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Arts and Humanities
Bakócz Tamás címerével ellátott tárgyak egykor az esztergomi főszékesegyházban •
Tárgyegyüttes-rekonstrukció a kincstár leltárai alapján
Objects carrying the coat of arms of tamás bakócz once in the cathedral of esztergom •
Reconstruction of an assortment of objects on the basis of treasury inventories
The study collects the liturgical textiles with connection to the person of Cardinal Tamás Bakócz (1497–1521), archbishop of Esztergom, which used to be in the cathedral sometime in the past. The method adopted is looking diachronically through the basilica treasury’s inventories and other, 16–18th century written sources (high priests’ testaments). The main aim of the research is to explore the history of the survival of the chasuble adorned with the cardinal-archbishop’s coat of arms and preserved in the treasury of Esztergom cathedral. Apart from collecting the paraments, the study also gives a glimpse of the maintenance of paraphernalia in the treasury of the Esztergom basilica and its history after the lost battle at Mohács in 1526.
Címereslevelek a Jagelló-kori Magyarországon •
Függelékben a II. Ulászló és II. Lajos magyar királyok által adományozott Címereslevelek jegyzékével (1490–1526)
Letters Patent in Hungary in the Jagiellonian Age •
List of letters patent granted by Vladislav II and Louis II, kings of Hungary (1490–1526)
The introductory part of the study reviews the historiography of research into jagiellonian letters patent of nobility and the art historical problems of the illuminations. a similar survey was compiled sixty years earlier by dénes radocsay. since then several deeds of granting armorial bearings have cropped up, and lots of new data have been found in historical sources about once existing, now lost or latent, letters patent. the introduction is not meant to thoroughly revise dénes radocsay’s groups compiled by style critical criteria, but it touches on several questions solved or seen more clearly now. For example, the mark of an early 16th century buda illuminator’s hand is preserved not only by letters with armorial bearings, but also by three fragmentary liturgical manuscripts, and the oeuvre of the so-called bakócz monogrammist – who painted the coats of arms in the most representative letters patent in greatest numbers during louis ii’s reign – has been considerably extended.
A few words about the arrangement of the data in the list. the letters patent follow in chronological order, the years of granting emphasized for better orientation.
Vladislav ii’s letters patent arranged by years are followed by a few items that cannot be dated accurately. line one traditionally contains the names of the grantees, modernized – if possible – but not in phonetic transcription gaining ground lately. (i attach the original form of the name in parentheses.) then come dating, measurements, place of preservation and (when known) provenance. the most important data are followed by the list of works in which the given diploma is mentioned. it includes hand-written – 18th and 19th century – mentions, copied texts, as well as items of the modern special literature.
The present article contains the philological edition of the Old Babylonian Sumerian composition Dumuzi and Ĝeštinanna (UET 6, 11), a study of its literary characteristics, intertextual elements, allusions, and early hermeneutic techniques.
Kegyúri segítség a puszták népének – telepes és pusztai templomok építészeti pályázatai a 20. század első évtizedében
Patronal grace for the people of the puszta – architectural competitions for settler churches in the first decade of the 20th century
Around 1903–04 there was an outstanding number of sacral design competitions in Hungary, two of which at first glance seem very similar, and their juxtaposition even seemed to be a way of drawing more general conclusions. the Ministry of agriculture was looking for plans for churches in designs for villages to be settled by the state treasury, while the archdiocese of Kalocsa was looking for designs for Catholic churches to be built on the outskirts of subotica. the calls for proposals were for buildings of roughly the same size, a year apart, both seeking a solution to a pressing, long-standing problem. the problem was architectural, simply put: many churches were missing. the tendering process was not cheap, but it was the most efficient way to obtain many plans at once.
Comparing the competitions, various aspects were taken into account, firstly, the similarities and differences between the procedures, which were mainly due to the characteristics differences between of the institutions commissioning the work. the second was an architectural analysis, clarifying issues of building size, and then we looked at the characteristics of the design and layout. in this context, we reviewed the texts of the judging reports and made general observations on the two juries. the longer more extended, more professional review was analysed with the aim of reconstructing from the comments, summarising the criteria of the critique, the possible ideal types against which the judges compared the entries.
As a result, we have registered a kind of transition in sacral architecture in the mid-1900s, in which traditional form and spatial shaping were dominant, but also the signs of a later formalisation that would come to fruition in the 1910s. this transition can also be observed in professional texts on architecture, which evolved into professional writing that flourished in the years leading up to the First World War.
Abstract
The study investigates one arresting detail in Julian's Caesars (333B) that is related to Marcus Aurelius: “four-square and made without a flaw” – τετράγωνος ἄνευ ψόγου τετυγμένος. The central concern is to examine the background which could have influenced Julian's Neoplatonic thoughts in the 4th century AD by the Syrian Neoplatonist, Iamblichus. Marcus Aurelius as a symbol of perfection in Julian's opinion is another interesting question that needs to be answered.
Abstract
Within half a century, there were two Unitarian authors who created rhymed Hungarian translations of the Book of Psalms – Miklós Fazakas Bogáti at the end of the 16th century and János Thordai in 1627. There are still unanswered questions regarding these translations: why did Bogáti's translation not spread among Unitarian congregations? Was Thordai acquainted with Bogáti's translation?
This paper explores the circle of possible answers to these questions from various perspectives. It also examines Bogáti's biography and the subsequent legacy of his Psalterium, taking into account the context of Church history and the history of publishing Unitarian songbooks. In addition, the poetics of the two translations are analysed. Based on these it transpires that there were several circumstances that made the spreading of the Psalterium difficult.
However, Thordai's work should not be viewed solely as depending on Bogáti's translation, since it is not certain that Thordai was trying to fill a gap with his translation. The Transylvanian Unitarians did not necessarily intend to publish a complete Unitarian translation of the Book of Psalms in their songbooks.
Abstract
One of the most outstanding cultural events of the year 2019 is the facsimile edition of the Hungarian Szalkai Codex, thanks for which are due to cooperation between the Library of the Primate of Esztergom and the Collection of the Roman Catholic Church at Sárospatak. This outstanding cultural asset, written at Sárospatak (called Patak at that time) and guarded at Esztergom, serves as a curiosity not only for researchers interested in palaeography but also for specialists working in different fields of the history of education. This codex is not only the oldest, but at the same time the only surviving Hungarian schoolbook from the Middle Ages. With its help we may reconstruct some of the ways in which town (parish) schools operated under the reign of King Matthias. The present study focuses on medieval music education.
Abstract
Carolus Clusius (Charles de l’Écluse, 1526–1609), one of the most renowned naturalists of sixteenth-century Europe, was a versatile man of letters. One of his fields of interest neglected in scholarship is his attitude and activities around what was called fossilia at that time, and what can today be called non-living naturalia: metals, gems, various strange „stones”, fossils, medicinal earths. Such naturalia appear several times in his correspondence: this study reviews how Clusius took part in the collecting, exchange and discussions about these inorganic objects in the European respublica litteraria. He could even be involved in geological or palaeontological issues of his age. The investigation will not only throw light on the activities of Clusius and some of his correspondents, but also taps into to the broader topic of communication and exchange in the Literary Republic of the time, and may even contribute to the history of the natural sciences in the period. Some of the non-living naturalia Clusius was interested in (like „Saint Ladislaus's coin” or the medicinal earth of Tokaj) could be found in Hungary and he looked for them by way of friends in that region (it is known that one of his most important patrons was the Hungarian aristocrat Boldizsár Batthyány). For reasons of space, the study will be published in two parts: Sections 1–3 can be read in this issue, while Sections 4–7 will be published in the next.
Abstract
When one examines the descriptions of Hungarian travellers of the 16th–17th centuries, it can be stated that the young people – as the listed examples all bring to life the journeys of young people – were prepared for the trips. These young travellers were also accompanied by teachers, and they could read about the geography and people of the area to be visited in the libraries at home. It is also important that eruditive knowledge, complemented by the experience of the trip, reinforces the knowledge read. They also knew the importance of book publishing and the book trade, and we could cite more passages in this regard than in the case of libraries. The libraries they saw were admired, but usually left unmentioned. They must have visited the university library, yet we can hardly find any information about this in the letters and diaries sent to patrons and parents. In our study, we present and cite some examples, but we mention cases where the traveller also noticed the decoration of the library – paintings, sculptures – and furnishings. Globes are mentioned more often. At the end of the study, I mention that from the end of the 17th century we know of a university debate (dissertation) about libraries. Under the leadership of praesens Johann Georg Zihn, Adam Gruber, a citizen of Sopron, defended his thesis, Disputatio de bibliothecis (Leipzig, 1678). It is also the first library science work by an author from Hungary.
