Hamar Imre: A kínai buddhizmus története.Konfuciusz Könyvtár 2. ELTE Konfuciusz Intézet;Budapest 2017.
{"title":"Hamar Imre: A kínai buddhizmus története. Konfuciusz Könyvtár 2","authors":"Melinda Pap","doi":"10.38144/tkt.2018.1.9","DOIUrl":"https://doi.org/10.38144/tkt.2018.1.9","url":null,"abstract":"Hamar Imre: A kínai buddhizmus története.Konfuciusz Könyvtár 2. ELTE Konfuciusz Intézet;Budapest 2017.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124932698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Kortárs Japanológia II.Japánnyelv-pedagógia Magyarországon.Szerkesztették: Wakai Seiji, Sági Attila.Károli Könyvek. Károli Gáspár Református EgyetemL’Harmattan Kiadó, Budapest, 2017.
Contemporary Japanese Studies II.Japanese language pedagogy in Hungary.Edited by Wakai Seiji, Attila Sági.Károli Books.Károli Gáspár Reformed UniversityL'Harmattan Kiadó, Budapest, 2017.
{"title":"Kortárs Japanológia II. (Károli Könyvek.) Japánnyelv-pedagógia Magyarországon","authors":"Attila Vargha","doi":"10.38144/tkt.2018.1.11","DOIUrl":"https://doi.org/10.38144/tkt.2018.1.11","url":null,"abstract":"Kortárs Japanológia II.Japánnyelv-pedagógia Magyarországon.Szerkesztették: Wakai Seiji, Sági Attila.Károli Könyvek. Károli Gáspár Református EgyetemL’Harmattan Kiadó, Budapest, 2017.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131166850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper I analyze primary sources to reveal the image of the fetus inthe second half of 18th century Japan. While discussing the topic in general,I focus mainly on the decrees issued by Matsudaira Sadanobu to reducemabiki (infanticide). Through official texts we can approach not only the imageof the fetus, but also people’s opinion about childbirth and pregnancy. I point out that the Kansei period was a turning point in both the regulations issuedby the authorities and the general image of the fetus shared by commonpeople. I argue that we find the reason of the new mabiki policy of the periodin the Tokugawa shogunate’s social system and economic problems. In thesecond half of the 18th century the regime had to re-evaluate birth controland social welfare. This new political atmosphere clearly influenced people’sideas. The growing interest in children at the timeemerges in Santō Kyōden’sliterary works. Though killing the fetus or the newborn child was a seriousand sad event for the parents, Kyōden could encode the topic in a form thatcould be laughed at. Therefore, reading offered a kind of solution to theconflict that appeared between in the real dangers of giving birth, and theconcrete difficulties of everyday life.
{"title":"A terhesség és magzatkép az Edo-kor második felében","authors":"Andrea Csendom","doi":"10.38144/tkt.2018.1.5","DOIUrl":"https://doi.org/10.38144/tkt.2018.1.5","url":null,"abstract":"In this paper I analyze primary sources to reveal the image of the fetus inthe second half of 18th century Japan. While discussing the topic in general,I focus mainly on the decrees issued by Matsudaira Sadanobu to reducemabiki (infanticide). Through official texts we can approach not only the imageof the fetus, but also people’s opinion about childbirth and pregnancy. I point out that the Kansei period was a turning point in both the regulations issuedby the authorities and the general image of the fetus shared by commonpeople. I argue that we find the reason of the new mabiki policy of the periodin the Tokugawa shogunate’s social system and economic problems. In thesecond half of the 18th century the regime had to re-evaluate birth controland social welfare. This new political atmosphere clearly influenced people’sideas. The growing interest in children at the timeemerges in Santō Kyōden’sliterary works. Though killing the fetus or the newborn child was a seriousand sad event for the parents, Kyōden could encode the topic in a form thatcould be laughed at. Therefore, reading offered a kind of solution to theconflict that appeared between in the real dangers of giving birth, and theconcrete difficulties of everyday life.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126060120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 19th-century Norwegian playwright, Henrik Ibsen had an unparalleled,posthumous impact on the development of modern Chinese drama. How isit possible that he could influence the literature of a country so remote inspace and so different in its literary traditions? History is a key factor in thisstory. Early 20th century China was at the threshold of taking radical measures in reforming its society, and she was badly in need of a supporting ideology. Ibsen was a thinker and dramatist who, by means of presenting acutesocial problems in his plays, deeply influenced the society of his age. Hedid so in a realistic way and with the help of a clear language, both of whichfactors extremely appealed to modern Chinese intellectuals. It can be stated that it was to a great extent through Ibsen’s plays, mostimportantly through Nora, that modern Chinese intellectuals discovered thelong-range possibilities lying in the adoption of Western dramatic form,namely, transforming minds. Nora stirred the pond water of Chinese society,and came to symbolize the rebellion of the ‘Free Individual’: something that had no precedent whatsoever in China but what has long been in theair. Modern Chinese playwrights began to imitate Ibsen with great fervour,resulting in the flourishing of the social problem play, featuring brave andmodern ‘Chinese Noras’. Although advanced thinkers soon had to realize thatthe ideas of Ibsen cannot simply be adopted but must first be modified to beable to credibly represent contemporary Chinese social, cultural and moralreality, the ‘Nora-phenomenon’ and Ibsenism played a vital role in setting offthe literary and cultural reform in early 20th-century China.
