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Arts and Humanities
The article introduces the hitherto unpublished Syriac text of four verse homilies, attributed to Ephrem the Syrian and Jacob of Serugh, which attack such liturgical and paraliturgical practices of Armenian Christians as animal sacrifices and the use of unleavened bread. Produced in a West Syrian milieu during the Islamic period, these homilies serve as important evidence for studying the development of the anti-Armenian polemical literature among Syriac Christians and reveal the influence of anti-Jewish rhetoric on this tradition. The text is complemented by an English translation and a concise discussion.
This article returns to the question of the Śaiva deities of the points of the compass in premodern Central Java in the light of archaeological and epigraphical evidence, namely the recently excavated, ca. 9th–10th century ritual deposits of Candi Kimpulan and Ringinlarik, which include most notably a golden lotus and inscribed gold foils laid within stone caskets. By comparing these new findings with relevant Old Javanese inscriptions and transmitted literature, as well as similar material and textual evidence from the wider Indic world (i.e., South and Southeast Asia), the authors will describe the system of twenty-four plus two protective deities surrounding the central deity (Śiva) that appears to have been prevalent in Central Java, and which largely agrees with the one hypothesized by Acri and Jordaan (2012) on the basis of the analysis of the reliefs of Candi Śiva in Loro Jonggrang, Prambanan. Further, the results of an analysis of the material component of the gold foils are discussed.
Adatok a honfoglalás kor régészeti időrendjéhez és a kelet-európai 10. századi dirhemforgalom kérdéséhez
A tiszacsomai 3. sír dirhemleletének új meghatározása
New data on the archaeological chronology of the Hungarian Conquest Period and the 10th century dirham circulation in Eastern Europe: The exact identification of the dirham find at Tiszacsoma Grave 3
Absztrakt
A tiszacsomai (Choma, Чома, UA) 3. sírban talált dirhemet a honfoglalás kori régészeti kutatás az egyetlen olyan dirhemként tartotta számon, mely a 10. század második feléből származik. A kopott és hiányos pénzlelet pontos meghatározása ezért ellenőrzést igényelt egy, az arab nyelvben és numizmatikában járatos szakértő segítségével. 2024-ben lehetőség nyílt a lelet személyes vizsgálatára, mely a honfoglalás kori régészeti időrend pontosítása mellett jelentős betekintést nyújt a 9–10. századi kufikus érmék egykori Kárpát-medencei forgalmába. Az aprólékos elemzés megkérdőjelezte a korábban elfogadott hipotéziseket az iszlám dirhemek folyamatos 10. századi beáramlásáról a régióban. Vizsgálatunk során arra jutottunk, hogy a korábbi dirhemleletek alapján megfogalmazott elképzelés, mely szerint a dirhemforgalom a térségben valószínűleg megszakadt 301–331 AH (914–943) után, továbbra is alátámasztható. A tiszacsomai említett dirhemlelet ugyanis a legnagyobb valószínűséggel al-amīr Nasr Ibn Ahmad vereteként határozható meg. Az eredmények azt hangsúlyozzák, hogy további régészeti ásatások és új felfedezések szükségesek, hogy mélyebb betekintést nyerhessünk a Kárpát-medencében az iszlám pénzforgalom komplex dinamikájának megismerésébe. Az időközben előkerült új kárpátaljai dirhemleletek elterjedése ugyanakkor fontos támpontot szolgáltat a Kárpátok hágóinak feltételezett, mindmáig megválaszolatlan korabeli használatára is.
