This short research/policy note raises theoretical issues linked with the way multilingual proceedings of the European Parliament are to be recorded, especially in view of proposals to move from translated transcripts to web-published unrevised simultaneous interpretations, and possibly to transcribe them. A more active role of language professions in setting out the practical and theoretical pro’s and con’s of different options is called for.
detailed, verbatim transcript of the video recording was separately analyzed by all authors in Nvivo11 (computer-assisted qualitative data analysis software), using the consecutive analytical steps recommended for IPA ( Pietkiewicz & Smith, 2014 ). First
This article is a verbatim reproduction of a talk. In it I
posed two questions: 1. To what extent my writing of Hungarian history,
1944–1948 was influenced by my past? 2. To what extent my writing of an
autobiography was influenced by the fact that I am a historian?
Many of the drafts and notes of Ernő Szücs Tárkány are in manuscript, and they can offer valuable clues for European legal ethnography. One of them is a manuscript by Tárkány Szücs, both in Hungarian and English, in the Archives of the Institute of Ethnology of the Research Centre for the Humanities, dated 1982 and titled Administering Justice — without State Courts, which has been awaiting publication for forty years. This study is an important milestone, as it demonstrates, based on a broad international perspective, that even in a field that was monopolized by the state very early on, such as administering justice, legal customs have survived to a great extent; and that legal ethnographic approaches make it possible to arrive at valid conclusions of practical importance through an expert comparison of legal phenomena that are distinct in time and space but have common characteristics. The English-language version of the study is being published verbatim (first publication).
The creative reception of Anton Chekhov in contemporary Hungarian literature often takes the form of a role-play in which poets put on an authorial mask that displays Russian literary references, while their Chekhovian intertexts constitute an organic part of a playful evocation of classic Russian literature. The form of the mask lyric, including especially that of the so-called “oroszvers” (verbatim: a Russian poem), is also characteristic of poetry from across the border in Transylvania; more specifically, of the writers’ generations starting out in the sixties and seventies, named after the book series entitled Forrás (Springs), growing up on the heritage of the 20th-century Hungarian poet Attila József, and apparently representing this heritage but, at the same time, introducing a new form of expression as well. This study focuses on the poetics of two such contemporary authors, László Király (b. 1943) and András Ferenc Kovács (b. 1959), in whose poetry I wish to examine the phenomenon belonging to the category of literary mystification, while analyzing the manifestations of the typical Chekhovian protagonist and the Chekhovian “atmosphere” as transposed into poetry.
This case report describes the way psychological support based on positive suggestions (PSBPS) was added to the traditional somatic treatment of an acute pancreatitis 36-year-old male patient. Psychological support based on positive suggestions (PSBPS) is a new adjunct therapeutic tool focused on applying suggestive techniques in medical settings. The suggestive techniques usually applied with critically ill patients are based on a number of pre-prepared scripts like future orientation, reframing, positivity, supporting autonomy, etc., and other, very unique and personalized interventions, which are exemplified with verbatim quotations. We describe the way several problems during treatment of intensive care unit (ICU) patients were solved using suggestive methods: uncooperativeness, difficulties of weaning, building up enteral nutrition, supporting recovery motivation, and so on, which permanently facilitated the patient's medical state: the elimination of gastrointestinal bleeding, recovery of the skin on the abdomen, etc. Medical effects follow-up data at 10 months show that the patient recovered and soon returned to his original work following discharge.
A jelen tanulmány célja az volt, hogy egyetemista mintán (N = 745) megvizsgáljuk a 3×2 Teljesítés- Cél Kérdőív (Elliot, Murayama és Pekrun, 2011) konstruktumvaliditását, belső konzisztenciáját és időbeli stabilitását. A kérdőívet kétféle módon dolgoztuk ki: az első változat pontos magyar fordítása az eredeti kérdőívnek, a második változatban néhány kérdést kiegészítő tételekre cseréltünk, melyek teljes mértékben illenek a teoretikus háttérhez, viszont könnyebbé teszik a megértést és csökkentik a kérdőív monotóniáját. A megerősítő faktorelemzések szerint mindkét verzió esetében 3×2 modell konstruktumérvényessége és megbízhatósága megfelelő a magyar mintán. Ezenfelül megvizsgáltuk, hogy milyen összefüggés mutatható ki a teljesítés-célok és az impulzivitás között, mivel az impulzivitás a rövid távon érvényesülő jutalmak felé irányítja a diákokat, akik ilyen célok felé erősebben orientálódnak. Az eredmények alapján kiderül, hogy a feladat- és szelf-célok vagy függetlenek vagy negatívan korrelálnak az impulzivitással, míg a társ-célok semlegesen vagy pozitívan függenek össze a UPPS kérdőív impulzivitás dimenzióival. Összességében a 3×2 Teljesítés-Cél Kérdőív megfelelően használható magyar egyetemista mintán.
What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously.
This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing.
Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period.
As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.