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THE ROMANIAN ORTHODOX CHURCH, THE “PUBLICAN” BETWEEN POLITICAL ELITES AND CITIZEN.

THE ROMANIAN ORTHODOX CHURCH, THE “PUBLICAN” BETWEEN POLITICAL ELITES AND CITIZEN.

DIE ORTHODOXE KIRCHE RUMÄNIENS, DER „ZÖLLNER“ ZWISCHEN POLITISCHEN ELITEN UND BÜRGERN.

Author(s): Raul Rognean / Language(s): German / Issue: 2/2016

Keywords: Orthodox Church; symphony; autocephaly; political theology.

In this paper, the author makes a strong case against the de-separation of state and Orthodox Church in Romania, especially in the political discourse. The religious discourse has been used by politicians to attack non-orthodox political enemies, while the church increased its influence in key political institutions, demanding more and more privileges, in the name of the symphony between church and state and of the autocephaly of the Romanian Orthodox Church. This paper deconstructs the concept of symphony and autocephaly and argues that their use in the political discourse goes far beyond their original meaning. The church uses these and similar concepts to engage a modern communicative interaction with the political and the public sphere using classical lobby but also new social media, besieging the public discourse, with the benefit of a large acceptance of theologically and democratically problematic ideas.

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THE KRIS/STABOR WITHIN ROMA COMMUNITIES FROM EASTERN AND SOUTHERN ROMANIA. WHAT SOURCES FOR THE LEGITIMACY OF KRISNITORI AND FOR THE PERPETUATION OF KRIS/STABOR?

THE KRIS/STABOR WITHIN ROMA COMMUNITIES FROM EASTERN AND SOUTHERN ROMANIA. WHAT SOURCES FOR THE LEGITIMACY OF KRISNITORI AND FOR THE PERPETUATION OF KRIS/STABOR?

LE KRIS DANS LES COMMUNAUTES ROM DE SUD-EST DE LA ROUMANIE. QUELLES SONT LES SOURCES POUR LA LEGITIMITE DES KRISNITORI ET DE LA PERPETUATION DU KRIS?

Author(s): Laura M. Herţa / Language(s): French / Issue: 2/2016

Keywords: Roma communities; values; Kris; Stabor; norms; legitimacy.

This study aims at presenting and analysing pivotal cultural features and values which structure the Roma court (kris/stabor) in Romania. The main hypothesis of this article is centred on the idea that the Roma court (kris/stabor) functions as both constitutive and regulative normative body within Roma communities, hence ensuring the legitimacy of Roma judges (krisnitori), the survival and the perpetuation of the community itself. The research questions meant to structure this article are: Why do Roma people prefer the Roma court (kris/stabor) and not the national court in Romania? What are the sources for the legitimacy of the Roma court and Roma judges? What are the relations between the Roma court and the activity of the juridical, state apparatus? How is the Roma judgement perpetuated?

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CAROLA MCGIFFERT (ED.), CHINESE SOFT POWER AND ITS IMPLICATIONS FOR THE UNITED STATES. COMPETITION AND COOPERATION IN THE DEVELOPING WORLD, WASHINGTON D.C: CENTER FOR STRATEGIC AND INTERNATIONAL STUDIES, 2009, 136 P.

CAROLA MCGIFFERT (ED.), CHINESE SOFT POWER AND ITS IMPLICATIONS FOR THE UNITED STATES. COMPETITION AND COOPERATION IN THE DEVELOPING WORLD, WASHINGTON D.C: CENTER FOR STRATEGIC AND INTERNATIONAL STUDIES, 2009, 136 P.

CAROLA MCGIFFERT (ED.), CHINESE SOFT POWER AND ITS IMPLICATIONS FOR THE UNITED STATES. COMPETITION AND COOPERATION IN THE DEVELOPING WORLD, WASHINGTON D.C: CENTER FOR STRATEGIC AND INTERNATIONAL STUDIES, 2009, 136 P.

Author(s): Ionuț-Eugen-Radu Sava / Language(s): English / Issue: 2/2016

Keywords: soft power;

The author outlines a renowned concept of “soft power” coined by Joseph S. Nye Jr. in the late 1980's as the ability of "getting others to want the outcomes that you want" , but in-depth there is much more to it. And rightly, Nye continued to further explain this concept which today without which many of us would not be able to imagine the entire system of international relations.

