`СМИСАО ЗА ИСТОРИЈУ` И `ЖИВА ТРАДИЦИЈА` У ЕЛИОТОВОЈ ПУСТОЈ ЗЕМЉИ И ПОЕЗИЈИ ШЕЈМУСА ХИНИЈА

Author(s): Ana S. Živkovic / Language(s): Serbian / Issue: 54/2014

Comparing the poem Wasteland by Thomas Eliot to the Irish Nobel-prize winner Saemus Heaney’s collection of poetry Bogland, the paper underscores the similarities and differences aiming to prove that almost identical “sense of history’ is present in the poetry of both poets. Eliot views the “sense of history’ as the ability to recognize the same situations and patterns not only in the past, but in the present and future, bringing time into a whole, not chronological, but cyclic. “Living tradition’ is the tradition of stopping and continuing, basing the existence in the past and surviving in the present. The research includes the incongruities of Eliot’s theoretical considerations about tradition and practical realizations of those ideas in poetry, and we conclude that, according to the poet, tradition is not everything written since Homer until today, but only those works that possess the “sense of history’. The important myths (mermaid myth, Holy Grail myth, Narcissus myth) remind us that the 20th century man is not free from the primeval striving towards the spiritual and physical healing, as well as the eternal craving to divulge one’s own being completely. Civilization and capitalist tradition have distanced contemporary man from nature and sexual emotion, and directed him towards profit and material production. Despite Eliot’s declaring as a royalist and follower of catholic tradition, his poetry as well as Heaney’s is predominated by the influence of humanistic tradition based on the conflict of different cultural concepts, on the archetypes of light and darkness, heavens and the underworld.

1790 körüli szász röpiratok

Author(s): Annamária Biró / Language(s): Hungarian / Issue: 1-2/2008

In the paper we tried to find the answer for how the Saxon responded for the injuria of the Josephine and the 1790-91 diet’s regulations. The analysis of the solely printed texts was mainly lingual: which are the instruments of the enemy formation and self-definition, as well as the elements of argumentation for proving the righteousness of the privileges. The always situational self-definition offers the Saxon different strategies which they parlay as good as they can.

1883–1916 m. katekizmai ir jų religijos terminų reikšminės grupės

Author(s): Aušra Rimkute / Language(s): Lithuanian / Issue: 15/2008

The catechism is a very important literary form of the Church. It teaches the basics of Christianity, its moral and ethic norms, which make the foundation for the life of a Christian. During the period of thirty three years (between 1883 and 1916) there were 86 Catholic and 11 Protestant (9 Lutheran and 2 Calvinist) catechisms published. During the period when printing in Lithuanian was prohibited catechisms were published outside the borders of Lithuania Major. Catechisms are mainly aimed at teaching children and youth, therefore they had an important role as primers in Lithuanian and as educators of the native language. According to A. Jakštas, “nearly every well-known catechist took care to prepare his own catechism. Thus the number of catechisms grew with every year; there were a lot of them written and published – each one in its own particular method, particular terminology and particular plan” (Jakštas 1923: 239). Furthermore it is obvious that compilers of catechisms had a need to explain terms of non Lithuanian origin (mostly international words). Most frequently such terms were explained using the Lithuanian equivalent – sometimes more, sometimes less successful. Variants of terms were abundant.In this article terms of religion are considered to be words and combinations of words, which name the supernatural (angelas (angel), Dievas (God), Dvasia (Spirit), velnias (devil)), rites (atnašavimas (sacrifice), mišios (Mass), pamaldos (service), pamokslas (sermon), procesija (procession)), actions related to religion (atgaila (penance), išganymas (salvation), išpažintis (confession)), Church celebrations (Sekminės (Whit Sunday), Velykos (Easter)), names of objects (grabas (coffin), kielikas (chalice), ostija (host), patena (paten)), moral principles of the Christian life, behaviour to be avoided or to be followed (atgailos atlikimas (execution of penance), gailestis už griekus (repentance of sins), išmalda (pittance), malda (prayer), tikėjimas (faith)), religious books and texts (Biblija (Bible), Evangelija (Gospel)), sacraments (Krikštas (Baptism), Kunigystė (Holy Orders), Moterystė (Matrimony), Paskutinis Patepimas (Anointing of the Sick)), sins and their kinds (apsirijimas (gluttony), godulystė (greed), vagystė (stealing), žmogžudystė (killing)) and names of persons (apaštalas (apostle), eretikas (heretic), išganytojas (Saviour), popiežius (Pope), vyskupas (bishop)) and other.

