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Arts and Humanities
Adalékok Binder János Fülöp rézmetsző munkásságához
Addenda to the work of engraver János Fülöp Binder
Johann Philipp Binder (1736/7-1811), who worked in Buda in the second half of the 18th century and the first decade of the 19th, followed the Augsburg Rococo engraving tradition of the middle third of the 18th century. Since the publication of György Rózsa’s catalogue of three hundred and eighty-eight engravings by Binder and his workshop in 1998, his work has been the subject of much attention. In my study, I supplement the known oeuvre with nearly twenty signed engravings on religious and secular subjects found in nine books or other printed sources not yet examined in relation to Binder’s oeuvre, and discovered on three separate sheets. One of these may also modify the artist’s biography as known and accepted to date. On the basis of his will published five days after his death on 23 December 1811, I list the possessions he left to his second wife, who was still running the workshop a decade later. Museum catalogues and databases open up new perspectives for research. An important methodological lesson for the compilation of a new, more complete Binder catalogue, and for the processing of the 18th-century Hungarian reproduced graphic corpus in general, is that it is important to take all surviving copies of a book in hand, as not all illustrations are bound in all copies. Such a Binder catalogue would allow an analysis of the change in the artist’s style and the gradual inclusion of assistants.
Az esztergomi főszékesegyház és egyházkormányzati központ építészeti koncepciójának kialakulása és változásai
II. rész. Formálódó elképzelések az 1820-as évek elején, a Főszékesegyház alapkőletételéig – Remy és Kühnel tervei
Architectural conception of the complex of esztergom cathedral and church government centre: genesis and changes
Part II: solidifying ideas in the early 1820s up to the laying of the foundation stone – plans by remy and kühnel
The plans of the ecclesiastical complex drafted in the 1820s were based on certain 18th century antecedents. The death of Archbishop Ferenc Barkóczy (1761–1765) in 1765 interrupted the constructions started on plans by Franz Anton Hillebrandt (1719–1797). The retransfer of the archiepiscopal see from Nagyszombat to Esztergom was not possible for more than another half a century, until the archiepiscopacy of Sándor Rudnay (1819–1831) (Fig. 1).
So as to reconstruct the evolution of the 19th century conceptions, all the extant and accessible plan material must be put to meticulous analysis – to continue the work of the scholarly predecessors interested in the building history of the basilica (Antal Leopold, Gyula Edvi Illés, Gyula Prokopp) and to complement their observations and findings. The collation and examination of the – not always signed and dated – plans kept in diverse collections (Vienna, Esztergom and Budapest) are also necessary to try and establish their chronological order. Luckily, the dated sheets and the earlier and still ongoing processing of the sources provide several clues that allow us to infer the time line and the changes in the architectural ideas. The paper makes an attempt to reconstruct the formation of architectural ideas on the basis of the most detailed study of plans drafted between 1820 and 1822.
The 18th century spatial layout of the required buildings of the ecclesiastical government was kept unchanged: the cathedral is located on Castle Hill framed on the west overlooking the Danube, and on two sides by wings of the archiepiscopal palace. A monumental wide ramp leads to Castle Hill on the east lined on either side by the residences of the members of the cathedral chapter, enclosing the open place formed at the eastern, lower part of the ramp. The clergy’s seminaries are also situated east of Castle Hill. The 18th century idea of the disposition of the buildings – expressing their hierarchy as well – was accepted by the 19th century posterity, but the appearance of the individual buildings was modified according to the new style.
Archbishop Rudnay gave the commission of planning to Ludwig von Remy (1776–1856), the office director of the imperial and royal architectural office (Hofbauamt) of Vienna in May 1920, endorsed by Emperor and King of Hungary Francis I on 27 July 1820. The series of Remy’s Esztergom plans preserved in the Albertina has been enlarged in the past fifty years or so (Figs 2–14), hence we have a far larger basis to examine his architectural ideas than Gyula Prokopp had in the early 1970s. /The (incomplete) series of Remy’s plan drawings for Esztergom is found in the Albertina, which has been extended since Prokopp’s time./ The architect inspired by the spirit of triumphal neoclassicism must have been attracted by the urban scale of the commission. He drafted several versions of the buildings under Castle Hill. There is no knowing whether a site plan of all the buildings had been drafted, as it is missing from the Albertina series, so we can only hypothetically attempt to reconstruct his idea on the basis of available details (Fig. 15).
Pál Kühnel (1765–1824) had a draughtsman’s role, especially in the early phase of the completion of Remy’s plans. However, soon he also began negotiating with Archbishop Rudnay and started making separate plans. Of course, by that time he had a good overview of Remy’s architectural ideas and could perform his drawing on their basis. Rudnay did not want rivalry between the two architects and hoped for their cooperation on a common plan. The Viennese official refrained from competing with his employee, so he withdrew from the commission, without handing over his plans completed by the beginning of 1821. Although Rudnay could not get to know Remy’s plans, they could still influence further planning through the collaboration of Kühnel and constitute an important station toward the plan to be implemented.
Thus, the commission of planning passed on to Kühnel, who completed the first set of plan drawings (Figs 16–24) by March 1821. Not all the – once probably existing – plans of the series are known today. He already sketched up several versions for the canons’ houses financed by the members of the chapter (Figs 23–24) in 1820. Among that-time plans of the cathedral, the perspectival view of the interior of the basilica is particularly attractive (Fig. 18).
Apart from the site plan drawing of Kühnel’s first plan series (Fig. 16), he also made two site plan variants (Figs 25–26), which were more adjusted to the terrain features of Castle Hill than the conception detailed on the sheets of the cathedral and the primatial palace. On these plan versions the building complex on Castle Hill is arranged in a trapezoid form: the lateral wings of the archiepiscopal palace converge westward – with different solutions on the two sketches. The four wings of both seminary buildings arranged around a square court are nearly identical in the two plan versions, while the canons’ residences are different: in one they have L-shaped ground-plan, in the other the auxiliary buildings are laid out parallel with the residences, thus separating the garden from the court.
The plans and written sources suggest that the client did not have mature ideas about the canons’ nursing section at that time. Kühnel designed several optional residence buildings for the canons in 1820 and 1821 with various ground-plans and one or two storeys (Fig. 27–30). His contract included the planning of 22 dwelling houses, which was later extended on the eastern end of the curving row of houses with two buildings, the library and the archives. It was also an important consideration to incorporate some of the foundation walls surviving from the constructions during Archbishop Ferenc Barkóczy.