Abstract
The paper deals with the copperplate engraving that stands at the beginning of the main theological treatise of Álvaro de Cienfuegos, bishop of Pécs (Hungary) between 1737 and 1739. The sophisticated work includes also an artistic engraving which is clearly part of the written treatise. The study aims to point out how comprehensively the engraving presents the author's basic intellectual attitude and essential details of the theoretical work. It is a real challenge for the audience of all times: Only in the case of a successful decoding it is possible to feel not only worthy, but also suitable and prepared to read, study and understand the two-volume treatise.
Es ist nicht alles Weiß, was so zu sein scheint
Bemerkungen zur Interpretation einiger ungarischer und kroatischer Örtlichkeitsnamen
Not all is White that Looks White: Remarks on the Interpretation of Some Hungarian and Croatian Place-Names
Adjektive, die Farben bezeichnen, kommen häufig in Örtlichkeitsnamen vieler Sprachen vor. Unter ihnen befindet sich auch das Adjektiv weiß. Die Motivation und Bedeutung des Farbadjektivs weiß in der Namensgebung einiger Örtlichkeitsnamen bilden den Gegenstand dieser Untersuchung. Der vorliegende Aufsatz ist in zwei Teile gegliedert. Im ersten Teil wird den Beweggründen für die Wahl des Adjektivs weiß in einigen ungarischen, kroatischen und serbischen Örtlichkeitsnamen nachgegangen. Im zweiten Teil werden einige kroatische Ortsnamen behandelt, in denen eine Komponente nur scheinbar die Bedeutung ‘weiß’ hat. In der Wirklichkeit haben die Denotate dieser Örtlichkeitsnamen keine weiße Farbe.
Zur ersten Gruppe gehören die ungarischen Örtlichkeitsnamen Székesfehérvár, Gyulafehérvár, Nándorfehérvár, das kroatische Biograd na moru und das serbische (und auch kroatische) Beograd. Sie sind Zusammensetzungen aus fehér, bio- / beo- ‘weiß’ + vár, grad ‘Burg’. Nach allgemeiner Meinung der Fachliteratur bezieht sich das Adjektiv weiß auf die weiße oder helle Farbe der Steine der Burgen.
In der ungarischen Sprachwissenschaft wurde auch erforscht, wie alt das Kompositum fehérvár sein könnte. Es wurde festgestellt, dass die Magyaren schon drei Burgen bzw. befestigte Städte kannten, bevor sie sich am Ende des 9. Jahrhunderts im Karpatenbecken niederließen.
Zwei Örtlichkeitsnamen davon befanden sich auf chasarischem Gebiet, Sarïγsïn und Šarkel / Sarkel. Der zweite Örtlichkeitsname hat die Bedeutung ‘hell, gelb, bleich, weiß’. Der erste ist ein Kompositum von sarï, sarïγ ‘weiß’ + kil / käl ‘Haus’. Nach der bisherigen Erklärung hätte die Komponente sarï, sarïγ eine Beziehung zur weißen Farbe der Festung. Diese Meinung beruht auf der fehlerhaften Interpretation der schriftlichen Quelle. Erstens: die Mauern der Burg wurden aus roten Ziegeln gebaut. Zweitens: die jüngsten turkologischen Forschungsergebnisse weisen darauf hin, dass die Farbe Weiß eine symbolische Bedeutung hatte. Sie ist die symbolische Farbe von Burgen und Gebäuden, die auf ein gehobenes und großes Prestige hindeuten.
Beim dritten Beispiel handelt es sich um den Namen einer Festung am Dnister-Liman, der in verschiedenen Sprachen wiedergegeben wird. Hier wird die Motivation der Komponente weiß durch die hellgraue Mauer der Festung bestätigt.
Fazit. Die Existenz des Namens fehérvár war schon in der urmagyarischen Periode der ungarischen Sprache möglich. Man kann nicht entscheiden, wie er entstand: als Lehnübersetzung oder aufgrund einer gene-rellen Anschauung.
Unter den analysierten kroatischen Örtlichkeitsnamen befinden sich Städtenamen und geographische Namen. Die Stadt Pélmonostor gehörte bis 1918 zu Ungarn. Der kroatische Name ist eine behördlich festgelegte Bezeichnung. Die Komponente monostor wurde übersetzt und der Eigenname Pél wurde durch das ähnlich lautende Adjektiv beli ‘weiß’ ersetzt. Das Adjektiv hat keinen Zusammenhang mit Pél. Der Stadtname Bjelovar ist ungarischer Herkunft (< Bélavár). Der Eigenname Béla wurde volksetymologisch als kroatisch bijel, bijela ‘weiß’ interpretiert und ersetzt. Bei den geographischen Namen Rt (‘Kap’) Bela und Uvala (‘Bucht’) Bela ist die Komponente Bela nicht als Adjektiv, sondern als ein italienischer Familienname zu interpretieren.
Adjectives that denote colours are common in toponyms in many languages. Among them we can also find the adjective white. The motivation and meaning of the colour white in the naming of some place-names form the subject of this study. The present paper is divided into two parts. The first part explores the motivations for choosing the adjective white in some Hungarian, Croatian, and Serbian place-names. The second part deals with some Croatian place-names in which a component only seems to have the meaning ‘white’. In reality, the denotates of these toponyms have no white colour.
The first group includes the Hungarian toponyms Székesfehérvár, Gyulafehérvár, Nándorfehérvár, the Croatian Biograd na moru, and the Serbian (and also Croatian) Beograd. They are compositions of fehér, bio- / beo- ‘white’ + vár, grad ‘castle’. According to the general opinion of the literature on the subject, the adjective white refers to the white or light colour of the stones of the castles.
Hungarian linguists have also researched how old the composite fehérvár could be. It was found that the Magyars already knew three castles or fortified cities before they settled in the Carpathian Basin at the end of the 9th century.
Two of these place-names were located on Khazar territory, Sarïγsïn and Šarkel / Sarkel. The second place-name has the meaning ‘light, yellow, pale, white’. The first is a composition of sarï, sarïγ ‘white’ + kil / käl ‘house’. According to the previous explanation, the component sarï, sarïγ could be related to the white colour of the fortress. This opinion is based on the erroneous interpretation of the written source. First, the walls of the castle were built of red bricks. Second, recent Turkological research suggests that the colour white had a symbolic meaning. It is the symbolic colour of castles and buildings that indicate an upscale and great prestige.
The third example is the name of a fortress on the Dniester Liman, which is reproduced in different languages. Here the motivation of the component white is confirmed by the light gray wall of the fortress.
Conclusions. The existence of the name fehérvár was already possible in Proto-Hungarian. One cannot decide how it was created: as a loan translation or on the basis of a general view.
Among the analyzed Croatian toponyms are city names and geographical names. The town of Pélmonostor belonged to Hungary until 1918. Its Croatian name is an officially defined designation. The component monostor was translated and the proper name Pél was replaced by the similar adjective beli ‘white’. The adjective has no connection with Pél. The city name Bjelovar is of Hungarian origin (< Bélavár). The proper name Béla was folk-etymologically interpreted and replaced by Croatian bijel, bijela ‘white’. In the case of the geographical names Rt (‘Cape’) Bela and Uvala (‘Bay’) Bela, the component Bela is not to be interpreted as an adjective but as an Italian surname.
Mór Jókai’s novel And Yet It Moves [És mégis mozog a föld] was published in Lithuanian translation in 1892. The translator, Antanas Kriščiukaitis-Aišbė took as the basis the Polish translation of the book, which in turn was based on the German translation. In fact, it is not a translation in the traditional sense but a shortened, abridged version. The translation has attracted a great deal of interest, with numerous reviews by leading Lithuanian literary figures of the time, moreover, the influence of the Hungarian novel can be traced in several Lithuanian literary works. The impact of the work on Lithuanian culture is illustrated by the fact that several prominent figures of the time used the title of the novel as a kind of slogan of the Lithuanian national revival movement.