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A ausgerechnet u vás se šprechtilo vostošest…

A ausgerechnet u vás se šprechtilo vostošest…

A AUSGERECHNET U VÁS SE ŠPRECHTILO VOSTOŠEST…

Author(s): Darina Hradilová / Language(s): Czech / Issue: 2/2015

Keywords: Czech; German; language contact; literary multilingualism; border

The aim of this paper was to analyze the Czech and German language contacts in contemporary Czech prose. We focused on forms of multilingualism and how they are used in the texts. Analysis of the material ( R. Denemarková: Peníze od Hitlera; J. Vrak: Obyčejné věci a Dokonalost nože; M. Kozelka: Semeniště zmrdů a J. Rudiš: Pankáči na Baltu) showed that it is necessary to distinguish between the use of authentic German in the characterization and value function, German quotations and paraphrases with the function of ironic allusions and germanisms whose usage does not indicate national, but social affiliation. We noticed a shift from interlingual heterogeneity, in terms of the opposition between Czech and German, to introlingual heterogeneity, in terms of functional stratification of Czech, therefore the opposition of standard vs. substandard. We concluded that German cannot be identified German with „the foreign“ and the Czech with „the ours“ in language, because the border is permeable and flexible as a consequence of mutual contacts.

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The Role of Family Memory in the Shaping of Regional Identity

The Role of Family Memory in the Shaping of Regional Identity

ROLA PAMIĘCI RODZINNEJ W KSZTAŁTOWANIU TOŻSAMOŚCI REGIONALNEJ

Author(s): Janina Hajduk-Nijakowska / Language(s): Polish / Issue: 2/2015

Keywords: Memory; community of memory; implicit memory; post-memory; identity

Family memory is of particular importance in the process of socialisation of the younger generation and the shaping of identity. The passed down stories about the past events affect the way the world is understood and interpreted. The so-called implicit memory, forming regional communities of memory, is particularly important. The author, based on examples of two such communities: the family memory of the Silesians and Eastern Borderlands (Kresy) inhabitants, discusses the process of “revealing” the memory and argues that in the contemporary stories on subjects concealed in the official memory until 1989, it is impossible to find original “raw” accounts. These are qualitatively new narratives, often mythologised, related to experiences of contemporary inhabitants of Silesia, both native and displaced. According to the author, the category of family post-memory will facilitate the analysis of relationships between children, parents and grandparents when narrative images are so strong and long-lasting that they define contemporary emotions and understanding of past events. And this, no doubt, determines the identity of the family and local community.

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The motive of the Danube River in the Moravian folk songs as a representative of "foreign" and "distant" in opposition to "familiar" and "domestic".

The motive of the Danube River in the Moravian folk songs as a representative of "foreign" and "distant" in opposition to "familiar" and "domestic".

MOTIV DUNAJE V MORAVSKÝCH LIDOVÝCH PÍSNÍCH JAKO REPREZENTANT „CIZÍHO“ A „VZDÁLENÉHO“ V OPOZICI KE „ZNÁMÉMU“ A „DOMÁCÍMU“

Author(s): Zuzana Bušíková / Language(s): Czech / Issue: 2/2015

Keywords: Moravian folk song;tThe Danube River; boundary; the familiar/the unfamiliar

This article deals with the category of the unfamiliar and the familiar as well as the boundary between them represented by the Danube River in the corpus of folk songs from the region of Moravian Kopanice collected by Josef Černík. This article analyses the use of the boundary idea not only in Moravian but also in Slovak and Polish folk songs. While analysing these folk songs, several significant areas concerning the appearnce of the Danube River in folk songs are touched upon, for example, taking away different objects and messages by the river never to come back again, taking away a wreath being a symbol of girl virginity, leaving home to do the military service and crossing imaginary boundaries, overcoming the Danube River seen as a obstacle and its meanings, etc.

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Panopticon of “homeliness” in Ota Filip’s novel Neighbors and those others

Panopticon of “homeliness” in Ota Filip’s novel Neighbors and those others

PANOPTIKUM „OSOBITOSTI“ V ROMÁNU OTY FILIPA SOUSEDÉ A TI OSTATNÍ

Author(s): Anna Gnot / Language(s): Czech / Issue: 2/2015

Keywords: Panopticon; prison; cabinet of curiosities; disciplinary society; punishment

Ota Filip’s novel “Neighbors and those others” includes instructions how to analyse it with use of concept of panopticon. Author of this article pay attention to three possible meanings of this conception. First of those meanings refer to institution of prison in understanding of Michel Foucault. Second concludes conception of cabinet of curiosities. Third one gathering other two and shows the mechanism of disciplinary society. All those meaning allows author to show which contents can be taken as “ours” and which one as “foreign”.

