DOCSLIB.ORG

Eastern Exoticism in Western Music: an Examination of Uyghur Folk Songs’ Influence in Brahms’ Zigeunerlieder Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eastern Exoticism in Western Music: an Examination of Uyghur Folk Songs’ Influence in Brahms’ Zigeunerlieder Op Eastern Exoticism in Western Music: An Examination of Uyghur Folk Songs’ Influence in Brahms’ Zigeunerlieder Op. 103 by Yue Zhao, MM A Thesis In Voice Performance Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Approved Dr. Gregory Brookes Chair of Committee Mr. Gerald Dolter Dr. Alice Anne Light Dr. Mark Sheridan Dean of the Graduate School May, 2020 Copyright 2020, Yue Zhao Texas Tech University, Yue Zhao, May 2020 ACKNOWLEDGMENTS Undertaking this DMA has a truly life-changing experience for me and it would not have been possible to do without the support and guidance that I received from many people. I am deeply indebted to my voice teacher Dr. Gregory Brookes for all the support and encouragement you gave me, without your constant guidance this DMA would not have been achievable. I greatly appreciate my committee members: Prof. Gerald Dolter and Dr. Alice Anne Light for your invaluable advice and feedback on my research and for always being so supportive of my work. I would also like to say a heartfelt thank you to Jill Grove for being my mentor, helping and encouraging me to follow my dreams. Thanks for your generosity, empathy, and affability. My deep appreciation goes out to my coach Dr. William Averill for your valuable guidance, feedback, advice, and expertise that I needed during my DMA. I would like to thank all my friends for your friendship, help, love, and support. Thank you all for bringing laughter and comfort into my life. I am deeply thankful to my family for their love, support, and sacrifices. They all kept me going, and this dissertation would not have been possible without them. ii Texas Tech University, Yue Zhao, May 2020 TABLE OF CONTENTS ACKNOWLEDGMENTS……………………………………………………………….ii ABSTRACT……………………………………………………………………………...vi LIST OF FIGURES……………………………………………………………………..ix I. UYGHUR FOLK MUSIC……………………………………………………………..1 Introduction…………………………………………………………………………...1 The History of Xinjiang………………………………………………………………2 Where is Xinjiang?................................................................................................2 Who are Xiongnu?.................................................................................................3 Background of Xinjiang and Xiongnu...................................................................4 Background of the Uyghur people and their folk music……………………………...6 Who are Uyghurs?.................................................................................................6 What is the Silk Road?...........................................................................................7 Uyghur Folk Music………………………………………………………………8 Uyghur Folk Music Analysis………………………………………………………..10 A Glass of Mellow Wine………………………………………………………..10 Text…………………………………………………………………………10 Rhythm……………………………………………………………………..11 Musical Style……………………………………………………………….11 Youth Dance…………………………………………………………………….12 Text…………………………………………………………………………12 Rhythm……………………………………………………………………..13 Musical Style……………………………………………………………….13 Lifting your Veil………………………………………………………………...14 Text…………………………………………………………………………14 Rhythm……………………………………………………………………..15 Musical Style……………………………………………………………….15 Turpan's Grapes Ripened……………………………………………………….16 Text…………………………………………………………………………16 Rhythm……………………………………………………………………..16 Musical Style……………………………………………………………….17 A Rose For Me………………………………………………………………….18 Text…………………………………………………………………………18 Rhythm……………………………………………………………………..18 iii Texas Tech University, Yue Zhao, May 2020 Musical Style……………………………………………………………….19 Uyghur folk song Character summarization……………………………………..….19 II. ZIGEUNERLIEDER OP.103……………………………………………..