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Arts and Humanities
Adottságok és nehézségek a kora középkori sztyeppe kutatásában
Bevezetés
Prolegomena to the study of the early medieval steppe: Dispositions and difficulties
E cikk a gyökeresen új korszakba lépett kora középkori eurázsiai sztyeppe történeti és régészeti kutatásának rövid helyzetfelmérése. Jelzésszerűen említi az akadályokat (nyelvtudás, hozzáférés), az egyfelől Európa-centrikus szemléletet, másfelől a volt szovjet kutatás önmagába zártságát. A kelet-európai régészet mindenáron törekszik a történeti interpretációkra, miközben a források rendkívül hézagosak, a leletek pénzekkel keltezése problematikus. A nemzetközi kutatás a volt szovjetre van utalva, miközben sokszor elérhetetlen publikációkra hivatkoznak, ritkák a katalógusszerű összefoglalások; a szovjet korszak generációk elmúltával is nyomot hagyott. Történeti és régészeti példák bizonyítják a kora középkori sztyeppe évezredes kulturális változatlanságát, csak az anyagi kultúra változott! Ezért az összehasonlíthatatlanul gazdagabb és színesebb kínai forrásoknak sztyeppei népekről írott fejezetei bízvást alkalmazhatók a kelet-európaiakra is.
Sapphó 137. töredéke az „Alkaios” és „Sapphó” közötti párbeszéddel Aristotelés Rétorikájában (1367a6‒9) maradt fenn. A filozófus erkölcsi kontextusban idézi a töredéket, és moralizáló értelmezést ad neki, mondatait szó szerinti értelemben, kissé naivan olvasva, nem véve tudomást az elhallgatás (aposiópésis) alakzatának feltűnő jelenlétéről a szövegben. Gregor Vogt-Spira ennek a sajátos vakságnak a magyarázatát abban látja, hogy Aristotelés a „hallgatva beszélés” jelenségében amphibolián alapuló paradoxont, adott esetben érvelési hibát lát. Ebben a magyarázatban ugyan van valami, de ha az idéző kontextus teljes szövegére érvényesnek akarjuk tekinteni, akkor nem kielégítő. Sokkal inkább arról lehet szó, hogy a versben kidolgozott ellentétező szerkezet az, ami eltereli Aristotelés figyelmét a nyíltan is jelzett elhallgatás alakzatától, és ez illeszkedik jobban a lírai szöveget tartalmazó Rétorika I, 9 szűkebb kontextusába is. Aristotelés rétorikai antitézisen alapuló morális értelmezése meghatározta a töredék későbbi olvasatait is, egészen a bizánci kortól máig. Tanulmányom második részében ebből a gazdag hagyományból két XII. századi bizánci Aristotelés-kommentátor magyarázatát mutatom be közelebbről, fölvetve annak lehetőségét is, hogy talán mégsem annyira egynemű ez az értelmezői hagyomány.
A tanulmány a Kleophradés-festő vázaképének satyrost és alvó mainast ábrázoló két töredékét vizsgálja (Malibu 85.AE.188 és 81.AE.206.C.15). A satyros feliratos formában dokumentált szavai jelentős részben egyeznek Pentheusnak az euripidési Bakkhánsnők 918. sorában elhangzó szavaival. A képi ábrázolás, a vázafelirat és a tragédiaszöveg sajátos megfelelésének fényében – amely eddig elkerülte az Euripidés-kutatás figyelmét – a tanulmány kísérletet tesz a Pentheus szavainak pszichológiai és rituális hátterét illető korábbi elméletek kritikus újraértékelésére.
Az Amherst 63 papirusz egy rövid szakasza (XVII 1–6) egy szemtanú beszámolója arról, hogy samáriai katonák érkeztek egy erődbe. Az elephantinéi jahvista kolóniához is köthető szöveg legújabb értelmezése szerint ez a jelenet Palmürában játszódik, és egy asszír kori többetnikumú csoport egyikének alapító története. Véleményem szerint ez a tézis nem állja meg a helyét. A szöveg szóhasználatának és feltételezett helyszínének vizsgálata alapján inkább a babiloni korba és Tajma oázisába helyezném a történetet. De még így is sok a kérdőjel.
Jelen dolgozat célja, hogy bemutassa a samosatai Lukianos Mássalhangzók pereskedése című művét. A cselekmény szerint a megszemélyesített Sigma betű vádat emel Tau ellen javainak erőszakos elrablása miatt a magánhangzók bírósága előtt. A nyelvi jelenségek bemutatásán alapuló humoros mű valójában támadás az atticista stílusirányzat szélsőséges képviselői ellen.
Michaél Psellos teológiai munkái bevezetések és szövegmagyarázatok a Szentírás egyes helyeihez, különösen a Zsoltárokhoz. A tanköltemények és szónoki beszédek egyfelől a patrisztikus hagyomány nyomvonalát követik, elsősorban Teológus Szent Gergely és Hitvalló Maximos exegétikai munkáit, másfelől azonban más módon értelmezik és magyarázzák a korábban mások által tárgyalt szentírási helyeket. A dolgozat áttekintést ad Psellos teológiai műveiről, valamint példákon keresztül mutatja be szövegmagyarázati elveit és gondolatmeneteinek váratlan elemeit.
Non-destructive investigations at Neolithic tell-centered settlement complexes on the Great Hungarian Plain
A case study from Battonya-Parázs-tanya
Roncsolásmentes kutatási módszerek alkalmazása egy alföldi, késő neolitikus, tell-központú településkomplexum vizsgálatára. Esettanulmány: Battonya-Parázs-tanya
Abstract
In Southeast Europe, recent years have witnessed a notable shift in scholarly focus related to prehistoric tell sites, expanding to encompass both their immediate surroundings and broader contexts. This shift has coincided with, and to a large extent has been generated by, significant methodological advancements in an array of non-invasive methods, including particularly magnetic prospection. This paper presents the methodology and results of an integrated set of non-destructive investigations conducted at Battonya-Parázs-tanya, a Middle/Late Neolithic settlement located in the southeastern part of the Great Hungarian Plain. In addition to various map sources, magnetometry, LiDAR, thermal and multispectral imaging, and surface survey were utilized at this tell-centered settlement complex to locate old excavation blocks and gain insights into settlement size, layout, and land use. Our data indicates that Battonya-Parázs-tanya spanned approximately 110 ha, with two primary ditches surrounding the tell and indications of a possible third enclosure, suggesting significant human alterations to the local landscape. This study underscores the importance of integrating multiple non-invasive techniques to achieve a more comprehensive understanding of the organizational complexities of and variations in large Neolithic settlements, thereby shedding light on socio-cultural dynamics that shaped them.