Abstract
In the afternoon of April 6, 1897, a large crowd gathered in Vienna to bid Johannes Brahms a final farewell. The contemporary reports not only describe the funeral procession, but also tell us about the music that was played at the prestigious event. They mention Brahms's choral piece Fahr wohl, the chorale Jesus, meine Zuversicht, Mendelssohn's Es ist bestimmt in Gottes Rat, and Schubert's – or, in some accounts, Carl Gottlieb Reissiger's – setting of Goethe's first Wandrers Nachtlied (Der du von dem Himmel bist). In my paper, I follow the route of the procession to discover the stories behind the symbolic details of the funeral and the music performed as part of the service. I believe these unfolding narratives offer a great chance to take a closer look at both the prevailing images of Brahms and the cultural milieu of Vienna and Central Europe at the fin-de-siècle. In the second part of my study, I focus a little further east in Central Europe, to Budapest, and illustrate how the news of Brahms's death gave the opportunity to the Hungarian newspapers to publish their own stories of the composer and to reflect on current issues in the musical scene.
Abstract
After the Second World War, the Soviet Union did not simply squeeze the countries of the Central and Eastern European region into its sphere of interest and under its economic, political and cultural control, but also isolated them from each other in order to secure its dominance. The Kremlin's control was also reflected in weakening the established diplomatic relations. Politicians of the so-called people's democracies communicated with one another through Moscow, and the importance of the embassies was reduced by appointing mostly incompetent persons to diplomatic posts. In this light, the revival of Hungarian-Polish cultural relations at the end of the 1940s, including the exchange of artists between the two countries, deserves special attention. In addition to their diplomatic importance, the guest performances also provided an opportunity to discuss Soviet musical aesthetics. Based on archival press sources, my paper focuses on the two-week guest appearance of the Vocal and Dance Ensemble of the Hungarian People's Army in Poland. I wish to explore the ways in which leading representatives of the musical life of the two countries interpreted Soviet artistic decisions in 1952, and also their differing strategies of living up to the conceptually ambiguous ideal of Socialist Realist art.
Abstract
The early international record companies considered Central Europe to be a more or less unified market, both before and after the fall of the Austro-Hungarian Empire. The Gramophone Company created a separate catalog for the “non-German” language recordings of the Austro-Hungarian Empire and some neighboring states, and assigned the territory belonging to this catalog, with frequent changes, to the Berlin, Vienna and Budapest Branches, so that in several cases the company's Budapest General Agency was responsible for organizing recording sessions in Bosnia, Serbia and even Bulgaria. With the break-up of the Austro-Hungarian Monarchy, this common market was also fragmented. However, the links have not disappeared: most of the gramophone records of the Hungarian Sternberg company contain recordings by a Czechoslovak record company, a Polish record label is known to have gained rights to reissue some Hungarian recordings, and a close examination of the Edison Bell International Ltd. matrix numbering system reveals that the company's Yugoslav, Hungarian and Romanian recordings are closely linked. In my article, I will present some of the links in the record company network of Central Europe before and after 1920 through short case studies based on archival documents, contemporary printed sources and the repertoire. I will argue that it is not possible to understand the events and recording history of the Central European countries in isolation, without knowledge of the recording history of the surrounding countries. Furthermore, I raise the possibility that, in comparison to written documents, more complex aspects should be taken into account when defining patrioticum in the field of audio media.
Abstract
The music of Gustav Mahler was almost completely excluded from Budapest's concert halls between 1938 and 1945, and again between 1952 and 1957. Its position within the Hungarian public sphere was, however, definitely strengthened in the period from the early 1920s to the mid-1930s, and stabilized again from 1958. Chronological correlations between performance and political history highlight the destructive influence of anti-Semitic discrimination elevated to the level of government policy and of the Stalinist political course on the presence of Mahler's music. From 1921 until 1937, Gustav Mahler's music was performed on a regular basis in the concert halls of the Hungarian capital. During that decade and a half, the majority of Mahler's works were present in Budapest, and, in 1935, even the unfinished Symphony no. 10 was premiered in the city. In the interwar period, the framework of Hungarian social and political life was a conservative parliamentary system with authoritarian elements. However, the public sphere under that regime was, at least until the late thirties, multipolar both in cultural and ideological sense, and it had a pluralistic structure. Mahler's music had conservative as well as left-wing and modernist adherents, while his art was rejected by representatives of folkloristic neo-classicism, by Zoltán Kodály and musicologists belonging to his inner circle. Mahler's music was performed in Budapest owing to the efforts of Hungarian and German-Austrian conductors, who formed a heterogeneous group in terms of socio-cultural background and political orientation. Following the war, the Holocaust and the wave of emigration, Mahler's works were performed again by a largely different group of musicians. But the relative boom of a few years was soon interrupted, and Mahler interpretation in Hungary withered away. The Mahler Renaissance, which took off in 1960, arrived from the Western centers to Hungary, where it produced not insignificant, but typically peripherial results. In my paper, I would like to position the situation of Mahler's music in Budapest within the context of the global reception of the composer. Furthermore, I will also attempt to answer the question to what extent Mahler's personal relationship with Hungarian musical institutions and with the musical elite in Budapest determined the posthumous reception of his music in Hungary.
