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ON THE FIRST TWO VOLUMES OF A COMPREHENSIVE DICTIONARY OF HUNGARIAN

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Elekfi L.

Magyar Nyelv (Hungarian Language)

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2008

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vol. 104

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issue 1

11-20

EN

It was in 1898 that the Hungarian Academy of Sciences started preparations for the publication of a comprehensive Hungarian dictionary to follow the six-volume dictionary edited by Gergely Czuczor and János Fogarasi (1862-1874). Those preparations involved the selection of words from 18th and 19th century texts (both fiction and non-fiction) and their recording on slips, possibly with their context included. This archival material, collected for 60 years with interruptions, was complemented after 1985 with an electronic data base ten times its size whose material was partly drawn, among various other sources, from the Hungarian Historical Corpus. The material was then sorted out and philologically checked, a technique for arranging this morphologically intricate word stock was invented, and in 2006 the volume containing a-initial entries (Vol. II) was finally published. At the same time, a supplementary volume was also published as Vol. I that contained a summary of the editorial principles of the dictionary, its history, the structure of the entries, a detailed list of sources, and inflectional paradigms of the headwords in the form of detailed tables. - The present paper discusses the debates that preceded the finalization of the editorial rulebook, as well as grammatical and orthographic issues, problems of phraseology, and describes the clear and vivid typography of the dictionary.

2

POETRY, ORTHOGRAPHY, STENOGRAPHY

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Elekfi L.

Magyar Nyelvor (Hungarian Language Guardian)

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2007

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vol. 131

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issue 2

143-151

EN

Since the year 2000, the section on orthography of 'SzoVilag' [The world of words], a journal for shorthand writers, typists and typographers, has been headed by Maria Zambori, a volume of whose exquisite poems has recently been published. Both her pedagogical essays on the difficulties of orthography and her scholarly papers discussing the abbreviatory conventions of Hungarian stenography are characterised by a delicate humour and playfulness that also feature in her poems. Even though stenography is being supplanted by sound recording devices in many parts of the world and in most areas of life, it is nevertheless indispensable in Parliament, for instance. The Minutes of Parliament had not been marred by so many errors in fifty years as in the six months during which, for the sake of economy, professional stenographers were replaced by employees of the National Bureau of Translators to take shorthand of the speeches delivered in parliament. The activity of a stenographer putting down public speeches is not at all similar to that of a translator; if anything, it is closer to the work of a simultaneous interpreter.

3

Style and versification features in an 'ugly' masterpiece

100%

Elekfi L.

Magyar Nyelvor (Hungarian Language Guardian)

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2008

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vol. 132

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issue 2

171-181

EN

A not-yet-famous Hungarian poet, Lajos Lorinczki, has published a huge composition of 'sonetti a corona' entitled 'My Concept of the World', 14 sonnets in each cycle, such that the fourteenth line of each of the 211 sonnets is repeated as the first line of the next. Each cycle of 14 sonnets covers a different topic. The prefixed list of topics is also a kind of sonnet; the titles are as follows: Liberty, Homeland, Fate, Faith, Sense, Work, Art, Soul, Love, Family, Community, Life, War, and Future. The terse sentences convey grave thoughts and worries about whether humans are free or predestined; or whether God exists. Similarly to Marxist dialectics, the poet forces the issue of the immanently contradictory nature of the world; he respects art but takes it to be mere superstructure. In his style, we find a mixture of levels ranging from obscenity to ode-like solemnity. Ugly realistic portions refer to events of the Second World War and of the year 1956.

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3 Elekfi L.

ON THE FIRST TWO VOLUMES OF A COMPREHENSIVE DICTIONARY OF HUNGARIAN

POETRY, ORTHOGRAPHY, STENOGRAPHY

Style and versification features in an 'ugly' masterpiece