In spring 1821 Kühnel drafted another series of plans. In the second series the ensemble on Castle Hill became more spacious and airy: the lateral wings of the archie-piscopal palace are shortened and do not turn eastward; they are linked to the cathedral with curving colonnades. The ground-plan of the cathedral also became more rational. The renaissance Bakócz Chapel attached to the cathedral with a kind of corridor in earlier plans got better integrated in the mass of the cathedral. In this plan series the crypt was to have been in the western side of the ba-silica, under the sanctuary zone (Figs 34–35). The number of the canons’ houses in the straight rows increased from five to six, therefore the curving row of house closing the ensemble on the east received the buildings of the library and the archives at its ends. North of the northern straight line of canons’ houses a new building of large floor space appeared in the site plan (Fig. 31): most probably for storage, offices and stables needed by the monumental building project.
The construction of the cathedral was launched on the basis of plans created in this phase of planning (Fig. 36) with the laying of the foundation stone on 23 April 1822 – but shortly afterwards the plans had to be modified. That, however, will be the subject of a further paper.
The study focuses on the postcolonial analysis of the development of mutual Czech-Slovak relations from the 19th century to the first half of the 20th century. The core of the analysis are specific literary representations of these mutual relationships based on the textual corpus of Czech and Slovak literature. In the broader public discourse of Central European literature, Czech-Slovak relations are only rarely analysed using postcolonial criticism. In the field of literary science, this is an unexplored area of Czech-Slovak relations. The contribution therefore seeks to complement postcolonial research on the material of Czech and Slovak non-fiction texts, as well as neglected novels. It focuses on the postcolonial analysis of literary representations of mutual Czech-Slovak relations, which developed between paternalism and colonialism in the observed period. The critical reading of these literary representations is based on the description of power relations identifiable through more or less conspicuous features of superiority and subordination, which are relevant to interpret through postcolonial theories. The author of the paper is aware of the specifics and differences of power relations between small cultures in the Central European area compared to the analysis of relations between a large empire and a politically subordinate colonial culture. For this reason, he expands the repertoire of terminology from postcolonial criticism (Homi H. Bhabha and Edward W. Said) and uses not only the basic terms colonialism and Orientalism, but also other terms to define the diverse scale of the power relationship of the Czechs to Slovak culture, e.g. paternalism (to introduce the Czech figure of the elder brother), pre-colonialism (to introduce the Czech figure of the savior) and anticolonialism (to introduce the Czech figure of the Slovaks as victims). Using postcolonial terminology, the study approaches specific literary figures that have become part of Czech thinking about Slovak culture. The situation of Slovak culture in the observed period can be interpreted through Kiossev’s metaphor of self-colonization, which reflects the positive reception of the cultural and educational mission of the Czechs in Slovakia. The used corpus of texts from Czech and Slovak literature and its analysis served as a starting point for understanding cultural stereotypes and literary representations of nascent national identities. Czech colonialism developed in the political, cultural and linguistic framework, first as a recognition of Slovakia by Czech slovakophiles, after 1918 it was already part of the discussion in the public space. All these period attitudes of the Czechs towards Slovakia were prescribed in literary texts of a fictional and non-fictional nature and as part of the Czech cultural memory they filled the Czech cultural myth about Slovakia.
„Bori mesék”. Képzőművész munkaszolgálatosok Borban
“Tales of bor” artists doing labour service in Bor
During World War II six thousand Hungarians enlisted for labour service were taken from Hungary to Bor in Serbia occupied by germany (1943–1944). The great majority called up for unarmed labour service were of Jewish origin; they were supervised by Hungarian soldiers and worked under the control of german military officials (Organisation Todt). They were put to slave labour in the mines and the construction of the mountain railroad around Bor. Several of the Jewish labourers were beginning or already acknowledged artists at the time of their conscription. no matter how adverse the circumstances were, some of them did not give up their creative activity during work in Bor. The three works mentioned in the paper were created in labour camps during the Holocaust, at high artistic level. Their singularity, however, is not primarily their attainment but the choice of their unusual genre. Their common feature is the genre of the (fairy) tale. “Ein Märchen von Bor” narrates the story of the Bor mine in 50 scenes and poems in german written under them. The characters of the tales are figures from the literature of tales, german occupiers and inmates of labour camps. The tale that takes place around the mining region of Bor alloys reality, fancy and the faith of the conscripts on labour duty in their liberation. The other tale based on Mother Holle also known from the grimm brothers’ collection is titled “Tale of a good and a bad little girl”. It consists of twelve colour pictures. It was made upon the commission of one inmate for the wedding anniversary of another one. The cock often appearing in tales has particularly great significance here: it is the herald of the Messiah, and in Hebrew tradition it is a symbol of betrothal and fertility. The other ancient symbols emerging in the tale get further meanings in this context. The third art work mentioned in the paper depicts a single day in Bor in six scenes and a few lines. The tale written in postcard format is at the same time a confession of love to the bride left at home. love thus plays an important role in all tales or in their genesis.
The creators and in two cases the addressees of the works of art are known: graphic artists Ferenc Szabó and poet Tibor Sándori (Tales of Bor) and graphic artist Albert Csillag (“Tale of a bad and a good little girl” and “One day”). All the creators, as well Károly niederländer, who commissioned a tale for his wife, fell victim to the Holocaust in Bor, or after the evacuation of Bor in Hungary or germany. Their works created in Bor survived them miraculously thanks to their comrades liberated in and around Bor.
Bunt przeciw uprzedmiotowianiu Teodycea, sny i niesamowitość w literaturze obozowej
Rebellion against objectification Theodicy, dreams and the uncanny in the camp literature
Istnienie obozów nazistowskich i sowieckich było skandaliczną niesprawiedliwością, i praktycznie każdy tekst literacki napisany na ich temat traktuje je jako taką. Jednym z elementów rozważań nad tematyką obozów jest pytanie o to, czy można się spodziewać zadośćuczynienia po wydarzeniu, podczas którego było się upokorzonym, wręcz odczłowieczonym, żyło się w każdym momencie w zagrożeniu egzystencjalnym, często tracą całą rodzinę, zdrowie fizyczne i psychiczne? I czy martwi mogą liczyć na jakiekolwiek zadośćuczynienie? Niektóre teksty wydają się twierdzić, że do pewnego stopnia tak.
Najbardziej tradycyjnym sposobem na udowodnienie, że wydarzeniom wojennym jednak nie udało się do końca zniszczyć porządku świata, jest teodycea, stosowana mniej lub bardziej otwarcie zwłaszcza w literaturze mitotwórczej, a także jej odwrotność, otwarta negacja jakiegokolwiek porządku metafizycznego, jakiejkolwiek opatrzności, będąca gestem zadośćuczynienia, przywracającym narratorowi aktywną podmiotowość poprzez akt buntu.
