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Arts and Humanities journals’ primary focus is on presenting theoretical and empirical research in these respective fields. The main goal is to encourage educational research and connect academia to the scientific community. Researchers and scholars need to share their research findings with others to help better understand and act on the ongoing social changes in the field. The Arts and Humanities journals aim to provide a platform for everyone who shares a common interest in these fields and to group all the latest field findings in one place.
Arts and Humanities
Abstract
A theatrical privilege of May 13, 1749, which was granted to the Pressburg citizen and confectioner, Charles Turbilio, provided the basis for operations of permanent theatrical performances and balls. The privilege also included the duty to construct a new theater building for the purpose. However, during the decade of its validity, Turbilio did not fulfil this element, and so he did not receive the second privilege of September 11, 1760. This second document did not apply to a specific individual but to the area of Pressburg. The city authorities transferred these rights to Count Eudemio Castiglioni, who, together with Count Kristóf Erdődy, eventually paid for the conversion of the so-called Green House into a theater. This study does not deal with theatrical repertory but mainly the background of issuing the second privilege from the perspective of the official proceedings of the Hungarian Royal Governor's Council.
Rímsko-slovanské pamätné miesta v Druhom cestopise Jána Kollára
Roman-Slavic places of memory in The Second Travelogue of Ján Kollár
Štúdia sa zameriava na taliansko-slovanské pamätné miesta predovšetkým v Druhom cestopise Jána Kollára. Do centra pozornosti sa dostávajú najmä slovanské pamätné miesta v Ríme, kam Kollár pricestoval v roku 1844. Teoretické východiská štúdie tvoria výsledky výskumov kultúrnej pamäti (P. Nora, J. Assmann), kultúrnej geografie (M. Crang), kultúrnej semiotiky (B. Uspenský, J. M. Lotman) ako aj výsledky v oblasti najnovšieho bádania o Kollárovom celoživotnom diele (R. Kiss Szemán, A. István). V cestopise sa zvlášť zobrazujú rímske pamätné miesta, ktoré podľa narátorovej koncepcie zohrávajú dôležitú úlohu v dejinách slovanskej kultúry. Slovanské pamätné miesta sa prirodzene začleňujú do multikultúrneho sveta talianskej metropoly. Použitie slovanských jazykov a funkcia rôznych slovanských nápisov sa skúma v kontexte rímskej jazykovej mapy. V štúdii sa zvláštna pozornosť venuje talianskym slovám a výrazom, ktoré rozprávač zaradil do českého autorského textu. Pestrá jazyková mapa ako aj široké časové a kultúrne spektrum Kollárovho cestopisu nastoľuje možnosť jeho interpretácie ako palimpsestu. Kollár obohacuje svoj cestopis aj o osobné skúsenosti a príbehy, čím prispieva k ďalšiemu prehĺbeniu zobrazenia slovanských pamätných miest v Ríme. Cestopis sa venuje aj pamätným miestam významných výtvarných umelcov, ktoré sú interpretované prostredníctvom fenoménu ekfrázy (Kibédi Varga). Do Kollárovho cestopisu je zakomponovaná aj lyrická vložka, ktorá je venovaná slovansko-talianskym pamätným miestam a spoločným charakteristickým črtám týchto dvoch národov. Nápisy, pomníky a maľby spomenuté alebo opísané v cestopise tým pádom nadobúdajú nový národný význam a vytvárajú sústavu slovanských pamätných miest, ktorá je tesne spätá s minulosťou a zameriava sa na formovanie slovanskej národnej pamäti.
Abstract
In Modern Hungarian, pedig can signal opposition or continuation between two states of affairs, as well as express concessive meaning, i.e. ‘however, although’, but it has exhibited the latter function only since the 16th century, while the others are older. This paper studies the functional expansion resulting in a shift between the subtypes of expressing contrast and a structural difference as well. Concessive pedig occurs both in clause- or sentence-initial position and, unlike other Hungarian conjunctions, in clause- or sentence-final position. The analysis investigates historical data from the 16th century up to recent language use, showing the diffusion of concessive pedig and variation with its functional variants in different registers. The study also raises the question of whether the change in the word order is connected to the functional difference, involving the role of peripheries in the grammaticalization process.
Quoth the Raven
Hungarian language inlays in Petr Rákos' novel Korvína čili kniha o havranech
Abstract
The paper deals with the novel Korvína čili kniha o havranech (Corvina or The Book of Ravens, 1993) by Petr Rákos from the perspective of multilingualism, stylistic hybridity, genre parody and metafiction. The poetics of the Czech author's novel opens the door to a wide range of genre traditions, languages and stylistic registers, including certain Hungarian historical and cultural items, as well as witty language play and references to literary history. The aim of the interpretation is to explore these and to shed light on their poetic role.
The Matthias Fountain is the main attraction in the Hunyadi Courtyard of the Royal Palace in Buda Castle. From the beginning, its creators wanted to evoke the figure of the great ruler, closely linked to the castle’s historical past, and at the same time to “capture a scene from the life of this gallant and popular king”. The theme chosen for Alajos Strobl’s work was Matthias’ hunting and romance in the Vértes Mountains, the story of Beautiful Ilonka, perpetuated by Mihály Vörösmarty’s poem. Its predecessor was an earlier ornamental fountain Miklós József Esterházy had commissioned for the courtyard of Tata Castle. The unrealized fountain was to have featured Matthias in hunting clothes and Beautiful Ilonka as a fairy of the springs. While working on the Matthias Fountain for the royal palace, Strobl had the opportunity to further elaborate on the design, but in the new context the fountain also had the function of a historical monument, and he had to reconcile the hunting and the poetic moments of the legend of Ilonka the Beautiful with the image of the great monarch, which the monumental art of late historicism was shaping at the time and which was also embodied in the decoration and architecture of the royal palace itself.
This image is closely linked up with the ideological changes at the end of the century, the redefinition of the nation’s position and role within the monarchy, and the tendencies of ethnic-cultural homogenization emphasizing the civilizational superiority and assimilative capacity of the Hungarian people. The memory of Matthias, who was always held in high esteem in Hungarian historical memory, also acquired new significance from the point of view of national self-esteem, since he was a strong-handed king of a populous country of predominantly Hungarian ethnicity, capable of conquests, during whose reign Hungary was able to play a dominant role as a regional power in the area and in Europe.
