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Animating the Cosmos: The Azure Dragon, White Tiger, Vermilion Bird, and Dark Warrior in Han Tomb Art and Thought
Full text linkThis article explores the artistic development and cosmological significance of the Four Cardinal Deities—the Azure Dragon, White Tiger, Vermilion Bird, and Dark Warrior—in Han dynasty funerary art. Drawing from a rich corpus of archaeological materials, including mural paintings, engraved bricks, and stone reliefs, as well as classical texts and scholarly literature, the study traces the deities’ evolution from pre-Han to Han periods.Originally rooted in early totemic symbols and astral beliefs, these figures became increasingly codified within the cosmological frameworks of yin-yang and Five Phases theory during the Western Han. The analysis highlights how these deities were integrated into elite tombs to convey notions of cosmic order, celestial harmony, protection, guidance, and immortality, reflecting broader shifts in religious thought and funerary practice by the Eastern Han period.In the Han belief system, the tomb was a microcosm of the universe: the directional arrangement of the deities reflected both the soul’s place at the cosmic centre and its journey through the afterlife. Through case studies of major tomb sites and artifacts, the article shows how the deities\u27 iconography evolved from static symbols of time and place (directions) to dynamic figures deeply embedded in complex narrative compositions. The study also explores their spatial arrangement, symbolic attributes, and the interaction between the cardinal deities and other cosmological and mythical figures—such as Fuxi, Nüwa, and the sun and moon—as part of a comprehensive visual language of transcendence. Special attention is given to regional and temporal variations in their depiction and placement. Ultimately, the article argues that these deities were active symbols of cosmological ideology, ritual authority, and spiritual aspiration in Han burial culture.This article explores the artistic development and cosmological significance of the Four Cardinal Deities—the Azure Dragon, White Tiger, Vermilion Bird, and Dark Warrior—in Han dynasty funerary art. Drawing from a rich corpus of archaeological materials, including mural paintings, engraved bricks, and stone reliefs, as well as classical texts and scholarly literature, the study traces the deities’ evolution from pre-Han to Han periods.Originally rooted in early totemic symbols and astral beliefs, these figures became increasingly codified within the cosmological frameworks of yin-yang and Five Phases theory during the Western Han. The analysis highlights how these deities were integrated into elite tombs to convey notions of cosmic order, celestial harmony, protection, guidance, and immortality, reflecting broader shifts in religious thought and funerary practice by the Eastern Han period.In the Han belief system, the tomb was a microcosm of the universe: the directional arrangement of the deities reflected both the soul’s place at the cosmic centre and its journey through the afterlife. Through case studies of major tomb sites and artifacts, the article shows how the deities\u27 iconography evolved from static symbols of time and place (directions) to dynamic figures deeply embedded in complex narrative compositions. The study also explores their spatial arrangement, symbolic attributes, and the interaction between the cardinal deities and other cosmological and mythical figures—such as Fuxi, Nüwa, and the sun and moon—as part of a comprehensive visual language of transcendence. Special attention is given to regional and temporal variations in their depiction and placement. Ultimately, the article argues that these deities were active symbols of cosmological ideology, ritual authority, and spiritual aspiration in Han burial culture