Literatura obozowa obfituje jednak i w motywy symbolizujące odwrócenie porządku świata w mniej dosłowny sposób. Tak w tekstach o lagrach, jak i w tych o łagrach spotykamy się dość często z obrazami snów, nieraz spełnionych. Z badań historio-psychologicznych wiemy, że wspólne omawianie sennych widzeń w obozach było czynnością istotną z wielu powodów: między innymi dlatego, że wróżenie łudziło pewnym, choć raczej ograniczonym, odzyskaniem kontroli nad swoim własnym losem. Ale wspomnienia powstałe już po wyzwoleniu, napisane skądinąd w duchu realistycznym, też podchodzą z powagą do wróżebnej mocy snów, powtarzając gest – w momencie pisania – już anachroniczny, którego funkcja nie ulega jednak zmianie, ponieważ jest działaniem dążącym do odzyskania kontroli.
Drugim często spotykanym narzędziem stosowanym (między innymi) w wyżej wymienionym celu jest niesamowitość (w znaczeniu freudowskim). I ta może mieć różne odmiany, od reprezentacji duchów poprzez miejsca naznaczone niesamowitością aż do języka, na pozór niewinnego, lecz sygnalizującego między wierszami rzeczywistość zbrodni. Niesamowitość można rozumieć, w zależności od tekstu, jako oznakę ciągłego istnienia ofiar (więc jako namiastkę, alternatywę życia), lub też jako zemstę przeszłości nad przyszłością (tj. naszą teraźniejszością), będącą warunkiem wstępnym do ewentualnego katharsis. Paranoiczne czytanie, paranoiczne odczytywanie języka również są gestami nakierowanymi na odzyskanie kontroli.
Postpamięć, mimo wszystko patrząca na literaturę tworzoną przez ofiary bezpośrednie z pewnym dystansem, podchodzi do powyższych motywów w sposób kreatywny, analityczny lub filozoficzny, nieraz kontestując je, czasem wręcz z ironią, aby otwierać nowe perspektywy związane z tematyką obozową.
Giovanni Maria Parenti utazása Mátyás király udvarába (1486). A humanista útinapló eredeti szövege és magyar fordítása
The journey of giovanni maria parenti to the court of king matthias corvinus (1486). Original text and hungarian translation of the humanist travel diary
Giovanni Maria Parenti was a 15th-century humanist cleric who wrote a book on the life and miracles of Saint Geminianus, the patron saint of his native Modena. The book, decorated with colour engravings, was published in 1495, also in Modena. A lesser known detail of the author’s life is that in 1486 he was part of an embassy to Hungary and compiled a twelve-page travel diary of his journey from Venice to the Hungarian royal court. The original manuscript, preserved in the State Archives of Modena, is not in good condition. Much of the text is very difficult to read, but it is well worth the effort: the diary-like document is not simply a list of the places visited on the journey, but a colourful and eventful account of the experience, with scenes of humour, enthusiastic praise and sharp criticism. And the description of the Archbishop’s seat in Esztergom includes unique details that are rarely found in other sources: the large murals of the archiepiscopal castle, details of the portraits of kings, mainly known from Antonio Bonfini’s work, and the scene of the conquest of the Pannonian Basin by the Magyars. The study provides information on the origins of the document, analyses the content of the text, adds other sources to the story, and the appendix includes a Hungarian translation of Parenti’s travel diary alongside the original text.
Heterotopie w literaturze obozowej
Heterotopies in the camp literature
Punktem wyjścia mojej analizy jest pojęcie heterotopii utworzone przez francuskiego filozofa Michela Foucault. Foucault definiował heterotopię jako „kontr-miejsce”, w którym wszystkie inne miejsca w danym spo-łeczeństwie są zarazem reprezentowane, kontestowane i prezentowane jak gdyby w krzywym zwierciadle. Postaci znajdujące się na obszarze danej heterotopii łączy ze sobą właściwość bycia wybranym – jest to aspekt heterotopii być może nieco zaniedbany przez samego Foucaulta. Wybór, o którym mowa, dokonywany jest zazwyczaj na podstawie pewnych cech charakterystycznych i w jakimś konkretnym celu – co samo w sobie wiąże się z odczłowieczeniem; nic dziwnego zatem, że we wspomnieniach oraz w literaturze post-pamięci obóz koncentracyjny (najczęściej: Auschwitz) pojmowany jest nieraz jako takie właśnie „kontr-miejsce”. W niniejszej pracy wychodzę z założenia, że sięgając po motywy heterotopijne uniknąć można wyzwań, zktórymi tradycyjnie boryka się literatura holokaustu, takimi jak: wyświechtanie tematu, niejasne kategorie „ofiary” i „oprawcy”, ogromna liczba ofiar uniemożliwiająca odczuwanie empatii, itp. Celem mojej analizy nie będzie jednak udowodnienie przynależności obozu koncentracyjnego do kategorii „kontr-miejsc” (co traktuję jako oczywistość), tylko przyjrzenie się z bliska dwóm przestrzeniom heterotopii znajdującym się na obszarze obozu, zdolnym do reprezentacji obozu za pomocą swoistej metonimii: Puffowi, czyli domowi publicznemu, oraz szpitalowi obozowemu. Interesuje mnie sposób, w jaki postrzegano ludzi pracujących w tych instytucjach i osoby korzystające (zmuszone do korzystania) z ich usług; z jakiej perspektywy opisywano ich oraz cechy, na postawie których zostali naznaczeni/wybrani, oraz to, jaką symbolikę wiązali więźniowie z tymi miejscami. Z drugiej strony ciekawi mnie także znaczenie świata nie-ludzkiego: przyrody (jako przestrzeni, ale nieraz też heterotopii, zawierającej w sobie obóz), a także rzeźni i ogrodu zoologicznego – heterotopii znajdujących się poza obszarem obozu, ale działających nieraz jako jego metafory. Wychodzę tu z założenia, że trauma odczłowieczenia otworzyła nam oczy na nie-ludzkie istoty żyjące wokół nas, istoty, którym do niedawna odmawiano wszelkich właściwości „ludzkich” – chciałabym więc dokładniej przyjrzeć się temu, jak przedstawiane są kontakty ludzko-zwierzęce, ludzko-roślinne, zwierzęco-zwierzęce itp. w kontekście Shoah. W ramach swojej analizy będę się skupiała na tekstach polskojęzycznych autorów piszących o Zagładzie (np. Seweryny Szmaglewskiej, Tadeusza Borowskiego, Stanisława SwenaCzachorowskiego, Tadeusza Śliwiaka, Piotra Macierzyńskiego, Jacka Podsiadły).
Schaár Erzsébet ifjúkora és korai szobrászművészete (1908-1931)
Erzsébet Schaár’s youth and early sculpture (1908–1931)
The present paper is a subchapter of my doctoral dissertation titled The Oeuvre of Sculptor Erzsébet Schaár (1908– 1975). The paper discussing a period of her life’s path sofar only tangentially touched on by special literature divides into three parts: the first is concerned with the artist’s family background, childhood and adolescence, the second with the initial phase of the career, the academy years, and the third looks at works created in the 1920s and the early 1930s, as well as exhibitions of that period.