The aim of the study is to examine how the Lithuanian translation came into being, to analyze the text of the translation itself, to demonstrate how it was received by Lithuanian critics, which contemporary Lithuanian works show its influence, how the title of the work survived in Lithuanian culture, and what factors influenced its popularity in Lithuania. Accordingly, it briefly describes the original work, the most important bibliographical data of the German and Polish translations, the translator’s personality and his works, and examines the factors and aspects that may have played a role in the choice of the work to be translated. In addition to the bibliographical data of the Lithuanian edition and the circumstances of its publication, I will analyze the preface and then examine the translator’s retention or omission of certain passages, the internal logic behind these, the stylistic differences from the original version, and how these may have affected the reception of the work.
The paper briefly discusses contemporary reviews and tries to answer the question of how the Lithuanian reception was influenced by the characteristics of Lithuanian society at the time. The study also examines which Lithuanian literary works show the influence of Jókai’s novel, and analyzes Maironis’s poems Through Pains to Glory [Tarp skausmų į garbę] (1893) and Young Lithuania [Jaunoji Lietuva] (1905), where the similarities in plot and motives with Jókai’s work are so numerous that these works can clearly be considered to be inspired by Jókai; as well as Šatrijos Ragana’s short novels Viktutė (1901) and In the Old Manor House [Sename dvare] (1922), and Liudvika Didžiulienė-Žmona’s For the Fatherland [Del tevynes!] (1893).
Finally, it presents documented instances of the use of the novel’s title as a slogan and examines their context. The paper concludes that the success of the work in Lithuania can be explained by similarities in the historical and social development of the two countries and between the social conditions in Hungary pictured in the novel and prevailing in Lithuania at the time of the publication of the translation.
Abstract
The present paper aims at giving a text edition of Antonio Cassarino's humanist Latin translation of Plutarch's dialogue Bruta animalia ratione uti. This is the earliest of three translations made of this dialogue in the course of the 15th century. The text itself is extant in three different manuscripts, one of which is a codex of the Vatican Library (Vat. lat. 3349), compiled after Cassarino's death by Panormita. A comparison of the text variants has led to several results. First, some of the errors shared by all three manuscripts show that they go back to a common archetype already at some distance from the translator's original copy. Second, Panormita relied heavily on a codex of the Biblioteca della Società Siciliana per la Storia Patria in Palermo (MS Lodi XII E 13) in preparing his own version. Third, the Vatican codex is far from being the best representative of Cassarino's original translation. Though Panormita corrected several of the common inherited errors, he made changes to the text without consulting the Greek. In almost every instance, it is a codex of the Biblioteca Casanatense of Rome (Bibl. Casan. 665 C II 8) which gives the best reading, providing the clue for a successful reconstruction of the text. An attempt will be made to trace the version contained in this codex back to a certain person named Balbi, referred to in the dedicatory letter as being a learned expert of both languages, Greek and Latin. Along with the establishment of the text, it will also be possible to define the original Greek source codex Cassarino used for his translation (Vat. Pal. gr. 170).
Abstract
In this discussion note we explore why and how we need a pragmalinguistic and speech act-anchored approach to systematically study a key pragmatic phenomenon: phatic interaction. By so doing, we aim to draw attention to a special issue which we plan to publish in Acta Linguistica Academica. First, we present a general model through which phatic interaction can be replicably studied across different data types and linguacultures, by breaking it down to speech act types occurring in different slots of an interaction. Second, we provide a case study involving Chinese learners of English as a foreign language, in order to illustrate how the proposed framework can be put to actual use.
The main goal of this paper is to analyze, depict, and characterize the semantic construction of the latest novel Przewóz [The Carriage] (2021) written by one of the most significant contemporary Polish writers Andrzej Stasiuk. A key way of organizing Stasiuk’s novel is juxtaposing semantically distant wholes, which creates strong tensions not only at the level of language but above all at the level of meaning. Categories of different meaning interpenetrate in the novel, creating a conglomerate of new meanings, showing the fractures of the world described by the novelist, the incoherence of a reality infected by war.
Such construction of the novel, based on contrasts and the tensions resulting from their occurrence, allows Stasiuk to reflect the tragedy of wartime experience. War is a catalyst that makes us aware of the uncertain anchoring of concepts and categories, hitherto considered unchanging and permanent, it allows us to capture the illusory nature of human beliefs, the incoherence of human actions, and the naivety of human recognition. The marginal comes to the fore, becoming a model of the world under a microscope, a theatre of history, revealing the nakedness of human existence. Such basic and key concepts as strength, courage, beauty, sacrifice, patriotism, culture, universality, boundary, and truth are questioned.
Stasiuk’s ontology is based upon a constant play of tensions between particular categories that make up reality. Nonetheless, the writer does not propose a coherent, unambiguous assessment of reality but rather draws attention to its complexity, impossibility of complete cognition, elusiveness, and delusion. These tensions, so pronounced in Stasiuk’s novel, reveal the illusory nature of the concepts in which a human is immersed, and at the same time, as one of the fundamental elements determining the artistic value of artwork, they are expected to lead to a catharsis, to a release of emotions, they also help to understand better the situation into which a person is thrown at the border moments. Thus, works designed in this way – as cleansing and releasing, and saturated with tension and contrasts – become, as it were, automatically universal, going far beyond transient vogues.
The goal of the paper is also to focus on these aspects of Stasiuk’s novel, to demonstrate how war as a border situation can lead to a relativization of concepts, how it can introduce confusion and chaos into a well-established, as it would seem, axiological system, which the writer demonstrates precisely by creating clear tensions. In his novel, Stasiuk does not offer a zero-one vision of the world, tensions are not created mechanically, and the writer uses contrasts and paradox, but what is really important for him are halftones, ambiguities, multivocalities, and a smooth transition in between categories. This is what sets Stasiuk’s world in motion.
Das anekdotische Erzählen als moderne poetische Form im Kontext der tschechischen und der ungarischen Literatur
Anecdotal Narrative as a Modern Poetic Form in the Context of Czech and Hungarian Literature
Die Anekdote wird durch den in der Literaturwissenschaft entstandenen Konsens als eine Gattung angesehen, die im 20. Jahrhundert endgültig veraltet ist. In meinem Beitrag möchte ich am Beispiel von Bohumil Hrabal und Péter Esterházy zeigen, auf welche Weise sich die anekdotische Tradition in der tschechischen und der ungarischen Literatur auch in der zweiten Hälfte des 20. Jahrhunderts sowie im ersten Jahrzehnt des 21. Jahrhunderts als auch weiterhin fortsetzbar erwies. Die Erzählweise von Jaroslav Hašek auf das Lebenswerk von Bohumil Hrabal eine bedeutende Wirkung ausgeübt hat. Inwieweit erneuert Hrabal diese anekdotische Tradition?
Hinsichtlich der Betrachtungsweise ist ein wesentlicher Unterschied, dass Hrabals Texte mit Vorliebe über die im allgemeinen Sinne genommene existenzielle Situation des Menschen reflektieren. Man kann kaum bezweifeln, dass sich hinter der ausgelassenen Heiterkeit und der gesteigerten Lebensfreude in den Werken Hrabals immer die durch das Bewusstsein der Endlichkeit ausgelöste Beklemmung abzeichnet. Das anekdotische Erzählen wird in diesem Kontext zum Ausdruck des dionysischen ekstatischen Rausches. Auf die Deutung der Existenz auch die existentialistische Philosophie eine Wirkung ausgeübt hat, doch zugleich antworten die Werke Hrabals nicht mit einem hoffnungslosen Heroismus auf das Gefühl der Ziellosigkeit des Seins, sondern mit einer exzessiven, beinahe verzweifelten Lebensfreude.
Péter Esterházy hat ebenfalls eine Anregung aus der anekdotischen Tradition geschöpft. Kálmán Mikszáth und noch mehr die anekdotische Erzählweise des 19. Jahrhunderts mit seinem Werk Kornél Esti neu inter-pretierenden Kosztolányi stellten für ihn die wichtigste Anregung dar. Kosztolányi hat die ungarische anekdotische Erzähltradition dadurch umgeformt, dass er die anekdotische Oralität mit der plaudernden Art der Gattung des Feuilletons verband. Dank dieser Verbindung erhielt die anekdotische Sprechweise so eine Art intellektuelle Schichtung, dass sie dabei auch ihren unterhaltenden Charakter behielt. Diese spielerisch ernste Sprechweise konnten aus dem Grund auf die postmoderne Prosa von Esterházy eine anregende Wirkung ausüben, da sie eine Möglichkeit zur Verwirklichung des spielerischen Crossovers der Register und Gattungen bot, beziehungsweise den durch den postmodernen Geschmack derart bevorzugten selbstreflexiven Verfahren des literarischen Textes einen Raum eröffnete. Auf dem Gebiet des Abbaus der Großerzählung betrachtet Ein Produktionsroman die Poetik von James Joyce als das zu befolgende Beispiel, so hatte die Neudeutung der traditionellen Form eine Art neoavantgarder narrativen Invention zum Ergebnis.
