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Kortárs zongoradarabok kottáinak terminológiai elemzése
Terminological analysis of the music scores of contemporary piano pieces
Jelen tanulmány célja 1945 után keletkezett zongoradarabok nem-nyelvi jelrendszerének terminológiai vizsgálata. A vizsgálat eredményezte három csoport: a tág értelemben vett idővel kapcsolatos jelek (ütemmutatók; időegységek és szünetjelek; a tempóváltozás nem-nyelvi jelei; egyéb, időre vonatkozó jelek), a különféle díszítések és játékmódok nem-nyelvi jelei (pl. néma hangok, arpeggio, glissando, preparált zongora), valamint az egyéb jelzések (pl. az improvizáció jele, színek). A terminusokat korábban nyelvi jeleknek gondolták, azonban körük egyre inkább kiterjed a nem-nyelvi jelekre (számokra, piktogramokra stb.) is. Arra, hogy egy terminus nem pusztán nyelvi jel lehet, bizonyítékot szolgáltat a zene terminológiája, ahol egyenértékűként kezelik ugyanazon terminus nyelvi és nem-nyelvi jelölőjét.
Ha a görög kultúra azon szegmensére gondolunk, amelyet közmegegyezés alapján ’vallás’-nak nevezünk, elsősorban a politeizmus és az isteni pantheon kifejezések juthatnak eszünkbe. Természetesnek vesszük, hogy a görög vallásban több isten részesül kultikus tiszteletben, az egyénnek számos isten ünnepén kell részt vennie, nekik áldoznia, hozzájuk fohászkodnia kell, hogy polispolgári kötelességét teljesítse. Ám nem igazán szoktunk foglalkozni azzal, hogy ez a sokistenes vallási környezet miképpen működik: az egyén milyen módon tart fönn egyszerre több istennel kapcsolatot, hogyan tisztel több istent, képes-e egyáltalán arra, hogy a pantheon összes istenével jelentéssel bíró kapcsolatot ápoljon? Az utóbbi két évtized görög vallástörténeti kutatásait a fenti kérdések foglalkoztatják, a cikk ennek a tudományos iránynak a keretébe illeszkedve a politeizmuson belül létrejövő egyensúlyi helyzetet, az istenek között kialakuló konfl iktusokat, az egyén részéről személyes igények mentén megvalósuló választásokat és a személyes pantheonok képződését teszi vizsgálata tárgyává.
Tolstoy’s pneumatology based ‘multiculturalism’ and his theological ecumenism have provocative timeliness in the historical situation of the collision of two big cultures. The most complex, poetically coded formulation of sphere of thought – as the writer’s intellectual will – can be found in this ‘swan song’, without authentic interpretation of which hermeneutic approach of Tolstoy’s life’s work cannot be conceivable these days. It can be stated that Tolstoy’s ‘heathenism’ is the poetical projection of Christian theological universalism which is a thought experiment comparable with Dostoevsky and Vladimir Solovyov’s intellectual performance. The new element in the hypothesis of the short novel’s analysis is that it views the writer’s criticism of civilization in the four-part Berdyayev system of the intellectual typology of art development. Thus, the work appears as the last chapter of a ‘metanovel’, determined by a latent pneumatological vision, creating the effect of illumination of new poetic features.
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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.
«Свет Без Пламени»: Лестница Якова Л. Улицкой И Доктор Живаго Б. Пастернака
Ulitskaya’s Jacob’s Ladder and Pasternak’s Doctor Zhivago
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.
