Marcell Jankovics and Ferenc Rofusz
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Man and Machine in Thoreau. Joseph Lawrence Basile Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1972 Man and Machine in Thoreau. Joseph Lawrence Basile Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Basile, Joseph Lawrence, "Man and Machine in Thoreau." (1972). LSU Historical Dissertations and Theses. 2194. https://digitalcommons.lsu.edu/gradschool_disstheses/2194 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This dissertation was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
A Brief Overview of Golden Age Hungarian Animation a Brief
A Brief Overview of Golden Age Hungarian Animation Although you can find such well-known personalities as John Halas or George Pal at the beginning of Hungarian animation history between the two world wars, permanent animated film production was reinstituted by a few animators who stayed in Hungary during the postwar period. Most importantly it was Gyula Macskássy, a former colleague of John Halas, who assisted the foundation of the stateowned Pannónia Filmstudio in 1951, which, being one of the leading animation studios of the world until the change of regime in 1989, became the very base of Hungarian animation. Following the production of stereotypical children films and folktales during the highly centralized 50s, two shorts, Pencil and India Rubber and Duel by Macskássy and the cartoonist György Várnai, brought a break-through for Hungarian animation on an international scale in early 60s. From then onward, along with popular cartoon series for children purchased by the Hungarian National Television, special attention was given to short animations made primarily for a grown-up audience. These shorts, compared to the rigid political control of live action films, were centrally less censored as a matter of show of political liberty to the international arena at filmfestivals abroad. Also, because of the relative autonomy gained by the economic reforms in 1968, the production of animated family features were launched starting with Johnny Corncob in 1973, and followed by other adaptations of Hungarian literary classics and mythology, such as “Matt the Gooseboy” (1979) by Attila Dargay, “Son of the White Mare” (1981) by Marcell Jankovics, “Heroic Times” (1983) by József Gémes, and by such popular animated features as “Cat City” (1986), an animal parody of Hollywood spy films by Béla Ternovszky. -
Szcenárium Art Journal of the National Theatre MITEM English, April 2019
szcenárium Art Journal of the National Theatre MITEM English, April 2019 Zsolt Szász: In the Workshop of Director Attila Vidnyánszky Madách Redivivus – Articles on The Tragedy of Man by Géza Balogh, Ildikó Sirató, Nina Király, Miklós Hubay, Ágnes Pálfi Eszter Katona: Federico García Lorca’s Reception in Hungary Márton P. Gulyás: New Mediality in Woyzeck at the National Theatre in Budapest Valdas Vasiliauskas about Eimuntas Nekrošius and Lithuania’s Youth Theatre “We Understand Our Culture Better Through the Other’s” – Interview with Nina Király AUTHORS Aurylaitė, Kristina (1970) translator, Vytautas Magnus University Balogh, Géza (1936) stage director, theatre historian, board member of UNIMA Durkóné Varga, Nóra (1965) translator, English teacher Hubay, Miklós (1918–2011) playwright, translator, dramaturg Katona, Eszter (1976) reader at Department of Hispanic Studies, University of Szeged Király, Nina (1940–2018) theatre historian, co-worker at the National Theatre in Budapest P. Gulyás, Márton (1980) film aesthete Pálfi, Ágnes (1952) poet, editor of Szcenárium Pinczés, István (1953) stage director, translator Sirató, Ildikó (1966) head of Theatre History Collection at National Széchényi Library, reader at Pannon University Szász, Zsolt (1959) puppeteer, dramaturg, stage director, managing editor of Szcenárium Vasiliauskas, Valdas (1951) theatre critic, editor, politician Vértes, László (1966) translator, interpreter Vidnyánszky, Attila (1964) stage director, general manager of the National Theatre in Budapest Támogatók PUBLISHER -
Erotics of Empire Falkiner Final-2
The London School of Economics and Political Science The Erotics of Empire: Love, Power, and Tragedy in Thucydides and Hans Morgenthau Daniel Thomas Rothwell Falkiner A thesis submitted to the Department of International Relations of the London School of Economics and Political Science for the Degree of Doctor of Philosophy, London. January 2015. !1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third parties. I declare that my thesis consists of 99,683 words. !2 Abstract A number of influential early International Relations (IR) theorists explicitly theorised politics in terms of ‘tragedy’ and their discourse was revived at the be- ginning of the 21st century. This thesis engages with this ‘tragic’ tradition of in- ternational political theory and pushes the debate in directions that have previ- ously been hinted at but which have nonetheless remained largely unexplored. It is argued here that from the late archaic to the end of the classical period in an- cient Athens, eros (‘sexual love’, ‘passionate yearning’) and its cognates came to form the conceptual basis of a political discourse that fused elements of sex, power, and gender into what we might call a kind of ‘erotic politics’. -
