. 281). However, even when arias originally written for castrati were integrated into Strada's repertory, Zsovár insists on the retention of feminine qualities, without sufficiently defining this vocal (and musical) femininity and somewhat disregarding
femininities and masculinities between the Neolithic and Early Roman Period in Hungary: A review . In: Bistáková , A. – Březinová , G. – Ramsl , PC (eds): Multiple Identities in Prehistory, Early History and Presence. Archaeologica Slovaca Monographiae
embeddedness, functions, symbolic mechanisms). The other two studies of the block (by Viktória Földi and Katalin Pajor) approach the issues of gender and femininity in terms of identity change, group status, and individual career paths.
femininity, too. As to new repertoire, among others Jelly acquainted him with Szymanowski’s Trois Mythes and Notturno and Tarantella that featured a range of interesting novelties in violin playing,
some of which
going public with their work creates problems with regard to their femininity and role in society. In 1858, Pál Gyulai, a friend of the family, published an intensely debated piece on women writers, one of the basic tenets of which was that women
femininity in the period, such as bow, S-shaped, and disc brooches, earrings, and some bracelet types. Other dress accessories, however, do not always allow for a clear determination of gender, as in general, they were equally worn by men and women. For
The aim of this paper is to report on an experiment designed to evaluate the perception of high frequency sibilant articulations in Hungarian male speech and to theorise on the results. The main findings of the experiment are that the Hungarian listeners rate high frequency sibilants with femininity. These findings suggest that there is at least some social awareness of sibilant frequency in Hungarian. What follows from this is, in turn, that the sociolinguistic salience of sibilants as a variable is not confined to dialects of English, where the phenomenon has been most thoroughly described and discussed.
Solovyov's sophiological teaching had a significant influence on the development of Russian philosophy of religion. He contributed a new discovery to the science of sophiology: he threw light on the complicated relationship between the idea of unity originating from God and uniting the whole world, and between the methaphysics of Sophia. The teologeme of Sophia is manifested in Solovyov's philosophical system, in his poetic intuitions and mystical visions as well as in the gnostic texts, in the Kabbala tradition and also in the philosophical and biblical teachings. The Divine Wisdom, as the idea of an endeavour to unity appears in a parallel way with the different aspects of the divine and individual Sophia: such as the divine material, the eternal femininity, the Spirit of the world, the image of ideal humanity etc. The mystery of the Holy Trinity, ie. that God symbolises three persons' unity in love (that of the Father, the Son and the Holy Spirit), the idea and notion of the number three played an important role in the formation of Solovyov's sophiological teaching. All these were instrumental in the formation of his many-sided and complex Sophia-interpretation.