A rendszer hálózatra váltása – a tanulási környezet gyökeres átalakítása
Full text linkThe technological and social transformations of the 21st century have fundamentally changed the dynamics of human communication, learning, andknowledge sharing. The former systems-based approach has been replaced by a network paradigm that emphasizes non-hierarchical, flexible, multifaceted, andself-organizing structures. The new challenges of the digital age — such as artificial intelligence, blockchain, and pervasive connectivity — are reshaping the foundations of education, prompting a rethinking of learning theories (behaviorism, cognitivism, constructivism, humanism, connectivism) within a networklike structure. The goal is not to establish a new dominant paradigm, but rather to integrate existing ones into a flexible, adaptive, and interdisciplinary learning ecosystem. This study offers a critical perspective on current educational practices and advocates for a more natural, net-work-based approach to learning —one capable of responding to the complexity and rapidly changing environment of even posthuman societies.A 21. század technológiai és társadalmi átalakulásai gyökeresen megváltoztatták az emberi kommunikáció, tanulás és tudásmegosztás dinamikáját. A korábbi rendszerszemléletű megközelítést mára a hálózati paradigma váltja fel, amely nem hierarchikus, hanem rugalmas, sokszempontú és önszerveződő struktúrákat helyez előtérbe. A digitális korszak új kihívásai – mint a mesterséges intelligencia, a blokklánc és a mindent átható konnektivitás – átrendezik az oktatás alapjait, így a tanuláselméleti modellek (behaviorizmus, kognitivizmus, konstruktivizmus, humanizmus, konnektivizmus) is hálózatszerűstruktúrában értelmezhetők. Nem újabb domináns paradigma kialakítása a cél, hanem a meglévők integrálása egy rugalmas, adaptív és interdiszciplináris tanulási ökoszisztémába. A tanulmány kritikai képet fest a jelenlegi oktatási gyakorlatról, és a tanulás természetesebb, hálózatalapú megközelítése mellett érvel, amely képes reagálni akár a poszthumán társadalmak komplexitására és gyorsan változó környezetére is
Rapid review a felsőoktatást jellemző szakmai kommunikációról
Full text linkSince the turn of the millennium, there has been a growing demand for the development of professional communication in occupations that rely on direct human interaction.
This study explores the international and domestic literature on professional communication development in higher education, using the rapid review method. The aim of the research is to summarize the findings, key concepts, and methods of linguistics-based studies on teacher-student interactions in higher education.
In addition, based on the literature, the study collects best practices that can support the design of courses which aim to develop professional communication in higher education.Az ezredforduló óta folyamatosan nő az igény a szakmai kommunikáció fejlesztésére azon szakmák esetében, amelyek a közvetlen emberi interakcióra épülnek.
Jelen tanulmány a felsőoktatási szakmai kommunikációs fejlesztés nemzetközi és hazai szakirodalmát tárja fel a rapid review módszerének segítségével. A vizsgálat célja, hogy összegezze a felsőoktatásban megvalósuló tanári és hallgatói interakciók nyelvészeti alapú vizsgálatainak szakirodalmi eredményeit, kulcsfogalmait és módszereit.
Ezek mellett a tanulmány a szakirodalom alapján olyan jógyakorlatokat is gyűjt, amelyek segíthetik a felsőoktatásban a kommunikációs képességek fejlesztésével kapcsolatos kurzusok kialakítását
Viewing the Fall of Ming China through the Lens of Climate Change: Timothy Brook: The Price of Collapse: The Little Ice Age and the Fall of Ming China. Princeton & Oxford: Princeton University Press, 2023. 256 pp.
