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Arts and Humanities
Abstract
Csíksomlyó (Șumuleu Ciuc), Romania, has been the home of a Franciscan monastic community for some six hundred years, and the community has been a noted pilgrimage destination since at least the mid-17th century, centered around the miraculous statue of the Virgin Mary. The most important festive day is the Saturday before Whit Sunday. The present paper examines the way in which it is transforming into a place of remembrance in the sense in which the concept was introduced by Pierre Nora. In the first section I describe the location (locus) itself – at once a monastic community, an administrative unit, a cultural center, a traditional votive procession venue and a modern-day pilgrimage destination, as well as a source of inspiration for a whole series of texts.
The second section is a concise summary of the depositories of these memories (memoriae) such as the votive church, Mary's statue, cultic objects and emblems, as well as the history of the origin of the shrine and its powerful symbolic force. Section three goes somewhat further and explores the way in which Csíksomlyó had become a place of national remembrance (locus memoriae nationalis). The concept of the national shrine also has a clerical legal meaning, but in this case we are talking about something else: religious traditions receive a national tint due to the versatile use of their symbols and expressions of national identity become sacralized. The rich and complex phenomenon of a festivity attracting several hundred thousand visitors may be interpreted within the conceptual framework of the ritual community. This concept captures a pre-modern social and mental condition in which the foundations of a community are outlined not by national or kinship dividing lines, nor by power spheres (states), but rituals which are interpreted as going even beyond creeds and denominations and which have the power to shape the lifestyle, social mores and everyday customs and habits of communities and individuals. During Whitsun, participants arriving from every point of the Hungarian-speaking territories come with the wish not merely to profit from an experience community in the social-psychological sense – they also attach themselves, as it were, to the pre-existing traditional ritual community of the Catholic Székely population. National sentiment, now subject to “marketisation processes”, becomes a commodity.
Spirit in a Carafe.
Treasure Hunting Rites of a Castilian Hermit in Early Modern Catalonia
Abstract
In the early modern period, accusations of treasure hunting became increasingly common in Inquisition trials in the Principality of Catalonia. The reason for this shift was the Church's attitude towards judicial astrology, most notably after the bull of Pope Sixtus V, Coeli et terrae creator, was issued. This paper presents the facts and contexts of a treasure hunting trial that took place between 1641 and 1644 at the Tribunal of the Inquisition at Barcelona, with a special focus on various European practices of catoptromancy. Through contemporary parallels, we can see side by side the diversity of divination methods, witness the circulation and reproduction of manuscripts, and the popularization and practical use of an earlier, written body of knowledge.
„Warszawa to ja” – obraz Warszawy w felietonach Doroty Masłowskiej Mam tak samo jak ty (2023)
“Warsaw is me” – The image of Warsaw in Dorota Masłowska’s feuilletons I’m the Same Way (2023)
Celem artykułu jest analiza obrazu Warszawy, jaki wyłania się podczas lektury felietonów Doroty Masłowskiej Mam tak samo jak ty, wydanych w 2023 roku, a publikowanych w „Tygodniku Powszechnym” w latach 2020–2022. W artykule wyodrębnione zostały dwie główne kategorie: topos miasta jako labiryntu oraz topos miasta jako teatru (theatrum mundi). Kategorie te podlegają u Masłowskiej istotnym transformacjom i twórczym aktualizacjom, na przykład labiryntowa struktura nie dotyczy jedynie przestrzeni, ale staje się sposobem opisania czasu. Pisarka otwarcie nawiązuje do toposu świata-teatru, przedstawiając ludzi jako aktorów, jednak twórczo wzbogaca ów topos, podaje w wątpliwość istnienie wyższego porządku, a osiągnięcie harmonii uważa za niemożliwe. Masłowska idzie nawet o krok dalej – wątpi w istnienie jakiegokolwiek reżysera, odpowiedzialność zostaje więc zdjęta z bliżej nieokreślonej wyższej siły i zwrócona ludziom-aktorom, którzy sami muszą dźwigać jej ciężar. Uniwersalna figura labiryntu służy Masłowskiej do pokazania złożoności przestrzeni miejskiej Warszawy, jej palimpsestowej budowy, zawieszenia między przeszłością i przyszłością. Labirynt to już nie tylko labirynt przestrzenny, gmatwanina korytarzy, zaułków i nieznanych dróg, ale to również labirynt zapachów, labirynt splątanych ze sobą dźwięków, kolorów i faktur. Chodząc po Warszawie Masłowska doświadcza szczególnej synestezji, zlania się różnych doświadczeń zmysłowych. Labiryntowość jako cecha przestrzeni zostaje przeniesiona również na inne kategorie – labiryntem staje się czas, chaotyczny, rozbuchany, ułożony w sposób palimpsestowy. Masłowska skrupulatnie i w sposób przemyślany buduje swoją wizję Warszawy. Wykorzystuje znane i powtarzane w literaturze uniwersalne toposy, figury i wyobrażenia, ale jednocześnie z dystansem je interpretuje, nadaje im nowe znaczenia, twórczo je przetwarza. Dotyka najbardziej współczesnej problematyki, dotyczącej np. wyobcowania ludzi w przestrzeni miejskiej podczas lockdownu. Powstaje w ten sposób niezwykle bogaty znaczeniowo obraz Warszawy, będący odzwierciedleniem tęsknot, pragnień i refleksji samej autorki, zapis doświadczenia miasta, które jest zawsze swoje i zawsze obce jednocześnie. Zbiór felietonów Doroty Masłowskiej Mam tak samo jak ty to swoista kronika miasta, miasta będącego w ciągłym ruchu, miasta, które Masłowska stara się okiełznać, zrozumieć, które stara się poznać od podszewki. Podczas swoich peregrynacji po stolicy autorka zrasta się, chcąc nie chcąc, z tkanką miasta, Warszawa przenika ją i inspiruje.