Abstract
There is hardly another Frankfurt School treatise on art theory today which is as much discussed and quoted as Walter Benjamin's notable “artwork”-study. This text has become a mandatory reading; however, it has been largely overlooked by musicologists. Benjamin developed his theory in connection with the visual arts: it is only the image that carries the aura, traveling through time and space and is saturated with historical substance. Benjamin remained seemingly uncertain about the place and role of the sound (and the music) in the historical process of losing the aura. Among the three surviving versions of his study, the first one posited a direct cause-and-effect relationship between the reproduction of sound and the paradigm shift that affects art as a whole, while in the third version, this connection is vanishing. It is generally known how challenging Benjamin's study was to Adorno's ideas on art theory. Adorno tried to deny the positive value of the change that Benjamin described. He raised doubts about the constitutive role of “reception in the distraction” in his famous “Fetish-Character” study. The “distracted perception,” the “atomistic hearing” dissociates the unity of the work. Adorno wanted later to preserve the validity of the “auratic work” and its derivatives that he called “critical works” (for example, in the famous footnote 40 of the “Philosophy of New Music,” or in the 1950s, when he faced efforts aimed at the radical erasure of the musical context, and for example, he classified Křenek's works written in the 1920s as productive forms of loss of aura). According to these, it is difficult to place the technical work of art on Adorno's aesthetic value horizon. This makes his writings on gramophone recordings or the relationship between music and mediality so interesting. Focusing on the discussion of Benjamin and Adorno, this presentation tries to find an answer to the following questions: how can the paradigm shift in art history (and art ontology) described by Benjamin be interpreted in relation to music? And what does this imply about the relationship between the “artwork of music” and the sound recording?
Abstract
In Bruno Monsaingeon's 2009 film portrait of Piotr Anderszewski cinematic technique, voice-over commentaries and musical performances combine to create an “affective” geography in which the pianist moves between significant Central Eastern European places. Anderszewski is filmed traveling in a special train carriage (including a grand piano) which, the director said, “as a place of meditation and reflection … would facilitate the use of flashbacks.” Memory, identity, and origins become central to the film's symbolism. After Freud, railway journeys can be interpreted as a privileged “analogy” for unconscious and repressed thought processes. Train metaphors may thus facilitate an imaging of the mental apparatus and its “lines of conduction.” The essay focuses on three symbolic locations in Anderszewski's journey – Warsaw, Budapest and Zakopane – and on performances of music by Chopin, Schumann and Szymanowski (the first heard in the railway carriage, the second in the Liszt Academy, Budapest, and the third in Szymanowski's house in Zakopane). Each of these sites and musical examples are interpreted primarily through Freud's notion of “displacement” to reveal counterpoints and conjunctions of displaced musical “voices” and identities. These hearings reveal the complexities and dissonances between Monsaingeon's French vision of “Eastern” Europe and Anderszewski's Polish-Hungarian self-identity as “Central” European cosmopolitan.