Trends in Present Day Theology. Ll
Trends in Present Day Theology. ll. BY THE REV. D. w. CLEVERLEY FORD, B.D., M.Th. N our first article we were considering modem trends of thought I with regard to God and His work in the world ; in this article we shall consider modem trends of thought with regard to man. As last time we tried to show that the recent outlook in theology could be styled " dogmatic ", so here we hope to show that the recent out look in this doctrine of man can in short be styled " realistic ". The development of the Doctrine of Man towards a realistic view is then the subject of this article. As we take up this study of man, we must take up that which is distinctive of man among the creatures, namely, his sin. No doctrine of man can be presented apart from Hamartology. The course we shall follow will be precisely that followed previously. First we shall remind ourselves of the Traditional doctrine of man,; secondly, we shall indicate what is the modem doctrine of man; thirdly, we shall examine the present day outlook which we have already described as Realistic. We begin then with the Traditional doctrine of man. Some one once asked the question, What is a theologian? The answer was given " A man whose Greek Testament automatically falls open at Romans v." There is truth here for the doctrine of man begins at Rom. v. 12. and no anthropology is complete which does not take it into account. The significant verse is-" Therefore as through one man sin entered into the world and death through sin, and so death passed into all men for that all sinned". -
The Multi-Layered Transnationalism of Fran Palermo Ewa Mazierska And
Article The multi-layered transnationalism of Fran Palermo Mazierska, Ewa Hanna and Kránicz, Bence Available at http://clok.uclan.ac.uk/21230/ Mazierska, Ewa Hanna ORCID: 0000-0002-4385-8264 and Kránicz, Bence (2017) The multi-layered transnationalism of Fran Palermo. Popular Music History, 10 (3). pp. 241-261. ISSN 1740-7133 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1558/pomh.35325 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk The Multi-layered Transnationalism of Fran Palermo Ewa Mazierska and Bence Kránicz Abstract Fran Palermo is an indie band based in Budapest which started performing in 2011, initially as a cover band, and so far produced over 30 original songs and 2 LPs, ‘Fran Palermo’ and ‘Razzle Dazzle’, in 2015 and 2016 respectively, to a significant critical acclaim. Its current line-up includes eight musicians, with Henri Gonzalez, a musician of Cuban and Spanish descent, being its leader. This article considers the transnational character of Fran Palermo’s work in the context of the history of pop-rock in Hungary and Eastern Europe at large, arguing that it does not fit the prevailing narrative of Eastern European music as imitator of a Western idiom. -
Emília Barna and Tamás Tófalvy (2017). Made in Hungary: Studies in Popular Music, 1St Ed
HStud 31(2017)2 285–294 DOI: 10.1556/044.2017.32.1.12 EMÍLIA BARNA AND TAMÁS TÓFALVY (2017). MADE IN HUNGARY: STUDIES IN POPULAR MUSIC, 1ST ED. NEW YORK: ROUTLEDGE, 192. Reviewed by Adam Havas Now that the Hungarian volume of the Routledge Global Popular Music Series, Made in Hungary: Studies in Popular Music (Barna and Tófalvy, 2017) has come out, popular music scholarship has clearly arrived at a new stage in Hungary. The collection of fourteen studies on the historical development, sociological approaches and musicology of Hungarian popular music embraces half a century, from postwar state socialism to contemporary issues associated with a wide range of topics. The contributors, affi liated with universities of the most important intel- lectual centers in the country, such as Budapest, Debrecen, and Pécs, are trained in various disciplines from sociology to musicology, history, communication and philosophy, thus the reader encounters not only an array of issues discussed in the chapters, but diff erent angles of investigation depending on the above listed disciplinary practices. The creation of the colorful panorama off ered by the chapters was guided by the editorial principle of making clear the context for international audiences pre- sumably unfamiliar with the country-specifi c social and cultural factors shaping the scholarly discourse within this fi eld. For that reason, the historical narrative of popular music research also plays an important role in the book, which aims to cover the major fi gures, issues and contexts of its subject matter. From an insider perspective, as the author of the current review is a member of the Hungarian IASPM community, it is remarkable that the volume also strength- ens the identity of this relatively small and fragmented research community of Hungarian scholars who dedicate themselves to this often neglected, quasi-legit- imate research area, shadowed by “grand themes” such as social stratifi cation, poverty or even classical music research. -