………21 Introduction………………………………………………………………………….21 Johannes Brahms………………………………………………………………..…..22 Hungarian Folk Music and its established influence on Brahms’ composition……..23 Brahms and Hungarian music influencers……………………………………...23 History of Hungarian Folk music………………………………………………25 Brahms and the transition of his Zigeunerlieder Op. 103 into the German Language……………………………………………………………………..…26 Zigeunerlieder Op. 103 Musical Analysis…………………………………………..27 He, Zigeuner, greife in die Saiten ein!.................................................................27 Rhythm and Harmony………………………………………………………27 Text painting and Musical Style………………………………………...…..28 Hochgetürmte Rimaflut………………………………………………………...29 Rhythm and Harmony………………………………………………………29 Text painting and Musical Style………………………………………...…..29 Wißt ihr, wann mein Kindche…………………………………………………..30 Rhythm and Harmony………………………………………………………30 Text painting and Musical Style………………………………………...…..31 Lieber Gott, du Weißt…………………………………………………………...31 Rhythm and Harmony………………………………………………………31 Text painting and Musical Style………………………………………...…..32 Brauner Bursche führt zum Tanze……………………………………………...33 Rhythm and Harmony………………………………………………………33 Musical Style………………………………………….………………...…..34 Röslein dreie in der Reihe blühn so rot…………………………………………35 Rhythm and Harmony………………………………………………………35 Musical Style……………………………………………………….…...…..35 Kommt dir manchmal in den Sinn, mein.............................................................37 Rhythm and Harmony………………………………………………………37 Musical Style……………………………………….…………………...…..37 Rote Abendwolken ziehen……………………………………………………...38 Rhythm and Harmony………………………………………………………38 Text painting and Musical Style………………………………………...…..38 The differences and commonalities of Hungarian diction and German diction…….39 iv Texas Tech University, Yue Zhao, May 2020 III. COMPARING AND CONTRASTING HUNGARIAN AND UYGHUR FOLK MUSIC………………………………………………………………………..…41 Introduction………………………………………………………………………….41 Musical Exoticism…………………………………………………………………..42 The category of Hungarian and Uyghur folk song……………………………….....43 Pentatonic scale in Hungarian and Uyghur folk music…………………………..….44 The rhythmic pattern in Hungarian and Uyghur folk music………………………...46 The diction of Hungarian and Uyghur folk music………………………………......48 The structure of Hungarian and Uyghur folk music………………………………...49 The Instrumentation of Hungarian and Uyghur folk music………………………....50 Conclusion……………………………………………………………………….….52 BIBLIOGRAPHY………………………………………………………………………54 v Texas Tech University, Yue Zhao, May 2020 ABSTRACT Zigeunerlieder op.103, a song cycle, based on Hugo Conrat’s German adaptation of Hungarian folk songs, was written by German composer Johannes Brahms. Brahms was an accompanist of Hungarian-born violinist Eduard Hoffmann in 1853. He assisted Hoffmann in a concert tour where he learned Hungarian gypsy music. This experience was a significant influence on Brahms’s own compositional style. In the Asian continent, Uygur folk song is a popular music genre from the western minority region of China. Dancing with singing is a music custom in the region. Using musicological examples, this dissertation will demonstrate that Brahms’ Zigeunerlieder op.103 may have been indirectly influenced by Uygur folk song through Brahms’s exposure to this music in Hungary. The elements found within Brahms’s Zigeunerlieder showcase the dichotomy of rhythm, harmony, and melody of the Eastern and Western cultures. First, Uygur employed the use of dance rhythm in its folk songs. Brahms also showed strong Hungarian dance rhythm throughout the Gypsy song cycle. All songs in this document are in 2/4. Second, Uygur folk songs displayed a tuneful vocal melody and supportive piano part. The piano imitates traditional Uyghur instruments, which increases the exotic flavor of the songs. Brahms also applied this idea in his work by incorporating imitations of gypsy instruments. Third, Mandarin words typically