KREPOZIT (Károli Gáspár University of the Reformed Church)
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"A párthatározat szellemében...": A Kádár-korszak cigánypolitikájának végrehajtása Borsod-Abaúj-Zemplén megyében
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A jogtudat-kutatások emberképe, valamint pszichológiai összefüggései vizsgálatának lehetséges indokai
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Modelling (in)definiteness, external possessors and (typological) variation in Hungarian possessive DPs.
Get PDFIn this paper I set out to model the encoding of definiteness in Hungarian possessive DPs with particular attention to the (non)complementarity of definiteness markers and possessive markers. I develop a formal LFG account of the relevant phenomena. Its essence is that I propose that in Hungarian DPs the DEF feature is nonunifiable. Naturally, the definite article always encodes this feature, while some possessor types also encode it, and others do not. The latter can only require that this feature should be present in the possessive DP. It is in this way that I capture the (non)co-occurrence of the definite article and various possessors
Painting at the Court of Emperor Sigismund: The Nuremberg Connections of the Painter Thomas de Coloswar
Get PDFThe first great figure of panel painting in medieval Hungary was the painter Thomas de Coloswar, whose
only surviving work is the Calvary-altarpiece from Garamszentbenedek (Hronský Benˇadik, Slovakia), preserved today at the
Christian Museum of Esztergom. The altarpiece was completed in 1427, and was commissioned by Nicholaus, son of Peter
of Garamszentbenedek, cantor of the royal chapel at Buda castle. Generations of Hungarian and foreign researches have dealt
with the significance and origins of this great work, and discussed the likely origins of its painter. In recent scholarship,
there seems to be an agreement that the style of the painter stems from the International Gothic style of the Prague court – a
style also incorporating French, Burgundian and Italian elements. It has also been suggested that the painter may have left
Prague for Hungary at the time and because of the Hussite revolution. In my paper, I would like to demonstrate instead that
the origins of the painting style of Master Thomas are to be found in Nuremberg, at the beginning of the fifteenth century.
Thomas de Coloswar is closely connected to Nuremberg workshops around 1420, which developed after the completion
of the main altar of the Frauenkirche in Nuremberg. Iconographic, stylistic, and historical observations will be discussed to
support this proposition, which gives us a chance to re-evaluate painting at the court of King Sigismund as well. Observations concerning the portrait of Emperor Sigismund in Nuremberg and on the Calvary-altar from Garamszentbenedek are
also included, as they strongly support the connection outlined in the study