Abstract
This paper presents some aspects concerning a group of works written by Ede Terényi in the 1980s, a time in which composers were preoccupied with regaining a certain expression through the revival of the musical past. Romania was not an exception to this orientation, and composers applied the same technical devices as their Western colleagues, such as quotation, collage, allusion, pastiche, etc. This stylistic approach provided Terényi with the opportunity to find ways for the reconciliation of the European canon with the musical tradition of his native Transylvania, a reconciliation that was meant to make music accessible and beautiful again. He composed a series of twelve concertos for various instrumental combinations, in which the Baroque formal and expressive strategies meet the folkloric idioms of the central Romanian multiethnic region.
Abstract
Almost every analysis written on Bartók's two violin sonatas (BB 84 – 1921, BB 85 – 1922) discusses the question of Szymanowski's possible influence. Although most scholars accept that the music of the violin parts, jointly worked out by Szymanowski and the violinist Paweł Kochański, in the Polish composer's works exerted some influence on Bartók's violin compositions, opinions differ as to how significant this influence was, which components of Bartók's music it may have affected, and how great a share, if any, Jelly d’Arányi may have had in this influence, given that it was with her that Bartók first encountered Szymanowski's Myths, op. 11 (1915) and the Notturno e Tarantella op. 28 (1915), that are most often mentioned in connection with the sonatas.
It is usually Bartók's Violin Sonata no. 1 that is examined in this connection, because it is the earlier work that seems to show more obvious traces of Szymanowski's supposed influence. The present study, however, focuses on Violin Sonata no. 2, rarely mentioned in this respect.
Abstract
Richard Wagner's theoretical writings were intended to institute a tradition of interpretation that has had a major impact on the musical world from 1870 to the present day, in Europe and in the United States. In this essay, I concentrate on excerpts concerning conducting and singing practices, highlighting their interrelation in Wagner's view. I then turn to Cosima Wagner's reinterpretation of her late husband's theories and her attempt to codify this Wagnerian tradition of interpretation, contributing to provide a reassessment of the much-debated “Bayreuth style” of performance.
Round Dances in Vienna
An Interpretation of Ernst von Dohnányi's Winterreigen
Abstract
Ernst von Dohnányi (1877–1960), the Hungarian composer and pianist, was usually described as a remarkably harmonious, easy-going, and resilient person by his contemporaries. At the same time, however, he was emotionally withdrawn, so we know very little about how he adapted to different life situations. An excellent example of this is the short period he spent in Vienna in his twenties (1901–1905) which his first biographer Bálint Vázsonyi depicted as an idyllic period, in which Dohnányi “enjoyed the artistic society of Vienna, the family home in which he was surrounded by two beautiful children and he composed a lot.” Following a more critical interpretation of the sources and the unearthing of their hidden references, this popular interpretation proves to be slightly flawed. It seems that Dohnányi reacted very sensitively to the seething public mood in Vienna at the turn of the century, and he himself went through a deep personal-creative crisis. This study presents the author's experience of Vienna in connection with his piano cycle Winterreigen (op. 13, 1905–1906), composed for his Viennese friends, and shows how this experience haunted him even when he lived there again as a political refugee for a short time in 1945–1946 – when Vienna appeared for him not as a possible home in Central Europe but rather as the last bastion of the “West” against the advancing “East,” the Soviet army.
Abstract
The difficult task of determining Mahler's socio-political and ethnic-national identity within a larger Central European context is made no easier by recourse to biographical information. For every indication there is a counter-indication, for every claim a counterclaim. Similarly, his music shifts between or juxtaposes a relatively non-specific folk tone and a frequently subverted though nevertheless readily discernible mode of core Western European symphonism. These deeply meaningful creative processes offer both hyper- and hypo-eloquent testimonies to the complex culture of nineteenth- and early twentieth-century imperial Habsburg politics. Overflowing with expressive suggestions, allusions, and oblique metaphors, Mahler's music nevertheless remains pre-linguistic, proto-conceptual, its text settings favoring parable and metaphysical poetic licence. Using the works of two great literary chroniclers of fin-de-siècle to WWI Central European life and manners – Joseph Roth (1894–1939; The Emperor's Tomb, Hotel Savoy) and Gregor von Rezzori (1914–1998; Memoirs of an Anti-Semite; An Ermine in Czernopol) – I attempt in this study to recover through works of narrative verbal fiction a measure of what Mahler's music says, without being fully able to communicate, about his Central European world and identity.
