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Русско-венгерские паремиологические параллели (в поисках национальной специфики)
Russian-Hungarian Paremiological Parallels (in Search of National Specifics)
Proverbs and sayings, which have always been considered the favourite genre of folklore and the representatives of the national mentality proper, have recently attracted particular attention of linguists. These are attempts to objectively establish the so-called “paremiological minimum” of different languages, the desire to measure the cognitive potential of the parеmias, and a broad comparative study of the proverbs and sayings of related and unrelated languages as well as a characteristic of the pragmatic capabilities of the latter. The present paper offers a comparative typological analysis of proverbs and sayings in the Russian and Hungarian languages.
Despite their different genetic origins, it is in paremiology that there is a fairly large number of parallels of different types. The purpose of the paper is to identify such parallels and their classification by origin. The sources of such parallels are different: above all, longterm interaction with the paremiological systems of German and other European languages, including Slavic. Slavic paremiology, on the one hand, was a “donor” of borrowing in the form of tracing, on the other hand, it itself absorbed many Finno-Ugric paremias.
That is why Hungarian paremiology and paremiography are of particular importance for comparative studies. And not only because the Hungarian language has historically absorbed a pan-European (including Slavic) paremiological heritage but also because Hungarian paremiography has long been one of the richest treasures of Hungarian and European small folklore. These collections of Hungarian proverbs and sayings against a broad interlanguage background are one of the most significant paremiological traditions. The rich paremiological collections accumulated by Hungarian researchers provide an opportunity for a detailed comparison of Slavic and Hungarian proverbs and sayings against a common European background and at the same time to trace the traces of direct Slavic-Hungarian contacts.
Of particular importance in such a comparative study is the dialectal material, both in Hungarian and Slavic. When comparing the paremias of Russian and Hungarian languages, linguistic details are especially important, allowing to demonstrate the adaptation of the common European heritage to the Slavic and Finno-Ugric languages and to determine the proportion of similarities and differences between the respective paremias. It is not only genetic inertia but also the field of variation of borrowed proverbs and sayings that forms their national specificity.
A comparative study shows that the Slavic variant proverb series look more compact and almost unchangeable. The variation of the Hungarian proverbs reveals a much wider amplitude, although it also retains the “classical” version as the main one. Some of them can be considered nationally specific despite the universality and globality of the range of some proverbs. The quota of national specificity for each of the options is different but it is the paremiological details that contain the national colour reflected in the language.
The text deals with the work of Jana Želibská (1941 Olomouc) — flanêuse in the 1960s and the priestess of the Great Mother (Nature) in the 1970s. Želibská took a central position among male protagonists of neo-avant-garde in Slovakia. Her approach has been labeled ‘latent feminism’ because no real feminist platform existed during socialism in Slovakia. Želibská used the language of pop art and New Realism and their iconography mixed with the local folklore motifs in a quite different way. Pop art and New Realism entered the oeuvre of many artists simultaneously with experiments in conceptual art (Stano Filko, Peter Bartoš, Július Koller, Jana Želibská). After 1968, Želibská shifted the focus of her activities to land as an open structure outside of official supervision. Želibská made several statements regarding experiencing the magic of the present moment and experience with landscape through concepts and events that emphasized connection with nature. Photography helped her to work with continuity and causality in photo-sequences of situations and events. The path through ‘rooms of her own’ and other spatial concepts from the female labyrinth to the architecture of the temple in the 1960s, through changing open structures outdoors in her concept and land art in the 1970s, photography in 1980s, reached installation and video in the 1990s. Installations in the 1980s were built mainly on the artist’s experience with and in nature, or on the typical postmodernist contrast of the urban and natural. Puberty and virginity, which interested her in the land art events in 1970s, appeared again in her video art in a monumental demonstration of ‘girl power.’ In 1997 Želibská took the position behind the camera, shooting a naked male body without identity and face in the video installation Her View of Him. Thus she completed her shift from the ‘girl power’ of the 1960s and early 1970s agenda to fully articulated ‘woman power’.
