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Arts and Humanities journals’ primary focus is on presenting theoretical and empirical research in these respective fields. The main goal is to encourage educational research and connect academia to the scientific community. Researchers and scholars need to share their research findings with others to help better understand and act on the ongoing social changes in the field. The Arts and Humanities journals aim to provide a platform for everyone who shares a common interest in these fields and to group all the latest field findings in one place.
Arts and Humanities
This paper examines the expression of homoerotic desire towards young boys and its metaphysical reflection, the shāhid-bāzī / naẓar-bāzī tradition, within Azeri Turkic Ṣūfī poetry. It comparatively analyses elements of this tradition alongside the contemplation of ephebe in Greek tradition. The shāhid-bāzī traces its roots back to the controversial prophetic saying known as ḥadīth al-ru’yah. Its precursors offer a wide range of images within the historical and religious-mythological contexts of Greek, Arabic, and Persian traditions. The paper argues that while the male beloved derived main metaphors from these traditions, Ḥurūfism, as an ideological undercurrent in Azeri poetry, added specific lettrist and calligraphic features to this depiction. The male beloved in Azeri poetry has been classified into several types, including Christian and Zoroastrian boys, Turkish warriors, cup-bearers, schoolboys, and adult beloveds. This paper explores the appearance and clothing of the male beloved, his primary metaphors, and explains the use of female epithets in the depiction of male beauty.
«Гневные толпы, восставшие против произвола властей» О пресуппозициях и их функциях в научно-популярных текстах на материале книги «Москва: иллюстрированная история» (1985–1986)
“Angry crowds rising up against the arbitrary rule of the authorities” Presuppositions and their functions in the book “Moscow: An Illustrated History” (1985–1986)
Пресуппозиции, как и другие виды инференции, составляют важнейший компонент вербальной коммуникации, позволяя говорящим порождать высказывания, удовлетворяющие принципу эко-номии языковых средств. В любом тексте cодержание можно разделить на утверждаемое и подразу-меваемое, то есть находящееся в пресуппозиции. Чаще всего адресат соглашается с пресуппозици-ями, то есть принимает пресуппозиционное содержание как истинное, и именно это обеспечивает успешное развитие коммуникации. Однако коммуникативные свойства пресуппозиций могут быть использованы в манипулятивных целях, чтобы представить как самоочевидное и неоспоримое то, что на самом деле является ложным и сомнительным. Один из самых известных примеров — Der Wille des Volkes, «воля народа», который приводил еще Готлоб Фреге (1892): в этом выражении оши-бочно предполагается существование одной единственной воли всех людей, относящихся к тому или иному народу. Фреге первым затронул и проблему манипулятивного потенциала пресуппози-ций. После него ряд ученых обращались к исследованию манипулятивного эффекта пресуппози-ций в различных типах текстов, особенно политических. Тем не менее, до сих пор практически нет работ, в которых бы использование пресуппозиций для передачи адресату определенной картины мира рассматривалось бы на русскоязычном материале.
В данной статье наличие и использование пресуппозиций, а также их потенциально манипуля-тивные функции анализируются на примере книги «Москва: иллюстрированная история» (1985– 1986) — этот выбор обусловлен намерением изучить тексты, не относящиеся к категории откро-венно пропагандистских, где большая часть пропагандистского содержания выражена в ассерции. Исследование показывает, какие идеи заложены в пресуппозициях, насколько регулярно использо-вался этот прием и какое неоспоримое представление о реальности создавалось в результате. Боль-шинство идей, заложенные в текстах, можно свести к следующим: наличие единой многонацио-нальной страны, которая существовала на протяжении всей русской истории и в которой Москва уже с ранних веков была главным центром; отождествление всех государств, в которых русский народ был титульным, от Киевской Руси до Советского Союза; представление о том, что Россия всегда была окружена врагами; неизбежность классовой борьбы на всех этапах развития истории.
Очевидно, что эффект манипуляции зависит от социально-исторического контекста. Следова-тельно, представленные здесь тексты, скорее всего, воспринимались читателями того времени, по-груженными в пропитанную пропагандой среду, как связные и конгруэнтные.
Abstract
This paper investigates the diachronic development of Hungarian word order, focusing on the syntactic position in front of the finite verb in light of the syntactic shift from OV to VO order. The so-called Verb Modifiers (VMs), which precede the verb in Modern Hungarian, showed significant word order variation in earlier periods. It is examined how this variation, and especially the difference between verbal particles and other VMs, can be accounted for. The study concludes that the VM–V order is not a syntactic remnant but a result of a syntactic change that affects all VMs already in the early texts.
Abstract
The making of heritage is a complex contemporary process that permeates society from the normative contexts of the global as well as national level to local communities. It enters extremely diverse sites, since it is part of both rural and urban life-worlds, and it is present in the institutional space of museums as well. Cultural elements that have been detached from their former contexts and made into heritage are no less diverse. The symbolic valorization of different historical periods depends on the regional and local contexts of heritage-making. The prestige (acceptance or rejection) and meanings of the legacy of certain periods, relationship to tradition, as well as the ways in which ‘authenticity’ is interpreted are products of a constant re-defining process steered by various social actors, such as members of local communities, cultural brokers, and experts. These positions often represent intertwining roles (researcher, expert, mediator, active or passive local actors) that are difficult to distinguish from one another in the various situations in which heritage-making can be researched empirically.
