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A belgyógyászati módszerekkel panasz- és tünetmentessé nem tehető gastrooesophagealis refluxbetegségben szenvedő betegek kezelésére bevált módszer a laparoszkópos antireflux-sebészet. Gyakorlatot szerzett sebészek nagy biztonsággal végzik a műtétet, mégis fellépnek intraoperativ, korai postoperativ és késői szövődmények, amelyek reoperációt tehetnek szükségessé. A Pécsi Tudományegyetem Sebészeti Klinikáján 1998 és 2015 között 407 laparoszkópos antirefluxműtétet végeztünk. A periódust két szakaszra osztottuk. Az elsőben 1998 és 2006 között 241 beteget operáltunk és a vizsgálat prospektív volt; minden diagnosztikus eljárást magunk végeztünk. A második periódusban 166 beteget kezeltünk minimálisan invazív módszerrel és az eredményeket retrospektíve elemeztük. Az összbeteganyagban a férfi/nő arány 161/246 volt. A betegek átlagéletkora 53,1 év volt. A 407 műtétet kiegészítettük 27 esetben ligamentum teres plasztikával, 28 esetben hálóbeültetéssel és négy esetben fascia lata plasztikával, mert a hiatus direkt zárását nem tartottuk megbízhatónak. 16 esetben (4%) végeztünk konverziót, a halálozás 0,5% volt. 39 esetben végeztünk laparoszkópos reoperációt és hat esetben thoracolaparotomiás reoperációt (12%). Ehhez még öt reoperáció járul, amelynél a primer műtét nem klinikánkon történt. A 4%-os konverziós ráta, a 12%-os reoperációs arány, valamint a 0,5%-os halálozás megfelel az irodalomban talált arányoknak. Összességében megállapíthatjuk, hogy a laparoszkópos antirefluxműtét biztonsággal és nagyon jó eredménnyel végezhető beavatkozás. A tartós szövődmények (elsősorban reflux- és sérvkiújulás), illetve a reoperációk szinte kizárólag csak a nagyméretű hiatusherniák sebészi kezelése kapcsán fordultak elő.

This article outlines the carriers of four scholars coming from what is known as “historical Hungary”. The first out of the four is I. Zékány who was born in 1670 in Carpathian Ruthenia and studied in Prague and Vienna. In the first decades of the 1700s, Zékány became the tutor of the young princes of the Naryshkin family (the relatives of Peter I). Later on, Peter entrusted Zékány to teach the Tsar's grandson, future Emperor Peter II (1727-1730). The second person is T. I. Jankovic (1741-1814), considered to be “the father of Rus­sian public schools”. Jankovic studied in Sremski Karlovci, Bratislava (Preßburg/Pozsony) and Vienna and made his good professional reputation when he worked as the director of Serbian schools in Vojvodina and the chief of the school district of Timisoara (Temesvár). In 1782, upon the invitation of ?atherine II he arrived in Russia and subsequently played the major role in the reform of elementary education in that country. Jankovic also was the author of numerous handbooks and methodological instructions. In detail, the article discusses activity of M. Balugyánszky (1769-1847). This scholar is well known as the teacher of law of Tsar Nicolas I, as the first rector of the St. Petersburg University and as an editor of the famous collection of Russian laws (Polnoe Sobranie Zakonov). Finally, the article indicates the main stages of the carrier of Peter Lódy (1764-1829). In Russia, he was a professor of logic and a pioneer of woman education and published several influential works. The names of the four scholars and pedagogues mentioned above are almost completely absent from the Hungarian general studies on the history of culture and education. It would be desirable for these names to be given a proper place in the cultural history of both countries.

In this article, an attempt has been made to present the life, extraordinary professional carrier and ramifying activity of Mihail Lomonosov, one of the most brilliant encyclopedic minds of the eighteenth-century Europe. The study is primarily focused on the research activity of Lomonosov but it also gives account of his personality and behavior. The author emphasizes Lomonosov's outstanding achievements in various branches of sciences and humanities. The present publication is specially relevant due to the two hundred fiftieth anniversary of the Moscow State University which is the most durable and fascinating creation of Lomonosov. In the final paragraphs, the author indicates those contemporaneous Hungarian scholars who were familiar with Lomonosov's works published in Latin and German.