19. Yüzyil Türkistan Şair Ve Tarihçilerinden Mûnis Harezmî (1778-1829) Ve Eseri: Firdevsü’l-İkbâl

Author(s): Hayrullah Kahya / Language(s): Turkish / Issue: 77/2014

Knowledge about the 19th century Central Asia Turkish language is quite insufficient. Moreover, an entire list of the artists of this period are not available as related information and documents for this period existed for many years under the domination of the Soviet Russia, a case which made it impossible to reach these documents for many years. However, knowledge about this period has increased thanks to new researches and publications. Certainly Munis Khwarazmi is one of the most important Turkestan artists in 19th century. In this paper, Mûnis Khwarazmi who earned reputation for not only being historian but also poet has been researched together with his important work Firdaws al-iqbal in which he wrote the official history of Khanate of Khiva. Initially, a short information is given about the khanates period of Turkestan (Khiva, Bukhara, Kokand Khanates) and then the life of Mûnis and his works are discussed. Following this, the most important work of Mûnis, Firdaws al-iqbal, has been examined. Phonetic and morphological properties of the work, written by Munis himself, have been examined in respect to its differing properties from Classical Chagatai Turkish until the fifth part of the work. Language style of Mûnis has been studied to be determined with the sample texts taken from the Firdaws al-iqbal.

1910–1937 m. lietuviškoji statybos terminija (iš turimų išteklių)

Author(s): Robertas Stunžinas / Language(s): Lithuanian / Issue: 14/2007

This article deals with analysis of Lithuanian endogenic and old loaned building terminology of the begining of XX century according to origin, structure and development aspects. Overall 1393 terms are analyzed, i. e. 806 one-word terms and 587 composite terms.Of all one-word terms terminologized (specialized) old lexis makes up about one fifth part: akmuo (stone) JodelNorm 2, namas (house) Zubausk 9, sija (beam) Kind 14. Metaphoric and metonymic terms in early building terminology are rather rare. The majority of metaphoric terms are the result of secondary metaphoric nomination: griaučiai (skeleton) Kind 8, grėblys (raker) Šimol 71, metonymic terms are originated according to specific terminology models: lenta (board) StatM 1923 I 8.Three quarters of analyzed one-word terms are derivations. The facts of Lithuanian language dictionary suggest that a large group of derivations could have been borrowed from the folk language: dūmtraukis (chimney) Kind 16. In many cases it is difficult to decide whether derivations are terminologized simple words or newly made. In particular this can be said about transpositional abstracts of verbs and adjectives: aušimas (cooling) Ekz 4, akytumas (porosity) Šimol 20. Only a small group of derivations could be suggested as neologisms. The majority of the neologisms are compound derivations: degplytė (baked brick) Janus 19. Derivations of suffixes and endings are rather rare: slugsnis (layer) StatM 1923 I 20, riša (bunch) Ekz 6.The major part of composite terms are made with the abstracts of verbs and adjectives: patvarumo bandymas (proof of sustainability) JodelTechn 146, atsparumas gniužimui (stability to crushing) JodelTechn 90 and terminologized simple words: dirbtinis akmuo (artificial stone) Iv 7.Most of the terms which are analyzed in this article are used at present. More than a half (56%) of one-word terms are found in modern term dictionaries of building: džiovykla (drying chamber) Iv 45, STŽ 134, kietėjimas (solidification) Šimol 84, STŽ 253, muštuvas (impact maschine) JodelTechn 191, STŽ 351. A significant part of terms are historisms and archaisms: akėčios (harrow) JodelTechn 66, bebras (beaver) StatM 1922 II 18; apsloginimas (reduction) JodelNorm 2, glostimas (smoothing) StatM 1923 I 11.

