The goal of this thesis is to develop a parametric model of acquisition which incorporates the idea that phonological systems are underlyingly unspecified for certain feature values. I examine two variants of this model: one based on the theory of Radical Underspecification (Archangeli and Pulleyblank 1986), and one based on the theory of Contrastive Underspecification (Steriade 1987). I assume the principles and parameters framework, where the initial phonological system of the child is assumed to be characterized by the unmarked parameter settings of UG. The two types of parameters that are examined in detail are featural parameters and rule parameters. The unmarked settings of featural parameters are supplied by universal redundancy rules. In most cases, the unmarked settings of rule parameters are assumed to be OFF, or non-application. I provide analyses of the vocalic systems of Hungarian and Spanish, based on the parametric theories of Radical and Contrastive Underspecification, which demonstrate that certain phonological parameters in these languages must be reset to the marked option. The Hungarian analyses focus particularly on spreading processes, while those in Spanish focus on alternations that take place within verb conjugation classes. Given the differences between the initial child state and the adult phonological systems of Hungarian and Spanish, the underspecification acquisition models make certain predictions regarding acquisition in these languages. These predictions are then tested using data from children acquiring both Hungarian and Spanish. The early phonological systems of children acquiring Hungarian and Spanish are found to initially be smaller than predicted by either acquisition model. To account for these results, and still maintain a parametric model, I propose a theory of feature availability, which specifies the order in which features may become part of a child's phonological system. In conjuction with this theory of feature availability, the RU model is able to explain the development of children's early phonological inventories, as well as certain substitution patterns. The contrastive specifications required by the theory of CU cannot account for these aspects of the data. / Arts, Faculty of / Linguistics, Department of / Graduate

Zoltán Gárdonyi is described as having exemplified “the continuation of the Liszt tradition” in his music; however, since for so much of his compositional life he was forbidden to publish by the Communist government in Hungary due to his connection to the Christian church, he has been largely forgotten. Shortly after the composer’s death in 1986, Gárdonyi’s son, Zsolt (b.1946) began publishing his father’s music in addition to his own. However, the elder Gárdonyi’s works are still not widely known outside Hungary and Germany. Gárdonyi’s ability to support and reflect text musically makes his songs excellent teaching tools and recital repertoire. A characteristic example of this may be found in his Fünf Lieder nach Gedichten von Rainer Maria Rilke. According to his son, Zoltán wrote these songs “in the German romantic tradition (e.g. Brahms) like a mirror for the romantic influenced lyrics.” Examination of the Rilke-Lieder, and of the poems which make up the cycle, demonstrates the composer’s ability to “mirror” text in both general tone and specific idea. Discussion of imagery, textures and sonorities, and elements of harmony, melody and rhythm as they relate to interpretation of the poetry, reveal the depth to which the poetry is embedded in the music of the songs. At times the piano becomes another “narrator” or even a character in the poems, expressing not only text but subtext as well. This document explores the illustration of the extensive imagery of Rilke’s texts in the music of Fünf Lieder nach Gedichten von Rainer Maria Rilke, with the purpose of both introducing Gárdonyi’s song literature to American singers and voice teachers, and making the case for its inclusion in the canon of repertoire for the studio and the stage.

The purpose of this thesis is to review and revise all historical evidence hitherto available concerning the international aspects of the 1956 Hungarian Uprising. Its scope includes several layers, including how the peoples in the West, as well as their leaders, behaved during the crisis. It will look at the international arena in 1956 from the Hungarian perspective, as well as attempt to come to a historical explanation for Western, and specifically American actions during the uprising, and the precepts which led to them. In doing so, it shall in particular take a careful revision of the long-standing charges levelled against the West, concerning its alleged passivity, hypocrisy, or willingness to escalate the crisis via the controversial broadcasts of Radio Free Europe.

Indiana University-Purdue University Indianapolis (IUPUI) / This research improves the realism of an electronic warfare (EW) environment involving dynamic motion of assets and transmitters. Particle Swarm Optimization (PSO) continues to be used to place assets in such a manner where they can communicate with the largest number of highest priority transmitters. This new research accomplishes improvement in three areas. First, the previously stationary assets and transmitters are given a velocity component, allowing them to change positions over time. Because the assets now have a starting position and velocity, they require time to reach the PSO solution. In order to optimally assign each asset to move in the direction of a PSO solution location, a graph-based method is implemented. This encompasses the second area of research. The graph algorithm runs in O(n^3) time and consumes less than 0.2% of the total measured computation time to find a solution. Transmitter location updates prompt a recalculation of the PSO, causing the assets to change their assignments and trajectories every second. The computation required to ensure accuracy with this behavior is less than 0.5% of the total computation time. The final area of research is the completion of algorithmic performance analysis. A scenario with 3 assets and 30 transmitters only requires an average of 147ms to update all relevant information in a single time interval of one second. Analysis conducted on the data collected in this process indicates that more than 95% of the time providing automatic updates is spent with PSO calculations. Recommendations on minimizing the impact of the PSO are also provided in this research.