A consensus has emerged in literary studies that the anecdote is a genre that finally became obsolete in the 20th century. In my contribution, I would like to show, using the examples of Bohumil Hrabal and Péter Esterházy, how the anecdotal tradition can be proven to have continued in the second half of the 20th century and in the first decade of the 21st century and beyond in Czech and Hungarian literature. Jaroslav Hašek’s storytelling had a significant impact on Bohumil Hrabal’s oeuvre. To what extent did Hrabal renew this anecdotal tradition?
In terms of approach, a key difference is that Hrabal’s texts tend to reflect on the existential situation of people in a general sense. One can hardly doubt that the anxiety triggered by the awareness of finiteness is always behind the exuberant cheerfulness and elevated joie de vivre in Hrabal’s works. In this context, anecdotal narration becomes an expression of Dionysian ecstatic intoxication. Existentialist philosophy also had an effect on the interpretation of existence, however, Hrabal’s works do not respond to the feeling of the aimlessness of being with hopeless heroism but with an excessive, almost desperate joie de vivre.
Péter Esterházy was also inspired by the anecdotal tradition. Kálmán Mikszáth and particularly the storytelling style of Kosztolányi were his most important inspirations. Kosztolányi reinterpreted the anecdotism of the 19th century in his work Kornél Esti and transformed Hungarian anecdotal storytelling tradition by combining anecdotal orality with the chatty nature of the feuilleton genre. Thanks to this combination, the anecdotal language received an intellectual layering while also retaining its entertaining character. This playfully serious manner of speaking had a stimulating effect on Esterházy’s postmodern prose because it offered an opportunity to realize the playful crossover of registers and genres as well as opened up space for the self-reflective methods of literary texts favoured by postmodern taste. In the context of the destruction of the grand narratives, Esterházy’s A Production Novel, following the example of James Joyce’s poetics, reinterpreted the traditional form of anecdote in the spirit of the neo-avant-garde.
Polski dopełniacz w węgierskiej perspektywie porównawczej
The Polish Genitive in the Hungarian Comparative Perspective
Polszczyzna i język węgierski są językami odrębnymi zarówno pod względem genetycznym, jak i typologicznym. Polszczyzna jest językiem indoeuropejskim, słowiańskim o zdecydowanej przewadze cech fleksyjnych, natomiast język węgierski jest językiem uralskim, ugrofińskim, a ściślej ugryjskim, aglutynacyjnym typu postpozycyjnego. Owe odrębności obejmują wszystkie płaszczyzny systemu językowego, zwłaszcza słownictwo i morfologię. Zasadnicza różnica między aglutynacyjnym i fleksyjnym typem językowym wyraża się w tym, że morfemy aglutynacyjne doklejane do rdzenia wyrazu są zasadniczo jednofunkcyjne, natomiast morfemy fleksyjne kumulują w sobie kilka funkcji, np. w konstrukcji w samochodach końcówka -ach jest jednocześnie wykładnikiem przypadka (locativus) i liczby (liczba mnoga). W analogicznej formie węgierskiej autókban występują dwa morfemy -k-, wskazujący na liczbę mnogą oraz -ban, wyrażający przypadek (inessivus). Przykłady aglutynacji można odnaleźć również w języku polskim, dominują one w formach czasu przeszłego i trybu przypuszczającego.
Podobnie jak większość języków ugrofińskich, węgierszczyzna jest językiem o silnie rozbudowanym systemie przypadkowym. W zależności od ujęcia wyróżnia się od 18 do 25 przypadków. W języku węgierskim przypadki są zasadniczo jednofunkcyjne, natomiast przypadki polskie pełnią na ogół jednocześnie kilka funkcji. Najbardziej wielofunkcyjnym przypadkiem w polskim systemie kazualnym jest dopełniacz. W sposób ewidentny świadczy o tym fakt, że ma on ekwiwalenty w siedmiu różnych przypadkach węgierskich, tj. elativus, illativus, delativus, adessivus, ablativus, allativus i terminativus. Ich ekwiwalencja, choć nie w pełni precyzyjna, jest możliwa dzięki przyimkom jako konstytutywnym komponentom przypadka. W przeciwieństwie do afiksów węgierskich, polskie przyimki jednak są wielofunkcyjne, np. za pomocą prepozycji z(e) oraz do oddaje się dwa, a nawet trzy różne przypadki węgierskie. Afiksy węgierskie, będące odpowiednikami polskich przyimków i końcówek fleksyjnych, pełnią na ogół jedną, ściśle określoną funkcję.
Z polskiego punktu widzenia najbardziej skomplikowaną kategorią w języku węgierskim jest sposób realizacji konstrukcji dzierżawczych. Wyraża się to w całkowicie odmiennym szyku składników, istnieniu morfemów dzierżawczych dodawanych do członu oznaczającego przedmiot posiadany, a zatem zupełnie odrębnej relacji: posiadacz – przedmiot posiadany. W konstrukcjach tych ukryty jest językowy obraz świata: inny w polszczyźnie i całkowicie odrębny w języku węgierskim. Konstrukcje te stanowią olbrzymie wyzwanie zarówno dla osób uczących się języka węgierskiego jako obcego, jak i ich nauczycieli.
Polish and Hungarian are separate languages, both genetically and typologically. Polish is an Indo-European, Slavic language that is heavily inflected, while Hungarian is a Uralic, Finno-Ugric, or more precisely, an agglutinative Ugric language that is post-positional in its form. These differences encompass all levels of the language system, especially with regard to vocabulary and morphology. The main difference between the agglutinative and inflectional linguistic types is expressed in the fact that agglutinative morphemes attached to the word root are essentially monofunctional, while inflectional morphemes accumulate several functions, e.g. in the construction samochodach, the ending -ach is also an exponent of the case (locative) and number (plural). The analogous Hungarian form autókban includes two morphemes: -k-, indicating the plural, and -ban, representing the case (inessive). Examples of agglutination can also be found in Polish, where they dominate the past tense and the conditional forms.
Like most Finno-Ugric languages, Hungarian is a language with a highly developed case system. Depending on the conceptualization, there are 18 to 25 cases. In Hungarian, cases are essentially monofunctional, while in general Polish, cases perform several functions simultaneously. The genitive is the most multifunctional case in the Polish case system. Evidenced of this is the fact that it has equivalents in seven different Hungarian cases, i.e. elative, illative, delative, adessive, ablative, allative, and terminative. Their equivalence, although not fully precise, is possible thanks to the prepositions acting as constitutive components of a case. However, as opposed to Hungarian affixes, Polish prepositions are multifunctional, e.g., by means of the prepositions z(e) and do, two or even three different Hungarian cases are rendered. Hungarian affixes, which are equivalents of Polish prepositions and inflectional endings, usually have one, strictly defined function.
From the Polish point of view, the most complicated category in Hungarian is the way in which possessive structures are formed. These are expressed in a completely different order of components, the existence of possessive morphemes being added to the element denoting a possessed object, which results in a completely separate relationship: owner – possessed object. Hidden in these structures is the linguistic image of the world: different in Polish and completely separate in Hungarian. These structures pose a huge challenge for both learners of Hungarian as a foreign language and their teachers.
Феномен музыки в прозе Л. Улицкой
The Phenomenon of Music in L. Ulitskaya’s prose
В данной статье рассматривается роль музыки в романах Л. Улицкой. Из высказываний Улицкой ясно, что музыка всегда играла чрезвычайно важную роль в ее жизни. Это отражается и в ее твор-честве: музыка как тема и аспект жизни героев является основополагающим фактором во многих ее произведениях.
В данной статье мы попытаемся исследовать поэтическую функцию музыки в этих произведени-ях. На основе анализа произведений Веселые похороны, Казус Кукоцкого, Зеленый шатер и Лестни-ца Якова можно выделить три основных аспекта этой функции: создание референциального фона, создание специфического музыкального дискурса и структурирование различных уровней текста.