Full text linkReview by Yu-lung Tseng on Timothy Brook\u27s The Price of Collapse: The Little Ice Age and the Fall of Ming China. Princeton & Oxford: Princeton University Press, 2023.Tseng Yu-lung Tseng\u27s recenziója Timothy Brook: The Price of Collapse: The Little Ice Age and the Fall of Ming China című kötetéről (Princeton & Oxford: Princeton University Press, 2023)
A Thematic Analysis of Guya in Chinese Connoisseurship Literature from the Ming Dynasty
Full text linkThis study examines the aesthetic terminology used in placing judgment in Chinese connoisseurship literature from the late Ming dynasty (1368–1644). This literary genre constitutes a collection of texts that served as guides for literati antiquarians, instructing them on how to consume material culture in a way fit for a true connoisseur. In providing instruction, the texts place judgment, both positive and negative, on certain objects and behaviours. While most of the judgment terms employed in the texts have clear, explicit meanings, other terms require further analysis to determine their implicit semantic values. In particular, this study focuses on the use of the erudite term guya 古雅 ([exhibiting] ancient elegance), which occurs 16 times across two late Ming texts: the Qing mi cang 清秘藏 (QMC; The Pure and Secret Collection) and the Zhangwu zhi 長物志 (ZWZ: Treatise on Superfluous Things). In introducing the Chinese connoisseurship genre and one of its predecessors from the Northern Song dynasty (960–1127), the article explores the changing socioeconomic backdrop of the Ming dynasty onto which the texts were created. With dissolving societal boundaries between the roles of the literati and merchant classes, the texts served an order-making role, in terms of restoring both a schematic of aesthetic preference and the traditional social hierarchy. Subsequently, the article examines the ways in which judgment is passed onto objects and behaviours in the genre’s texts. Particular attention is paid to how approaches to judgment placing changed over time, echoing the growing need for distinction in the late Ming period. The study then examines the aesthetic term guya, considering historical contexts and implicit meanings that it accrued over time. To elucidate the implicit meaning of the term in the QMC and ZWZ, a thematic analysis is conducted. In the analysis, a reading of the passages results in a first phase of coding, whereby semantic associations are tabulated based upon the surrounding context of each of the term’s instances. The codes are then refined into essence-encompassing themes. Overall, the analysis yields four themes: restraint, craftsmanship, usefulness, and value. Further analysis is then provided of the two most prevalent themes (i.e., restraint and craftsmanship), considering both the socioeconomic context of the late Ming era and the guya aesthetic theory of the well-known scholar and poet Wang Guowei 王国维 (1877–1927).This study examines the aesthetic terminology used in placing judgment in Chinese connoisseurship literature from the late Ming dynasty (1368–1644). This literary genre constitutes a collection of texts that served as guides for literati antiquarians, instructing them on how to consume material culture in a way fit for a true connoisseur. In providing instruction, the texts place judgment, both positive and negative, on certain objects and behaviours. While most of the judgment terms employed in the texts have clear, explicit meanings, other terms require further analysis to determine their implicit semantic values. In particular, this study focuses on the use of the erudite term guya 古雅 ([exhibiting] ancient elegance), which occurs 16 times across two late Ming texts: the Qing mi cang 清秘藏 (QMC; The Pure and Secret Collection) and the Zhangwu zhi 長物志 (ZWZ: Treatise on Superfluous Things). In introducing the Chinese connoisseurship genre and one of its predecessors from the Northern Song dynasty (960–1127), the article explores the changing socioeconomic backdrop of the Ming dynasty onto which the texts were created. With dissolving societal boundaries between the roles of the literati and merchant classes, the texts served an order-making role, in terms of restoring both a schematic of aesthetic preference and the traditional social hierarchy. Subsequently, the article examines the ways in which judgment is passed onto objects and behaviours in the genre’s texts. Particular attention is paid to how approaches to judgment placing changed over time, echoing the growing need for distinction in the late Ming period. The study then examines the aesthetic term guya, considering historical contexts and implicit meanings that it accrued over time. To elucidate the implicit meaning of the term in the QMC and ZWZ, a thematic analysis is conducted. In the analysis, a reading of the passages results in a first phase of coding, whereby semantic associations are tabulated based upon the surrounding context of each of the term’s instances. The codes are then refined into essence-encompassing themes. Overall, the analysis yields four themes: restraint, craftsmanship, usefulness, and value. Further analysis is then provided of the two most prevalent themes (i.e., restraint and craftsmanship), considering both the socioeconomic context of the late Ming era and the guya aesthetic theory of the well-known scholar and poet Wang Guowei 王国维 (1877–1927)
Inspiráció és szakmai tapasztalat pályakezdőként – összefoglaló a II. Fiatal Pedagógusok Konferenciájáról
Full text linkKreativitás és pedagógusképzés – A kreatív gondolkodás fejlesztésének szerepe a tanárképzésben
Full text linkThe essay argues that critical and creative thinking may best help us to respond to the issues of the 21st century, which is why nurturing these competencies is of paramount importance.
