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Arts and Humanities
O leksiku u kajkavskom narječju
Vocabulary in the Kajkavian Dialect
U radu se daju temeljni podatci o kajkavskom leksiku, njegovu podrijetlu, kontaktu s mađarskim i njemačkim jezikom te suvremenim pojavama u interferenciji s hrvatskim standardnim jezikom (pseudoanalogonimija, najnovije semantičke adaptacije). Kako je leksik hrvatskih kajkavskih govora rubno zastupljen u postojećim etimološkim rječnicima hrvatskoga jezika, u radu se ističe da je teško napraviti klasifikaciju velikog broja leksema koji se ne nalaze ni u kojem od slavenskih jezika.
Kod leksičkog posuđivanja hungarizama vrlo je rijetko riječ o popunjavanju leksičkih praznina, a mnogo češće o posuđivanju zbog izvanjezičnih razloga (zemljopisnih i političkih) jer ih je velika većina u trenutku primarne adaptacije imala ekvivalente u govorima primaocima. Od semantičkih polja koje pokrivaju hungarizmi najbrojnije je ono koje se odnosi na pejorativna značenja u kontekstu osobina, izgleda i ponašanja ljudi, a od onih koje pokrivaju germanizmi je ono koje se odnosi na tehničke izraze iz najrazličitijih obrta.
Arhaičan kajkavski leksik ili nestaje ili suvremenim semantičkim adaptacijama pronalazi novo mjesto u vokabularu suvremenih govornika kajkavskog narječja. Apostrofira se velika učestalost deminutiva / hipokoristika, i to ne samo kao tvorbena mogućnost ili rubni sloj leksika, već kao izuzetno često korišteni leksik u svakodnevnoj komunikaciji. Opisuju se istraživanja pseudoanalogonimije koja su osim za lingvističke spoznaje važna i za metodiku nastave hrvatskog jezika, što bi mogla biti stožerna točka oko koje bi i kajkavsko narječje dobilo bolji položaj u školama.
Na kraju se govori o najnovijim trendovima u istraživanju kajkavskog leksika i solidnom razvoju kajkavske dijalektne leksikologije zbog pojave velikog broja amatera koji cijeli život skupljaju leksik i prepuštaju njegovu obradu jezikoslovcima pa djelo objave kao zajednički rad. Na kraju se predlaže metodologija istraživanja razlikovnosti leksika između pojedinih mjesnih govora kad za neki mjesni govor već postoji objavljeni opsežni znanstveni rječnik. Na taj bi se način lakše pratili procesi širenja i rasprostranjenosti najrazličitijih jezičnih pojava iz područja semantike i tvorbe riječi, a ne samo općepoznatih jezičnih izoglosa koje se tiču uglavnom fonologije.
U zaključku se ističe da je posljednji trenutak da se leksička istraživanja kajkavskog narječja intenziviraju jer za razliku od fonologije i morfologije, semantika je puno brže podložnija promjenama s obzirom na to da nove realije doslovce svakodnevno prodiru u suvremeni život, a to se manifestira na i na standardni jezik i na interdijalekt i na mjesne govore.
The paper provides basic information about the Kajkavian lexicon, its origin, its contact with the Hungarian and German languages and about contemporary phenomena in its interference with the Croatian standard language (pseudo-analogonymy and the latest semantic adaptations). As the lexicon of Croatian Kajkavian dialects is marginally represented in the existing etymological dictionaries of the Croatian language, the paper points out that it is difficult to classify a large number of lexemes that are not found in any of the Slavic languages.
Lexical borrowing of Hungarianisms occurs very rarely to fill in lexical gaps and is much more common for non-linguistic reasons (geographical and political) because the vast majority of them had equivalents in the recipients’ vernaculars at the time of primary adaptation. Of the semantic fields covered by Hungarianisms, the most numerous is the one that refers to pejorative meanings in the context of human characteristics, appearance and behaviour, whereas those covered by Germanisms refer to technical expressions from various trades.
The archaic Kajkavian lexicon either disappears or finds a new place in the vocabulary of modern speakers of the Kajkavian dialect with modern semantic adaptations. A high frequency of diminutives / hypocorisms is emphasized, not only as a creative possibility or a marginal layer of vocabulary but also as an extremely frequently used vocabulary in everyday communication. Research activities of pseudo-analogonymy are described. They are important not only for linguistic knowledge but also for the methodology of teaching the Croatian language, which could be a pivotal point around which the Kajkavian dialect could get a better position in schools.
The paper continues to talk about the latest trends in the research of Kajkavian lexicon and the solid development of Kajkavian dialect lexicology due to the emergence of a large number of amateurs who collect lexicon all their lives and leave it to linguists and publish the work as a joint work. Finally, a methodology for researching the distinctiveness of lexicons between individual local dialects is proposed, when an extensive scientific dictionary already exists for a local dialect. In this way, it would be easier to follow the processes of spreading and prevalence of various linguistic phenomena in the field of semantics and word formation, and not only the well-known linguistic isoglosses that concern mainly phonology.
In conclusion, it is pointed out that it is the last moment to intensify the lexical research studies of the Kajkavian dialect because, unlike phonology and morphology, semantics is much more susceptible to change, given that new real objects literally penetrate modern life on a daily basis and this is manifested in both the standard language and in the interdialect and the local vernaculars.
Деньги в русских антипословицах
Money in Russian Anti-Proverbs
В течение многих столетий паремии (пословицы и поговорки) служили великолепной почвой для бесконечной трансформации. В последние же десятилетия паремиологическая трансформация приняла такие масштабы, что порой можно чаще встретить трансформы, чем традиционные паре-мии. Вольфганг Мидер назвал такого рода паремии антипословицами (нем. Antisprichwörter, англ. anti-proverbs). Этот термин был широко принят паремиологами всего мира.
Данная статья посвящена анализу русских пословиц и антипословиц о деньгах. В первой части работы были рассмотрены способы трансформации традиционных русских по-словиц: замена одного или двух слов; замена второй или первой части пословицы; добавление новых слов или, наоборот, выпадение слов; использование буквального значения вместо метафоричного; смешение нескольких пословиц. Многие антипословицы одновременно включают в себя несколько способов трансформации.
Во второй части статьи мы кратко осветили такие понятия как семантическое поле и гиперсема в контексте денег (к которой относятся помимо лексемы деньги также и такие слова как рубль, ко- пейка, платить, богатый, бедный, золото, долг, платеж и др.), а также мы привели примеры по-словиц о деньгах из различных языков мира (например, из английского, немецкого, французского, испанского, итальянского).
Третья часть статьи была посвящена анализу русских пословиц и антипословиц о деньгах. Сна-чала нами были рассмотрены примеры трансформации пословиц, в текстах которых есть слова, относящиеся к гиперсеме «деньги» (19 примеров). Потом мы направили фокус нашего внимания на антипословицы, в текстах которых присутствовала гиперсема «деньги», но в самих пословицах ее не было (14 примеров). Всего в этих двух разделах нами было проанализировано 33 русские пословицы и 88 антипословиц о деньгах. Фокус нашего внимания был прежде всего на том, что происходит в ходе трансформации с пословицами, какие виды трансформации являются наиболее популярны-ми в нашем корпусе, а также мы рассмотрели, какие смысловые изменения происходят с послови-цами во время их модификации. Эту часть статьи мы завершили анализом трех самых популярных в нашем корпусе пословиц о деньгах: Не в деньгах счастье; Не имей сто рублей, а имей сто друзей; Долг платежом красен и их многочисленных переделок.
Большая часть антипословиц о деньгах отражают актуальные реалии для носителей русского языка, в которых добавлены темы секса, коррупции, преступного мира, работы, кредитов, здоровья, ежедневных будней и праздников, качеств характера и др. По мнению В. Мидера, антипословицы нередко становятся моралистичными или даже дидактичными высказываниями, и мы это наглядно увидели на примере многочисленных антипословиц о деньгах.
For centuries, proverbs have provided a framework for endless transformation. In recent decades, the modification of proverbs has taken such proportions that sometimes we can even meet more proverb transformations than traditional proverbs. Wolfgang Mieder has coined the term anti-proverb (or in German, Anti- sprichwort) for such deliberate proverb innovations. This term has been widely accepted by paremiologists all over the world as a general label for such innovative alterations and reactions to traditional proverbs.
This paper is devoted to the analysis of Russian proverbs and anti-proverbs about money.
In the first part of the work, we have demonstrated various mechanisms of proverb variation, e.g. replacing a single word; substituting two or more words; changing the second part of the proverb; adding new words; omitting words; adding literal interpretations; melding two proverbs. Many anti-proverbs include several ways of transformation.
In the second part of the paper, at first, we have briefly covered such notions as the semantic field of the word money (which includes, in addition to the lexeme money, such words as ruble, kopeyka, pay, rich, poor, gold, debt, payment, etc.). Moreover, we have also introduced examples of proverbs about money from various languages of the world (for example, English, German, French, Spanish, and Italian).
