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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
The curious shape of the so-called early Christian mausoleum of Iovia, Pannonia has attracted much attention since its discovery in the 1980s. The main part of the building, a hexagon flanked by alternating semi-circular and rectangular rooms was complemented by a bi-apsidal vestibule and a rectangular peristyle courtyard. The hexagon was a relatively rarely used form in late antique architecture compared to the octagon, however, hexagons can still be detected in all parts of the Roman Empire in all kinds of architectural contexts: they appeared in late Roman villae, baths, funerary buildings, early Christian mausolea and baptisteries.
The architectural parallels of the mausoleum of Iovia are traced among the thin-walled hexagons that were flanked by protruding semi-circular and rectangular rooms. The buildings closest in shape were the pagan mausoleum of Louin in France and the trefoil hall of the Villa of Aiano in Italy. Other related structures include the so-called Stibadium A of the Villa with Peristyle in Mediana in Serbia, the reception rooms of the Keynsham villa in England, the hexagonal hall of the Palace of Antiochus in Constantinople, the Domus delle Sette Sale in Rome, the baptistery of Limoges in France, and the cella quinquichora of Aquincum in Hungary. Although similar in general layout, they had different functions: early Christian mausoleum, baptistery, pagan mausoleum, and foremost dining halls or reception rooms. This warns us that it is essential to study early Christian buildings in the context of late antique architecture in its complexity and not only in the limited context of other early Christian buildings. Late antique architects seem to have been fascinated by the opportunities offered by the different polygonal or central-plan halls and buildings and used them for different purposes.
The gallows in Holíč (Skalica district, Slovakia) archaeological research and virtual reconstruction
Šibenica v Holíči (okres Skalica, Slovensko). Archeologický výskum a pokus o virtuálnu rekonštrukciu
Akasztófa Holicsban (Skalicai járás, Szlovákia). Régészeti kutatás és kísérlet a virtuális rekonstrukcióra
Abstract
The archaeological research of the gallows in Holíč is one of the first purposefully surveyed sites of this kind in Slovakia. The issue of research on execution sites is only marginally dealt with in our territory. The research confirmed the presence of a simple brick gallows with two supporting posts. Skeletal remains of human bodies discovered in the excavated area are no less important in this context. The information and the finds can contribute to the study of capital execution and types of gallows not only in the territory of today's Slovakia, but also in the wider area of the historical Kingdom of Hungary. The features datable to the Second World War are also worth mentioning and provide an ideal opportunity to compare archaeological finds of modern military history with the available written sources.
The investigation of ninth–eleventh century burials from Himod (NW Hungary)
Physical anthropology data in the light of artifact typology
Abstract
This study presents the results of a classic physical anthropological and paleopathological study of the early medieval human bone material from the Himod-Káposztáskertek site. A smaller part of the graves can be dated to the ninth century but the majority of graves dates to the tenth–eleventh century. Since the possibility of population continuity was raised, the archaeological data related to the question were also reviewed (with special emphasis on the typology of a knife found in Grave 68), with the intent of seeing whether the anthropological data supported this hypothesis. Both samples represent only a small number of cases and the remains are poorly preserved. The ninth century series especially provided very little data, ultimately making comparison impossible. The remains of 25 individuals were found in the Carolingian cemetery section: childburials number 15, the juvenile age group is not represented by any skeletons, there are ten adult burials (4 males, 5 females, 1 of undeterminable sex). The skeletons from 87 individuals were excavated from the tenth–eleventh century section of the cemetery, of which 25 were children, 5 were juveniles, and 57 were adults (29 males, 28 females). For both men and women, people of tall stature form the majority; male skulls are characterized by large absolute dimensions, mainly a broad forehead and a broad face. Fractures, degenerative changes of the spine and extravertebral joints (especially the elbow joint) were common. Tuberculosis infection was suspected in the case of one individual. Legg-Calvé-Perthes disease with bilateral involvement and a rare developmental disorder, congenital scoliosis, occurred in the material as well.
Abstract
The main goal of this paper is to study a specific element of women's depicted costumes. Pictures on stone monuments present local, so-called native women wearing complex attire of cloth, headwear, brooches, jewels, and other dress accessories. Thirteen stone monuments from Hungary depict local women with headwear-related accessories. The main questions are: what kind of accessories are they, and how can we evaluate their presence on depicted attires? I collected analogous depictions from other Provinces and studied archaeological material. Finally, I concluded that these headwear-related accessories connect to new cultural effects and the complex phenomenon of acculturation.
