the φ ()-function. Does that mean that there are no cases of repeated application of φ () at all? I will assume that such cases do exist, but that they are a better fit for compounds and phrases. My treatment of compounds will differ from Kaye's, and
and the smoothed-in decoration’s shine, therefore, depends not only the surface treatment but also on the firing method. 73 The pattern consists mostly of thick lines (7 pieces: vertical bands, wavy line, lattice pattern), only in the case of two jugs
context of the funeral, through the choice of objects or the treatment of the body, varies in time and space. By employing the same principle, religion, origin and ethnic identity can manifest themselves and overlap when they coexist in different forms, or
This short essay overviews the changing image of the Ottomans in Hungarian historiography from the late 19th century to the 1990s. It maintains that whereas the Ottoman Empire had received a generally negative treatment from the nationalist historiographies of the empire’s successor states in the Balkans and the Middle East, Hungarian historiography has been more divided and has offered a more diverse view with regard to the country’s Ottoman centuries. As in the case of the biased treatment of the new nation-states of the Balkans and the Middle East, the more balanced Hungarian attitude has its political and cultural-historiographical background, which is briefly addressed in the paper.
During the campaign of
Amunhotep II in the year of nine a curious event took place that might be
interpreted as death by burning prisoners. The possibility of this brutal
treatment raises the question of the status of war-prisoners. This study gives
particular attention to the lexicography of skr-'nh, the symbol of the
complete and permanent submission as a possible form of captivity. Not just in
the Memphis Stela but among the sources of Eighteenth Dynasty many examples
have appeared that put the question of the treatment of prisoners in a
different, new light.
Prince Louis Lucien Bonaparte (1813--1891) was an important pioneer in the field of Basque, English, Italian and Sardinian dialectology, who deserves a much better treatment than what he has received in modern books of history of linguistics. The main aim of this research is to give more accurate information on this subject.
The inventory of Béla Bartók’s original vocal compositions produces a heterogeneous impression: as regards to scoring, form, the derivation of the text, and the attitude of expression, the opera Bluebeard’s Castle, the two collections of songs opp. 15 and 16, Cantata profana for Soli, Choir and Orchestra, and the a cappella series Elmúlt időkből (From Bygone Times) and Twenty-Seven Two- and Three-Part Choruses apparently do not form a homogeneous group. However, they do share the common characteristic of being born as original music out of pre-existing texts. Stylistic features and peculiarities in the choice and the treatment of the texts do reveal some links and parallels between the original vocal works which reflect Bartók’s principles in the setting of texts and in the treatment of voices.
In this paper I argue that the subtext for Ovid's positive portrayal of Diomedes at Rem. 151-167 is the Vergilian episode of Diomedes' reply to the embassy of the Latins (Aen. 11.252-93), and that the adjustment of this episode to the frame of Ovid's erotic didactic is achieved through a number of similarities in diction and theme. Ovid's treatment of the Vergilian Diomedes, however, is subversive and the Vergilian narrative is being undermined and reworked in a brand new way.