Schaár was a veritable “child prodigy”. She began her studies as Zsigmond Kisfaludi Stróbl’s private pupil at the age of sixteen and a year later, in 1925 she was admitted to the Royal Academy of Art where her tutor was again Kisfaludi Stróbl. She debuted with her works publicly in 1926, first of all in exhibitions of the Szinyei Society and the KÚT (=new society of artists). Though several of her that-time works got lost or are latent, an approximately authentic overview of her art in that period can be had from exhibition catalogues, receptions, materials in archives and private collections – first of all the Vilt estate in the King St Stephen Museum in Székesfehérvár and the mostly unprocessed written and photography documents, correspondence in the Schaár estate, as well as from recollections by her contemporaries, first of all Tibor Vilt. A few nudes are known from this period, but her early artistic activity centred on portrait sculpture. This is also the clew along which the phases Schar’s artistic development, the modifications of her style, the influences exerted on her can be demonstrated from the earliest known portraits of her mother to the series of children’s portraits in the late 1920s, early 1930s. The studied period is characterized by a search of her own idiosyncratic style: in the 1920s she created both realistic portraits and works displaying features of art deco and cubism, she was interested in modelling with simple forms, experimented with facial casts – a procedure that returned in later phases of the oeuvre.
In sum, the earliest period of Schaár’s sculptural activity displays such singularly powerful idea of plasticity and creative outlook that compare with the later phases of the oeuvre in talent and quality, but with the help of which posterity can discern the trends that were to unfold in full later. Studying this early period may contribute to a more profound understanding and comprehensive interpretation of the entire oeuvre.
Tommaso Daineri levelei II. Ulászló csillagászati műszereiről
Tommaso Daineri’s letters about the astronomical instruments of wladislas II
Combining Italianate and science historical interests, the two authors present for the first time in Hungarian trans- lation the descriptions of the astronomical instruments of King Wladislas II in the original contexts of letters. We have compared the descriptions with similar contempo- raneous instruments, using the results and databases of the research literature of astronomy history. Our work was helped by several factors: photocopies of reports by Modenese envoys got incorporated in the system of the electronic Archival Portal of the Hungarian National Ar- chives within the frames of the Vestigia research project, and Elena Ferrazzi published the letters of Daineri in her dissertation of 2021.
Восточнославянские паремиологические параллели: Библейская мудрость в образных вариациях
East Slavic paremiological parallels: Biblical wisdom in figurative variations
В статье на русском, белорусском и украинском материале рассматриваются сходства и различия пословиц библейского происхождения, образующих паремиологические параллели. Для анализа отобраны пословицы, представленные в словарях библеизмов и паремиологических сборниках, из-данных в России, Беларуси, на Украине. Цель статьи – показать выявленные в ходе сопоставитель-ного анализа полные трехъязычные эквиваленты и диапазон варьирования библейских образных мотивов в рамках восточнославянских паремиологических параллелей, изложить концепцию лек-сикографической репрезентации этого материала. Актуальность темы исследования определяется интересом лингвистов к библейскому наследию восточнославянских языков и необходимостью восполнения лексикографической лакуны в сопоставительной восточнославянской лексикографии.
Данные сопоставительного анализа позволили сделать вывод о том, что семантическое развитие пословиц-библеизмов и варьирование их образной структуры в восточнославянском ареале – это результаты работы креативного народного языкового сознания, которое конкретизирует обобщен-ный смысл паремий, развивает пословичные идеи, приближает образы пословиц к этноспецифиче-ским реалиям повседневности.
Обобщен опыт словарного описания восточнославянских пословиц библейского происхождения в многоязычных словарях библеизмов и словаре восточнославянских паремий тезаурусного типа. Намечены пути оптимизации сопоставительного лексикографического описания пословиц-библе-измов.
Специализированный «Словарь русских, белорусских и украинских паремий-библеизмов», кон-цепция которого представлена в статье, в полной мере отразит образно-семантическую специфику библейских паремий в восточнославянских языках на фоне их прототипов и в межъязыковом сопо-ставлении. На примере словарной статьи «От умного ума наберёшься, а с глупым последний расте-ряешь» рассматривается параметры описания паремиологических параллелей. Их расположение в порядке убывания сходств и нарастания различий позволяет наглядно и последовательно отразить универсальность и этнокультурную специфику паремий библейского происхождения.
Представлена также концепция приложения к словарю – тематико-аксиологического указателя, где пословицы группируются под аксиологемами – формулировками оценочных идей, передавае-мых библейским источником паремий. Здесь паремиологический материал объединен по языкам, что позволяет проследить образно-семантические сходства и различия на уровне фрагментов наци-ональной пословичной картины мира. Подчеркивается лингводидактическая ценность разработан-ных паремиографических материалов, возможность их использования в учебных целях.
Фразеологизмы в текстах песен Булата Окуджавы
Phraseologisms in the texts of Bulat Okudzhava’s songs
Булат Окуджава – русский поэт и бард, песенное творчество которого в 60–80-х годах ХХ века пользовалось необыкновенной популярностью. Лирико-романтическая направленность его про-изведений проявлялась и в используемой им лексике и фразеологии. Не подлежит сомнению, что лексический строй литературного произведения должен исследоваться в неразрывной связи с его идиоматикой – совокупностью фразеологических и паремиологических единиц. В статье рассма-триваются и особая экспрессивная роль фразеологизмов, и структурно-семантические преоб-разования в их составе, и семантическое обыгрывание устойчивых словосочетаний (в том числе столкновение фразеологически связанного и свободного значений) и т. д. Мы проанализировали фразеологизмы, употребленные поэтом в текстах песен, с точки зрения их происхождения и функ-ционального назначения. В общей сложности нами было обнаружено около 200 примеров. Выявле-но, что используемая поэтом фразеология распадается на несколько групп.
Первая и самая большая группа – это общеупотребительные («общеязыковые») устойчивые словосочетания: черный ход, черный день, пустые обещанья, дальняя дорога, голубая кровь, голубые дали, последняя черта. Эти фразеологизмы, естественно, никакой особой коннотацией не обладают, метафорическая их природа стерлась, и читатель или слушатель воспринимает их в общем ряду нейтральных языковых средств, характерных для разговорной речи. Характерно для песенных тек-стов Б. Окуджавы и столкновение в одном контексте прямого (свободного) и переносного (фразео-логически связанного) значений. Таким образом, можно утверждать, что поэт творчески подходит к фразеологическому богатству русского языка, приводя значения устойчивых выражений в соот-ветствие с идейно-образным строем своих произведений.