{"title":"A „Nóra-jelenség” és az ibsenizmus szerepe a 20. századi kínai dráma fejlődésében","authors":"B. Nyirádi","doi":"10.38144/tkt.2017.2.4","DOIUrl":"https://doi.org/10.38144/tkt.2017.2.4","url":null,"abstract":"The 19th-century Norwegian playwright, Henrik Ibsen had an unparalleled,posthumous impact on the development of modern Chinese drama. How isit possible that he could influence the literature of a country so remote inspace and so different in its literary traditions? History is a key factor in thisstory. Early 20th century China was at the threshold of taking radical measures in reforming its society, and she was badly in need of a supporting ideology. Ibsen was a thinker and dramatist who, by means of presenting acutesocial problems in his plays, deeply influenced the society of his age. Hedid so in a realistic way and with the help of a clear language, both of whichfactors extremely appealed to modern Chinese intellectuals. It can be stated that it was to a great extent through Ibsen’s plays, mostimportantly through Nora, that modern Chinese intellectuals discovered thelong-range possibilities lying in the adoption of Western dramatic form,namely, transforming minds. Nora stirred the pond water of Chinese society,and came to symbolize the rebellion of the ‘Free Individual’: something that had no precedent whatsoever in China but what has long been in theair. Modern Chinese playwrights began to imitate Ibsen with great fervour,resulting in the flourishing of the social problem play, featuring brave andmodern ‘Chinese Noras’. Although advanced thinkers soon had to realize thatthe ideas of Ibsen cannot simply be adopted but must first be modified to beable to credibly represent contemporary Chinese social, cultural and moralreality, the ‘Nora-phenomenon’ and Ibsenism played a vital role in setting offthe literary and cultural reform in early 20th-century China.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132073614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The objective of my doctoral research is to interpret the meaning of thecostumes of female figural depictions on the walls of Banteay Srei and ofother contemporary buildings erected in the 10th century. This study couldhopefully also shed new light on the hitherto unsatisfactorily solved questionof the dating of the construction periods of the Banteay Srei sanctuary. Thearchitectural and art historical research of Banteay Srei temple has been afundamental topic in Angkorean research for decades. In 2013 and 2014, I spent altogether six months in Angkor to collect allthe data of the carved and sculpted costume depictions belonging to the socalled Banteay Srei style. I established a complete catalogue of more than550 figural depictions found on site on the walls of Banteay Srei templecomplex (including all human and mythological figures which are depictedwith clothes or jewellery), and also other contemporary edifices found currently in Cambodia and Thailand, as well as in different museum collections all around the world. With the help of this database, I interpreted thedepictions in their cultural, religious, architectural and narrative context. In order to achieve my field research it was crucial to obtain an officialresearch permit issued by the APSARA Authority, the state institution thatis responsible for protecting the Angkor monuments. As a result of my personal presentation, I got the generous support of the Authority and I gainedaccess to several sculptural collections, as well as researchers’ and museumcollection databases. The personal collaboration with young researchers working at the APSARA Authority has made it possible for me to visit and document various monuments in remote areas. To access these ruins, we manytimes relied on the local people, mainly kids, even though we were wellprepared and well equipped with modern navigational knowledge and tools.In addition to the scientific documentation, the greatest achievement of theseresearch trips was that I have learned to trust the guidance of the ’local world’.