Славянизмы XVI века и первый румынский перевод Библии и сборник поучений (Сибиуское четвероевангелие, 1551–1553 гг.; Няговские поучения, 1563–1568 гг.)
Slavonisms in Two 16th-Century Romanian Printings: The Tetraevangelion of Sibiu (1551–1553) and the Postilla of Niagovo (1563–1568)
Двуязычное славяно-румынское Сибиуское четвероевангелие (Tetraevanghelul slavo-român de la Sibiu) было опубликовано в 1551–1553 годах в Сибиу. По мнению Лайоша Деменя, Сибиуское чет-вероевангелие было переведено в Молдове, а Ион Геце и Александру Мареш считают, что оно было переведено в Южной Трансильвании. Совсем недавно эти две теории были уточнены Иоаном-Фло-рином Флореску. По его мнению, для перевода Сибиуского четвероевангелия, кроме вышеупомяну-тых источников, переводчики также использовали два ранних чешских перевода Библии – Дрезден-скую Библию (Biblia Drážďanská, 1370 г.) и Оломоуцкую Библию (Biblia Olomoucká, 1417 г.).
Фраза λεγεώνα αγγέλων, λεγε⌉να ανγγελ⇓ переводится в румынском тексте как: doosprezece întunerece de ingeri, то есть ‘двенадцать ангелов тьмы’. Очень странным воспринимается в румынском тексте слово întunerece со значением ‘темнота’. То есть, данное место означает ‘двенадцать *темнота анге-лов’. Однако в Дрезденской Библии и Оломоуцкой Библии мы находим следующий текст: i dá mi nynie viece nej dvandácte tem anjelóv / by mi dal ninye wiece nezli dwanadst tem andyelow . Здесь слово tem является эквивалентом слова legion, и в современном чешском языке оно означает то же, что и румынское întunerece ~ întuneric, то есть ‘темнота’. Чешское tma происходит от старославянского τ⇓μα, которое означает ‘легион, толпа, множество, 10 000–12 000 человек’. Однако старославянское τ⇓μα является тюркским заимствованием. Исходное слово (tümän, tümen) в тюркских языках имеет то же значение, что и в старославянском языке. Однако во время, когда было заимствовано слово τ⇓μα, в старославянском уже существовал омоним этого слова, т. е. уже было слово τ⇓μα с точно такой же формой, но с другим значением ‘темнота’. В процессе употребления эти два слова перепутались, и в чешском tma ~ tem утратило значение ‘множество, легион’ и осталось только значение ‘темнота’.
На основании приведенных выше примеров можно сформулировать следующий фундаменталь-ный вопрос: можно ли предположить прямую филологическую связь между текстами в случае схо-жих или тождественных переводческих решений в чешских, румынских, немецких и венгерских переводах Библии, которые были созданы далеко друг от друга во времени и пространстве? В этом исследовании я попытался доказать, что следует предположить, что в Карпатском бассейне в XV– XVI веках существовала общая многоязычная устная библейско-церковная терминология. В от-сутствие письменных переводов Библии священники на церковных богослужениях переводили и объясняли латинские или старославянские библейские тексты для своей аудитории в устной форме. Именно сформированная таким образом устная библейская лексика, возможно, послужила источ-ником и для переводчиков Сибиуского четвероевангелия. Переводчики Сибиуского четвероеван-гелия при переводе старославянского текста, несомненно, опирались на устную традицию. В под-держку этой гипотезы напрашивается еще один аналогичный пример: первый сборник румынских кальвинистских проповедей, опубликованный в Брашове в 1568 году дьяконом Coresi (Cazanie), также был создан в Подкарпатской Руси и позже привезен в Южную Трансильванию с той целью, чтобы напечатать его.
Abstract
We argue that traditional breaking of the historical long vowels in the predecessor of Southern Standard British English (e.g. Wells 1982, 213ff) is in fact ongliding to (or prevocalisation of) r in jr/wr which has been ongoing starting with (at least) Middle English, continued into Early Modern English and Southern Standard British English. It can be captured as prevocalisation of pharyngeal r before j/w-final diphthongs in terms of gestural phonology, producing sequences like fijər fear, fejər fare. This schwa-like onglide to r allows us to look at Middle English from a different perspective, from the point of view of a ‘tug of war’ between the long monophthongs and diphthongs (inherited from Old English, to which we can add Old French and Norse words) with identical stressed peaks (e.g. ij tile vs iː life, nice; uː shower vs uw power, etc.). This resulted in a merger favouring a diphthongal basis in the southern varieties of Middle English (as opposed to its northern counterparts, in which a monophthongal basis was established), resulting in fire/shower (< Old English fȳr/scūr) having ij and uw, respectively, setting the stage for prevocalisation in jr/wr (merging them with original ijə(r)/uwə(r)). We explore some of the consequences of such a supposition.