The third part of the paper has been devoted to the analysis of Russian proverbs and anti-proverbs about money. In the first section, we have considered examples of transformations of proverbs with words related to the semantic field of the word money (19 proverbs). In the second section, we have focused on anti-proverbs in which the words belonging to this semantic field are present but in the original proverbs are absent (14 proverbs). In a nutshell, in these two sections, we have analyzed 33 Russian proverbs and 88 anti-proverbs about money. Mainly, we have focused on what happens during proverb transformation as well as on what types of transformation are the most common in our corpus. In addition, we have also examined various types of semantic change occurring to proverbs during their modification. We have finished the third part of the paper with an analysis of three most common proverbs about money in our corpus: Не в деньгах счастье [Money does not bring happiness]; Не имей сто рублей, а имей сто друзей [Do not have a hundred roubles but have a hundred friends]; Долг платежом красен [Debt should be returned by paying back].
The vast majority of the anti-proverbs about money portray real situations for native speakers of Russian. Among the themes treated in our proverb alterations are sexuality, corruption, criminal world, work, credits, health, weekdays and holidays, character traits, etc. According to Mieder, anti-proverbs often become moralistic or even didactic statements, and we have observed it in the numerous anti-proverbs about money treated in our study.
Прах и промах. А. Белый и В. Набоков: полигенетизм, параллель, пародия
“Prakh” and “Promakh” (Ashes and Failures). А. Belyi and V. Nabokov: Polygenetics, Parallelism, and Parody
В статье проводится анализ концовки двух романов двух авторов, «Серебряного голубя» А. Белого (1909) и «Отчаяния» В. Набокова (1934) с целью раскрыть, каким образом последний отвечает на традицию символизма и на его эмблематического автора-теоретика.
Влияние А. Белого на В. Набокова рассмотрено в статье как многоплановое явление, не только как следование по стопам принятого наследия или его отрицание. Это скорее внимание ученика к мастеру поэтической формы, рождающее стилистические параллели, с одной стороны, а с дру-гой стороны – это отношение к преодолеваемому литературному предшественнику, выражающееся в сложных трансформациях. Тончайшим жанром второго типа отношения является амбивалентная по натуре пародия, касающаяся и критики идейного и мировоззренческого плана.
Исходя из этих тезисов, статья, впервые в набоковедении, предлагает определить «Отчаяние» В. Набокова по жанру как роман философский.
Роман опровергает прежде всего символистскую теорию жизнетворчества, отвечая не только А. Белому, но, в более широком плане, и идейной и поэтической традиции Серебряного века.
Сравнение Дарьяльского с Германом, включением фигуры Раскольникова поставлено в статье в расширенный контекст «идейных убийств», касающихся вопроса свободы воли человеческой управлять своей судьбой, строить ее по планам. Особенно наглядно это в тройном сопоставлении, указывающем такое же амбивалентное отношение Набокова к наследию Достоевского, на которо-го явно опирается сюжет романа Набокова. Он становится объектом прямой пародии Набокова, открыто опровергающего и высмеивающего Достоевского, но тем самым (невольно) и ставит его в роль центральной фигуры внимания. Тройное сравнение раскрывает и то, что наследие Достоев-ского воспринято и интерпретировано Набоковым через наследие символизма. Это наследие, хоть и через кривые отражения, все же и именно тем самым и увеличено, ибо воспроизведение непосред-ственными предшественниками придает ему дополнительную глубину косвенной интерпретации.
Статья затрагивает своеобразие приема двойников у В. Набокова, который отрицал и высмеивал прием «Doppelgänger», и предлагается термин «псевдодвойники».
Приведенные тезисы основаны на тщательном анализе полигенетических коннотаций палки, ох-ватывающих культурные коды мифических аллюзий, античной и сакрально-библейской традиции, и косвенных, интертекстуальных литературных перекличек. В рассмотрении образа палки просле-живается сравнительная статистика синонимов в двух романах, и даже их языково-графические свойства; образы, построенные на форме букв ассоциациями автора-синестета.
The paper focuses on the endings of two novels by two authors, The Silver Dove by A. Bely (1909) and Despair by V. Nabokov (1934) to reveal how the latter responds to the tradition of Symbolism and its emblematic author-theorist.
The influence of A. Bely on V. Nabokov is considered in the paper as a multidimensional phenomenon, not only as following in the footsteps of the accepted heritage or its denial. Rather, it is the student’s attention to the master of the poetic form, giving rise to stylistic parallels, on the one hand, and on the other hand, it is the attitude to the literary predecessor being overcome, expressed in complex transformations. The finest genre of the second type of attitude is parody (ambivalent in its nature), parody, concerning here both ideological and philosophical criticism.
Based on these theses, the paper, for the first time in Nabokov studies, proposes to define Nabokov’s Despair as a philosophical novel by genre. The novel disproves, above all, the Symbolist theory of “zhiznetvorchestvo” (‘the creation of life’), responding not only to A. Bely but also to the ideological and poetic tradition of the Silver Age.
The comparison of Daryalsky to Herman, by also involving the figure of Raskolnikov, is placed in the paper in the extended context of “ideological murders” concerning the question of the freedom of the human will to control his fate, to build it according to human plans. This is particularly evident in the triple juxtaposition, which indicates the same ambivalent attitude of Nabokov toward the legacy of Dostoevsky, on which the plot of Nabokov’s novel is clearly based. He becomes the object of Nabokov’s direct parody, openly refuting and ridiculing Dostoevsky, but in doing so, (unwittingly) also places him as the central figure of attention. The triple comparison also reveals that Dostoevsky’s legacy is perceived and interpreted by Nabokov through the legacy of Symbolism. This legacy, even if through a distorted reflection, is nevertheless and precisely thereby magnified, for the reproduction by his immediate predecessors gives it an additional depth of indirect interpretation.
The paper touches upon the peculiarity of the reception of doubles in V. Nabokov and proposes the term pseudo-doubles (as the author denied and mocked the technique of Doppelgänger).
The thesis is based on a thorough analysis of polygenetic connotations of the stick, covering cultural codes of mythical allusions, ancient and sacral-biblical tradition, and indirect, intertextual literary interferences. In examining the image of the stick, the comparative statistics of synonyms of the word in the two novels are traced as well as their linguistic and graphic properties, images built on the form of letters by the synaesthete author’s associations.
Стихи о море в русской романтической лирике
Poems on the Sea in Russian Romantic Poetry
В статье предлагается несколько стихотворений русских поэтов на тему моря. Описательный аспект в них пропитан эмоциональными переживаниями авторов. При этом меняющийся вид моря, его богатство световыми и звучными оттенками и переливами нарисованы c высоким поэтическим мастерством, позволяющим ощущать определенный параллелизм между динамикой моря и изме-нениями в душевной жизни человека. Эти романтические стихотворения содержат явные элементы реалистического подхода к действительности, а вместе с тем и некоторые черты, свидетельствую-щие о склонности авторов к трансцендентальности.
Элегия Жуковского «Море» (1822) – прекрасный пример олицетворения: море рассматривается как мистическое существо, которое живет, дышит и исполнено тревожной мыслью. Реалистичное изображение моря содержит скрытую аллюзию на переменчивые настроения человеческой души.
В стихотворении Пушкина «Погасло дневное светило…» (1820) поэт вспоминает о своей поте-рянной бурной молодости. В его же стихах «К морю» (1824) море как символ абсолютной свободы напоминает судьбы двух великих мужей века: Наполеона и Байрона.
В стихотворении «Море и утес» (1848) Тютчев выражает свою веру в миссию России как защит-ника христианства. Помимо аллегорического смысла, мастерство изображения яростных бурь волн против «спокойного и уверенного в себе утеса» предлагает прекрасную параллель с известными морскими картинами Айвазовского. В его стихотворении «Как хорошо ты, о море ночное» (1865) непрерывное движение моря намекает на трансцендентальное. Последние строки этого стихотво-рения говорят о неутолимой скорби поэта, вызванной недавней смертью его возлюбленной. Его же стихи «Волна и дума» (1851) представляют эмблематический символ взгляда поэта на аналогию природы и человеческого духа: наши мысли – это то же непрерывное, тщетное и обманчивое явле-ние как бушующие и отступающие волны моря.
Бунин посвятил два стихотворения морю. В одном из них (1895) вид спокойного ночного моря вызывает у наблюдателя восхищенное предчувствие вечной красоты и неземной истины. В другом стихотворении (1897) описание бурного Северного моря напоминает унылое настроение поэта. Па-раллель между этим зрелищем и подавленным состоянием души поэта проявляется в уничижитель-ных семантических тонах эпитетов и предикатов.
В стихах Бальмонта «У моря ночью» (1903) вид ночного моря возбуждает у поэта отчаянное ви-дение нависающей смерти.
В своем коротком стихотворении (1884) Надсон сравнивает море с мощным органом в величе-ственном соборе, но вместе с тем оно приводит видение кого-то «безумно смеющегося и грозящего».