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Beetween identification and separation. Image of new settlers in Lemko-Polish Nowica.

Beetween identification and separation. Image of new settlers in Lemko-Polish Nowica.

MIĘDZY IDENTYFIKACJĄ A SEPARACJĄ. WIZERUNEK NOWOOSADNIKÓW W ŁMIĘDZY IDENTYFIKACJĄ A SEPARACJĄ. WIZERUNEK NOWOOSADNIKÓW W ŁEMKOWSKO-POLSKIEJ NOWICY EMKOWSKO-POLSKIEJ NOWICY

Author(s): Urszula Sobczyk / Language(s): Polish / Issue: 2/2015

Keywords: new settlement; alternative settlement in rural areas; identity; self-presentation; fakelore; cultural borderland; multiculturalism; the Lemkos

This article presents the results of ethnographic fieldwork in the light of which the value in the interactions between Lemkos and new settlers residing in the village Nowica is respect for diversity expressed by the distance maintained. The new settlers are known, tolerated but treated with an exempting from the life of the community contempt. Not having access to the deepest resources of Lemko culture, they do not identify themselves with the actually existing the Lemko community, but imaginary, mythologized Lemko culture.

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Libor Martinek, Władysław Sikora (monografie)

Libor Martinek, Władysław Sikora (monografie)

Libor Martinek, Władysław Sikora (monografie)

Author(s): Sebastian Taboł / Language(s): Polish / Issue: 2/2015

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Jan Kubica Spisovatel Ota Filip

Jan Kubica Spisovatel Ota Filip

Jan Kubica Spisovatel Ota Filip

Author(s): Anna Gnot / Language(s): Polish / Issue: 2/2015

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Schilddornschnallen im gepidischen Fundmaterial des Karpatenbeckens

Schilddornschnallen im gepidischen Fundmaterial des Karpatenbeckens

Pajzstövises csatok a Kárpát-medencei gepida területeken (az avar foglalásig)

Author(s): Csaba Kiss / Language(s): Hungarian / Issue: VIII/2013

Keywords: Gepiden; Karpatenbecken; Merowingerzeit; Schilddornschnallen; Chronologie

Die Schilddornschnallen stellen eine bedeutende Gruppe des gepidischen Fundmaterials dar. Ihr Kennzeichen besteht in dem schildförmig ausgebildeten Dornende (Basis), wobei die Basis grundsätzlich eine größere Breite aufweist als der Dorn. Die Basis der klassischen Schnallen wird durch zwei kleine Halbkreise in zwei Teile getrennt. Dieser Schnallentyp ist in den Gräberfeldern des Theißgebietes (Hódmez􀄘vásárhely-Kishomok, Kiszombor, Kreis Szentes, Szolnok-Szanda, usw.) und in Siebenbürgen verbreitet; zumeist wurden sie als Bestandteil des Gürtels, darüber hinaus aber auch auf Beutel und Schärpe getragen. Die unterschiedlichen Formen der Basis stellen eine gute Möglichkeit zur typochronologischen Aufteilung dieser Fundgruppe dar. Schon bei den frühesten Schnallen wurde die verbreiterte Basis vom Dorn getrennt, während die Ränder noch nicht mit zwei gegenständigen Einkerbungen versehen waren. Mehrheitlich bildeten diese Exemplare einen Bestandteil der Gürteltracht. Bei den im 6. Jh. verbreiteten klassischen Schilddornschnallen erfolgte die Trennung der Basis vom Schnallendorn, die Schnallen waren in dieser Zeit oftmals mit eingeritzten Verzierungen versehen und traten als Bestandteil von Gürtel, Beutel oder Schärpe auf. Im ausgehenden Gepidenreich ist das Fundspektrum durch eine größere Formenvielfalt gekennzeichnet, so erscheinen neben den klassischen Exemplaren nun auch schlankere und runde Formen. Zur Awarenzeit verschwanden die Schilddornschnallen nicht, ihre Form ähnelt in dieser Periode einem Pilz. Allerdings lässt sich die Frage, ob dieser Typ bereits vor 567 oder erst danach gebräuchlich wurde, derzeit nicht mit Sicherheit beantworten.