Abstract
The present paper examines the distribution of referentially independent genitive and unmarked subjects and subject-oriented person-number inflections in non-finite clauses in Meadow Mari (Uralic), focusing on participles, event nominals, and temporal gerunds. Empirically, the study addresses existing gaps in the description of these phenomena, uncovering more general patterns as well as several microparameters. It also reveals a striking similarity between event nominals and temporal gerunds. Theoretically, the paper contributes to a better understanding of these constructions in the following ways. First, it proposes an analysis of temporal gerunds as event nominals embedded in postpositional phrases. Second, it outlines an approach to licensing overt subjects and inflections in participial clauses and event nominals. Third, building upon Dékány & Georgieva's (2020) work on Udmurt, it explores ways to unify the treatment of event nominals and participial modifiers in Mari, which share morphology; a covert N account is shown to be the most promising one.
How to write History (?)
The Rerum Ungaricarum libri and Neo-Latin historiography in Hungary in the 16th century
Abstract
Gian Michele Bruto (Brutus) (1517–1592) wrote his monumental history of Hungary from 1574 until his death. The Rerum Ungaricarum libri was the story of Hungary's decline and fall in the 16th century, written in a single narrative. According to the plans of its original commissioner, the Transylvanian prince and Polish king Stephen Báthory (1571/76–1586), it was meant to provide a political counterweight to the narrative of the court of Vienna and to represent an independent, constitutional Hungary to the European public. Although a version of the work had certainly been completed by 1584, it was not published during Báthory's lifetime. In 1587, Brutus first entered into Habsburg service, then at the end of 1591, having been informed his work was to be published there, he travelled to Transylvania. He died in Gyulafehérvár (Alba Iulia, RO) in May 1592. The Transylvanian court was still planning to publish the work in the 1590s: the Transylvanian historiographer István Szamosközy (1570–1612) brought Brutus' manuscripts into a publishable condition and also wrote a continuation of it (Rerum Ungaricarum libri IV) – but this publication was never realised either.
The first edition of the work appeared in print only in the 19th century in the series Monumenta Hungariae Historica Scriptores. The text of that edition was edited by Ferenc Toldy (1805–1875) on the basis of two highly damaged and mutilated 16th-century manuscripts and contained not quite thirteen books of the original work.
In 2020 an almost complete manuscript of twenty books (fully annotated by the author himself) was discovered in the Diocesean Library, Trent. The philological analysis of the three separate manuscripts now available has allowed four different editing stages to be distinguished, three of which are attributed to Brutus and the fourth to István Szamosközy. In addition to a philological comparison of the manuscripts, this article traces the fascinating history of the Rerum Ungaricarum libri in its political and literary context.
Abstract
This paper aims to present twenty-one Norico-Pannonian winged brooches from Brigetio. It focuses on their typological details, distribution areas, and chronology. Wearing habits can also be investigated based on burials and tombstone depictions. This paper also contributes to the manufacturing process and workshops of the variants from Brigetio.
Parcere subiectis et debellare superbos...
Eine Mars Ultor Bronzestatuette
Abstract
The paper deals in with the evidence probably related to a bronze workshop discovered along the Pannonian limes, at Dunaújváros (Hungary), an ancient Roman auxiliary fort with an associated civil settlement known as Intercisa. Such evidence raises the issue if the workshop was under the military command inside or outside the fort.
Rescue excavations were carried out in 1962 and 1967. In the 1970s, a late Roman building was discovered with 19 furnaces filled with glass, bronze and iron slag under it. Metal slag and half-melted bronze fragments were found in furnaces No. 7 and No. 10. The existence and density per square meter of such objects led to the interpretation of the site as a workshop district. The coin finds and the terra sigillata fragments allow the life of this district to be dated to the 2nd–3rd century AD.
Some years later other excavations were carried out on an area of 800 m2 about a 200 m distance from the workshop district. Among other finds a pit (1983/9) was brought to light in the area containing huge amounts of terra sigillata and pottery, as well as other objects, among them a bronze statuette of Mars Ultor also thrown in for waste disposal. This find comes as no surprise in military forts, but this iconography remains unique in Intercisa, while fragments probably belonging to bronze imperial statues come from the camp (Visy, 1983). Thanks to comparisons with other statuettes of the same kind the changing interpretation of such iconography in the provinces is discussed and its importance for the military fort analyzed as well.
Abstract
This paper presents the glass prismatic bottles and fragments brought to light in the Roman settlement of Intercisa (today Dunaújváros, Hungary). Bottles occur in a low number among the finds of the vicus and the castellum of Intercisa. Bottles and containers account for around 15% of all vessel fragments, while prismatic bottles have a lower share, around 4%. Almost all identifiable fragments are square bottles, with a single rectangular one amongst them. Their designs vary; most feature geometric motifs, while plant motifs and inscriptions are less frequent. Most fragments presented below are yet unpublished.
Abstract
Modern topographical research in and around the legionary fortress of Brigetio (Komárom/Szőny, Hungary) started in the 1920s motivated by the desire to stop the centuries-long archaeological lootings at the site and to prevent further loss of archaeological data caused by the uncontrolled removal and selling of artefacts. The excavations led by István Paulovics between 1927 and 1929 touched upon the northern surrounding wall of the castra, a short section of the via decumana south of the fortress and parts of the late Roman cemeteries southeast of the fortress. During the excavation 67 stamped bricks and tiles were collected and taken to the Hungarian National Museum. Forty-five of them were mentioned in the 1933 brick stamp corpus of J. Szilágyi, but 22 have never been published. The significance of the material is twofold. On the one hand it yielded a wide array of Valentinian tile stamps, for example the stamps of Lupicinus tribunus, Terentianus tribunus, Caris tribunus, Verianus tribunus, Corta Vicen, Quadriburgium, and Vincentia. On the other hand, 27 of the 43 legio I Adiutrix stamps (the garrison of Brigetio between the early second and early fifth centuries AD) came from late Roman archaeological contexts, which means that some of the types of the otherwise undatable legio I Adiutrix stamps can now be dated with reasonable probability to the fourth century.
