Dr. László Végh (born in 1931), composer and radiologist played a decisively influential role in forming of the underground art scene of the Sixties. He presented (from 1958) the first local examples of concrete and electronic music compositions for the living representatives of Hungarian modernism and for the new generation of the neo-avant-garde in the quasidemocratic communities of private spaces. Due to this mediating cultural activity, his non-conformist personality and appearance, impressive network across the generations, Dr. Végh offered a new model of alternative living and the continuity of modernism behind the iron curtain. His soirées and proto-actions — for which I would introduce the term ‘intuitive actions’ – were performed with young artists of the subculture, and led to deconstruction of traditional art forms through pieces of avant-garde and experimental music, while opened up the way for happening and fluxus.
This article investigates whether a combination of eyetracking and keylogging can yield a better understanding of the cognitive processing that occurs during pauses in translation production. It analyses the interaction between a number of temporal and spatial variables associated with pausing (including pause duration, the syntactic location of the pause and reading behaviour during the pause). Eight third-year students of translation, translating from English to Afrikaans, translated a 180-word text while their keystrokes and eye movements were recorded. Pauses were defined by means of a predetermined cut-off point, and coded for the temporal and spatial variables above. The relationships between these variables form the focus of the analysis. The findings of the study point to a complex relationship between pause duration, the syntactic position of the pause, syntactic asymmetries between the languages involved, reading behaviour and cognitive effort.
contravene the ideology of the receiving culture; there are also countless examples of translations not happening because they are not deemed economically viable by publishers or because the poetics are not in line with the dominant mode of expression. Most
In my paper I analyse the narrative of Livy about the
conspiracy. Our author, who is short with some events, dedicates twelve long chapters to this happening, that is, he regards it as important. In his report we can establish more different sources: the accounts of earlier historians, the decree of the senat
(Senatus consultum de Bacchanalibus)
and rumours. In spite of his loyalty to the traditional Roman religion, his decription is reliable.
organized, and her written short story is well organized, too. Certain elements and problems of the first-level narration will become recognizable in the details of the narrated story on the second level. Matilda tries to make sense to the random happenings
The Author emphasizes the importance of Fiedler's principle that art produces reality for both philosophy (Husserl, Heidegger), art theory and art of the 20th century. Another principle, that of the autonomy of the artistic can be deduced from the first. It is fundamental for the modern artist as well as the interpretation of reality as process, laying the basis for modern artistic phenomena as performance art, process art or happening. Fiedler had a key position between the tradition of German idealism and 20th century thougths on art.
Fiction can be a means of striving towards truths, but in a way that is more abstract than the truths of everyday happenings. We offer a staircase of evolutionary pre-adaptations on which works of literature such as novels and plays depend. These include systems of mirror-neurons, mimetic ritual, conversational language based on actions, narrative structure, metaphor, and imaginary play. These enable the mental simulations that people create when they listen to, or read, stories. We argue that the abstraction of literary character is a sophisticated version of the making of mental models of others that we form routinely in conversation.
While INAA is becoming a less popular analytical technique and it is a mature tool, there are still many improvement happening in the field. The effect of the new semi-planar detector is evaluated as compared to geological reference material and as its performance to the classical coaxial detector. The semi-planar detector offers improved accuracy (about 5%) for many analytes (As, Ba, Ce, Co, Cr, Eu, Hf, Lu, Nd, Rb, Sm, Th, U, Yb and Zn) while the coaxial gives an accuracy in the range of 10-15%.