Вторая группа используемых Б. Окуджавой фразеологизмов – это словосочетания, навеянные архаичными текстами – библейскими, мифологическими, фольклорными и др.: страшный суд, царь небесный, чертоги златые, райские кущи. Понятно, что песни Окуджавы были рассчитаны на его современников (и особенно на молодое поколение), которым сакральные и исторические тексты были плохо знакомы. Однако, используя мифологические выражения, поэт демонстрирует свою верность традициям русской высокой поэзии, позволяет себе определенную смелость в использо-вании устойчивых выражений библейского и фольклорного происхождения. Так, важнейший для славянской мифологии персонифицированный образ Земли – Мать сыра земля – в стихотворениях Б. Окуджавы выступает то как сырая земля, то как земля сырая, с варьированием порядка слов и, по сути, с десакрализацией исходного понятия.
Третья группа фразеологизмов – это устойчивые словосочетания, отражающие специфику совет-ской эпохи: ковать победу, железное мужество, морально нестойкий, фанерная звезда, прощальных речей торжество, граница на замке и т. п. Фразеологические «советизмы» неизбежны в творчестве поэта (и барда), испытавшего на себе все тяготы социалистического строя.
Многие выражения из песен Булата Окуджавы сами «фразеологизовались», стали устойчивыми словосочетаниями или прецедентными текстами: московский муравей; последний троллейбус; ко-миссары в пыльных шлемах; надежды маленький оркестрик; девочка плачет, шарик улетел; возьмем-ся за руки, друзья. Это – вклад поэта в общерусскую фразеологию и паремиологию, и, соответствен-но, в русское языковое сознание.
Boat-shaped fibulae from the Early Iron Age sites of Érd and Százhalombatta
Csónak alakú fibulák Érd és Százhalombatta kora vaskori lelőhelyeiről
Abstract
The primary aim of this study is to present some Early Iron Age brooches found at Érd-Hosszúföldek, including an attempt to clarify some of the cultural connections of the area. The pair of boat-shaped fibulae connected by a chain, the three-footed vessels, and the ribbed cysts indicate a complex and widespread connection network in the period.
A caricaturistic portrait of Ovid from Brigetio (Komárom/Szőny, Hungary)
Ovidius karikaturisztikus portréja Brigetióból (Komárom/Szőny)
Abstract
In 2015 a preventive excavation was carried out preceding the laying of an optical cable in close vicinity to the legionary fortress of Brigetio. An otherwise regular Roman terracotta roof tile was found during the excavation, with the image of a bearded man and the inscribed name of Ovidius Naso. The depiction of the poet leans more towards caricature rather than a realistic portrait, but since we do not know of any ancient representations of Ovid, it is of great importance and fits well into the series of other graffiti on roof tiles from Pannonia.
Ein Hortfund aus der Koszider-Periode im Bükk Gebirge
Mittelbronzezeitliche Metallfunde von Dédestapolcsány-Verebce-bérc
A bronze hoard from the Koszider period in the Bükk Mountains: Middle Bronze Age metal finds from Dédestapolcsány-Verebce-bérc
Absztrakt
A tanulmány Dédestapolcsány-Verebce-bérc lelőhelyen az elmúlt évek intenzív kutatásai során előkerült középső bronzkor végi bronztárgyakat ismerteti, és ezek tükrében támpontokat ad a Bükk hegység középső bronzkori használatát illetően. 2022-ben négy gombos végű bronzsarlóból álló koszideri korú depó került elő fémkeresős lelőhely-felderítés során, és feltehetően ehhez az együtteshez tartozott egy szórványként talált sarkított peremesbalta is. A lelőhelyről két további szórványlelet, egy peremesbalta és egy spiráltekercsben végződő karperec töredéke ismert még ebből a korszakból.
A Gáta–Wieselburg-kultúra temetője és kiemelkedő síregyüttesei Nagycenk-Farkasverem lelőhelyről
The cemetery of the Gáta–Wieselburg Culture and its remarkable graves from the site of Nagycenk-Farkasverem (Western Hungary)
Absztrakt
Az M85 autóút nyomvonalának ásatásain 2017–2018-ban, Nagycenk határában a réz/bronztágyak mennyiségében és típusában is egyedülálló, újabb bronzkori temető került elő. A csontvázas temetkezések és mellékleteik a Nyugat-Magyarországon, Kelet-Ausztriában és Délnyugat-Szlovákiában elterjedt Gáta–Wieselburg-kultúrához köthetők (Rei. BA1–A2, Kr. e. 2200/2100–1600/1500). A jelen előzetes közleményben a harminckét síros nagycenk-farkasvermi temető három, kiemelkedő társadalmi helyzetű férfi temetkezését mutatjuk be. A radiokarbon adatok alapján, a magyarországi kora és középső bronzkor fordulójára (1σ valószínűséggel Kr. e. 2010–1780 közé) keltezhető sírok egy, gazdagságában és kapcsolatrendszerében, s talán technikai tudásában (fémborításos kőbuzogány) európai viszonylatban is jelentős közösségre utalnak a Fertő-tó vidékén, a közép-németországi, kora bronzkori „fejedelmi temetkezések” időszakában.
A ságvári késő római erőd horreuma
I. épület
The Granary of the Late Roman Fortress at Ságvár: Building I
Absztrakt
A Kelet-Dunántúlon található belső erődök a Constantinus-korban épült katonai utánpótlási bázisok voltak, amelyek a 374. évi kvád–szarmata betörés pusztítása után épültek újjá. Az erődök fontos épülete volt a gabonaraktár. A ságvári erőd horreumának kutatása megbízható adatokat szolgáltatott az épület és a létesítmény kronológiájához, valamint a 374. évi kvád–szarmata betörés történetéhez. A tanulmányban a horreum ásatásának eredményeit ismertetjük, kitekintéssel a pannoniai késő római gabonaraktárak építészeti típusára.
Abstract
This paper discusses the relationship between minority identity and place-name use in Hrušov/Körtvélyes. The research location is in the Rožňava/Rozsnyó district of the Košice/Kassa region, near Slovakia's border with Hungary. 79% of the village's population belong to the Hungarian national minority, while 20% of the population identifies as Slovak. The community can be described as bilingual, as they use both Hungarian and Slovak, depending on the situation and context. Most of the settlement's place name stock consists of toponyms in Hungarian, with Slovak toponyms mainly appearing only on maps from the second half of the 20th century. However, even the residents who claim Slovak nationality and/or Slovak mother tongue hardly know and use the Slovak toponyms. This sociological study of place names, including 10% of the population (34 people), proves this. The strong minority identity is reflected in the fact that the community of Hrušov/Körtvélyes uses Hungarian toponyms and has not adopted the artificially created Slovak toponyms. In this context, it is safe to conclude that learning and revisiting the use of toponyms can strengthen identity, as it strengthens the ties to the community.
Phantasia motiva vel ratio particularis
Praktische Vernunft und innere Sinne bei Albertus Magnus und Thomas von Aquin
Abstract
The paper discusses the role of the phantasia motiva in Albert the Great and of the vis cogitativa sive ratio particularis in Thomas Aquinas. It argues that by introducing these capabilities, Albert and Thomas propose important clarifications of Aristotle's theory of practical reason (phronesis), relying on Avicenna's account of the inner senses. The respective theories of both authors are cornerstones for their ethical theories which give much weight to account for to particular factors of any singular action.