{"title":"Kőbe faragott viseletek vizsgálata Banteay Sreiben, Kambodzsában","authors":"Borbála Száva","doi":"10.38144/tkt.2017.1.9","DOIUrl":"https://doi.org/10.38144/tkt.2017.1.9","url":null,"abstract":"The objective of my doctoral research is to interpret the meaning of thecostumes of female figural depictions on the walls of Banteay Srei and ofother contemporary buildings erected in the 10th century. This study couldhopefully also shed new light on the hitherto unsatisfactorily solved questionof the dating of the construction periods of the Banteay Srei sanctuary. Thearchitectural and art historical research of Banteay Srei temple has been afundamental topic in Angkorean research for decades. In 2013 and 2014, I spent altogether six months in Angkor to collect allthe data of the carved and sculpted costume depictions belonging to the socalled Banteay Srei style. I established a complete catalogue of more than550 figural depictions found on site on the walls of Banteay Srei templecomplex (including all human and mythological figures which are depictedwith clothes or jewellery), and also other contemporary edifices found currently in Cambodia and Thailand, as well as in different museum collections all around the world. With the help of this database, I interpreted thedepictions in their cultural, religious, architectural and narrative context. In order to achieve my field research it was crucial to obtain an officialresearch permit issued by the APSARA Authority, the state institution thatis responsible for protecting the Angkor monuments. As a result of my personal presentation, I got the generous support of the Authority and I gainedaccess to several sculptural collections, as well as researchers’ and museumcollection databases. The personal collaboration with young researchers working at the APSARA Authority has made it possible for me to visit and document various monuments in remote areas. To access these ruins, we manytimes relied on the local people, mainly kids, even though we were wellprepared and well equipped with modern navigational knowledge and tools.In addition to the scientific documentation, the greatest achievement of theseresearch trips was that I have learned to trust the guidance of the ’local world’.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130343747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Wubei zhi 武備志 is a comprehensive military encyclopaedia, compiledby Mao Yuanyi 茅元儀 in the early 17th century. It contains several martialart manuals, recording fighting systems of different weapons used by theMing military. Among these fightbooks, there is a fencing manual, which isthe first known recorded description of the fencing system of the Chinesedouble edged straight sword (jian 劍). This paper introduces the fencing manual by investigating its historical and military context, points out its relevance in the study of Chinese military history, and provides the Hungarian translation of the text with commentaries. Based on the example of thejian manual, the article also proposes the application of the interdisciplinaryresearch methods of historical European martial art studies on Ming Chinesemartial art manuals to obtain previously unknown knowledge about Chinesemilitary history.
{"title":"Egy Ming-kori kardvívó kézikönyv bemutatása és fordítása","authors":"Áron Somogyi","doi":"10.38144/tkt.2017.2.3","DOIUrl":"https://doi.org/10.38144/tkt.2017.2.3","url":null,"abstract":"The Wubei zhi 武備志 is a comprehensive military encyclopaedia, compiledby Mao Yuanyi 茅元儀 in the early 17th century. It contains several martialart manuals, recording fighting systems of different weapons used by theMing military. Among these fightbooks, there is a fencing manual, which isthe first known recorded description of the fencing system of the Chinesedouble edged straight sword (jian 劍). This paper introduces the fencing manual by investigating its historical and military context, points out its relevance in the study of Chinese military history, and provides the Hungarian translation of the text with commentaries. Based on the example of thejian manual, the article also proposes the application of the interdisciplinaryresearch methods of historical European martial art studies on Ming Chinesemartial art manuals to obtain previously unknown knowledge about Chinesemilitary history.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130210847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Taoist teaching breaks with the Confucian standards, norms and values.The discernment and striving of the wise (shengren 聖人) were focused oncomplying with dao 道. The internal strain of Laozi is due particularly to the fact that that insome way it says something about 'the unspeakable' and while ‘speaking theineffability’ it declares the dao to be incomprehensible and unfathomable.The human construction of opinion creates “names” (ming 名), but any denomination will spoil the harmony between dao and de 德. Knowledge whichcannot be expressed in words is the ‘knowledge’ of the “sage man” (shengren聖人), which introduces into the “influence”, the “operation” (de 德) of thehidden, non-experienceable dao. By “non-action” (wuwei 無為) the “sageman” will achieve non-intervention; that is to say, identifying with the daohelps it to be presented through him. The Zhuangzi, questioning the method of cognition based on distinctions,will ask whether it is possible to talk about “reality” (shi 實), or our solutionsare illusory, since a name is merely “pointing a finger” (zhi 指), “the nameis the guest of reality”. For the shengren there is no “this” (shi 是) or “that”(bi 彼), or privilege of any object or value: he sees things in unity, in theunity of dao. Teaching about dao cannot be conveyed by words: understanding of things is only possible by direct intuitive insight. The Laozi presents the Confucian values – such as “ceremony” (li 禮),“humanity” (ren 仁), “fairness” (yi 義), “respect for parents” (xiao 孝) - as aconsequence of the loss of the dao. According to the Zhuangzi, access tothe dao requires departure from “All-Under-Heaven” (tianxia 天下), fromthe hierarchical world of people, from civilization.