При этом цитированные романтические стихотворения содержат явные элементы реалистиче-ского подхода к действительности, хотя в то же время некоторые их черты свидетельствуют о склон-ности авторов к трансцендентальности.
The paper presents a selection of poems about the sea, written by Russian lyric poets in the 19th century. The descriptive aspect in the poems is imbued by the emotional experience and actual mood of the authors. At the same time, the changing sight of the sea, the abundance of its luminous tints and sounding modulations are shown with high poetic mastery suggesting a certain parallel between the dynamism of the sea and the alternating states of the human mind. Parts of the texts indicate the authors’ disposition to transcendence.
Zhukovsky’s elegy Море [The Sea] (1822) is a fine example of personification: the poet addresses the sea regarded as a mystical being that lives and breathes, filled with anxious thought. The realistic portrayal of the sea contains a hidden allusion to the changing moods of the human soul.
Pushkin’s poem Погасло дневное светило… [The Day Star is Gone] (1820) recalls reminiscences of his lost turbulent youth. In the poem К морю [To the Sea] (1824), the sea as the symbol of absolute freedom reminds of the fates of the two outstanding men of the century, Napoleon and Byron.
Tyutchev’s poem Море и утес [The Sea and the Cliff] (1848) pertains to the Western European revolutionary events of 1848. In the form of an allegory, the poet expresses his belief in the mission of Russia as the defender and stronghold of genuine Christianity. Apart from its allegorical sense, the mastery of depicting the furious storms of waves against the “calm and self-confident Cliff ” offers a fine parallel to the well-known maritime paintings of Ayvazovsky. The poem Как хорошо ты, о море ночное [How Fine is You, the Sea at Night] (1865) includes a hint at transcendence in the description of the continually moving sea. The last lines of this poem allude to the unappeasable grief of the poet caused by the recent death of his beloved. The poem Волна и дума [The Wave and the Thought] (1851) is an emblematic symbol of Tyutchev’s view on the parallelism of nature and the human mind: our thoughts are regarded as just the same incessant, idle, and deceptive phenomena as the storming and receding waves of the sea.
Bunin devoted two poems to the sea. One of them (1895) presents the sight of the tranquil nocturnal sea, arousing a delighted state of the observer, his presentiment of everlasting beauty and “unearthly truth”. The other poem (1897) describes the stormy Northern Sea with its piercing wind and heavy waves. The parallel between this sight and the depressed state of mind of the poet appears in the pejorative semantic tones of the epithets and predicates.
In Balmont’s poem У моря ночью [At the Sea by night] (1903), the sight of the sea by night stirs up in the poet a desperate vision of imminent death.
In his short poem (1884), Nadson compares the sea with a powerful organ in a majestic cathedral but at the same time a vision appears to him of “somebody insanely laughing and threatening”.
In the cited poems, the romantic (i.e. individual and emotional) attitude to the sea is integrated with superior skill in describing elements of reality, and reveals a certain inclination of the poets to transcendental experience.
Abstract
In Hungary, the academic study of folklore started at the turn of the 20th century. In the period between 1889 and 1920, institutions for the study of folklore and ethnography were established. The author points out that ethnographic collections in this era were motivated by concern about the loss of folk culture phenomena owing to changes brought by modernisation. Major arguments for the establishment of the Hungarian Ethnographic Society as well as the Museum of Ethnography referred to the need to salvage endangered items of folk culture from vanishing. Folklore collections were interpreted as rescue missions aiming to save material in the penultimate moment. The author of this paper investigates the way in which an outstanding folklorist of the period, Lajos Katona (1862–1910), professor of comparative literary studies, defined the essence, purpose, and method of ethnographic/folklore collections. Katona urged on several occasions that collectors of folklore be equipped with professional guidebooks and other auxiliary materials. He played a role in the popularisation of the activities of the Folklore Fellows, furthering the establishment of a network of voluntary collectors. Empirical data collection in the field is a central notion of folklore studies, one of the most important methodological and epistemological categories of the discipline, which functions as a distinctive feature differentiating it from other fields of study. Therefore, it is of central importance to shed light upon how and why the principles of the collection and recording of folklore phenomena in oral culture have changed.
Abstract
The village today is only partially what we used to know of in the past, our previous image rooted in a sinking world, nothing but memories. In the 21st century, even in rural communities, the daily routine, practices and strategies of economic life are determined by the processes of modernization and globalization, in conjunction with information and communication technologies along with the wide-ranging proliferation of digital devices. It can be said that life in the 21st century village also shows a simultaneous constraint of modernization (the constraint of evolution and change) and the presence of masses incapable of changing (even if their number is continuously decreasing). The coexistence and confrontation of these opposing forces and ideologies characterizes the Hungarian/Transylvanian rural space in Romania during the 21st century. All these have led to the degradation of previous community patterns, resulting in the faltering position of tradition as well as a major change in the role it plays in the life of said communities.
Abstract
As a result of globalization processes, the lives of average people are nowadays filled with uniform products. In Ukraine, contemporary clothing featuring national markers stands out from among the wide range of cultural and artistic trends. Ukrainian academics are currently studying the specific features of the diffusion of traditional clothing into everyday urban life. A knowledge of the historical path of the penetration, adaptation, and development of traditional Ukrainian clothing within the urban cultural system is necessary for an understanding of its modern transformation processes. An examination of the theoretical model of the diffusion and development of nationally marked clothing from 1861 to 2020 reveals that, in the context of urbanized culture, the spread of Ukrainian clothing is subject to five factors: social and economic, religious and ritual, identification (patriotic), cultural and artistic, and design and production. Within each subperiod, namely 1861–1920, 1921–1990, and 1991–2020, these factors have influenced clothing culture to varying extents, and their content is transformed in accordance with the historical circumstances. In addition to the publication of the above developments in scientific journals, considerable efforts to popularize them are also being made. Several thematic lectures have been given on the influence of the above-mentioned driving forces at different historical stages, accompanied by the multimedia presentation of prominent members of the Ukrainian intelligentsia posing in Ukrainian attire. The ZETA Atelier clothing manufacturing team produces collars embroidered with Ukrainian folk motifs, which became fashionable among Ukrainian intellectuals in the early 20th century. Collaboration based on the educational platform of the clothing brand Zerno has given rise to the idea of producing a line of stockinette T-shirts with prints of historical photographs of the Ukrainian cultural figures previously featured during lectures and presentations. The aim is to shape a contemporary urban culture of nationally marked clothing via the introduction of national images into consumer practices.
Abstract
The present study introduces the role played by the Hungarian Heritage House in applied ethnography and the folk art revival. It is the first such study to review their antecedents over the past 70 years, the evolution of the institutional background, and activities of varying emphasis (research, teaching, certification) in the fields of folk dance, folk music, and folk handicrafts. The second part of the study evaluates professional tasks in the context of the organizational framework of the Hungarian Heritage House, which was founded in 2001, highlighting the internal relationships among activities embedded within the historically developed structure. The study then goes on to describe the intermediary role of the institution in relation to the practical use/usefulness of basic ethnographic research in terms of: (a) knowledge transfer — the utilization of basic ethnographic research in trainings and courses; and (b) digitization — ensuring wide access to ethnographically authentic archive folk music and dance recordings as the socialization of basic ethnographic research; and (c) research activities within the scope of applied ethnography and existing and potential cooperation with the academic sector. By way of conclusion, the study outlines pressing tasks in the field of applied ethnographical research that are crucial to the everyday, practical work of folklorism. These tasks include delineating the image (i.e., concept) of folk art and folk tradition in the Hungarian Heritage House; clarifying the terminological issues that affect the profession as a whole; creating a professional historical archive of folklorism; organizing a regular forum for critical discussion; and rethinking the cultural context and function of the folklore revival in light of the present-day challenges.
Abstract
The UNESCO World Heritage Convention (1972) was originally focused on nature conservation and built heritage. The immaterial aspect of the worldwide heritage discourse arrived at a turning point in 2003, when the Convention for the Safeguarding of Intangible Cultural Heritage was adopted. The definition of the intangible cultural heritage provides essential frames for a wide range of interpretations. The UNESCO concept focuses on inclusive, representative and community-based traditions which are contemporary and living at the same time. In this sense, the intangible cultural heritage conception is based on the fundamental dichotomy of tradition and modernity. For the communities concerned, a new perspective for living traditions is the process from tradition to heritage. There are four essential features of this process: participation, consciousness, organization and valorization. They can make a difference between tradition and heritage. The Hungarian model for the implementation of the UNESCO Convention is based on a bottom-up system, where the heritage bearers themselves initiate the nomination process for the National Inventory. It is based on their strong commitment to their heritage and it relies on their involvement and participation. In this paper, three case studies from North-East Hungary (Borsod-Abaúj-Zemplén County) represent different ways of “creating a heritage.” The various patterns are closely related to the ideas of identity, community cohesion, tourism, local economy and the preservation of living traditions.