The choice of the hunting scene was partly motivated by the memory of Matthias’s hunting grounds close by, which were often mentioned not only in scientific works, but also in popular publications on local history, hunting and tourism in the period. However, in keeping with the iconographic tradition of the hunting monarch, the sculptural group – going beyond the historical genre scene – also became a memorial to the great king, depicting and glorifying the virtues of his reign in the image of the skilful hunter who took noble prey.
Matthias’s humanist contemporaries described him as handsome and virile, but the positivist historical research of the last third of the 19th century gave a disappointing picture of the king’s appearance, physique and features: they lacked Hungarian character and beauty. Artists who ventured into representing the historical past faced similar challenges to the moot points of the “Hungarian face” debate going on in ethnography and anthropology at the turn of the century. In terms of contemporary expectations of the Hungarian type and its expression as a reflection of national character, the Toldi figure in the Arany memorial was well received, and Strobl also reflected on the ideals of body politics associated with the modern sports movements and the emerging ideology of health and beauty.
Compared to athletics, hunting is a centuries-old, aristocratic sport with historical associations, still the most popular sport of the ruling class and political elite at the end of the century, and therefore the holders of power could actually recognize themselves in the sculptural representations on the Matthias Fountain. Strobl modelled the king’s features on the head of the Bautzen statue of Matthias, while idealising and rejuvenating the king’s appearance. At the same time, by giving his face more angular and defined features, he emphasised both his youth and his mature masculinity. He modelled the splendid figure in a pose reminiscent of the contrapposto and arm position of Donatello’s and Verrocchio’s bronze David, further reinforcing the impression of a vigorous young stalwart.
The obvious reference of the figure of Matthias to Florentine quattrocento art is a typical manifestation of the historicizing process, “historical art”, the purpose and content of which was explained suggestively by Miklós Szmrecsányi. He defined its creation as the mission of those artists who were capable of creating works that “revived the glorious traditions of the Hungarians, their glorious past under their national kings, in the spirit and language of their perished memories”. He also warned that the artistic endeavour should not be limited to “the recollection of external appearances, forced period accuracy, costumes and other archaeological bric-à-brac”, in objective detail, that is.
Strobl, of course, immersed himself with relish in creating the characters, clothing and props of the king and his entourage. The richness of detail in the accessories must also have been inspired by quattrocento models, such as Donatello cramming the armour and saddle-cloth of the mercenary general Gattamelata in a similar manner. The most spectacular of the secondary figures is the Master of the Hunt, whose waistcoat bears a very similar embroidery pattern to the bone cover of the National Museum’s Hunyadi crossbow depicting a deer hunt, and whose costume is a mixture of elements from the Conquest-period and from folklore. The figure can almost entirely be circumambulated, and Strobl has connected the pose, which can be derived from ancient sculptures (Apollo Belvedere), with a distinctly spiral structure. The Master of Hounds, also almost entirely in the round on a rock near the viewer’s space, is a figure that takes its cues from the gigantic figure of the Danube in the Fountain of the Four Rivers in Piazza Navona in Rome. Outside the natural setting, on the left, on an independent architectural pedestal stands the Falconer, whose stance, together with his straight, rigid spine, his head raised with a phlegmatic expression on his face emanates detachment and serenity.
Moving far away from the first version of the Tata fountain plan, Ilonka the Beautiful has clearly become a secondary character in the ensemble. She is no longer a nude fairy of the springs, but Strobl has given her a nymph-like look with a shock of long hair, simple sleeveless dress with front laces and bare legs. In 19th-century depictions, the sylvan nymphs are often depicted as erotic seductresses, captivating the hearts of the men who chance upon them or tantalising the satyrs who catch sight of them. Strobl has tried to recreate something of the nebulous love story in Vörösmarty’s poem, in which the forest is the scene of the lovers’ encounter and of erotic magic, rendered with balladic condensation. By depicting the king as a young man in love and Ilonka as a nymph-like, almost mythical creature, the sculptural group preserves something of the lyrical-romantic thread of the story, but the representation of historical reality undoubtedly marginalises it. Here, Ilonka is more of an attribute, a side character in a male-dominated world and history, an object of desire and seduction, a “representative prop of male power”.
Despite being fixed to the wall, the stone coulisse in the semi-circular basin protrudes well into space, and the arc of the staggered placing of the figures traces a serpentine line extending into the courtyard. Strobl draws on this to unfold the narrative condensed into sculptural figures and to link the hunt with the love affair. At the same time, this line leads from a figure towering in the distance, composed mainly for a frontal view, to increasingly spatial, circular standing and seated figures, i.e. from a pictorial form accessible to the eye to figures that dynamically unfold and can be experienced as three-dimensional bodies.
Antal Hekler was a decisive figure of Hungarian art historiography in the interwar period. He occupied important offices as the heir to the country’s then only university department of art history (1918–1940), that is, the successor to Gyula Pasteiner; chief editor of the Archaeologiai Értesítő (1923–1940) also carrying art historical writings; the vice president of the National Archaeo-logical and Anthropological Society (later Hungarian Archaeological and Art Historical Society) (1920–1928); founder and editor of the bilingual Henszlmann-lapok (1927–1930); member of the Hungarian Academy of Sciences (1920: corresponding, 1934: ordinary member). He was a close kin and shared deep intellectual orientation with the decisive cultural minister of the era, Kunó Klebelsberg. The accidentally surviving private letter (written by Hekler to Klebelsberg on 17 July 1921) allows a glimpse of this relationship. As there is a lot of relevance for the history of the study of art history in the letter, it is worth making it public. They tried to revive and normalize the cultural life of an impoverished, internationally isolated Hungary after the lost war, in which process Hekler was assigned an important role. Thanks to his links to the ministry, he arranged scholarships, channels of publication, sometimes jobs for his students (Andor Pigler, János Kapossy, later Jolán Balogh, Anna Zádor and many others).