Abstract
In his paper the author summarizes the research of Roman Pannonia in the recent decades, mainly after 1986 when Pavel Oliva edited his volume of the series Tabula Imperii Romani, He examined the most important historical and administrative events of the province. Kovács also delt with the new historical monographs that studied the entire history or administration of Pannonia and the most important towns. The author separately examined the new epigraphic works, corpora and the new inscribed finds. In the last part of his paper he delt with the new archaeological discoveries from Brigetio to Sirmium.
Abstract
This paper covers the glass bowl fragments brought to light at Intercisa (Dunaújváros, Hungary). Bowls occur in relatively high number among the finds from the vicus and the military fort of Intercisa. The open vessels assigned to this category have a rim diameter exceeding the vessel height or exceeding the vessel height by at least 60%. Of the roughly 700 glass fragments known from the site, no more than 72 represent bowls, accounting for about 10% of the vessel glass, a relatively high proportion. Facet-cut bowls are the most frequent type among bowls: 40 pieces can be assigned to this category. Mosaic and ribbed bowls, as well as some cast and mould-pressed bowls are typical of the early Roman period. The vast majority of the bowls are blown vessels and date to the later second and the third centuries, with a few exemplars dating to the fourth century. Two bowl types stand out from among the finds, namely the facet-cut bowls and the scallop bowls of the late Roman period, which, judging from their regional distribution, had probably both been produced in a glass workshop active on the Intercisa settlement. One remarkable fragment from a hemispherical bowl bears a male head with a hedgehog hairstyle; it is paralleled by several vessels not only from the Cologne area, but also from Pannonia.
Abstract
The aim of this article is to better define how changes in the Latin vowel system evolved over time in the stressed vs. the unstressed syllables in the Latin of Rome. To this end, the cases of <e> for /i/ and <o> for /u/ in an epigraphic corpus of 6,599 inscriptions from this city have been analysed by comparing the number of epigraphic errors occurring under and out of stress in five different periods. Our results indicate that, until about the 4th cent. CE, cases of <e> for /i/ and <o> for /u/ occur mostly in the unstressed syllables in our inscriptions, which is consistent with the view that the reorganisation of the vocalic qualities in the Latin vowel system affected the unstressed vowels before it affected the stressed ones. However, the same results also indicate that the number of epigraphic deviations concerning the stressed vowels /i/ and /u/ in our corpus increases from about the 4th–5th cent. CE onwards, and that this fact should be linked to the dephonologisation of contrastive vowel quantity (in the stressed syllables).
Abstract
The main scope of the present study is the semantic and syntactic analysis of the use of the Latin demonstratives based on quantitative and qualitative data from the volumes I, II, CXVIII of the Chartae Latinae Antiquiores (ChLA). These volumes contain original parchment charters between the 7th century and 801, written in St. Gall or in its vicinity. For the current analysis, 133 private legal documents were selected. The underlying principle of the examination is concerned with the ‘genre’ of the legal documents, namely the formulas, i.e. the strict set of words embedded in the tradition of charter composition that can only be changed when difficulties in understanding emerge and prevail. Therefore, anomalies presented 3–4 times in the corpus are evaluated, if they differ in the identity of the scribe, in the place and time of the composition, although, statistically, they could be excluded from the examination as outliers. Thus, the analysis focuses on the following anomalies: determiner multiplication, substitution, additional metalinguistic participles and articuloїde cases.
Abstract
The present paper deals with a marginal divergent spelling consisting in the geminatio of a consonant littera in pre- or post-consonantal position. The phenomenon is found in both Latin and Greek non-literary texts. The analysis is conducted on two levels, one grapho-phonological and one historical. In fact, the phenomenon results to be particularly relevant as for the relation between spelling and syllabic representation of heterosyllabic clusters and as for the dimension of contact between Latin and Greek scripts. First, a synchronic cut of Latin non-literary texts is examined to evaluate the occurrence of this geminatio and its ratio of distribution along the different types of clusters. It can be stated that the geminatio at hand represents a metagraphic signal of syllab(ific)ation indeterminacy, as is further corroborated by the examination of metalinguistic sources. Secondly, the historical perspective is then addressed. This spelling can be interpreted as a feature, albeit marginal and stemming from ephemeral slips, of writing koine, as is further evidenced by the examination of two sample clusters of texts.