Abstract
In this paper I present the exploitation of birds at the Ottoman Period (16th–17th century) rural site of Visegrád-Alsóvár located in North Hungary. Four poultry species and the jackdaw were identified from the 213 avian remains that formed 7.3% of the total bone assemblage. The species composition of the bird bone assemblage suggested that fowling was not practiced at the site, but various domestic birds were exploited for their meat, eggs, and perhaps other secondary products, such as feathers and dung. The representation of bones from poultry even exceeded that of the pig well reflecting the importance of avian meat and egg in addition to the preference for mutton in the diet of the Muslim population that inhabited the area of the Lower Castle after 1544, when Visegrád fell to the advancing Ottoman Turkish army.
Sexing and ageing of several avian remains were possible owing to the presence of the medullary bone tissue in certain remains and the good preservation of tarsometatarsi from the domestic chicken. The latter also allowed biometrical analysis targeting the size of chicken raised at Visegrád-Alsóvár and its comparison with coeval and recent chickens. The presence of a medium and large size type suggested the advanced nature of bird breeding in addition to the variety of poultry at this site.
Abstract
This paper discusses variations and changes in the identity-marking function of a writing of Turkic origin, the Székely script, from the thirteenth century to the present day. The script's peculiarity lies in the fact that during its known history, it had only an identity-marking function; no significant knowledge-communicating function can be found in any of its monuments.
Етнокультурний код української афористики
Ethno-cultural code of Ukrainian aphoristics
Наявна наразі система афористичних висловів дозволяє констатувати, що в україністиці добре пред-ставленими є образні висловлення буттєвого культурного коду, експліковані концептами життя/ смерть, щастя/нещастя, доля та ін.; антропного, репрезентовані концептами краса/потворність, красивий/некрасивий, розумний/нерозумний та ін.; просторового, до якого зараховуємо концепти Україна, рідний край, батьківщина; часового, що може виражатися поняттями минуле, сучасне, май-бутнє та ін., морального (мужність/боягузтво, совість та ін.), духовного (мова, книга, пісня) та ін.
У статті розглянуто лінгвістичні, пісенні та букіністичні афоризми як такі, що експлікують духов-ний код українського народу. Ці текстові одиниці, створені культурними діячами різних історичних епох, відображаючи індивідуально-авторські погляди еліти суспільства, зазвичай репрезентують духовні пріоритети, культурні цінності етносу, які передусім визначають його ідентичність.
В афоризмах, образних висловлюваннях і сентенціях знакових постатей України про мову, пісню і книги, що й самі є надбанням української культури, ці феномени постають широким номінативним полем власних і загальних назв, центром якого є концепти мова, пісня, книга. Ці явища культури нерідко образно маніфестовано як неземні, небесні, священні, які ніколи не зникнуть. Семіотична цілісність, прецедентність, культурна значущість, образність афоризмів духовного коду поєднані з лінгвопрагматичною установкою автора, дидактичністю.
Зокрема, концепт мова (слово) у власне афоризмах та образних висловлюваннях про мову, сен-тенціях, експлікуючи духовний код етносу, постає як Бог, космічне явище, п’ята ефірна стихія (П. Мовчан), свідок історії, пам’ять народу, втілення думки (П. Мовчан, М. Рильський, І. Огієнко, М. Шумило, П. Гриценко), дзеркало душі народу, душа кожної національності, її святощі, серце на-роду, головний двигун культури, душа Української нації, вияв людського духу, генетичний код нації (І. Огієнко), ідентифікатор народу, наша національна ознака (П. Гриценко), сорочкa духу народного (Б. Харчук), коштовний скарб народу (І. Франко, М. Шумило, І. Огієнко), характер народу, духовнa могутність нації (М. Шумило), обличчя нації (С. Плачинда), національний бастіон (Л. Пархонюк), час, минуле й сучасне народу (В. Русанівський), дар природи (К. Крапива).
Новітні українсько-угорські студії з терену гуманітарних наук
Recent Ukrainian-Hungarian research in the humanities
В останнє десятиріччя з’явилося чимало наукових праць і тематики українсько-угорських зв’яз-ків, де розглянуто їх аспекти в різні періоди й на різних теренах. Ці студії репрезентують розлогу проблематику: історичну, лінгвістичну, етнологічну та ін. — і на загал є комплексними, реалізую-чи міждисциплінарні підходи й методи з урахуванням сучасних реалій та застосуванням новітніх методів аналізу. Більшість досліджень присвячено регіону Закарпаття, де мешкає значна угорська діаспора, стосовно становища якої проведено чимало спостережень через призму мовної, історич-ної, етнокультурної ситуації краю. Авторами праць є дослідники з України та Угорщини, переважно представники наукових чи освітніх установ, осередків тощо, таких як Ужгородський національний університет, Центр гунгарології в Ужгороді, наукові центри Закарпатського угорського інституту ім. Ференца Ракоці ІІ, інші виші, а також установи Центру гуманітаристики та Центру суспільних наук Угорської академії наук [віднедавна мережа HUN-REN], угорські університети і т. д.