The detailed scientific examination of the late Gothic Madonna statue of the Franciscan friary of Șumuleu-Ciuc (Csíksomlyó) took place between 2009 and 2015. This work involved the careful cleaning of the sculpture and the detailed technical examination of the piece, which included the endoscopic detection of hard-to-reach external surfaces and the inaccessible parts of the interior of the statue, sampling and the determination and radiocarbon dating of these tiny wood samples, as well as the careful collection of written sources and old representations. The statue appears first in written sources at the beginning of the 17th century. In these years it was not placed on the main altar yet but it was part of a side-altar. It can be assumed that the statue of more than a man’s size (the total height of the statue without the baroque crown is 210 cm) was originally a masterpiece in a church of an unidentified Transylvanian urban settlement, as the main figure of a winged altar, carried later to ȘumuleuCiuc (Csíksomlyó), which remained firmly Catholic during and after the Reformation.
The large, spherical pedestal of the statue, representing the universe, was reworked in the modern age in a modified form. Apart from that, we did not find traces of later rejuvenation on the sculpture surface. Likewise, we did not see any signs of the hypothetic burning of the statue in the 17th century. The original coloring of the sculpture overlaid (repainted?) in the 19th century has been determined (specified?) at several points; that was also confirmed by an oil painting from 1747 documenting the original coloring.
The Virgin’s temples and neck reveal numerous traces of small pins and needles, which is a sign of the early modern dressing of the statue. The details of the dressing appear in 17th century written sources; more details can be found among the items listed in the 18th century inventories of the sacristy (dresses, veils, precious metal jewelry, crowns, jewels). The actual/present crown of Madonna and the little Jesus comes from the second half of the 17th century.
We have connected the statue of Madonna with two smaller statues of St. Barbara and St. Catherine at the Szek ler Museum of Ciuc. It is assumed that these three sculptures took part in the construction of the same medieval wing altar. The radiocarbon examination of the samples taken from the backs of the smaller statues from the beginning of the 16th century gave considerably earlier 15th century values than the real date of carvings, which only proves that these thick trees were of considerable size in the mid-15th century. The results of the radiocarbon examination of the canvas that was used to base the Madonna statue showed 1426–1452 as its origin time.
Veneration of the catacomb saints was a new trend of religious devotion in the 17th century. The paper reports on the examined group of catacomb saints that first arrived in the Hungarian Kingdom, the so-called “ten holy martyrs” kept in Nagyszombat (today Trnava, Slovakia), their locations, changes, and their reliquaries.
Miklós Izsó was the founder of the Hungarian romantic sculpture. Between 1864 and 1873, he created several portrait sculptures of the Zrínyi family, including Miklós IV Zrínyi, the poet and general Miklós VII Zrínyi, Ilona Zrínyi and Francis II Rákóczi. This article aims to present the circumstances of the conception of these historically important Zrínyi monuments, the marble bust by Izsó depicting? the poet and, its surviving copies and last but not least the recently discovered plaster copy. The authors also describe how the vision of the Minister of Religion and Education at that time, József Eötvös, on memorial sculpture, cultural heritage and national memory emerges from the analysis of this group of artefacts. In connection to the Zrínyi sculptures, the authors discuss the perception of Miklós Zrínyi in the mid-19th century.
There were two Hungarian-related depictions within the decorative painting of the Weberhaus, the former building of the Weavers’ Guild in Augsburg. In 1538, Jörg Breu Jr. added portraits of the Habsburg monarchs and King Louis II (Jagiello) of Hungary and the Czech Republic to the 15th-century decoration of the central room (Zunftstube) of the building. Although much of the fresco has been destroyed, a 19th-century watercolour reconstructs the original depiction.
At the beginning of the 17th century, Johann Matthias Kager decorated the three facades of the building with frescoes relating to the history of the town and the weaver’s guild. The representative eastern façade shows the Battle of Lechfeld (955), which played an important role not only in the history of the town but also in the history of the empire. The battle between the Hungarian “adventurous” raiders and the united troops of the previously disunited German princes brought not only the defeat of the Hungarians, but also the gradual end of their plundering campaigns in Western Europe.
Kager also captured an anachronistic legend that played an important role in the guild identity of the Augsburg weavers, according to which their ancestors had captured the coat of arms of a Hungarian nobleman in battle, which Otto I presented to them as a reward and made it the guild’s coat of arms. We know of many depictions of the Battle of Lechfeld from medieval miniatures onwards, but the story of the coat of arms first appears in Kager’s fresco.
Although the Weberhaus was demolished in 1913, we can reconstruct its former painted decoration on the basis of 17–19th century descriptions, etchings, book illustrations and watercolours.
The subject of our research is the ornamentation en graved into the chalk-and-size ground and then gilded on the back and sides of the altar shrine, on the predella, and on the background of the wing paintings, as well as the realistically painted patterns of the clothes and dra peries on the wing paintings. Here the textile design was applied using a commercially available, popular and widely used aid contrived on the basis of Italian silk and velvet fabrics, the so-called perforated tracing paper (Lochpaus). Since in this case it is not only a question of the artistic elaboration of these details, but also of their mechanical transfer and reproduction, it is necessary to determine (if sufficient data are available) the criteria which, in addition to stylistic identification, can be used to establish the identity of the master or workshop (deck ungsgleich, i.e. overlapping identity, where the designs superimposed on each other on the film do not show sig nificant differences, or the degree of difference in detail is acceptable for related or similar categories), and which indicate the distribution of the design in question. The complete catalogue of patterns that is planned and will be compiled in the future will add another aspect to the European connections of medieval Hungarian winged al tarpiece art, in addition to the stylistic connections, and will also spectacularly demonstrate the domestic distri bution of textile patterns.
In the rich foreign literature on the subject, an important methodological precedent and aid to our research is the catalogue of textile samples of Swabian winged altars collected by the staff of the Württembergisches Landes-museum in Stuttgart in 1996. The samples were drawn directly from the artefacts on transparent plastic film, indicating the differently textured surfaces, as this method is the most accurate for comparison.
The fragmentation of the memorial material in Hungary due to the destruction of the major artistic centres and the central part of the country by the Turkish battles does not allow for large-scale conclusions, a large “corpus” like that of Stuttgart cannot be created. What can be determined in most cases is only the spread and popularity of the given textile. The fabric samples illustrated in this way are a good addition to the fragmentary material in textile collections, and at the same time provide important data for research into the history of costume and interior design, as well as trade relations.