stress the first syllable, which influenced the Uyghur folk songs to begin with the downbeat, as does Hungarian and German. This syllabic stress influenced the strong downbeats of Zigeunerlieder. I draw from both Chinese and English sources throughout this paper to reveal how Hungarian music affected Zigeunerlieder op.103. Also, after reviewing works of literature and Uyghur folk song research and examining the similarities between Hungarian folk song and Chinese folk song, I have collected these elements to prove the relationship between Hungarian folk music and Uyghur folk song, focusing on how Hungarian elements relate to the German song cycle. By investigating Uyghurs’ culture and knowledge of the folk music, this informed me how to interpret the Brahms’ song vi Texas Tech University, Yue Zhao, May 2020 cycle. Brahms broadens the colors of the Uyghur folk music characters by incorporating Hungarian folk music. The use of dance rhythm and folk narration in the composition, along with the language adaptation, lend exotic tension to Zigeunerlieder op.103. vii Texas Tech University, Yue Zhao, May 2020 LIST OF TABLES 2.1 The characteristics of the Uyghur folk song…………………………………………19 2.2 Category of Hungarian and Uyghur folk music…………………………...…………43 2.3 Compare and contrast the pentatonic scale and heptachord in Hungarian and Uyghur folk system………………….……………………………………………….45 2.4 The rhythmic patterns in Uyghur folk songs………………………………………...46 2.5 The rhythmic patterns in Zigeunerlieder Op. 103…………………………...………47 viii Texas Tech University, Yue Zhao, May 2020 LIST OF FIGURES 1.1 A Glass of Mellow Wine, mm. 30-34……………………………………...………....12 1.2 Lifting your Veil, mm. 5-8………………………………...………….……………....15 1.3 Turpan's Grapes Ripened, mm. 28-32…………………………………….....……....17 1.4 A Rose For Me, mm. 8-11……………………………………….………...………....19 1.5 Six Hungarian folk songs, No.1…………………………………………...………....26
Load more

Recommended publications
  • SCTIW Review
    SCTIW Review Journal of the Society for Contemporary Thought and the Islamicate World ISSN: 2374-9288 February 21, 2017 David Brophy, Uyghur Nation: Reform and Revolution on the Russia-China Frontier, Harvard University Press, 2016, 386 pp., $39.95 US (hbk), ISBN 9780674660373. Since the 1980s, Western scholarship on modern Chinese history has moved away from the narrative of a tradition-bound Middle Kingdom reacting to the dynamism of Japan and the West. A “China-centered” view of modern Chinese history has by now become standard, much to the benefit of historical research.1 In more recent years, Anglophone scholarship on Central Asia has increasingly assumed a comparable orientation, combining indigenous and imperial sources to recenter modern Central Asian history around Central Asian actors. David Brophy’s Uyghur Nation: Reform and Revolution on the Russia-China Frontier, the culmination of a decade of research, represents a major advance in this regard. In a wide- ranging study, Brophy carefully reconstructs the interplay of local elites, intellectuals, community, and state from which the contemporary Uyghur nation emerged: a Uyghur- centered view of modern Uyghur history.2 On the basis of extensive archival, published, and manuscript sources, Brophy has written the fullest and most convincing account to date of the twentieth-century development of the Uyghur national concept. Synthesizing intellectual and political history, he puts persuasively to rest the frequent assertion that modern Uyghur identity was imposed from above by Soviet bureaucrats and passively adopted by its designated subjects. Brophy demonstrates that the Uyghur national idea, and the bureaucratic reification of that idea, emerged from complex negotiations between proto-Uyghur elites and intellectuals, ethnographers of various backgrounds, and Soviet officials on the local and national level.
    [Show full text]
  • The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9!