Abstract
Support-verb constructions are combinations of a verb and a noun that fill the predicate slot of a sentence, as to make a suggestion in he made the suggestion that she join us. The article investigates whether carere ‘to be free from’ (+ ablative), unlike egere and indigere, in support-verb constructions, such as dolore careo ‘to be free from pain’, moves from lexical-phraseological to grammatical-analytical between the classical and post-classical periods, based on (i) the contiguity of components, (ii) the degree of component compatibility, and (iii) the spread across authors. The article argues that the classical verb of realisation becomes a support verb in post-classical times. The classical verb of realisation qualifies as a Caritive functioning as a low-scope scalar focus negative; the post-classical support verb seems to be semantically broader. Carere ‘to be free from’ never becomes an auxiliary verb but hovers at the syntax-lexicon interface throughout.
Abstract
The first Latin translation of Aristotle's Metaphysics of which we know was made only in the mid-12th century, by James of Venice († after 1148), and is transmitted for books I–IV, 4 (1007a31). James' Greek model, which came not down to us, was older than most of the c. 50 Greek manuscripts containing the Metaphysics and can be reconstructed through the Latin translation itself, carried out verbum de verbo. The present article aims to precisely identify the position of James' Greek model in the tradition, i.e. the stemma codicum of Dieter Harlfinger from 1979. As the collation against the independent Greek tradition reveals, the Translatio Iacobi happens to be the oldest tangible member of the δ -family and part of a special, southern Italian branch of the transmission that seems to have been the prevailing text version of the Metaphysics in the Terra d’Otranto from the 13th to the 15th century.
Abstract
The Janus Collection in Seville offers valuable insight into the transmission and reception of Janus Pannonius's translations in the early modern period. This paper examines the Greek works translated into Latin by Janus and preserved in one of the Seville codices, specifically in manuscript T (7–1–15). Through a meticulous analysis of this manuscript and its historical context, the study sheds light on Janus's translation process, the significance of the π line in the textual tradition, and the manuscript's journey from Hungary to Spain via Basel.
Abstract
In this contribution, a new attempt is made to clarify the meaning of the Demotic word “ftft” in Bodl. MS. Egypt. a 3(P), 8, 4. The best solution can be obtained from the meaning ‘to sprout up’. The explanation can be supported by an equally late parallel. The subject of the action is the growth of branches or blossoms of trees, which can be understood as a symbol of fertility. The motive appears in an Osirian context.
Abstract
Although there is no real distinction in the soul in the metaphysics of Plotinus, discussing the activities of the individual souls, he does distinguish between higher and lower soul. Reading the Enneads, however, we face at least two major problems concerning the two kinds of soul. (i) Given that Plotinus uses the faculty psychology as well, how can we establish the border between the two kinds of soul in respect of the psychic powers? (ii) Some texts tell us that the lower soul stems from the higher soul, while others trace back to the World Soul. Does Plotinus necessarily have an inconsistent view on the lower soul's origin, or can we reconcile the two views somehow? First, I will present these two issues in more detail and their two main interpretations. Then, I am going to analyse passages of various topics, such as the emergence of desire (IV. 4 [28] 20), the possible extent of purification (I. 2 [19] 5), and the effect of magic on the soul (IV. 4 [28] 43–44). I shall argue that the crucial difference between the two kinds of soul is the ability to make free choices, which allows us to distinguish them in terms of psychic activities. On the basis of this, I intend to show that the lower soul does not originate from the World Soul strictly speaking. Instead, Plotinus uses this claim to demonstrate that certain aspects of us, including some psychic activities as well as moral character and practical life in general, cannot be under our rational control entirely, but they are subjected to the necessity of the cosmos.
Abstract
Central and Eastern European countries generally view their socialist heritage as an unwanted, unpleasant burden. The new identity-building processes after the regime change were initially dominated by efforts to rewrite, suppress, or erase the socialist past, while for Western tourists the consumption of key attractions and sites of the built heritage represents a particular form of heritage tourism through which they can experience a slice of an “exotic” past beyond the Iron Curtain. At the national and local levels, there is a vast dissonance between the material heritage of socialism and the identity and aspirations of post-socialist communities, which is even more evident in the case of newly-built, former socialist towns. Through the example of Tiszaújváros and Dunaújváros, my study primarily examines the institutional strategies chosen by these towns to address their socialist heritage. What principles prevailed in the compilation of the local collection of values? What kind of representation of the past do local museums offer, what role does the ethnographic heritage of the annexed villages play in museum presentation and collection, and how are local/regional traditions integrated into the town's image? Finally, through a specific community of memory, a Facebook page, I examine how the recent past appears in individual and collective – often nostalgic – memory, what values the community associates with the town, and how all these relate to the heritagization practices of the local elite.
Abstract
The article considers two fragments of a vase painting by the Kleophrades Painter which display images of a satyr and a sleeping maenad, respectively. Even the words of the satyr are preserved by a fragmentary inscription that largely coincide with those uttered by Pentheus in v. 918 of Euripides' Bacchae. In view of the unique correspondence between picture and play, apparently overlooked by Euripidean scholarship, the study seeks to reevaluate earlier assumptions about the psychological and ritual background of Pentheus' words.
Abstract
Today, resilience can be regarded as an attribute of complex (spatial) systems. However, the extent to which this concept can be applied in practice remains the subject of debate. Can we, for instance, speak in general terms about the social resilience of a region, when the effectiveness of adaptation and the parameters of its functioning are subject to significant fluctuations in space and time, and when the diverse social, economic, and political conditions that prevail in different localities may necessitate the implementation of different adaptation strategies? Can the social resilience of individual groups be equated with the successful adaptation of an entire settlement? To understand change at a regional level, it is apparently not enough to start from present-day social processes; we must also examine the holistic picture on a historical scale, which makes defining the process of resilience in temporal terms a challenging task. In my study, I seek to respond to these questions and specificities by examining the issue of social resilience at a regional level, focusing on settlements close to the Ártánd border crossing point in the historical Bihar region, the center of which is the formerly Hungarian city of Nagyvárad, now Oradea, Romania. I argue that the crisis of the demarcation of the Trianon borders was attenuated by the reassessment of the role of borders following European Union accession. However, in terms of individual settlements, we can also talk about the success, or possibly failure, of specific, constantly changing, alternating, or simultaneous adaptation strategies.