At the same time, there are external and internal barriers to the development of creativity, such as fear of failure or the need for excessive control. Fostering creativity requires teachers of a different mindset and a different kind of teacher education. Signature pedagogies and their adoption in teacher education can provide a good basis for this.Jelen tanulmány amellett érvel, hogy a 21. századi problémákra a kritikai és kreatív gondolkozás adhat leginkább választ, ezért ezen kompetenciák fejlesztése kiemelt jelentőségű.
Ugyanakkor a kreativitás fejlesztése előtt olyan belső és külső gátak is állnak, mint a kudarctól való félelem vagy a túlzott kontroll igénye. A kreativitás fejlesztéséhez másképp gondolkodó pedagógusokra és más képzésre van szükség. Ehhez jó alapot adhatnak a már létező szignatúra pedagógiák s ezek megjelenése a tanárképzésben
Rovatszerkesztői bevezető – Rendszer vagy hálózat? Új utak a pedagógusképzésben
Full text linkIn the current issue of our column, we explore the urgent questions surrounding the renewal of pedagogy and teacher education. Our authors, although from different perspectives, both argue that the current educational system requires a fundamental paradigm shift and that the time for superficial adjustments is over.
In our first article, Zoltán Gloviczki poses the question: is the renewal of teacher education necessary? His answer is an unequivocal yes. He points out that the 19th-century model of teacher training, built on science dissemination and elite education, has lost its relevance in the reality of mass education today. The author urges for a genuine reform based on learning outcomes, one that focuses not on disciplinary battles but on the knowledge and skills a 21st-century educator needs to practice their profession.
In our second piece, Éva Gyarmathy outlines a possible path toward renewal centered on a network-based approach. In her interpretation, the answer to the challenges of the digital age and the posthuman condition lies not in another dominant theory, but in a flexible, adaptive network of existing learning-theory paradigms. In this new learning ecosystem, the foundation of knowledge becomes not the accumulation of information, but the building of connections and participation in networks.
The two studies thus complement each other, painting a critical picture of the present and possible future of education. While Gloviczki diagnoses the deep-seated historical and structural crisis of the system, Gyarmathy offers a forward-looking, network-based vision that reflects on technological and social changes.
We welcome our readers\u27 opinions and reflections on the ideas presented.Rovatunk aktuális számában a pedagógia és a pedagógusképzés megújításának sürgető kérdéseit járjuk körül. Szerzőink, bár eltérő nézőpontból, de egyaránt amellett érvelnek, hogy a jelenlegi oktatási rendszer alapvető változtatásra, paradigmaváltásra szorul, a felszíni kiigazítások ideje lejárt.
Első cikkünkben Gloviczki Zoltán azt a kérdést teszi fel, hogy szükséges-e a pedagógusképzés megújítása. Válasza egyértelmű igen. Rámutat arra, hogy a 19. századi tudományközvetítő és elitképző modellre épülő tanárképzés mára elvesztette relevanciáját a tömegoktatás valóságában. A szerző valódi, a tanulási eredményekre (learning outcomes) épülő reformot sürget, amely a diszciplináris harcok helyett arra összpontosít, hogy milyen tudásra és képességekre van szüksége a 21. századi pedagógusnak hivatása gyakorlásához.
Második írásunkban Gyarmathy Éva vázol fel egy lehetséges utat a megújuláshoz, amelynek középpontjában a hálózati szemlélet áll. Értelmezésében a digitális kor és a poszthumán állapot kihívásaira nem egy újabb, domináns elmélet, hanem a meglévő tanuláselméleti paradigmák rugalmas, adaptív hálózata adhat választ. A tanulás ezen új ökoszisztémájában nem az ismeretek felhalmozása, hanem a kapcsolatok építése és a hálózatokban való részvétel válik a tudás alapjává.