{"title":"Taoista nézőpontok a nyelvértelmezésben és értékelméletben II.","authors":"András Várnai","doi":"10.38144/TKT.2018.1.3","DOIUrl":"https://doi.org/10.38144/TKT.2018.1.3","url":null,"abstract":"The Taoist teaching breaks with the Confucian standards, norms and values.The discernment and striving of the wise (shengren 聖人) were focused oncomplying with dao 道. The internal strain of Laozi is due particularly to the fact that that insome way it says something about 'the unspeakable' and while ‘speaking theineffability’ it declares the dao to be incomprehensible and unfathomable.The human construction of opinion creates “names” (ming 名), but any denomination will spoil the harmony between dao and de 德. Knowledge whichcannot be expressed in words is the ‘knowledge’ of the “sage man” (shengren聖人), which introduces into the “influence”, the “operation” (de 德) of thehidden, non-experienceable dao. By “non-action” (wuwei 無為) the “sageman” will achieve non-intervention; that is to say, identifying with the daohelps it to be presented through him. The Zhuangzi, questioning the method of cognition based on distinctions,will ask whether it is possible to talk about “reality” (shi 實), or our solutionsare illusory, since a name is merely “pointing a finger” (zhi 指), “the nameis the guest of reality”. For the shengren there is no “this” (shi 是) or “that”(bi 彼), or privilege of any object or value: he sees things in unity, in theunity of dao. Teaching about dao cannot be conveyed by words: understanding of things is only possible by direct intuitive insight. The Laozi presents the Confucian values – such as “ceremony” (li 禮),“humanity” (ren 仁), “fairness” (yi 義), “respect for parents” (xiao 孝) - as aconsequence of the loss of the dao. According to the Zhuangzi, access tothe dao requires departure from “All-Under-Heaven” (tianxia 天下), fromthe hierarchical world of people, from civilization. ","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122806699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
After the Meiji restoration 明治維新 (1868), Western culture flooded intoJapan. This effect not only changed the political, economical and social lifebut also caused an enormous shock in people’s everyday life. The absolutelydominant and traditional Japanese theatre, the kabuki was no exception tothis tendency either. At the beginning kabuki was planned to be reformed inorder to cope with the new challenges, but eventually it could not be renewed.In addition, a new theatrical genre was born in the 1880’s, which defined itself in opposition to kabuki. The new school, called shinpa, applied severalmodern techniques, therefore it became extremely popular with the audience.This study focuses on the vivid competition, or even ‘battle’, of the kabukiand shinpa at the beginning of the 20th century.
{"title":"A hagyományos kabuki és a shinpa háborúja a 19–20. század fordulóján","authors":"Petra Doma","doi":"10.38144/tkt.2017.2.6","DOIUrl":"https://doi.org/10.38144/tkt.2017.2.6","url":null,"abstract":"After the Meiji restoration 明治維新 (1868), Western culture flooded intoJapan. This effect not only changed the political, economical and social lifebut also caused an enormous shock in people’s everyday life. The absolutelydominant and traditional Japanese theatre, the kabuki was no exception tothis tendency either. At the beginning kabuki was planned to be reformed inorder to cope with the new challenges, but eventually it could not be renewed.In addition, a new theatrical genre was born in the 1880’s, which defined itself in opposition to kabuki. The new school, called shinpa, applied severalmodern techniques, therefore it became extremely popular with the audience.This study focuses on the vivid competition, or even ‘battle’, of the kabukiand shinpa at the beginning of the 20th century.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126282167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A Permanent International Altaistic Conference (PIAC) 60. jubileumi ülésszakát 2017-ben a Károli Gáspár Református Egyetem BölcsészettudományiKar Keleti Nyelvek és Kultúrák Intézetének (KRE BTK KNYKI) szervezésében tartották meg Székesfehérváron augusztus 27. és szeptember 1. között.
{"title":"Permanent International Altaistic Conference 60","authors":"Á. B. Apatóczky","doi":"10.38144/tkt.2017.2.12","DOIUrl":"https://doi.org/10.38144/tkt.2017.2.12","url":null,"abstract":"A Permanent International Altaistic Conference (PIAC) 60. jubileumi ülésszakát 2017-ben a Károli Gáspár Református Egyetem BölcsészettudományiKar Keleti Nyelvek és Kultúrák Intézetének (KRE BTK KNYKI) szervezésében tartották meg Székesfehérváron augusztus 27. és szeptember 1. között.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"254 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133242083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A japán konfucianizmusKiri Paramore:Japanese Confucianism. A Cultural History.Cambridge: University Press, 2016.
A japán konfucianizmusKiri Paramore:日本儒学。文化史。剑桥:大学出版社，2016。
{"title":"A japán konfucianizmus: Kiri Paramore: Japanese Confucianism. A Cultural History.","authors":"Mária Ildikó Farkas","doi":"10.38144/TKT.2017.2.11","DOIUrl":"https://doi.org/10.38144/TKT.2017.2.11","url":null,"abstract":"A japán konfucianizmusKiri Paramore:Japanese Confucianism. A Cultural History.Cambridge: University Press, 2016.","PeriodicalId":399310,"journal":{"name":"Távol-keleti Tanulmányok","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122606155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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