magyarázó Eger 1:10 000 építésföldtani térképsorozatához - Eger-Belváros (Reconnaissance explanatory notes to the engineering geological map series of Eger, 1:10 000, Eger-Belváros) KÖZDOK.
Kleb, B. (ed.) 1976b: Észlelési magyarázó
vár 2017-es feltárásának Árpád-kori kerámia anyaga . In: H . Szilasi Á . (szerk.): Örökségünk védelme és jövője 3. A Dobó István Vármúzeumban 2017. február 9–10-én megrendezett restaurátor szimpózium tanulmánykötete. Studia Agriensia 38 , Eger
Authors:N. Orbán, A. Kiss, M. Drávucz, L. Gál, and S. Orbán
Nine phenolic compounds (gallic acid, (+)catechin, vanillic and caffeic
acid, p-coumaric acid, resveratrol, myricetin, quercitrin and quercetin)
of fourteen Eger (Hungarian) young red wines were investigated using
high-performance liquid chromatography in order to obtain data on the 2003
vintage. The grapes were harvested at different sites of the wine-district,
vinified with same technology, but stored under different conditions (glass
holder or 5-10 years old oak barrel). Same varietal wines originating from
different sites of Eger wine-region showed considerable alterations in some
phenolic components, and we found distinction in polyphenol content of
different varietal wines originating from the same harvesting site. Cluster
analysis was performed to acquire information about the similarity among the
measured wines. Our study provides new data of polyphenol composition for Eger
(Hungary) pure varietal red wines, and the results contribute to better identification
of Hungarian red wines on the basis of geographical location.
The fragmentary statue of St Catherine belonging to the International Gothic on the early 15th century, discovered in the ruins of Eger Cathedral is published and dated on the basis of its stylistic features and its dress.
Ferenc Zsasskovszky (1819–1887) wurde in Zsasskó, Nordungarn (heute Žaškov, Slowakei) als Kantorensohn geboren. Er studierte von 1841 bis 1843 an der Prager Orgelschule bei Karl Franz Pitsch, der ihn in die Kunst der Bach’schen Improvisation einführte. 1846 wurde er Regens Chori am Dom zu Eger, wo er Kirchenmusikwerke von Joseph und Michael Haydn, Mozart, Beethoven, Hummel, Cherubini etc. aufführte. Neben seiner Tätigkeit als Kantor organisierte Zsasskovszky auch weltliche Konzerte. Während dieser Zeit zählte Eger zu den bedeutendsten Musikzentren Ungarns. Zsasskovszky war auch als Pädagoge tätig, er unterrichtete Musik und leitete die Schulchöre der Lehrerbildungsanstalt, des Gymnasiums sowie der Volksschule. Zsasskovszky gab seiner Arbeit mit modernen Handbüchern eine theoretische Grundlage, die er gemeinsam mit seinem Bruder, Endre Zsasskovszky (1824–1882), verfasste. Ihr bedeutendstes Werk ist das Katholische Kirchengesangbuch (
Katholikus Egyházi Énektár
, 1855), welches den ungarischen Kirchengesang entscheidend beeinflusst hat und bis in die 1960er Jahren im regulären Gottesdienst verwendet wurde. Die Brüder Zsasskovszky verfassten Gesangbücher für alle Unterrichtsstufen und Choral-Sammlungen für alle gängigen Chorbesetzungen, die im ganzen Land verbreitet wurden und zu einem allgemeinen Aufschwung des Chorgesangs beitrugen.
The order of the hospitaller brothers of St John of God worked in Eger from 1726 to 1950. One of them, brother Lucas Huetter (†1760) adorned the window shutters of the monastic cells with paintings between 1749 and 1760. The oil paintings are equally 68×38 cm. The painter in Eger used for his pictures the late 16th century print series by Johannes and Raphael Sadeler made after the works of Antwerp painter Marten de Vos (1532–1603) (titles of the series: “Solitudo sive vitae patrum eremicolarum”, “Sylvae sacrae” and “Trophaeum vitae solitariae”). The twelve scenes on the six window shutters are tightly connected to the monastic way of living. In the first pair of shutters Martinianus and Evagrius exemplify triumph over temptation. The second pair (St Venerius and St Paul the Simple) stresses the importance of obedience. The saint hermits (St Mary the Egyptian, St William of Maleval and Onuphrius) and St Francis of Assisi are paragons of poverty, asceticism and self-denial. The saints on the window shutters of the third cell (St Ignatius of Loyola, St Isidore of Madrid, the hermits Mutius and Simeon) all receive celestial help for the execution of their tasks.