Abstract
The present study analyzes the transformation of the vowel system and especially the process of vowel mergers based on the Latin inscriptions of the Danubian provinces. With the help of the Computerized Historical Linguistic Database of the Latin Inscriptions of the Imperial Age (http://lldb.elte.hu/), it tries to draw and then compare the phonological profiles of the selected provinces and to describe the dialectal position of the Danubian provinces regarding vocalism in the first four centuries AD. The analysis, which also covers comparisons with certain provinces of Italy and Dalmatia, is carried out considering four aspects: the ratio of vocalic versus consonantal changes, the ratio of vowel mergers compared to vocalic changes, the ratio of e-i and o-u mergers compared to each other, and the ratio of vowel mergers by stressed and unstressed syllable. As a result of the present study, it was revealed that Danubian provinces cannot be treated as a unit or as clearly separate from the other areas studied according to either aspect of the study. The Dacian development, which can only be observed in the 2nd–3rd century, can easily be placed among the Danubian provinces, so it is not necessary to connect it with the developmental trends in southern Italy. The present study, which continued József Herman's research, managed to explore the hitherto little-known linguistic and dialectological features of Latin in the Danubian provinces.
Abstract
This paper looks at the alternations introduced by the Old Hungarian regressive labialization of front vowels through the example of a lexical set, the derivational family based on the stem dics- ‘glory, praise’. This alternation was highly variable, but in a patterned way. All the data found in the Old Hungarian codices have been investigated with the help of the online Old Hungarian Corpus, and the distribution of the relevant forms has been mapped, along with a discussion of a highly interesting exceptional form recurring in several of the source texts.
Abstract
In order to provide for a linguistically and cognitively sound theory of negation, we argue for the introduction of a dyadic negation predicate lack and a force dynamic account of affirmation and negation in general.
Abstract
Our point of departure is László Kálmán's system of radical anti-mainstream argumentations about such central but dubious, or at least debated, constituents and concepts of dynamic semantics as discourse representation, information state, compositionality between semantics and syntax, bridging, deferred information, and ambiguity/vagueness. We strive for pointing out that Kálmán's observations and stances concerning these fundamental, ultimate problems of pragmasemantics are worth relying upon the formal theory that is to realize the desirable purpose of creating a version of formal pragmasemantics simultaneously capable of meeting the criteria and requirements appearing in different non-logics-based/informal areas of the description of human communication and – what is behind it – thinking.
Abstract
This paper highlights theoretical issues in construction grammar and presents a simple computational language model as a preliminary solution to these issues. The specific issues dealt with are the lack of explicit definition of syntactic categories and the lack of explicit proposals regarding how constructions can be learned from linguistic experience. The proposed language model, called the “analogical path model”, learns two-word syntactic patterns from sentences by finding distributional analogies between word pairs. The theoretical relevance and implications of the analogical path model are discussed at the end of the paper.
Abstract
This paper analyzes the Janus Pannonius collections in Seville, Biblioteca Capitular y Colombina, Ms T (7-1-15) and Ms S (56-4-57), which have enriched our knowledge of Janus Pannonius' literary heritage. The study argues that Ms T and Ms S belong to the π tradition, which could explain the collections curated nearly or almost exclusively by Janus Pannonius in Hungary during the last years of his life. The paper contributes to a deeper understanding of Janus Pannonius and, thanks to the legacy of Seville, provides insights into the broader dynamics of humanist networks, manuscript transmission and book collecting during the Renaissance.
Abstract
Ferenc Rákóczi II, Prince of Transylvania, the leader of the Hungarian war of independence against the Habsburgs between 1703 and 1711, was the first legend of Hungarian national independence at the turn of the century. In the early years of the 20th century, after decades of social and political struggle, the transportation of the prince's body from his original burial place in Constantinople to Hungary came within reach. Until that happened, his tomb was visited several times and for various purposes by Hungarian historians, politicians, religious leaders, and public figures – visits known as the Rákóczi pilgrimage. The most significant was the Rákóczi pilgrimage of 1903. It involved important rituals of cultic attitudes: visiting the tomb of a saint, participating in cultic ceremonies, and collecting relics. The event was one of the most important modern pilgrimages of the early 20th century, with historical roots dating back to the early modern period.
Abstract
This paper aims at presenting the Wiki database of a current project and has a distinctly computational signature. It is a fitting complement to years of work in the study of linguistic variation, of non-classical forms of Latin, but also the infinite possibilities offered by this field of study in terms of historical linguistics and database implementation. In the specific case, we will use the metalinguistic term constructio as an example of the analytical potential offered by the WikiMedia of the SiRe project Parts of speech meet Rhetorics: Searching for syntax in the continuity between the Middle Ages and the Modern Age.