    [Show full text]
  • Dissertation JIAN 2016 Final
    The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Laada Bilaniuk, Chair Ann Anagnost, Chair Stevan Harrell Program Authorized to Offer Degree: Anthropology © Copyright 2016 Ge Jian University of Washington Abstract The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian Chair of the Supervisory Committee: Professor Laada Bilaniuk Professor Ann Anagnost Department of Anthropology My dissertation is an ethnographic study of the language politics and practices of college- age English language learners in Xinjiang at the historical juncture of China’s capitalist development. In Xinjiang the international lingua franca English, the national official language Mandarin Chinese, and major Turkic languages such as Uyghur and Kazakh interact and compete for linguistic prestige in different social scenarios. The power relations between the Turkic languages, including the Uyghur language, and Mandarin Chinese is one in which minority languages are surrounded by a dominant state language supported through various institutions such as school and mass media. The much greater symbolic capital that the “legitimate language” Mandarin Chinese carries enables its native speakers to have easier access than the native Turkic speakers to jobs in the labor market. Therefore, many Uyghur parents face the dilemma of choosing between maintaining their cultural and linguistic identity and making their children more socioeconomically mobile. The entry of the global language English and the recent capitalist development in China has led to English education becoming market-oriented and commodified, which has further complicated the linguistic picture in Xinjiang.
    [Show full text]
  • Brauer-Benke József Dudatípusok Magyarországon. a Duda Szavunk
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of the Academy's Library Brauer-Benke József Dudatípusok Magyarországon. A duda szavunk első elfordulását illetően megoszlanak a vélemények. A magyar nyelv történeti-etimológiai szótára szerint a legkorábbi formájában személynévként ,,Michael dwdas” alakban 1494-ből datálható.1 A pannonhalmi Szent-Benedek-rend története. VIII. kötetének 270. oldalán 1095-ből a tihanyi dolátorban szereplő ,,Dolatores Gedesa Duda pagandi bodin” formában a személynévre utaló duda kifejezés hangszerrel való kapcsolata megkérdőjelezhető. Ecsedy Ildikó a középkori hangszerelnevezések nyelvi vizsgálatában kimutatja, hogy a duda elnevezés megjelenése a 14-15. századtól adatolható.2 Manga János szerint a korábbi gajd elnevezés helyett a 16. század közepétől a tömlősíp (tibia utricularis) és a duda elnevezés lép az előtérbe.3 Kérdéses, hogy egy ismert és elterjedt magyar nyelvű hangszertípus nevét miért kezdik el török vagy szláv jövevényszóval helyettesíteni a 16. században. Valószínűbb, hogy egy új hangszernév megjelenése egyúttal egy új hangszertípus elterjedésével járhatott együtt. A hangszertípus elnevezésének változása és ebből kifolyólag a valószínűsíthető egyéb hangszertípus átvétel lehetősége megragadható Csehországban is, ahol 16-18. század között a dudy és a gajdy szavak változatai párhuzamosan megtalálhatóak, majd a 18. század végétől a dudy elnevezés állandósul.4 A lengyel dudaelnevezések sokszínűsége, amelyek a dudatípusok morfológiai különbségével is megragadhatóak szintén valószínűsítik az átvétel lehetőségét. A lengyel dudatípusok elnevezései között a szlovák nyelvterülethez közeli Magas Tátrában és a Nyugati-Beszkidekben jellemző a duda elnevezés. Nagy-Lengyelország területéről szintén ismert a duda elnevezés, de a területen jellemzőbbek a koziol (kecske) névváltozatok. Éri Péter a duda történeti névanyagának írásos szövegelemzésében rámutat arra, hogy a duda kifejezés a szótárakban tulajdonképpen csak 1818-tól datálható.5 Éri Péter szerint erre 1 TESZ.
    [Show full text]
  • A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor
    Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument.