The phraseological units, together with their specific system of considerations and means, are analysed by several linguistic and extra-linguistic sciences. The fact that the phraseological level of language proves to be analysable from the point of view of many branches of science, also has the consequence that within each of these researches there is the opportunity for interdisciplinary research, and sometimes the use of all these points of view is inevitable.This paper is part of my research examining the phraseme-use of first of all non-literary autobiographies of the twentieth century Hungarian literature from Romania, using means of linguistics and folklore. The paper tries to map the typology and variants of phraseological units in one of the written versions of Transylvanian Hungarian living speech. The examined texts are parts of folk written records, they bear the features of living language and, in spite of their topic and stylistic differences, they form a well-definable special text group.In this paper I am examining the textual functions of proverbs and linguistic configurations of proverbial nature in order to emphasize my earlier observations connected to proverbs with the concrete analysis of a text group.After a short revision of the referring literature concerning the examined material, I am trying to answer the following questions:
- 1. What kind of textual functions do proverbs have?
- 2. How does the context influence the meaning of the proverbs and their way of use?
- 3. What kind of non-standard variants of proverbs are to be found, what kind of theoretical observations can be formulated in connection with them?
After his studies with Messiaen recompensed with a first prize in Harmony, the young Pierre Boulez joined Simone Plé-Caussade's conservative fugue class and produced an exercise in the style of the Music for strings, percussion and celesta. At that time, he received as comments a brief warning: “Yes, Bartók is a nice boy, but the light comes from the ancient masters”. Boulez kept only few memories from this course but never stopped to defend Bartók's scores, including them in the program of Domaine musical before recording them with the BBC, New York and Chicago orchestras. More than just an admiration, his music demonstrates more or less influences from the Sonata for two pianos and percussion, of which he finally did appreciated its exceptional rhythmic freedom (1948). A rhythmic originality analyzed by Karlheinz Stockhausen some years later (1951). About Le Marteau sans maître, he has not hidden to be indebted to some resonant arrangements from Music for strings, percussion and celesta. An admiration sometimes mixed with some critical judgements. Why is the Hungarian compositor not more present in his writings? Perhaps Boulez was embarrassed by the idea of compromise, mentioned by René Leibowitz in an important article (1947). Author of the leaflet on Bartók, in the Fasquelle encyclopaedia, Boulez, who did not understood the reasons why the folklore aspect over passed the success of composer-creator, wrote: “from the ancient world, of which he cannot surmount the contradictions, he, probably, is the last representative endowed with spontaneity: Generous up to becoming prodigal, cunning up to the risk to appear naive, pathetic and impoverished.”
Abstract
Béla Bartók's sympathies towards Russian culture are well-known, as is the veneration of the Hungarian master by Russian musicians. During the course of three quarters of a century the image of Bartók the composer and folklore researcher has gradually infolded itself to Russian musical circles as well as the broad strata of music lowers. This thesis presents an integral overview of the reception of Bartók in Russia: the perception of his musical legacy by composers, musicological research about him, performances and publications of his works in Russia, comments from the press, and of music critics, etc. At the same time a particular evolution could be traced: an active interest towards Bartók the composer and pianist in the 1920s, then a nearly twenty-five years “pause;” in the 1950's a perception of him primarily as a folklor researcher as well as a progressive musical public figure at that an aversion from the official policy makers of his musical style as an “avant-garde” style during the dominance of the doctrine of “socialist realism;” the discovery of Bartók's innovative style, his influence on the young Soviet composers (E. Denisov, A. Schnittke, S. Gubaidulina) during the 1960's and 1970's; an overall comprehensive study of his musical legacy and the recognition of his significance (1960's–1980's), a decline of interest towards Bartók (as a classic) as a result of the stream of information, gushing from the West, having to do with the “new music” of the avant-garde of the “second wave” and the “post-avantgarde” trends (during the 1990's); a resurgence of interest at the turn of the century and an acquiescence of Bartók's artistic path as being perspective for musical art.