Создание референциального фона связано с формированием мира героев: герои посещают реаль-ные места (музыкальные школы, концертные залы и т. д.), характерные для данного исторического периода и они слушают или играют конкретные произведения конкретных композиторов. Прото-типами для некоторых героев послужили музыканты, сыгравшие важную роль в русской культуре.
Герои-музыканты Улицкой относятся к музыке по-разному: они могут быть воспринимателем, композитором или теоретиком музыки, и, как правило, они признают музыку как основной прин-цип жизни. Формулировка чувств и идей о музыке, взятая в целом, создает в произведениях вполне определенный музыкальный дискурс, который взаимодействует с другими дискурсами (научным, религиозным и т. д.), связанными с героями-немузыкантами.
Само по себе создание музыкального референциального фона не входит, а музыкальный дискурс входит лишь отчасти в круг интермедиальных явлений. Взаимодействие музыки и литературы как двух видов искусства наиболее ярко проявляется в использовании музыкальных структур. В статье представлены два примера, в которых макро- и микроструктуры текстов организованы по прин-ципу музыкального рондо. В повести Веселые похороны чередование настоящего времени процесса умирания главного героя и прошлых эпизодов, связанных с второстепенными персонажами, со-ставляет форму музыкального рондо, а в одном из эпизодов романа Зеленый шатер форма рондо вытекает из чередования различных форм высказывания (голос повествователя / внутренний голос героя / переплетение голоса повествователя и голоса героя).
В целом, произведения Улицкой чрезвычайно разнообразно используют литературную репрезен-тацию музыки. Созданный в них музыкальный мир, характерный для ограниченной части сюжета, предстает в сочетании с другими сегментами культуры и способами их репрезентации, в результате чего возникает очень богатая, синкретическая поэтика романов.
This paper examines the role of music in L. Ulitskaya’s novels. It is clear from Ulitskaya’s statements that music has played an extremely important role in her life, which is reflected in her oeuvre: music as a theme and an aspect of the heroes’ lives is a fundamental factor in many of her works.
This paper tries to explore the poetic function of music in these works. Based on the analysis of The Funeral Party, The Kukotsky Enigma, The Big Green Tent, and Yakov’s Ladder, three basic aspects of this function can be distinguished: the creation of a referential background, the creation of a specific musical discourse, and the structuring of the different levels of the text.
The creation of the referential background is linked to the shaping of the world of the heroes: the activities of some heroes take place in real places (music schools, concert halls, etc.) specific to a given historical period and linked to specific works by specific composers. Musicians who have played an important role in Russian culture served as prototypes for several of these heroes.
Ulitskaya’s musician heroes relate to music in a variety of ways: as a recipient, as a creator, or as a theoretician, and they all recognize music as a principle of life. The formulation of feelings and ideas about music, taken as a whole, creates a well-defined musical discourse in the works, which interacts with other discourses (e.g. scientific, religious, etc.) related to non-musician heroes.
The creation of a referential background in itself is not, and the musical discourse is only partly an intermediary phenomenon. The interaction between music and literature as two artistic disciplines is most evident in the use of musical structures. The paper presents two examples where the macro- and micro-structures of texts are organized by the principle of the musical rondo. In The Funeral Party, the alternation of the present of the protagonist’s dying and of past episodes related to minor characters constitute the musical rondo form, while in an episode of The Big Green Tent, the rondo form is drawn from the alternation of different forms of utterance (the narrator’s voice / the hero’s inner voice / the interweaving of the narrator’s voice and the hero’s voice).
All in all, Ulitskaya’s works make extremely varied use of the literary representation of music. The musical world created in them, which is specific to a limited part of the plot, is presented in conjunction with other segments of culture and their modes of representation, resulting in a very rich, syncretic poetics of the novels.
Abstract
This paper investigates the (hybrid) agreement patterns with collective and military rank nouns in Jordanian Arabic, both inside and outside the determiner phrase (DP). It will be argued that the number, unit (group), and feminization features are hosted on functional heads merged in various positions in the course of the syntactic derivation of the DP, and that agreement is determined on the basis of the Merge sites of those functional projections. More particularly, it will be shown that the heads Num(ber) and Unit may be situated higher or lower within the DP, and that each head controls agreement on the adnominals above it via feature sharing prior to movement, consequently producing different patterns of number agreement inside the DP, which in turn feeds DP-external agreement. The feminizing head, by comparison, is optionally merged, but when it is present, mixed gender agreement arises, depending on its Merge position. Finally, it will be shown that the above assumptions are substantiated by empirical data from Jordanian Arabic as well as from other languages.
Abstract
In movement I of String Quartet no. 5 inversion shapes of the themes are recapitulated in reverse order – probably the most daring concept of a palindromic structure of a sonata-form movement in Bartók's realm. After all, for him a strict hin und zurück form with strong thematic characters was unthinkable. Already the strategy of this opening movement involved danger. If Theme I after a transition leads to Theme II, which leads to Theme III, as a dramatic series of actions, how could the reverse order of these themes be “natural”? To minimize the danger, in this movement Bartók reconsidered the usual dramaturgy of the exposition. Instead of a continuous growth of the musical “scenes” welded together, he presented three thematic blocks very much different in character, heavily punctuated by fragments of the first theme. Therefore, dramatic contrast rather than organic development is the key term, and so the reverse order of the thematic blocks in the recapitulation is less artificial.
Abstract
The present paper is a preliminary study to a deeper understanding of Bartók's compositional process: how he filled the music paper even if the notation appears continuous. He did not always write the draft from the top-left corner to the bottom-right corner but occasionally skipped some measures or phrases that he intended to write down later. Thus, the continuity draft is not necessarily regarded as a continuity; it might have consisted of fragments but they have been eventually concealed in the final form of the draft. This may directly affect our interpretation of Bartók's creative process. The present research takes the visual appearance of a draft as a clue to examine its hypothetical fragmentariness. Beginning with the examination of some actual blank spaces that were never filled, the paper deals with cases where the original existence of fragments is suggested by the extraordinary appearance of the draft, such as a blank space at the end of a system, notations in the margin, re-organization of bar-lines, etc. Besides systematic approaches to fragmentariness, the author offers some interpretation concerning the reasons why Bartók did not write the draft in an ordinary way. There might have been different explanations for the interruption of the linear compositional process. One of the important findings of this paper is that Bartók's bar-lines do not always mark metric accents but sometimes simply facilitate the performers' orientation. Even though the occasional special function of some of his bar-lines as mere markers of orientation is explained by Bartók in a letter to Rudolf Kolisch, the existence of philological evidence to this effect may further underline its validity and importance.
Abstract
Although Sándor Veress achieved his first significant successes in Hungary and abroad at the turn of the 1930s and 1940s, musicological research still remains indebted to the detailed analysis of the composer's career related to the history of Hungarian music and cultural life. Based on press and archival documents, letters and recollections, and the historical literature of the period as well, the present study attempts to explore the socio-cultural environment that characterized and helped to unfold Veress's development. My study looks at the composer's network of contacts, his family ties and the political-ideological movements and relations with the Reformed Church that promoted his career, and examines their direct influence on Sándor Veress's works composed during this period, especially The Miraculous Flute (1937), the Japanese Symphony (1940) and Térszili Katica (1943).
Abstract
As already pointed out by László Somfai in the late 1980s, Béla Bartók's first fully developed five-movement realization of the so-called “bridge” or “palindrome” form was only an afterthought, a further development of a composition originally intended as a cycle of four movements only. As also discussed briefly by Somfai, the evolution of the Allegretto, pizzicato movement itself had distinct stages. A recently surfaced source further clarifies these compositional phases, among others confirms the existence of a 140-measure-long version without a proper conclusion, which, at one point, the composer considered as a definitive version (for which only the ending needed to be composed) and tested with the Waldbauer-Kerpely Quartet. The present article re-examines the compositional process of Bartók's String Quartet no. 4 with an emphasis on its additional fourth movement and discusses the different compositional phases of the Allegretto, pizzicato.