    [Show full text]
  • A Review of the Origin and Evolution of Uygur Musical Instruments
    2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) A Review of the Origin and Evolution of Uygur Musical Instruments Xiaoling Wang, Xiaoling Wu Changji University Changji, Xinjiang, China Keywords: Uygur Musical Instruments, Origin, Evolution, Research Status Abstract: There Are Three Opinions about the Origin of Uygur Musical Instruments, and Four Opinions Should Be Exact. Due to Transliteration, the Same Musical Instrument Has Multiple Names, Which Makes It More Difficult to Study. So Far, the Origin of Some Musical Instruments is Difficult to Form a Conclusion, Which Needs to Be Further Explored by People with Lofty Ideals. 1. Introduction Uyghur Musical Instruments Have Various Origins and Clear Evolution Stages, But the Process is More Complex. I Think There Are Four Sources of Uygur Musical Instruments. One is the National Instrument, Two Are the Central Plains Instruments, Three Are Western Instruments, Four Are Indigenous Instruments. There Are Three Changes in the Development of Uygur Musical Instruments. Before the 10th Century, the Main Musical Instruments Were Reed Flute, Flute, Flute, Suona, Bronze Horn, Shell, Pottery Flute, Harp, Phoenix Head Harp, Kojixiang Pipa, Wuxian, Ruan Xian, Ruan Pipa, Cymbals, Bangling Bells, Pan, Hand Drum, Iron Drum, Waist Drum, Jiegu, Jilou Drum. At the Beginning of the 10th Century, on the Basis of the Original Instruments, Sattar, Tanbu, Rehwap, Aisi, Etc New Instruments Such as Thar, Zheng and Kalong. after the Middle of the 20th Century, There Were More Than 20 Kinds of Commonly Used Musical Instruments, Including Sattar, Trable, Jewap, Asitar, Kalong, Czech Republic, Utar, Nyi, Sunai, Kanai, Sapai, Balaman, Dapu, Narre, Sabai and Kashtahi (Dui Shi, or Chahchak), Which Can Be Divided into Four Categories: Choral, Membranous, Qiming and Ti Ming.
    [Show full text]
  • Peasant Dance Traditions and National Dance Types in East-Central Europe in the 16Th-19Th Centuries*
    Peasant Dance Traditions and National Dance Types in East-Central Europe in the 16th-19th Centuries* Gyorgy Martin Martin, Gyiirgy 1985: Peasant Dance Traditions and National Dance Types in East-Central Europe in the 16th-19th Century. - Ethnologia Europaea XV: 117-128 The author analyses the interrelation between elite culture and popular culture as it appears in the modern history of East Central European folk dances. Ac­ cording to his opinion, differences among popular dance traditions of various zones in Europe reflect phase shifts in the historic development: some regions preserved medieval and renaissance dance forms while other regions adopted more modern styles. In contrast to the spread of courtly and elite dance forms among the common people, the appearence of "national dance types" represents the conscious incorporation of peasant dance traditions into the national culture. In the 16th-17th century the Hajdu (Heyduck) dance might be considered as an early forerunner of these "national dance types". Originally a weapon-dance of herdsmen and soldier-peasants , this dance acquired a sort of national signifi­ cance during the centuries of war against the Turks and was practised in all layers of contemporary society . Later in the 19th century, during the era of na­ tional awakening, the creation of "national dance types" was guided by national ideologies and followed a remarkably similar pattern among Hungarians, Slov­ aks and Transylvanian Roumanians. The late Dr. Gyorgy Martin (1932-1983) was head of the Folk Dance Department of the Institute of Musicology, Hungarian Academy of Sciences , Budapest . The focus of this discussion is the relationship cient and complex manifestation of total art between folk culture and high culture, be­ ("Gesamtkunst").
    [Show full text]
  • Preliminary Proposal to Encode the Old Sogdian Script in Unicode
    L2/15-089R 2015-11-03 Preliminary proposal to encode the Old Sogdian script in Unicode Anshuman Pandey Department of Linguistics University of California, Berkeley Berkeley, California, U.S.A. [email protected] November 3, 2015 1 Introduction This is a preliminary proposal for a Unicode encoding for the scripts used in the Sogdian ‘Ancient Letters’ and in Sogdian inscriptions of the Upper Indus. These scripts are tentatively designated as ‘Old Sogdian’ (see section 4.1). The intent is to enable users to input, display, and exchange content in the Old Sogdian script on digital devices. This document describes an encoding model and character repertoire, and provides specimens of sources in which the script appears. In the proposed repertoire each graphical element of the script that possesses a distinctive semantic value is defined as a Unicode ‘character’. The exception are letters with identical glyphs, which are merged into a single character in accordance with the character-glyph model of the Uni- code standard. This character-encoding repertoire may differ from traditional scholarly analyses of the script. Such differences naturally arise from the requirements for representing the script electronically as opposed to writing it by hand. The representative glyphs shown here are illustrative and are not intended to be typo- graphically aesthetic. The author seeks feedback from scholars regarding the proposed encoding model, character repertoire, and representative glyphs. Issues requiring further discussion are enumerated in section 7. A formal proposal to encode the script is forthcoming, pending comments from experts. 2 Background The Old Sogdian script was used primarily for writing Sogdian (ISO 639: sog), an Eastern Iranian language that was spoken in the region between the Amu Darya and the Syr Darya, which roughly corresponds to the modern provinces of Samarqand and Bokhara in Uzbekistan and the Sughd province of Tajikistan.