Humanities, is an excellent contribution to the field of folklore and literature that brings new insights into the ever-problematic distinction between popular and high culture. It has been occasioned by the bicentenary celebrations of the birth of János
Деньги в русских антипословицах
Money in Russian Anti-Proverbs
, ФедосоВ Олег : Русские антипословицы в семиотическом пространстве In: Bis dat, qui cito dat. Gegengabe in Paremiology, Folklore, Language, and Literature. Honoring Wolfgang Mieder on His Seventieth Birthday . Frankfurt am Main : Peter Lang , 2015
Transcribe.mari-language.com
Automatic transcriptions and transliterations for ten languages of Russia
. Alhoniemi , Alho and Sirkka Saarinen . 1983 – 1994 . Timofej Jevsevjevs Folklore-Sammlungen aus dem Tscheremisschen I–IV . Helsinki : Suomalais-Ugrilainen Seura . Beke , Ödön . 1997 – 2001 . Mari nyelvjárási szótár I–IX (Bibliotheca Ceremissica
Damaszkuszi Szent Jánosnak tulajdonítva publikáltak két rövid szöveget (PG 94, 1599–1602), melyekben a szerző a sárkány és a strynx, a csecsemőket gyilkoló démonikus lény létét cáfolja. Mindkét lény elterjedt a középkori és újkori európai folklórban, azonban a sárkány ezen típusa, az ember alakú, nőrabló sárkány ebben a szövegben jelenik meg először. Tanulmányomban megvizsgálom a szövegek tartalmát, mitológiai összefüggéseit, illetve kísérletet teszek keletkezési körülményeik rekonstruálására. A két szöveg valószínűleg homiliatöredék, esetleg egy olyan mű, például levél része, melynek célja az volt, hogy segítséget nyújtson más papoknak a prédikációban. A szerző művelt közönségre számít, akik képesek természettudományos érveléseit megérteni. A szöveg tartalma és érvelésmódja alapján valószínűtlennek tartom Damaszkuszi Szent János szerzőségét. Felvetem, hogy a szövegek egy latin nyelvű változatban is létezhettek: a PG 65, 27–28 gabalai Severianus neve alatt közöl egy De pythonibus et maleficis című homiliát. Sajnos a cím semmilyen kapcsolatban nem áll a fennmaradt szöveggel, hanem egy elveszett homiliához tartozik.
Угорські запозичення в західноукраїнських топонімічних переказах
Hungarian Borrowings in Western Ukrainian Toponymic Legends
The oral folk prose of Transcarpathia is a valuable source of history and culture of the region. Supplementing the written sources, it has maintained popular attitudes towards events, giving assessments and interpretations that are often different from the official one. In the Ukrainian oral tradition, we find many words borrowed from other languages, in particular Hungarian, which reflects the long period of cohabitation as well as shared historical events and contacts. They also occur in local toponymic legends, which in their own way explain the origin of the local names and are closely linked with the life and culture of the region, contain a lot of ethnographic, historical, mythological, and other information. They are represented mainly by lexical borrowings, Hungarian proper names and realities, which were transformed, absorbed and modified in another system, and, among other things, has served the originality of the Transcarpathian folklore. The process of borrowing the Hungarianisms is marked by heterochronology and a significant degree of assimilation in the receiving environment.
It is known about the long-lasting contacts of the Hungarians with Rus at the time of birth of the homeland - the Honfoglalás, as evidenced by the current geographical names associated with the heroes of the events of that time - the leaders of uprisings Attila, Almash, Prince Latorets (the legends Almashivka, About the Laborets and the White Horse Mukachevo Castle). In the names of toponymic legends and writings there are mentions of the famous Hungarian leaders, the leaders of the uprisings - King Matthias Corvinus, Prince Ferenc Rákóczi II, Lajos Kossuth (the legends Matyashivka, Bovtsar, Koshutova riberiya). Many names of villages, castles and rivers originate from Hungarian lexemes and are their derivatives, explaining the name itself (narratives Sevlyuskyy castle, Gotar, village Gedfork). The times of the Tatar invasion were reflected in the legends The Great Ravine Bovdogovanya and The village Goronda. Sometimes, the nomination is made up of two words - Ukrainian and Hungarian (Mount Goverla, Canyon Grobtedie). In legends, one can find mythological and legendary elements.
The process of borrowing Hungarianisms into Ukrainian is marked by heterochronology, meanwhile borrowings remain unchanged only partially, and in general, they are assimilated in accordance with the phonetic and morphological rules of the Ukrainian language. Consequently, this is a creative process, caused by a number of different factors - social, ethnocultural, aesthetic, etc. In the course of time, events and characters in oral narratives are erased from human memory, so they can be mixed, modified and updated, adapting to new realities.