Abstract
We analyse j/w+r sequences in the history Early Modern English (EMoE), the predecessor of Standard (Reference) British English (SSBE) and its most current version, Current British English (CUBE) to arrive at the nature of historical pre-r (and also pre-l) breaking, a process (together with r-deletion and smoothing) responsible for the phonemic contrast between schwa-final and any other diphthongs (and long vowels): bear ɛə vs bay ej (or eɪ), lore ɔə vs law ɔː vs low ow at the beginning of the twentieth century, found as bɛː vs bɛj, loː law/lore vs ləw low CUBE. The main thrust of the argument presented here is that (i) (historical) diphthongs and the long high monophthongs are uniformly represented as vowel+glide sequences, giving ‘bias’ to the title and (ii) that breaking is consonant prevocalisation (CP) of r/ɫ in j/w+r/ɫ sequences (lejr > lejər lair, fajɫ > fajəɫ file). This is followed by r-deletion and smoothing (leər > lɛə > lɛː lair), which are unrelated to breaking ‘proper’. The analysis of breaking as consonant prevocalisation builds on the framework developed by Operstein (2010), with earlier precursors in articulatory phonology, historical linguistics (e.g. Howell 1991a, 1991b), and frameworks using privative melodic features, such as government phonology (e.g. Kaye, Lowenstamm & Vergnaud 1985), dependency phonology (Anderson & Ewen 1987), particle phonology (Schane 1984), element theory (Backley 2011), etc. The article introduces the theoretical background in section 1, followed in section 2 by a discussion of breaking in the history of English. We then look at a classical interpretation of breaking and discuss its shortcomings in section 3. We then look at why the long high monophthongs are better analysed as diphthongs in section 4 before we look at how these vowels fit into the bigger canvas of the diphthongs in section 5. The next step in sections 6 and 7 takes us to the analysis of breaking as CP happening in jr, wr and jɫ sequences. In section 8 we look at CP undone in the later history of the language and some of the consequences for earlier English that follow from the modern distribution of j/w+r sequences.
A tudománytörténeti dolgozat áttekintést ad Pecz Vilmos klasszikus filológus életéről, tudományos pályájáról és életművéről. Pecz a klasszikus görög költők szóképeit (τρόποι) gyűjtötte, rendszerezte és értelmezte irodalomtörténeti szempontból, különös tekintettel az úgynevezett aránytrópusokra (Proportionstropen). A kortársak és a közvetlen utókor megítélése szerint ez a kutatás zsákutcának bizonyult, de a kiadott gyűjtemények hasznos példatárként szolgálhatnak a mai metaforakutatók számára.
A 9–10. századi eurázsiai íjászfelszerelés változásainak okai a kísérleti régészet szemszögéből
A továbblépés lehetőségei a régészeti megfigyelések tükrében
Changes in archery equipment in Eurasia in the 9–10th centuries in the light of experimental archaeological data: Further perspectives for study through archaeological research and observation
Absztrakt
A hun korban megjelenő, legtöbbször íjmerevítőnek nevezett agancslemezek a 9–10. századra jelentős átalakuláson mentek keresztül, sőt ezt követően rövid időn belül teljesen eltűntek. Dolgozatunk ennek okát igyekszik feltárni. Felmerült annak a lehetősége, hogy ezek az agancslemezek az íjak felépítésében lévő ragasztások megerősítésére jelenhettek meg, majd az íjak a ragasztási módok fejlődésével erősítés nélkül is sokkal erősebbekké, tartósabbakká váltak. Ebben az időszakban jelent meg a felajzott íj viselésére szolgáló készenléti íjtegez is. Ennek használatát talán pont az tette lehetővé, hogy az íjak szerkezetének megváltozása alkalmassá tette azokat a hosszabb ideig történő felajzva tartásra. A hosszabb ideig felajzva tartható íj nemcsak a felajzás körülményességét spórolta meg, de komoly harcászati előnyt is jelenthetett viselője számára.
Education – Language – Identity
Analysing Patterns of Identification among Minority Hungarian High School Students in Slovakia
Abstract
In our paper we explore the intricate relationship between language and identity within the Hungarian language minority residing in Slovakia, examining the patterns of identification among high school students in Western Slovakia. Focusing on upper-secondary Hungarian-medium high school students, we investigate the role of the Hungarian language in shaping identity patterns and cultural unity. Through a mixed-methods approach, combining a quantitative questionnaire survey with qualitative focus group discussions, we address research questions regarding the construction of community belonging and adolescents' attachments to their region and homeland. Our study, encompassing 414 students from five Hungarian-medium gymnasiums, sheds light on the identity formation of the Hungarian national minority and highlights divergent tendencies between different age groups. The findings are part of an ongoing state-level research project.
Abstract
The paper examines the influence of the literature of Hasidism on the oeuvre of contemporary Hungarian poet Szilárd Borbély (1963–1914). It analyzes the workings of regional cultural memory and the memory of the exterminated rural Jewish population, as well as of the former representatives of Hasidism in Hungary in Borbély's works. It also examines the poetics of his collection of poems Funereal Splendour and, more specifically, the fusion of Christian and Jewish elements, in which the principle of bricolage prevails, creating a specific, culturally hybrid poetic language. The most important example of this hybridization is the appearance of the messianic motif in the oeuvre, to which this study devotes special attention. Finally, the use of a Hasidic story-type in two of Borbély's works is also discussed.
A korai keresztény temetkezési szokások kialakulásáról
Egy kutatási projekt tanulságai
On the emergence and formation of the Early Christian mortuary tradition: Insights from a research project
Absztrakt
A tanulmány a korai keresztény temetkezési szokásrendszerek kialakulásának néhány főbb kérdését vizsgálja a késő ókor évszázadait és a kelet-mediterrán térséget a középpontba állítva. Tekintve, hogy az újszövetségi szövegekben a temetkezésekkel kapcsolatos tanítást alig találunk, azok nem szolgálhattak megfelelő modellként a későbbi korok keresztényei számára. Így a keresztény egyházak vezetőire várt a feladat, hogy a temetkezési rítusok elfogadható és nem elfogadható formáinak normáit meghatározzák. Míg azon szokások köre, melyet az egyháziak a római világ számos pontján egybehangzóan kritizáltak – így a gyász és a temetési reprezentáció hagyományos formái –, nem volt nagy, a temetkezési szokások jelentős részével kapcsolatban vagy nem fogalmaztak meg ellenvetéseket, vagy mindössze néhány említés mutatja, hogy az egyházak vezetői megkísérelték az adott szokás megváltoztatását. Az egyes közösségek így korábbi, kereszténység előtti hagyományaik jelentős részét megőrizték, ami a keresztény közösségek között viszonylag jelentős helyi és regionális variabilitáshoz vezetett. A tanulmány utolsó része egy ilyen regionális változatra összpontosít a galileai térség késő római és késő ókori régészeti emlékanyagát vizsgálva.
Abstract
This paper analyzes dialect-stylizing internet content on current events that depict Slovakia Hungarian dialects speakers. The regular display of dialect phenomena on social media platforms allows rapid spread, constant presence, and the possibility of comments. The figure of the dialect speaker, previously geographically bounded, can become a symbol of authenticity, accessible from anywhere in the world. The paper examines the importance of the views of lay language users and content creators in simple language management and citizen science in the contexts of the recognition of dialects, of their oral and written representation, and of the evaluation of languages and varieties.