    [Show full text]
  • Teaching About Hungarian and Polish Heroes. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland)
    DOCUMENT RESUME ED 439 037 SO 030 775 AUTHOR Radkey, Janet TITLE Teaching about Hungarian and Polish Heroes. Fulbright-Hays Summer Seminars Abroad Program, 1998 (Hungary/Poland). SPONS AGENCY Center for International Education (ED), Washington, DC. PUB DATE 1998-00-00 NOTE 20p.; For other projects from the 1998 Hungary/Poland program, see SO 030 773-781. PUB TYPE Guides Classroom Teacher (052) Reports Descriptive (141) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Area Studies; *Cultural Context; *European History; Foreign Countries; High Schools; Social Studies; Thematic Approach IDENTIFIERS Fulbright Hays Seminars Abroad Program; Heroes; *Hungary; *Poland ABSTRACT This curriculum project about the history and culture of Hungary and Poland is intended for secondary school students. Theproject features a unit called "Heroes in Our Lives" and points out the sacrifices a few individuals have made for the betterment of all. Students identify heroes and learn about the impact these heroes have made on history and onsociety. Hungarian heroes discussed in the unit are: King Stephen I, Imre Nagy, Ferenc Rakoczi, and Louis Kossuth. Polish heroes discussed are: J. Pitsudski, Tadeusz Kosciuszko, Janusz Korczak, Pope John Paul II, and Lech Walesa;other heroes discussed are Raoul Wallenberg, the 1956 Hungarian Freedom Fighters, and the Solidarity Workers. Teaching methods for the unit include lectureand discussion, a slide presentation on heroic sites, selected readings, poetry, group activities, and an essay accompanied by an oralpresentation on heroes in society and heroes in each individual's life. (BT) Reproductions supplied by EDRS are the best that can be made from the original document. N O cJ Teaching about Hungarian and Polish Heroes.
    [Show full text]
  • Turkic Languages 161
    Turkic Languages 161 seriously endangered by the UNESCO red book on See also: Arabic; Armenian; Azerbaijanian; Caucasian endangered languages: Gagauz (Moldovan), Crim- Languages; Endangered Languages; Greek, Modern; ean Tatar, Noghay (Nogai), and West-Siberian Tatar Kurdish; Sign Language: Interpreting; Turkic Languages; . Caucasian: Laz (a few hundred thousand speakers), Turkish. Georgian (30 000 speakers), Abkhaz (10 000 speakers), Chechen-Ingush, Avar, Lak, Lezghian (it is unclear whether this is still spoken) Bibliography . Indo-European: Bulgarian, Domari, Albanian, French (a few thousand speakers each), Ossetian Andrews P A & Benninghaus R (1989). Ethnic groups in the Republic of Turkey. Wiesbaden: Dr. Ludwig Reichert (a few hundred speakers), German (a few dozen Verlag. speakers), Polish (a few dozen speakers), Ukranian Aydın Z (2002). ‘Lozan Antlas¸masında azınlık statu¨ su¨; (it is unclear whether this is still spoken), and Farklı ko¨kenlilere tanınan haklar.’ In Kabog˘lu I˙ O¨ (ed.) these languages designated as seriously endangered Azınlık hakları (Minority rights). (Minority status in the by the UNESCO red book on endangered lan- Treaty of Lausanne; Rights granted to people of different guages: Romani (20 000–30 000 speakers) and Yid- origin). I˙stanbul: Publication of the Human Rights Com- dish (a few dozen speakers) mission of the I˙stanbul Bar. 209–217. Neo-Aramaic (Afroasiatic): Tu¯ ro¯ yo and Su¯ rit (a C¸ag˘aptay S (2002). ‘Otuzlarda Tu¨ rk milliyetc¸ilig˘inde ırk, dil few thousand speakers each) ve etnisite’ (Race, language and ethnicity in the Turkish . Languages spoken by recent immigrants, refugees, nationalism of the thirties). In Bora T (ed.) Milliyetc¸ilik ˙ ˙ and asylum seekers: Afroasiatic languages: (Nationalism).
