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- Csató, Éva Á., Professor emerita, 1948-
(författare)
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A karaim nyelv és nyelvjárásai
- 2021
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Ingår i: Nyelvelmélet és dialektológia 5. - Budapest : Pázmány Péter Katolikus Egyetem. - 9789633084168 ; , s. 131-140
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Bokkapitel (refereegranskat)abstract
- The aim of the paper is to demonstrate that the notion “Karaim language” and the status of its dialects exhibit a non-canonical language-dialect scenario. We speak today of a Karaim language which has three dialects: the Northwest dialect of the Lithuanian community (moribund), the Southwest dialect of the Galician community (practically extinct), and the Crimean dialect of the Crimean and Russian communities. The notion “Karaim language” has been established as the language of the Turkic-speaking followers of the Karaite religious confession and has become a significant element of Karaim identity across the communities.The relation between the dialects is characterized by some non-typical dialectal features. The dialects all go back to Kipchak Turkic varieties. Thus they are genealogically relatively closely related, which is a linguistic criteria for making them potential varieties of a language. The ancestor Kipchak varieties from which the dialects developed must have been different and the descendant dialects have maintained the original differences. The original language of the Crimean community is not known. The Turkic variety used by the Crimean Karaims converged with or was replaced by Crimean Tatar. This belongs to another subbranch of the Kipchak branch and is much influenced by Crimean Ottoman, an Oghuz Turkic language.No standard Karaim variety has been established; the communities have been motivated to maintain the dialectal distinctions. Thus no levelling of the dialects has taken place. The dialects are distinct; there is no fuzzy boundary between them. They have not been spoken in a contiguous dialect area, and speakers of different dialects do not easily understand each other’s dialects. Members of different communities communicate with each other in a dominating language of the area, Russian or Polish. The Karaim earlier had a common Hebrew script tradition used in Bible translation, but this was replaced in the twentieth century when the communities created their script systems. Their common religious traditions have promoted the diffusion of certain linguistic mostly lexical features, but this was mostly limited to the religious register. A linguistic description of the Karaim language comprises parallel descriptions of the Lithuanian and the Galician dialects. No unified account of their phonological and morphological systems is feasible. Their syntax share basic features due to their accommodation to the dominating typological characteristics of the area. In this respect these Karaim dialects are similar to other European Turkic languages, e.g. Gagauz.The Karaim case proves that the question what linguistic varieties are dialects of a language cannot be answered by using purely linguistic criteria. What is regarded a language most often depends on political, historical, sociological, and cultural factors. Linguistic features do, of course, play a substantial role in making varieties potential candidates for being dialects of a language. But other factors, as in case of Karaim the shared religious identity, can be decisive.
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- Tillinger, Gábor, 1975-
(författare)
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Számi irodalom tegnap és ma : Elmélkedések Rauni Magga Lukkari "Szerencsefia" című színműve kapcsán
- 2020
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Ingår i: Alkotni csodára vágyva. - Budapest : L'Harmattan Kiadó. - 9789634146865 ; , s. 193-211
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Sámi Literature Yesterday and Today – Reflections on Rauni Magga Lukkari’s Play “A Lucky Man” In 2017, an anthology of contemporary Sámi plays was published in Hungarian with the title “Szerencsefia” (A Lucky Man) by Napkút Publishing House in Hungary. The play, which also serves as the title of the volume, was written by Rauni Magga Lukkari, and I translated it into Hungarian. In connection with Sámi plays, the question inevitably arises as to what kind of knowledge the audience or the readers need in order to be able to understand the play at an “appropriate” level. It would be quite difficult to discourse about Sámi literature while overlooking the diverse and complex contexts of a given work – and I deliberately use the word “context” in the plural form: Sámi literature, world literature, Sámi history, Sámi society, Sámi culture, and so on, the list is long. Knowledge or non-knowledge of these can greatly influence the perception and interpretation of a literary work. For this reason, my article can be divided into three parts. The first part surveys the main features of the major genres of Sámi literature. In the second part I enumerate the most significant authors of Sámi literary history – briefly discussing their lives and work. In the third part I share my thoughts on the characters and the plot of the play “A Lucky Man” (not in the form of classical drama analysis), drawing parallels here and there with the facts described in the first and second parts of the article, placing certain aspects of the play into a Sámi literary and social context.
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- Torbjörn, Söder, 1965-
(författare)
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Az első ismert lapp szöveg
- 2001
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Ingår i: Ünnepi könyv Keresztes László tiszteletére. - Debrecen : KLTE. ; , s. 561-567
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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