200 години от зараждането на сравнително-историческото езикознание и от формирането на лингвистиката като съвременна наука

Author(s): Borislav Popov / Language(s): Bulgarian / Issue: 4/2016

A Byzantine Epigram in the Pictorial Cycle of Akathistos Hymn for the Virgin from the Narthex of Kremikovtsi Monastery St George (1493)

Author(s): Tsvetan Vasilev / Language(s): English / Issue: 16-17/2017

The research paper presents an unpublished inscription in Greek language from the narthex of the Kremikovtsi Monastery St George near Sofia – an epigram of the famous Byzantine poet Theodoros Prodromos, who lived at the court of the Komnenian Dynasty in the twelfth century. Being part of the scene Flight into Egypt and – more precisely, – being written in the scroll of a female figure – a personification of the city, no parallel of this inscription has been attested so far in post-Byzantine art. The only other scroll like this has been discovered in the church of the Seslavtsi Monastery St Nicholas near Sofia, but the text there is probably just a decorative detail. A complete study of the preserved part of the damaged inscription is conducted, together with a discussion about its linguistic and literary specifics in the context of the high Byzantine poetry and the Biblical exegesis. The aim is to outline and to describe the raison d’être of this religious epigram (ἱερὸν ἐπίγραμμα) as an expressive instrument for direct communication with the audience through its main stylistic feature – the dialogue between the Saviour and the layman, between the divine and the human nature of Christ. The poetical form chosen by Theodoros Prodromos immediately draws the viewers’ attention and it compels them to reflect upon the scene. Theodoros Prodromos’ epigram in the Kremikovtsi Monastery offers an exceptional and significant proof that the connection of Balkan art to the achievements of the Christian culture of the former Byzantine empire was still alive in the fifteenth century.

A COGNITIVE-CONCEPTUAL MAPPING OF THE HUMAN ELEMENT IN ORTEGA Y GASSET´S ESSAY LA DESHUMANIZACIÓN DEL ARTE (1925). TOWARDS A BIOPOETIC APPROACH

Author(s): Juani Guerra,Michal Góral / Language(s): English / Issue: XIX/2017

The aim of this paper is to map cognitive dynamics of meaning constructionin Spanish language as articulated in Ortega y Gasset’s philosophical essay Ladeshumanización del arte / The Dehumanization of Art [1925]. We will focus on howthe human element is conceptualized, i.e., created and understood by the author. Ourmethod is based on the application of cognitive models of conceptual analysis foundin Cognitive Linguistics known as Idealized Cognitive Models – ICMs [Lakoff & Johnson1980] like Image Schema, Metaphor, Metonymy, and their developments as conceptualblends in Conceptual Integration Theory – CIT [Fauconnier & Turner 2002].The high philosophical complexity of this text’s nuclear conceptual structure HUMANand DEHUMANIZATION makes it necessary to initially map them from theoreticallyestablished cognitive approaches to language organization. In this paper we developsuch analysis as groundwork for a subsequent study involving a more dynamicist viewof their emergent meanings in the framework of Biopoetics [Guerra 2013, 2016].

A composicionalidade aspetual da perífrase verbal andar a + inf

Author(s): Justyna Wisniewska / Language(s): Portuguese / Issue: 29/2017

The Portuguese language possesses various means of expressing verbal aspect, among which a significant place is occupied by verbal periphrases. Due to the fact that the issue discussed is characterized by a high degree of complexity, we have decided that the range of our considerations should be limited. We have chosen the construction andar a + inf, which represents a group of aspectual verbal periphrases and constitutes a considerable form in creating the verbal category of aspect. The main aim of the research is an attempt to evaluate the impact of mutual dependencies between various elements in a sentence (verb andar a, verbal predicate type, adverbial constructions and other factors) on creating various aspectual values, expressed by the analyzed verbal periphrasis. For this purpose, we use the corpus which consists of the examples presenting authentic language material and coming from literary texts. Some of the examples have been created by us and, subsequently, consulted with native speakers of the Portuguese language.

A Cross Dialectal View of the Arabic Dative Alternation

Author(s): Maris Camilleri,Shaimaa ElSadek,Louisa Sadler / Language(s): English / Issue: 1/2014

This paper is concerned with the syntax of ditransitive verbs in Arabic. We concentrate on the vernaculars, focussing in particular on three geographically spread dialects: Egyptian Cairene Arabic, the dominant vernacular in Egypt, Hijazi Arabic, spoken in Western Saudi Arabia and Maltese, a mixed language with a Magrebi/Siculo-Arabic stratum. We show that all three exhibit an alternation (the dative alternation) between a ditransitive (‘double object’) construction and a corresponding prepositional dative construction, and outline a number of differences between these constructions in the different varieties of Arabic. We consider the distribution of verbs exhibiting the dative alternation in the light of Ryding’s (2011) observations concerning Modern Standard Arabic.