    [Show full text]
  • Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler a Dissertati
    Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Sasha Su-Ling Welland, Chair Ann Anagnost Stevan Harrell Danny Hoffman Program Authorized to Offer Degree: Anthropology ©Copyright 2018 Darren T. Byler University of Washington Abstract Spirit Breaking: Uyghur Dispossession, Culture Work and Terror Capitalism in a Chinese Global City Darren T. Byler Chair of the Supervisory Committee: Sasha Su-Ling Welland, Department of Gender, Women, and Sexuality Studies This study argues that Uyghurs, a Turkic-Muslim group in contemporary Northwest China, and the city of Ürümchi have become the object of what the study names “terror capitalism.” This argument is supported by evidence of both the way state-directed economic investment and security infrastructures (pass-book systems, webs of technological surveillance, urban cleansing processes and mass internment camps) have shaped self-representation among Uyghur migrants and Han settlers in the city. It analyzes these human engineering and urban planning projects and the way their effects are contested in new media, film, television, photography and literature. It finds that this form of capitalist production utilizes the discourse of terror to justify state investment in a wide array of policing and social engineering systems that employs millions of state security workers. The project also presents a theoretical model for understanding how Uyghurs use cultural production to both build and refuse the development of this new economic formation and accompanying forms of gendered, ethno-racial violence.
    [Show full text]
  • Mary Taylor: the Hungarian Dance-House Movement
    Ninteeenth and Twentieth Century Historical and Institutional Precedents of the Hungarian Dance-House Movement Mary Taylor .................................................................................. CUNY Graduate Center The Institute of Ethnology of the [email protected] Hungarian Academy of Sciences and The Hungarian Heritage House Advisers: Mr. Ferenc Sebo˝ and Ms. Ágnes Fülemile .................................................................................. This paper seeks to lay out a broad history of the latest wave of folk revival in Hungary, the Tanchaz (Dance-house) Movement. In order to do so, It will examine the engagement with folk forms by the (mostly urban) elite and the academy in connection with nation- building/nationalism in 19th and 20th century Hungary; the rise of specific institutions and practices connected with Hungarian folk culture and their continuity or discontinuity over time; the sudden territorial and population shift that would leave a legacy of ethnographic and folkloristic material covering a territory much larger than the truncated Hungarian state that emerged in 1920 from the treaty of Trianon; and the specific conditions preceding the tanchaz movement and in which it arose. Focusing on the Bouquet of Pearls Movement of the 1930’s and 1940’s as an institution connected to folklorism and nationmaking, the paper reveals both continutities and discontinuities with theTanchaz Movement that would aries in the 1970’s. After a brief survey of the emergence of Tanchaz, the paper ends with suggestions for further research. 95 Student Conference 2004 Introduction This paper in progress seeks to explore a martial law following the 1848 revolution, broad history of the latest wave of folk that Hungary would once again gain gover- revival in Hungary, the Tanchaz (Dance- nance of the territory of historic Hungary .
    [Show full text]