Budapest Bartók Archives by his widow, Claudia Macdonald. This package, which actually contains mostly the legacy of his father, is now stored in the Budapest Bartók Archives in eight blue boxes, named and numbered as “Waldbauer I” to “Waldbauer VIII.” The
.: Lagacherie, P. & McBratney, A. B.) 487–495 Elsevier. Amsterdam.
Dobos, E. et al., 2010. Legacy soil data harmonization and database development. In: Digital Soil Mapping: Bridging Research, Environmental Application, and Operation
The paper reports on the legacy of Gyula Moravcsik, the internationally renowned professor of Byzantine Studies, who died in 1972. The legacy kept by the Department of Manuscripts and Rare Books of the Library of the Hungarian Academy of Sciences has been fully catalogued and is now available to researchers.
Pásztor, L., Szabó, J. & Bakacsi, Zs.,
2010. Digital processing and upgrading of legacy data collected during the 1:25,000 scale Kreybig soil survey. Acta Geodaetica et Geophysica Hungarica.
Vilmos Diószegi was led to a study of Siberian shamanism by research into the pre-conquest, archaic stratum of Hungarian folk belief and folk customs, the still unsolved mystery of Hungarian ethnogenesis. He made three research trips in Southern Siberia (1957, 1958, 1964), and one in Northern Mongolia (1960). Shamanism was a taboo subject for Soviet-Russian researchers in the Soviet Union in the early 1960s, and Siberia was closed to foreign researchers. He pressed on and carried out his planned fieldwork, always supplementing his fieldwork with research in local museums, libraries and datafiles, establishing professional, scholarly and human contacts which were to serve him well later when he edited his international volumes of studies, and created and continuously expanded the Shaman Archive. The scholarly legacy of Vilmos Diószegi, the Shaman Archive, after his death did not remain intact. Vilmos Diószegi's manuscripts, books, photographs and sound recordings are now officially preserved in four places: the Institute of Ethnology of the Hungarian Academy of Sciences, the Museum of Ethnography in Budapest, the Institute of Musicology of the Hungarian Academy of Sciences, and in the apartment of his widow, Judit Morvay, in Szentendre. Between 1998 and 2002, when taking stock of his scholarly legacy, I tried to visit all the places where his scattered legacy is preserved. The following overview is based on this work.
Serbia was an Ottoman province for almost four centuries; after some rebellions, the First and Second Uprising, she received the status of autonomous principality in 1830, and became independent in 1878. Due to the historical and cultural circumstances, the first stage music form was komad s pevanjem (theater play with music numbers), following with the first operas only at the beginning of the twentieth century. Contrary to the usual practice to depict “golden age” of medieval national past, like in many other traditions of national opera, the earliest Serbian operas were dedicated to the recent past and coexistence with Ottomans. Thus the operas Na uranku (At dawn, 1904) by Stanislav Binički (1872–1942), Knez Ivo od Semberije (Prince Ivo of Semberia, 1911) by Isidor Bajić (1878–1915), both based on the libretti by the leading Serbian playwright Branislav Nušić, and also Zulumćar (The Hooligan, librettists: Svetozar Ćorović and Aleksa Šantić, 1927) by Petar Krstić (1877–1957), presented Serbia from the first decades of the nineteenth century. Later Serbian operas, among which is the most significant Koštana (1931, revised in 1940 and 1948) by Petar Konjović (1883–1970), composed after the theatre play under the same name by the author Borisav Stanković, shifts the focus of exoticism, presenting a life of a south-Serbian town in 1880. Local milieu of Vranje is depicted through tragic destiny of an enchanting beauty, a Roma singer Koštana, whose exoticism is coming from her belonging to the undesirable minority. These operas show how the national identity was constructed – by libretto, music and iconography – through Oriental Self. The language (marked by numerous Turkish loan words), musical (self)presentation and visual image of the main characters of the operas are identity signifiers, which show continuity as well as perception of the Ottoman cultural imperial legacy.
Margaret Atwood’s Lady Oracle is a novel extremely rich in Gothic resonances, making numerous approaches to the Gothicness
of the book possible. My analysis will focus on the roots of protagonist Joan Foster’s fascination with the Gothic. What I
intend to argue is that, in contrast with most analyses of the novel, the Gothic is present not only in the form of clichs
which Joan (wrongfully) imposes on real people and real situations; in fact, it is not by mere chance that Joan turns to writing
Costume Gothics in order to satisfy her desire for romance. The roots of her fascination with the genre lie with the two most
influential people of her life: her mother Frances Delacourt and her surrogate mother Aunt Lou who educate her early into
the female/maternal legacy of Gothic thinking which manifests itself in Joan’s views on all aspects of life: problems of selfhood,
personal relationships as well as personal aspirations. Moreover, the fact that the Gothic permeates the lives and thoughts
of all the significant female characters of the novel indicates that female existence as a whole is presented by Atwood as
essentially and inevitably Gothic. I will pursue this line of argument by first discussing the significance of the two mother
figures in Joan’s life as well as the process of Joan’s education into patterns of female existence that bear a striking resemblance
to such patterns common enough in the Gothic. I will also show how the creative process of writing her Gothic novels as well
as her “Lady Oracle” poems contributes to Joan’s understanding that the bonds that connect her with her mother are primarily
bonds of love and not of hate as she thought before, and that under the disguise of apparent differences they do share whatever
is essential about womanhood. It is through this realization that Joan can set herself free from the past – by coming to terms
with it rather than discarding it – and may, thus, actually start working on her present.
The paper addresses the issue of the posthumous legacies of the two main Russian Avant-Garde revolutionary poets Vladimir
Mayakovsky and Velemir Khlebnikov and draws largely on the memoir accounts available in this regard. The essay examines the
pragmatics of operation of the post-Futurist public scandal which contributed to establishing/undermining the “symbolic value”
of each poet’s debated legacy. The paper brings into discussion various methods of cultural analysis that include Bourdieu’s
notion of symbolic capital, theory of speech-acts and different apprehensions of public memory. Some inconsistencies in the
strategic maneuvering of each author are brought into attention, dwelling upon the possible reasoning for their respective
successes and failures. The complex issues that may be seen responsible for this process are analyzed in the essay along with
additional Russian avant-garde figures who exploited the same pragmatics of performing practices.
The diatoms of bottom sediment core samples were studied from Lake Balaton. During the 1980s altogether 33 boreholes were drilled into the Quaternary layers down to 10-12 m. This paper presents the diatom flora and vegetation of 17 boreholes based on the legacy of Márta Hajós who spent 16 years working on this subject. The enumeration contains occurrences of 385 diatom taxa. It is hoped that this scientific account will serve as a “diatom databank” and helps better understanding of recent environmental changes in the larger area.