«Алмаз горит издалека»: источники и контексты мотивного комплекса из поэмы «Возмездие» Ал. Блока (Новалис, Ницше, Вагнер, Ибсен, Т. Манн)
‘The Diamond Burns from Afar’: Sources and Contexts of the Motif Complex from the Epic Poem Retribution by Al. Blok (Novalis, Nietzsche, Wagner, Ibsen, Thomas Mann)
Исходными пунктами статьи были, во-первых, указания в комментариях на возможные претек-сты поэмы А. Блока «Возмездие», во-вторых, достижения критической литературы касательно тем ‘Ницше и Ибсен’, ‘стихотворение Ибсена «Рудокоп» и роман Томаса Манна «Доктор Фаустус»’, в-третьих, более ранние работы автора по творчеству Блока в контексте сочинений Новалиса, Вагнера, Ницше и Ибсена. В статье дан сопоставительный анализ заключительной части Проло-га поэмы Блока, стихотворения Ибсена «Рудокоп» и его драмы «Юн Габриэль Боркман» на фоне «Кольца нибелунга» Вагнера. В центре внимания стоит мотивный комплекс руды (алмаза) и работы рудокопа, символизирующего поэта, но помимо этого с мотивом подземного богатства соприкаса-ется и один из самых ницшевых героев драматурга – Боркман. Вероятное воздействие философии Ницше на Ибсена, их несомненное духовное родство, обзор чего также дается в статье, кроме того, интерес Блока к отдельным трудам Ницше послужили основой для включения в нашу тематику произведений философа (прозы и стихотворений), которым присущ мотивный комплекс «рудник», «шахта», «копание», «рудокоп», а также родственные «пещера» и «клад» (в связи с последними реле-вантен и «дракон», перекликающийся с «Кольцом нибелунга»). Разбор этих произведений показал, что ницшевский смысл мотивов во многом похож на ибсеновский и предвосхищает блоковский. В качестве еще более раннего претекста стихотворения Ибсена (а возможно, и других рассматрива-емых произведений) проанализировано сочетание минералогической и ботанической символики романа Новалиса «Генрих фон Офтердинген», сравниваются отрезки двух текстов с одними и теми же мотивами. В результате сопоставления выкристаллизовываются как тесные текстуальные связи, так и различия в мироощущении романиста и Ибсена-лирика. В статье впервые в научной литера-туре освещено соприкосновение в мышлении и художественной практике Блока и Томаса Манна касательно таких тем, как кризис гуманизма и наступление нового варварства, стихийность, музыка как космический порядок, романтизм, «возмездие», демонический аспект искусства и т. д. Интереса заслуживает в контексте статьи и то, как Т. Манн писал о триаде Ницше–Вагнер–Ибсен и какие внешние и внутренние связи он нашел в творчестве двух последних. Особое внимание уделено па-рафразу ибсеновского стихотворения в романе «Доктор Фаустус»: и трансформациям по сравнению с оригиналом, и проецируемости лирического сюжета на судьбы романных героев. В итоге статья устанавливает преемственную линию в развитии исходного романтического мотивного комплекса, характер его разветвлений и модификации его символического смысла у рассматриваемых авторов.
In the present paper, the aspect-related part of a long-forgotten Polish descriptive grammar written in French will be investigated. In the light of our historical knowledge, this work by Henri Grappin, professor of Slavic linguistics at École nationale des langues orientales vivantes can be thought-provoking both in terms of the date (1942) and place of its publication (Paris). The part of Grappin’s grammar examined in this paper, which deals with the Polish verbal aspect and its formal exponents, accounts for about 13% of the entire work. The method used by the author, in accordance with which he first reviews the means of verb formation (mainly prefixes and suffixes) and the phonetic alternations taking place during this process, can be considered particularly appropriate from the point of view of language learning. An overview of the meanings of prefixes and suffixes and the presentation of their derivatives formed with base verbs (simplicia) provide a suitable basis for a more detailed description of the Polish aspect system in chapter 22. By talking about the semantic value of prefixes and suffixes, Grappin draws attention to the fact that these morphemes not only have an aspect-marking function, but can also enrich base verbs with various additional nuances of meaning. Grappin does not yet speak here of concepts known in contemporary aspectology, such as boundedness or telicity, but the dual function of prefixes, the difference between aspect and Aktionsart (action mode), perhaps following Agrell’s dissertation, appears clearly in the grammar. In the section on prefixes, it is important to highlight the attention paid to the prefix po-, it seems to be a valid recognition even today that po- is the most homonymous prefix of the Polish language. In the subsection on verbs of motion, Grappin correctly points out the complex relationship between definiteness and indefiniteness as well as aspect, which can be the source of many mistakes for students of Polish as a foreign language. The author deals with iterative, augmentative, delimitative, perdurative and distributive verbs under other names in separate subsections, and points out the essentially conative meaning of imperfective verbs and the resultative meaning of perfective verbs. Although the work under investigation is hardly ever cited in the relevant literature on the topic, its part dealing with the verbal aspect in Polish contains valuable linguistic data that on the one hand may be of interest to aspectologists of our time, and on the other can be utilized in teaching Polish as a foreign language.
В статье приведены в качестве образцов тематически широкого творчества Петефи несколько хорошо известных венгерскому читателю стихотворений вместе с их достоверными русскими пе-реводами. Стихотворение Раз на кухню залетел я… (положенное и на музыку) является настоящим перлом жанровой лирики поэта, написанным в духе народной поэзии. Стихотворение Если ты цве-ток…, написанное в виде цепи метафор, также отличается народной тональностью. Стихотворение Неудавшийся замысел является, собственно, краткой стихотворной новеллой, выражающей глубо-кую приверженность поэта к родной матери. Стихотворение Одно меня тревожит… представляет собой апогей общественно-революционной лирики поэта, написанный в виде грандиозного виде-ния всемирной борьбы народов против тиранов за свободу.
Abstract
In addition to the common concatenative morphological system of Hungarian, there is a smaller portion of word forms that are templatic. These words satisfy requirements on their phonological shape. We here examine constraints on the number of syllables in templatic word forms. We observe that while the vowels in concatenative forms typically harmonize in backness (and in a more limited way also rounding), the vowels in nominal templatic forms often do not. On the other hand, the vowels in verbal templatic forms do harmonize. Furthermore, truncation is applied to satisfy the limit on word size in nominals, but truncation is generally not available as a repair for templatic verbal forms. We model our observations by a subsumption hierarchy of morphological layers: a concatenative layer, a (vowel) harmony layer, and a (stem) integrity layer.
Abstract
This article analyses an article by Simone Weil written in 1937–1938 entitled 'The Iliad or the poem of force'. The aim is to show that Simone Weil's reading of the Iliad is essential for understanding the genesis of her own thought, and in particular of her concept of force, although it appears in other contexts where there is no question of Hellenism, and although other possible inspirations can be identified. On the other hand, he argues that Simone Weil's analyses are highly refined and interesting in their own right, insofar as they highlight essential points of the Homeric text, despite their partiality.
