the visual appearance of a draft as a clue to examine its hypothetical fragmentariness. Beginning with the examination of some actual blank spaces that were never filled, the paper deals with cases where the original existence of fragments is suggested by the extraordinary appearance of the draft, such as a blank space at the end of a system, notations in the margin, re-organization of bar-lines, etc. Besides systematic approaches to fragmentariness, the author offers some interpretation concerning the reasons why Bartók did not write the draft in an ordinary way. There might have been different explanations for the interruption of the linear compositional process. One of the important findings of this paper is that Bartók's bar-lines do not always mark metric accents but sometimes simply facilitate the performers' orientation. Even though the occasional special function of some of his bar-lines as mere markers of orientation is explained by Bartók in a letter to Rudolf Kolisch, the existence of philological evidence to this effect may further underline its validity and importance.

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Abstract

The Serenata con una Cantatina by Ignaz von Seyfried is a particular work for choir, soloists and Harmoniemusik, which was performed in 1805 for a courtly occasion. The music is above all entertaining, but certain objectives, probably imposed by Empress Maria Theresia, are in the background. The objective is to understand how Seyfried combines a festive but cultivated music with social and political purposes. The origins of the score and the creation process are first considered. The issues at stake are exemplified by an analysis of the different movements, particularly the Quolibet. This study aims to reveal the composer's engagement, the performance practice as well as the reception of this work a time when the Harmoniemusik was very successful in Vienna.

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Although Sándor Veress achieved his first significant successes in Hungary and abroad at the turn of the 1930s and 1940s, musicological research still remains indebted to the detailed analysis of the composer's career related to the history of Hungarian music and cultural life. Based on press and archival documents, letters and recollections, and the historical literature of the period as well, the present study attempts to explore the socio-cultural environment that characterized and helped to unfold Veress's development. My study looks at the composer's network of contacts, his family ties and the political-ideological movements and relations with the Reformed Church that promoted his career, and examines their direct influence on Sándor Veress's works composed during this period, especially The Miraculous Flute (1937), the Japanese Symphony (1940) and Térszili Katica (1943).

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Abstract

As already pointed out by László Somfai in the late 1980s, Béla Bartók's first fully developed five-movement realization of the so-called “bridge” or “palindrome” form was only an afterthought, a further development of a composition originally intended as a cycle of four movements only. As also discussed briefly by Somfai, the evolution of the Allegretto, pizzicato movement itself had distinct stages. A recently surfaced source further clarifies these compositional phases, among others confirms the existence of a 140-measure-long version without a proper conclusion, which, at one point, the composer considered as a definitive version (for which only the ending needed to be composed) and tested with the Waldbauer-Kerpely Quartet. The present article re-examines the compositional process of Bartók's String Quartet no. 4 with an emphasis on its additional fourth movement and discusses the different compositional phases of the Allegretto, pizzicato.

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Abstract

This article examines Handel's opera Orlando from the period of the new Royal Academy of Music (1729–1734). Handel's operas contain many compelling musical elements which impart information and contribute to the richness of his dramatic acts. This article illustrates the various components of compositional practices such as harmonic progression, rhythm, key changes, and chromaticism in Orlando. The second part explores the application of his theatrical gesture of opera. His music releases the meaning of the texts and conveys the content of expression to the audience in a unique way. Finally, this article studies and examines the overture and three arias of the character Zoroastro from Handel's Orlando by comparing several adjacent arias as a group. By studying the role of Zoroastro, we will find that Handel's musical language in opera contains a hidden complexity displayed through the following: expression of tonality and key signature; certain qualities or characteristics of a wider range both in the vocal line and orchestra; and application of ostinato and cross-rhythm in order to enhance the textual meaning. The study shall benefit our ongoing comprehension of Handel's power for evoking the audience's interest, attention, and admiration which are identified when listening to, performing, and analyzing his arias.

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The miracle narrative of the first oratorio by C. P. E. Bach – the escape of the people of Israel from the thirst death by Moses – comes from the Book of Exodus. In the course of the second part of the work, however, the figure of Moses is unexpectedly taken over by the Redeemer. The place turns out to be a paraphrase of Genesis 3:15. In the context of the German Enlightenment the biblical story can be interpreted as a reference to the assimilation process of the Jewish community. The composed libretto includes an interpolation, which speaks about the real advent of the Messiah, thus placing the work among the representatives of the messianic-cult of the Enlightenment. The interpolated text section focuses on the religion above religions as imagined by the latitudinarianism of the leading philosophers of the Enlightenment and testifies to the Masonic spirit in it. The text of the final chorus re-interprets the church dedication (the original function of Bach’s oratorio) as the dedication of the invisible Church: the soul.

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This article provides new perspectives on Claude Debussy's compositional process in his String Quartet through a fresh examination of existing sources, particularly a sketchbook kept in the Bibliothèque nationale de France. First, the fragmentary nature of the material contained in the sketchbook implies the existence of another manuscript, now lost. By analyzing Debussy's notations for his String Quartet in greater detail, it is possible to question the different functions the latter took on in the compositional process: in addition to the musical ideas simply noted as an aide-memoire, there are more exploratory musical fragments. Furthermore, the description and analysis of the sources of the String Quartet's creative process enhance our knowledge of Debussy's compositional methods and techniques. These new insights into the sources also show how Debussy adapted to certain social and aesthetic constraints when writing the String Quartet. The compositional context, the very genre of the quartet, and the fact that Debussy was close to Chausson and the Société nationale, led him to seek compositional solutions to combine the techniques of the Franck school with the personal aesthetic he was developing at the time. In particular, the article reconstructs part of the composer's reflection on the cyclic design, which is at the heart of the questions raised in the sketches.

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In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochoreology as a scholarly discipline, his critical views on the use of folk dance on stage, etc. In contrast to the earlier literature, this article no longer considers the Hungarian shepherds' horn signals as the inspirational sources for Bécsi harangjátek [Viennese Clock], a movement which imitates a musical clock in Kodály's Singspiel Háry János. The movement entitled Branle de village, part of seventeenth-century Austrian composer Johann Heinrich Schmelzer's Partita ex Vienna, contains some bars that bear a close resemblance to the repeated main motif of Kodály's Viennese Clock. It is safe to assume that Branle de village was Kodály's source of inspiration, given that there is evidence that he studied the DTÖ-collection of Schmelzer's works: he referred to this volume where he found a Styrian version of a Székely dance tune.

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