A review of selected foreign and detailed Hungarian literature also reveals the specific situation of research on the textile patterns depicted on medieval Hungarian winged altarpieces using various techniques - painting, engraving, etc. This is also confirmed by the analysis of the group of patterns which were widely and long used in Europe and which appear on three altarpieces made in the workshop of the Master of Jánosrét. This small collection can provide an important contribution to this research topic, complementing the rich catalogue of samples collected so far.
Early Copper Age settlement and grave group from Tiszagyenda-Vágott-halom
Preliminary report
Kora rézkori település és sírcsoport Tiszagyenda-Vágott-halomról (előzetes jelentés)
Abstract
Four pits and a grave group of nine burials were found at the Early Copper Age Tiszagyenda-Vágott-halom in the Middle Tisza Region (Great Hungarian Plain), which shows similarities to contemporary sites in the region. The aim of the study is the preliminary report and detailed description of the findings of the settlement and the grave group. The pottery vessels were the main finds in the pits and the graves. Some form categories, as well as surface treatment and decoration techniques showed uneven distribution between the graves and the pits. In total of nine deceased were found in the burials, one child (infans II), one juvenile, three females, and four males. The burial rite, grave-goods, and the utilitarian function of the pottery grave-goods probably reflect the social status or gender roles of the deceased individuals. The pathological alterations identified on the skeletons carry important information about their diet and lifestyle.
Abstract
Before publication, a translation may go through various intermediate stages and involve external agents other than the author and translator, such as editors or proof-readers. The role of different agents in translation has attracted increased attention in recent years, and studies have found that editorial intervention significantly affects translated language: Bisiada (2018b) finds extensive editorial changes to nominalizations in translation manuscripts while Kruger (2017) finds evidence that translation properties might result from editing rather than translating. In this study, we used German translated texts that were produced in two lab experiments, reported in Heilmann et al. (2021) and Heilmann et al. (2022), and asked professional German editors to edit them. The original English texts that the translations were based on included two different kinds of stimuli, namely non-agentive constructions and of-NPs, which, for the most part, were translated rather literally by the German translators even though previous corpus analyses had revealed a variety of non-literal translation strategies. Changes made to these stimuli by the editors were tracked, categorized, and statistically analyzed with the help of linear mixed models. The analyses show that editors are in fact more likely to change the complex stimuli that remained mostly unchanged in the German translations. While the kinds of changes made by the editors did not mirror the corpus results perfectly, the frequencies of complex stimuli after the translations had been edited were very close to frequencies reported in corpus-based studies like Freiwald (2016).
Abstract
This paper analyzes the behavior of meal verbs in Romance, i.e., have lunch/breakfast/dinner, a verb class which we observe shows apparently contradictory behavior in the syntactic diagnostics broadly used to distinguish between unergative and unaccusative verbs. Building on Pineda & Berro's (2020) proposal for Basque, we argue meal verbs in Romance involve a hybrid syntactic structure: their subject is associated with more than one distinct functional head and is therefore thematically interpreted as a hybrid subject since it is assigned both an agent/initiator and a patient/undergoer thematic role. We show our proposal is able to account for the discrepancies attested by meal verbs when subjected to diagnostics that probe for unergative and unaccusative properties and the distinct syntactic properties this verb class exhibits when compared to their equivalents in Old Romance.
Abstract
Technological advancements have transformed the utilization and perception of audiovisual products by audiences, shifting from passive audiences to engaged participants who actively contribute to meaning generation and content creation. Using a mixed-method design, this study explored the incentives of amateur subtitlers of feature films within the framework of Bourdieu's (2002) sociological capitals. In the first phase, based on the review of the related literature, a 32-item questionnaire was designed and validated. The responses of a criterion sample (n = 343) of amateur Persian subtitlers were statistically analyzed. Next, a purposive sample was qualitatively interviewed. The findings revealed that the main incentives of these amateur subtitlers were to acquire subtitling and translation skills, to pursue personal interests in films and TV series, and to improve their English. Considering Bourdieu's (2002) theory, Persian amateur subtitlers primarily seek to acquire cultural capital, dispositions and tastes of the upper class and elites, social capital, and to a lesser degree symbolic capital, and economic capital.
Abstract
The co-deployment of words and pictures is ubiquitous in picturebooks. Drawing on the narrative rhythm in picturebooks and the logico-semantic relations in Systemic Functional Linguistics, this study examines the word-picture interplays in Chinese translations of English picturebooks from the narrative rhythm perspective. To that end, it analyzes the logico-semantic relations in three word-picture interplays—succession, substitution, and stimulation—in Chinese translations of English picturebooks. This study reveals that in successive word-picture interplay, words extend pictorial information while emphasizing the importance of maintaining narrative flow between words and pictures. In substituting interplay, words and pictures elaborate or enhance each other to present readers with a moment, ensuring temporal, content, and logical congruity. In stimulating interplay, visually depicted interlocutors project locutions and ideas/thoughts, aiming to align the verbal description of protagonists' disposition with the visual depiction of their physical attributes. This paper elucidates the importance of pictures in translating picturebooks from the narrative rhythm perspective and provides insights for translation procedures suitable for various word-picture interplays.
Abstract
Since the end of the 18th century, when knowledge and awareness of the linguistically related Hungarian and Finnish language started to spread in both language speaking communities, several different forms of social, political and cultural relations have encouraged members of the two societies to learn each other's language. Knowing the language of the partner community has meant deeper insight into its cultural, social, and public life, and it has been a key to understanding each other better. This research aims at answering the question of what motivates adult language learners to study Hungarian as a foreign language in present day Finland. The study focusses on adult education and university education as study environments. The research methodology mixes qualitative and quantitative methods and is empirical in nature. The theoretical background is based on research on motivation for language learning, particularly on Zoltán Dörnyei's model about components of foreign language learning motivation, and on the context of the history of social and cultural relations between Finland and Hungary. The results show that elements of the Dörnyei model surface within the answers of the research participants and can be further grouped according to categories related to those of Dörnyei.