Abstract
This paper reinterprets the famous letter of abdication of Andreas Dudith (1533–1589) from the perspective of interculturality. The paper examines the circumstances that led Bishop and Imperial Envoy Andreas Dudith to relinquish his prestigious office and influential political position as a result of doctrinal conflicts within Christianity. He remained a Christian, yet his life was centered elsewhere. He proceeded to construct a novel, academically engaged lifestyle, characterized by a comprehensive outlook. In the interval between two markedly disparate life phases, the resigning bishop interrogates the motives underlying his erstwhile clerical status, as well as the establishment and mission of the Church.
A Middle Palaeolithic workshop at Andornaktálya-Marinka site (Northeast Hungary)
Középső paleolitikus műhely Andornaktálya-Marinka lelőhelyen (Északkelet-Magyarország)
Abstract
Although many Palaeolithic open-air sites are known on the foothills of the Bükk Mountains near Eger, Andornaktálya-Marinka was only discovered in 2014 thanks to new vine plantations on a hilltop. It was prospected regularly until 2019, and a test excavation was carried out in 2018. The archaeological material consists of a few undiagnostic prehistoric ceramic sherds and daub fragments, and 1706 stone artefacts. Except two fragments of polished axes, the lithic assemblage contains knapped stones. The paper presents the analysis of the lithic assemblage. This demonstrates the characteristics of an ‘older’ flake industry using almost exclusively local and regional raw materials, and those of a ‘younger’ blade industry working with long-distance ‘northern’ flints. The ‘older’ can be attributed to the Middle Palaeolithic Bábonyian, while the ‘younger’ should be related to Early Upper Palaeolithic Aurignacian or even to a Late Neolithic or Copper Age occupation.
Abstract
The term “Burgenland Croats (Gradišćanskih Hrvati)” was coined by vicar, poet and scholar Mate Mersich Miloradić in 1921, after the majority of Western Hungary's Croatian population became annexed to Austria. By the interwar period an extended use of the term became the norm – it had come to refer to all Croatians living in the remaining areas of the Croatian diaspora, such as Western Hungary, Western Slovakia and Moravia, who had settled in these parts after fleeing the ravages of the anti-Ottoman wars of the 16th century. Worries about the mere existence and survival of the identity of the Burgenland Croat population has been a concern for well over two hundred years. It is fair to ask the question what kind of traditions the collector can expect to find and whether traditions are still in a collectable state in the 21st century, as we approach the 500th anniversary of the re-settlement of this population in Western Hungary. In the present paper I take the example of a specific custom, the Barbara procession of Horvátkimle, to show what it means for a community if one of their practices comes to be included on the ethnographic map of the country. We explore what sort of chances a community has to revive traditions that it had believed to be lost time and time again, and how it affects the life of the community if it succeeds in breathing new life into old traditions by accepting and adapting to the spirit of the times. The paper focuses not on the vanishing traditions, but on resilient tradition constructs that have proved flexible enough to survive. It concentrates not on the signs of the disappearance and assimilation of an ethnic community, but on the scenes and means of preserving such identity. I shed light on the role of individuals and of ethnographic scholarship in the process of preserving traditions.
Abstract
During an inevitable rural-to-urban conforming process, the Hungarian revival movement, known as táncházmozgalom, has left marks of change on the knowledge of tradition bearers, which is the very source and condition of its existence. The aim of preserving original cultural frames of music and dance in its new environment was obvious, and still active village musicians and dancers have been respected (or even idolized) as the protagonists of the movement from the onset. Still, their original social roles as well as the status and function of their knowledge have been misinterpreted in multiple cases. Despite deliberate attempts to maintain authenticity, the result is a brand-new milieu with new musical phenomena, differing greatly from the original forms of musical tradition. The case study presented here concerns one of the last living Hungarian peasant musicians, András Hodorog. He and his unique technique of playing the furulya (flute) are highly regarded in the movement. After nearly two decades of recording, learning, and researching Hodorog's flute technique, comparatively monitoring changes in his instrumental style and repertoire, I have discovered that certain aspects of his musical profile would not have evolved without the impact and demands of the Hungarian revival movement.
Abstract
The study summarizes the 1614 Basel volume of János Filiczki, who was referred to as the “Hungarian Ovid” or the “Hungarian Martial”. The volume is significant for Hungarian literary history because it is a collection of occasional poems – which were fashionable at the time – edited by the author himself. No other similar work is known from that era in Hungary. The summary thematically arranges the poems in the 1614 volume and, as much as the length allows, attempts to touch upon their content. The more interesting poems are analyzed in detail, providing references to both ancient and contemporary sources.
The aim of the proposed paper is to examine how the poetic text world embodies the idea of a return to the “naïve” perception of the world. The objects of the analysis are two groups of authors – representatives of 20th century Slovak and Bulgarian literature –, which are known in the history of their national literatures as Trnava group and “poets of the city.” The first poetic formation is made up of Ján Ondruš, Ján Stacho, Jozef Mihalkovič, and Ľubomír Feldek, known also as Concretists, the second one consists of Alexander Vutimski, Alexander Gerov, Ivan Peychev, and Valeri Petrov. While the Slovak authors manifested themselves as a poetic group by publishing three manifestos, one of which called We Will Talk about Children’s Literature, the Bulgarian authors were defined as poets of the city post factum by the Bulgarian critics.
The selection of these poetry formations is based on typological affinities between the two specific literary phenomena and the similarities in their national political and social contexts during their genesis. Three basic topics can be found in the works of the representatives of both Trnava group and poets of the city – objective imagery, the motif of childhood, and the image of the city. In the present paper, we focus mainly on the use of objective imagery in the process of returning to childhood, which some of the poets’ texts depict. We also look at one of the main themes in their works, which both literary groups inherit from their antecedents in their literatures – everydayness. In this light, the poets of the city are related to the poetry of the Bulgarian writer Atanas Dalchev, while the Slovak authors follow the path chosen by the Czech poetry group Květen and their concept of “poetry of every day.”
Through a close reading of selected works of the Slovak Trnava group and the Bulgarian “poets of the city”, we look at the process of engaging the senses in poetry. The main texts chosen for the analysis are
A Play for Your Blue Eyes written by Ľubomír Feldek and Tom Thumb by Valeri Petrov. Their poems are based on a return to childhood and sensual concreteness. We examine how the writers stylize the perceived world in opposition to the “ready-made” ideas the socialist realism offers. Both groups of authors choose a new aesthetic formula that roots in portraying the objective world. The topic is represented in light of Maurice Merleau-Ponty’s reflection on the literary use of language.
