This paper is a reassessment of Béla Bartók's The Wooden Prince, in light of the attitudes and beliefs of Bartók's contemporaries, in particular György Lukács, and the Ballet's librettist, Béla Balázs. Particular emphasis is given to Lukács's relationship with Irma Seidler and Balázs through examination of Lukács's essay, “Søren Kierkegaard and Regine Olsen” — a source overlooked in previous studies of this work. After analysing the views of Bartók's milieu regarding love and relationships, I conclude that the ballet's message is much more pessimistic than previously thought. This study places The Wooden Prince, which has been compared unfavourably with Bartók's other two stage works, alongside Duke Bluebeard's Castle as its companion in both musical and intellectual depth, and confirms Kodály's view that the ballet is the Allegro which balances the “desolate Adagio of the opera.”
Authors:Joseph Studer, Simon Marmet, Matthias Wicki, and Gerhard Gmel
also associated with age. Prevalence rates were found to increase from 10 to 17 years old ( Wolak et al., 2007 ) and to decrease after 18–24 years old ( Daneback, Cooper, & Månsson, 2005 ). As for variables related to sexuality, it was found that being
Using contemporary documents, the study presents the story of a scandalous exorcism that took place in 1726-27. At the heart of the Csíkszentgyörgy (Ciucsângeorgiu) case is the local parson and a non-local “possessed” woman. The supreme church authority sought to figure out the details of the months-long case retroactively through testimonies and the correspondence of the priests involved. The demonically possessed woman upset the entire village community. In many respects, the priest became “obsessed” with the case and the woman. For his exorcism, he used methods found in alternative European manuals that were by then banned in the Church. The woman’s prophecies and reports of the afterlife were taken seriously not only by the priest, but also by the wider village community. The sexual fervor of the woman did not leave the young men guarding her at night – as well as the parson himself – unaff ected. The Church authorities ultimately sought to clarify the circumstances of the woman’s pregnancy, and especially the priest’s role in it. Although there is no judgment to be found in church sources, all traces of the Padre later disappear.
In keeping with the trends of narrative history, beyond the “thick description” of the case, the author undertakes less contextualization than usual. The case is undoubtedly edifying in terms of the history of Roman Catholic exorcism in Hungary; it presents significant documentation of contemporary religious and folk demonology, contains the early traces of subsequent folk beliefs, and raises a number of cultural-historical issues (in regard to sexuality and love).
In this study we analyze the results of a sociolinguistic survey conducted in Hungary in 2005–2006. The main purpose of this study was to employ the methods of correlational and quantitative sociolinguistics to assess how age, sex and education influence appreciation of humor in anti-proverbs (also known as alterations, parodies, transformations, variations, wisecracks). Each participant in the survey received a list consisting of 41 Hungarian anti-proverbs. The task of respondents was to read the antiproverbs and indicate their rate of funniness on a scale of 0 to 10.This paper focuses on three major questions. First, how do sex, age and education influence the overall scores of evaluation of funniness? The second goal was to consider differences in humor evaluation by sex, age and education with respect to some thematic categories treated in the anti-proverbs, including sexuality, obscenity, men, women, and modern technology. Our third aim was to establish the lists of the anti-proverbs which got the highest and lowest scores of funniness from the subjects as a group, as well as from respondents representing different subgroups: those who belonged to different age cohorts, genders, and those with different levels of education. We began our research with seven hypotheses generated by previous humor studies; the results of our study confirmed five of the hypotheses and disconfirmed one; the remaining hypothesis was neither confirmed nor disconfirmed.
első kölni epódosa (196a W) a bevett értelmezés szerint egy bosszú-csábítást
beszél el. A narrátor Neobulé visszautasított kérőjeként alattomosan elcsábítja
annak húgát, e célját pedig egy hamis házassági ígérettel és egy közönséges
ajánlattal éri el. Valójában a szöveg nem tartalmaz kényszerítő okot a
feltételezéshez, hogy a férfi házassággal áltatta volna a lányt. A szerelmi
ajánlat (21-24. s.) pedig finom humorú, kétszólamú szövegnek tekinthető, amit a
lány ártalmatlan, beszélgetésre szóló invitálásként érthetett, s erotikus
metaforaként csupán a vers (férfi-) hallgatósága számára nyerhette el valódi
értelmét. Az említett megfigyelések, továbbá pszichológiai és
recepcióesztétikai megfontolások valószínűvé teszik, hogy a vers egy vágytól -
nem: bosszútól - fűtött férfi és egy ismeretlen szűz - vagyis aligha Neobulé
húga - találkozását örökíti meg.
Authors:Hrisztalina Hrisztova-Gotthardt, Anna Litovkina, Péter Barta, and Katalin Vargha
Sex and the Meaning of Life / Life and the Meaning of Sex
, Anna 1999b: “Spare the Rod and Spoil the Child”: Sexuality in Proverbs, Sayings and Idioms, in