Лики города: цикл Париж Максимилиана Волошина и Записки Мальте Лауридса Бригге Райнера Марии Рильке
The faces of the city: Maximilian Voloshin’s cycle Paris and Rainer Maria Rilke’s The Notebooks of Malte Laurids Brigge
Целью статьи является сравнительный анализ поэтики цикла Париж Волошина и романа Рильке Записки Мальте Лауридса Бригге с точки зрения восприятия Парижа. Компаративистская тема Волошин–Рильке впервые ставится в русском литературоведении.
Вводная часть статьи посвящена краткому обзору биографии двух поэтов (с особым акцентом на их пребывании в Париже в начале века) и параллельным явлениям их жизненного и творческого пути.
В основной части статьи сначала предпринимается разбор лирического цикла Волошина. В сти-хотворениях рассматриваются такие аспекты, как их строфика, богатство красок и динамичность изменений цвета и светотени в импрессионистичном представлении города, смены времен дня и года, приемы феминизации Парижа, выражение сакральности, семантика концовки стихотворе-ний, анаграмма, а также лирические сюжеты в их последовательности. В результате анализа можно утверждать, что стихотворения воплощают разные эмоции лирического субъекта от любви к го-роду и любованием разными его «ликами» через плененность городом до жажды освобождения из-под его власти в финале цикла.
Во второй части статьи волошинскому противопоставляется восприятие города самим Риль-ке и его романным героем Мальте Лауридсом Бригге, молодым датским поэтом, которому Рильке придал автобиографические черты. Приметы города с точки зрения Мальте и настроение его запи-сок можно назвать почти без исключения гнетущими. Однако вести записи он чувствует себя вы-нужденным, и в описании всего виденного и пережитого, без отбора и украшения, он усматривает терапевтический потенциал. Он видит в Париже нищету, болезни и одиночество людей, он сам оди-нок. Его записки составляют роман новой формации, фрагментарный сюжет которого скрепляется лейтмотивами (это прежде всего страх, смерть, книги и творчество). Из описаний Парижа пером Мальте, которые временами можно определить как импрессионистические, вырастают экспрессив-ные повествования о людях и размышления, предвосхищающие экзистенциализм. Парижские впе-чатления преобладают в первой части романа, а впоследствии постепенно вытесняются мотивно связанными с ними воспоминаниями о детстве и историческими или библейскими сюжетами. В ро-мане выделяется образ часто вспоминаемой героем матери, которая рано умерла, а также фигуры женских персонажей из временного пласта детства.
По завершении анализа романа вкратце говорится о теме Парижа в поэзии Рильке (двух поэтов сближает их пристрастие к сонету) и о возможной тематической группировке этих стихотворений.
После подведения итогов компаративного анализа автор статьи задается вопросом о возможно-сти встречи Волошина и Рильке в Париже либо об их знакомстве с деятельностью друг друга. Этот вопрос закономерен в виду русофильства Рильке, общности хронотопа в биографии двух поэтов и наличия потенциальных посредников. На основе источников ответить утвердительно на вопрос о встрече пока не представляется возможным, а стихотворений Рильке (вернее их перевода) Воло-шин касался в своей корреспонденции гораздо позже. Рильке же, как пока кажется, не упоминал Волошина.
Imagination can (re)create a well-known space through literature and thus this space becomes the product of an individual, sensory and susceptible experience of a singular aesthetic elaboration. Fatal Images, written by Dražen Katunarić, is a novel about an unknown Parisian painter of nudes named Hamelin who leads a debaucherous life. By introducing in the novel the character of a Croatian writer who writes about Hamelin, the author does not only shift the perspective of the narration, but he also navigates between eastern European and western European space – Zagreb and Paris. As postmodern thought has emphasized, in literature, this product of aesthetic elaboration – space – is not a mere background since literature figures it forth in a complex skein of imaginary relations and therefore it is imbued with significance which gives way to interpretation from different perspectives. The appearance of geocriticism has enabled novel ways of seeing literary texts, providing at the same time the necessary tools to understand, explore and analyze literature in relation to space and place. In this paper, we will use two concepts of the geocritical method – topophrenia and stratigraphy – to navigate, investigate and analyze the mapping of Paris in the first part of the first chapter of the novel. Here, navigation is a figure for this seemingly confessional prose where the main character attempts to uncover the deep truth about himself by performing a kind of cartographic activity in the shape of a biographical map. We will show that mapping in this novel establishes a meaningful framework with points of reference for talking and thinking about oneself.
Abstract
Situations in which a source speaker attacks their addressee's face pose a challenge for interpreters, due to the potential controversy or conflicts to which impoliteness is prone from a pragmatic perspective. In this study, I drew upon Bousfield's (2008) linguistic model of impoliteness and analysed a political speech by Nigel Farage, a former UK politician, at the European Parliament to examine how conference interpreters render impoliteness. I also conducted interviews immediately after the experiment to probe interpreters' motivations behind their impoliteness interpreting moves. The analysis of the interpreting data from eighteen participants has evinced that (a) speaker-input impoliteness is predominantly attenuated by interpreters and is seldom strengthened, and (b) for less experienced interpreters, attenuation is consistently the most frequent manoeuvre to interpret impoliteness among the five identified ones. For more experienced interpreters, attenuations decrease in number and close renditions increase, with the latter sometimes surpassing the former. More experienced interpreters also have much less or no omissions or misrepresentations. Analysis of the interview data indicates that (a) attenuations and close renditions are interpreters' intended decisions, and (b) omissions and misrepresentations are forced options. It is hoped that the findings from the current study will contribute to the literature on impoliteness interpreting.
Abstract
In his paper the author deals with the antique sources concerning the Boii in the Carpathian Basin before the Roman conquest. Strabo as the most important source on the history of the Boii does not confirm the total extinction of the tribe either. It seems that their territory north of the Danube was evacuated under Augustus, probably 6 AD (latest 19 AD). Boiohaemum was only a part of the Boian territory occupied later by the Marcomanni.
A tanulmány a Vaticanus Graecus 163 jelzetű kéziratot tárgyalja. Bár korábban több kutató is vizsgálta, a kódex teljes sorsa máig ismeretlen, számos margójegyzetének is csupán egy részét publikálták. Nemcsak a benne megőrzött szövegek, hanem kodikológiai és paleográfiai sajátosságai révén is rendkívül összetett kulturális termék, ami egyértelműen indokolja a részletesebb elemzést. A tanulmány tehát alaposan bemutatja a kézirat történetét, feltár több, eddig publikálatlan margójegyzetet, illetve közli Theodóros Skutariótés bizánci történetíró egyik töredékének új, mértékadó szövegváltozatát annak filológiai elemzésével együtt.