Abstract
The overwhelming majority of early Christian authors considered humour and laughter inappropriate. A significant exception to this is Tertullian, who ‒ as a trained orator ‒ was well aware of the importance of verbal humour, particularly as manifested in his apologetic works. In his disputes with heretics and pagans Tertullian practically destroyed his opponents with the weapons of irony, sarcasm, and mockery. However, in this article, we only examine the role of literary allusions in Tertullian's humour. Both Cicero and Quintilian approved of the use of quotations from classical authors for the sake of humorous effect. To our greatest surprise, Tertullian went so far even as to quote from the low-down comedy writers (mimographoi) to achieve this effect. He did all this despite the fact that ‒ as a Christian moralist ‒ he deeply despised and condemned these lowly theatre plays.
Abstract
The study analyses of the bronze mounts of the Orpheus casket with biblical and mythological representations. The casket was recovered in two stages, in 1903 and 1967 in the disturbed late Roman grave 1023 of the southeastern cemetery of Intercisa (Dunaújváros). After a brief iconographical analysis of the depictions of the casket, the contribution continues with the analysis of the earlier hypotheses concerning the interpretation of the Orpheus figure in early Christian art and in the Protrepticus of Clemens Alexandrinus from the point of view of the early Christian reception history of the Orpheus myth.
Abstract
In this study, we examine why closing a telephone call in Chinese can trigger intercultural irritations for foreigners. We investigate such irritations by comparing ways in which learners and native speakers of Chinese end phone calls. We follow a tripartite research design anchored in speech acts and interaction. First, we administered Discourse Completion Tests (DCTs) to a group of advanced European learners of Chinese and a group of native speakers of Chinese, investigating how members of these groups close telephone calls. Second, we studied two corpora of telephone closing conversations, including a Chinese and an English as lingua franca corpus. Third, we considered whether the pragmatic differences observed through our DCTs reflect broader Chinese and Western conventions of telephone closing observed through our interactional corpora, and whether the behaviour of foreign speakers of Chinese may have been influenced by pragmatic transfer. Through the research outcomes we interpret the above-mentioned intercultural irritations.
For a more accurate interpretation of the Yenisei Inscriptions, Uyghur texts are as important a source of reference as the Khaganate Inscriptions. Especially in the analysis of words that do not appear in the inscriptions or are rare, the vocabulary of Uyghur can be a determining factor. For instance, in this article, I will focus on the word M𐌗Le el 2 d 2 m, which occurs in the E-45 Köžeelig-Xovu inscription but has been interpreted in different ways since its first publication. In order to read and interpret the word correctly, it will be reconsidered together with its examples in Old Uyghur texts.
Előkelő hun kori temetkezés Budapestről, egy késő római erődfal árnyékából
Biorégészeti adatok a Kárpát-medence hun megszállásának korai szakaszához
Hun Period Elite Burial from Budapest, in the shadow of a Late Roman fort wall: Bioarchaeological Data on the Early Phase of Hun Occupation in the Carpathian Basin
Absztrakt
A dolgozat témája a 2020 nyarán talált, az aquincumi legiotáborral átellenben fekvő, Rákos-pataki római kori erőd déli falának előterében eltemetett, kora népvándorlás korra keltezhető két temetkezés. Az erőd déli fala és az erődöt övező védőárok között elhelyezkedő sírokat egymás alá, egy korábbi, félig feltöltődött, római kori gödörbe ásták bele. A felső sír egy ÉNy–DK-i tájolású, melléklet nélküli férfit rejtett, ezzel ellentétben az alsó, É–D-i irányítású harcos férfi sírja több szállal kapcsolódik mind a sztyeppei, mind a többi Kárpát-medencei hun korra keltezhető sírhoz. A rétegtani megfigyelések mellett a csontanyagon végzett 14C vizsgálatok eredményei is alátámasztják a két váz összetartozását. Feltételezhető, hogy a harcos az újonnan beköltöző, Kelet-Európából érkező népességhez, a hun ellenőrzést és befolyást gyakorló elit tagjaihoz tartozhatott, azonban a provinciális eredetű szokások utalhatnak a rómaiakkal kapcsolatban álló foederati csoportokra is. Emellett közelebbi genetikai rokonságot mutat a kaukázusi népességekkel, így felmerül a kérdés, hogy az alánoktól vagy a hozzájuk genetikailag kapcsolódó népektől származott-e.
Tiszazugi mikroregionális régészeti topográfiai kutatások: célok, módszertani alapok és az első év eredményei
Microregional archaeological topographical research in the Tiszazug, Eastern Hungary: Aims of the research, methodological background, and results of the first year
Absztrakt
A Tiszazugi Mikroregionális Kutatási Program 2023-ban indult a Magyar Nemzeti Múzeum – Nemzeti Régészeti Intézetében, hogy visszatérve a klasszikus terepbejárás-alapú topográfiához, elemezze a hosszú távú településhálózati változásokat a neolitikumtól a kora újkorig. A program első évében a terepbejárási módszertan, leletfeldolgozási keretrendszerek, adatelemzés és adatmegjelenítés kérdéseinek újragondolását és optimalizálását tűztük ki célul. A leletfeldolgozás során különös hangsúlyt helyeztünk a leletanyag kronológiai bizonytalanságainak megismerésére. Kutatási mintaterületként Öcsöd-Kováshalom lelőhelyet és térségét választottuk, ahol a 2023-as terepbejárások során közel 11 500 leletet gyűjtöttünk.
Két újabb kőládasír Szentendre késő római temetőjéből
Two new stone casket graves from the late Roman cemetery of Ulcisia (Szentendre, Hungary)
A dolgozatban Szentendre késő római temetőjében előkerült két újabb kőládasírban feltárt tárgyi emlékanyagot mutatjuk be. A jellegzetes 4. századi viseleti elemek és mellékletek tipokronológiai elemzése mellett beszámolunk a sírok rítusbeli sajátosságairól, amelyek többek között újabb adatot szolgáltatnak pl. a viseleti elemek sírokban nem rendeltetésszerű helyen történő elhelyezésének, illetve a sírnál tartott megemlékezések során tett étel-/italfelajánlás szokásáról.
This paper introduces and analyzes a new Chinese Manichaean painting entitled ‘Auspicious Signs Heralding Mānī’s Birth’. Zhang Peng 张鹏, a doctoral candidate at the Central Academy of Fine Arts (Zhongyang Meishu Xueyuan 中央美术学院), was the first to notice the Manichaean affiliation of this painting, which was auctioned by the Beijing Poly International Auction Co., Ltd (Beijing Baoli Guoji Paimai Youxian Gongsi 北京保利國際拍賣有限公司) in 2021. This study employs the methods of iconographic comparison and analysis of textual parallels to argue that the recently identified hagiographic painting shares striking stylistic similarities with at least three other previously known Manichaean paintings, and that it can be directly related to one of them.