Abstract
The texts of Zsuzsa Bánk (being born in Germany to Hungarian parents, so growing up bilingually, writing in German and having at least one character with a Hungarian background performing in each of her works) explore affiliations. This is perhaps best seen in the volume of stories The Hottest Summer. With the present contribution, it was my aim to examine spatial concepts in this volume as concepts of belonging.
Kālidāsa and the Bastard Son •
An Attempt to Read Kālidāsa’s Nāṭakas Politically
Kālidāsa’s nāṭakas, namely the Abhijñānaśākuntala and the Vikramorvaśīya are undisputedly among the greatest works of Sanskrit literature. Thus it is not surprising that there have already been many excellent literary interpretations focusing on these works. My aim is not to augment this list, but instead I intend to shed some light on the less-investigated political message of these dramas. In other words, I am attempting to re-read Kālidāsa’s plays as pieces of political theatre.
While the subject of the Venetian espionage in the Ottoman empire has received scholarly attention, no attempt has been made to study the baili’s intelligence-gathering activities on Safavid issues in a systematic way. Through the close scrutiny of baili dispatches and other relevant materials of the Venetian State archives, this paper examines the role of the Venetian diplomats in Istanbul in information-gathering on the Safavids. It demonstrates that the baili used various techniques, particularly gifting, bribery, and information exchange with the Ottoman officials in order to collect and transmit to Venice a wide range of information on Ottomans’ arch-rivals, the Safavids.
Abstract
This paper is concerned with the Q-particle də in Sinhala wh-questions and polar questions. Previous approaches propose a two-legged semantic dependency: (i) the lower leg projects a set of alternatives and (ii) the upper leg forms a choice function dependency. The contribution of the present paper is two-fold. First, it presents novel empirical data on complex questions with islands that pose a serious problem for this architecture when applied to polar questions. Second, it develops a new proposal that maintains a common meaning for the Q-particle in the two question types while avoiding this empirical problem. The key insight of the new analysis is to liberalize the upper dependency leg as to pass up a focus value that can later combine with different operators: with the Q-operator in wh-questions and with the squiggle operator in polar questions.
Abstract
In this paper, I investigate the distribution and semantic behavior of various proportional quantifiers (PQs) in Polish. Based on novel evidence including corpus data, I conclude that Polish PQs do not constitute a uniform category, but rather can be divided into four distinct classes based on the following properties: i) (in)compatibility with numerals and measure words, ii) (in)compatibility with approximative modifiers, iii) (in)compatibility with cumulative predicates and iv) (non)occurrence of spatial integrity effects. I propose that such a typology results from an interplay between more primitive semantic notions. In particular, the data call for combining degree semantics with a mereotopological approach to the meaning of PQs.
Abstract
Der Aufsatz beschäftigt sich mit der Rezeptionsgeschichte der Gedichte Albrecht von Hallers im Ungarn des 18. Jahrhunderts. Als Grundlage für die Untersuchung dienen die Haller-Zitate in zeitgenössischen Stammbucheinträgen. Mit dieser Frage setzten sich zwar sowohl deutsche als auch ungarische Forscher schon früher auseinander, jedoch, wie im vorliegenden Aufsatz behauptet wird, unter Anwendung einer gewissermaßen falschen Methode. Es wurde nämlich in diesen früheren Arbeiten nicht näher darauf eingegangen, ob das Zitat gegebenenfalls einer sekundären Quelle entnommen wurde. Dieser Ansatz führte jedoch zu falschen Schlussfolgerungen. Vorliegender Aufsatz versucht, die aus sekundären Quellen stammenden Zitate von jenen aus dem „Original“ zu unterscheiden. Es wird festgestellt, dass die in Stammbucheinträgen im 18. Jahrhundert zu lesenden Haller-Zitate überwiegend aus nachweislich sekundären Quellen herzuleiten sind. Je „berühmter“ ein Autor war – diesen Eindruck gewinnt man anhand des Korpus –, umso mehr zitieren ihn die Zeitgenossen aus indirekten Quellen.
Nicolaus, scriptor librorum serenissimi Mathie regis •
A Corvina könyvtár budai scriptora
Nicolaus, scriptor librorum serenissimi Mathie regis •
The buda scribe of the Corvina library
Wholly new aspects have lately enriched the research of the Buda library of King Matthias Corvinus, Bibliotheca Corvina. the library – in the last years of its history – is regarded as a self-contained new entity. Research has adopted a far more complex approach than earlier, including the differentiation of the Buda scribes, the recognition of the text critical work of the humanists and of course the activity of the book-binders. Of particular importance are the new investigations of Edina Zsupán, who has managed to prove that several important Corvina manuscripts were copied in Buda. they include the ransanus codex (Budapest, OSzK, Cod.Lat.249), the Beda Venerabilis Codex (Munich, Bayerische Staatsbibliothek, Clm 175), the philostratus (Budapest, OSzK, Cod. Lat. 369) and the Averulinus corvinas (Venezia, Bibioteca nazionale Marciana, Lat. VIII. 2 [-2796]), as well as the nagylucse psalter (Budapest, OSzK, Cod. Lat. 369) adapting to the corvinas in all respects. the material of the folios of each is a more roughly finished Central European parchment and the copiers could be identified on the basis of the individual features of their handwriting. However, no names can be attached to them for the time being.
Unexpectedly, a datum was found in a diploma in which a certain Nicolaus, alias scriptor librorum serenissimi Mathiae regis can also be read about. the datum was found in a formularium, so the information about the missilis is defective, but the protagonists can be identified. the letter was written to archbishop cardinal tamás Bakócz who was in rome at that time (1512–1514), and the writer of the letter was probably the bishop of Gyulafehérvár Ferenc Várdai (1513–1524), who asked that in view of the merits of magister senis, he should kindly try and get a papal promissory deed for some church stipend for his frater germanus, magister Nicolaus alias scriptor librorum serenissimi Mathiae regis. this magister senis, the only person actually named in the letter, is Filippo Sergardi (philippus de Senis) (1466–1536), a cleric with lots of curial stipends born in Siena. He visited Hungary as a member of cardinal pietro Isvalies’ legation (1500–1503). He established close relations with the cardinal and archbishop of Esztergom tamás Bakócz and other Hungarians. this nicolaus was his relative, who used to be the scribe of King Matthias’ books.
Abstract
The basic goal of ecovillages is to create a sustainable lifestyle and community. Many residents of Hungarian ecovillages consider traditional peasant culture the example of an ecological lifestyle; for them, traditional peasant ecological knowledge and practice is an important reference point. Therefore, the pursuit of ecological ideology and an eco-conscious, sustainable way of life naturally leads ecovillagers to peasant material culture. In this study, I present the revival of handicraft heritage in rural eco-communities. I provide an insight into how traditional artifact-making activities come to life, how the old tools of Hungarian peasant culture are used, collected, and copied, and I present the place and interpretation of these old trades and their masters in these communities. The study is based on my ethnographic-anthropological research conducted in Hungarian ecovillages since 2007.
Abstract
This paper is based on the assumption that there was a well-articulated idea behind the rapidly spreading phenomenon of theft after the formation of collective farms in Transylvania during socialism: people thought that what they were doing was not wrong because the real culprit was the socialist state that deprived them of their control over their lands. Had that not happened, they would still be their own masters, existentially complete, and should the supremacy of this state cease one day, they would once again be who they were before. This idea vitalized their expectations and hopes as a sacred aura. After 1989, these hopes came true temporarily, and partially, but, as it turned out, the peasant order imagined as existential completeness did not return. After joining the EU, the generation that went through socialization owning and cultivating their own land and then lived awaiting and hoping as collectivist peasants had to realize that it was all wrong: the new system brought its own shortcomings, frustrations, and disappointments as their world lost its sacredness.
Abstract
The present study proposes an analysis of the conceptual apparatus that may facilitate the description and interpretation of the changes that have taken place in Transylvanian villages and ruralities over the past quarter century. The central question is: what is left of the village after these changes? Respectively, was this change superficial or has it affected the deeper strata as well? I argue that we are talking about a structure in which some strata have been radically transformed while others have remained unaffected. This led to the production of numerous ways of life that proved to be resilient. In the changing and diversified space of ruralities, there are several mentalities and tendencies that are parallel and simultaneously different temporalities that either complement or eliminate each other. Sometimes they coexist peacefully, other times they are in constant conflict with each other.
Die Rolle des Herausgebers der Zeitschrift Kmetijske in rokodelske novice bei der Entwicklung einer einheitlichen slowenischen Schriftsprache
The Role of Bleiweis’ Newspaper Kmetijske in rokodelske novice in the Formation of a Unified Standard Slovenian Language
Die Zeitschrift Kmetijske in rokodelske novice, herausgegeben von J. Bleiweis, spielte bei der Entwicklung der einheitlichen slowenischen Schriftsprache Mitte des 19. Jahrhunderts eine bedeutendere Rolle als bisher angenommen. Sie prägte die Kulturentwicklung im slowenischen Sprachraum langfristig; als Publikationsorgan stand sie allen Slowenisch schreibenden Autoren zur Verfügung, für Leser stellte sie eine kleine Schreibschule sowie eine Motivation zum Lesen slowenischer Texte dar.