Із суспільно-історичних студій назвімо колективну монографію Інституту ім І. Крип’якевича, монографії Ч. Фединець, М. Фонт та ін. Чи не найбільше досліджень, присвячених мовній ситуації Закарпаття, здійснили лінгвісти Закарпатського угорського інституту ім. Ференца Ракоці ІІ, нині об’єднані в Науково-дослідний центр ім. Антона Годинки, найважливішими напрямами студій якого є аналіз мовної політики загалом і України зокрема, мовного ландшафту Закарпаття, питань багатомовності, а також освіти, релігії, міжкультурних, міжмовних контактів, різних аспектів со-ціолінгвістики і лінгвокраїнознавства. Згадаймо тут імена ректора Інституту С. Черничка, А. Берег-сасі, К. Гуреш-Ласло та ін., які підготували низку індивідуальних чи колективних монографій і цих проблем («Угорці і угорська мова на Закарпатті» та ін.). Питаннями мовної інтерференції, словни-карства і т.п. цікавляться їхні колеги Є. Барань та В. Ґаздаґ. Дослідження проводять i урахуванням новітніх лінгвістичних та соціологічних метод, візуальної антропології тощо, текстовий виклад уна-очнюють графіки, карти, схеми, таблиці, фотоілюстрації.
Полипредикативные причинные конструкции в украинском языке
Multiclausal causal constructions in Ukrainian
В работе предпринимается попытка создать типологически ориентированное описание полипреди-кативных конструкций с наиболее распространенными причинными союзами (бо, тому(,) що, через те(,) що, від того(,) що, оскільки) в украинском языке. Конструкции классифицируются по важней-шим параметрам типологического варьирования, многие из которых связанны с сочинительными и подчинительными свойствами: 1) позиции союза в причинной клаузе, 2) способности причинной клаузы употребляться в препозиции/постпозиции по отношению к главной клаузе, 3) способности причинной конструкции употребляться на различных семантических уровнях: собственно-при-чинном, иллокутивном (с вопросительной и побудительной модальностью) и эпистемическом, или инферентивном, 4) способности причинной клаузы употребляться с выделительными частицами и под отрицанием, 5) способности причинной клаузы отвечать на вопрос со значением ‘Почему?…’ В языках мира рассматриваемые свойства могут коррелировать друг с другом, однако логически они являются независимыми. Материалом исследования служат корпусные и текстовые примеры, и, в меньшей степени, грамматические описания; также используется метод элицитации.
В результате исследования выясняется, что в украинском языке имеются как причинные показа-тели, обладающие с точки зрения рассматриваемых параметров исключительно подчинительными свойствами (через те(,) що, від того(,) що), так и те, которые сочетают сочинительные и подчини-тельные свойства в той или иной степени (бо, тому(,) що, оскільки). В большей степени сочини-тельными свойствами обладает союз бо, что, вероятно, связано с его происхождением из частицы, хотя и он демонстрирует некоторые подчинительные свойства (клауза с бо может использоваться в качестве ответа на вопрос ‘Почему?…’ и ограниченно сочетаться с выделительными частицами и отрицанием).
Сочинительные и подчинительные свойства причинных показателей в украинском языке не устроены иерархично: так, причинная клауза, вводимая союзом тому(,) що в нейтральных кон-текстах не употребляется в препозиции по отношению к главной (сочинительное свойство), од-нако свободно употребляется с выделительными частицами и под отрицанием (подчинительное свойство), а союз оскільки наоборот способен вводить причинную клаузу в препозиции (подчини-тельное свойство), но употребление с выделительными частицами и под отрицанием для него не свойственно (сочинительное свойство). Однако в целом в отношении одних из рассматриваемых параметров (ср. употребление причинных показателей при ответе на вопрос ‘Почему?…’) укра-инские союзы чаще демонстрируют подчинительные свойства, чем в отношении других (ср. эпи-стемическое или иллокутивное употребление причинных показателей). Между дистрибутивными свойствами украинских причинных показателей и их русских и белорусских когнатов имеется зна-чительное сходство, однако сами эти когнаты могут существенно отличаться по частотности.
Abstract
This paper deals with converb clauses in Uralic and Turkic languages. These clauses are often defined in the typological literature as featuring a special non-finite verb type. The Uralic and Turkic data show, however, that many of the alleged converbs are in fact morphologically decomposable into a non-finite verb (nominalization, participle, etc.) and a case suffix. For these clauses, I put forward an analysis couched in a generative syntactic framework. I propose that we are dealing with a postpositional phrase (PP), in which the morphologically bound P head (the case suffix) select a non-finite clause. The PP analysis is supported by two case studies. Furthermore, it is demonstrated that this analysis makes correct predictions about the syntactic distribution of these clauses. The present proposal has thus bearing on what counts as a converb cross-linguistically.
Child Labor Outside the Family (From the End of the Nineteenth to the First Third of the Twentieth Century)
Historical, Ethnographic Approach
Abstract
The study reviews the issue of child labor in Hungary with a historical, ethnographic approach, from the perspective of the division of labor within the family, the economic and social situation of the family. For several millenia, children have been involved in some activity within their family and kinship system, according to their age, gender, physical and mental maturity, and have been assigned increasingly complex tasks as part of the process of preparing for adult life and adulthood. When the economic and social unity of families was damaged for whatever reason, crises, poverty, and misery disrupted the natural family division of labor, and children had to seek and work for wages, food, or other benefits, with the approval or even encouragement of their parents. This means that they also played a significant role in families' struggles to survive and overcome poverty, while their exposure and vulnerability increased outside the family framework. The paper will explore the latter form of child labor outside the family.
Abstract
This study investigates the direct perception of foreign structures in loanword phonology, concentrating on whether Korean listeners unnecessarily perceive an illusory vowel after a word-final plosive of English since a word-final voiceless plosive is permissible in their native language. In a syllable counting experiment, Korean participants listened to English nonce forms ending in a plosive and they indicated the number of syllables in each word. This study examined six different linguistic factors that may contribute to the perception of loanword borrowers including release, voicing and place of coda plosive, vowel tenseness, final stress and word size. The current results show that Korean listeners do perceive an extra syllable when the English pseudoword ends in a released plosive or in a syllable containing a tense vowel. This finding supports the hypothesis of adaptation in perception that unmotivated vowel insertion results from the misperception of English words rather than from a production grammar maintaining perceptual similarity between the English form and Korean pronunciation.