Abstract
The present study aims to determine the role of the Hungarian language in European polyglot dictionaries in the 16th and 17th centuries and thus to establish its position within the group of European languages. The study is based on earlier findings by Gabriele Stein (1989) concerning the role of English in 16th-century multilingual wordlists, and it addresses two questions: 1) How often was the Hungarian language included in polyglots compared to other European languages? 2) Did Hungarian hold a similar position to other vernaculars in the dictionaries considered?
It was examined which languages were included in the polyglots published during the period under discussion and how many times each vernacular appeared in a dictionary. Moreover, the contents of selected dictionaries were analysed. Results indicate that Hungarian played an important, though not key role in European polyglot dictionaries of the 16th and 17th centuries and that its position among other European languages was not marginal at the time.
The altarpiece of the Passion of Christ preserved in the Evangelical church in Sibiu, created in 1519 by a skilful artist, Simon Pictor, using extensively the prints of Dürer and Altdorfer, represents one of the most spectacular surviving artworks of the Renaissance in Transylvania. Its subsequent transformation in 1545 and 1701 certainly enhanced its historical significance. The restoration of the artwork in the 1980s brought back to light very significant details: the dating of the original artwork (1519), two coats of arms hinting to the patronage, and a part of the genuine style of master simon. The identification of the sinister coat of arms, thus the one in the inferior heraldic position, as belonging to Johannes Lulay (royal judge and administrator of the royal mint of Sibiu) constituted the basis of extensive incursions in the patronage of this remarkable altarpiece. However, an important question remained unsolved: who could have been the other patron or commissioner of the altarpiece? As the preeminent position of the coat of arms (on the heraldic dextra) clearly indicates, this was an individual even higher in the hierarchy as Johannes Lulay himself.
The assumption of the study is that this prominent patron was Paulus de Tomor/Tomori Pál. He remained in the Hungarian national consciousness as the heroical leader of the army in the „Mohácsi csata” of 29 August 1526, a critical turning point in the history of the state. This study contributes to the reveal of parts of his “Transylvanian biography,” his allegiances and political network in situ before he left the region, his patronal endeavours, and last, but not least, it discloses his real (and tinctured) coat of arms. At the same time, the great altarpiece of the Passion in Sibiu recovered another piece of its complex content, by the identification of the main patron (or, rather, the more honourable patron) in the person of Paulus de Tomor. Last, but not least, this study asserts that three of the characters depicted in the scene of the Lamentation over the dead Christ on the predella are in fact crypto-portraits of Johannes Lulay, his wife Clara Thabiassy, and his partner and superior Paulus Tomori.
After the abolition in 1782 several works of art owned by the Clarisses were lost. Some of them were identified in recent years; I would like to write about an other one that was found in the cloister of the Order of the Sisters of Saint Elisabeth in Bratislava. It is fairly unique because of its theme: it commemorates the escaping of the Clarisses from Stephen Bocskai’s attack on Graz and Vienna in 1605, also the taking over of the reformed and stricted Regula. It was painted together with another, recently hidden picture that has since been lost almost twenty years later in 1623, most likely in the Austrian capital, when Clarisses escaped secondly to Vienna.
In the bas-de-page decoration by Jörg Breu the Elder of a leaf in the Prayer Book of Emperor Maximilian I (fol. 78r), a cheerful winged putto is gracefully propelling a walking frame. Both the rolling structure aiding its first steps and the presence of wings cry out for an explanation, especially as the two are shown together.
Unlike most other depictions of a child with a walker, this putto is neither a personification of an age of man, nor a reference to a specific infant. Among its precedents, it is worth mentioning the marginal decorations of prayers of intercession, especially the relevant depiction in the Hours of Mary of Burgundy.
The structure of the walker in Maximilian’s prayer book is counterfunctional: its wooden slats together form a capital A and capital D. By modelling the walker on Dürer’s monogram, Jörg Breu was, on the one hand, thanking his mentor for his inspiration, and on the other, fulfilling the wish of Konrad Peutinger – and indirectly of the emperor – that the decoration of the prayer book be completed in the manner commenced by Dürer.
While there are also classical precedents for the motif of the walker as a device aiding the acquisition of knowledge, later examples are particularly relevant to the sustentaculum modelled on Dürer’s monogram. In the seventeenth century, the metaphor of the “first step” and the concept of “giving and receiving support” frequently conjured up the theme of master and pupil; at this time, the child learning to walk with the aid of a walker was repeatedly alluded to in the context of the study and practice of art. This notion also comes across in the etching by Rembrandt known as ‘Het Rolwagentje’: here too, learning to walk independently refers to the process of mastering art, with the obligatory first steps being to practise drawing nudes and to copy the works of the master.