Adalékok Binder János Fülöp rézmetsző munkásságához
Addenda to the work of engraver János Fülöp Binder
Johann Philipp Binder (1736/7-1811), who worked in Buda in the second half of the 18th century and the first decade of the 19th, followed the Augsburg Rococo engraving tradition of the middle third of the 18th century. Since the publication of György Rózsa’s catalogue of three hundred and eighty-eight engravings by Binder and his workshop in 1998, his work has been the subject of much attention. In my study, I supplement the known oeuvre with nearly twenty signed engravings on religious and secular subjects found in nine books or other printed sources not yet examined in relation to Binder’s oeuvre, and discovered on three separate sheets. One of these may also modify the artist’s biography as known and accepted to date. On the basis of his will published five days after his death on 23 December 1811, I list the possessions he left to his second wife, who was still running the workshop a decade later. Museum catalogues and databases open up new perspectives for research. An important methodological lesson for the compilation of a new, more complete Binder catalogue, and for the processing of the 18th-century Hungarian reproduced graphic corpus in general, is that it is important to take all surviving copies of a book in hand, as not all illustrations are bound in all copies. Such a Binder catalogue would allow an analysis of the change in the artist’s style and the gradual inclusion of assistants.
Az esztergomi főszékesegyház és egyházkormányzati központ építészeti koncepciójának kialakulása és változásai
II. rész. Formálódó elképzelések az 1820-as évek elején, a Főszékesegyház alapkőletételéig – Remy és Kühnel tervei
Architectural conception of the complex of esztergom cathedral and church government centre: genesis and changes
Part II: solidifying ideas in the early 1820s up to the laying of the foundation stone – plans by remy and kühnel
The plans of the ecclesiastical complex drafted in the 1820s were based on certain 18th century antecedents. The death of Archbishop Ferenc Barkóczy (1761–1765) in 1765 interrupted the constructions started on plans by Franz Anton Hillebrandt (1719–1797). The retransfer of the archiepiscopal see from Nagyszombat to Esztergom was not possible for more than another half a century, until the archiepiscopacy of Sándor Rudnay (1819–1831) (Fig. 1).
So as to reconstruct the evolution of the 19th century conceptions, all the extant and accessible plan material must be put to meticulous analysis – to continue the work of the scholarly predecessors interested in the building history of the basilica (Antal Leopold, Gyula Edvi Illés, Gyula Prokopp) and to complement their observations and findings. The collation and examination of the – not always signed and dated – plans kept in diverse collections (Vienna, Esztergom and Budapest) are also necessary to try and establish their chronological order. Luckily, the dated sheets and the earlier and still ongoing processing of the sources provide several clues that allow us to infer the time line and the changes in the architectural ideas. The paper makes an attempt to reconstruct the formation of architectural ideas on the basis of the most detailed study of plans drafted between 1820 and 1822.
The 18th century spatial layout of the required buildings of the ecclesiastical government was kept unchanged: the cathedral is located on Castle Hill framed on the west overlooking the Danube, and on two sides by wings of the archiepiscopal palace. A monumental wide ramp leads to Castle Hill on the east lined on either side by the residences of the members of the cathedral chapter, enclosing the open place formed at the eastern, lower part of the ramp. The clergy’s seminaries are also situated east of Castle Hill. The 18th century idea of the disposition of the buildings – expressing their hierarchy as well – was accepted by the 19th century posterity, but the appearance of the individual buildings was modified according to the new style.
Archbishop Rudnay gave the commission of planning to Ludwig von Remy (1776–1856), the office director of the imperial and royal architectural office (Hofbauamt) of Vienna in May 1920, endorsed by Emperor and King of Hungary Francis I on 27 July 1820. The series of Remy’s Esztergom plans preserved in the Albertina has been enlarged in the past fifty years or so (Figs 2–14), hence we have a far larger basis to examine his architectural ideas than Gyula Prokopp had in the early 1970s. /The (incomplete) series of Remy’s plan drawings for Esztergom is found in the Albertina, which has been extended since Prokopp’s time./ The architect inspired by the spirit of triumphal neoclassicism must have been attracted by the urban scale of the commission. He drafted several versions of the buildings under Castle Hill. There is no knowing whether a site plan of all the buildings had been drafted, as it is missing from the Albertina series, so we can only hypothetically attempt to reconstruct his idea on the basis of available details (Fig. 15).
Pál Kühnel (1765–1824) had a draughtsman’s role, especially in the early phase of the completion of Remy’s plans. However, soon he also began negotiating with Archbishop Rudnay and started making separate plans. Of course, by that time he had a good overview of Remy’s architectural ideas and could perform his drawing on their basis. Rudnay did not want rivalry between the two architects and hoped for their cooperation on a common plan. The Viennese official refrained from competing with his employee, so he withdrew from the commission, without handing over his plans completed by the beginning of 1821. Although Rudnay could not get to know Remy’s plans, they could still influence further planning through the collaboration of Kühnel and constitute an important station toward the plan to be implemented.
Thus, the commission of planning passed on to Kühnel, who completed the first set of plan drawings (Figs 16–24) by March 1821. Not all the – once probably existing – plans of the series are known today. He already sketched up several versions for the canons’ houses financed by the members of the chapter (Figs 23–24) in 1820. Among that-time plans of the cathedral, the perspectival view of the interior of the basilica is particularly attractive (Fig. 18).
Apart from the site plan drawing of Kühnel’s first plan series (Fig. 16), he also made two site plan variants (Figs 25–26), which were more adjusted to the terrain features of Castle Hill than the conception detailed on the sheets of the cathedral and the primatial palace. On these plan versions the building complex on Castle Hill is arranged in a trapezoid form: the lateral wings of the archiepiscopal palace converge westward – with different solutions on the two sketches. The four wings of both seminary buildings arranged around a square court are nearly identical in the two plan versions, while the canons’ residences are different: in one they have L-shaped ground-plan, in the other the auxiliary buildings are laid out parallel with the residences, thus separating the garden from the court.
The plans and written sources suggest that the client did not have mature ideas about the canons’ nursing section at that time. Kühnel designed several optional residence buildings for the canons in 1820 and 1821 with various ground-plans and one or two storeys (Fig. 27–30). His contract included the planning of 22 dwelling houses, which was later extended on the eastern end of the curving row of houses with two buildings, the library and the archives. It was also an important consideration to incorporate some of the foundation walls surviving from the constructions during Archbishop Ferenc Barkóczy.
In spring 1821 Kühnel drafted another series of plans. In the second series the ensemble on Castle Hill became more spacious and airy: the lateral wings of the archie-piscopal palace are shortened and do not turn eastward; they are linked to the cathedral with curving colonnades. The ground-plan of the cathedral also became more rational. The renaissance Bakócz Chapel attached to the cathedral with a kind of corridor in earlier plans got better integrated in the mass of the cathedral. In this plan series the crypt was to have been in the western side of the ba-silica, under the sanctuary zone (Figs 34–35). The number of the canons’ houses in the straight rows increased from five to six, therefore the curving row of house closing the ensemble on the east received the buildings of the library and the archives at its ends. North of the northern straight line of canons’ houses a new building of large floor space appeared in the site plan (Fig. 31): most probably for storage, offices and stables needed by the monumental building project.