A DEBRECENI TUDOMÁNYEGYETEM GÖRÖG-LATIN PHILOLÓGIAI SZEMINÁRIUMÁNAK TÖRTÉNETE (1914—1949)

Author(s): József Mudrák / Language(s): Hungarian / Issue: 2/2006

A démokritosi atomok mozgásának problémája Cicerónál

Author(s): Csilla Szekeres / Language(s): Hungarian / Issue: 1/2007

A De finibus bonorum et malorum I. könyvében a következőket olvashatjuk Démokritos természetfilozófiájáról: „[Démokritos] úgy gondolja, hogy az általa atomoknak nevezett részecskék, azaz a tömörségük miatt oszthatatlan testek úgy mozognak a végtelen űrben, amelyben nincs sem legfelső, sem legalsó, sem középső, sem legutolsó, sem legszélső, hogy az összeütközések következtében összekapcsolódnak egymással.” A concursio szó egyértelműen nem meghatározott irányú mozgást fejez ki: az atomok rendezetlen mozgásuk eredményeként ütköznek össze. A folytatás is ezt az értelmezést látszik alátámasztani, mely szerint a következő melléfogás kizárólag Epikurosé: „Tudniillik azt gondolja, hogy ezek az oszthatatlan és tömör testek saját súlyuknál fogva egy egyenes vonal mentén lefelé hullanak, és ez valamennyi test természetes mozgása”. Következésképpen a démokritosi atomok nem esnek lefelé egy egyenes vonal mentén és értelemszerűen nincsen súlyuk, vagy ha van is, ez nem oka a mozgásuknak.

A EURASIAN ETYMOLOGY: SARMYSAK < *K’IRMUS(V)/KERMUS(V)/KARMUS(V) ‘GARLIC'

Author(s): Mária Magdolna Tatár / Language(s): English / Issue: 1-3/2002

In this article a new etymology is presented for an important cultural “Wanderwort”, “garlic”. The author uses the earlier elaborated etymologies of Turkic, Mongolie and Indo-European languages by explaining the well-known Turkic sarmysak ‘garlic’ as an Indo-European loan word. This explanation is based on Iranian data which were not used by the linguists before.

A Few Words about the Aphorism Factory

Author(s): Zsolt Farkas / Language(s): English / Issue: 04/1994

It all started in a Schwäbisch Hall bookstore in the autumn of 1986. As I dawdled, drooling, and fondled the amazing selection, a quotation on the back of a book by someone called Hermann Lang caught my eye: “Das Unbewußte ist die Rede des Anderen”: “The unconscious is the discourse of the other”. Work is proceeding on the 2.0 version of the Aphorism Factory: it will allow the user to choose from a wide range of dictionaries and grammatical structures. (There are some fascinating possibilities. For instance, “Even an x is only a y ” or “You’ll never make an x of a y ”. And there are structures like: “An x is like a y: it’s a and 6, where a and b are adjectives. There are some marvelous adjectives. Or a format like “X is z;-ing y ’, where v is a third person singular, transitive verb: e.g., destroy, violate, deconstruct, and snicker at, etc.

A fordítás fordítása: a émet fordítás hatása a magyar visszafordítások kommunikatív dinamizmusára

Author(s): Zsolt Pápista / Language(s): Hungarian / Issue: 2/2016

The present paper explores the influence of a Hungarian text’s German translation on the communicative dynamism of such texts that present Hungarian back-translations of the German translation. The analysis was conducted on five texts with emphasis on their theme-rheme division: on the first chapter of Dezső Kosztolányi’s novel Skylark (in Hungarian: Pacsirta), its German translation, as well as three students’ translations that were the Hungarian back-translations of the German translation. The analysis concluded that the German text did not have a relevant influence on the rhematic sections of the students’ translations. It did, however, greatly affect the number of thematic sections, as it (to a lesser extent) caused certain thematic sections (that are present in the original source text) to be missing in the students’ translations, while also (to a greater extent) leading to a rise in the overall number of thematic sections.