Abstract
The miracle narrative of the first oratorio by C. P. E. Bach – the escape of the people of Israel from the thirst death by Moses – comes from the Book of Exodus. In the course of the second part of the work, however, the figure of Moses is unexpectedly taken over by the Redeemer. The place turns out to be a paraphrase of Genesis 3:15. In the context of the German Enlightenment the biblical story can be interpreted as a reference to the assimilation process of the Jewish community. The composed libretto includes an interpolation, which speaks about the real advent of the Messiah, thus placing the work among the representatives of the messianic-cult of the Enlightenment. The interpolated text section focuses on the religion above religions as imagined by the latitudinarianism of the leading philosophers of the Enlightenment and testifies to the Masonic spirit in it. The text of the final chorus re-interprets the church dedication (the original function of Bach’s oratorio) as the dedication of the invisible Church: the soul.
Abstract
In addition to folk music, Zoltán Kodály was interested in folk dance. This is evidenced not only by his writings dedicated to the subject – some relevant ideas are to be found in his publications mainly focused on other topics. In this article, the author collects both Kodály's writings explicitly related to folk dance as well as the “hidden” ideas, presented partly chronologically, partly in thematic groups. Topics include: Kodály's dance experiences, his practical dance knowledge, his work of exploring data of historical dance music, his role in the emergence of Hungarian ethnochoreology as a scholarly discipline, his critical views on the use of folk dance on stage, etc. In contrast to the earlier literature, this article no longer considers the Hungarian shepherds' horn signals as the inspirational sources for Bécsi harangjátek [Viennese Clock], a movement which imitates a musical clock in Kodály's Singspiel Háry János. The movement entitled Branle de village, part of seventeenth-century Austrian composer Johann Heinrich Schmelzer's Partita ex Vienna, contains some bars that bear a close resemblance to the repeated main motif of Kodály's Viennese Clock. It is safe to assume that Branle de village was Kodály's source of inspiration, given that there is evidence that he studied the DTÖ-collection of Schmelzer's works: he referred to this volume where he found a Styrian version of a Székely dance tune.
Abstract
We look at the presuffixal vowels occurring after adjectival and nominal stems in Hungarian. We show that their “low” or “nonlow” status depends not only on the morphological category and arbitrary lexical properties of the stem, but also on its semantic properties and syntactic position, as well as the identity of the suffix and the typical environments in which the suffix occurs. Syntactic positions can be arranged in a scale ranging from more adjectival (less nominal) to less adjectival (more nominal). The same scale may be applied to suffixes typical of these syntactic positions. The lowness of the presuffixal vowels neatly follows these scales, with no variation at the two edges and a zone of variation in the middle of the scale.
Abstract
The paper presents the interpretation and explanation of the findings of two pieces of experimental research within the framework of Varga's (2016) pitch-tier model of the Hungarian declarative sentence. One of the experiments was established to investigate the information-structural contribution of quantified expressions (such as mindhárom barátom ‘all three of my friends’ and Csaba is ‘Csaba also’). The other experiment explored the acoustic features of the spontaneous-speech specific discourse marker hát ‘well/so’. The two topics can be regarded as interconnected if Varga's model is interpreted in the strong sense that pitch – presumably in a more or less strong correlation with intensity – is responsible for indicating the topic–comment dichotomy and other factors of the discourse-embedding of sentences. Thus, the reconciliation of our data with Varga's model requires the consideration of the pitch-tier substructures in their complex dynamism. The experiments support the plausible hypothesis that the variants of the discourse marker hát as part of the preparatory contour primarily differ in duration, while is-quantifiers in different pitch-tier parts differ in terms of pitch values.
Abstract
The Hungarian question tag mi? is subject to more special contextual restrictions compared to ugye?. An utterance that features mi? i) tentatively commits the addressee as a source for the anchor proposition of the tag question, and ii) it commits the speaker as a source for the addressee's being a source for p, which is a pragmatic presupposition. A speaker is a source for a proposition p if that speaker's commitment to p does not depend on any other discourse participant's commitment (Gunlogson 2008). The results of an online survey of a minimal set of pragmatically relevant contexts support claim i), and indirectly, claim ii). The effect of mi? on the immediate context of the discourse is modeled on a conversational scoreboard (Farkas & Bruce 2010; Malamud & Stephenson 2015).
Abstract
This paper investigates hitherto unnoticed variation in the linguistic coding of spatial anaphora in locative PPs in Hungarian. While Hungarian primarily employs reflexives in these configurations, it is well-known that pronouns are the default strategy in English, and the reflexive anaphor is allowed in locative PPs only in the presence of certain licensing factors. One such factor is the availability of body-oriented readings (Rooryck & Vanden Wyngaerd 2007, 2011), and we argue here that this plays an important role in Hungarian, too. The paper reports the findings of a corpus study and an online questionnaire study and shows that pronouns are not only acceptable in Hungarian spatial anaphora, but either outperform or form a viable alternative to reflexives when the location denoted by the PP is not close to the referent of the antecedent. A secondary effect of structure building is also observable in two configurations of the extended PP. We argue that the employment of a possessive structure in certain PPs, and moving a P-element to a CPPP cap may also contribute to saving pronouns in contexts of spatial anaphora.
Abstract
During the period of Ottoman rule in Hungary (1541‒1686), palisaded castles of differing sizes were typical elements in the border-castle networks on both sides of the battlefront: the Ottoman and the Christian. Archaeological remains (post-holes, beam structures, parts of palisades) complement the data in the written sources, making perceptible and measurable the great quantities of timber used in the building of castles. In the case of the Ottoman palisaded castle at Barcs and in that of the royal palisaded castle at Bajcsavár (southern Transdanubia), attempts were made ‒ on the basis of archaeological observations and reconstructions of ground plans ‒ to determine the number of palisade stakes used for the walls at the time of building, as well as to establish the number of trees felled in order to make them. By way of environmental history researches, an answer was sought to the question of how much the construction of these palisaded castles impacted on the forests in their respective districts. In the case of Barcs Castle, investigations were conducted into whether forest clearance in its vicinity can be reconstructed on the basis of pollen samples. Other issues examined are how far forest clearance extended from the two fortifications, its intensity, and the approximate quantities of timber yielded by it.
Abstract
The present study outlines the most important results of the aerial archaeological prospection surveys conducted by Zsuzsa Miklós (1948–2014) in South Transdanubia, with special regard to the fortifications, settlements, and landscapes along the Drava photographed between 2008 and 2013. This is a completed and edited version of the paper left to us from 2014.
Abstract
In his paper the author deals with the Acts of the Council of Chalcedon where a certain Valerian, the bishop of a settlement called Bassiana emerged several times. As he attended the synod of 448 at Constantinople as well, he lived in Constantinople most probably as refugee. Following E. Schwartz's correction, the author also comes to the conclusion that Valerian was mistakenly identified as the African bishop in the original Greek list and he was rather the bishop of the Pannonian Bassianae. He had to flee from his hometown to Constantinople because of the Hun occupation in 441 as his province already belonged to East Rome.
Abstract
This study explores the life-mode of Hungarian migrants in their destination country, England, particularly London in the last decade, focusing on their housing conditions and working experiences. Relying on her participant observations and interviews, the author formulates a picture through the eyes of Hungarian migrant laborers regarding how both the real estate and labor market exploits them (micro level). She explains the motives of the main economic actors (entrepreneurs, real estate and employment agencies, employers) leading to exploitations (meso level) in addition to discussing how all of these fit into the wider socio-economic context (macro level).
Abstract
The self-definitions of today's folk artists, as well as the concept(s) of folk art of official umbrella and quality assurance organizations, are rooted in complex, interrelated processes. In my study, I focus on the post-World War II concept of folk art, which is full of contradictions, but, despite all protests, has had an undeniable impact on the folk art of today. The system of applied folk arts paradoxically fostered the prominence of individual creators, in contrast to the communication of its novel cooperatives in the decades after World War II, which emphasized communal work. These creators – often possessing truly authentic folk art knowledge (some having gained their reputation before World War II) but no longer following the peasant way of life – were depicted by the media in rural or bucolic genre situations, thereby heavily aestheticizing the concepts of folk and folk art. At the same time, socialist cultural policy also emphasized their status as artists and creators, making them key figures in the cooperatives' work for decades as lead designers, prompting them to revitalize their local motif stock. At this point, another paradox of the Applied Folk Arts Council's perspective emerges, as the representation of the folk art of emblematic regions can increasingly be seen as the representation of the style of an individual (lead designer or charismatic artist). In my opinion, considering the 19th-century roots of the process, the definition of today's folk artists' products as unique works of art and the profound respect for design skills is rooted in this perspective that focuses on the work of iconic personalities, as I also point out in my case study analyzing Tiszafüred pottery through the work of several generations, a style that was adapted by Sándor Kántor and became known as Karcag pottery.