The construction of the cathedral was launched on the basis of plans created in this phase of planning (Fig. 36) with the laying of the foundation stone on 23 April 1822 – but shortly afterwards the plans had to be modified. That, however, will be the subject of a further paper.
The study focuses on the postcolonial analysis of the development of mutual Czech-Slovak relations from the 19th century to the first half of the 20th century. The core of the analysis are specific literary representations of these mutual relationships based on the textual corpus of Czech and Slovak literature. In the broader public discourse of Central European literature, Czech-Slovak relations are only rarely analysed using postcolonial criticism. In the field of literary science, this is an unexplored area of Czech-Slovak relations. The contribution therefore seeks to complement postcolonial research on the material of Czech and Slovak non-fiction texts, as well as neglected novels. It focuses on the postcolonial analysis of literary representations of mutual Czech-Slovak relations, which developed between paternalism and colonialism in the observed period. The critical reading of these literary representations is based on the description of power relations identifiable through more or less conspicuous features of superiority and subordination, which are relevant to interpret through postcolonial theories. The author of the paper is aware of the specifics and differences of power relations between small cultures in the Central European area compared to the analysis of relations between a large empire and a politically subordinate colonial culture. For this reason, he expands the repertoire of terminology from postcolonial criticism (Homi H. Bhabha and Edward W. Said) and uses not only the basic terms colonialism and Orientalism, but also other terms to define the diverse scale of the power relationship of the Czechs to Slovak culture, e.g. paternalism (to introduce the Czech figure of the elder brother), pre-colonialism (to introduce the Czech figure of the savior) and anticolonialism (to introduce the Czech figure of the Slovaks as victims). Using postcolonial terminology, the study approaches specific literary figures that have become part of Czech thinking about Slovak culture. The situation of Slovak culture in the observed period can be interpreted through Kiossev’s metaphor of self-colonization, which reflects the positive reception of the cultural and educational mission of the Czechs in Slovakia. The used corpus of texts from Czech and Slovak literature and its analysis served as a starting point for understanding cultural stereotypes and literary representations of nascent national identities. Czech colonialism developed in the political, cultural and linguistic framework, first as a recognition of Slovakia by Czech slovakophiles, after 1918 it was already part of the discussion in the public space. All these period attitudes of the Czechs towards Slovakia were prescribed in literary texts of a fictional and non-fictional nature and as part of the Czech cultural memory they filled the Czech cultural myth about Slovakia.
„Bori mesék”. Képzőművész munkaszolgálatosok Borban
“Tales of bor” artists doing labour service in Bor
During World War II six thousand Hungarians enlisted for labour service were taken from Hungary to Bor in Serbia occupied by germany (1943–1944). The great majority called up for unarmed labour service were of Jewish origin; they were supervised by Hungarian soldiers and worked under the control of german military officials (Organisation Todt). They were put to slave labour in the mines and the construction of the mountain railroad around Bor. Several of the Jewish labourers were beginning or already acknowledged artists at the time of their conscription. no matter how adverse the circumstances were, some of them did not give up their creative activity during work in Bor. The three works mentioned in the paper were created in labour camps during the Holocaust, at high artistic level. Their singularity, however, is not primarily their attainment but the choice of their unusual genre. Their common feature is the genre of the (fairy) tale. “Ein Märchen von Bor” narrates the story of the Bor mine in 50 scenes and poems in german written under them. The characters of the tales are figures from the literature of tales, german occupiers and inmates of labour camps. The tale that takes place around the mining region of Bor alloys reality, fancy and the faith of the conscripts on labour duty in their liberation. The other tale based on Mother Holle also known from the grimm brothers’ collection is titled “Tale of a good and a bad little girl”. It consists of twelve colour pictures. It was made upon the commission of one inmate for the wedding anniversary of another one. The cock often appearing in tales has particularly great significance here: it is the herald of the Messiah, and in Hebrew tradition it is a symbol of betrothal and fertility. The other ancient symbols emerging in the tale get further meanings in this context. The third art work mentioned in the paper depicts a single day in Bor in six scenes and a few lines. The tale written in postcard format is at the same time a confession of love to the bride left at home. love thus plays an important role in all tales or in their genesis.
The creators and in two cases the addressees of the works of art are known: graphic artists Ferenc Szabó and poet Tibor Sándori (Tales of Bor) and graphic artist Albert Csillag (“Tale of a bad and a good little girl” and “One day”). All the creators, as well Károly niederländer, who commissioned a tale for his wife, fell victim to the Holocaust in Bor, or after the evacuation of Bor in Hungary or germany. Their works created in Bor survived them miraculously thanks to their comrades liberated in and around Bor.
Bunt przeciw uprzedmiotowianiu Teodycea, sny i niesamowitość w literaturze obozowej
Rebellion against objectification Theodicy, dreams and the uncanny in the camp literature
Istnienie obozów nazistowskich i sowieckich było skandaliczną niesprawiedliwością, i praktycznie każdy tekst literacki napisany na ich temat traktuje je jako taką. Jednym z elementów rozważań nad tematyką obozów jest pytanie o to, czy można się spodziewać zadośćuczynienia po wydarzeniu, podczas którego było się upokorzonym, wręcz odczłowieczonym, żyło się w każdym momencie w zagrożeniu egzystencjalnym, często tracą całą rodzinę, zdrowie fizyczne i psychiczne? I czy martwi mogą liczyć na jakiekolwiek zadośćuczynienie? Niektóre teksty wydają się twierdzić, że do pewnego stopnia tak.
Najbardziej tradycyjnym sposobem na udowodnienie, że wydarzeniom wojennym jednak nie udało się do końca zniszczyć porządku świata, jest teodycea, stosowana mniej lub bardziej otwarcie zwłaszcza w literaturze mitotwórczej, a także jej odwrotność, otwarta negacja jakiegokolwiek porządku metafizycznego, jakiejkolwiek opatrzności, będąca gestem zadośćuczynienia, przywracającym narratorowi aktywną podmiotowość poprzez akt buntu.
Literatura obozowa obfituje jednak i w motywy symbolizujące odwrócenie porządku świata w mniej dosłowny sposób. Tak w tekstach o lagrach, jak i w tych o łagrach spotykamy się dość często z obrazami snów, nieraz spełnionych. Z badań historio-psychologicznych wiemy, że wspólne omawianie sennych widzeń w obozach było czynnością istotną z wielu powodów: między innymi dlatego, że wróżenie łudziło pewnym, choć raczej ograniczonym, odzyskaniem kontroli nad swoim własnym losem. Ale wspomnienia powstałe już po wyzwoleniu, napisane skądinąd w duchu realistycznym, też podchodzą z powagą do wróżebnej mocy snów, powtarzając gest – w momencie pisania – już anachroniczny, którego funkcja nie ulega jednak zmianie, ponieważ jest działaniem dążącym do odzyskania kontroli.
