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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
Abstract
Published between 1878 and 1881, the three volumes of Standish O'Grady's History of Ireland comprise a narrative of Irish mythology, driven by the author's conviction that many of the ancient tales were rooted in actual history. Although not immediately felt, the impact of History of Ireland became long-lasting, a point of departure for an array of literary works treating Irish mythological topics during what came to be known as the Irish Literary Revival. This paper addresses History of Ireland from the perspective of O'Grady's background as a student of ancient Greek civilization. It considers the most important comparisons that he drew between Irish and Greek antiquity, including his contention that the seat of the High Kings of Ireland, Tara, was equivalent in symbolism to Mount Olympus in ancient Greece. The paper assesses the strengths, weaknesses and significance of O'Grady's case for considering Irish mythology as approximate to that of the Greeks.
Abstract
This article examines the Platonic references present in the corpus of Philostratus' Erotic Letters (F2 manuscripts, edited by Kai Brodersen) with regard to the themes of vision and desire. The aim is to show that Philostratus ironically subverts and turns upside down the Platonic theses on love: he reverses the Platonic axiology by returning to earth and anchoring himself in bodily beauty. But on the other hand, to do this, he draws on elements present in Plato's own text, first and foremost his images, and the way in which Plato himself conceives of the institution of pederasty, so that he takes more from Platonism than might at first appear. This article thus hypothesises that for both Plato and Philostratus, the bodily and human beauty that arouses erotic desire is merely an image, but for Plato, the beauty of bodies is the image of true and ideal beauty, whereas for Philostratus, this image is that produced by the talent of the epistolary writer.
The paper aims to map the chronological development of the poetic work of Janko Silan, a representative of Slovak Catholic Modernism. It focuses on the development of his poetic method from his debut to posthumously published works. Literary scholarship in Slovakia regards his poetry timeless for its appealing subjectivism, authentic spirituality and humanity.
Janko Silan’s debut Kuvici [Owls] displays distinct modernist tendencies. Silan adopted the motif of little owls from Slovak folklore, where they were known as harbingers of death. The lyrical subject too presents himself as one who is sad and aware of his mortality. The author also incorporated autobiographical motifs into his collection, especially the motif of eye disease and blindness.
The poetry of Silan, the seminarian, includes three thematically distinct collections: the spiritual Rebrík do neba [Ladder to Heaven], the love poems in the Sonety májové [May Sonnets] and the commemorative poetic composition Slávme to spoločne [Let us Celebrate It Together]. The explicit spiritual theme in his seminarian’s poetry does not contain aesthetic value; it is baroquely patulous and sentimental. The love theme of Sonety májové [May Sonnets] is surprising to the reader coming from an author who is preparing for priestly celibacy. It seems that as an anthropological value, sexuality too is a gift from God and needs to be incorporated into the spiritual life. The book of poems, Slávme to spoločne [Let us Celebrate It Together] is dedicated to the author’s mother, Helena. Silan describes her as a “beautifully holy woman”.
The poetry of the priest period, between 1942 and 1945, includes Silan’s collections Kým nebudeme doma [Until We Are Home] and Piesne z Javoriny [Songs from Javorina]. Literary critics and historians highly praise the second of Silan’s priestly collections. It is described as Franciscan because of many natural motifs that the author utilizes.
Janko Silan is described as a “verbumist” because he was involved in a group of poets gathered around the magazine and publishing house Verbum (1946–1949). This period includes the collections Piesne zo Ždiaru [Songs from Ždiar] and Úbohá duša na zemi [Poor Soul on Earth]. In them, the author expresses his anxiety about the political situation and threat of Communist totalitarianism.
Silan’s collection of poetry from the 1960s Oslnenie [Sun Blindness] corresponds with a relaxed political and social context. His poetry is “grounded”, human-centred, without explicit spiritualization. The smile that the author allows himself adds to the anthropological value.
When Janko Silan was banned from publishing his poetry, he wrote “for the desk drawer”. The most famous from this period is the collection Katolícke piesne z Važca [The Catholic songs from Važec] and the novel Dom opustenosti [The House of Abandonment]. The prevalent themes are the violation of human rights in Czechoslovakia and the repressive impact of totalitarianism on an individual who, for reasons of conscience, is not willing to conform to Communist ideology. Of several works written in this period, Dom opustenosti [The House of Abandonment] has been particularly popular with readers and scholars.
The present etymological study brings arguments for additionally reconstructing two new zoonyms in Proto-Semitic, (1) *ṣar«- ‘a kind of (poisonous?) snake’, which is attested in two of the most archaic Semitic languages, Akkadian and Eblaite, and perhaps in one representative of the Modern South Arabian languages, Soqotri, and one of Ethio-Semitic, Endegeň, plus indirect traces in Hebrew and Geez; (2) *ṣawr- or *ṣur-/*ṣar- ‘lizard’, attested only in Akkadian and Eblaite, but with promising external cognates within Afroasiatic, namely East Cushitic, Chadic, and maybe Egyptian.