10,000 Maniacs Beth Orton Cowboy Junkies Dar Williams Indigo Girls
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Human and Divine Knowledge in the Oedipus Tyrannus
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1968 Human and Divine Knowledge in the Oedipus Tyrannus James Carroll Arimond Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Philosophy Commons Recommended Citation Arimond, James Carroll, "Human and Divine Knowledge in the Oedipus Tyrannus" (1968). Master's Theses. 2102. https://ecommons.luc.edu/luc_theses/2102 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1968 James Carroll Arimond HUMAN AND DIVINE lCNOWLEOOE IN THE OEDIPUS TYRANNUS by James C. L. Arlmond, S.J. A Thesis submitted to the Faculty of the Graduate School of Loyola Unlverslty in Partial Fulfillment of the Requirements for the Degree of Master of Arts February 1968 LIFE James Carroll Leo Arimond was born in Evanston, Illinois, April 12, 1939. He attended SSe Faith, Hope, and Charity Grammar School, Winnetka, Illinois, from 1944 to 1953 and Loyola Academy, Chicago, from 1953 to 1957. On August 17, 1957, he entered the Society of Jesus at Florissant, Missouri. From 1957 to 1958 he studied the humanities at St. Stanislaus College, st. Louis University. From 1958 to 1960 he studied the humanities at Milford College, Xavier University. From 1961 to 1964 he studied philos. ophy at West Baden College, Loyola Uni,verslty. -
The Idea of Progress Why Is the Modern View of Progress So Impoverished?
The idea of progress Why is the modern view of progress so impoverished? Dec 17th 2009 -- From The Economist print edition THE best modern parable of progress was, aptly, ahead of its time. In 1861 Imre Madach published “The Tragedy of Man”, a “Paradise Lost” for the industrial age. The verse drama, still a cornerstone of Hungarian literature, describes how Adam is cast out of the Garden with Eve, renounces God and determines to recreate Eden through his own efforts. “My God is me,” he boasts, “whatever I regain is mine by right. This is the source of all my strength and pride.” Adam gets the chance to see how much of Eden he will “regain”. He starts in Ancient Egypt and travels in time through 11 tableaux, ending in the icebound twilight of humanity. It is a cautionary tale. Adam glories in the Egyptian pyramids, but he discovers that they are built on the misery of slaves. So he rejects slavery and instead advances to Greek democracy. But when the Athenians condemn a hero, much as they condemned Socrates, Adam forsakes democracy and moves on to harmless, worldly pleasure. Sated and miserable in hedonistic Rome, he looks to the chivalry of the knights crusader. Yet each new reforming principle crumbles before him. Adam replaces 17th-century Prague’s courtly hypocrisy with the rights of man. When equality curdles into Terror under Robespierre, he embraces individual liberty—which is in turn corrupted on the money-grabbing streets of Georgian London. In the future a scientific Utopia has Michelangelo making chair-legs and Plato herding cows, because art and philosophy have no utility. -
Alex Ross-Iver Truly Pushes the Boundaries of Experimentalism
Artist - Alex Ross Iver Track title - The Fire Inside ( http://soundcloud.com/alexpopmusic/fire-inside/s-qyrMp ) Written and produced by - Alex Ross Iver and Gisli Kristjansson Label =- Alexpop.com In a world dominated by one dimensional pop music Alex Ross Iver defines everything that a music maverick should epitomize. He is half Georgian and half Russian but none of his family had a musical background in fact both parents had a scientific background an influence which he thinks in part may have led him to appreciate an experimental style relating to all forms of music he created as a youth right up to the present day. Alex has been part of the Moscow club scene for many years, with his Alexpop.com label being marked down as one of the most innovative exponents of avant-garde electro pop outside Europe. He was educated in both Russia and the United States hence giving his music a unique flavor combining experimental pop with an electro edge. His soul mates are the likes of Brian Eno , Phillip Glass , The Knife, Kraftwerk, Yello , through to Yonderboi and La Dusselldorf. In fact pretty much anything that doesn't fit neatly into a packaged music box that makes the listener feel comfortable and at ease. Alex Ross-Iver truly pushes the boundaries of experimentalism. It was this pulsating experimentalism, and thought provokingly complex musical compositions which impressed an equally maverick musician. The Icelandic Gisli Kristjansson , part of the hugely successful Waterfall production team out of Norway and a Number 1 hit maker in his own right who decided to bring in the wonderfully talented Eliza Newman whose band Bellatrix gained huge critical acclaim releasing albums on Bjork's, 'Bad Taste' label , turning her into one of Scandinavia's most talked about and sort after vocalists.