A két tanulmány tehát egymást kiegészítve fest kritikus képet az oktatás jelenéről és lehetséges jövőjéről. Míg Gloviczki a rendszer mélyén húzódó történelmi és strukturális válságot diagnosztizálja, addig Gyarmathy egy előremutató, a technológiai és társadalmi változásokra reflektáló, hálózatalapú víziót kínál.
Várjuk Olvasóink véleményét és reflexióit a felvetett gondolatokra
A találkozás pedagógiája és a pedagógusképzés
Full text linkThe essay is divided into three parts.
The first part analyzes the comprehensive cultural crisis of our time and its political consequences. Since the beginning of the 20th century, everyday thinking has been increasingly dominated by what this essay calls an irrational mentality. Faith in the knowability of the world and the predictability of life is eroding, as is the need for a comprehensive knowledge of the world. This trend lays the foundation for clinging to the familiar, the "normal," for distrusting the unfamiliar, and ultimately, for being attracted to power and authoritarian systems.
The second part examines the role of education in reproducing this crisis and the role education can play in overcoming it. Instead of equipping the masses with knowledge of the world, public education, through its mechanical adherence to curricula, suggests that all this is unlearnable and uninteresting. Teachers and students live in different worlds, and the real task of education should be to create shared worlds through the fruitful encounter of these worlds. In simpler terms: to awaken students\u27 interest in the world. This largely depends on human relationships, which is why the essay uses the term: pedagogy of encounters.
The third part is about how teacher training can serve this pedagogy. In this regard, the essay discusses two issues. Firstly, it argues that teachers need deep subject-specific knowledge. Secondly, it argues that teachers\u27 pedagogical knowledge cannot be reduced to technical skills, because it also includes knowledge of the world, the acquisition of which presupposes freedom of learning.Az esszé három részre tagolódik.
Az első rész korunk átfogó kulturális válságát és annak politikai következményeit elemzi. Nagyjából a 20. század elejétől egyre fokozódó mértékben határozza meg a mindennapi gondolkodást az, amit ez az írás irracionális mentalitásnak nevez. Erodálódik a világ megismerhetőségébe és az élet tervezhetőségébe vetett hit és egyáltalán az átfogó világismeretre való igény. Ez a tendencia megalapozza a megszokotthoz, a „normálishoz” való ragaszkodást, az idegennel szembeni bizalmatlanságot és végső soron az erőhöz, a tekintélyelvű rendszerekhez való vonzódást.
A második rész azt vizsgálja, hogy az oktatásnak milyen szerepe van e válság újratermelésében, és milyen szerepe lehet a leküzdésében. A közoktatás ugyanis ahelyett, hogy világismerettel vértezné föl a tömegeket, a tantervekhez való mechanikus ragaszkodás révén éppenséggel azt sugallja, hogy mindez megtanulhatatlan és egyben érdektelen. Tanár és tanuló más világokban élnek, és az oktatás igazi feladata az lenne, hogy e világok termékeny találkozása révén közös világok jöjjenek létre, egyszerűbb szavakkal: a tanulók érdeklődésének fölkeltése a világ iránt. Ez nem kis mértékben az emberi kapcsolatokon múlik, ezért beszél az esszé a találkozás pedagógiájáról.