In the depiction of the putto, its hesitant steps imply slowness, while its wings suggest speed. This ambivalence is also the essence of the adage festina lente, which was of particular relevance to Emperor Maximilian; the theme was probably suggested by Peutinger. Other references to the emperor are the figure of Hercules stepping on a snail, in the lower right margin of the same sheet, and the crane depicted on its verso.
In this paper I analyse the photomontages of Endre Bálint (1914–1986) in the context of the cultural politics of the Iron Curtain period in Eastern Europe and Hungary. First, the study takes a diachronic, historical approach to photomontage as a creative method that maintained continuity between the avant-garde generations of artists, a way of thinking and a creative process accordingly, cultivated in the circles of persecuted, banned or silenced artists experimenting during the decades from the 1920s to 1970s. Second, by placing Endre Bálint’s late photomontages (made after his 1963 return from his “exodus” to Paris) in the context of contemporary artistic phenomena (e.g. Brecht’s photobook, Jean-Luc Godard’s work, David Hockney’s montages or bricoleur punk artists), I argue that, in contrast to the generally held view, they are not the withering signs of renunciation, but rather a way out of renunciation, that is, a solution. “We breathe in fragments,” Bálint wrote, and the pictorial form to fittingly reflect a fragmented way of existence (together with the psychological burdens, shadows of the past, and the social and cultural-political determinations) was the montage-technique that had flourished from the 1920s, and whose Eastern European, distinctively Hungarian variant found its guardian, its good shepherd in Bálint, in his creative practice. Bálint’s late photomontages also deserve attention from the point of view of a silent narrative of art history, which does not focus on middle-aged artists’ major works, but on the profuse production by the old masters, the masters of sprezzatura, which is characterised by an aesthetic lightness, a kind of aesthetic liberation and swiftness, and the ability to allow memories a free influx into the creative work. One of the conclusions of this study is that Hungarian photomontage, and especially the late work of Endre Bálint, can be instructively read in conjunction with the equally restrained psychoanalytic literature of the period, in which the splitting of Self as a traumatic consequence of shocking events and also a means to survive those events is a key concept. A critically productive artistic construction that is based on fragments can be seen and read as the visual counterpart of a psychological notion of Self-splitting.
Metamorphoses
The recent conservation-restoration in the ‘Hungarian Versailles’
The Esterházy Palace in Fertőd is part of Hungary’s largest eighteenth-century residential complex. After severe damage at the end of the Second World War and in the 1950s, the palace was repeatedly renovated for almost seventy years. Between 2021 and 2022, the state apartments in the main building and some adjoining rooms underwent extensive conservation and restoration. Due to the palace’s complicated history and the inconsistent interventions of the post-war period, it was difficult to preserve as many remnants as possible. The aim was to preserve and display all historical periods from the beginning to the present, as they provide information about all the historical and cultural changes over the centuries. From this point of view, the contradictory relationship between some previous interventions and the principles laid down in documents such as the Venice Charter, the Nara Document or the UNESCO Convention of the Intangible Heritage were considered a legacy that can no longer be erased from the history of the palace. Based on conservation and restoration principles crystallised in the second half of the twentieth century and considering the changes in the field of heritage conservation since the 1990s, an attempt was made to preserve the tangible and intangible heritage as far as possible. With this in mind, the rooms were divided into three groups, each of which is subject to a different conservation and restoration method.
Originating from Leipzig and active in Vienna, the printmaker and painter Donat Hübschmann (†1583) had clients from Hungary who were close to the joint Hungarian and Bohemian royal and imperial court in Vienna of the composite Habsburg Monarchy, to which the Kingdom of Hungary belonged. Miklós Oláh (Nicolaus Olahus), humanist prelate and Archbishop of Esztergom, and head of the Hungarian Court Chancellery based in Vienna, commissioned him to make a copy of his etched portrait. János Zsámboky (Johannes Sambucus), who entered court service as a humanist, ordered two works from him. In 1564–65 Zsámboky had an illustrated broadsheet made to commemorate the coronation in Pozsony (now Bratislava, Slovakia) as King of Hungary of Archduke Maximilian II of Habsburg in 1563, which was decorated with a woodcut by Donat Hübschmann: a veduta of Pozsony. Further, in 1566 he assigned Donat Hübschmann to produce a copy of the earliest surviving printed map of Hungary (Lazarus secretarius, Tabula Hungariae, 1528). Other Hungarian-related works can be found among the master’s prints, such as a woodcut portrait of Hans Francolin the Younger, Hungarian Herald of Ferdinand I. It is likely that Donat Hübschmann was also responsible for the painted decoration on five letters patent, which were commissioned by Hungarian noblemen and issued by the Hungarian Court Chancellery in Vienna. In every case, the miniature coats of arms were signed with the monogram “DH”. The calligraphic decoration of these can be attributed to the noted calligrapher György (George) Bocskay and his workshop.