In “The Imitation of Christ” Thomas à Kempis presents the holy hermits and sainted founders of the orders as examples to be imitated by the monks and all God-fearing people. The window shutters in Eger did not merely serve as decoration for the cells but filled clearly didactic, exemplary roles: how to overscome the difficulties of the everyday life, to keep focused on God and to become a saint.
The domination of the news media by the political sphere in Hungary is continuously debated in public and scientific discourses. The issue of migration has resurfaced on the Hungarian political and media agenda following the refugee crisis of 2015. The first part of the paper offers a theoretical overview of frame analysis. Framing refers to making an aspect of an issue salient, thus suggesting a certain interpretation and evaluation of the issue. In the second part, the methodology of frame analysis is used to explore representations of refugees and migrants in two parliamentary speeches of the Hungarian Prime Minister and three online media outlets of different political orientations (Híradó, Index, Origo) in September and November 2015. The results show that the PM framed the issue as a symbolic threat and political conflict, while the media emphasized realistic threats, the politically divided and humanitarian aspect of migration. The article highlights some of the instances where the media does not follow the political discourse.
It is a commonplace that after the release of a new monograph so-far unknown works begin to rise to the surface one after the other. In the case of Johann Lucas Kracker the first to appear were parallel research results, of which most noteworthy are PetrArijčuk's attributions based on archival sources. He discovered the fourth member of the refectory series in the Franciscan monastery of Moravská Třebová (The Feast of St Francis, 1759) and made the daring identification between the high altar picture in the hospital church of St Elizabeth in Znojmo with the Assumption of the Virgin long missing from Slavonice. On the basis of data from the Premonstratensian archives of Nova Řiše Václáv Milek offered a more exact dating for the altar pictures of the abbey: the pictures delivered in 1760 preceded by years not only Kracker's frescoes in the same church but also the similar works at Jasov. The late altar pictures from Banská Bystrica and the paintings discovered around Jasov were probably created with the participation of the workshop.
The recently discovered oil sketches associated with Kracker proved to be by a follower of Daniel Gran, Josef Stern and by Andreas Zallinger. Nor is the pair of bozzetti acquired recently by the Diözesanmuseum of Brixen by Kracker or by Paul Troger; they must be small-scale copies of Kracker's side altarpieces in Prague or of their sketches, or again, copies of the – now lost – Troger works used as their models. One of them – The Death of St Joseph – was also found in another variant in the Viennese art trade. What were put up for auction in Budapest were workshop copies of a pair of cabinet pictures in the Gallery of Eger – Adoration of the Shepherds, Adoration of the Magi, around 1764 – true to the original colours, which means that they were made after the paintings and not their engraved models.
There is less novelty in the realm of frescoes. The division of labour in the decoration of the Šaštín church of pilgrimage is gradually clarified: in addition to Joseph Chamant and Joseph Ignaz Mildorfer, Kracker's contribution can be presumed to the painted decoration of two subsidiary chapels in 1757. The shared attributon of the parish church of Japons has to be revised: the Apotheosis of St Lawrence on the ceiling is also Kracker's work dated 1767. In the former Jesuit church of Eger wall probings brought to light not only the baroque ornaments on the lateral walls of the nave but also the backdrop in the chancel described in the sources and the original painting by Kracker's workshop on the high altar adorned with statues.
Authors:E. Robens, D. Möhlmann, Th. Gast, R. Staudt, and M. Eger
The balance is the most widely used complex measuring instrument in
science and techniques. To install a balance on Mars is a challenge for numerous
aspects of in situ measurements in the next decade. By means of a balance
useful parameters could be determined and a variety of investigations could
be carried out there. Possible applications of a balance on Mars are reviewed.
Choice of type and demands on the balance with regard to the conditions on
Mars are discussed. The first step is to test a load cell with strain gauge