This paper is meant to re-examine the relative (and, at some points, absolute) chronology of some Early Greek changes of the occlusive phonemes (i.e. devoicing of Proto-Indo-European voiced aspirates, assibilation and palatalizations) and to point out some apparent questions and problems concerning the occlusive system as a whole.
This paper gives a short review of the research from recent years on texts of Latin curse tablets from Pannonia. In the last decade, four new lead tablets of quite long and well-readable texts came to light in well documented archeaological context in Pannonia. On one hand, these findings have not only doubled the small corpus, but they presented new data from both the field of magic and linguistics. On the other, in connection with the examination of the new pieces, the reconsideration of earlier ones could not be delayed any longer.
The essay describes two copies of documents from the hand of Staatskanzler Wenzel Anton Kaunitz-Rietberg sent to the Swiss engraver and art dealer Christian von Mechel. The letters were written at the time when Mechel was involved with the installation of paintings from the Imperial collection in the Belvedere palace, Vienna. The first letter is dated June 14th, 1779, and tells of several paintings that Mechel had suggested the Austrian court; one being identified as “Decent from the Cross” by Sandrart, which was included in Mechel's Belvedere hanging, and is now to be found in Cluj/Klausenburg. The document also refers to four paintings by Teniers in Nymphenburg offered by Kurfürst Karl Theodore von Pfalz-Sulzbach, (from 1777 onwards also Kurfürst von Bayern), who had retained Mechel as his agent in this affair. These four works, showing the interior of Archduke Leopold Wilhelm's paintings gallery, could very well be the set of paintings now in the Bayrische Gemäldesammlung in Munich. This would suggest that the transfer to the Austrian court must have failed to happen for reasons not yet known. The second letter is dated July 28th, 1790 and reveals an increasing of impatience towards Mechel, who Kaunitz implys is causing delays in the completion of the gallery installation. Kaunitz further makes reference to a large painting by Frans Floris, which could correspond to “The Last Judgement” (ill. 4).
The new style of Hungrian folksongs emerged in the second half of the 19th century. The new-style tunes differ most obviously from the old-style tunes through their structure, which is rounded, architectural. That was a revolutionary change. At the beginning, the new style was the collective style of the youth. As regards the geography, the new style came into being in the central area of the language territory and spread to the surrounding parts and even to some northern neighbouring peoples. It arrived at a delay in Transylvania. The Transylvanian performing style varies by subregion. These features are describing on the basis of the degree of melody ornamentation. Four degrees of embellishment are defined. In Szilágyság, the new-style songs are sung almost like in geographically nearby Great Plain. In the Székely land, musical ornamentation has even less significant role. In Mezőség and Kalotaszeg the new style arrived in a traditional musical context in which ornamentation plays an important role in time-tested old styles, and this technique appears to get incorporated in the performance of new-style songs as well. The layout of ornamentation is basically the same for old- and new-style songs for all dialectal areas. In the urban dance house movement from among the new-style songs the embellished ones are the most fashionable.
repeatedly delayed and finalized only in 1924. Upon completion, Bartók had composed a series of significant new works such as Improvisations for piano op. 20 (1920), two Sonatas for Violin and Piano (1921 and 1922, respectively), both dedicated to Jelly
and the creation of the database have been delayed due to the COVID-19 pandemic. Methodology Our pilot study assessed the reading comprehension skills of a group each of Hungarian primary school pupils in Hungary and in Slovakia. The sample was
this language grammaticalize definiteness.) In sum, since in Kolyma Yukaghir the same person on the object can trigger different accusative exponents depending on the person of the subject, if accusative Case is a function of v , it must delay Case