Style and Inscription
Inscriptions in classical and early humanist capital letters cut in stone in Hungary in the age of King Matthias and the Jagiellos
The practice of using classical capital lettering was introduced north of the Alps from Italy in the second half of the 15th century, and appeared very early in the Kingdom of Hungary. The article contains six case studies on the problems of architectural carvings, stone tabernacles, tombstones and the classical inscriptions on them. I. Tabernacles. All’antica tabernacles were produced in large numbers in late mediaeval Hungary and survive in churches from monumental to very small. The tabernacle frames, which followed the antique architecture of the façade, were accompanied by inscriptions: quotations about the Eucharist or, less frequently, inscriptions referring to the maker. II. Inscriptions outside the royal court. Outside the Buda residence of King Matthias, inscriptions engraved with humanist capitals also appeared, earlier than in the royal court, according to our present knowledge. The earliest dated inscriptions in Hungary survive in Veszprém and are attributed to Bishop Albert Vetési, the best known being a text written on ribbons running on a Gothic console (1467). The all’antica heraldic stones known from several places in the country are often dated, the earliest being found in the Nógrád castle of Miklós Báthory, the humanist bishop, with the date 1483. III. The royal court. Monumental all’antica inscriptions adorned the royal palace in Buda: building inscriptions, statue bases. Their texts are mostly known only from sources, as few original stone carvings have survived. These inscriptions were sometimes in bronze letters, but there were also engraved ones. The monumental inscriptions were associated with King Matthias, while the inscriptions known from the time of Vladislaus II are smaller in size and do not have bronze lettering. IV. Epitaphs. Antique letters also appeared as circular inscriptions on late medieval tombstones. The epitaph written in distychs was often engraved in a tabula ansata. Rarely, the wording was also antiquated, as exemplified by the abbreviations DOM, DOMS, DM. V. Inscriptions around Hungary in the Jagiellonian period. The commissioners of early inscriptions were familiar with the all’antica inscriptions of the Buda court. In Vienna, the first known all’antica inscriptions can be attributed to a citizen of Buda, Peter Juncker, and in Moravia to the lords of Tovačov and Moravská Třebová (Ctibor Tovačovský z Cimburka; Ladislav z Boskovic). VI. Architectural inscriptions of the Jagellonian period in Hungary. Inside the sepulchral chapel of Tamás Bakócz in Esztergom there is a bronze donation inscription (1507), in keeping with the perfect Renaissance centralised space. After 1500, all’antica building inscriptions became common in Hungary. We know of many of them, mainly in the Transdanubian region, written in pure classical capitals. In the northern part of the country, the early humanist capitals are more common; the Biblical quotations and proverbs on the staircase of the town hall of Bártfa were written in such letters. In Transylvania, classical capitals are again common: the inscriptions of the Lázói Chapel, built next to the cathedral in Gyulafehervár, or the Várday Chapel were also carved in such letters.
This study examines Max Dvořák‘s previously unknown papers prepared for his one-semester lecture series at the university of Vienna in 1913. Dvořák titled these lectures “explanations of Selected Works of Art“ (Erklärung ausgewählter Kunstwerke) and in doing so developed a distinctive method within the art historical research of the so-called vienna School of Art History. The paper interprets the lectures through a close reading of the method as a parallel to the change in the concept of the work of art as it occurred in the philosophy and practice of art at the beginning of the twentieth century, demonstrated in the study by examples from the thinking of the German philosopher Oskar Becker and a transformation of the meaning of painting by the French artist Marcel Duchamp. As the study shows, such analogies allow us to understand the meaning of the work of art in Max Dvořák‘s art history in a new way.
