In his youth Bela III, king of Hungary (1172-1196) lived in Constantinople as the betrothed of the emperor Manuel Comnenus' daughter and was appointed to be heir to the Byzantine throne. There he was called Alexius probably owing to an oracle, according to which Manuel's successor's name would start with the letter alpha. However, when a son - also named Alexius - was born to Manuel, he had him crowned co-emperor and had the betrothal of Bela and Maria dissolved on the pretext of a ruling of the 1166 Synod of Constantinople, which banned marriage between relations by marrige to the seventh degree. It is this ruling that is referred to in a sentence in Cinnamus, which has been ignored this far because of the assumption that Bela and Maria were related in the eighth degree. As a matter of fact, they were related in the seventh degree by the marriage of the Hungarian king Stephen IV and Maria Comnena, daughter of Isaac Sebastokrator.
The newly acquired register data reveal that the Viennese baroque painter, the younger brother of sculptor Johann Georg Dorfmeister (1736-1786) and cousin of the painter Johann Evangelist Dorfmeister (1742-1765) was born on 13 October 1741 in Pozsony. The signature of one of his pictures already divulged his age and he specified his place of birth for his marriage in Kremsier (Kroměříž) in 1762 correctly. The uncertainty prevailing so far was caused by a mistake in the death register in Sopron, as the deceased was registered as aged 68 in 1797, as well as by the fact that the populous Dorffmaister family – of shoemakers and embroiderers – living on Spittelberg did not have any son called Stephan registered at the St Ulrich parish of Vienna. His marriage data corroborates the so-far only presumed role of the Premonstratensians of Hradisch (Hradisko u Olomouce) in Dorffmaister’s career start in Hungary. While the decoration of the Premonstratensian church and monastery of Türje in west Hungary painted between 1761 and 1763 is being brought to light in its increasing richness as restoration progresses, there is no trace remaining of the painter’s work done for the Promonstratensians of Csorna, and moreover, the relevant sources are also uncertain. Research in the archives of the Premonstratensian abbey of Hradisch kept in Brno will hopefully bear further fruit.
The composer’s two completed but very much differing versions of Boris Godunov still pose many serious questions to both performers and analysts alike. Few people know that Musorgsky also completely revised his operatic fragment The Marriage that immediately preceded Boris, and furthermore hardly a trace exists in musicological literature of the fact that The Child composed at that time, which later became the first item of the song cycle The Nursery (with the title of With Nurse), was also the subject of a revision. What connection there is between the versions of these three works and how Musorgsky’s operatic style developed in 1868 are questions to which the present article seeks the answer.
The erection of the first retable of remarkable dimension in the Leutschau Parish Church can be dated on the basis of the coats of arms of King Matthias Corvinus and of his wife, Beatrix, sculpted on its predella. As Matthias visited the city in 1474, the donation can be attributed to him, while the armory of Beatrice proves that the execution was not earlier than their marriage in 1476. An analogue to the use of royal coats of arms is given by the retable of Our Lady of the Snow in the same church, which is traditionally considered as a commemoration of the Leutschau meeting of the Dukes of the Jagiellonian Dynasty in 1494.
The article is part of a series of similar title. The author already addressed himself earlier to metalworking in the towns of Keszthely and Komárom, but new archival sources have become accessible. From birth/marriage/death registers and tax registers the names of further goldsmiths could be gleaned, while the family relations of others could be clarified. A specific group of relics, the typical silver chains of Gypsy voivods made around 1850 were successfully tied up with goldsmith József Setosits of Keszthely. Museum objects can be attached to data in the 17th century register data of Komárom: works by György Szentjóby, Master KB. From among the goldsmith's dynasties of the 19th century, the Grünhut family can be traced up to 1944.
As the next step in a series of publications, the author presents so-far unpublished maker marks and mark variants found in art collections and the art trade, trying to decipher the newly found ones. Concerning already known marks, he relies basically on Elemér Kőszeghy’s book of marks and when the Pest-Buda marks are considered, the work of Ilona P. Brestyányszky is consulted. Additional information is now provided, and some earlier information corrected, about the 19th century goldsmiths of Buda, Pest, Arad, Besztercebánya, Kolozsvár, Lőcse, Nagyvárad, Pápa, Rozsnyó, Veszprém on the basis of registers of births, marriages and deaths and other lists. In the appendix there is a tabular summary of the exhibition and art trade occurrences of artifacts bearing the hallmark of the Kolozsvár goldsmith Sándor Erdődi who worked in the 1840s and ‘50s.
The article is the eighth part of the titular series. The goldsmith's art in Veszprém was elaborated in a monographic study by Árpád Somogyi, while Nyitra in former upper Hungary (Nitra, SK) has no such summary. The author now collates the goldsmiths known by name from the registers of births, marriages and deaths, and from tax registers with types of objects included in the 18th century price-lists (limitatio). He identifies the cup of Tótvázsony made in 1761 as the work of Mihály Nánai, and attributes other art works appearing in the art trade to 18–19th century masters. The chief novelty in Nyitra is the attibution of 19th century works to the Szodomka family and János Ludvig.
In the romance
written by the twelfth-century French author, Chrétien de Troyes a feigned death releases the heroine from her detested marriage and brings her into the arms of her lover. The motif of the feigned death has been considered to be related to a Byzantine story about the wife of the biblical King Solomon, a narrative that pictures women as demon-like creatures. However, the theme of the ‘undead girl’ has a different tradition as well. This tradition is much closer to the concept of
and appeared first in the Greek romance
by Xenophon of Ephesus. The virtuosity by means of which he handles the different sources reveals Chrétien’s talent and perfection as a writer and his amazing sense of humour.
This paper is concerned with the rape of young girls which is one of the main elements in Greco-Roman New Comedy equally used by Greek and Roman authors. It concentrates on Terence and examines where and when these sexual assaults against young girls happen, trying to show that place and (dramatic and real) time have actually considerable function and significance into the Terentian comedies. More specifically, place is always associated with the excuses which the assailant uses in order to justify his sexual assault and subsequent attitude towards the victim. Instead, time is related to the victim’s pregnancy that sets the violent act before the play’s action and legitimate the assault through marriage-children (i.e. dramatic time); and finally, it is always night (i.e. real time) that along with wine constitutes a strong incitement to sex, which is what adulescentes used to do this time within the conventions of Greco-Roman Comedy.
A meddőség világméretű probléma, a házaspárok 10–15%-át érinti. A biomedikális szemlélet a meddőséget biológiai zavarnak tekinti. A meddőség igen nagy százaléka azonban pszichés faktorokra, mint stresszre, depresszióra, traumatizáltságra, rejtett házastársi konfliktusokra vezethető vissza. Evolúciós megközelítésben ezeket a meddő eseteket adaptív reprodukciós kudarcnak tekinthetjük, s sikeres kezelésük csakis megfelelő – olykor evolúciós szempontokat is tartalmazó – pszichoterápiás segítséggel oldható meg. A szerző áttekinti a vonatkozó szakirodalmat és a terápiás lehetőségeket.