A tanulmányban vizsgált töredék (leltári szám: N 4224, Champollion n° 24, CC 243) egy érdekes, publikálatlan darab a Louvre Egyiptomi Gyűjteményében, amelyet a múzeumi kollégák eredetileg egy bútorpanel töredékeként azonosítottak („panneau de meuble [?, fragmentaire]”). A darab kézbevétele és vizsgálata a múzeum raktárában lehetővé tette számomra, hogy (1) meghatározzam a tárgy pontos típusát, (2) összeállítsam az európai múzeumokban fellelhető corpusát, (3) összegyűjtsem a rajta ábrázolt motívum egyiptomi és Egyiptomon kívül ismert párhuzamait, (4) megmagyarázzam a motívum jelentését, (5) megkíséreljem rekonstruálni a tárgy fizikai állapotának változásait, és (6) felderítsem a darab dokumentált történetét XIX–XXI. századi, papíron és elektronikusan hozzáférhető múzeumi és levéltári források felhasználásával.
A tanulmányban amellett érvelek, hogy a Gen. et Corr. I. 1 „helyes kezdet”, eredeti része a mű érvelé-sének. Ez ellentétes Jacques Brunschwig értelmezésével, aki szerint a Gen. et Corr. I. 1 „hamis kezdet”. Két érvet adok, hogy ez miért nem lehet így. Egyrészt a monizmus és pluralizmus összehasonlításából Aristotelés azt a következtetést vonja le, hogy a minőségváltozást nem lehet hypokeimenon nélkül megmagyarázni. Nem adható a keletkezésről olyan elmélet, ami egyáltalán mindenféle hypokeimenont kizár a változásokból. Másrészt Aristotelés azért elemzi Empedoklés elméletét, mert talál nála olyan szempontokat, amelyek hasznosak lesznek a saját keletkezéselméletében. Amikor Empedoklés amellett érvel, hogy az elemek az egységből keletkeznek, akkor egy minimális hypokeimenon segítségével próbálja megmagyarázni a keletkezést, azaz valami jelen van a keletkezés minden lépésekor, de ez nem ugyanaz az entitás. Ettől teljesen különböző módon a minőségváltozás hypokeimenonja szubsztanciálisan ugyanaz marad. Ez lesz az alapja Aristotelés magyarázatának, és ezt akkor találja meg, amikor Empedoklés elméletét vizsgálja a Gen. et Corr. I. 1-ben. A tanulmány végén két további megjegyzést teszek. Rámutatok arra, hogy Aristotelés nem köteleződik el az első fejezetben az első anyag létezése mellett, illetve, hogy az első fejezet meglepően hasonló a Phys. I. 4-hez. A Gen. et Corr. I. 1 fontos része a műnek, és Aristotelés természetfilozófiai írásainak általában.
Abstract
The process of language teaching is intricately entwined with the concepts of culture, language, and lifestyle, which collectively shape one's identity. Language textbooks, functioning as conduits for cultural transmission, inherently communicate the distinctive aspects of identity associated with a specific nation. While theoretical frameworks in foreign language education underscore the critical role of culture and identity, practical implementation often falls short (cf. Norton, 2013; Liddicoat and Scarino, 2013). Despite extensive research exploring the cultural dimensions of language teaching, there remains a shortage of studies focusing on cultural activities and intercultural competence among learners of Hungarian as a foreign language (Árvay, 2015; Holló, 2008).
This research aims to scrutinize the cultural aspects embedded within the MagyarOK textbook series, tailored for beginners engaged in the language teaching process of Hungarian as a foreign language. The analysis involved predefined variables, evaluating the content in terms of chapters, with a specific focus on the incorporation of personal names related to Hungarian and foreign cultures. Additionally, the study examined the representation of Hungarian and foreign culture-related features, including languages, nationalities, cities, and countries throughout the textbooks. The findings shed light on how these elements within the textbook series provide valuable insights into Hungarian culture and facilitate language learners' cultural immersion, fostering the development of their language acquisition and intercultural communication skills.
A jezsuita Kéri Borgia Ferenc 1738 és 1744 között jelentette meg történeti művét Epitome historiae Byzantinae, majd később Imperatores Orientis címmel. Művében a velencei corpus szövegkiadásai alapján foglalta össze a bizánci történelmet. A tanulmány célja Kéri forrásainak vizsgálata. Kéri 110 auktort idéz név szerint, és közülük legalább negyvenet rendszeresen használ. Kéri egyik célja az volt, hogy felhívja a tudományos közvélemény figyelmét a bizánci szerzők magyar vonatkozású adataira és a középkori Magyarország jelentőségére a kor nemzetközi kapcsolatrendszerében, de a forrásadatok helyes értelmezését csak a bizánci történelem egészének kontextusában tartotta megvalósíthatónak.
Abstract
The paper deals with the specificities of minority name management in Slovak–Hungarian bilingual environments in Slovakia. It discusses the differences between simple and organised name management, the function of the first name as a marker of ethnic identity, the trends in the choice of first names of Slovakia Hungarians living in a bilingual environment (the most significant minority in Slovakia is made up of ethnic Hungarians), and the work on the forthcoming Hungarian–Slovak first name dictionary. The first name dictionary aims to help Hungarian parents in Slovakia choose their newborn child's first name, promote using mother tongue names, and explain the laws regarding minority personal name rights in Slovakia. Furthermore, the dictionary might serve as a guide for registering first names in the mother tongue and could also be used in the registry offices of Hungarian municipalities in Slovakia. The author also presents the applicability of the topic in university education.