Fens are among the most threatened habitats in Europe as their area has decreased considerably in the last centuries. For successful management and restoration conservationists need detailed knowledge about seed bank formation and seed longevity of plants, as these features are closely related to successional and vegetation dynamical processes. I analysed seed longevity and the germination characteristics of six fen plant species by seed burial experiments. Based on seed weight, seed bank was expected for long-term persistent for the light-seeded Schoenus nigricans, Carex appropinquata, C. pseudocyperus, C. davalliana and Peucedanum palustre and also that for the medium-seeded Cicuta virosa. It was proved that, the latter two species have short-term persistent seed banks, while Carex pseudocyperus has a transient seed bank, therefore these species may only have a limited role in restoration from seed banks. It was found that Schoenus nigricans, Carex appropinquata and C. davalliana have persistent seed banks, because some of their four-year-old seeds have emerged. Fresh seeds had low germination rate in all studied species and majority of seeds emerged after winter, except for Carex pseudocyperus. After the germination peak in spring, the majority of the ungerminated seeds of Schoenus nigricans, Peucedanum palustre, Carex appropinquata, C. davalliana and Cicuta virosa entered a secondary dormancy phase that was broken in autumn. I found the seasonal emergence of the latter three species highly similar.

In her interviews and essays, Ulitskaya has often alluded to the great effect that Pasternak’s poetry, and especially Doctor Zhivago, has had on her. In one of the episodes of her novel The Big Green Tent, she describes a first encounter with Pasternak’s novel; the teacher of literature who plays a decisive role in the lives of the main characters reads a manuscript copy of the novel and describes it as a worthy continuation of 19th-century Russian prose.

The parallels between the novels The Big Green Tent and Doctor Zhivago have al- ready been the subject of scholarly attention but the connection between Jacob’s Ladder and the Pasternak novel has not been studied so far. In this study, I examine this connec- tion: on the one hand, at the level of macrostructures, the chronotope, the patterns of the heroes’ fates and the principal thematic elements, and on the other hand, at the level of cer- tain microstructures.

The latter are linked to the present-day plot of Ulitskaya’s novel and, more specifi- cally, Nora’s life. Nora reads the correspondence and notes that her grandfather left for her as well as the KGB documents about Yakov Osetsky towards the end of her life (and the plot itself). As a result of this, she wishes to write the novel that her grandfather Yakov could not due to the historical situation.

The process of Nora’s confrontation with the past and her becoming a writer are coded in Ulitskaya’s text by two of the poems of the Zhivago cycle Winter Night and August and also in the related episodes of Pasternak’s novel. All of these have biographical relevance and present creation as a fundamental element of life, which is closely linked to love and death as well as metaphysical experience. The symbolic parallel of this in Zhivago’s August is the transfiguration of Jesus and “the light without a flame” that blinds the disciples. This symbolism appears in Jacob’s Ladder on two levels: first, in the stage set that Nora creates for King Lear, and second, as a concomitant of her confrontation with the past and her becoming a writer.

It is in this way that the fundamental elements of Pasternak’s life and poetry play a crucial role at the level of microstructures: they provide the context and symbolism of the central question of Ulitskaya’s novel, the nature of “the essence” of the human.

In the paper I discuss semantic change as a cognitive adaptation process which flexibly adjusts the culturally shared conceptual category system of a language to changing conditions in the environment. I back up this view with the claim that the evolutionary function of cognition is to provide the organism with functional "knowledge" of its environment for the sake of adaptive orientation in a flexible way relative to the stability of environmental conditions. Hence, the cognitive function of language is to promote social cognition in order to facilitate the sharing of knowledge that proves functional and adaptive in the given physical, social and cultural environment of a group of individuals. In this light the cognitive function of the mental machinery of conceptualization and imagery-as the basis of meaning as understanding---is the adaptive construal of phenomena. Semantic leaps in the form of metaphor, metonymy and other kinds of meaning extension create new adaptive perspectives on the environment. When the circumstances triggering such novel usage persist, these perspectives will become conventionalized in the process of semantic change, leading to new established forms of functional and adaptive imagery.

В данной статье рассматривается роль музыки в романах Л. Улицкой. Из высказываний Улицкой ясно, что музыка всегда играла чрезвычайно важную роль в ее жизни. Это отражается и в ее твор-честве: музыка как тема и аспект жизни героев является основополагающим фактором во многих ее произведениях.

В данной статье мы попытаемся исследовать поэтическую функцию музыки в этих произведени-ях. На основе анализа произведений Веселые похороны, Казус Кукоцкого, Зеленый шатер и Лестни-ца Якова можно выделить три основных аспекта этой функции: создание референциального фона, создание специфического музыкального дискурса и структурирование различных уровней текста.