Zu ihren kulturell äußerst bedeutenden Leistungen zählen die Stärkung und Fortentwicklung des Slowenentums, die Unterstützung des politischen Programms des Vereinten Sloweniens, die Ausgestaltung einer einheitlichen slowenischen Schriftsprache und Etablierung einer einheitlichen slowenischen Schrift (slovenica), die Ablehnung von Sprachideen der illyrischen bzw. panslawischen Bewegung, mit der Zeit ebenso die Festlegung von so genannten neuen Formen, abgesehen davon, dass diese vom Herausgeber Bleiweis zunächst als Widerspruch gegen „unserer reinen“ und „verständlichen“ slowenischen Sprache erklärt wurden.
Bleiweis Bemühungen um die Durchsetzung des Slowenischen in Amt und Bildung resultierten in der Ausgestaltung entsprechender funktionaler Varietäten; diese umfassten die allgemeinsprachliche Kommunikation in „häuslicher Umgebung“, den Sprachgebrauch in der Publizistik, die fachsprachliche Ausprägung als Ergebnis der Übersetzung des Grundgesetztes (Državni zakonik) sowie die Literatursprache, dies vor allem durch die Veröffentlichung der Poesie von France Prešeren.
Zur breiten Anerkennung und Hochachtung von Bildungswesen, Zeitschriften und Büchern trug die Zeitung wesentlich bei. Ihr Herausgeber Bleiweis verstand sie zwar als „Bildungsblatt für einfaches Volk“, jedoch wurde die Zeitung auch zum politischen Periodikum für gebildete Leserschaft. Sie stand im Zentrum der slowenischen Renaissance und förderte öffentliche Diskussionen über alle relevanten Fragen des Slowenentums jener Zeit, insbesondere über sprachliche, kulturpolitische und literarische Fragen.
J. Bleiweis’ newspaper Kmetijske in rokodelske novice (Agricultural and Artisanal News), also known simply as Novice (News), played a key role in the creation of a unified Standard Slovenian language by bringing together all Slovenian writers and providing readers with a means to learn about writing and encouraged the reading of Slovenian texts.
The newspaper built on the sense of Slovenian affiliation and the idea of the United Slovenia by reinforcing the unified Standard Slovenian language and unified Slovenian writing called slovenica, rejecting the Illyrian movement and Pan-Slavicism, later somewhat less convincingly with the adoption of new forms that Bleiweis initially established as a defiance against “our pure” and “comprehensible” Slovenian language.
Bleiweis’ efforts to establish the use of the Slovenian language in schools and public life made it possible for the Slovenian language to achieve four-part perfection regarding its functional varieties, i.e. expanding from its basic practical and communicative “home environment” to the public sphere, where it functioned easily in journalism, took on the fully-fledged role of a specialist language in the translation of Državni zakonik (the official collection of national rules and regulations) and that of an artistic language also used in Prešeren’s poems published in Novice.
As a result of Bleiweis’ Novice, schools, newspapers, and books in Slovenia were able to gain public acclaim. Despite the editor maintaining that Novice was an “educational journal for a simple people”, it was in fact also a political newspaper that suited intellectuals; it was at the heart of the Slovenian national revival and, as such, opened a public discussion about all the important issues of Slovenism, particularly regarding language, culture, politics, and literature.
Dvojna tradicija latinice u Hrvata: povijesni pregled
The Dual Tradition of the Latin-Script Orthography in the Croatian Language: A Historical Overview
Povijest hrvatske latinične grafije je iznimno bogata i istraživačima pruža brojne zanimljivosti, mada je dosad bilo objavljeno veoma malo djela o toj temi. Prvi takav pokušaj je bio Maretićeva povijest latiničke grafije (Maretić 1889). Svakako treba istaknuti rad Milana Moguša i Josipa Vončine (Moguš–vončina 1969) koji je u mnogočemu ispravio Maretićeve pogrešne tvrdnje. Također u posljednje vrijeme je bilo objelodanjeno nekoliko radova o povijesti latiničke grafije u Hrvata (Kapetanovič 2005, Farkaš–Ćurak 2016, Farkaš 2019). Kad se govori o istraživanju hrvatske latinice, nikako ne smijemo zaboraviti doprinos Lászla Hadrovicsa. On je bio jedini koji se usredotočio na detaljniji prikaz dvojnog razvoja latinice u Hrvata od samih početaka. U ovom ćemo radu ići njegovim tragovima, budući da je cilj našega rada predstavljanje dvojne tradicije hrvatske latinice i onog kulturnopovijesnog konteksta koji je okarakterizirao razvoj hrvatske grafije.
U razvoju latinice crkva je imala najvažniju ulogu. Crkva je bila i središte pismenosti u srednjem vijeku. Iz toga slijedi da izgovor određenih latinskih glasova je utjecao na razvoj grafije pojedinih nacionalnih jezika. U slučaju hrvatskog jezika sve to je još posebnije, budući da na južnom dijelu Hrvatske nalazimo jak talijanski i mletački utjecaj, a na sjevernom je dijelu, što naime poklapa s Zagrebačkom biskupijom, očit jak mađarski utjecaj. Južna je tradicija pratila talijanski način izgovora latinskih glasova, što je utjecalo i na razvoj latiničke grafije. S druge strane nalazimo mađarski način izgovora lat. /s/, tj. [ʃ], [ʒ] na sjevernom području. Ova dva sustava su stoljećima karakterizirali hrvatsku latiničnu grafiju, međutim od kraja XVI. stoljeća je bilo više pokušaja za primjenu mješovitog sustava, a jedino je bilo to uspješno u slavonskoj grafiji XVIII. stoljeća.
The history of the Croatian Latin-script orthography is remarkably rich and contains several interesting facts for the researchers; however, only a handful of writings have been published in this matter. The first work written in the topic is Maretić’s history of orthography (Maretić 1889). It is also important to mention the study by Milan Moguš and Josip Vončina (Moguš–vončina 1969), in which they corrected several false statements written by Maretić. Recently, a few more papers on orthographic history have been published (Kapetanovič 2005, Farkaš–Ćurak 2016, Farkaš 2019); nevertheless, it is necessary to point out the work by László Hadrovics, the only researcher in the subject who paid great attention to the dual tradition of the Latin-script orthography in the Croatian language. Following the steps of Hadrovics, the main goal of this paper is to present which cultural historical reasons determined the development of the dual tradition of the Croatian Latin-script orthography as well as to introduce the use of graphemes in detail.
The church played an important role in the development of the Latin script. During the Middle Ages, the church counted as the centre of the literacy, thus it is obvious that the ecclesiastical Latin pronunciation defined the evolution of the individual national languages’ orthographies. From this point of view, the Croatian is a special case, as in the Middle Ages, the Southern Croatian areas were strongly affected by the Italian, more precisely by the Venetian language, while in the northern areas, overlapping the Archdiocese of Zagreb, a strong Hungarian impact can be observed. The southern orthographic tradition follows the Italian pronunciation, i.e. the spelling is also based on the current Italian orthography. Nevertheless, in the northern areas, the Latin /s/ phoneme is pronounced in a Hungarian way, as [ʃ] or [ʒ]. The two orthographic systems were in use side by side over the centuries; nonetheless, since the end of the 16th century, there were several attempts to create a “mixed” system, which was successfully carried out only in the 18th-century Slavonian orthography.
Nejasna mjesta u Sibili Ane Katarine Zrinske
Unclear Parts of Ana Katarina Zrinska’s Sibila
Ana Katarina Zrinska (rođ. Frankopan) značajna je spisateljica hrvatskog baroka. Njezini otkriveni pjesnički tekstovi koncem prošloga stoljeća pridonijeli su revalorizaciji čitavoga životnog djela. Obitelj Zrinski posjedovala je izuzetno lijepo ukrašen rukopisni primjerak gatalice (Sibile), na čijoj unutarnjoj strani nalazimo vlastoručne bilješke same Ane Katarine Zrinske kao vlasnice te nadalje jedan tajanstveni rebus. Prema mojoj interpretaciji grofica je na dan nadnevka 2. travnja 1670. pokušavala tražiti odgovor putem gatalice na pitanja kakva će sudbina zadesiti njenog supruga (Petra Zrinskog) i brata (Frana Krstu Frankopana) koji su za par dana krenuli na svoj kobni put u Beč. Poznata je činjenica da je hrvatska Sibila zapravo prijevod mađarske Fortune, a ova opet prijevod poljske Fortune. Temeljitu usporedbu triju gatalica zasada nitko nije izvršio.
Hrvatsku je Sibilu prvi put objelodanio Ljudevit Ivančan (1906), najnovije je Zvonimir Bartolić (2007) objavio faksimil i transkribirani tekst te napisao opširniju studiju i dodao tumač riječi. U mađarskim i hrvatskim kritičkim izdanjima ima više nedostataka, među inim netočnog transkribiranja, krivih tumačenja nekih riječi, sintagmi.