Drugim często spotykanym narzędziem stosowanym (między innymi) w wyżej wymienionym celu jest niesamowitość (w znaczeniu freudowskim). I ta może mieć różne odmiany, od reprezentacji duchów poprzez miejsca naznaczone niesamowitością aż do języka, na pozór niewinnego, lecz sygnalizującego między wierszami rzeczywistość zbrodni. Niesamowitość można rozumieć, w zależności od tekstu, jako oznakę ciągłego istnienia ofiar (więc jako namiastkę, alternatywę życia), lub też jako zemstę przeszłości nad przyszłością (tj. naszą teraźniejszością), będącą warunkiem wstępnym do ewentualnego katharsis. Paranoiczne czytanie, paranoiczne odczytywanie języka również są gestami nakierowanymi na odzyskanie kontroli.
Postpamięć, mimo wszystko patrząca na literaturę tworzoną przez ofiary bezpośrednie z pewnym dystansem, podchodzi do powyższych motywów w sposób kreatywny, analityczny lub filozoficzny, nieraz kontestując je, czasem wręcz z ironią, aby otwierać nowe perspektywy związane z tematyką obozową.
Giovanni Maria Parenti utazása Mátyás király udvarába (1486). A humanista útinapló eredeti szövege és magyar fordítása
The journey of giovanni maria parenti to the court of king matthias corvinus (1486). Original text and hungarian translation of the humanist travel diary
Giovanni Maria Parenti was a 15th-century humanist cleric who wrote a book on the life and miracles of Saint Geminianus, the patron saint of his native Modena. The book, decorated with colour engravings, was published in 1495, also in Modena. A lesser known detail of the author’s life is that in 1486 he was part of an embassy to Hungary and compiled a twelve-page travel diary of his journey from Venice to the Hungarian royal court. The original manuscript, preserved in the State Archives of Modena, is not in good condition. Much of the text is very difficult to read, but it is well worth the effort: the diary-like document is not simply a list of the places visited on the journey, but a colourful and eventful account of the experience, with scenes of humour, enthusiastic praise and sharp criticism. And the description of the Archbishop’s seat in Esztergom includes unique details that are rarely found in other sources: the large murals of the archiepiscopal castle, details of the portraits of kings, mainly known from Antonio Bonfini’s work, and the scene of the conquest of the Pannonian Basin by the Magyars. The study provides information on the origins of the document, analyses the content of the text, adds other sources to the story, and the appendix includes a Hungarian translation of Parenti’s travel diary alongside the original text.
Heterotopie w literaturze obozowej
Heterotopies in the camp literature
Punktem wyjścia mojej analizy jest pojęcie heterotopii utworzone przez francuskiego filozofa Michela Foucault. Foucault definiował heterotopię jako „kontr-miejsce”, w którym wszystkie inne miejsca w danym spo-łeczeństwie są zarazem reprezentowane, kontestowane i prezentowane jak gdyby w krzywym zwierciadle. Postaci znajdujące się na obszarze danej heterotopii łączy ze sobą właściwość bycia wybranym – jest to aspekt heterotopii być może nieco zaniedbany przez samego Foucaulta. Wybór, o którym mowa, dokonywany jest zazwyczaj na podstawie pewnych cech charakterystycznych i w jakimś konkretnym celu – co samo w sobie wiąże się z odczłowieczeniem; nic dziwnego zatem, że we wspomnieniach oraz w literaturze post-pamięci obóz koncentracyjny (najczęściej: Auschwitz) pojmowany jest nieraz jako takie właśnie „kontr-miejsce”. W niniejszej pracy wychodzę z założenia, że sięgając po motywy heterotopijne uniknąć można wyzwań, zktórymi tradycyjnie boryka się literatura holokaustu, takimi jak: wyświechtanie tematu, niejasne kategorie „ofiary” i „oprawcy”, ogromna liczba ofiar uniemożliwiająca odczuwanie empatii, itp. Celem mojej analizy nie będzie jednak udowodnienie przynależności obozu koncentracyjnego do kategorii „kontr-miejsc” (co traktuję jako oczywistość), tylko przyjrzenie się z bliska dwóm przestrzeniom heterotopii znajdującym się na obszarze obozu, zdolnym do reprezentacji obozu za pomocą swoistej metonimii: Puffowi, czyli domowi publicznemu, oraz szpitalowi obozowemu. Interesuje mnie sposób, w jaki postrzegano ludzi pracujących w tych instytucjach i osoby korzystające (zmuszone do korzystania) z ich usług; z jakiej perspektywy opisywano ich oraz cechy, na postawie których zostali naznaczeni/wybrani, oraz to, jaką symbolikę wiązali więźniowie z tymi miejscami. Z drugiej strony ciekawi mnie także znaczenie świata nie-ludzkiego: przyrody (jako przestrzeni, ale nieraz też heterotopii, zawierającej w sobie obóz), a także rzeźni i ogrodu zoologicznego – heterotopii znajdujących się poza obszarem obozu, ale działających nieraz jako jego metafory. Wychodzę tu z założenia, że trauma odczłowieczenia otworzyła nam oczy na nie-ludzkie istoty żyjące wokół nas, istoty, którym do niedawna odmawiano wszelkich właściwości „ludzkich” – chciałabym więc dokładniej przyjrzeć się temu, jak przedstawiane są kontakty ludzko-zwierzęce, ludzko-roślinne, zwierzęco-zwierzęce itp. w kontekście Shoah. W ramach swojej analizy będę się skupiała na tekstach polskojęzycznych autorów piszących o Zagładzie (np. Seweryny Szmaglewskiej, Tadeusza Borowskiego, Stanisława SwenaCzachorowskiego, Tadeusza Śliwiaka, Piotra Macierzyńskiego, Jacka Podsiadły).
Schaár Erzsébet ifjúkora és korai szobrászművészete (1908-1931)
Erzsébet Schaár’s youth and early sculpture (1908–1931)
The present paper is a subchapter of my doctoral dissertation titled The Oeuvre of Sculptor Erzsébet Schaár (1908– 1975). The paper discussing a period of her life’s path sofar only tangentially touched on by special literature divides into three parts: the first is concerned with the artist’s family background, childhood and adolescence, the second with the initial phase of the career, the academy years, and the third looks at works created in the 1920s and the early 1930s, as well as exhibitions of that period.
Schaár was a veritable “child prodigy”. She began her studies as Zsigmond Kisfaludi Stróbl’s private pupil at the age of sixteen and a year later, in 1925 she was admitted to the Royal Academy of Art where her tutor was again Kisfaludi Stróbl. She debuted with her works publicly in 1926, first of all in exhibitions of the Szinyei Society and the KÚT (=new society of artists). Though several of her that-time works got lost or are latent, an approximately authentic overview of her art in that period can be had from exhibition catalogues, receptions, materials in archives and private collections – first of all the Vilt estate in the King St Stephen Museum in Székesfehérvár and the mostly unprocessed written and photography documents, correspondence in the Schaár estate, as well as from recollections by her contemporaries, first of all Tibor Vilt. A few nudes are known from this period, but her early artistic activity centred on portrait sculpture. This is also the clew along which the phases Schar’s artistic development, the modifications of her style, the influences exerted on her can be demonstrated from the earliest known portraits of her mother to the series of children’s portraits in the late 1920s, early 1930s. The studied period is characterized by a search of her own idiosyncratic style: in the 1920s she created both realistic portraits and works displaying features of art deco and cubism, she was interested in modelling with simple forms, experimented with facial casts – a procedure that returned in later phases of the oeuvre.