Három évtizeddel azután, hogy Karl Krumbacher megszervezte a Müncheni Egyetemen az első bizantinológiai intézetet, a tudományos eredmények bemutatására nemzetközi bizantinológiai kongresszust hívtak össze. A kezdetben politikai okokból szűk körre korlátozódó rendezvény fokozatosan megnyílt minden nemzet számára, miközben a bizantinológiai kutatásban az egyes országok saját törekvései mellett egyre nagyobb szerepet kaptak a nemzetközi együttműködések és a tudományos eszme cserék. A magyar kutatók aktívan részt vettek ezekben a folyamatokban, és magas szintű tudományos munkájuk mellett kulturális-diplomáciai erőfeszítéseikkel is igyekeztek Magyarországot integrálni a globális tudományos diskurzusba. Törekvéseiknek köszönhetően Budapest elnyerte a bizantinológia legrangosabb nemzetközi kongresszusának rendezési jogát, de a kényszerítő külső körülmények miatt a rendezvény végül nem kerülhetett megrendezésre. A tanulmány az eredeti terveket és koncepcionális kereteket követi nyomon a korabeli dokumentumokon keresztül.
A XI–XII. századi, ismeretlen szerzőtől származó Timarión című szatíra főhőse egy utazás során tetszhalott állapotba kerül, két démon erőszakkal az alvilágba kényszeríti, ahol egy bírósági tárgyaláson bebizonyítja, hogy még nem halt meg, úgyhogy visszatérhet az élők közé. Jelen tanulmány célja, hogy bemutassa és értelmezze Kónstantinos Akropolités kétszáz évvel később keletkezett rövid levelét, melyben a szerző éles kritika tárgyává teszi a Timariónt, anélkül hogy kifogásait pontosan kifejtené.
Az Illyricumból származó, katolikus keresztény vallású Marcellinus comes Iustinianus császár (527– 565) cancellariusa és a VI. század elejének egyik legjelentősebb történetírója volt. Az udvari szerző latin nyelvű Krónikája (Chronicon) Hieronymus (Szent Jeromos) 379-ig eljutó krónikakompozíciójának az 534-ig megírt folytatása, amelyet egy ismeretlen auktor később egészen 548-ig kibővített. A mű a késő ókori sztyeppei népek történetének is fontos, megkerülhetetlen forrása. A publikáció az alánokról, hunokról, bolgárokról és szabirokról szóló Marcellinus comes szöveghelyek fordítására és részletes kommentálására vállalkozik.
A Ceres istennőhöz kapcsolódó egyik legfontosabb átmeneti rítus a mundus megnyitása. A mundus olyan objektum Rómában, aminek megnyitása különleges alkalmakkor tartott állami rituálé volt. Amíg a mundus nyitva volt, a holtak szellemei járták keresztül a világot, így minden akkor folytatott tevékenységet rossz előjelek fenyegettek. Sok vita övezi a mundus kérdéskörét, mert nem ismerjük a megjelenésének formáját, pontos elhelyezkedését, és a szokás eredetét is homály fedi. Tanulmányunkban arra keressük a választ, hogyan kapcsolódott Ceres mint agráristenség az élet és a halál kettősségéhez, miért kapcsolják alakjához a mundust, és ez miként jelenik meg a római szerzők munkáiban. Kitérünk arra is, hogy a mundus Cereris hogyan jöhetett létre Róma alapításakor, mi volt a célja, és mit jelenthetett a korabeli rómaiaknak.
The article is devoted to the biography of the Polish traveller and diplomat Marcin Broniowski (d. 1592), author of Tartariae descriptio (1578), a classic description of early modern Crimea. While working on the article, I discovered a number of previously unknown Polish sources relating to the diplomat’s biography. This allowed me to reconstruct Marcin Broniowski’s biography and the chronology of his visits to Crimea. I also analyse the main early modern editions and translations of Tartariae descriptio, as well as its influence on the history of European geographical thought.
This paper introduces several new fragments that were collected by Luo Zhenyu 羅振玉 (1866–1940) and subsequently acquired by the Liaoning Provincial Museum. In 1928, Luo relocated from Tianjin to Liaoning, transporting his extensive collection with him. He resided in Liaoning for 12 years until his demise, during which time his collections were integrated into the museum’s holdings. The fragment we are publishing here is one of the items. Our research indicates that the pieces assembled by museum staff are parts of two leaves. The Uighur text corresponds to a section of chapter 32 of the Buddhāvataṃsaka Sūtra in forty chapters.
The aim of this article is to demonstrate that the reading ötrü of the postposition which means ‘against’ in the Cun Lord’s Prayer in which it is spelled ⟨utro ⟩ is incorrect and should be amended to utru. The postposition ötrü is used in the Turkic languages not in the meaning ‘against’, but ‘because of, following on’. In addition, it may not follow a nominal in the dative as it appears in the Cun Lord’s Prayer, since ötrü requires the ablative. On the contrary, the opposition utru fulfils both requirements.