U svome radu usporedbom upitnih mjesta poljske, mađarske i hrvatske gatalice pokušavao sam popraviti, dopuniti, odnosno razriješiti proturječnosti u kritičkim izdanjima hrvatske i mađarske gatalice, a u studiji sam na osnovi potpunih hrvatskih i poljskih strofa iznio svoje prijedloge za dopunu riječi i izraza u mađarskoj Fortuni, nadalje protumačio i, ako je bilo potrebno, korigirao riječi i sintagme koje nisu bile ili su bile krivo interpretirane u mađarskom i hrvatskom kritičkom izdanju, a na kraju sam preko nekih zanimljivih konkretnih primjera pokušao objasniti razlike između mađarskog i hrvatskog teksta.
Posebno sam poglavlje posvetio pitanju nejedinstvene versifikacije hrvatske Sibile, napose posveti Siromahom, iznimno točnom i majstorski složenom samostalnom tekstu pisanom dvostruko rimovanim simetričnim dvanaestercima. Premda je u hrvatskoj književnopovijesnoj znanosti danas opće prihvaćena teza kako je Sibila prijevod više osoba (zna se, naime, da su u čakovečkom dvorcu Zrinskih djelovali dijaki), temeljitu filološku analizu nitko nije izvršio.
Na osnovi usporedbe mađarske i hrvatske gatalice ovo stajalište čini nam se nepobitnim, primjerice sa značenjem iste mađarske riječi (marha u značenju ‘imovina’) u jednom je slučaju prevoditelj bio načisto, a u drugom ju pak nije uspio protumačiti, stoga je izostavljena u prijevodu. Neujednačeno oblikovani pjesnički tekst same gatalice s jedne strane, s druge pak strane iznimno lijepo i brižno sastavljena posveta (Siromahom) idu u prilog istoj tezi.
Ana Katarina Zrinska Frankopan is an important woman writer of Baroque Croatian literature, whose poems unearthed towards the end of the last century shed new light on her entire work. The Zrinski family owned a special ornate manuscript fortune teller book (Sibila), the inner cover of which contains handwritten entries and a rebus from the Countess. According to my interpretation, on the day of the entry (2 April 1670), the Countess tried to get an answer from this book about the fate of her husband (Petar Zrinski) and her brother (Krsto Frankopan), who left for Vienna a few days later. It is a well-known fact that the Croatian Sibila was translated from the Hungarian Fortuna and the Hungarian from the Polish Fortuna. An accurate philological comparison of the three fortune teller books has not been done by anyone so far.
The Croatian Sibila was first published by Ljudevit Ivančan (1906) and then more recently by Zvonimir Bartolić (2007) in a facsimile with a full modern transcribed version of it, including a study and a gloss. There are several shortcomings in the critical editions of the Hungarian and Croatian fortune teller books, such as inaccurate transcriptions, misinterpretations, and omissions. In this study, the author makes an attempt to fill the aforementioned lacunae and resolve the contradictions in the texts published by Zvonimir Bartolić and Géza Orlovszky by carefully comparing certain passages in the Polish, Hungarian, and Croatian fortune teller books.
In the present paper, based on the available full Croatian and Polish verses, the author proposes to replace the missing words and expressions in the given verse of the Hungarian version of Fortuna. He also interprets and corrects words that are not interpreted or misinterpreted in the Hungarian and Croatian critical editions, and finally tries to find an explanation for the differences between the Hungarian and Croatian texts using several interesting examples.
In a separate chapter, the author deals with the somewhat inconsistent poetic text of the Croatian Sibila, and discusses in more detail the highly accurate, twice-rhyming, halved twelve separate text written Siromahom i.e. ‘For the Poor’. Although it is now believed in Croatian literary studies that Sibila is not the work of one but of several translators (it is a known fact that there were many copyists working at the court of the Zrinski family in Čakovec), no one has proved this.
After an accurate comparison of the Hungarian and Croatian fortune teller books, it is quite apparent that the above statement is true, as the author’s analysis revealed that, for example, one translator knew the obsolete meaning of a given Hungarian word accurately (‘cattle’ in the sense of property), whilst the other did not, as it is missing from his translation. This is also supported by the uneven wording of the verses, which is particularly striking in the case of the poetic text of the extremely demanding dedication entitled Siromahom.
Sprachgeschichte und Sprachkontakte in den Forschungen von István Nyomárkay
Language Contacts and Language History in István Nyomárkay’s Research
Der wissenschaftliche Nachlass des Akademikers István Nyomárkay (1937–2020) umfasst etwa 280 Publikationen. Aufgrund des begrenzten Umfangs fokussiert sich diese Studie auf die Darstellung seiner wichtigsten Monografien.
Im Bereich der Sprachkontakte wird die morphologische Integration der Internationalismen in das Sprachsystem der kroatoserbischen / serbokroatischen Schriftsprache in der ersten Monographie (1984) analysiert. Viele der betrachteten Internationalismen, die letztendlich lateinischen Ursprung haben, wurden nicht direkt aus dem Lateinischen übernommen, sondern wurden aus dem Deutschen, Italienischen und Französischen entlehnt. Dieses Buch war derzeit die erste große Synthese in diesem Bereich.
Die folgende Monographie (1989) erforscht die Entstehung der neuen Zivilisationswörter der kroatischen Sprache in der zweiten Hälfte des 19. Jahrhunderts. Die meisten Ausdrücke wurden aus politischen und kulturellen Gründen nach ungarischen Mustern geprägt. Sie sind teilweise Lehnprägungen, teilweise Neubildungen. Bei ihrer Entstehung wirkten Impulse von ungarischen Vorbildern mit.
Auf das Gebiet der Sprachkultur gehört das Buch von 2002. Hier wird der Einfluss einer 1779 in Wien veröffentlichten deutschen Grammatik auf slowenische, slowakische, kroatische und ungarische Grammatiken analysiert. Obwohl zahlreiche Elemente der deutschen Grammatik übernommen wurden, passten die Autoren andere Befunde in modifizierter Form ihren eigenen Sprachen an.
Unter Nyomárkays lexikographischen Werken ragt das sprachhistorische Wörterbuch des Burgenlandkroatischen (1996) hervor. Das 4864 Stichwörter umfassende Wortmaterial stammt ausschließlich aus 64 Quellen. Das Wörterbuch, ein wichtiges Werk für die Sprachgeschichte, dient auch als geeignetes Hilfsmittel zum Lesen alter Texte.
Die letzte Monographie (2007) des Autors über die Geschichte der kroatischen bzw. serbischen Sprache gehört in den Bereich der Sprachgeschichte. Es ist die erste Synthese der Geschichte der erwähnten Sprachen auf Ungarisch. Es handelt sich um ein im leserfreundlichen Stil geschriebenes wissenschaftliches Werk, das ungarischen Linguisten und Studierenden gewidmet ist.
Es ist sehr wichtig hervorzuheben, dass alle oben betrachteten Bücher auf der Analyse von zahlreichen Quellen beruhen.
Academic István Nyomárkay (1937–2020) left a great legacy of his oeuvre, consisting of more than 280 publications. For size limits, this study presents only a few of the most important domains of Professor Nyomárkay’s research, based on some of his books.
In the field of language contacts, his first monograph (1984) examines the integration of international loanwords into the morphological structure of the Croato-Serbian / Serbo-Croatian literary language. These international loanwords, eventually, are of Latin origin. Many of them are not Latin loanwords but they got adopted into the Croato-Serbian literary language by the mediation of the German, Italian, and French languages. This book was the first major synthesis in this field at that time.
The next monograph (1989) examines the formation of the new words in the vocabulary related to Croatian civilization in the second half of the 19th century. Due to political and cultural reasons, the new expressions were created mainly on Hungarian patterns. Some of them are calques, other ones are new word formations inspired by Hungarian.
The book published in 2002 pertaining to language-culture research investigates the influence of a German grammar published in Vienna in 1779 onto the grammars of Slovenian, Slovak, Croatian, and Hungarian. The authors took over many elements of the German grammar and adapted them to their own language each, with some modifications of several of its statements.
From among the lexicographical works of Nyomárkay’s, the historical dictionary of the literary language of the Croatians in Burgenland is an outstanding piece (1996). It contains 4,864 entries, which were taken from 64 resources. Apart from the fact that the dictionary is a work of salient importance from language historical point of view, it also offers considerable help in reading old texts.
The last monograph of the author on the history of the Serbian and Croatian languages (2007) pertains to the domain of language history. This is the first summary of the history of the aforementioned languages written in Hungarian. It is a piece of scholarly work in an easy to read style, addressing linguists and university students in Hungary.
It is very important to point out that each of the books considered above is based on the analysis of numerous sources.