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On the Early Medieval Cremation Cemetery in Dăbâca (Dobeschdorf/Doboka)

On the Early Medieval Cremation Cemetery in Dăbâca (Dobeschdorf/Doboka)

Doboka kora középkori hamvasztásos temetőjéről

Author(s): Erwin Gáll,Nándor Laczkó / Language(s): Hungarian / Issue: VIII/2013

Keywords: Dăbâca; Braniște; Little Someș Valley; cremation; 7th–9th (10th) centuries

The village of Dăbâca (Dobeschdorf/Doboka) is situated in the north-western part of the Transylvanian basin, 30 kms northwest of Cluj-Napoca (Klausenburg/Kolozsvár) city, by the stream called Lona (Lónya), which flows into the River Little Someș (Someșul Mic/Kleine-Somesch/Kis-Szamos) 10 kms away from this place. One side of the mountain called”Nagyhegy” (Big-Mountain), which is situated southwest of the village (529 m above sea level) made the valley of the stream Lona/Lónya so narrow that it is a vantage point of the pass. The road in the narrow valley, squeezed between two hills, in the middle of the village takes a sharp turn to the left. The old fortress district was in the area curbed this way. The two hills are gradually declining towards northwest. The shape of the fortress is similar to a pie with a sharp angle and an arc at the end, pointing towards north-northeast. Both sides are well defendable, sloping in 25°45°. The early medieval fortress district was built in this place with a number of villages and churches around it. The excavations beginning in the early 60’s in the last century were conducted with preconceptions, as the centre of ‘lord Gelou’ was thought to have been discovered before the start of the excavations, which is an impassable way from a scientific point of view. From 1964 on there were archaeological excavations carried out in Dăbâca/Dobeschdorf/Doboka with shorter intervals, which took more than 20 years. During these excavations three churches were excavated which were renovated and rebuilt several times (Fortress Area IV, A. Tămaș's Garden, and the Church of Boldâgă/Boldogasszony) together with 871 graves in three cemeteries around them (most of the graves were dated back to the 11th-13th centuries) and sections of settlements that were inhabited in different periods from the stone age to the 16th century. Besides these archaeological sites, in a small area by wrong methods, probing excavations were carried out to the south-west of the castle, at a height of 353 m above sea level, near the stream called Braniște/Branistye (slavic toponym!), they were excavated a part of a cremation cemetery (1972, 1973), respectively a few pit houses. From documentation reveals that were excavated 9 or 10 grave pits, in which found ‘burned bones’ and ‘bones’, nevertheless without anthropological analysis these informations are very uncertains. After Kurt Horedt were excavated 15 inurned cremation burials, respectively one cremation in urn. Unfortunately the documentation is a very bad quality. This site, together with other cremation cemeteries, was dated to the 7-9th centuries by Kurt Horedt, although his dating is based upon other Transylvanian cemeteries. István Bóna dated them to the 7th-10th centuries. There are two major groups of cremation burials in the Little Someș/Somesch/Szamos Valley, the group of cremation burials with scattered ashes and that of the burials with urns (the rites themselves). In our opinion, mounds do not only fall in the category of customs but they are also the elements of social representation, whose mnemonic and visual effects, the latter of which comprises the effect of changing the landscape, are important to represent the status. Nevertheless, mounting a mound was also an economic issue, as mounting 14-20 m high mounds may involve some kind of structured community and people forced to work, which would clearly indicate a relatively social hierarchy. To our mind, its social prestige must not be underestimated in a microregion like the Little Someș/Somesch/Szamos Valley. When looking at the map of 10th century cemeteries, one has to observe a complete lack of the 10th century cemeteries with a large number of graves and with poor furnishings (without weapons and horse burials) and the cemeteries of the population of the era of the hungarian conquest in Cluj, whose high percentage was buried with their weapons and horses, are scattered appearing like islands. Concerning this phenomenon, we suppose that the population leaving behind the cremation burials (the ‘Slavonic’ speaking population) and the conquerors must have been in contact in the 10th century. We consider it important to emphasize that the existence of a large number of Slavonic place names around Cluj and in the valley of the Little Someș/Somesch/Szamos at a later time, may give an answer to the question why there is a chronological gap (due to archaeological deficiencies!) between these cremation burials and the churchyard cemeteries appearing in the second half of the 11th century and in the 12th century. The various Slavonic place names and hydronyms such as Dezmér, Dombró, Gesztrágy, Gorbó, Hója, Kályán, Mákó, Méra, Lóna, Palatka, Plecska, Szelicse, Szomordok, Szopor, Szovát, Sztána, Valkó, Vista, Zsuk provide us with an issue that is to be addressed, as to how they found their way into Hungarian and later into Romanian. Certainly, this question cannot and must not be answered by an archaeologist. The conquering Hungarians of the 10th century did not destroy this population, but integrated them into the economic and political-military structure of that age, certainly as a conquered population. In this respect we assume that from a chronological point of view it is a mistake to draw the upper boundary of the cremation cemeteries at the 9th century. But an even greater mistake was made, because they bound this chronological system artificially to the archaeological periodization of other regions (in the first instance to the Great Plain). The greater part of the archaeological interpretations, the disappearance of the cremation burials was linked to the downfall of the Avar Khaganate, ie an archaeological phenomenon was explained by a political-historical event. So, without the minimal archaeological evidence, the population of cremation cemeteries was made to disappear from the archaeological maps – because the Avar Khaganate fell down. In this case the following questions arise: 1. What happened to this population? – no one has answered this so far; 2. Why and how should the disappearance of a political structure result in the disappearance of a population (based upon the technical realities of the early Middle Ages)? After studying the history of ideologies, it is not difficult to pinpoint the root of this theory, but it cannot be connected to the early Middle Ages but to the specific thinking of the 19th – 20th centuries, or to be more exact to a modern myth, the myth of ‘unity’. According to this train of thought, the state – the nation – the micro-community – the individual all form an undividable (much more biological) unit, which can be considered one of the great historical lies! We are approaching Orwell and his 1984, the implantation of the role of modern states into other historical ages. However, it has nothing to do with the power structures of the early Middle Ages and their (technical) possibilities. To draw the conclusion, we think that this population leaving behind cremation burials saw the Hungarian conquest and the early Árpád era and as a result they were integrated into the structures of the Árpád era and they were converted to Christianity and became ‘Hungarians’ (therefore one can hardly speak about archaeological-funerary markers after the 10th century, everything became uniformed under the reign of the Árpád dynasty, similarly to the phenomenon that took place in the late Avar age). Therefore, in our opinion, the chronology of the cremation cemeteries along the River Little Someș/Somesch/Szamos should be thought over again, and their chronological sequence should be checked by 14C tests. And above all, new excavations should be carried out in the microregion of the Little Someș/Somesch/Szamos.

