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In her article "Forgács's Film and Installation Dunai exodus (Danube Exodus)" Zsófia Bán analyzes film maker and video artist Péter Forgács's film The Danube Exodus (1998) and compares it with the installation Dunai exodus. A folyó beszédes áramlatai (Rippling: Currents of the River) (2002). Combined with additional materials, the two works are based on footage by ship captain Nándor Andrásovits documenting two successive journeys of forced displacement aboard his vessel, the Queen Elizabeth. Bán's analysis includes the 1939 event of the Jewish exodus from Slovakia to the Black Sea with the eventual goal of reaching Palestine followed by repatriating Bessarabian Germans, fleeing to the Third Reich, who were relocated in occupied Poland on land of evicted Polish families. Bán investigates the medium specific differences of the film versus the installation and the different ways in which the two works offer access to the experience of history turning the journeys of dislocation into an exploration and discovery of the two filmmakers, as well as the protagonists' and the viewers' individual and collective memories.

Kérdőíves és fókuszcsoportos kutatásunkban azt vizsgáltuk, hogy a magyar újságírók és szerkesztőségek milyen ismeretekkel rendelkeznek a digitális biztonságról, valamint milyen tapasztalataik vannak az online zaklatással kapcsolatban. Kutatásunkból az derül ki, hogy a magyar újságírók kevésbé tájékozottak a digitális biztonság kérdésében, a legjellemzőbb az online zaklatás valamilyen formája, a válaszadók 43 százaléka nem használ semmiféle digitális védelmi eszközt, és az újságírók nem is magukat, hanem inkább a forrásaikat, a nyomozásaikat és a családjukat féltik, miközben többségük munkája természetes velejárójának véli az online zaklatásokat és támadásokat.

The purpose of this paper is to point out the differences between American and Chinese political discourse. This is examined by analyzing the speeches made at the most significant events in American and Chinese political life: Donald Trump’s State of the Union Address (2017–2020) and Xi Jinping’s report to the 19th National Congress of the Communist Party of China. How do the leaders address the audience? What forms of verbal and nonverbal communication do they use? How do they communicate their message in an effective way? Before the corpus analysis, we briefly review the significance of the State of the Union Address and the General Secretary’s report and examine the origin of the texts. Next, in the speeches of the leaders, given the content of the texts the following rhetorical tools are examined: 1) presenting the past; 2) talking about the future; 3) calling for unity; 4) humour and irony; 5) addressing the audience; 6) metacommunication. The study shows that although the speeches contain rhetorical tools that can be classified in the same categories, there are differences in their content and direction.

In 1921, Rene Maran became the first black author to receive the Prix Goncourt for his novel, Batouala. Just one year later, Dezső Kosztolanyi translated the work to Hungarian. At the beginning of the 20 th century, most Hungarians were unfamiliar with the culture of the Black Continent, and they could not even distinguish between Africans and African American people. Therefore, Kosztolanyi not only had to deal with linguistic problems, but he also needed to introduce a completely new culture, otherwise unknown to the wider public. This essay presents the social and political differences between the Hungarian and the French audience, and by comparing the original work and the translation, it examines the linguistic techniques and the translational strategies Kosztolanyi used to adapt the work to the expectations of the Hungarian readers.

AbstractThis paper describes the distinctive features of cultural back-translation. This term is employed here to refer to the translation of source texts into a target language from which most or all of the culture-specific elements of the source text were drawn. It makes an attempt to provide a systematic analysis of the distinctive features of this type of translation with special reference to the concepts of domestication and foreignization. The findings show that cultural back-translation is necessarily domesticating, or more precisely, re-domesticating. Re-domestication has several types: re-domestication proper, repatriation and additional domestication. Domesticating and foreignizing strategies work out differently in cultural back-translation: domestication does not mean adjustment to a different culture but restoring the original cultural context. In re-domestication the distribution of translation strategies used is different from those used in domestication and the purpose and effects of various strategies are different. The whole process from text composition to back-translation may be described as a process of double domestication. It is claimed that while domestication in general reduces readers’ processing effort by sacrificing some contextual effects, redomestication reduces processing effort and at the same time may increase contextual effects. It is concluded that the study of cultural back-translation is worthy of more serious attention and further lines of inquiry are suggested.