Abstract
Scholarly publication of folk riddles in Hungary started in the mid-19th century. Among the early sources was the first classic collection of Hungarian folktales, Eredeti népmesék [Authentic Folktales], compiled by László Arany, which includes a separate chapter comprising 54 riddle tales. Manuscripts related to this publication were found in the Hungarian Academy of Sciences among other collections from the 19th century and identified in the 1960s as having been recorded by members of the Arany family. The manuscripts contain all the riddles published by László Arany, along with 25 riddle texts that remained unpublished. Comparison of the two sources reveals the editing process: the selection and arrangement of the material, along with the text modifications applied by László Arany. The first part of this article consists of a few terminological notes on tales and riddle tales in 19th-century Hungary, followed by the description of the riddle material in the manuscripts associated with the Arany family. In the second part the author presents in more detail the editing process which shows a far higher degree of conscious editorial attention than other publications of folk riddles in the period.
Abstract
Few studies have explored the relevance of metrical structures in segmental processes. This paper shows that Dagbani (Gur, Ghana), has a prosodic word dominating a trochaic foot which licenses segmental processes and phonotactics. The foot is the domain for marked vowels and unmarked consonants. The prosodic word regulates the sequencing of syllables of different degrees of sonority and weight within a word. The Optimality Theoretic analyses make use of classical metrical theory and prosodic principles used in defining the prosodic word in stress languages to highlight the typological relevance of these principles and the prosodic universality of these metrical structures.
Abstract
This paper investigates the historical development during the past three centuries of the English suffix -en, used to create denominal adjectives (e.g. golden, silken), focusing on words that have remained in the language until the present day. We specify a way of calculating the rate of loss of the suffix and apply this to different lexical items involved in this process. Finally, we explore the roles of word frequency and collocations, in order to shed some light on how these factors relate to the loss of a linguistic form.
Abstract
This paper summarizes the first partial results of economic anthropological research conducted in the Swabian settlement of Mezőfény (Romanian: Foieni) in Satu Mare County (Romania). The aim of the research is to describe the livelihood and income-earning strategies among agricultural production groups in local society and to interpret different forms of economic adaptation (individual, household and community level) in the settlement within the context of the post-socialist transformation from a planned to a capitalist market economy.
Abstract
Japanese self-addressed questions (SAQs) are either marked with SAQ question particles (i.e. kana, yara) or marked with modals daroo or desyoo. The present paper argues that the pragmatic profile of Japanese SAQs should not be limited to solitary contexts. The paper presents an experiment examining whether daroo-ka/desyoo-ka can be perceived as SAQs in the accompanied contexts. The results of the experiment indicate that Japanese SAQs can be felicitously uttered in the presence of a second (socially higher) person. Apart from the experimental study, this paper also presents a pilot study of comparing daroo-ka questions and plain information-seeking questions (i.e. those without daroo-ka) in urgent situation contexts. The preliminary results shed light on the fact that Japanese native speakers interpret daroo-ka questions as canonical questions in the performance of indirect speech acts.
This paper argues that the standard etymology of Vedic bravi ‘to say, to speak, to tell’ from Proto-Indo-European *mleu̯h2 - ‘to speak’ (and its connection with Avestan mrao- ‘to say, to speak’) cannot be upheld, since it is based on an irregular consonant change that cannot be independently motivated and explained. As an alternative, two different PIE verbal roots will be proposed, *melH-u- → mleu̯H- ‘to say, to speak’ and *bleu̯h2/3 -‘to speak or to call’, that provide phonologically and semantically regular bases for the words involved.
This article examines a fragmentary Christian text from Turfan written in Uyghur which contains an embedded Syriac magical text intended to be used for corralling a horse. Aft er giving a transcription and translation of the Syriac passage and setting it in its literary context, including the role of amulets and other magical texts in the history of Syriac Christianity, the article discusses the angelic name Saraqael found in the Syriac extract, in an effort to trace the origins of the text. Excurses are given on the book of I Enoch and the Book of Giants, the first because the angelic name is found in it, the second because of its connections with the Aramaic and Central Asian cultural zones. The article then examines another text where the angelic name occurs, the Pishra de-Rabbi Ḥanina ben Dosa, before discussing possible links to other Syriac amulets and incantation bowls.
5. századi településrészlet és temető Nyíregyháza határában. Csorda-Páskum II., M3-58. lelőhely
Settlement and cemetery from the 5th century AD in the vicinity of Nyíregyháza (Site M3-58), Hungary
Nyíregyháza határában 2009–2011 során egy temető és egy településrészlet került feltárásra, melyeket a régészeti adatok alapján egyazon népesség használt az 5. század közepén – második felében. A szórt szerkezetű település közelében létesített, 24 síros temetkezőhely olyan temetőtípust képvisel, amely eddig nem volt ismert Északkelet-Magyarországról. Leletanyagában megjelennek a hun korszak és az azt követő évtizedek reprezentatív tárgytípusai, köztük változatos viseleti elemek, üvegpoharak és egy 5. századi ezüstpénz is.
Burials without bodies•
The symbolic burials of the Carpathian Basin and the Lower Danube region during the Late Neolithic and Copper Age
Testek nélküli temetkezések•
A Kárpát-medence és az Al-Duna vidék szimbolikus temetkezései a késő neolitikum és a rézkor idején
A szimbolikus temetkezések az európai neolitikum és rézkor jellegzetes objektumai. Annak ellenére, hogy a kutatás hagyományosan úgy értelmezi őket, mint azon emberek jelképes sírjait, akik az otthonuktól távol lelték halálukat, más értelemzési módok is lehetségesek. Célszerűbb talán úgy tekinteni rájuk, mint a temetkezési szokásrendszerekben létező, komplex üzeneteket hordozó jelenségekre. Összetett szerepük jobb megértésének céljából a cikk 139 szimbolikus temetkezést elemez részletesen.
Early medieval finds from the delta of the Don – an attempt at identifying the earliest group of the masque type belt mounts in the Eastern European steppe
Kora középkori leletek a Don deltájából – Kísérlet a Kelet-európai sztyeppéről származó maszkos veretek legkorábbi csoportjának meghatározására
A cikkünk középpontjában az állítólag Belovode (Rosztovi terület) határában előkerült leletek állnak. A leletegyüttesből származó öntött maszkos veretek formai szempontból a tárgytípus legkorábbi horizontjába tartoznak. Hasonló övszerelékek a Dontól keletre eső sztyeppén, illetve a Volga–Urál régióból ismertek. Ezek alapján egy észak–déli kereskedelmi/kommunikációs út rekonstruálható.
Egy középső vaskori leletegyüttes Mezőzomborról, Északkelet-Magyarország
A Middle Iron Age assemblage of finds from Mezőzombor, NE Hungary
E cikkben egy 2018 őszén, Mezőzombor-Békás-érről előkerült bronztárgyakból és borostyángyöngyökből álló együttes kerül bemutatásra. A lelettípusok tipokronológiai elemzése alapján, a Kr. e. 7. század 2. felére és a Kr. e. 6. század elejére keltezhetők. A különféle tárgyak analógiái arra utalnak, hogy ékszerekként, a ruházat dekorálására szolgáltak, az egyes leleteken látható viseleti nyomok alapján nem eltemetésre készítették az együttes elemeit. Eredeti kontextusuk bizonytalan, de valószínűsíthető, hogy egy temetkezés mellékleteiként kerültek a föld alá.
Follow the Rivers?•
Group identity, interactions and the role of rivers in late Hallstatt southern Pannonia
Folyók mentén?•
Csoportidentitás, interakciók és a folyók szerepe a késő Hallstatt-kori dél-pannoniai régióban
Jelen tanulmány célja annak vizsgálata hálózatelemzési szempontok érvényre juttatása mellett, hogy a Kárpát-medence délnyugati régiójában a késő Hallstatt-időszak közösségei közötti interakciókat és kommunikációt milyen módon befolyásolták és szervezték a térség nagyobb folyói.
A kerámiaedények formázásának technológiai vizsgálata: Áttekintés a módszertan alapjairól és alkalmazásáról
Technological analysis of ceramic fashioning: A review of the methodological basis and their application
A kerámiaedények formázásának technológiai vizsgálata egy antropológiai megközelítésű kutatási módszer, mellyel feltérképezhetők a kerámiaegyüttesek mögött húzódó készítési tradíciók és szociális mechanizmusok. Jelen tanulmány rövid áttekintést nyújt a metódus alapjairól, valamint bemutat néhány alapvető, fazekaskorong nélküli formázási technikát és ezek lehetséges azonosítási nyomait a régészeti leletanyagban.