Antroponyma v koexistenci s přírodou Vlastní jména osob ve vztahu k živočichům a rostlinám
Anthroponyms in coexistence with nature Personal names in relation to animals and plants
Studie se zabývá antroponymy, konkrétně příjmeními se vztahem k přírodě, tedy k živočichům a rostlinám. Současná příjmení z názvů zvířat (savci, ptáci, ryby atd.) a rostlin (byliny, květiny, stromy) mají dlouhou tradici. Záměrem studie je sledovat současnou frekvenci takových příjmení. K tomuto účelu jsme využili server KdeJsme.cz, který se opírá o databázi příjmení Ministerstva vnitra České republiky. Příjmení z názvů zvířat jsou většinou metaforická a metonymická. Nejvyšší frekvenci výskytu mají příjmení z názvů savců (jelen, vlk, liška, ježek). V češtině převládají formy deminutivní, například Jelínek (9815 jmen) proti Jelen (764), totéž Vlček (6909) proti Vlk (3259). Příjmení z názvů zpěvných ptáků, tj. Čermák (7955), Sýkora (5852), Strnad (4422), Slavík (4404) a mnoho dalších, jsou velmi rozmanitá. Výrazné zastoupení mají také příjmení z názvů chovaných, stejně jako volně žijících ptáků: Holub (6439), Kohout (3848), Hrdlička (3278). Příjmení z názvů dravých ptáků a ostatních živočichů nejsou tak početná. Vysoký počet nositelů mají příjmení z názvů květin: Růžička (9599), Fiala (9182). Příjmení z názvů ostatních rostlin, např. Kopřiva (2549), Šafránek (1781) aj. vykazují nižší frekvenci výskytu. Slovotvorná struktura příjmení z názvů tradičně rozšířených stromů (dub, buk, bříza, javor, lípa aj.) je bohatá. Jména vyjadřují podobnost, nebo vlastnost, např. Doubek (1609), Bouček (895), ale také vztah k místu bydliště: Dubský (1418), Bukovský (625), Březina (3064). Frekvence příjmení z názvů stromů ve srovnání s ostatními typy je však celkově nižší. Jen příjmení Jedlička (3666) a Vrba (3551) vynikají početností.
V celkovém srovnání frekvence jsou příjmení z názvů zvířat mnohem početnější. Příjmení Jelínek, Čermák, Vlček, Holub, Sýkora, Liška, Strnad, Slavík, Ježek, Beránek, řazené podle počtu nositelů, patří do první stovky nejpočetnějších českých příjmení.
Abstract
In the mid-17th century, Venice became the stage on which the Zrínyi family played out its many and multifaceted political, commercial and cultural interests. The elder brother Miklós (1620–1664), besides being one of the most well-regarded poets of 17th-century Hungarian literature, was also a politician (serving as the Ban of Croatia) and a skilled businessman. He spent his entire life fighting against the Turkish Ottoman invaders, while also attempting to reign in the uneasy alliance with the Habsburgs. The focus of this paper is to explore the visits Miklós made to Venice, together with his younger brother Péter (1621–1671) and his sister-in-law Katarina Frankopan (1625–1673), to look after their commercial interests, as well as to purchase Italian editions for their well-stocked library and find a publisher for their own translations and, last but not least, to forge diplomatic ties with the French ambassador Piero Bonsi (1631–1703), in a bid to defend the independence of Hungary, even if this meant upsetting the traditional European alliances.
Abstract
This paper contributes to our cross-linguistic understanding of pluractional adverbials through an in-depth, corpus-assisted study of the N(um)-nkéd construction in Late Old and Early Middle Hungarian. We argue that N(um)-nkéd pluractionals are (i) mereological-only, (ii) they can be associated with the agent, theme, time or location of the eventuality, (iii) they can modify states as well as events and (iv) they cannot instantiate pluractional comparisons across substates. These findings call for a more fine-grained cross-linguistic approach to pluractional adverbials, especially in terms of the mereological-scalar dichotomy: in addition to (i) context and (ii) the type of the N(um)-denotation, (iii) the morphosyntactic makeup of the pluractional also has to be taken into account. Adopting a diachronic approach will also enable us to shed light on a somewhat neglected aspect of pluractional adverbials: their functional load, especially in terms of the division of labour vis-à-vis universal quantifiers (‘day-by-day’ vs. ‘every day’) and distributive operators (‘all the boys one-by-one’ vs. ‘each boy’). By observing changes playing out in the Late Old Hungarian to Early Middle Hungarian as evidenced in corpora, we will show that the development and spread of bona fide universal quantifiers and of the partitive-distributive suffix -ik indeed happened in tandem with a sharp reduction of the frequency of the relevant types of pluractional adverbials.
Abstract
Plural pronouns can have split antecedents distributed in various positions. This article scrutinizes the distribution of plural pronouns taking split antecedents in English, relying heavily on informant judgments to determine acceptability. Two conditions on split antecedents are proposed. These conditions are expressed in terms of the valents of predicates in a dependency grammar (DG) framework of syntax. The DG approach proves to be effective in cases that challenge semantic predicate-argument approaches.
This article traces the concept of forgiveness and related displays of mercy as enjoined by Zoroastrian scripture and exegesis and as displayed through the writings and actions of rulers and clerics. It connects those Zoroastrian themes to similar ones among ancient Greeks and medieval Manichaeans. Forgiveness emerges through this investigation as a central aspect of Zoroastrian piety and praxis, which the faith’s followers attributed back to Ahura Mazdā in his ascribed role as their creator deity. Therefore, as this analysis elucidates, Zoroastrians consistently held, exercised, and extolled forgiveness and mercy from ancient through medieval and even modern times, in their communities of Central Asia, Iran, and the Indian subcontinent.
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.