The article introduces the hitherto unpublished Syriac text of four verse homilies, attributed to Ephrem the Syrian and Jacob of Serugh, which attack such liturgical and paraliturgical practices of Armenian Christians as animal sacrifices and the use of unleavened bread. Produced in a West Syrian milieu during the Islamic period, these homilies serve as important evidence for studying the development of the anti-Armenian polemical literature among Syriac Christians and reveal the influence of anti-Jewish rhetoric on this tradition. The text is complemented by an English translation and a concise discussion.
This article returns to the question of the Śaiva deities of the points of the compass in premodern Central Java in the light of archaeological and epigraphical evidence, namely the recently excavated, ca. 9th–10th century ritual deposits of Candi Kimpulan and Ringinlarik, which include most notably a golden lotus and inscribed gold foils laid within stone caskets. By comparing these new findings with relevant Old Javanese inscriptions and transmitted literature, as well as similar material and textual evidence from the wider Indic world (i.e., South and Southeast Asia), the authors will describe the system of twenty-four plus two protective deities surrounding the central deity (Śiva) that appears to have been prevalent in Central Java, and which largely agrees with the one hypothesized by Acri and Jordaan (2012) on the basis of the analysis of the reliefs of Candi Śiva in Loro Jonggrang, Prambanan. Further, the results of an analysis of the material component of the gold foils are discussed.
Adatok a honfoglalás kor régészeti időrendjéhez és a kelet-európai 10. századi dirhemforgalom kérdéséhez
A tiszacsomai 3. sír dirhemleletének új meghatározása
New data on the archaeological chronology of the Hungarian Conquest Period and the 10th century dirham circulation in Eastern Europe: The exact identification of the dirham find at Tiszacsoma Grave 3
Absztrakt
A tiszacsomai (Choma, Чома, UA) 3. sírban talált dirhemet a honfoglalás kori régészeti kutatás az egyetlen olyan dirhemként tartotta számon, mely a 10. század második feléből származik. A kopott és hiányos pénzlelet pontos meghatározása ezért ellenőrzést igényelt egy, az arab nyelvben és numizmatikában járatos szakértő segítségével. 2024-ben lehetőség nyílt a lelet személyes vizsgálatára, mely a honfoglalás kori régészeti időrend pontosítása mellett jelentős betekintést nyújt a 9–10. századi kufikus érmék egykori Kárpát-medencei forgalmába. Az aprólékos elemzés megkérdőjelezte a korábban elfogadott hipotéziseket az iszlám dirhemek folyamatos 10. századi beáramlásáról a régióban. Vizsgálatunk során arra jutottunk, hogy a korábbi dirhemleletek alapján megfogalmazott elképzelés, mely szerint a dirhemforgalom a térségben valószínűleg megszakadt 301–331 AH (914–943) után, továbbra is alátámasztható. A tiszacsomai említett dirhemlelet ugyanis a legnagyobb valószínűséggel al-amīr Nasr Ibn Ahmad vereteként határozható meg. Az eredmények azt hangsúlyozzák, hogy további régészeti ásatások és új felfedezések szükségesek, hogy mélyebb betekintést nyerhessünk a Kárpát-medencében az iszlám pénzforgalom komplex dinamikájának megismerésébe. Az időközben előkerült új kárpátaljai dirhemleletek elterjedése ugyanakkor fontos támpontot szolgáltat a Kárpátok hágóinak feltételezett, mindmáig megválaszolatlan korabeli használatára is.
Abstract
In the afternoon of April 6, 1897, a large crowd gathered in Vienna to bid Johannes Brahms a final farewell. The contemporary reports not only describe the funeral procession, but also tell us about the music that was played at the prestigious event. They mention Brahms's choral piece Fahr wohl, the chorale Jesus, meine Zuversicht, Mendelssohn's Es ist bestimmt in Gottes Rat, and Schubert's – or, in some accounts, Carl Gottlieb Reissiger's – setting of Goethe's first Wandrers Nachtlied (Der du von dem Himmel bist). In my paper, I follow the route of the procession to discover the stories behind the symbolic details of the funeral and the music performed as part of the service. I believe these unfolding narratives offer a great chance to take a closer look at both the prevailing images of Brahms and the cultural milieu of Vienna and Central Europe at the fin-de-siècle. In the second part of my study, I focus a little further east in Central Europe, to Budapest, and illustrate how the news of Brahms's death gave the opportunity to the Hungarian newspapers to publish their own stories of the composer and to reflect on current issues in the musical scene.
Abstract
After the Second World War, the Soviet Union did not simply squeeze the countries of the Central and Eastern European region into its sphere of interest and under its economic, political and cultural control, but also isolated them from each other in order to secure its dominance. The Kremlin's control was also reflected in weakening the established diplomatic relations. Politicians of the so-called people's democracies communicated with one another through Moscow, and the importance of the embassies was reduced by appointing mostly incompetent persons to diplomatic posts. In this light, the revival of Hungarian-Polish cultural relations at the end of the 1940s, including the exchange of artists between the two countries, deserves special attention. In addition to their diplomatic importance, the guest performances also provided an opportunity to discuss Soviet musical aesthetics. Based on archival press sources, my paper focuses on the two-week guest appearance of the Vocal and Dance Ensemble of the Hungarian People's Army in Poland. I wish to explore the ways in which leading representatives of the musical life of the two countries interpreted Soviet artistic decisions in 1952, and also their differing strategies of living up to the conceptually ambiguous ideal of Socialist Realist art.
