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Emu Island: Modernism in Place
Emu Island: Modernism in Place Visual Arts Syllabus Stages 5 - 6 CONTENTS 3 Introduction to Emu Island: Modernism in Place 4 Introduction to education resource Syllabus Links Conceptual framework: Modernism 6 Modernism in Sydney 7 Gerald and Margo Lewers: The Biography 10 Timeline 11 Mud Map Case study – Sydney Modernism Art and Architecture Focus Artists 13 Tony Tuckson 14 Carl Plate 16 Frank Hinder 18 Desiderius Orban 20 Modernist Architecture 21 Ancher House 23 Young Moderns 24 References 25 Bibliography Front Page Margel Hinder Frank Hinder Currawongs Untitled c1946 1945 shale and aluminium collage and gouache on paper 25.2 x 27 x 11 24 x 29 Gift of Tanya Crothers and Darani Penrith Regional Gallery & The Lewers, 1980 Lewers Bequest Collection Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Copyright courtesy of the Estate of Margel Hinder Emu Island: Modernism in Place Emu Island: Modernism in Place celebrates 75 years of Modernist art and living. Once the home and studio of artist Margo and Gerald Lewers, the gallery site, was, as it is today - a place of lively debate, artistic creation and exhibitions at the foot of the Blue Mountains. The gallery is located on River Road beside the banks of the Nepean River. Once called Emu Island, Emu Plains was considered to be the land’s end, but as the home of artist Margo and Gerald Lewers it became the place for new beginnings. Creating a home founded on the principles of modernism, the Lewers lived, worked and entertained like-minded contemporaries set on fostering modernism as a holistic way of living. -
This Was the Final Stop
This was the final stop Actions against Germans and Hungarians leading to fatalities in the Carpathian Basin between 1944 and 1949 Title “This was the final stop” Actions against Germans and Hungarians leading to fatalities in the Carpathian Basin between 1944 and 1949 Published by the Pécs-Baranya Ethnic Circle of Germans in Hungary with the support of the book publishing of Head of publication Matkovits-Kretz Eleonóra Editor-in-chief Bognár Zalán Editor Márkus Beáta Translator Papp Eszter Cover M. Lovász Noémi’s work of art titled “Forgetting is to banish, remembering is to free...” Published by Kontraszt Plusz Kft. www.kontraszt.hu ISBN 978-963-88716-6-4 Pécs-Baranya Ethnic Circle of Germans in Hungary Postal address: 55 Rákóczi str. H - 7621 Tel./fax: +36 72 213 453 Tax ID: 19031202-1-02 Bank account no: 50400113-11000695 www.nemetkor.hu [email protected] Pécs, 2015. English edition 2016. TABLE OF CONTENTS Acknowledgements ..................................................................................................................................................................5 Foreword....................................................................................................................................................................................6 Mass deportation of civilians from the Carpathian Basin to the Soviet Union – Malenky Robot ���������������������������������9 Zalán Bognár Mass deportation of civilians from the Carpathian Basin for forced labour in the Soviet Union, with perspectives to Central-Eastern -
Review Copy. © 2021 Indiana University Press. All Rights Reserved. Do Not Share. STUDIES in HUNGARIAN HISTORY László Borhi, Editor
HUNGARY BETWEEN TWO EMPIRES 1526–1711 Review Copy. © 2021 Indiana University Press. All rights reserved. Do not share. STUDIES IN HUNGARIAN HISTORY László Borhi, editor Top Left: Ferdinand I of Habsburg, Hungarian- Bohemian king (1526–1564), Holy Roman emperor (1558–1564). Unknown painter, after Jan Cornelis Vermeyen, circa 1530 (Hungarian National Museum, Budapest). Top Right: Sultan Süleyman the Magnificent (1520–1566). Unknown painter, after Titian, sixteenth century (Hungarian National Museum, Budapest). Review Copy. © 2021 Indiana University Press. All rights reserved. Do not share. Left: The Habsburg siege of Buda, 1541. Woodcut by Erhardt Schön, 1541 (Hungarian National Museum, Budapest). STUDIES IN HUNGARIAN HISTORY László Borhi, editor Review Copy. © 2021 Indiana University Press. All rights reserved. Do not share. Review Copy. © 2021 Indiana University Press. All rights reserved. Do not share. HUNGARY BETWEEN TWO EMPIR ES 1526–1711 Géza Pálffy Translated by David Robert Evans Indiana University Press Review Copy. © 2021 Indiana University Press. All rights reserved. Do not share. This book is a publication of Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA iupress . org This book was produced under the auspices of the Research Center for the Humanities of the Hungarian Academy of Sciences and with the support of the National Bank of Hungary. © 2021 by Géza Pálffy All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. -
Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr
