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Absztrakt
Károli Gáspár volt az első magyar nyelvű Biblia fordítója, akinek munkáját az utóbbi évszázadok újrafordítói is alapvető fordításként használják fel. Károli a fordításában a korabeli terminológiát használta, ami a természeti kép megrajzolásában is hatott fordítására. Olyan szófordulatokat, a népi terminológia elemeit használta, építette be fordításába, mint pl. a zsobrák szót, ami egyféle gyenge, pejoratív tulajdonság, állapot jelzésére szolgált. A zsobrák terminus Északkelet-Magyarországon általánosan ismert, különösen a szőlő- és bortermelésben, ahol a tokaj-hegyaljai szőlőkben közértelemben is használt fogalom pl. a zsobrák furmint. Ezt a szőlő- és bortermeléssel foglalkozó, gazdálkodó Károli is ismerhette, akinek az 1502 óta írásosan jegyzett híres dűlőben, a Hétszőlőben volt a szőleje és a pincéje.
Abstract
In his interpretation of the Comedy, the author wants to demonstrate that Dante, besides the four senses of meaning, applied an other hermeneutic method, typology, as well. The poet describes every important historical, natural or human event as a result of God/man/nature relationship, i.e. the periodic intervention of God in human history, renewed with salvation. In the inherent terminology, referring to the period before Christ, figure, prefiguration and fulfilment are the operative concepts and words, while in the Christian period these are repetition, exemplarity and renovation. Concerning the language, the different poetical constructions (letters, word forms, stress, hendecasyllabus, rhymes), the insertions in Latin, have an independent significance. These consequently recurring elements and citations from the other works of the poet reinforce Dante's consciousness in this aspect of medieval hermeneutics.
KA II, 11, 28–41 is the earliest extant Sanskrit text on ratnaśāstra ‘gemmology’. It is a branch of traditional science and it reflects a great deal of experimental knowledge of jewellers. The present paper analyses the structure of the established text, seeks for an answer why the passages concerning diamond follow the list of the precious stones proper and why emerald is missing. The readings offered by the manuscripts and commentaries have been rechecked and the Kangle’s text has been revised at places. The revised portions of the text have been retranslated and accompanied with the necessary notes. From our investigations it has become clear that the extant text is very loosely edited and highly problematic; the text presents a mixture of vārttāśāstra (textbook of economy) and ratnaśāstra ; there are terminological inconsistencies; it seems that gemmology had existed before the edition of the KA and the place of birth of this science was South India.
The present study first investigates the Turkic and Chinese terminology for nomadic tribes and tribal confederacies, then proceeds to analyse the famous passage to be found on the Chinese epitaph of Princess Xienli Pijia (Bilgä), in which we are informed that the father of the Princess, Gudulu (= Qutlu?) Mechuo was the Türk Khagan of theThirty Tribes. Contrary to an older attempt of K. Czeglédy at interpreting the numerical composition of the Türk confederacy, the author elucidates the question in another way. To his opinion the term Nine Surnames (jiu xing) stands for the toquz o?uz, to which the eleven tribes of the Eastern Turks must be added. These two groups make up twenty tribes, and adding to this amount the ten tribes of the Western Turks (on oq) we get the Thirty Tribes of the complete Türk confederacy.
The paper deals with Samuel Brassai, a 19th-century Hungarian linguist and polyhistor, who was the first in the world to discover the role of information structure in the syntactic organization of the sentence. Preparing to describe Hungarian syntax, he first wanted to establish the universal and typical characteristics of the sentence on the basis of a number of genetically unrelated languages. The universal structure he identified is essentially the topic-comment structure (called inchoativum-bulk articulation by him). French-type languages realize a constrained version of this universal structure, requiring the topicalization of the grammatical subject. In Hungarian, the initial position of the comment is a focus (in his terminology: attribute ) position. His Hungarian sentence model is a forerunner of today’s generative sentence structure.
This paper claims the Central European language reform movements in the late 18th century and in the mid-19th century showed a number of similarities with regard to both their aims and their methods. Their main characteristic feature was the endeavour to purify the mother tongue and to introduce new words for elements of foreign (primarily Greek or Latin) specialized terminologies belonging to general education or serving at least as skills needed for orientation. This was a fundamental dilemma: to use Latin as the language of international cultural and academic relations or to give preference to mother tongues spoken by only certain language communities. Do the mother-tongue terms hinder the contacts with the international scientific world? An interesting solution of this dilemma based on some common ideas can be found in the works of Czech, Hungarian, and Croatian language reformers.
It is highly probable that Latin and Greek religious hymns written in hexameters between the early 4th and the early 6th centuries under a more or less evident influence of theological concepts of neoplatonic origin, contain anti-christian polemics expressed indirectly, that ist to say by alluding to Christian terminology. In doing so, the poets make use of exactly the same apologetical method Christian authors had adopted in the period prior to 313 in order to make their own works acceptable also for pagan readers. To prove the existence of so called 'Cryptochristianisms' (a term created by Jacques Fontaine some thirty years ago) in the pagan hymns of the Late Antiquity, three pieces have been analysed, two of them written in Latin (Hymn to Sol, Anthologia Latina 385 Shackleton Bailey, and Tiberianus, poem 4, the 'Versus Platonis de deo') and one in Greek by the famous neoplatonic philosopher, Proclus (hymn 4).
The praetorian edict, perhaps in the 2nd century BC, rendered the tenants ( habitatores ) liable when an object or liquid was thrown or poured from their apartment onto the street. The praetor granted several penal actions against the habitatores , which could be instituted normally by those having sufferred damage in consequence of the deiectio or effusio . The author of this study deals, on the one hand, with some general problems of the regulation in question (focusing on its practical aims and its legal character), and, on the other hand, with the cultural and technical background of this regulation (with special regard to the structure of the buildings in ancient Rome as well as to the relating terminology).
Absztrakt
A tanulmány első harmada összefoglalja a Biblia ír nyelvre fordításának történetét. A cikk fő része részletesen és korszakonként tárgyalja a bibliai szövegekhez kapcsolódó terminusalkotást, és a következő kategóriák szerint ismerteti a bibliai terminusokat: jövevényszavak, jelentésátvitel és jelentésbővülés, tükörfordítás, szóképzés. Az írás röviden áttekinti a jövevényszavak produktivitását is, végül bemutatja az ír nyelvű bibliai terminológia figyelemre méltó stabilitását, kontinuitását.
Zur Semiotik Einiger Musikinstrumente (Vorläufige Problemstellung)
Towards a Semiotics of musical instruments. Outlines of the problem
In spite of the promising recent development of comparative musicology (also including the study of musical instruments) and of semiotics (also including musical semiotics), there is no summarizing attempt to describe and analyze the “signs on musical instruments” phenomena, i.e. carved or painted parts of the instruments. The zoomorphic and anthropomorphic construction and forms of musical instruments, and of their parts, is a wide-ranging field of study. The paper shows some examples of ancient and folk music instruments, by using the common (Peircian) terminology in describing their signs in the proper sense of the word. Animal shells used as bodies of instruments, snake- and dragon-formed instruments, amorous heads on string instruments, human heads and devilish forms of bagpipes, paintings on piano’s wooden cases, emblems or coats of arms of the builders of the instruments — just there are some cases of signs of musical instruments. There are further allusions to musical signs as well.