Abstract
The early international record companies considered Central Europe to be a more or less unified market, both before and after the fall of the Austro-Hungarian Empire. The Gramophone Company created a separate catalog for the “non-German” language recordings of the Austro-Hungarian Empire and some neighboring states, and assigned the territory belonging to this catalog, with frequent changes, to the Berlin, Vienna and Budapest Branches, so that in several cases the company's Budapest General Agency was responsible for organizing recording sessions in Bosnia, Serbia and even Bulgaria. With the break-up of the Austro-Hungarian Monarchy, this common market was also fragmented. However, the links have not disappeared: most of the gramophone records of the Hungarian Sternberg company contain recordings by a Czechoslovak record company, a Polish record label is known to have gained rights to reissue some Hungarian recordings, and a close examination of the Edison Bell International Ltd. matrix numbering system reveals that the company's Yugoslav, Hungarian and Romanian recordings are closely linked. In my article, I will present some of the links in the record company network of Central Europe before and after 1920 through short case studies based on archival documents, contemporary printed sources and the repertoire. I will argue that it is not possible to understand the events and recording history of the Central European countries in isolation, without knowledge of the recording history of the surrounding countries. Furthermore, I raise the possibility that, in comparison to written documents, more complex aspects should be taken into account when defining patrioticum in the field of audio media.
Abstract
The music of Gustav Mahler was almost completely excluded from Budapest's concert halls between 1938 and 1945, and again between 1952 and 1957. Its position within the Hungarian public sphere was, however, definitely strengthened in the period from the early 1920s to the mid-1930s, and stabilized again from 1958. Chronological correlations between performance and political history highlight the destructive influence of anti-Semitic discrimination elevated to the level of government policy and of the Stalinist political course on the presence of Mahler's music. From 1921 until 1937, Gustav Mahler's music was performed on a regular basis in the concert halls of the Hungarian capital. During that decade and a half, the majority of Mahler's works were present in Budapest, and, in 1935, even the unfinished Symphony no. 10 was premiered in the city. In the interwar period, the framework of Hungarian social and political life was a conservative parliamentary system with authoritarian elements. However, the public sphere under that regime was, at least until the late thirties, multipolar both in cultural and ideological sense, and it had a pluralistic structure. Mahler's music had conservative as well as left-wing and modernist adherents, while his art was rejected by representatives of folkloristic neo-classicism, by Zoltán Kodály and musicologists belonging to his inner circle. Mahler's music was performed in Budapest owing to the efforts of Hungarian and German-Austrian conductors, who formed a heterogeneous group in terms of socio-cultural background and political orientation. Following the war, the Holocaust and the wave of emigration, Mahler's works were performed again by a largely different group of musicians. But the relative boom of a few years was soon interrupted, and Mahler interpretation in Hungary withered away. The Mahler Renaissance, which took off in 1960, arrived from the Western centers to Hungary, where it produced not insignificant, but typically peripherial results. In my paper, I would like to position the situation of Mahler's music in Budapest within the context of the global reception of the composer. Furthermore, I will also attempt to answer the question to what extent Mahler's personal relationship with Hungarian musical institutions and with the musical elite in Budapest determined the posthumous reception of his music in Hungary.
Abstract
There is hardly another Frankfurt School treatise on art theory today which is as much discussed and quoted as Walter Benjamin's notable “artwork”-study. This text has become a mandatory reading; however, it has been largely overlooked by musicologists. Benjamin developed his theory in connection with the visual arts: it is only the image that carries the aura, traveling through time and space and is saturated with historical substance. Benjamin remained seemingly uncertain about the place and role of the sound (and the music) in the historical process of losing the aura. Among the three surviving versions of his study, the first one posited a direct cause-and-effect relationship between the reproduction of sound and the paradigm shift that affects art as a whole, while in the third version, this connection is vanishing. It is generally known how challenging Benjamin's study was to Adorno's ideas on art theory. Adorno tried to deny the positive value of the change that Benjamin described. He raised doubts about the constitutive role of “reception in the distraction” in his famous “Fetish-Character” study. The “distracted perception,” the “atomistic hearing” dissociates the unity of the work. Adorno wanted later to preserve the validity of the “auratic work” and its derivatives that he called “critical works” (for example, in the famous footnote 40 of the “Philosophy of New Music,” or in the 1950s, when he faced efforts aimed at the radical erasure of the musical context, and for example, he classified Křenek's works written in the 1920s as productive forms of loss of aura). According to these, it is difficult to place the technical work of art on Adorno's aesthetic value horizon. This makes his writings on gramophone recordings or the relationship between music and mediality so interesting. Focusing on the discussion of Benjamin and Adorno, this presentation tries to find an answer to the following questions: how can the paradigm shift in art history (and art ontology) described by Benjamin be interpreted in relation to music? And what does this imply about the relationship between the “artwork of music” and the sound recording?
Abstract
In Bruno Monsaingeon's 2009 film portrait of Piotr Anderszewski cinematic technique, voice-over commentaries and musical performances combine to create an “affective” geography in which the pianist moves between significant Central Eastern European places. Anderszewski is filmed traveling in a special train carriage (including a grand piano) which, the director said, “as a place of meditation and reflection … would facilitate the use of flashbacks.” Memory, identity, and origins become central to the film's symbolism. After Freud, railway journeys can be interpreted as a privileged “analogy” for unconscious and repressed thought processes. Train metaphors may thus facilitate an imaging of the mental apparatus and its “lines of conduction.” The essay focuses on three symbolic locations in Anderszewski's journey – Warsaw, Budapest and Zakopane – and on performances of music by Chopin, Schumann and Szymanowski (the first heard in the railway carriage, the second in the Liszt Academy, Budapest, and the third in Szymanowski's house in Zakopane). Each of these sites and musical examples are interpreted primarily through Freud's notion of “displacement” to reveal counterpoints and conjunctions of displaced musical “voices” and identities. These hearings reveal the complexities and dissonances between Monsaingeon's French vision of “Eastern” Europe and Anderszewski's Polish-Hungarian self-identity as “Central” European cosmopolitan.