Создание референциального фона связано с формированием мира героев: герои посещают реаль-ные места (музыкальные школы, концертные залы и т. д.), характерные для данного исторического периода и они слушают или играют конкретные произведения конкретных композиторов. Прото-типами для некоторых героев послужили музыканты, сыгравшие важную роль в русской культуре.

Герои-музыканты Улицкой относятся к музыке по-разному: они могут быть воспринимателем, композитором или теоретиком музыки, и, как правило, они признают музыку как основной прин-цип жизни. Формулировка чувств и идей о музыке, взятая в целом, создает в произведениях вполне определенный музыкальный дискурс, который взаимодействует с другими дискурсами (научным, религиозным и т. д.), связанными с героями-немузыкантами.

Само по себе создание музыкального референциального фона не входит, а музыкальный дискурс входит лишь отчасти в круг интермедиальных явлений. Взаимодействие музыки и литературы как двух видов искусства наиболее ярко проявляется в использовании музыкальных структур. В статье представлены два примера, в которых макро- и микроструктуры текстов организованы по прин-ципу музыкального рондо. В повести Веселые похороны чередование настоящего времени процесса умирания главного героя и прошлых эпизодов, связанных с второстепенными персонажами, со-ставляет форму музыкального рондо, а в одном из эпизодов романа Зеленый шатер форма рондо вытекает из чередования различных форм высказывания (голос повествователя / внутренний голос героя / переплетение голоса повествователя и голоса героя).

В целом, произведения Улицкой чрезвычайно разнообразно используют литературную репрезен-тацию музыки. Созданный в них музыкальный мир, характерный для ограниченной части сюжета, предстает в сочетании с другими сегментами культуры и способами их репрезентации, в результате чего возникает очень богатая, синкретическая поэтика романов.

This paper examines the role of music in L. Ulitskaya’s novels. It is clear from Ulitskaya’s statements that music has played an extremely important role in her life, which is reflected in her oeuvre: music as a theme and an aspect of the heroes’ lives is a fundamental factor in many of her works.

This paper tries to explore the poetic function of music in these works. Based on the analysis of The Funeral Party, The Kukotsky Enigma, The Big Green Tent, and Yakov’s Ladder, three basic aspects of this function can be distinguished: the creation of a referential background, the creation of a specific musical discourse, and the structuring of the different levels of the text.

The creation of the referential background is linked to the shaping of the world of the heroes: the activities of some heroes take place in real places (music schools, concert halls, etc.) specific to a given historical period and linked to specific works by specific composers. Musicians who have played an important role in Russian culture served as prototypes for several of these heroes.

Ulitskaya’s musician heroes relate to music in a variety of ways: as a recipient, as a creator, or as a theoretician, and they all recognize music as a principle of life. The formulation of feelings and ideas about music, taken as a whole, creates a well-defined musical discourse in the works, which interacts with other discourses (e.g. scientific, religious, etc.) related to non-musician heroes.

The creation of a referential background in itself is not, and the musical discourse is only partly an intermediary phenomenon. The interaction between music and literature as two artistic disciplines is most evident in the use of musical structures. The paper presents two examples where the macro- and micro-structures of texts are organized by the principle of the musical rondo. In The Funeral Party, the alternation of the present of the protagonist’s dying and of past episodes related to minor characters constitute the musical rondo form, while in an episode of The Big Green Tent, the rondo form is drawn from the alternation of different forms of utterance (the narrator’s voice / the hero’s inner voice / the interweaving of the narrator’s voice and the hero’s voice).

All in all, Ulitskaya’s works make extremely varied use of the literary representation of music. The musical world created in them, which is specific to a limited part of the plot, is presented in conjunction with other segments of culture and their modes of representation, resulting in a very rich, syncretic poetics of the novels.

This paper analyzes the status of minority languages in the Central European region in the Post-Transition period.

The paper focuses on the metatextual features of modern Russian joke. For this purpose, we outline three functions of metatext: analysis, organization, and manipulation of language or text. Russian joke employs all these functions but it is very productive in manipulation of standard (conventional) linguistic, discursive devices for providing criticism and / or parody of the world and language itself. Its repository of metatextual devices is very rich and powerful, e.g. presenting non-conventional definitions, playing with motivation of word formation and connotative meaning, up to the violation of discursive devices like zeugma, chiasm, implication, presupposition, contamination of texts, etc.