A harmadik rész arról szól, hogy hogyan szolgálhatja a tanárképzés ezt a pedagógiát. Ennek kapcsán két kérdést tárgyal az írás. Egyrészt állást foglal amellett, hogy a tanárnak mély szaktárgyi tudásra van szüksége, másrészt amellett érvel, hogy a tanár pedagógiai tudását nem lehet technikai készségekre szűkíteni, mert az is világismeret, amelynek megszerzése a tanulás szabadságát feltételezi
Tradition and Modernity: The Father Figure in Yamada Yōji’s Tokyo Family and Shifting Masculinities in Contemporary Japan
Full text linkThis study examines how Yamada Yōji constructs the father figure in the film Tokyo Family (Tōkyō Kazoku 東京家族, 2013), situating it within the context of contemporary Japan and government policies regarding fatherhood and men’s roles within the family. The analysis engages with two primary perspectives: (1) Yamada’s portrayal of the father character, encompassing both his self-perception and how he is viewed by his family; and (2) Yamada’s broader depiction of the character in relation to other male figures in the film, alongside its resonance with the socio-cultural realities of modern Japanese society.The analysis reveals that the father, Shūkichi, is portrayed as an ageing man reflecting on his relationship with his children and his place within a transforming family structure. Initially presented as a traditional patriarch, Shūkichi gradually contends with evolving notions of masculinity. Ultimately, he comes to recognise and accept the modern male identity embodied by his youngest son, Shōji, reaching a form of reconciliation that is mediated indirectly through his wife, Tomiko, and Shōji’s partner, Noriko.Film critics and scholars frequently note that Yamada Yōji’s Tokyo Family distinguishes itself from his mentor Ozu Yasujirō’s Tokyo Story (Tōkyō Monogatari 東京物語, 1953) primarily through its contemporary Japanese setting and the character of Noriko. Yamada also incorporates references to the aftermath of the 2011 earthquake and weaves in brief episodes inspired by traditional Japanese theatre. However, this study argues that the more significant differences lie in the development of Shūkichi’s character, especially in contrast to the film’s other male figures–Kōichi, Kurazō and Shōji. Viewed through the lens of Japan’s evolving male identities, these characters represent distinct stages along a timeline of shifting masculinities, progressing from the traditional archetype embodied by Shūkichi to the more contemporary model represented by Shōji. Although this framework does not encompass the full spectrum of male identity in contemporary Japanese society, it nevertheless reflects Yamada’s intention to align with that shift, deploying his characteristic narrative style–deeply resonant and emotionally attuned to his audience.This study examines how Yamada Yōji constructs the father figure in the film Tokyo Family (Tōkyō Kazoku 東京家族, 2013), situating it within the context of contemporary Japan and government policies regarding fatherhood and men’s roles within the family. The analysis engages with two primary perspectives: (1) Yamada’s portrayal of the father character, encompassing both his self-perception and how he is viewed by his family; and (2) Yamada’s broader depiction of the character in relation to other male figures in the film, alongside its resonance with the socio-cultural realities of modern Japanese society.The analysis reveals that the father, Shūkichi, is portrayed as an ageing man reflecting on his relationship with his children and his place within a transforming family structure. Initially presented as a traditional patriarch, Shūkichi gradually contends with evolving notions of masculinity. Ultimately, he comes to recognise and accept the modern male identity embodied by his youngest son, Shōji, reaching a form of reconciliation that is mediated indirectly through his wife, Tomiko, and Shōji’s partner, Noriko.Film critics and scholars frequently note that Yamada Yōji’s Tokyo Family distinguishes itself from his mentor Ozu Yasujirō’s Tokyo Story (Tōkyō Monogatari 東京物語, 1953) primarily through its contemporary Japanese setting and the character of Noriko. Yamada also incorporates references to the aftermath of the 2011 earthquake and weaves in brief episodes inspired by traditional Japanese theatre. However, this study argues that the more significant differences lie in the development of Shūkichi’s character, especially in contrast to the film’s other male figures–Kōichi, Kurazō and Shōji. Viewed through the lens of Japan’s evolving male identities, these characters represent distinct stages along a timeline of shifting masculinities, progressing from the traditional archetype embodied by Shūkichi to the more contemporary model represented by Shōji. Although this framework does not encompass the full spectrum of male identity in contemporary Japanese society, it nevertheless reflects Yamada’s intention to align with that shift, deploying his characteristic narrative style–deeply resonant and emotionally attuned to his audience