Abstract
Hypereides' In defence of Euxenippus against Polyeuctus upon his indictment for treason was dated by its first editor Churchill Babington to the year 334 BC, while the second editor, Domenico Comparetti, places the possible date of composition almost ten years later, to the period between 330 and 324 BC. According to Comparetti, the orator could only have quoted the expression ‘Molossia is mine’ from the letter of Alexander's mother Olympias to the Athenian people at the time when Olympias was already ruler of the territory in question, i.e. after the death of her brother in 331 BC. This date has been accepted as the factual date of composition for over 150 years, so editors have adapted several emendations and alternative interpretations to this view. This study argues that the speech should be dated to 334/333 BC according to the surviving, clearly interpretable text and that any emendations are therefore superfluous – Churchill Babington was right.
Abstract
The paper discusses the creation of the Chronicle of Morea (Τὸ Χρονικὸν τοῦ Μορέως), the author's intentions and the structure of the work. The endings of the two earliest Greek manuscripts of the Chronicle differ: one continues the story of the Peloponnesian Franks in chronological order, the other ends with a significantly earlier, out-of-place legend of Sir Geoffroy de Briel, of almost 400 lines, a story mentioned thousands of lines earlier in the other manuscript. An overall analysis of the poetic work and the significance and location of this detail suggest that the Chronicle, like the ancient epics, may have been composed of smaller units that were performed as separate pieces. The first half of the paper examines the structure of the Chronicle in detail, exploring what holds the individual units together and for what purpose they were structured as an organic whole. It then analyses the issues of the above-mentioned story, which does not fit the structure: the excerpt contains several folktale motifs, but also parallels with the stories of the antiheroes of the chansons de geste (Crusade cycle). It shows the possible links between the Chronicle and the Old French chansons and how the French literary and cultural tradition influenced the work.
«Не сводя глаз с Парижа»: влияние французского языка на значение книжныж славянизмов на рубеже XVIII и XIX веков
“Feast your eyes on Paris”: The influence of French on the meaning of book Slavicisms at the turn of the XVIII and XIX centuries
В статье анализируются французские кальки в русском языке, включая новогреческий язык в качестве tertium comparationis. Оба языка, русский и греческий, характеризовались тем, что в их распоряжении уже имелся престижный сакральный язык со значительным абстрактным словарным запасом чтобы обновить язык на рубеже XVIII и XIX веков. В случае русского языка речь идет о церковнославянском языке, а в случае греческого языка – о древнегреческом, который охватывал всю античную культуру в дополнение к библейской и византийской лексике, переведенная уже в средние века на церковнославянский язык с помощью калек. Новые понятия и идеи эпохи Просвещения распространились по всей Европе XVIII века на французском языке. Русские, а также новогреческие лингвисты-новаторы-переводчики и писатели стремились приспособить собственный унаследованный от прошлого лексикон высокого стиля к французским понятиям современной эпохи. Это достигалось, в основном, путем кальки, то есть заимствованием значений. В статье сравниваются разные русские и греческие этимологические словари с целью выяснения отношения к калькам в обеих культурах. На основе анализированных примеров можно утверждать, что разные русские этимологические словари относительно единообразны в оценке семантических калек. В отличие от русских словарей, в греческих словарях доля признанных заимствований намного выше. По сравнению со словарем Бабиниотиса, Словарь новогреческого языка (Λεξικό της κοινής νεοελληνικής) фонда Триандафиллидиса склонен видеть большее французское влияние на современное значение древнегреческих слов.
Abstract
The letters from the German Byzantinologist Franz Dölger (editor-in-chief of Byzantinische Zeitschrift), informative documents on the history of the period and of contemporary science, occupy a special place in the legacy of Gyula Moravcsik kept in the Manuscript Archives of the Hungarian Academy of Sciences. They give a shocking picture of the losses suffered during World War II, but also of the chaos following its conclusion. There are also many references to the post-war fate of individuals in the emerging status quo. We can gain insights into the private lives of the two families, but thanks to the close friendship between them, we can also glean valuable information about the development of both Hungarian and international scholarship in the field of Byzantine Studies.
« Si saip moult bien au jeu d’eschet jueir » (Huon de Bordeaux, 7721)
Un jeu oriental en Occident médiéval
Abstract
In the Middle Ages, Western society was fascinated by chess and at the same time, convicted it. All over Europe, archaeological excavations have uncovered both luxurious and very simple pieces. In many churches, mosaics or stained-glass windows depict figures playing this pagan game. Medieval literature is also a source for studying the history of chess and its establishment in the feudal society. This study aims to present the lexical, literary and cultural integration of this Oriental game in French medieval society, by studying a corpus of medieval narratives (30 romances and chansons de geste), examining the terms used in the texts, questioning the courtliness of the chess player and of his game, and analysing passages in which chess is not just a stylistic device but actually plays an important role in the narrative progression of the story.
„Mundi inversi“ Slávy dcery
“Mundi inversi” of The Daughter of Sláva
Studie se zabývá strukturálními otázkami jednoho z nejvýznamnějších děl Jána Kollára, Slávy dcery (1824), které vyšlo před dvěma sty lety. Po prvním vydání básník dílo rozšířil o dva nové zpěvy (1832): Lethe provází čtenáře do slovanského nebe, Acheron vykresluje utrpení hříšníků ve slovanském pekle. Tyto písně sice zůstaly v genealogickém vztahu s původním dílem, ale jako nové, zvláštní textové formy zásadně změnily strukturu prvotní básnické skladby. Studie podrobuje kritice v české a slovenské literární historii obecně přijímaný estetický úsudek, dle kterého autor zmíněnými dvěma novými zpěvy „pokazil“ své původní dílo z r. 1824.
Prostředníctvím recepční estetiky autor studie vychází z vědecké hypotézy, že Kollár, který ve 20. letech vytvořil básnickou skladbu Slávy dcera, ji na přelomu 30. let dekonstruoval a rozšířil. Nový textový konglomerát nejenom zásadně změnil rozsah původního básnického díla, ale otevřel také možnosti nové čtenářské interpretace na změněném recepčním horizontu třicátých a čtyřicátých let 19. století.
