Ennek a dolgozatnak a tárgya a morfológia, illetve szótan ókori grammatikákban megmutatkozó felfogása, melyet kétféle összefüggésben helyezünk el: egyrészt a morfológia mai modelljeinek tipológiájában, másfelől pedig azok tudománytörténeti alakulásában. Áttekintjük, hogy milyen érvek szólnak a mai nyelvelméletben az ókori típusú, szigorú értelemben morfológia nélküli szótan mellett. Szólunk arról is, hogy hogyan bontakozott ki a morfológiai szerkezet egyre pontosabb felismerése a magyar nyelv régi, latin alapú grammatikáiban a 16–17. század folyamán.
In addition to several thousand archaeological features, forty-three settlement burials were also uncovered on the LBK site at Balatonszárszó-Kis-erdei-dűlő. The majority of the crouched inhumation burials came to light from the uppermost level of the settlement’s refuse pits. The study offers a detailed assessment of the settlement’s Neolithic burials together with the examination of possible patterns in the mortuary rites, as well as an overview of the culture’s graves and mortuary practices in the western half of the Carpathian Basin, i.e. in Hungary and Slovakia. The findings are compared to the treatment of the dead in other regions of the LBK distribution in Europe in order to identify possible local traditions in the light of similarities with and divergences from the general patterns in the mortuary rites practiced by LBK communities.
The article deals with the role of the Greek goddess Hera and her Roman counterpart, Iuno, in the poetic treatments of the myth of Argonauts. The focus is put especially on Iuno’s character development in Valerius Flaccus’ adaptation of the myth. Iuno’s character in this work has already been discussed by Werner Schubert in his fundamental study (1991), in which he pointed out the remarkable approximation of Iuno fabulosa and Iuno civilis. Referring to this study, the article emphasizes rather the literary development of Iuno’s character. It is shown that Valerius Flaccus portrays the highest goddess not only as a peculiar helper (socia), as suggested by Schubert, but also as a permanent participant in an intertextual dialogue with the epic poems of Homer and Apollonius Rhodius. Valerius Flaccus’ aim here is to invert his literary predecessors’ accounts in a subtle and witted way (as Debra Hershkowitz has already presented).
In spite of their differences, Two-level Conceptual Semantics, Generative Lexicon Theory and Relevance Theory also have similarities with respect to treatment of the relation of word meanings and contexts. Therefore, the three theories can be considered as complementing each other in analysing word meanings in utterances. In the present paper I will outline a conception of lexical pragmatics which critically amalgamates the views of these theories and has more explanatory power than each theory does separately. Such a lexical pragmatic conception accepts lexical-semantic representations which can be radically underspecified and allow for other methods of meaning description than componential analysis. As words have underspecified meaning representations, they reach their full meanings in corresponding contexts (immediate or extended) through considerable pragmatic inference. The Cognitive Principle of Relevance regulates the way in which the utterance meaning is construed.
The idea of ‘national’ in Croatian 19th-century music shows evolutionary tendencies, which can be articulated in four phases. It started in the period 1800–1830 as a construct leading towards higher general musical standards, displaying universality above particularity as its ideal. It continued in the period 1830–1850 with pragmatic treatment of music as incidental to poetry, supporting non-musical, mostly political issues, where universality equaled particularity. It achieved in the period 1850–1870 the status of a substantial part in the scholarly re-construction of national history, still equaling universality with particularity. Finally, as a concept of ethnic or national art music, it reached in the period 1870–1916 a status of general interest in national cultural life and education, displaying particularity above universality.
Bartók left behind over 300 folksong arrangements. In the field of vocal music, three series are based on Slovak folksongs: Five Slovak Folksongs for male choir (1917, BB 77), Four Slovak Folksongs for mixed choir and piano (1917, BB 78) and Village Scenes (1924, 1926, BB 87). The series are strongly connected among themselves in terms of textual content, formal concept, and treatment of folk melodies. In Village Scenes, Stravinsky’s influence is unmistakable. Not only was Bartók “influenced” by Stravinsky but he also imitated and even “quoted” Les Noces (1923). The article examines the relationship between the two works using Bartók’s 1928 essay Hungarian Folk Music and New Hungarian Music as a point of reference.
Both demonology and medical learning wanted to define what material proofs they were to use in order to alleviate the politically rooted disease symptoms of the early modern period. Finding the proper therapeutic treatment required the appropriate description of the pathology, revealing the causes and consequences and making the right diagnosis. Several key questions were formulated concerning these requirements. Most of the questions formulated in this way are based on a formal syllogism that meets the normative requirements of disciplines that include law, theology and medicine and whose formal elements became valid within the systems of fulfilment of these disciplines themselves. In this paper I shall attempt to introduce the scholarly literature based on these formal logical criteria that address material proofs, omens, prophecies, oracles and miracles. I shall then outline how this debate in European secondary literature has been received in Hungarian scholarship.
In the second half of the 16th century increasing interest in Greco-Roman drama lead to a revival of the fabula praetexta, i.d. plays staging Roman history. One of the finest examples is the “Lucretia, tragoedia nova” by the Silesian writer Samuel Iunius (*1567). In dramatizing the Livian story the poet follows Greek tragedies (e.g. Sophocles, Aias), but first of all imitates Vergil by assimilating Lucretia to Dido. Due to further parallels in structure and narrative technique Iunius' play even emerges as a kind of dramatic counterpart to the Aeneid. The choice of the subject as well as its treatment seem to suggest that the author lent his voice to political criticism and Anti-Habsburg opposition.
What happens when we consider “poetics,” a term and concept well-known from Aristotle’s philosophical treatment of Greek epic
and tragic drama, in the larger context of world literature as we understand it today? What would be the essential elements
in the definition of poetics? What sort of critical issues it can address, and what resources it may draw on in the world’s
various literary traditions? In the ancient world, East Asia and South Asia all have distinct traditions of literary expression
with emphasis and critical conceptualizations rather different from those of the Greek-Roman tradition. What would the consideration
of poetics in a broad cross-cultural perspective lead us to? In this presentation, these are the theoretical issues to be
explored to arrive at a better understanding of poetics not only in the Western tradition, but truly of the world, with the
richness of content and critical functions considered with relation to a global concept of world literature.
In 1913 Béla Bartók traveled to Algeria to research Arab folk music. He took with him the most modern technological device then available, the Edison phonograph, and recorded Arab peasants performing their music. Analysis of his ensuing scholarly documentation and free composition reveals the inspiration Bartók drew from Arab folk music, not only in his treatment of traditional musical elements — melody, rhythm, and harmony — but also in novel incorporation of exotic timbre, scales, drum modes, ululation, and exorcism. This paper elucidates diverse musical elements with examples from authentic folk music and Bartók’s compositions. What emerges is a remarkably comprehensive image of Arab music, seen through the lens of Béla Bartók’s unique scholarship and creativity.