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The aim of this thesis is to map and analyse literature written by authors with a Hungarian-language background who moved to Sweden between 1945 and 2015, and who have published literary works in book format. From the perspective of the sociology of literature, this thesis focuses on publishing channels and possibilities, the authors’ and their works places in the literary value system and feed-back in the form of reviews, but also choice of language, theme, and genre. The approach of the research for this thesis is new in Hungarian and Swedish literary studies, as the literary works are analysed irrespective of the language in which they are written. The research corpus consists of both Hungarian and Swedish literary works and one book in English. The second chapter presents the research that Hungarian researchers have conducted on Hungarian migration literature and offers an overview of the questions and results arising from this research. The authors with a Hungarian-language background in Sweden were divided into four groups, based on the time of their migration to Sweden. Four chapters, which comprise the analytic part of the thesis, present and analyse the author groups and their literary activities regarding language, purpose of any code-switching, chosen theme, and genre. The first group consists of authors who migrated to Sweden during the decade after the Second World War (1945–1955). The second group came between 1956 and 1958 in the aftermath of the Hungarian Revolution of 1956. The third group consists of Hungarians who moved to Sweden during the communist era, between 1959 and 1989. Finally, the fourth group came after the fall of communism (1990–2015). As many as half of the authors chose either Hungarian or Swedish as their language and there are surprisingly few authors working in both languages. The publishing channels depend on the literary works language and theme, and only half of the books have been published at established publishers. The literary works of these authors are categorized as Swedish-Hungarian migration literature. Literary history works until now have neglected these type of literatures, but it is imperative that the study of literature finds a way to acknowledge, include, position, and group them.

La réception et la représentation de la musique hongroise en France au XIXe siècle est un sujet méconnu et non traité dans la littérature musicologique. La thèse ici présentée a l’ambition de combler ce manque. Elle s’organise autour de deux axes principaux. Le premier est l’étude critique des textes qui présentent la musique hongroise et l’art des orchestres tziganes ayant propagé ce corpus sous divers aspects. Le deuxième est l’analyse musicale et stylistique proprement dite, où l’on se questionne sur le fonctionnement de la représentation d’une « magyarité », voire d’une « tziganité », en musique, majoritairement dans les oeuvres dramatiques. La réception littéraire reflète de quelle manière la perception du phénomène exotique hongrois s’inscrit dans un contexte romantique français plus large. Les réflexions sur « l’âme du peuple », sur l’orientalisme, sur différentes constructions culturelles exotiques, sur le caractère national que l’on croyait « populaire », mais aussi sur le culte romantique du génie ou sur l’esthétique des sentiments, influencent le discours sur l’identité musicale hongroise. Une identité que l’on cerne à travers les notions telles que l’héroïsme, le caractère martial, l’expression poétique, la tristesse profonde, la gaîté et la passion sauvages. La représentation musicale stylisée, qui propose différents niveaux de « réalités » grâce à des procédés de réinterprétation d’éléments hongrois pour évoquer la « magyarité » en musique (aussi en relation avec d’autres phénomènes exotiques), ne rend que partiellement la poésie de « l’âme du peuple ». Tournée plus vers l’esthétique du « pittoresque », elle manque son ultime réalité pour des apparences. / The reception and the representation of the Hungarian music in France in the 19th century is a little-known subject. There are no musicological writings dealing with this topic. The doctoral dissertation presented here aims to fill this gap. It is organized around two principal axes. The first one is the critical study of the texts which present the Hungarian music and the music making of Gypsy orchestras having spread this repertoire from different angles. The second one is the musical and stylistic analysis itself, in which we investigate how the representation of “Hungarianness” and “Gipsyness” in music, especially in dramatic genres, functions. The literary reception mirrors that the perception of the Hungarian exotic phenomenon is inseparable from a larger French and romantic context. The reflections on the “spirit of the folk”, on the orientalism, on different cultural exotic constructions, on the national character which was perceived at the same time as “popular”, but also on the romantic cult of the genius or on the aesthetics of the emotions influenced the discourse on the Hungarian musical identity. An identity defined by notions as heroism, martial character, poetic expression, profound sadness or savage gaiety and passion. The stylized musical representation, which proposes different levels of “reality” by the use of reinterpreted Hungarian elements to evoke “Hungarianness” in music (also linked to other exotic phenomena), reproduces only partially the poetic charm of the “spirit of the folk”. Serving more the aesthetics of “picturesqueness”, it misses an ultimate reality for the appearances.

The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation. Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music. Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.