Výskyt topoi souvisejících s alteritou není v Kollárově díle raritou: již dříve se autorovi podařilo identifikovat mimo jiné topos „fertilitas Pannoniae/Slaviae“ nebo „querela Hungariae/Slaviae“. V této studii se autor pokouší popsat dva nové zpěvy básnického díla pomocí pojmu „mundus inversus“, tedy literárního topoi „obráceného světa“ (Curtius, 1946). „Mundus inversus“ je kulturní topos známý z alterity, ke kterému sahali i autoři pozdějších období, včetně Kollára, s cílem představit kulturní a jazykové neřesti své doby, jakož i společenskou a politickou absurditu. Ke zobrazení převrácené společnosti použil Kollár bohatý vzorový materiál, v němž jsou většinou zastoupeni aktéři slovanských, německých a uherských dějin, církve a kultury. (Byly z nich vybrány ty nejtypičtější příklady, včetně sonetů představujících sv. Jeronýma jako „slovanského“ církevního otce, dále někteří emblematičtí němečtí historikové nebo maďarsko-srbský bilingvní básník Mihály Vitkovics.)
Ukazuje se, že rozšíření Slávy dcery o dva zmíněné zpěvy slouží i k tematizaci nevýhodného postavení nastupujících novodobých slovanských národů v mocenských strukturách habsburské říše a Uherského království. V tomto pojetí sloužily karnevalizace (Bachtin) a literární topos „mundus inversus“ také jako kritika koloniálního systému 19. století, a přispěly tak k formování slovanského národního emblematismu.
Abstract
The aim of our study is to explain and define the ‘dream-program’ in its relation to the premonitory dream, based on the definitions introduced by Herman Braet. Although the ‘dream-program’ has drawn on a variety of traditions, our study focuses on the effects of dream material borrowed from Antiquity. In our paper we attempt to explain meaningful dreams through ancient classification systems and their literary manifestations in the French medieval literature. As the ‘dream-program’ is more common in twelfth-century narrative literature, our textual examples dating mainly from this period allow us to define sub-categories according to dream scenarios, thus broadening our reflections on the concept. Our ambition is to (re)explore this type of dream, which essentially claims a literary status and a cultural dimension.
Abstract
Published between 1878 and 1881, the three volumes of Standish O'Grady's History of Ireland comprise a narrative of Irish mythology, driven by the author's conviction that many of the ancient tales were rooted in actual history. Although not immediately felt, the impact of History of Ireland became long-lasting, a point of departure for an array of literary works treating Irish mythological topics during what came to be known as the Irish Literary Revival. This paper addresses History of Ireland from the perspective of O'Grady's background as a student of ancient Greek civilization. It considers the most important comparisons that he drew between Irish and Greek antiquity, including his contention that the seat of the High Kings of Ireland, Tara, was equivalent in symbolism to Mount Olympus in ancient Greece. The paper assesses the strengths, weaknesses and significance of O'Grady's case for considering Irish mythology as approximate to that of the Greeks.
Abstract
This article examines the Platonic references present in the corpus of Philostratus' Erotic Letters (F2 manuscripts, edited by Kai Brodersen) with regard to the themes of vision and desire. The aim is to show that Philostratus ironically subverts and turns upside down the Platonic theses on love: he reverses the Platonic axiology by returning to earth and anchoring himself in bodily beauty. But on the other hand, to do this, he draws on elements present in Plato's own text, first and foremost his images, and the way in which Plato himself conceives of the institution of pederasty, so that he takes more from Platonism than might at first appear. This article thus hypothesises that for both Plato and Philostratus, the bodily and human beauty that arouses erotic desire is merely an image, but for Plato, the beauty of bodies is the image of true and ideal beauty, whereas for Philostratus, this image is that produced by the talent of the epistolary writer.
Abstract
In the mid-17th century, Venice became the stage on which the Zrínyi family played out its many and multifaceted political, commercial and cultural interests. The elder brother Miklós (1620–1664), besides being one of the most well-regarded poets of 17th-century Hungarian literature, was also a politician (serving as the Ban of Croatia) and a skilled businessman. He spent his entire life fighting against the Turkish Ottoman invaders, while also attempting to reign in the uneasy alliance with the Habsburgs. The focus of this paper is to explore the visits Miklós made to Venice, together with his younger brother Péter (1621–1671) and his sister-in-law Katarina Frankopan (1625–1673), to look after their commercial interests, as well as to purchase Italian editions for their well-stocked library and find a publisher for their own translations and, last but not least, to forge diplomatic ties with the French ambassador Piero Bonsi (1631–1703), in a bid to defend the independence of Hungary, even if this meant upsetting the traditional European alliances.
Abstract
This paper contributes to our cross-linguistic understanding of pluractional adverbials through an in-depth, corpus-assisted study of the N(um)-nkéd construction in Late Old and Early Middle Hungarian. We argue that N(um)-nkéd pluractionals are (i) mereological-only, (ii) they can be associated with the agent, theme, time or location of the eventuality, (iii) they can modify states as well as events and (iv) they cannot instantiate pluractional comparisons across substates. These findings call for a more fine-grained cross-linguistic approach to pluractional adverbials, especially in terms of the mereological-scalar dichotomy: in addition to (i) context and (ii) the type of the N(um)-denotation, (iii) the morphosyntactic makeup of the pluractional also has to be taken into account. Adopting a diachronic approach will also enable us to shed light on a somewhat neglected aspect of pluractional adverbials: their functional load, especially in terms of the division of labour vis-à-vis universal quantifiers (‘day-by-day’ vs. ‘every day’) and distributive operators (‘all the boys one-by-one’ vs. ‘each boy’). By observing changes playing out in the Late Old Hungarian to Early Middle Hungarian as evidenced in corpora, we will show that the development and spread of bona fide universal quantifiers and of the partitive-distributive suffix -ik indeed happened in tandem with a sharp reduction of the frequency of the relevant types of pluractional adverbials.
