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- Author or Editor: Gábor Takács x
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Mubi-Toram is a group of languages in the Republic of Chad (some of them close to the border with Sudan). This group belongs to the eastern subbranch of Chadic and thus represents the member of the immense Afro-Asiatic (Semito-Hamitic) macrofamily comprising six equipotential branches: Semitic, Egyptian, Berber, Cushitic, Omotic, and Chadic. Mubi-Toram is namely the last (26th) Chadic group in the classification proposed by H. Jungraithmayr (Jungraithmayr — Ibriszimow 1994, Vol. II, p. xv). This is one of the least studied Chadic groups from the standpoint of both lexicography and comparison. For each of its daughter languages we usually find just one wordlist, among them only Mubi is relatively better provided with sources.The success of modern research on Chadic phonological and lexical reconstruction (initiated by V. M. Illič-Svityč and P. Newman in the mid-1960s) fundamentally depends on how the inner reconstruction and the external (Afro-Asiatic) comparison of every single individual Chadic language group proceeds at the same time. Unfortunately, out of the 26 Chadic groups, only six (namely, Angas-Sura, Bole-Tangale, North Bauchi, Bura-Margi, Mafa-Mada, Kotoko) have been so far more or less satisfactorily studied from this viewpoint.Work on the planned comparative lexicon of the Mubi-Toram languages was begun by the author in the summer of 2008. The present series of papers is to integrate this remote lexical stock in its wider Chadic and Afro-Asiatic context by providing materials for the research outlined above.
New Afro-Asiatic parallels are suggested for Egyptian lexical roots continued from the previous communications.
The long-range series “Aegyptio-Afroasiatica”is devoted to the publication of new Afro-Asiatic etymologies of Egyptian lexical roots which have been identified in the course of my research on the “Etymological Dictionary of Egyptian”(EDE, Leiden, Brill, published since 1999). The underlying consonant correspondences the proposed etymologies are based on have been elaborated and demonstrated in EDE I. The numeration of the etymological entries in the present contribution continues that of the previous parts.
During my current work on the Egyptian Etymological Word Catalogue (EEWC, ongoing since summer 1994), it has become possible to identify a great number of new lexical correspondences between Egyptian and its vast Afro-Asiatic (Semito-Hamitic) kindred. The series of papers “Aegyptio-Afroasiatica” has been started in 1995 for reporting these results. The numbering of etymological entries is continuous beginning from my very first report.
The paper presents the fourth part of a longer series devoted to the discussion of new Afro-Asiatic (Semito-Hamitic) etymologies. The present contribution proposes a set of new lexical roots with *f- in the Anlaut.
The paper constitutes part of a long-range series aiming, step by step, to identify the Afro-Asiatic heritage in the etymologically little explored lexicon of Omotic (West Ethiopia), a branch displaying the least of Afro- Asiatic traits among the six branches of this ancient macrofamily.
The paper constitutes part of a long-range series aiming, step by step, to identify the Afro-Asiatic heritage in the etymologically little explored lexicon of Omotic (West Ethiopia), a branch displaying the least of Afro-Asiatic traits among the six branches of this ancient macrofamily.
The paper constitutes part of a long-range series aiming, step by step, to identify the inherited Afro-Asiatic stock in the etymologically little explored lexicon of the Omotic (West Ethiopia) branch of the Afro-Asiatic family displaying the least of shared traits among the six branches of this macrofamily, which suggests a most ancient Omotic desintegration reaching far back to the age of post-Natufian neolithic.
Abstract
The study presents the development of the art policy of the Hungarian Socialist Workers' Party between 1957 and 1985, describing the processes and tendencies supporting it. The art policy of the Kádár era was framed by four documents among the various party resolutions, with different weight and effectiveness: the The Cultural Policy of the Hungarian Socialist Workers' Party (1958); The Vocation of Literature and the Arts in Our Society (1966); Topical Issues in Our Arts Policy (1977); and the On the Current Tasks of the HSWP's arts policy (1984). György Aczél, the main director of the art policy of the Kádár era, played a decisive role in their creation, albeit with age. The appearance of the documents always marked a change in the era of art policy, in close connection with the consolidation after 1956, the attempts at economic reform in the 1960s and the reversal of the 1970s.