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The Jesus Chapel in Odorheiu Secuiesc

The Jesus Chapel in Odorheiu Secuiesc

A székelyudvarhelyi Jézus-kápolna

Author(s): András Sófalvi / Language(s): Hungarian / Issue: VIII/2013

Keywords: four lobe form; vaults; votive chapel; honour of the Heart of Jesus

The Jesus Chapel is located at the south entrance of the town Odorheiu Secuiesc. This ecclesiastical building belongs to the group of four-lobe chapels with analogies in the west and north of the Carpatian-basin and Transylvania. Traditional belief dated the building of the Jesus Chapel to the 13th century. The chapel was mentioned in the written sources for the first time in 1602. There are no carved stone elements in its structure. The special technical components of its altar date from the end of the 17th century – beginning of the 18th century. The central picture of the altar, representing Jesus with His bleeding heart and the lamb, are strongly connected with the Jesuit order which appeared in Odorhei at the end of the 16th century. The painted wood ceiling was made in 1677, originally the chapel was probably vaulted. The archaeological researches made in 1973 and 2011 have also given postmedieval dating. Stratigraphical data proved the building of the chapel post quem the middle of the 15th century. The stone and brick crypts discovered in the centre of the building are directly linked to the foundation of the chapel, which was probably a miraculous healing. Although it has been used later as a burial chapel, there are no written documents concerning the founder’s person or their family. The chapels in Gheorgheni (Szent Anna/Saint Anne Chapel) and Sânzieni (Szent István/Saint Stephen Chapel) are in Szeklerland the closest architectural analogies of the Jesus Chapel. Their newest research dated them to the 17th century and marked them as being votive or private chapels.