Abstract
In this paper, the knowledge of university students in Nitra about their first names and family names is described on the basis of a questionnaire survey: whether they know the meaning and origin of their own names, whether they know when their name days are celebrated, but also how common they think their names are, and how they are addressed and nicknamed. In addition to knowledge about personal names, students' attitudes towards their own names are discussed. Since the survey was conducted among university students in Nitra, a brief description of the teaching of onomastics at the institute is also provided. Previous attitude surveys regarding names are also reviewed, some of which have assessed the knowledge about and attitudes towards names of Hungarian university and high school students in Slovakia. In the present study, besides the aforementioned onomastic phenomena, the motives for naming and name changes are also touched upon, both of which can be related to name management, a concept clarified in the introduction. The naming issues covered in the survey can be discussed in the university programs of the institute and can be incorporated into the curriculum, so these issues are also briefly addressed at the end of the paper.
Plutarchos De gloria Atheniensium című írásában meglepő kijelentést tesz: a polis, amelyet hadvezérek, és nem történetírók, költők, művészek tettek naggyá és híressé, többet költött színházi előadásokra, Oidipus és Antigoné szenvedéseinek a bemutatására, mint háborúinak a megvívására. Vajon igaz lehet az, amit a chairóneiai állít? Tényleg többe került Athénnak a színház, illetve a színháznak keretet biztosító ünnepi kultúra, mint a hadsereg és a flotta fenntartása, és a különböző hadjáratok finanszírozása? Egyáltalán: komolyan vehetjük Plutarchost, amikor efféle véleményt közöl? A tanulmány, amely a fenti kérdésekre görög történetírók, athéni szónokok és az epigráfiai források tanúságtétele alapján keres válaszokat, Plutarchos álláspontját a klasszikus kori Athén hibrid gazdasági rendszerének tükrében vizsgálja, és utal arra a sajátosságra, miszerint Athénban állami funkciók és intézmények (kultúra, hadsereg) működtetése (részben) a polgárok egyéni hozzájárulásaitól függött.
Abstract
This study examines literary translators' ontological narratives and how translatorship is embedded in their life-stories. Translatorship refers to how they portray themselves as literary translators and what translation as an activity means for them. The data constitute of four life-story narratives by contemporary Finnish literary translators collected as a part of a wider interview project in late 2018 and early 2019. Based on an earlier study (Heino, 2021) translators identify themselves either as mediator- or writer-translators. This study focuses on the narratives of two mediator- and two writer-translators who all have a Master's degree in Translation Studies and analyses how they utilize selective appropriation and causal emplotment to construct a coherent narrative that reflects their experiences of becoming and being a literary translator. The analysis demonstrated that to negotiate the challenging working conditions and low status of the profession, the mediator-translators emphasise the ethos of hard work and professional qualifications whereas the writer-translators aim to promote qualities such as innate talent, vocation, and a way of life.
Abstract
The translation strategy known as “metaphorization” involves adding a metaphor to the target text when the source text contains either a non-metaphorical expression or nothing at all. This strategy has been identified by Toury (1995, p. 81) in the two abovementioned categories as “non-metaphor into metaphor” and “0 into metaphor”, alongside other typical strategies such as retaining the original metaphor. While there has been research on metaphor translation strategies, the phenomenon of metaphorization remains relatively unexplored. Metaphorization highlights the extra effort translators make beyond conveying what is already in the source text. It is therefore interesting to explore what metaphors translators add to their translations, to understand the contexts in which translators utilize metaphorization, and to discuss the potential influence of metaphorization as such. Taking political discourse as a grounding owing to its richness in metaphor and expressiveness in communicating ideology, this paper seeks to provide some tentative insights into these questions based on a parallel corpus comprising Chinese source texts and English target texts. Drawing on recent developments in cognitive metaphor theories, the phenomenon of metaphorization is analyzed from linguistic, cognitive, and communicative perspectives.
Abstract
Driven by the need to enhance the status of interpreting practice, scholars in recent decades have shown a growing interest in the professionalisation of interpreting practice. However, research on this topic remains fragmented and compartmentalised. Using the systematic literature review methodology, this paper presents a review of the topic. The objective is to identify and analyse the theoretical approaches and key aspects that underpin research on the professionalisation of interpreting practice. The review identified five theoretical approaches (trait, control, performative-organisational, expert-performance and boundary work), and four key aspects of professionalisation (status, certification, training, and organisational intervention). Despite the useful findings and discussions of the literature, the analysis found a lack of theoretical engagement, and an over-reliance on the traditional approaches of trait and control. Also noted is a failure to emphasise the uniqueness and complexity of the field of interpreting which is rooted in the notion of bilingualism/multilingualism, and therefore linked to the co-existence of professional and non-professional interpreters. The review rounds up with suggestions for future research and alternative theoretical frameworks.
Abstract
Samuel Rochotius (Rochotský), a Protestant living in Moravia and Hungary at the turn of the 17th century, was the owner of an interesting collection of books. Some of them have been identified by Hungarian researchers. Most of them are now stored in Hungarian memory institutions, but some are in Slovakia, in Bratislava (Pozsony), Banská Bystrica (Besztercebánya), Martin (Turócszentmárton) and Košice (Kassa). The aim of the study will be to identify the personality of Samuel Rochotius, to place him in the context of contemporary scholars, and to bring to light books from his collection that have not been mentioned by Hungarian scholars in their studies so far.
“Ego malo mihi vitrea, certe non olunt”
Square bottles with stamped base marks along the Pannonian limes
“Ego malo mihi vitrea, certe non olunt”
Hasábos testű palackok a pannoniai limes mentén
Abstract
This paper presents the spatial and temporal distribution of square bottles in Pannonia and their frequency on different settlement types. Although a full catalogue of the relevant finds has not been assembled yet, a wealth of data is nevertheless available on this glass type/form. Also described are several new base marks that have hitherto not been attested in the Roman Empire. It would appear that these mould-blown vessels appeared in Pannonia at the end of the first century, reaching the height of their popularity in the second century, while only a few vessels are known from the late Roman period. In terms of their distribution, the use of these bottles was particularly widespread along the limes, especially around military forts. However, they can also be found in the province's interior, particularly around Baláca. Several of the burial mounds excavated in Transdanubia also yielded vessels of this type. Their use in the province's interior seems to be slightly different, as they are often found in burials. In the settlements along the limes in the Danube Basin, however, they are more likely to have been used in military contexts or as military equipment and not deposited in burials.
Abstract
The paper analyzes some early theoretical works on psychology of language presented in the works of the trend setting historical linguist Zoltán Gombocz (1887–1935), Antal Klemm (1883–1963) a master of historical syntax, and Gyula Lux (1884–1957) a successful language education expert.