Abstract
This paper presents some aspects concerning a group of works written by Ede Terényi in the 1980s, a time in which composers were preoccupied with regaining a certain expression through the revival of the musical past. Romania was not an exception to this orientation, and composers applied the same technical devices as their Western colleagues, such as quotation, collage, allusion, pastiche, etc. This stylistic approach provided Terényi with the opportunity to find ways for the reconciliation of the European canon with the musical tradition of his native Transylvania, a reconciliation that was meant to make music accessible and beautiful again. He composed a series of twelve concertos for various instrumental combinations, in which the Baroque formal and expressive strategies meet the folkloric idioms of the central Romanian multiethnic region.
Abstract
Almost every analysis written on Bartók's two violin sonatas (BB 84 – 1921, BB 85 – 1922) discusses the question of Szymanowski's possible influence. Although most scholars accept that the music of the violin parts, jointly worked out by Szymanowski and the violinist Paweł Kochański, in the Polish composer's works exerted some influence on Bartók's violin compositions, opinions differ as to how significant this influence was, which components of Bartók's music it may have affected, and how great a share, if any, Jelly d’Arányi may have had in this influence, given that it was with her that Bartók first encountered Szymanowski's Myths, op. 11 (1915) and the Notturno e Tarantella op. 28 (1915), that are most often mentioned in connection with the sonatas.
It is usually Bartók's Violin Sonata no. 1 that is examined in this connection, because it is the earlier work that seems to show more obvious traces of Szymanowski's supposed influence. The present study, however, focuses on Violin Sonata no. 2, rarely mentioned in this respect.
Abstract
Richard Wagner's theoretical writings were intended to institute a tradition of interpretation that has had a major impact on the musical world from 1870 to the present day, in Europe and in the United States. In this essay, I concentrate on excerpts concerning conducting and singing practices, highlighting their interrelation in Wagner's view. I then turn to Cosima Wagner's reinterpretation of her late husband's theories and her attempt to codify this Wagnerian tradition of interpretation, contributing to provide a reassessment of the much-debated “Bayreuth style” of performance.
Round Dances in Vienna
An Interpretation of Ernst von Dohnányi's Winterreigen
Abstract
Ernst von Dohnányi (1877–1960), the Hungarian composer and pianist, was usually described as a remarkably harmonious, easy-going, and resilient person by his contemporaries. At the same time, however, he was emotionally withdrawn, so we know very little about how he adapted to different life situations. An excellent example of this is the short period he spent in Vienna in his twenties (1901–1905) which his first biographer Bálint Vázsonyi depicted as an idyllic period, in which Dohnányi “enjoyed the artistic society of Vienna, the family home in which he was surrounded by two beautiful children and he composed a lot.” Following a more critical interpretation of the sources and the unearthing of their hidden references, this popular interpretation proves to be slightly flawed. It seems that Dohnányi reacted very sensitively to the seething public mood in Vienna at the turn of the century, and he himself went through a deep personal-creative crisis. This study presents the author's experience of Vienna in connection with his piano cycle Winterreigen (op. 13, 1905–1906), composed for his Viennese friends, and shows how this experience haunted him even when he lived there again as a political refugee for a short time in 1945–1946 – when Vienna appeared for him not as a possible home in Central Europe but rather as the last bastion of the “West” against the advancing “East,” the Soviet army.
Abstract
The difficult task of determining Mahler's socio-political and ethnic-national identity within a larger Central European context is made no easier by recourse to biographical information. For every indication there is a counter-indication, for every claim a counterclaim. Similarly, his music shifts between or juxtaposes a relatively non-specific folk tone and a frequently subverted though nevertheless readily discernible mode of core Western European symphonism. These deeply meaningful creative processes offer both hyper- and hypo-eloquent testimonies to the complex culture of nineteenth- and early twentieth-century imperial Habsburg politics. Overflowing with expressive suggestions, allusions, and oblique metaphors, Mahler's music nevertheless remains pre-linguistic, proto-conceptual, its text settings favoring parable and metaphysical poetic licence. Using the works of two great literary chroniclers of fin-de-siècle to WWI Central European life and manners – Joseph Roth (1894–1939; The Emperor's Tomb, Hotel Savoy) and Gregor von Rezzori (1914–1998; Memoirs of an Anti-Semite; An Ermine in Czernopol) – I attempt in this study to recover through works of narrative verbal fiction a measure of what Mahler's music says, without being fully able to communicate, about his Central European world and identity.