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The castle from Szilágysomlyó in the 16th century

The castle from Szilágysomlyó in the 16th century

Szilágysomlyó vára a 16. században

Author(s): András Kovács / Language(s): Hungarian / Issue: VIII/2013

Keywords: Báthory family; bastioned fortification; Simone Genga; L. F. Marsigli; inventory

The core of the fortress from Szilágysomlyó (Șimleu Silvaniei, RO) is a 16th century castle protected by towers and a moat. Between 1581 and 1594 Stephen Báthory Jr. (1553–1601) − the nephew of prince Stephen Báthory, who studied in Poland and was captain of Nagyvárad (Oradea, RO) for a while − transformed the castle into a residence and surrounded it by a bastioned enceinte. The plans of the transformations were probably made by Simone Genga (cca. 1530–1602) from Urbino, the military architect of the price. The constructions were seized after a while, thus the outer enceinte, similar to the fortress of Fogaras (Făgăraș, RO) remained unfinished. The inventory of the moveables edited below for the first time in extenso was taken in 1594, after the breaking-off of the constructions.

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Die Analyse der Wandgemalde aus Durlasch

Die Analyse der Wandgemalde aus Durlasch

A darlaci középkori falképek vizsgálata

Author(s): Erika N. Feketics / Language(s): Hungarian / Issue: VIII/2013

Keywords: Durles; Jüngstes Gericht; Heilige Katharina von Alexandrien; mittelalterliche Wandmalerei; Maltechnik; mikroskopische Untersuchung

Die mittelalterliche, heute evangelisch-lutherische Kirche in Durles (Dârlos/Darlac, RO) befindet sich im Norden des Landkreises Hermannstadt (Sibiu/Szeben, RO). Durles liegt 10 Kilometer westlich von Elisabethstadt (Dumbrăveni/Erzsébetváros, RO) und 6 Kilometer östlich von Mediasch (Media􀜈/Medgyes, RO). In einer Urkunde der päpstlichen Kurie aus dem Jahr 1332 erscheint der Ort unter dem Namen Dorlako. Die ältesten Dokumente, die Bezug auf die Wandgemälde der Kirche nehmen, verdanken sich dem französischen Schriftsteller Auguste De Gérando und stammen aus dem Jahr 1845. Die detaillierte Beschreibung umfasst Informationen über die Wandgemälde im Langhaus, im Chorraum und auf den Außenseiten des Kirchenbaus. Auf der Laibung trägt der Triumphbogen eine Aufschrift, die das Datum 1701 und den Vermerk enthält, dass im Jahr 1845 umfangreiche Renovierungsarbeiten am Kirchenbau vorgenommen worden sind. Während dieser Renovierungsarbeiten wurden die Wandgemälde in Chor und Langhaus mit Kalkfarbe überdeckt. Die Aufschrift gehört der ersten Kalkschicht an, die den Triumphbogen und die Wandgemälde der Chorwände bedeckt. Die letzten größeren Renovierungsarbeiten wurden im Jahr 1972 durchgeführt. Vermutlich sind mit dieser Gelegenheit auch die Wandgemälde auf den Wänden des Langhauses entfernt worden. Heute ist es nicht mehr möglich, Reste dieser Wandbemalung zu finden. Im Jahr 1975 wurden zufällig wenige Fragmente der Wandgemälde des Chorraums entdeckt. In den Jahren 2009–2011 führte der Restaurierungsfachbetrieb Imago Picta GmbH Rechercheund Konservierungsarbeiten in mehreren Etappen durch. Dabei trat auf der Nordwand des Chorraums eine Darstellung des Jüngsten Gerichts zutage; auf der gegenüberliegenden Südwand wurden Szenen aus dem Leben der Heiligen Katharina von Alexandrien und solche, auf denen Helena und Konstantin zu sehen sind, entdeckt. Die Fachliteratur hält keinen Aufschluss über den Fertigungsprozess von Wandgemälden in den mittelalterlichen Kirchen Siebenbürgens bereit. Der Großteil der verfügbaren Beschreibungen bezieht sich lediglich auf Maltechniken und Stilfragen. Die von mir durchgeführten Untersuchungen bieten neue Erkenntnisse über den aktuellen Zustand der Wandbilder, die Fertigungstechniken und die Abfolge der Malschichten, die verwendeten Materialien und Werkzeuge.