All three were representatives of classical mentalistic linguistics, and interpreted language as relevant for psychology, even if they emphasized change instead of structure. The paper presents the specific ideas of Klemm regarding the historical articulation of sentence structure along psychological and logical lines. Both Gombocz and Lux follow Wundt that we must draw evidence from gestural language for the origin of spoken language. Gombocz and Klemm deal with the possible mechanisms of word class formation. Klemm's reconstruction of word classes takes communication as a starting point. Initial communication is about an object given as a non-linguistic stimulus: [this thing] apple. The (psychological) subject is given, only the predicate is pronounced. This would be followed by combining two nominal words in a predicative way: wood-fire. Then the property words would appear, and finally the combination of object and property (apple-red).
Образ жінки у циклі новел Листи з Парижа та Отрывки писем из Парижа Марка Вовчка
The image of a woman in the cycle of novels Letters from Paris and Excerpts from Letters from Paris by Marko Vovchok
Марко Вовчок стала засновницею української феміністичної літератури. З одного боку, це пов’язано з ідеями жіночої емансипації, які широко обговорювалися в Західній Європі того часу, а з іншого – з життєвим досвідом письменниці. У цій статті ми розглянемо обидва питання, а також проаналізує-мо характерні риси типових жіночих образів у циклі оповідань Марка Вовчка Листи з Парижа та Отрывки писем из Парижа. Метою дослідження є довести тезу про присутність еволюції внутріш-нього світу жінки в цих образах.
Оповідання написані Марко Вовчок в епістолярному стилі. Вони відображають її думки, спосте-реження та враження від життя у французькій столиці. Авторка описує побут, мораль, проблеми та соціальні явища, характерні для різних груп тогочасного суспільства, іноді проводить паралелі між життям французів та українців. Через призму повсякденного життя письменниця торкаєть-ся таких глобальних тем, як соціальна нерівність і бідність, духовні цінності та мораль, проблеми буржуазного суспільства. Проте одним із головних мотивів оповідань є доля, роль і місце жінки в суспільстві.
З метою якомога точнішого змалювання характерів персонажів авторка застосовує низку засобів психологізації образів: детальний опис обставин, спостережень за поведінкою та реакціями героїв, реалістичне відтворення прямої мови, оповідь від першої особи, яку веде жінка-оповідач, тощо. Зазначені вище прийоми використовуються для глибокого розкриття як внутрішніх (емоційних), так і зовнішніх аспектів життя героїнь циклу оповідань, якими є жінки різних вікових груп та со-ціального статусу. А це, в свою чергу, дозволяє авторці привернути увагу читача до проблем жіночої емансипації – мотиву усієї творчості Марка Вовчка.
Існує кілька типових жіночих образів. Це образи дівчини, молодої жінки, пані та жінки похилого віку. Вони узагальнені, з притаманними для них проблемами, рисами характеру, життєвими обста-винами та принципами. У статті ми опишемо ці образи та проаналізуємо світогляд кожної з них.
Аналіз персонажів дозволяє зробити висновок, що жінка в романах Марка Вовчка є незалежною, розумною та відповідальною, і завдяки своїй силі духу здатна подолати будь-які життєві проблеми, щоб у зрілі роки передати свій досвід іншим. Сама авторка була вольовою жінкою і своїми творами хотіла привернути увагу до проблеми нерівноправного становища жінок у суспільстві та активно пропагувала ідею емансипації у своїх творах.
Római érmek és helyi adaptációik Délkelet-Ázsiából
Ismert tárgyak, új megjegyzések
Roman coins and their local adaptations from Southeast Asia: A critical overview with new interpretations
Absztrakt
A Délkelet-Ázsiában előkerült római leletekre a kutatás jellemzően rendkívül leegyszerűsítve csupán luxustárgyakként, esetleg egzotikumokként hivatkozik, a Római Birodalommal gyakran közvetlen kereskedelmi kapcsolatot rekonstruálva, akár egy-egy szórvány tárgy alapján is. Különösen igaz ez a római pénzekre, melyek mindössze rendkívül kis számban jutottak el az Indián túli régiókba, s általában kontextus nélküli szórványok, így tágabb összefüggések levonására nem alkalmasak. Annál nagyobb számban találhatók feltehetőleg helyben készült, római éremképek inspirálta arany- és óntárgyak, melyeket eltérő kivitelük ellenére is előszeretettel kevernek össze a római eredetikkel.
Jelen tanulmányban a néhány római pénz mellett ezek a Thaiföldön és Vietnámban előkerült éremadaptációk kerülnek bemutatásra, kitérve azok funkciójára és népszerűségük lehetséges okaira is.
Abstract
The present study investigates the expression of indefiniteness in two closely related Gallo-Italic local non-standardized languages spoken at the administrative borders of Emilia-Romagna (in Northern Italy): Ferrarese and Piacentino. A questionnaire with a forced-choice task was used to investigate the acceptability of four indefinite determiners (ZERO, ART, bare di, and di+ART) in negative sentences according to event type, noun type, and Clitic Left Dislocation with accusative and quantitative clitics. The data were analysed through Conditional Inference Trees and Random Forest models. The main results are that: (i) Piacentino, differently from Ferrarese, displays bare di in base position; (ii) Ferrarese makes a great use of di+ART and allows ZERO to a greater extent than Piacentino; (iii) both varieties allow resumption by the quantitative clitic with dislocated di+ART. The results are discussed in a comparative perspective with the neighbouring Italo-Romance varieties and Italian. In doing so, perspectives for future research are outlined.
Abstract
Four problems in Lucr. 6.9–23 are discussed: The paradosis possent in 11 is defended against Lachmann's posset, the humanist emendation corda instead of transmitted cordi is corroborated by referring to the context of the passage, and instead of Munro's sine ulla replacing the evidently corrupt querelis in 15 the palaeographically more plausible neque illis is proposed, restoring the beginning of 16 to the completion of the parenthesis pausa <es>t qu[]in fes[so]s cog<a>t saevire querelis, whereas the passive cog(e)i of Cippellarius, leaving the accusativus cum infinitivo without clear subject and object, is rejected.