This article traces the concept of forgiveness and related displays of mercy as enjoined by Zoroastrian scripture and exegesis and as displayed through the writings and actions of rulers and clerics. It connects those Zoroastrian themes to similar ones among ancient Greeks and medieval Manichaeans. Forgiveness emerges through this investigation as a central aspect of Zoroastrian piety and praxis, which the faith’s followers attributed back to Ahura Mazdā in his ascribed role as their creator deity. Therefore, as this analysis elucidates, Zoroastrians consistently held, exercised, and extolled forgiveness and mercy from ancient through medieval and even modern times, in their communities of Central Asia, Iran, and the Indian subcontinent.
Abstract
This paper investigates the diachronic development of Hungarian word order, focusing on the syntactic position in front of the finite verb in light of the syntactic shift from OV to VO order. The so-called Verb Modifiers (VMs), which precede the verb in Modern Hungarian, showed significant word order variation in earlier periods. It is examined how this variation, and especially the difference between verbal particles and other VMs, can be accounted for. The study concludes that the VM–V order is not a syntactic remnant but a result of a syntactic change that affects all VMs already in the early texts.
Abstract
The making of heritage is a complex contemporary process that permeates society from the normative contexts of the global as well as national level to local communities. It enters extremely diverse sites, since it is part of both rural and urban life-worlds, and it is present in the institutional space of museums as well. Cultural elements that have been detached from their former contexts and made into heritage are no less diverse. The symbolic valorization of different historical periods depends on the regional and local contexts of heritage-making. The prestige (acceptance or rejection) and meanings of the legacy of certain periods, relationship to tradition, as well as the ways in which ‘authenticity’ is interpreted are products of a constant re-defining process steered by various social actors, such as members of local communities, cultural brokers, and experts. These positions often represent intertwining roles (researcher, expert, mediator, active or passive local actors) that are difficult to distinguish from one another in the various situations in which heritage-making can be researched empirically.
Abstract
The present paper examines the distribution of referentially independent genitive and unmarked subjects and subject-oriented person-number inflections in non-finite clauses in Meadow Mari (Uralic), focusing on participles, event nominals, and temporal gerunds. Empirically, the study addresses existing gaps in the description of these phenomena, uncovering more general patterns as well as several microparameters. It also reveals a striking similarity between event nominals and temporal gerunds. Theoretically, the paper contributes to a better understanding of these constructions in the following ways. First, it proposes an analysis of temporal gerunds as event nominals embedded in postpositional phrases. Second, it outlines an approach to licensing overt subjects and inflections in participial clauses and event nominals. Third, building upon Dékány & Georgieva's (2020) work on Udmurt, it explores ways to unify the treatment of event nominals and participial modifiers in Mari, which share morphology; a covert N account is shown to be the most promising one.
Abstract
This paper aims to present twenty-one Norico-Pannonian winged brooches from Brigetio. It focuses on their typological details, distribution areas, and chronology. Wearing habits can also be investigated based on burials and tombstone depictions. This paper also contributes to the manufacturing process and workshops of the variants from Brigetio.
Abstract
This paper presents the glass prismatic bottles and fragments brought to light in the Roman settlement of Intercisa (today Dunaújváros, Hungary). Bottles occur in a low number among the finds of the vicus and the castellum of Intercisa. Bottles and containers account for around 15% of all vessel fragments, while prismatic bottles have a lower share, around 4%. Almost all identifiable fragments are square bottles, with a single rectangular one amongst them. Their designs vary; most feature geometric motifs, while plant motifs and inscriptions are less frequent. Most fragments presented below are yet unpublished.
Abstract
Modern topographical research in and around the legionary fortress of Brigetio (Komárom/Szőny, Hungary) started in the 1920s motivated by the desire to stop the centuries-long archaeological lootings at the site and to prevent further loss of archaeological data caused by the uncontrolled removal and selling of artefacts. The excavations led by István Paulovics between 1927 and 1929 touched upon the northern surrounding wall of the castra, a short section of the via decumana south of the fortress and parts of the late Roman cemeteries southeast of the fortress. During the excavation 67 stamped bricks and tiles were collected and taken to the Hungarian National Museum. Forty-five of them were mentioned in the 1933 brick stamp corpus of J. Szilágyi, but 22 have never been published. The significance of the material is twofold. On the one hand it yielded a wide array of Valentinian tile stamps, for example the stamps of Lupicinus tribunus, Terentianus tribunus, Caris tribunus, Verianus tribunus, Corta Vicen, Quadriburgium, and Vincentia. On the other hand, 27 of the 43 legio I Adiutrix stamps (the garrison of Brigetio between the early second and early fifth centuries AD) came from late Roman archaeological contexts, which means that some of the types of the otherwise undatable legio I Adiutrix stamps can now be dated with reasonable probability to the fourth century.
Abstract
In this paper I present the exploitation of birds at the Ottoman Period (16th–17th century) rural site of Visegrád-Alsóvár located in North Hungary. Four poultry species and the jackdaw were identified from the 213 avian remains that formed 7.3% of the total bone assemblage. The species composition of the bird bone assemblage suggested that fowling was not practiced at the site, but various domestic birds were exploited for their meat, eggs, and perhaps other secondary products, such as feathers and dung. The representation of bones from poultry even exceeded that of the pig well reflecting the importance of avian meat and egg in addition to the preference for mutton in the diet of the Muslim population that inhabited the area of the Lower Castle after 1544, when Visegrád fell to the advancing Ottoman Turkish army.
Sexing and ageing of several avian remains were possible owing to the presence of the medullary bone tissue in certain remains and the good preservation of tarsometatarsi from the domestic chicken. The latter also allowed biometrical analysis targeting the size of chicken raised at Visegrád-Alsóvár and its comparison with coeval and recent chickens. The presence of a medium and large size type suggested the advanced nature of bird breeding in addition to the variety of poultry at this site.