Abstract
The peasant music Béla Bartók first discovered in 1904 and which he collected systematically between 1906 and 1918 belongs to what he generally described as “Eastern Europe.” His career as pianist and composer was naturally oriented towards Western Europe. His contract with one of the most important publishing houses of the period interested in contemporary music, Universal Edition in Vienna, seems to have conserved a Central European network during the interwar period – a network originating in the by then dissolved Austro-Hungarian Monarchy. Apart from pointing out the conspicuous contrast between Bartók's concept of Eastern Europe and his Central European position as an intellectual, this article revisits a particular historic event, the new music festival organized in April, 1938 in Baden-Baden, to examine Bartók's concept through his art and careful politics during a period of heightened tensions. Since the premiere of his Second Piano Concerto in Frankfurt in January, 1933, Bartók had avoided giving concerts in Nazi Germany. When invited to offer a piece for the 1938 festival he proposed Five Hungarian Folk Songs for voice and orchestra (1933). Despite his initial consent, however, he later tried to withdraw the work and forbid its performance shortly before the start of the festival; in the end his work did remain in the program despite his protest. His peculiar strategy on this occasion seems to have been prompted by his dispute with the German copyright office (STAGMA), which categorized his works in which he used folk melodies as mere arrangements, declaring them unoriginal. It appears that Bartók might have consciously offered such a “questionable” work to demonstrate its originality. At the same time, however, it seems that this particular set might have had a special topical message, too. Starting with a deeply-felt composition based on a song considered to belong to the most ancient layers of indigenous Hungarian folk music, it ends with a grotesque arrangement of a folk song which Bartók described as of Western, probably German, origin. One might wonder whether it was intentional to offer a narrative that contrasts the values of indigenous East European folklore with the shallowness of Western, specifically German, influence. The Appendix of the article presents an English translation of Bartók's notes about his composition sent to the organizers of the Baden-Baden festival.
Abstract
We present a study of discourse connectives and discourse relations in English parallel texts, i.e. in written and spoken originals, as well as translation and interpreting from German. For this, we apply automatic procedures to annotate discourse connectives and relations they trigger in a parallel corpus. We look at distributions of various connectives and discourse relations, comparing spoken and written mode, as well as original and translated or interpreted language production. Furthermore, we analyse the translation patterns in terms of translation entropy. We link our observations to the phenomena of explicitation and implicitation. We find that in both interpreting and translation, explicitation and implicitation patters are affected by the cognitive complexity of the discourse relation signalled by the connective. Moreover, we also show that the difference in the specificity of the same connectives in interpreting and translation also depends on the type of relation they trigger.
Abstract
This contribution addresses the challenging issue of building corpus resources for the study of news translation, a domain in which the coexistence of radical rewriting and close translation makes the use of established corpus-assisted analytical techniques problematic. In an attempt to address these challenges, we illustrate and test two related methods for identifying translated segments within trilingual (Spanish, French and English) sets of dispatches issued by the global news agency Agence France-Press. One relies on machine translation and semantic similarity scores, the other on multilingual sentence embeddings. To evaluate these methods, we apply them to a benchmark dataset of translations from the same domain and perform manual evaluation of the dataset under study. We finally leverage the cross-linguistic equivalences thus identified to build a ‘comparallel’ corpus, which combines the parallel and comparable corpus architectures, highlighting its affordances and limitations for the study of news translation. We conclude by discussing the theoretical and methodological implications of our findings both for the study of news translation and more generally for the study of contemporary, novel forms of translation.
Abstract
The French Belgian Sign Language (LSFB) corpus is the cornerstone of a unique multilingual data system that includes four distinct corpora. The first is a reference corpus containing dialogical LSFB data produced by deaf signers, which is also translated into written French, and the second one is a comparable multimodal corpus of Belgian French containing dialogical data produced by hearing native speakers. The other two corpora are made up of interpreted data, namely a parallel bidirectional corpus of LSFB > French data produced by hearing bimodal interpreters and another unidirectional parallel corpus of French > LSFB co-interpreted data produced by hearing and deaf interpreters working in tandem. This paper aims to describe these four corpora and to provide an overview of previous contrastive research drawing on their data and applications which have been developed so far. A new study contrasting reformulation structures in semi-spontaneous LSFB dialogical data and co-interpreted LSFB data is presented in order to exemplify how these corpora can be further compared to shed light on unknown issues to date such as the specificities of co-interpretation.
Abstract
The study of features that affect the linguistic form of translated texts has been one of the central questions within the field of corpus-based translation studies. In the partially overlapping field of computational linguistics, previous studies have shown that source languages of individual texts can be detected automatically in direct translations and indirect translations (i.e., translations done from translations). However, computationally oriented approaches have paid limited attention to what specific linguistic features make successful classification possible. Consequently, the types of linguistic phenomena characterizing translations and the kinds of linguistic interference that can be detected in them remain underexplored. In this study, we study the linguistic features that contribute to the identification of the source language of direct translations from English, French, German, Greek, and Swedish, as well as indirect translations from Greek into Finnish, with English, French, German, and Swedish as mediating languages. Theoretically, this study builds on Halverson's (2017) gravitational pull model to explain the mechanisms behind our findings in a theoretically sound fashion and to generate theoretically motivated, specific hypotheses to be tested by future research. The analysis makes use of keyness analysis as a supervised machine learning technique, as well as exploratory factor analysis (EFA) as an unsupervised machine learning technique. The results indicate that sentence length, sentence-initial adverbs and sentence-final specification are the linguistic features that set the different types of translations apart from each other. Furthermore, the salient features of the ultimate source language outweigh those of the mediating languages in indirect translations or the entrenched parallels between specific language pairs.
Abstract
Passive constructions in English (be+past participle) and French (être+past participle) were inventoried on a text-per-text basis in a bi-directional French/English corpus. The corpus consisted of 70 (35 × 2) original source texts in each language, 70 (35 × 2) target texts produced by human translators, and the same number of target texts obtained by machine translation with DeepL Pro. Passive constructions were found to be about 70% more frequent in original English than in original French. In the corpora of translated texts, no large disparities were observed, with the exception of French texts translated from English by DeepL, which contained around 40% more passive constructions than original French texts. Correlations between frequencies of analogous passive constructions in pairs of source and target texts were statistically significant and stronger for machine translations than for human translations. Manual analysis of random samples of source/target pairs showed less regular correspondence between the two analogous constructions as counterparts for one another, and greater diversity among alternative translation counterparts in human translation compared with machine translation.