Abstract
The present paper offers a critical reflection on folk inspirations in Polish design in the early 21st century. It discusses the question of folk as an artistic form, pointing to conceptualizations of folk style and its formal qualities within the field of modern artistic production to which design and craft practices belong. It also touches on the role of the rural actors involved in the processes of the construction of folklore and their attitude towards folk conceived as esthetics, artistic form, and style. For rural producers, folk style was a question of conscious choice, sometimes motivated by conformism and sometimes by a deliberate effort to contribute to local/class/national self-presentation, very often in contradiction to the individual's own taste and that of their peers. The paper then examines the involvement of Polish folk-inspired design (etnodizajn) in the early 21st century with national self-presentation, as well as the various folk (lore)-inspired design strategies followed by contemporary Polish designers. It concludes with the observation that 21st-century design practices drawing on folkloric inspiration are part of a long sequence of cultural appropriations, where appropriation can mean both the alienating inequality experienced by the rural manufacturers of folk, as well as a necessary condition for the understanding of alterity by both sides in the cultural exchange.
Abstract
The legend of Ovid’s Hungarian tomb appeared in the historiography in the 16th century: besides the numerous Ovid-tombs that turned up all across Europe, Wolfgang Lazius was the first who mentioned in his work Commentarii Reipublicae Romanae that the grave of the poet destined to a tragic fate was discovered in Savaria-Szombathely. Then – at the end of the 16th century, probably through Polish influence – a four-line ‘epitaph’ expanded the narrative. In my paper I aim to enlighten how the legend of Ovid’s tomb appeared in the Hungarian historiography of the 16–18th century, how the authors tried to eliminate historical contradictions, and also, I intend to present the different concepts on the creation and the authenticity of the alleged epitaph today.
Abstract
In the paper, I am revisiting the complicated and many-layered interpretation of Ven. Fort. Carm. 5. 6, letter and figure poem. I am adding another layer by including the role of St. Symphorian, who is implicitly present in the poem through the addressee Syagrius, the bishop of Autun, Symphorian’s hometown. The presence of the saint plays together with the story of father and son that is told in the letter; the parallelism of the story in the letter and the saint’s legend could have laid additional pressure on Bishop Syagrius to give into Fortunatus’s plea.
A Barlám és Jozafát regény 26-27. fejezetében Nákhór ál-tanúságtétele nem más, mint Aristeidés eltűntnek hitt Apológiájának átirata. A tanulmány az Apologia utóéletének áttekintése, és a „kölcsönzött szöveg" elbeszélésen belüli szerepének vizsgálatán túl, a védőbeszéd Iviron kódexben megőrzött - ez- idáig kiadatlan - görög és ófrancia nyelvű változatából is közöl részleteket.
The speech in the Barlaam and Josaphat novel, Nachor’s pseudo-testimony, is in fact a transcription of Aristides’ Apology, previously thought to be lost. Although it is mentioned by Eusebius and St. Jerome, the sermon was considered lost until 1878. In the 19th century, Armenian and Syriac translations came to light, as well as Greek papyrus fragments, also preserving excerpts from the original text of the sermon. In the light of the Greek fragments, it became clear that the romanced saint’s biography Barlaam and Josaphat also preserved a metaphrase of the sermon in Greek. Codex Iviron 463, which contains the Greek abridged version of the Barlaam novel, includes not only the Greek transcription of the Apology, but also its Old French translation. In addition to an overview of the afterlife of the Apology and an examination of the role of the “loaned text” within the narrative, this paper will also provide extracts from the heretofore unpublished Greek and Old French versions of the apology preserved in the Iviron codex.
Az észak-afrikai latin szerzők sajátos írásmódjára vonatkozó megjegyzéseket már késő ókori grammatikusoknál is olvashatunk, az afrikai latinság kérdése pedig hosszú múltra és változatos tudománytörténetre tekinthet vissza. Sokszor maguk a szerzők - így Apuleius, Szent Ágoston - térnek ki afrikai származásukra, többnyelvűségükre, sok esetben mentegetőzve az őket ért vádak miatt, melyek az általuk használt latin sajátosságaira vonatkoztak. Élt tehát egyfajta elképzelés a köztudatban az ókortól kezdve, miszerint az észak-afrikai területeken beszélt és használt latin nyelv bizonyos sajátosságokkal rendelkezik. Természetesen a kiejtés és a beszéd tekintetében nincsenek ellenőrző eszközeink, azonban ezek lenyomatain, az afrikai területekről származó szövegeken tetten érhetjük és vizsgálatuk révén közelebb kerülhetünk az afrikai latin nyelv esetleges jellegzetességeihez. A korai keresztény szövegek egyik legfontosabb emléke az úgynevezett Codex Bobbiensisben hagyományozódott, amely amellett, hogy a legrégebbi fennmaradt, a Kr. u. IV. századból származó latin evangéliumfordítás, a Vetus Latina szöveghagyomány afrikai (vetus Afra) tradíciójának fő képviselője is egyben. Jelen tanulmányban annak megállapítására teszek kísérletet, hogy a kódex szövegében esetleg kimutathatók-e olyan (nyelvi) jelenségek, amelyek az eddig - elsősorban az afrikai feliratos anyag elemzéséből - kirajzolódott nyelvi képünk, elképzelésünk alapján valóban afrikai sajátosságnak, africanismusnak tekinthetők.
Comments on the unique writing style of the North-African Latin writers can already be found in the ancient grammarians’ texts. The question of the African Latin language has been around for long and it also has a diverse scientific history. It was often the authors themselves - Apuleius or St. Augustine - who commented on their African ancestry, their multilingualism, and their own use of Latin. They often tried to excuse themselves for the accusations, which their (incorrect?) language use attracted. There was - already in Antiquity - a notion, that both the written and the spoken Latin of North Africa had some unique features, which set them apart from the language used in Rome. Obviously, we do not have any instruments to experience pronunciation and spoken language in antiquity, but through the study of texts written in the region, we can get a closer look on the specific features of Latin used in the region. One of the most important early Christian texts, which has been preserved in the so-called Codex Bob- biensis is a fourth century Latin translation of the gospel. This text is also the main representative of the african (vetus Afra) version of the Vetus Latina. In this article I am trying to investigate this text, to see if there are any linguistic features, which can be (based on the already existing notions we have of the language from studying the inscriptions of the region) called specifically african features („africanismus”).
A tanulmány Venantius Fortunatus Galsuinthának, egy meroving családba házasodott vizigót hercegnőnek a halálára írt consolatióját vizsgálja. Galsuinthát Tours-i Gergely beszámolója szerint férje ölte meg, az incidens pedig újra testvérháborúhoz vezetett a meroving királyok között. A feszült politikai helyzetben Fortunatus hallgat az erőszakos részletekről. Ezt a magatartást korábban az aulikus költő óvatosságával magyarázták, a vers Vergiliusra és Claudianus De raptu Proserpinae-jére történő utalásainak elemzése viszont ennél bonyolultabb olvasatot tesz lehetővé.
In this paper Venantius Fortunatus’ consolation for the death of Galswinth, a Visigoth princess married into the Merovingian family, is analysed. According to Gregory of Tours, Galswinth was killed at the behest of her husband, and this incident led to another civil war among the Merovingian rulers. Fortunatus does not mention any of the violent details, which had been interpreted as the sign of the caution of the aulic poet. However, the references to Vergil and Claudian’s De raptu Proserpinae lead to a different interpretation.
A Codex Monacensis Graecus 307a Laonikos Chalkokondylés történeti munkája mellett számos lapszéli bejegyzést is tartalmaz. Az egyik ilyen jegyzetet Nikolaos Malaxos írta. Ebben ismerteti, hogy Theodóros, Mistra despotája hogyan adott el bizonyos városokat a velenceieknek és a rhodosi szerzeteseknek. Ugyanez a bejegyzés szóról szóra megtalálható a Chalkokondylés-hagyomány egy másik kéziratában, az Escorialensis Graecus 243 (Y-I-4) jelzetűben. Jelen írás célja, hogy megvizsgáljuk a szóban forgó Chalkokondylés-részletet, Malaxos széljegyzetének szövegét, valamint kisebb javaslatot tegyünk Chalkokondylés kézirati hagyományával kapcsolatban.