Abstract
The peasant music Béla Bartók first discovered in 1904 and which he collected systematically between 1906 and 1918 belongs to what he generally described as “Eastern Europe.” His career as pianist and composer was naturally oriented towards Western Europe. His contract with one of the most important publishing houses of the period interested in contemporary music, Universal Edition in Vienna, seems to have conserved a Central European network during the interwar period – a network originating in the by then dissolved Austro-Hungarian Monarchy. Apart from pointing out the conspicuous contrast between Bartók's concept of Eastern Europe and his Central European position as an intellectual, this article revisits a particular historic event, the new music festival organized in April, 1938 in Baden-Baden, to examine Bartók's concept through his art and careful politics during a period of heightened tensions. Since the premiere of his Second Piano Concerto in Frankfurt in January, 1933, Bartók had avoided giving concerts in Nazi Germany. When invited to offer a piece for the 1938 festival he proposed Five Hungarian Folk Songs for voice and orchestra (1933). Despite his initial consent, however, he later tried to withdraw the work and forbid its performance shortly before the start of the festival; in the end his work did remain in the program despite his protest. His peculiar strategy on this occasion seems to have been prompted by his dispute with the German copyright office (STAGMA), which categorized his works in which he used folk melodies as mere arrangements, declaring them unoriginal. It appears that Bartók might have consciously offered such a “questionable” work to demonstrate its originality. At the same time, however, it seems that this particular set might have had a special topical message, too. Starting with a deeply-felt composition based on a song considered to belong to the most ancient layers of indigenous Hungarian folk music, it ends with a grotesque arrangement of a folk song which Bartók described as of Western, probably German, origin. One might wonder whether it was intentional to offer a narrative that contrasts the values of indigenous East European folklore with the shallowness of Western, specifically German, influence. The Appendix of the article presents an English translation of Bartók's notes about his composition sent to the organizers of the Baden-Baden festival.
Abstract
We present a study of discourse connectives and discourse relations in English parallel texts, i.e. in written and spoken originals, as well as translation and interpreting from German. For this, we apply automatic procedures to annotate discourse connectives and relations they trigger in a parallel corpus. We look at distributions of various connectives and discourse relations, comparing spoken and written mode, as well as original and translated or interpreted language production. Furthermore, we analyse the translation patterns in terms of translation entropy. We link our observations to the phenomena of explicitation and implicitation. We find that in both interpreting and translation, explicitation and implicitation patters are affected by the cognitive complexity of the discourse relation signalled by the connective. Moreover, we also show that the difference in the specificity of the same connectives in interpreting and translation also depends on the type of relation they trigger.
Abstract
This contribution addresses the challenging issue of building corpus resources for the study of news translation, a domain in which the coexistence of radical rewriting and close translation makes the use of established corpus-assisted analytical techniques problematic. In an attempt to address these challenges, we illustrate and test two related methods for identifying translated segments within trilingual (Spanish, French and English) sets of dispatches issued by the global news agency Agence France-Press. One relies on machine translation and semantic similarity scores, the other on multilingual sentence embeddings. To evaluate these methods, we apply them to a benchmark dataset of translations from the same domain and perform manual evaluation of the dataset under study. We finally leverage the cross-linguistic equivalences thus identified to build a ‘comparallel’ corpus, which combines the parallel and comparable corpus architectures, highlighting its affordances and limitations for the study of news translation. We conclude by discussing the theoretical and methodological implications of our findings both for the study of news translation and more generally for the study of contemporary, novel forms of translation.