Abstract
This paper argues that the indefinite, definite, and kind interpretations belonging to nouns and noun phrases are independent universal semantic features realized by different linguistic means across and within languages. The investigations presented here take the viewpoint of the speaker: first the semantic content of the three features is characterized, then the linguistic expressions these interpretations belong to and arise from are examined. Cross-linguistic data support the conclusions that none of these features is derived from the other(s), their primary source is the intrasentential context, and they express “instructions” to the hearer to find more or less identifiable or more or less representative referents that pertain to the denotation of the noun (phrase).
Narrowing or in Kálmán's writings
Investigating the usage of vagy ‘or’ in Hungarian
Abstract
The paper investigates the usage of the Hungarian connective vagy ‘or’. Our starting point is Ariel & Mauri's (2018, 2019) and Ariel's (2020) papers about the use of or, where they argue that its core meaning is ‘alternativity’. Our goal is to describe Hungarian vagy ‘or’ by analyzing various corpus data, and compare the results. We examined the personal subcorpus of the Hungarian National Corpus (MNSZ2), and the Hungarian Spontaneous Speech Database (BEA). In this paper, as a tribute to the memory of László Kálmán, we investigated a third corpus that is constructed from Kálmán's very popular informative texts on Qubit.
The paper deals with one of clitic third orders in Hittite that involves later than the expected second position of the clitic -(m)a, a contrastive conjunction and discourse marker, otherwise a standard second position clitic. -(m)a is delayed beyond its common second position by clause connectives, subordinators and conjunctions with varying obligatoriness: it is obligatory with clause connectives and optional with subordinators and conjunctions. This study explores in detail the variation with subordinators and conjunctions and it argues that clitic third order in this context is an innovation. In explaining how clitic third order was triggered in this context the etymological hypothesis of Eichner (1971, 1981) is combined with the prosodic explanation of clitic third of Kloekhorst (2014) against an alternative account of Sideltsev (2019).
In the early modern Ottoman Empire, social identity was closely tied to a hierarchical structure, with the sultanate occupying the highest tier and ordinary subjects positioned at the lower end. Empire’s inhabitants were divided into groups based on the style and color of their clothes. By dressing in clothing from a different gender, socioeconomic class, or ethnoreligious group, one could disguise their true identity and social status. This article endeavors to unveil the motivations that compelled ordinary people to employ clothing as a means to conceal their involvement in criminal activities. Furthermore, it investigates the constraints associated with common identity-altering practices, particularly from the vantage points of religion, gender, and intersectionality. Drawing from an array of archival sources such as mühimme records, chronicles, manuscripts, and qadi court registers, the article scrutinizes the consequences of these practices.
The article deals with the origin of palatalisation in the plural paradigm of the Khotanese i-declension. According to the common view, palatalisation resulted from regular sound change only in the nominative-accusative plural, with the etymological form of the endings remaining not-palatalised in the rest of the plural inflection. Subsequently, there emerged a tendency for the palatalised allomorph to become generalised and extend across the paradigm. However, a thorough examination of older and later Old Khotanese manuscripts challenges this perspective, revealing no evidence of original allomorphy between the palatalised and non-palatalised stem variants in the plural. This study demonstrates that palatalisation did not originate from analogical levellings but rather arose from regular sound change. Additionally, the article draws a comparison between the i-declension plural paradigm and the inflection of most numerals greater than ‘three’, which exhibit palatalisation in all case forms except for the nominative-accusative.
The multi-layered cultural structure of the Mamluk Kipchak area can be seen in the language of the period. The linguistic evolution of the Turkmens and Kipchaks, the initial settlers of the region, is documented in contemporary grammars and dictionaries. The language of the Eastern Turks also became incorporated as their numbers in the region gradually increased. This study investigates the vocabulary used in al-Qavânîn al-Kulliyya li-Ẓabṭ al-Luġat at-Turkiyya, one of the grammars of the period. The first stage of the study was to identify words with the same meanings and equivalent pairs that may be indicators of how the dialect of the period has changed. The status of the words which were considered to be indicators of the dialectal differences between the historical text, and that of the Turkic languages of contemporary Oghuz and Kipchak groups, was then analysed. Results indicate that 37.03% of the fifty-eight words analysed in this study still exist in contemporary Oghuz, while 25.93% are still present, and even have the same meaning, in contemporary Kipchak. The rate of equivalent pairs identified in this historical text was 37.03%.