Codex Monacensis Graecus 307a contains several marginal notes in addition to Laonikos Chalkokon- dyles’ historical work. One of these notes was written by Nikolaos Malaxos. In this he describes how Theodoros, the despot of Mistra sold certain cities to the Venetians and to the monks from Rhodes. The same note made by the same hand can be found word for word in another manuscript of Chalkokon- dyles’ tradition marked Escorialensis Graecus 243 (Y-I-4) . The aim of the present paper is to examine Chalkokondyles’ passage in question and the text of Malaxos’ marginal note, and to propose a minor suggestion regarding the manuscript tradition of Chalkokondyles.
A középkori vágánsköltészet legkiemelkedőbb alkotásainak egyike a manapság Phyllis és Flora néven ismertté vált költemény, amely számos, különböző terjedelmű részeit megőrző kéziratban maradt ránk. Ezek között megtalálható egy meglehetősen különös szövegváltozat, amely mind tartalmában, mind terjedelmében jelentős eltéréseket mutat a többi kézirat szövegéhez képest: ez a költemény kezdeti nyolc strófája után mindössze hét hozzáköltött versszakkal le is zárul. Felfedezését követően a kutatás ugyan látóterében tartotta a kéziratot, ám pusztán az első nyolc strófa egy meglehetősen romlott szövegtanújaként tekintett rá. Szerencsés módon azonban nemrég előkerült az említett kézirat egy másik, megközelítőleg azonos időben keletkezett példánya is, amely alapvetően megváltoztatja az említett kézirathoz fűződő viszonyulásunkat: ezzel ugyanis nyilvánvalóvá lett, hogy nem csupán egyszeri, lejegyzője fejéből kipattant alkotásról beszélhetünk, hanem az említett vágánsköltemény egy kései változatáról, amely minden bizonnyal szélesebb körben is ismeretes lehetett, és amely keletkezési ideje okán a formain kívül gyökeres tartalmi, felfogásbeli, sőt műfaji eltéréseket mutat az eredeti költeményhez képest.
Without doubt, one of the most outstanding piece of the goliard poetry is the anonymous poem which nowadays become known as Phyllis et Flora (Altercatio Phyllidis et Florae). It was preserved to us in many manuscripts, whose each one contains parts of diff erent length of this poem. One of these copies especially diff ers from any of others: it preserves a complete poem that begins with the eight initial stanzas of the original poem, and continues with seven new-composed stanzas until its end. After the discovery of this manuscript, it become part of the tradition of the poem although it was considered just as a very corrupt witness of the poem’s fi rst eight stanzas. However, in the recent past, thanks to a lucky occasion, it was discovered a second copy of this variant poem, transcribed at the same period as the already known one. Th e new discovery fundamentally changes our relation to the variant: the new copy has made it obvious, that this is not a peculiar composition of the fantasy of its scribe, but a self-suffi cient late variant of the original poem, which had been supposedly more widespread, than its traces testify. Not only the radical alteration of its length, but – due to its late construction – that of its content and thought is also remarkable.
A tanulmány Hypereidés Démosthenés ellen című beszédének szöveghagyományát tekinti át a Har- ris-Arden papirusztekercs töredékcsoportjainak bemutatásával. Gianfranco Bartolini fél évszázaddal korábban publikált átfogó elemzését egészíti ki az 1972 óta megismert adatokkal. Az előkészületben lévő Hypereidés-szövegkiadás (Bibliotheca Teubneriana) előszavának egyik, bővített fejezetét jelenti.
This paper reviews the textual tradition of Hyperides’ speech Against Demosthenes by presenting fragment groups of the Harris-Arden papyrus scroll. It complements Gianfranco Bartolini’s comprehensive analysis published half a century ago with data acquired since 1972. It constitutes an extended chapter of the preface to the forthcoming Hyperides edition (Bibliotheca Teubneriana).
E tanulmány Kallimachos az elhunyt II. Arsinoé előtt tisztelgő költeményét elemzi. Először az Ektheósis Arsinoés a költői életműben elfoglalt helyét, a műfaj kérdéseit és a mű szerkezetét vizsgáljuk. Ez vezet át a versben fellelhető irodalmi allúziók értelmezéséhez (főként Hésiodos, Ibykos, Simónidés, Pindaros). Ezenfelül részletesen tárgyaljuk a történelmi hátteret és a töredékes hagyományból származó filológiai nehézségeket. A befejező rész a kallimachosi költemény utóéletét térképezi fel a görög és latin irodalomban.
This article aims to present an overall interpretation of a poem by Callimachus on the dead Ptolemaic queen Arsinoe II. Firstly the position of the Ectheosis Arsinoes in Callimachus’ rnuvre, the genre to which it belongs and its structure will be investigated. This leads to the analysis of the highly allusive character of the work (above all to Hesiod, Ibycus, Simonides and Pindar as well as to hymnic poetry). In addition, realia (the historical background) and textual difficulties arising from the fragmentary transmission will also be treated. The conclusive part looks at the reception of Callimachus’ poem in later Greek and Latin poetry.
A tanulmány a Moreai Krónikában (Τό Χρονικόν του Μορέως) megjelenő magyarok szerepét és megítélését vizsgálja. Bemutatja azokat a szöveghelyeket, amelyekben a Krónika megemlíti a magyar népet vagy a Magyar Királyságot, majd összehasonlítja ezeket más ófrancia és bizánci görög nyelvű, kortárs irodalmi és történeti művek olyan részleteivel, amelyekben szintén említésre kerülnek a magyarok. Megoldási javaslatot tesz arra a kérdésre, hogy miért beszél az általában Bizánc-közeli, illetve a Bizánci Birodalom utódállamait segítő magyarokról az ellenséges keresztes államok történetét megörökítő Krónika a többi korabeli - magyarokhoz közelebb álló - forráshoz képest elismerőbb hangon, dicsérőbb kifejezésekkel: ennek oka elsősorban III. Béla lánya, Margit és dédunokái, a Saint-Omer fivérek hírnevében keresendő. A tanulmány vizsgálja továbbá a Saint-Omer fivérek irodalmi és történeti szerepét, illetve bemutatja a Krónika azon részletének részletes filológiai elemzését, amelyben a szerző Akova báróságának örökösödési tárgyalását részletezi.
The study examines the role and perception of Hungarians in the Chronicle of Morea (Τό Χρονικόν του Μορέως). It presents the passages in which the Chronicle mentions the Hungarian people or the Kingdom of Hungary, and compares them with passages in other contemporary literary and historical works in Old French and Byzantine Greek that also mention Hungarians. It proposes a solution to the question of why the Chronicle - which records the history of the hostile Crusader states - speaks of the Hungarians - who were generally close to Byzantium and helped the successor states of the Byzantine Empire - in a more laudatory tone and in more praiseworthy terms than other contemporary sources closer to the Hungarians: the reason for this is to be found primarily in the reputation of Béla Ill’s daughter Margaret and her grandchildren, the Saint-Omer brothers. The study also examines the literary and historical role of the Saint-Omer brothers and presents a detailed philological analysis of the excerpt from the Chronicle in which the author discusses the succession of the Barony of Akova.
Abstract
This paper draws attention to a robust grammatical change trajectory, here dubbed the copula-to-cleft pathway. We show that the emergence of the copular clause construction tends to lead to the emergence of the cleft construction, and the decline of one tends to be in tandem with the other. We further propose that the above pattern follows from a syntactic treatment that derives the cleft structure from a copular clause. Such copular syntax can be further combined with a semantic analysis where the focus interpretation of clefts is computed based on a copular structure.
Abstract
Artificial intelligence (AI) and machine learning technologies have impacted on the language mediation market with the spread of machine translation (MT) and the creation of sub-tasks such as text preparation for translation and post-editing. Up until this time, the impact of machine interpretation on the interpretation profession cannot be felt to the same extent as that of MT on the translation profession. Technological advances, however, have not come to an end and nowadays fully-automated machine interpretation and AI-based computer assisted interpreting (CAI) tools are increasingly common in the interpreting profession. However, the use of AI and big data in interpreting raises several ethical questions in terms of data protection and confidentiality. The earliest references to MT date back to the 1930s. Despite this long history ethical considerations in MT have rarely been discussed in Translation Studies, and to our knowledge, they have not been discussed at all in Interpreting Studies. This article first examines how AI can be used in interpreting as well as the various tools already available, then discusses the ethical considerations raised by the use of AI in general and in interpreting in particular.