A Francophile from Sicambria. A Tribute to Sándor Eckhardt (1890-1969)

Author(s): Jacques Revel / Language(s): English / Issue: 04/1997

For a long time, Sándor Eckhardt (1890-1969) was just a name to me. To be sure, I was aware of his pivotal role as head of the French department at Budapest University. It was always clear to me, moreover, that academics of his generation, scholars in literary studies as well as historians, including Victor-Lucien Tapié, my mentor during my studies at the École Normale Supérieure and the Sorbonne, held him in great esteem. Yet I had not acquainted myself with the full scope of his scholarship, except for a few articles that I had read and, to be sure, profited from immensely. Needless to say, I wouldn’t want to suggest that I have completely familiarized myself with his work. What I have read thus far, however, has awakened and sustained my interest for a number of reasons.

A könnyűség súlya, avagy Philétas cipői

Author(s): Elvira Pataki / Language(s): Hungarian / Issue: 2/2009

Present-day knowledge about Philetas, the first poietes-grammatikos is extremely scant. According to the only information, which seems rather irrelevant, and which was transmitted by late authors, the poet was extremely thin as a result of his laborious poetical activity. In certain sources (Aelian, Athenaeus) the motif of thinness is completed by a bizarre note: the artist, a leptoteros, had to wear lead weights on his feet against the force of winds. The adjective describing his figure cannot be separated of the primordial aesthetical notion of lepton, and it may suggest a poetological interpretation. In order to support this possibility, the article sheds light on a zoological paradox of Aelien which mentions the peculiar habit of bees, light and musical animals and strenuous gleaners of flowers, who carry stones as counterweight against the winds. The implicit image of a poet as a bee is a traditional metaphor with sacral connotations in the Greek literature, which reappears in the Hellenism. The association of the Coan poet with the bees would fit well into the tradition about the poetry and the creative style of Philetas. He was known to have an ardent interest in the natural sciences (periergos), therefore among his poetical and glossographical fragments more than one item concerning hive, bougony, honey can be found. According to reconstructions, the melissa could have had an important role in his Demeter. On the other hand, the critical announcements of Callimachus and Theocritus on Philetas’ poetry employ the same metapoetical imagery of nature (see the rivalry of the locust and the frog in the 7 Idyll, the opposition of the ear and the oak in the Prologue of the Aitia). The best known work of Philetas, the poem of the alder which is considered as a selfportrait, is based on this as well. Accordingly, the representation of the poet in the anecdote has poetological allusions through the motifs of the slenderness and the counterweights.

A Kós Károly-portréfilm elkészítésének történetéből

Author(s): László Csibi / Language(s): Hungarian / Issue: 4/2016

In this paper I present, describe, and analyze the making of a portrait-film dedicated to Károly Kós. I give details on the process and the progress of producing this documentary fi lm, starting from its conception to the final product. I explain the way of developing the script, of researching and obtaining archive content, and of incorporating it into the artwork. This study is based on the author’s personal experience in his making of a documentary film.

A lélek, a káosz és a titokzatos Mót: A föníciai Sanchuniathón kozmogóniai töredékének platonikus olvasata

Author(s): Dávid Molnár / Language(s): Hungarian / Issue: 2/2013

A LOOK INTO SYMBOLISM IN LITERATURE FROM THE PERSPECTIVE OF “VANITY FAIR” BY WILLIAM THACKERAY

Author(s): Yana Manova-Georgieva / Language(s): English / Issue: 2/2017

Proper names in literature serve not only as naming means, but also as a tool for completing and nuancing of the characters of literary images. Therefore, the hereby presented study of William Thackeray’s „Vanity Fair“ is an attempt to delve into the meaning of proper names and their symbolism where it is present, as well as its translation equivalent in Bulgarian. Proper names in both English and Bulgarian are seen as symbols and their concealed meaning is to be revealed by means of analysis of immediate context, together with the lexical meaning of the names of the characters in the novel. Conclusions are drawn as to what extent meaning of names is important in creating literary images and characterizing them and what actually is translated in literature in order to preserve the nominal idea of the author.