in the Humanities: Exploring the Paradigm Shift , 9 - 18 . Amsterdam : Amsterdam University Press.
Debreczeni , Attila 2014 Kritikai kiadás papíron és képernyőn [CriticalEdition on Paper and Screen] . In Czifra , Mariann - Szilágyi
The paper offers a critical edition of Janus' translation, a comparison of this translation with Cicero's translation of the same passage and an analysis of its place among the translations of the period.
The most important project of Haydn research in the 20th century, the first complete critical edition
Joseph Haydn Werke
will be completed in 2014. It is compiled by the Joseph Haydn Institute at Cologne, which was founded in 1955 and stores a comprehensive collection of sources, reproductions and all the Haydn literature. Beyond the complete edition basic philological work remains to be done — and should be done at this research center: A new edition of Haydn’s letters and a new
replacing the outdated one by Hoboken.
Gábor Takács: Etymological Dictionary of Egyptian I. A Phonological Introduction. Leiden-Boston-Köln, Brill, 1999. 471 pp. Gábor Takács: Etymological Dictionary of Egyptian II. b-, p-, f-. Leiden-Boston-Köln, Brill, 2001. 639 pp. Kalatattvakosa - A Lexicon of Fundamental Concepts of the Indian Arts. General editor: Kapila Vatsyayan. Vol. IV: Manifestation of Nature - Srs ti Vistara. Editors: Advaitavadini Kaul & Sukumar Chattopadhyay. New Delhi, Indira Gandhi National Centre for the Arts-Delhi, Motilal Banarsidass, 1999. xxxvii + 429 pp. Piotr Balcerowicz: Jaina Epistemology in Historical and Comparative Perspective. Critical Edition and English Translation of Logical-Epistemological Treatises: Nyayâvatara, Nyayâvatara-vivrti and Nyayâvataratippana with introduction and notes. Alt- und Neu-Indische Studien, herausgegeben von der Abteilung für Kultur und Geschichte Indiens und Tibets des Asien-Afrika-Institutes an der Universität Hamburg, 53, 1-2. Franz Steiner Verlag, Stuttgart, 2001.
As a contribution to a larger theoretical discussion of the relationships between literature and political context, this paper offers an examination of the reception of the works of Hungarian poet and novelist Dezső Kosztolányi during the communist period, drawing particular emphasis to the origins of several misunderstandings. Over the past several decades Hungarian Marxist literary theorists, influenced by the philosophical and aesthetical heritage of György Lukács, have thought of artists as having a revolutionary role in society and literature as having an important role as a means through which to educate the nation. Kosztolányi’s concept of art for art’s sake did not minister to this ideological and political system, and as a consequence his reception and reputation suffered. Not only were critical evaluations of his writings, both literary and theoretical, distorted and crafted with the intention of creating a misleading image of the author, but the editions of his texts were also censored. It is not mere accident or circumstance that the critical edition series of his works could not be edited and research groups and projects dealing with an edition of his life’s work were not financed under the communist regime. Hungarian intellectuals have yet to raise the question as to why open discussion of the beginning of the 20th century (when events took place that continue to exert an influence on conceptions of culture today) remains a taboo. Why are there no (or few) critical editions and anthologies or studies dealing with the period? Twenty years have passed since the political transition and the situation remains essentially the same. Hungarian philologists who deal with Kosztolányi’s oeuvre must address these questions and challenge the Marxist axioms and stereotypes if they hope to further the development of Kosztolányi’s reception. Relying on postmodern theories is not sufficient if there is little fundamental research.
This paper contains some of the most significant results featured in my Master Thesis entitled I canti di questua della Grecia antica: edizione critica, traduzione e commento (The Begging Songs of Ancient Greece: CriticalEdition
János Tornyai (1869–1936), the painter of the Great Hungarian Plain left behind a multitude of written documents. The first selection from his rich correspondence was published by Éva Bodnár in a small monograph in 1956, followed in 1962 by a selection from materials in the Center of Art Historical Documents (today Institute of Art History, Hungarian Academy of Sciences), the manuscript collection of the National Széchényi Library and the archives of the Museum of Fine Arts. After the death of the painter's widow in 1984 an unparalleled trove of paintings and documents was found hidden under the floor in her Budapest home. Éva Bodnár published excerpts from the diary found in the trove in her Tornyai book of 1986, but both its full text and the critical edition of the letters numbering several thousands are still to be published. The present selection aims to give a cross section of the letters best illumining the painter's career, his views on art and the art scene of his age. Most of them were written in his native town Hódmezővásárhely.
The present paper exposes the cultural role of Saint Thomas as it was viewed in history. Usually, with the passing of time, the memory of a man and his works weakens and decreases, while in the case of 'geniuses', the opposite appears to happen. Thomas belongs to this latter characterization: the remoter his life, the stronger his presence. There are three decisive factors related to his ascend: his canonization in Avignon by Pope John XI (1323), the title Doctor Ecclesiae, given by Pope PiusV (1567), and the encyclical letter Aeterni Patris of Pope Leo III (1879). These historical events encouraged the study and the comprehensive apprehension of the Thomist doctrine in its true reality and value. At the beginning of the third millennium, the Thomist thought has a more significant cultural presence than previously. The critical edition of his works, their translation into various languages and the extensive number of studies on his thinking have contributed to the continuous discovery of his doctrinal system. Thomas has become the distinguished teacher, the Doctor humanitatis in theology, metaphysics, anthropology, and ethics. His historical role is a positive sign for the culture of the third millennium.
The papyrus letters from an early Christian environment have always attracted the papyrologists’ attention. This paper presents a new, so far inedited piece from the Laurenziana Collection of Florence. Although the papyrus is badly mutilated and incomplete, besides the transcription, a partial and very hypothetical restoration of the content and the context can be attempted. According to my interpretation the writer gives an account of a speech held by the deacon Stephan, which may echo verses from the Letter of James (James 2.2–6). If its date based on paleographical considerations (3rd–4th c.) is correct, the papyrus might even refer to the city of Arkadia on Crete, although a dating into the 5th c. and an interpretation of the name as the eparchy of Arkadia in Egypt cannot be excluded. Despite all difficulties the papyrus represents a new, surely Christian letter with a possible Biblical echo. This paper, however, is not the critical edition of the text, which is to be prepared in a forthcoming article; its only intention is to present the papyrus with its problems and propose a possible reading of the text.