Középtávú régészeti stratégia•
Vitaindító gondolatok a magyar régészet jelenéről és jövőjéről az ELTE BTK Régészettudományi Intézetéből
A régészeti örökség megmentése és feltárása, eredményes feldolgozása, gondos megőrzése és hatékony továbbadása érdekében 2019 őszén Maróth Miklós, az Eötvös Loránd Kutatási Hálózat elnöke, egy középtávú Régészeti Stratégia elkészítését kezdeményezte. Az ELTE BTK Régészettudományi Intézetében született jelen javaslat az elméleti keretek rövid felvázolásával kísérli meg összefoglalni a magyar régészet előtt álló lehetőségeket és legfontosabb feladatokat. A magyar régészetet az elmúlt évtizedekben az ellentmondásos és kapkodó törvényalkotás, a változó és mindinkább romló feltételekkel működő intézményi háttér határozta meg, amely a régészet jelentős presztízsvesztéséhez vezetett. A múlt történetileg hiteles rekonstrukciója érdekében a jelen írás a magyar régészeti örökség gondozásának feladatait a nemzetközi kutatás kihívásainak figyelembevételével határozza meg mind a feltáró és feldolgozó munka, mind a múzeumi megőrzés és bemutatás, az állami feladatvállalás, mind pedig az egyetemi oktatás és a közösségi továbbadás területén. A szerzők írásukat vitaindítónak szánják, és várják a régészeti örökség sorsáért aggódó szakemberek és művelt polgárok véleményét.
Methodological and interpretational problems in the dating of 6–7th centuries AD on the Great Hungarian Plain•
Comments to Sándor Gulyás, Csilla Balogh, Antónia Marcsik and Pál Sümegi: Simple calibration versus Bayesian modeling of archeostatigraphically controlled 14 C ages in an early Avar age cemetery from SE Hungary: results, advantages, pitfalls
A Kr. u. 6–7. századkeltezésének módszertani és értelmezési problémái az Alföldön•
Megjegyzések Sándor Gulyás–Csilla Balogh–Antónia Marcsik–Pál Sümegi: Simple calibration versus Bayesian modeling of archeostatigraphically controlled 14 C ages in an early Avar age cemetery from SE Hungary: results, advantages, pitfalls című tanulmányához
A Makó-Mikócsa-halom kora avar kori temető keltezéséről írt tanulmányukban Gulyás et al. 2018 alapvetően tévesen alkalmazzák a radiokarbon dátumok Bayes-féle modellezését. Vitacikkünkben a módszertani tévedések mellett az általuk használt terminológiai hibákat is tárgyaljuk.
A Sandomierz penny of Vladislas the Ell-high (1305–1333) from the graveyard in Felsőzsolca, Hungary
Łokietek Ulászló (1305–1333) uralkodása alatt vert Sandomierz-denár Felsőzsolca temetőjéből
Felsőzsolca-Nagyszilváson az 1999–2000 között folyó feltárások során a 27. sírból előkerült egy hosszú ideig meghatározhatatlan 14–15. századi, baltikumi származásúnak vélt pénz. A sírban más melléklet nem volt, így keltezése is bizonytalan lábakon állt. Közel húsz év elteltével derült fény a pénz származási helyére az első ilyen veret ugyanis csak 2013-ban került elő Lengyelországban, Piotrówka erődjében. Napjainkig mindössze hat veretet ismerünk a típusból.
Abstract
In the first half of the present article, I review collections of folk literature which include 19th-century folktales, placing a special emphasis on trying to establish the extent to which these texts and the associated collectors have been studied, explored, and published. 1 Next, I demonstrate which of the texts in question may be considered as part of the canon 2 of folk literature that emerged in the latter third of the 19th century, which works and authors defined the approaches that were considered relevant, and what the selection criteria for canonisation were. Alongside the interpretative canon, I shall also attempt to record the textual canon and its changes – to capture the act by which certain texts were clearly excluded from the canon while others were included by the individuals who wished to create or modify the canon. I would also like to show how the image of 19th-century collectors and collections created in the second half of the century became gradually transformed during the 20th century, and how these changes affected the place the collections in question occupy in folkloristics in general.
Abstract
The study examines the impact of the agricultural associations of two Swabian settlements – Mezőfény (Foieni) and Mezőpetri (Petrești) – on the local economy and society. Agricultural associations played an important role at the beginning of the process of agrarian transformation after the regime change in Romania. The successor organisations of the socialist agricultural associations, now established on a voluntary basis, were able to counteract the impoverishment caused by the reparcelling or forced reparcelling of land during the long transitional period, while at the same time exploiting their monopoly position to prevent the emergence of individual and family farmers. The risk-averse, self-reliant economic model of the associations is reminiscent of the peasant, self-sufficient farm organisation. The associations can thus be seen as a very specific form of post-socialist post-peasant production systems.
Abstract
The early Violin Concerto (1907–1908) dedicated to the young violinist, Stefi Geyer, is regarded as one of the most personal compositions by Béla Bartók. The transparent structure, and the ethereal, unearthly tone of the first movement, probably inspired by Stefi Geyer’s playing, belongs to the warmest and most intimate tone used by the composer. Presumably, its re-emergence in certain passages of the two Violin-Piano Sonatas (1921 and 1922) was not by chance. It might have been the composer’s reaction to Jelly d’Arányi’s violin playing that evoked the memory of the early concerto and its source of inspiration. However, despite their similarities the “ideal” tone of the Sonatas is not the same as that in the Violin Concerto. It is still recognisable, but it has a different, perhaps more mature character and, furthermore, within the material surrounding it, we can detect the kernel of those Bartókian types which gain their definite form only in his 1926 emblematic piano pieces, for instance some elements of his “night music” type, his mourning song type, and some characteristic traits of his “chase” music. In the present article, besides following the process of transformation of the “ideal,” I make an attempt to identify the newly developed musical types, and to find an explanation of all these changes.
Abstract
The Second Rhapsody, one of Bartók’s technically most demanding concert pieces for violin, arranges archaic-improvisatory bagpipe imitations for concert performance. The arrangement itself shows a well-designed, coherent structure: the succession of dances, tonally and motivically related between each other, outline a kind of evolutionary progression from free motive-structure to strophic form. Bagpipe-music had a long-term influence on Bartók’s violin music, figuring as episodes in original works like the two Violin Sonatas or the Violin Concerto; but none exploits the genre to such an extent as the Second Rhapsody. The violin pieces with motive-structure of fascinatingly wild and virtuoso character were among Bartók’s major discoveries of the collecting trips to the Maramureş region. For the Rhapsody Bartók chose melodies from the one-time Ugocsa county, whose music, closely related to that of Maramureş county, was considered by him “the most interesting in our country [i.e., Hungary of the time], due exactly to its primitive character.” In Maramureş these melodies are less eccentric; instead, the violinists have a broader and more varied repertoire of dance music. In my article I discuss the different types of violin music of this region, focusing on structural, melodic, or interpretational elements that were of special interest for the composer. For this investigation I have made use of the primary sources of the respective collections: phonogram recordings, field notations, later transcriptions.
Abstract
In the focus of this paper a survey of the draft score will disclose major corrections of the concept and discuss deleted and rewritten sections in both Sonatas for Violin and Piano no. 1 (1921) and no. 2 (1922). A close study of the unusual-type preliminary sketches of the First Sonata in his so-called Black Pocket-Book (facsimile edition: 1987) already gave insight into Bartók’s atypical composition when he had to work without a piano at hand for shaping and refining a new major work (see Somfai, “‘Written between the Desk and the Piano’: Dating Béla Bartók’s Sketches,” in A Handbook to Twentieth-Century Musical Sketches, ed. by Patricia Hall and Friedemann Sallis, Cambridge: Cambridge University Press, 2004). The two draft scores (no. 1 = 34 pages, no. 2 = 21 pages, including discarded and rewritten sections) open new vistas in understanding the concept of the individual compositions. The next stage of manuscripts provides a significant source: the score and violin part used at the first performances, the latter with fingering and bowing contributed by the hand of Jelly Arányi and Imre Waldbauer in the First Sonata, Waldbauer, Ede Zathureczky, Zoltán Székely, and Jelly Arányi in the Second. A study of the revision of metronome numbers will conclude the investigation.
Abstract
Imre Waldbauer (1892–1952) attained his greatest stature as a performer in his position as the first violinist of the Waldbauer–Kerpely Quartet, named after him and cellist Jenő Kerpely. This ensemble premièred Bartók's String Quartets nos. 1, 2 and 4 and his early Piano Quintet. Although Waldbauer's name is mostly mentioned in the Bartók-literature primarily because of his quartet, he was also important for Bartók as a “standalone” violinist as well. Waldbauer and Bartók played numerous sonata recitals from the 1910s to the 1930s, and Waldbauer also played the first performance of important violin works by Bartók: the “One Ideal” from the Two Portraits, (première: Budapest, 12 February 1911), the Violin Sonata no. 2 (première: Berlin, 7 February 1923) and nos. 16, 19, 21, 28, 36, 42, 43, 44 from the Forty-Four Duos (concert hall première: Budapest, 20 January 1932). Although Waldbauer seems like an individual of special importance, very little is known about his relation to Bartók and about his life in general (unlike his violinist contemporaries, e.g. Joseph Szigeti or Zoltán Székely). The present paper focuses on the relationship between the composer and the violinist, using materials from the yet unexplored Waldbauer legacy held in the Budapest Bartók Archives (recent donation from the Waldbauer family).