Abstract
The French Belgian Sign Language (LSFB) corpus is the cornerstone of a unique multilingual data system that includes four distinct corpora. The first is a reference corpus containing dialogical LSFB data produced by deaf signers, which is also translated into written French, and the second one is a comparable multimodal corpus of Belgian French containing dialogical data produced by hearing native speakers. The other two corpora are made up of interpreted data, namely a parallel bidirectional corpus of LSFB > French data produced by hearing bimodal interpreters and another unidirectional parallel corpus of French > LSFB co-interpreted data produced by hearing and deaf interpreters working in tandem. This paper aims to describe these four corpora and to provide an overview of previous contrastive research drawing on their data and applications which have been developed so far. A new study contrasting reformulation structures in semi-spontaneous LSFB dialogical data and co-interpreted LSFB data is presented in order to exemplify how these corpora can be further compared to shed light on unknown issues to date such as the specificities of co-interpretation.
Abstract
The study of features that affect the linguistic form of translated texts has been one of the central questions within the field of corpus-based translation studies. In the partially overlapping field of computational linguistics, previous studies have shown that source languages of individual texts can be detected automatically in direct translations and indirect translations (i.e., translations done from translations). However, computationally oriented approaches have paid limited attention to what specific linguistic features make successful classification possible. Consequently, the types of linguistic phenomena characterizing translations and the kinds of linguistic interference that can be detected in them remain underexplored. In this study, we study the linguistic features that contribute to the identification of the source language of direct translations from English, French, German, Greek, and Swedish, as well as indirect translations from Greek into Finnish, with English, French, German, and Swedish as mediating languages. Theoretically, this study builds on Halverson's (2017) gravitational pull model to explain the mechanisms behind our findings in a theoretically sound fashion and to generate theoretically motivated, specific hypotheses to be tested by future research. The analysis makes use of keyness analysis as a supervised machine learning technique, as well as exploratory factor analysis (EFA) as an unsupervised machine learning technique. The results indicate that sentence length, sentence-initial adverbs and sentence-final specification are the linguistic features that set the different types of translations apart from each other. Furthermore, the salient features of the ultimate source language outweigh those of the mediating languages in indirect translations or the entrenched parallels between specific language pairs.
Abstract
Passive constructions in English (be+past participle) and French (être+past participle) were inventoried on a text-per-text basis in a bi-directional French/English corpus. The corpus consisted of 70 (35 × 2) original source texts in each language, 70 (35 × 2) target texts produced by human translators, and the same number of target texts obtained by machine translation with DeepL Pro. Passive constructions were found to be about 70% more frequent in original English than in original French. In the corpora of translated texts, no large disparities were observed, with the exception of French texts translated from English by DeepL, which contained around 40% more passive constructions than original French texts. Correlations between frequencies of analogous passive constructions in pairs of source and target texts were statistically significant and stronger for machine translations than for human translations. Manual analysis of random samples of source/target pairs showed less regular correspondence between the two analogous constructions as counterparts for one another, and greater diversity among alternative translation counterparts in human translation compared with machine translation.
Abstract
In this explanatory study, we aim to determine the predictors of repetition avoidance or reproduction in the translation of reporting verbs from English into Italian and Polish, using a sample of 11 novels. We fit multiple negative binomial regression models with fixed effects to assess the impact of five predictor variables (i.e. frequency of a source-text verb, number of its translation equivalents in lexical databases, its number of senses, semantic-pragmatic category of verb, and length in characters) on the response variable, i.e., the number of different target language verb types into which a source text reporting verb is translated. The overall model fit per the lowest Akaike Information Criterion (AIC) value obtained through backward elimination reveals that verb category, frequency of a source-text reporting verb, and number of translation equivalents make the largest individual contributions to explaining the proportion of variation in the response variable in the Italian data; for the Polish translations the corresponding variables are verb category, frequency, the number of senses, and the interaction between the number of translation equivalents and the number of senses. The summaries of the final models provide a detailed multifactorial picture of when repetition of reporting verbs is maintained or avoided in literary translation.
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.