In sum, the earliest period of Schaár’s sculptural activity displays such singularly powerful idea of plasticity and creative outlook that compare with the later phases of the oeuvre in talent and quality, but with the help of which posterity can discern the trends that were to unfold in full later. Studying this early period may contribute to a more profound understanding and comprehensive interpretation of the entire oeuvre.
Tommaso Daineri levelei II. Ulászló csillagászati műszereiről
Tommaso Daineri’s letters about the astronomical instruments of wladislas II
Combining Italianate and science historical interests, the two authors present for the first time in Hungarian trans- lation the descriptions of the astronomical instruments of King Wladislas II in the original contexts of letters. We have compared the descriptions with similar contempo- raneous instruments, using the results and databases of the research literature of astronomy history. Our work was helped by several factors: photocopies of reports by Modenese envoys got incorporated in the system of the electronic Archival Portal of the Hungarian National Ar- chives within the frames of the Vestigia research project, and Elena Ferrazzi published the letters of Daineri in her dissertation of 2021.
Восточнославянские паремиологические параллели: Библейская мудрость в образных вариациях
East Slavic paremiological parallels: Biblical wisdom in figurative variations
В статье на русском, белорусском и украинском материале рассматриваются сходства и различия пословиц библейского происхождения, образующих паремиологические параллели. Для анализа отобраны пословицы, представленные в словарях библеизмов и паремиологических сборниках, из-данных в России, Беларуси, на Украине. Цель статьи – показать выявленные в ходе сопоставитель-ного анализа полные трехъязычные эквиваленты и диапазон варьирования библейских образных мотивов в рамках восточнославянских паремиологических параллелей, изложить концепцию лек-сикографической репрезентации этого материала. Актуальность темы исследования определяется интересом лингвистов к библейскому наследию восточнославянских языков и необходимостью восполнения лексикографической лакуны в сопоставительной восточнославянской лексикографии.
Данные сопоставительного анализа позволили сделать вывод о том, что семантическое развитие пословиц-библеизмов и варьирование их образной структуры в восточнославянском ареале – это результаты работы креативного народного языкового сознания, которое конкретизирует обобщен-ный смысл паремий, развивает пословичные идеи, приближает образы пословиц к этноспецифиче-ским реалиям повседневности.
Обобщен опыт словарного описания восточнославянских пословиц библейского происхождения в многоязычных словарях библеизмов и словаре восточнославянских паремий тезаурусного типа. Намечены пути оптимизации сопоставительного лексикографического описания пословиц-библе-измов.
Специализированный «Словарь русских, белорусских и украинских паремий-библеизмов», кон-цепция которого представлена в статье, в полной мере отразит образно-семантическую специфику библейских паремий в восточнославянских языках на фоне их прототипов и в межъязыковом сопо-ставлении. На примере словарной статьи «От умного ума наберёшься, а с глупым последний расте-ряешь» рассматривается параметры описания паремиологических параллелей. Их расположение в порядке убывания сходств и нарастания различий позволяет наглядно и последовательно отразить универсальность и этнокультурную специфику паремий библейского происхождения.
Представлена также концепция приложения к словарю – тематико-аксиологического указателя, где пословицы группируются под аксиологемами – формулировками оценочных идей, передавае-мых библейским источником паремий. Здесь паремиологический материал объединен по языкам, что позволяет проследить образно-семантические сходства и различия на уровне фрагментов наци-ональной пословичной картины мира. Подчеркивается лингводидактическая ценность разработан-ных паремиографических материалов, возможность их использования в учебных целях.
Фразеологизмы в текстах песен Булата Окуджавы
Phraseologisms in the texts of Bulat Okudzhava’s songs
Булат Окуджава – русский поэт и бард, песенное творчество которого в 60–80-х годах ХХ века пользовалось необыкновенной популярностью. Лирико-романтическая направленность его про-изведений проявлялась и в используемой им лексике и фразеологии. Не подлежит сомнению, что лексический строй литературного произведения должен исследоваться в неразрывной связи с его идиоматикой – совокупностью фразеологических и паремиологических единиц. В статье рассма-триваются и особая экспрессивная роль фразеологизмов, и структурно-семантические преоб-разования в их составе, и семантическое обыгрывание устойчивых словосочетаний (в том числе столкновение фразеологически связанного и свободного значений) и т. д. Мы проанализировали фразеологизмы, употребленные поэтом в текстах песен, с точки зрения их происхождения и функ-ционального назначения. В общей сложности нами было обнаружено около 200 примеров. Выявле-но, что используемая поэтом фразеология распадается на несколько групп.
Первая и самая большая группа – это общеупотребительные («общеязыковые») устойчивые словосочетания: черный ход, черный день, пустые обещанья, дальняя дорога, голубая кровь, голубые дали, последняя черта. Эти фразеологизмы, естественно, никакой особой коннотацией не обладают, метафорическая их природа стерлась, и читатель или слушатель воспринимает их в общем ряду нейтральных языковых средств, характерных для разговорной речи. Характерно для песенных тек-стов Б. Окуджавы и столкновение в одном контексте прямого (свободного) и переносного (фразео-логически связанного) значений. Таким образом, можно утверждать, что поэт творчески подходит к фразеологическому богатству русского языка, приводя значения устойчивых выражений в соот-ветствие с идейно-образным строем своих произведений.
Вторая группа используемых Б. Окуджавой фразеологизмов – это словосочетания, навеянные архаичными текстами – библейскими, мифологическими, фольклорными и др.: страшный суд, царь небесный, чертоги златые, райские кущи. Понятно, что песни Окуджавы были рассчитаны на его современников (и особенно на молодое поколение), которым сакральные и исторические тексты были плохо знакомы. Однако, используя мифологические выражения, поэт демонстрирует свою верность традициям русской высокой поэзии, позволяет себе определенную смелость в использо-вании устойчивых выражений библейского и фольклорного происхождения. Так, важнейший для славянской мифологии персонифицированный образ Земли – Мать сыра земля – в стихотворениях Б. Окуджавы выступает то как сырая земля, то как земля сырая, с варьированием порядка слов и, по сути, с десакрализацией исходного понятия.
Третья группа фразеологизмов – это устойчивые словосочетания, отражающие специфику совет-ской эпохи: ковать победу, железное мужество, морально нестойкий, фанерная звезда, прощальных речей торжество, граница на замке и т. п. Фразеологические «советизмы» неизбежны в творчестве поэта (и барда), испытавшего на себе все тяготы социалистического строя.