Abstract
This paper discusses variations and changes in the identity-marking function of a writing of Turkic origin, the Székely script, from the thirteenth century to the present day. The script's peculiarity lies in the fact that during its known history, it had only an identity-marking function; no significant knowledge-communicating function can be found in any of its monuments.
Abstract
This paper deals with converb clauses in Uralic and Turkic languages. These clauses are often defined in the typological literature as featuring a special non-finite verb type. The Uralic and Turkic data show, however, that many of the alleged converbs are in fact morphologically decomposable into a non-finite verb (nominalization, participle, etc.) and a case suffix. For these clauses, I put forward an analysis couched in a generative syntactic framework. I propose that we are dealing with a postpositional phrase (PP), in which the morphologically bound P head (the case suffix) select a non-finite clause. The PP analysis is supported by two case studies. Furthermore, it is demonstrated that this analysis makes correct predictions about the syntactic distribution of these clauses. The present proposal has thus bearing on what counts as a converb cross-linguistically.
Child Labor Outside the Family (From the End of the Nineteenth to the First Third of the Twentieth Century)
Historical, Ethnographic Approach
Abstract
The study reviews the issue of child labor in Hungary with a historical, ethnographic approach, from the perspective of the division of labor within the family, the economic and social situation of the family. For several millenia, children have been involved in some activity within their family and kinship system, according to their age, gender, physical and mental maturity, and have been assigned increasingly complex tasks as part of the process of preparing for adult life and adulthood. When the economic and social unity of families was damaged for whatever reason, crises, poverty, and misery disrupted the natural family division of labor, and children had to seek and work for wages, food, or other benefits, with the approval or even encouragement of their parents. This means that they also played a significant role in families' struggles to survive and overcome poverty, while their exposure and vulnerability increased outside the family framework. The paper will explore the latter form of child labor outside the family.
This article returns to the question of the Śaiva deities of the points of the compass in premodern Central Java in the light of archaeological and epigraphical evidence, namely the recently excavated, ca. 9th–10th century ritual deposits of Candi Kimpulan and Ringinlarik, which include most notably a golden lotus and inscribed gold foils laid within stone caskets. By comparing these new findings with relevant Old Javanese inscriptions and transmitted literature, as well as similar material and textual evidence from the wider Indic world (i.e., South and Southeast Asia), the authors will describe the system of twenty-four plus two protective deities surrounding the central deity (Śiva) that appears to have been prevalent in Central Java, and which largely agrees with the one hypothesized by Acri and Jordaan (2012) on the basis of the analysis of the reliefs of Candi Śiva in Loro Jonggrang, Prambanan. Further, the results of an analysis of the material component of the gold foils are discussed.
Adatok a honfoglalás kor régészeti időrendjéhez és a kelet-európai 10. századi dirhemforgalom kérdéséhez
A tiszacsomai 3. sír dirhemleletének új meghatározása
New data on the archaeological chronology of the Hungarian Conquest Period and the 10th century dirham circulation in Eastern Europe: The exact identification of the dirham find at Tiszacsoma Grave 3
Absztrakt
A tiszacsomai (Choma, Чома, UA) 3. sírban talált dirhemet a honfoglalás kori régészeti kutatás az egyetlen olyan dirhemként tartotta számon, mely a 10. század második feléből származik. A kopott és hiányos pénzlelet pontos meghatározása ezért ellenőrzést igényelt egy, az arab nyelvben és numizmatikában járatos szakértő segítségével. 2024-ben lehetőség nyílt a lelet személyes vizsgálatára, mely a honfoglalás kori régészeti időrend pontosítása mellett jelentős betekintést nyújt a 9–10. századi kufikus érmék egykori Kárpát-medencei forgalmába. Az aprólékos elemzés megkérdőjelezte a korábban elfogadott hipotéziseket az iszlám dirhemek folyamatos 10. századi beáramlásáról a régióban. Vizsgálatunk során arra jutottunk, hogy a korábbi dirhemleletek alapján megfogalmazott elképzelés, mely szerint a dirhemforgalom a térségben valószínűleg megszakadt 301–331 AH (914–943) után, továbbra is alátámasztható. A tiszacsomai említett dirhemlelet ugyanis a legnagyobb valószínűséggel al-amīr Nasr Ibn Ahmad vereteként határozható meg. Az eredmények azt hangsúlyozzák, hogy további régészeti ásatások és új felfedezések szükségesek, hogy mélyebb betekintést nyerhessünk a Kárpát-medencében az iszlám pénzforgalom komplex dinamikájának megismerésébe. Az időközben előkerült új kárpátaljai dirhemleletek elterjedése ugyanakkor fontos támpontot szolgáltat a Kárpátok hágóinak feltételezett, mindmáig megválaszolatlan korabeli használatára is.
Abstract
The early international record companies considered Central Europe to be a more or less unified market, both before and after the fall of the Austro-Hungarian Empire. The Gramophone Company created a separate catalog for the “non-German” language recordings of the Austro-Hungarian Empire and some neighboring states, and assigned the territory belonging to this catalog, with frequent changes, to the Berlin, Vienna and Budapest Branches, so that in several cases the company's Budapest General Agency was responsible for organizing recording sessions in Bosnia, Serbia and even Bulgaria. With the break-up of the Austro-Hungarian Monarchy, this common market was also fragmented. However, the links have not disappeared: most of the gramophone records of the Hungarian Sternberg company contain recordings by a Czechoslovak record company, a Polish record label is known to have gained rights to reissue some Hungarian recordings, and a close examination of the Edison Bell International Ltd. matrix numbering system reveals that the company's Yugoslav, Hungarian and Romanian recordings are closely linked. In my article, I will present some of the links in the record company network of Central Europe before and after 1920 through short case studies based on archival documents, contemporary printed sources and the repertoire. I will argue that it is not possible to understand the events and recording history of the Central European countries in isolation, without knowledge of the recording history of the surrounding countries. Furthermore, I raise the possibility that, in comparison to written documents, more complex aspects should be taken into account when defining patrioticum in the field of audio media.