Megjegyzések az avar és honfoglalás kori üveggyöngyök tipológiai elemzésének módszertani lehetőségeihez
Remarks on the methodological possibilities for the typological analysis of Avar and Hungarian Conquest period glass beads
Absztrakt
A tanulmányban a Kárpát-medencei avar és honfoglalás kori gyöngyök kutatásának történetét tekintjük át, külön figyelmet szentelve a korábbi tipológiák szerkezeti struktúrájának vizsgálatára. Röviden a nemzetközi gyöngykutatásban használt osztályozási módszerek fő jellemvonásait is közreadjuk. Ezt követően, figyelembe véve a kulturális kontextusokat és a territoriális sajátosságokat, egy módszertani ajánlást is teszünk a gyöngyök osztályozásához és feldolgozásához. Szilágyi Katalin által kialakított elemzési szisztéma alapján (anyag, forma, készítési technológia, színek, metrikus adatok) részletezzük azokat a lehetőségeket, amelyeket a gyöngyök kutatásával ismerhetünk meg. Mindezeknek a szempontoknak a fő célja, hogy a tárgytípus kutatását megközelíthetővé tegye, és egy olyan egységes elemzési rendszer váljon széles körben használhatóvá, amely megkönnyíti tanulmányozásukat temetők és mikrorégiók szintjén, vagy akár összetettebb elemzések esetében.
Unpublished antefixes and a mould fragment from Brigetio in the collection of the Hungarian National Museum
Publikálatlan brigetiói antefixek és egy antefix negatív a Magyar Nemzeti Múzeum gyűjteményében
Abstract
There are six antefixes and an antefix mould from Roman Brigetio (Komárom-Szőny, Hungary) in the collection of the Hungarian National Museum, which are the first antefixes to be published from Brigetio. All made in the form of tragic masks with desperate expressions, they can be classified into two types based on their appearance. The only Type 1 antefix is characterized by straight, stylized hair and high onkos, with close parallels in Aquincum. The other five antefixes belong to Type 2 and were made in the same mould. These feature a male head with open mouth and wavy, shoulder-length hear with what appears to be a topknot. The mould fragment was the negative form of the Type 2 antefixes. Type 2 antefixes made in Brigetio were also found in the Roman villa of Ravazd.
Abstract
The relics of the Catacomb Saint Urban, which are preserved in Monok, Hungary, were falsely identified as the mortal remains of Pope Urban I in 1983. Spreading of the Pope's patronage of preserving the grapes from the spring frost damage led to the development of his new local cult.
The study deals with this misidentification and its consequences, with the circumstances of the baroque reliquary's arrival to the village in 1771, with its procurer and the real reason of the purchase, finally with its translatio to the Holy Cross altar in the chapel located in the Andrássy Castle.
The Brāhmī leaf in Sanskrit and Uigur (TT VIII H) from the Berlin Turfan collection, edited by A. von Gabain in 1954, suggests an Indian origin, although this cannot be definitively proven in its current form. The fragment appears to be a commentary on the Agraprajñaptisūtra, the sūtra that declares the triratna (Buddha, Dharma, Saṃgha) as the best. The preserved part is about the question of its origin or occasion (utpatti). The present new edition includes an introduction on the Agraprajñaptisūtra (I), the text, translation, and comments (III), along with the description of the leaf, characteristic usage of the Uigur Brāhmī script and thoughts on dating (II) and three Appendices (IV) on the Agraprajñaptisūtra, the *Ekāgrasūtra in Uigur sources, and the interpretation of etadagrikeṣu vyākr̥teṣu. Additionally, three glossaries (V) (Sanskrit – English – Uigur; Uigur – English – Sanskrit; Uigur – English), abbreviations and bibliography (VI) and plates (VII) are provided.
Jin Ping Mei 金瓶梅 details the legal activities in Ming society with exceptional vividness. In other pre modern Chinese literary narratives, the ending usually featured poetic justice. However, Jin Ping Mei is a novel with unique realism in Chinese fiction in that it does not have a happy ending. More importantly, the novel depicts the normal condition and rationale of life based on guanxi 关系, an informal institution that was ubiquitous in Chinese society. Guanxi is a concrete embodiment of métis in the novel. This article sets out to demonstrate the métis in Jin Ping Mei through the analysis of guanxi in two cases. It argues that Jin Ping Mei depicts guanxi as the rationale of legal activities. Through guanxi, which is achieved through the manipulation of li 禮, ganqing 感情, renqing 人情, and mianzi 面子, gifts, banquets, and intermediaries, the culprits can easily find their way out of the unfavorable condition. The blend of rationality and emotion which is embodied in guanxi is the cultural root of the manipulation in the legal activities. The narrative of legal activities in Jin Ping Mei focuses on the métis based on guanxi in microlevel society and thus achieves unprecedented realism in premodern Chinese fiction narrative.
Abstract
The paper has a dual purpose, one historical and one theoretical. It aims to show, first, that Plotinus' notion of perceptual memory heavily draws on Stoic views insofar as both regard memory as a linguistic phenomenon. Furthermore, it aims to answer two questions, both are intimately connected to the Plotinian thesis of the impassibility of the soul. How could it happen that a present tense perceptual judgment changes into a past tense memory judgment and what explains that our judgments on perceived objects change, and occasionally fade, over time, that is, how can we remember in a way different from sense-perception?
Néhány gondolat az avar kori fülkesírok értelmezéséhez
Some thoughts on the interpretation of the graves with an end-wall shaft
A fülkesírok eredete már régóta megoldatlan kérdése az avar kor kutatásának. Jelen tanulmányban új szempontokat kívánunk nyújtani a sírforma értelmezéséhez. Ehhez belső- és közép-ázsiai, valamint kelet-európai analógiákat mutatunk be. Ezek a kora avar kori sírokhoz képest jóval korábbiak, néhány esetben egykorúak. A padmalyos sírokkal való együttes előfordulásuk alapján a két típus valószínűleg egymás formai variánsaként értelmezhetők.
This paper addresses several important aspects of the historical spread of the Huayan and Chan Buddhist teachings in the Tangut state, and traces local developments of Chan and Huayan thought among the Tang-uts. These developments, as they emerge from the received texts, indicate not only local developments in Xixia, but also provide broader implications for the study of Sinitic Buddhism in Northern China and Central Asia during 11th–13th centuries. The core of the paper concerns Tangut Huayan commentaries, the Huayan lineage composed by Yixing Huijue, Tangut recensions of texts authored by Guifeng Zongmi and the Tangut texts of Hongzhou Chan Buddhism.
The word T1G2 occurs three times in the Ongi Inscription. The sentences containing T1G2 have been interpreted in a variety of ways, with no single reading thus far being deemed satisfactory. A notable aspect of the Old Turkic script is the presence of two distinct characters for the majority of consonant sounds, one representing a back-vocalic and the other a front-vocalic sign. Given that T1G2 occurs on three occasions, it is plausible that the individual(s) responsible for inscribing the text may have deliberately employed this format. The author hypothesizes that T1G2 in question represents the Turkic rendering of the Chinese character dí 敵, which translates to “enemy; hostile.”