Многие выражения из песен Булата Окуджавы сами «фразеологизовались», стали устойчивыми словосочетаниями или прецедентными текстами: московский муравей; последний троллейбус; ко-миссары в пыльных шлемах; надежды маленький оркестрик; девочка плачет, шарик улетел; возьмем-ся за руки, друзья. Это – вклад поэта в общерусскую фразеологию и паремиологию, и, соответствен-но, в русское языковое сознание.
Boat-shaped fibulae from the Early Iron Age sites of Érd and Százhalombatta
Csónak alakú fibulák Érd és Százhalombatta kora vaskori lelőhelyeiről
Abstract
The primary aim of this study is to present some Early Iron Age brooches found at Érd-Hosszúföldek, including an attempt to clarify some of the cultural connections of the area. The pair of boat-shaped fibulae connected by a chain, the three-footed vessels, and the ribbed cysts indicate a complex and widespread connection network in the period.
A caricaturistic portrait of Ovid from Brigetio (Komárom/Szőny, Hungary)
Ovidius karikaturisztikus portréja Brigetióból (Komárom/Szőny)
Abstract
In 2015 a preventive excavation was carried out preceding the laying of an optical cable in close vicinity to the legionary fortress of Brigetio. An otherwise regular Roman terracotta roof tile was found during the excavation, with the image of a bearded man and the inscribed name of Ovidius Naso. The depiction of the poet leans more towards caricature rather than a realistic portrait, but since we do not know of any ancient representations of Ovid, it is of great importance and fits well into the series of other graffiti on roof tiles from Pannonia.
Ein Hortfund aus der Koszider-Periode im Bükk Gebirge
Mittelbronzezeitliche Metallfunde von Dédestapolcsány-Verebce-bérc
A bronze hoard from the Koszider period in the Bükk Mountains: Middle Bronze Age metal finds from Dédestapolcsány-Verebce-bérc
Absztrakt
A tanulmány Dédestapolcsány-Verebce-bérc lelőhelyen az elmúlt évek intenzív kutatásai során előkerült középső bronzkor végi bronztárgyakat ismerteti, és ezek tükrében támpontokat ad a Bükk hegység középső bronzkori használatát illetően. 2022-ben négy gombos végű bronzsarlóból álló koszideri korú depó került elő fémkeresős lelőhely-felderítés során, és feltehetően ehhez az együtteshez tartozott egy szórványként talált sarkított peremesbalta is. A lelőhelyről két további szórványlelet, egy peremesbalta és egy spiráltekercsben végződő karperec töredéke ismert még ebből a korszakból.
A Gáta–Wieselburg-kultúra temetője és kiemelkedő síregyüttesei Nagycenk-Farkasverem lelőhelyről
The cemetery of the Gáta–Wieselburg Culture and its remarkable graves from the site of Nagycenk-Farkasverem (Western Hungary)
Absztrakt
Az M85 autóút nyomvonalának ásatásain 2017–2018-ban, Nagycenk határában a réz/bronztágyak mennyiségében és típusában is egyedülálló, újabb bronzkori temető került elő. A csontvázas temetkezések és mellékleteik a Nyugat-Magyarországon, Kelet-Ausztriában és Délnyugat-Szlovákiában elterjedt Gáta–Wieselburg-kultúrához köthetők (Rei. BA1–A2, Kr. e. 2200/2100–1600/1500). A jelen előzetes közleményben a harminckét síros nagycenk-farkasvermi temető három, kiemelkedő társadalmi helyzetű férfi temetkezését mutatjuk be. A radiokarbon adatok alapján, a magyarországi kora és középső bronzkor fordulójára (1σ valószínűséggel Kr. e. 2010–1780 közé) keltezhető sírok egy, gazdagságában és kapcsolatrendszerében, s talán technikai tudásában (fémborításos kőbuzogány) európai viszonylatban is jelentős közösségre utalnak a Fertő-tó vidékén, a közép-németországi, kora bronzkori „fejedelmi temetkezések” időszakában.
A ságvári késő római erőd horreuma
I. épület
The Granary of the Late Roman Fortress at Ságvár: Building I
Absztrakt
A Kelet-Dunántúlon található belső erődök a Constantinus-korban épült katonai utánpótlási bázisok voltak, amelyek a 374. évi kvád–szarmata betörés pusztítása után épültek újjá. Az erődök fontos épülete volt a gabonaraktár. A ságvári erőd horreumának kutatása megbízható adatokat szolgáltatott az épület és a létesítmény kronológiájához, valamint a 374. évi kvád–szarmata betörés történetéhez. A tanulmányban a horreum ásatásának eredményeit ismertetjük, kitekintéssel a pannoniai késő római gabonaraktárak építészeti típusára.
Abstract
This paper discusses the relationship between minority identity and place-name use in Hrušov/Körtvélyes. The research location is in the Rožňava/Rozsnyó district of the Košice/Kassa region, near Slovakia's border with Hungary. 79% of the village's population belong to the Hungarian national minority, while 20% of the population identifies as Slovak. The community can be described as bilingual, as they use both Hungarian and Slovak, depending on the situation and context. Most of the settlement's place name stock consists of toponyms in Hungarian, with Slovak toponyms mainly appearing only on maps from the second half of the 20th century. However, even the residents who claim Slovak nationality and/or Slovak mother tongue hardly know and use the Slovak toponyms. This sociological study of place names, including 10% of the population (34 people), proves this. The strong minority identity is reflected in the fact that the community of Hrušov/Körtvélyes uses Hungarian toponyms and has not adopted the artificially created Slovak toponyms. In this context, it is safe to conclude that learning and revisiting the use of toponyms can strengthen identity, as it strengthens the ties to the community.
Phantasia motiva vel ratio particularis
Praktische Vernunft und innere Sinne bei Albertus Magnus und Thomas von Aquin
Abstract
The paper discusses the role of the phantasia motiva in Albert the Great and of the vis cogitativa sive ratio particularis in Thomas Aquinas. It argues that by introducing these capabilities, Albert and Thomas propose important clarifications of Aristotle's theory of practical reason (phronesis), relying on Avicenna's account of the inner senses. The respective theories of both authors are cornerstones for their ethical theories which give much weight to account for to particular factors of any singular action.
Abstract
Support-verb constructions are combinations of a verb and a noun that fill the predicate slot of a sentence, as to make a suggestion in he made the suggestion that she join us. The article investigates whether carere ‘to be free from’ (+ ablative), unlike egere and indigere, in support-verb constructions, such as dolore careo ‘to be free from pain’, moves from lexical-phraseological to grammatical-analytical between the classical and post-classical periods, based on (i) the contiguity of components, (ii) the degree of component compatibility, and (iii) the spread across authors. The article argues that the classical verb of realisation becomes a support verb in post-classical times. The classical verb of realisation qualifies as a Caritive functioning as a low-scope scalar focus negative; the post-classical support verb seems to be semantically broader. Carere ‘to be free from’ never becomes an auxiliary verb but hovers at the syntax-lexicon interface throughout.