Abstract
Almost every analysis written on Bartók's two violin sonatas (BB 84 – 1921, BB 85 – 1922) discusses the question of Szymanowski's possible influence. Although most scholars accept that the music of the violin parts, jointly worked out by Szymanowski and the violinist Paweł Kochański, in the Polish composer's works exerted some influence on Bartók's violin compositions, opinions differ as to how significant this influence was, which components of Bartók's music it may have affected, and how great a share, if any, Jelly d’Arányi may have had in this influence, given that it was with her that Bartók first encountered Szymanowski's Myths, op. 11 (1915) and the Notturno e Tarantella op. 28 (1915), that are most often mentioned in connection with the sonatas.
It is usually Bartók's Violin Sonata no. 1 that is examined in this connection, because it is the earlier work that seems to show more obvious traces of Szymanowski's supposed influence. The present study, however, focuses on Violin Sonata no. 2, rarely mentioned in this respect.
Round Dances in Vienna
An Interpretation of Ernst von Dohnányi's Winterreigen
Abstract
Ernst von Dohnányi (1877–1960), the Hungarian composer and pianist, was usually described as a remarkably harmonious, easy-going, and resilient person by his contemporaries. At the same time, however, he was emotionally withdrawn, so we know very little about how he adapted to different life situations. An excellent example of this is the short period he spent in Vienna in his twenties (1901–1905) which his first biographer Bálint Vázsonyi depicted as an idyllic period, in which Dohnányi “enjoyed the artistic society of Vienna, the family home in which he was surrounded by two beautiful children and he composed a lot.” Following a more critical interpretation of the sources and the unearthing of their hidden references, this popular interpretation proves to be slightly flawed. It seems that Dohnányi reacted very sensitively to the seething public mood in Vienna at the turn of the century, and he himself went through a deep personal-creative crisis. This study presents the author's experience of Vienna in connection with his piano cycle Winterreigen (op. 13, 1905–1906), composed for his Viennese friends, and shows how this experience haunted him even when he lived there again as a political refugee for a short time in 1945–1946 – when Vienna appeared for him not as a possible home in Central Europe but rather as the last bastion of the “West” against the advancing “East,” the Soviet army.
Abstract
The peasant music Béla Bartók first discovered in 1904 and which he collected systematically between 1906 and 1918 belongs to what he generally described as “Eastern Europe.” His career as pianist and composer was naturally oriented towards Western Europe. His contract with one of the most important publishing houses of the period interested in contemporary music, Universal Edition in Vienna, seems to have conserved a Central European network during the interwar period – a network originating in the by then dissolved Austro-Hungarian Monarchy. Apart from pointing out the conspicuous contrast between Bartók's concept of Eastern Europe and his Central European position as an intellectual, this article revisits a particular historic event, the new music festival organized in April, 1938 in Baden-Baden, to examine Bartók's concept through his art and careful politics during a period of heightened tensions. Since the premiere of his Second Piano Concerto in Frankfurt in January, 1933, Bartók had avoided giving concerts in Nazi Germany. When invited to offer a piece for the 1938 festival he proposed Five Hungarian Folk Songs for voice and orchestra (1933). Despite his initial consent, however, he later tried to withdraw the work and forbid its performance shortly before the start of the festival; in the end his work did remain in the program despite his protest. His peculiar strategy on this occasion seems to have been prompted by his dispute with the German copyright office (STAGMA), which categorized his works in which he used folk melodies as mere arrangements, declaring them unoriginal. It appears that Bartók might have consciously offered such a “questionable” work to demonstrate its originality. At the same time, however, it seems that this particular set might have had a special topical message, too. Starting with a deeply-felt composition based on a song considered to belong to the most ancient layers of indigenous Hungarian folk music, it ends with a grotesque arrangement of a folk song which Bartók described as of Western, probably German, origin. One might wonder whether it was intentional to offer a narrative that contrasts the values of indigenous East European folklore with the shallowness of Western, specifically German, influence. The Appendix of the article presents an English translation of Bartók's notes about his composition sent to the organizers of the Baden-Baden festival.
Abstract
This contribution addresses the challenging issue of building corpus resources for the study of news translation, a domain in which the coexistence of radical rewriting and close translation makes the use of established corpus-assisted analytical techniques problematic. In an attempt to address these challenges, we illustrate and test two related methods for identifying translated segments within trilingual (Spanish, French and English) sets of dispatches issued by the global news agency Agence France-Press. One relies on machine translation and semantic similarity scores, the other on multilingual sentence embeddings. To evaluate these methods, we apply them to a benchmark dataset of translations from the same domain and perform manual evaluation of the dataset under study. We finally leverage the cross-linguistic equivalences thus identified to build a ‘comparallel’ corpus, which combines the parallel and comparable corpus architectures, highlighting its affordances and limitations for the study of news translation. We conclude by discussing the theoretical and methodological implications of our findings both for the study of news translation and more generally for the study of contemporary, novel forms of translation.
Abstract
The French Belgian Sign Language (LSFB) corpus is the cornerstone of a unique multilingual data system that includes four distinct corpora. The first is a reference corpus containing dialogical LSFB data produced by deaf signers, which is also translated into written French, and the second one is a comparable multimodal corpus of Belgian French containing dialogical data produced by hearing native speakers. The other two corpora are made up of interpreted data, namely a parallel bidirectional corpus of LSFB > French data produced by hearing bimodal interpreters and another unidirectional parallel corpus of French > LSFB co-interpreted data produced by hearing and deaf interpreters working in tandem. This paper aims to describe these four corpora and to provide an overview of previous contrastive research drawing on their data and applications which have been developed so far. A new study contrasting reformulation structures in semi-spontaneous LSFB dialogical data and co-interpreted LSFB data is presented in order to exemplify how these corpora can be further compared to shed light on unknown issues to date such as the specificities of co-interpretation.