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The 18th Century Residence of the Roman Catholic Bishops of Nagyvárad

The 18th Century Residence of the Roman Catholic Bishops of Nagyvárad

A nagyváradi római katolikus püspökök 18. századi régi rezidenciája

Author(s): Mónika Kémenes / Language(s): Hungarian / Issue: VIII/2013

Keywords: Nagyvárad; bishop’s palace; Baroque; Miklós Csáky; Ádám Patachich; Fortunato de Prati

One of the significant moments of the 18th century reorganising of the Roman Catholic diocese of Nagyvárad (Oradea, RO) was the building of the first bishop’s residence. Bishop Miklós Csáky (1737–1747), differently from his predecessor’s only partly or not at all achieved ideas, built his palace in the New City (“Újváros”), pertaining to the chapter. The one-storey building built with two inner courtyards through the uniting of several houses and plots was created presumably based on chamber architect Fortunato de Prati’s plans or suggestions, between 1737 and 1744, in several phases. Its major expansions took place during Bishop Adam Patachich’s first years, when in the second courtyard, a second floor was built for the Consilium Basilitarum of the Greek Catholic clergy. The activity of the local and foreign craftsmen, who took place in its building and the creating of its interiors can be clearly followed from the available resources. Thus besides the names of stonemasons who arrived under bishop Csáky and those of the Italian stonemasons and German carpenters from Budapest, who were invited under Forgách and Patachich, the names of local craftsmen, who took part in the leading of neighbourhoods also emerge. After the completion of the new baroque bishop’s palace designed by Franz Anton Hillebrandt, the old building gave place to different educational institutions, then workshops. Its demolition took place in 1901, yielding space for the new City Hall. Its appearance and layout can be reconstructed in detail, based on the 18th century drawings of the group of buildings.

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The Central Building of the Reformed College in Marosvásárhely

The Central Building of the Reformed College in Marosvásárhely

A marosvásárhelyi Református Kollégium főépülete

Author(s): Erika Oniga / Language(s): Hungarian / Issue: VIII/2013

Keywords: Târgu Mureș; reformed college; directorate; plan; Sándor Baumgarten; construction

The old buildings of the Reformed College in Marosvásárhely (Târgu-Mureș, RO) were significant role players in the Transylvanian protestant public education, but proved to be less functional for educational institutions at the early 20th century. The directorate of the college commissioned a leader of the government’s architectural program, the Budapest based architect Sándor Baumgarten (1864–1928), to propose a project for the new building. He realized the project plans between 1906–1908, and the construction took place between 1908–1909. This study pursues the so far unknown construction process and interior furnishing of the main building, investigating reports from the directorate meetings of the school, documentations related to the abundant planning material. Thanks to rich written resources and the well preserved furnishing, the assembly hall is discussed in an individual chapter as it is the most ambitiously created, organic Art Nouveau interior of the building. Baumgarten took into consideration the local conditions of the site, as well as the expectations of the directorate when planning the building. As a follower of Ödön Lechner applied the national style, borrowing design elements and patterns from the Hungarian Art Nouveau style. To carry out the construction plans, young Lajos Csiszár, a building contractor from Marosvásárhely was commissioned, along with other local craftsmen. The foundation stone was celebrated on September 10th, 1908, with the construction procedures coming to an end in the autumn of 1909. The inauguration took place in June 1911, once the annexed buildings (primary school, sports-court), both planned by engineer Győző Nagy, and the renovation of the 19th century boarding school were completed. The three storey central building has a U-shaped layout. The unity of its wings is given by the characteristic execution of the facades and the harmoniously applied details. The various fixtures of the building (fences, chandelier etc.), the interior furnishings and the annexed building all celebrate the talent of engineer Győző Nagy. He applied the style of Baumgarten in the design of the furniture belonging to the directorate’s office and the teaching room, and took significant responsibility in shaping the assembly hall too. (The furnishing of the assembly hall dating back to 1910 was complemented in the interwar period with furniture that animated the ornamental language of their Art Nouveau ancestors, while keeping the integrity of its interior style.) The project received a governmental support of three-hundred thousand crowns, but its expenses reached almost half a million crowns by the time its construction and interior furnishing had been completed. With its neat floor plan, inner division striving for functionality, luminous rooms, wide and airy passageways, the building complex is a representative work of this architectural programme. The style and execution of details recall the features of the rest of the gymnasiums planned by Baumgarten (from Zilah/Zalău, Rozsnyó/Râșnov, Máramaros/Sighetu Marmației [RO], etc). However, by being an assignment and investment of the church, and thanks to its adaptation to the irregular, sloping site and local context of the already existing buildings, this work has contributed to the achievement of an original and independent work of Sándor Baumgarten in Marosvásárhely. The building-complex founded in the early 20th century hosts today the Reformed College and the Bolyai Farkas Theoretical High School.

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A New Image of Miklós Bánffy in the View of Two Chalices

A New Image of Miklós Bánffy in the View of Two Chalices

Bánffy Miklós újabb arca – két serleg tükrében

Author(s): Mária Visky / Language(s): Hungarian / Issue: VIII/2013

Keywords: Miklós Bánffy; Lajos Pál; silversmith; art deco; Wiener Werkstätte

Count Miklós Bánffy, the last male direct descendant of the Bánffy counts of Losoncz has been active in more than one fields of art, his works in literature, stage- and costume design are well known and appreciated. My study is aimed to shed light on this personality’s less known field of activity, presenting two parcel gilt silverworks designed by Bánffy and manufactured by silversmith Lajos Pál from Budapest, outstanding pieces of the Hungarian metalwork in the interwar period. One of the chalices figured at the 2012 ’Art Deco and Modernism – Home Design in Hungary 1920–1940’ titled exhibition at the Budapest Museum of Applied Arts as a piece of the museum’s collection, and its match, with a religious iconography, is still used at confirmation ceremonies in the Farkas Street Reformed Church, Kolozsvár (Cluj-Napoca, RO), in conformity with the donor count’s wish. The oeuvre of Miklós Bánffy stands for an artist who worked in several areas of the fine arts and followed the most recent tendencies. Known for being a writer of the The Transylvanian Trilogy and several other literary works, he was also a graphic artist, was involved in staging Bartók's works and was the owner of a famous herd. The aristocratic origin and upbringing of the count, his variety of experiences in Europe which helped him to become an influential figure of the political and cultural life in the Austro-Hungarian Monarchy and in Transylvania contributed to his artistic creations. From the Hungarian art deco artworks dating from the 20s and the 30s just a few remained, however these – including the two Bánffy chalices – are fine examples of the Hungarian art deco stream. The delicately decorated, harmoniously proportioned chalices are similar in both their shape and their execution, and bear witness to a craftsman with an exceptionally elaborate technique. Considering the unprocessed work of Lajos Pál, the School of Applied Arts’ former teacher and for a short time commissioned headmaster, these two silverworks presented a firm starting point in discovering the silversmith’s professional path. In the structural solutions of the works from 1931 the craftsman revives the traditional silversmith’s technique, the principle of assembling – which can be found already in the late gothic and in the mannerist metalwork. Furthermore they feature the embellishment of the interwar period’s applied arts, the use of elements of nature and of geometrical stylization. These fruits of Miklós Bánffy’s various and extensive oeuvre bear the signs of the count’s culture routed in his patrician literacy and the signs of his commitment to church and nature. The chalices’ importance lies in qualitative and thorough execution, and in the fact that they summarise the two artists’ most representative characteristics. Their style rooted in the Vienna Secession, the Wiener Werkstätte art and the centuries old silversmith practice all reflect the multitude of Pál’s typical inspirations. Meanwhile, the lightness of Bánffy’s design can be connected with the theatrical manner of the art deco style. In this period the theatre life and most importantly Diaghilev’s Russian ballet influenced heavily the graphic, the interior and the product design. This way, the elegant gestures and movements of the figural forms and the lightness of the elements from nature are both transferred to fine and applied arts, for which these chalices stand as good demonstrations. In conclusion, through their traditional concept and decorativeness they reflect the most significant characteristics of Lajos Pál’s art, and act as new testimonies of Bánffy’s creative versatility, good examples of the Transylvanian and Hungarian artistic awareness.

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Book review

Book review

Könyvismertető

Author(s): Gábor Ilon / Language(s): Hungarian / Issue: VIII/2013

Keywords: Zoltán Székely; book review

The reviewed book: Emlékkönyv Székely Zoltán születésének 100. évfordulójára. Szerk. Székely Zsolt.Háromszék Vármegye kiadó, Sepsiszentgyörgy, 2012.

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Abbreviations

Abbreviations

Rövidítések

Author(s): / Language(s): Hungarian / Issue: VIII/2013

Keywords: authors; abbreviations

The abbreviations used in the texts.

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