humphrey bogart's Sahara propaganda, cinema and the american character in world war ii theodore kornweibel, jr. How and why a people responds affirmatively to momentous events in the life of its nation is an intriguing question for the social historian. Part of the answer may be found in the degree to which a populace can connect such events to traditional (and often idealistic) themes in its culture, themes which have had wide currency and restatement. This kind of identification can be seen particularly in wartime; twice in this century large segments of the American population rallied around the call to preserve democracy under the guise of fighting a "war to end all wars" and another to preserve the "four freedoms." But popular perceptions of these global conflicts were not without both deliberate and unconscious manipulation in many areas of the culture, including commercial motion pictures. Hollywood produced hundreds of feature films during World War II which depicted facets of that conflict on the domestic homefront, the soil of friendly Allies and far-flung battlefields. Many of the films showed no more than a crude addition of the war theme to plots that would have been filmed anyway in peacetime, such as gangster stories and musical comedies. But other movies reached a deeper level in subtly linking the war to American traditions and ideals. Sahara,1 Columbia Pictures' biggest money-maker in 1943, starring Humphrey Bogart in a finely understated performance, is such a motion picture. Students of American culture will find Sahara and its never-filmed predecessor script, "Trans-Sahara," artifacts especially useful in ex amining two phenomena: the process of government pressure on 0026-3079/81/2201-0005S01.50/0 5 movie studios to ensure that the "approved" war. -
A Comparative Analysis of a Selection of Hungarian
A COMPARATIVE ANALYSIS OF A SELECTION OF HUNGARIAN FOLKTALES IN ENGLISH • by ANDREA KATALIN SZILAGYI B.A., The University of Alberta, 2003 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF BRITISH COLUMBIA (Children's Literature) October 2007 ©Andrea Katalin Szilagyi, 2007 Abstract A significant body of Hungarian folktales in English exists, but these tales are difficult to locate, out of print, and/or excluded from international folktale anthologies. Critics have attributed this lack of prominence to linguistic isolation or to issues surrounding translation and economic challenges in today's publishing world. This thesis examines a selected body of Hungarian folktales in English. Specifically, it presents the findings of my extensive search for tales in translation and for scholarship on these tales; it offers a system of classifying and describing the selected tales and provides a comparative analysis of variants and types; and it offers an argument for anthologizing tales for a Canadian and/or Hungarian Canadian reading audience. Twenty tales (four variants within each tale category), chosen according to the selection criteria, comprise the body of primary material and are grouped according to tale categories - fairy tales, humorous tales, animal tales, anecdotes, and historical legends. In considering the variants of a selection of tale types and their particular references to Hungarian culture, this study illuminates the persistence of certain Hungarian folktales while highlighting their cultural distinctiveness. Ultimately, by creating awareness of this unique body of tales, my hope is for Canadian readers to be made aware of Hungary's culture and its folk literature, and for the tales to find their way into collections of multicultural folktales, to be released from their isolation, and to join other well-known international folktales on bookshelves around the world. -
We're Not Nazis, But…
August 2014 American ideals. Universal values. Acknowledgements On human rights, the United States must be a beacon. This report was made possible by the generous Activists fighting for freedom around the globe continue to support of the David Berg Foundation and Arthur & look to us for inspiration and count on us for support. Toni Rembe Rock. Upholding human rights is not only a moral obligation; it’s Human Rights First has for many years worked to a vital national interest. America is strongest when our combat hate crimes, antisemitism and anti-Roma policies and actions match our values. discrimination in Europe. This report is the result of Human Rights First is an independent advocacy and trips by Sonni Efron and Tad Stahnke to Greece and action organization that challenges America to live up to Hungary in April, 2014, and to Greece in May, 2014, its ideals. We believe American leadership is essential in as well as interviews and consultations with a wide the struggle for human rights so we press the U.S. range of human rights activists, government officials, government and private companies to respect human national and international NGOs, multinational rights and the rule of law. When they don’t, we step in to bodies, scholars, attorneys, journalists, and victims. demand reform, accountability, and justice. Around the We salute their courage and dedication, and give world, we work where we can best harness American heartfelt thanks for their counsel and assistance. influence to secure core freedoms. We are also grateful to the following individuals for We know that it is not enough to expose and protest their work on this report: Tamas Bodoky, Maria injustice, so we create the political environment and Demertzian, Hanna Kereszturi, Peter Kreko, Paula policy solutions necessary to ensure consistent respect Garcia-Salazar, Hannah Davies, Erica Lin, Jannat for human rights. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda
PRESS PACK CANNES CLASSICS OFFICIAL SELECTION 2015 MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda Thursday 21 May 2015 at 5pm, Buñuel Theatre Raimu and Pierre Fresnay in Marius by Marcel Pagnol (1931). Directed by Alexander Korda. Film restored in 2015 by the Compagnie Méditerranéenne de Films - MPC and La Cinémathèque Française , with the support of the CNC , the Franco-American Cultural Fund (DGA-MPA-SACEM- WGAW), the backing of ARTE France Unité Cinéma and the Archives Audiovisuelles de Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Nicolas Pagnol , and Hervé Pichard (La Cinémathèque Française). The work was carried out by DIGIMAGE. Colour grading by Guillaume Schiffman , director of photography. Fanny by Marcel Pagnol (Directed by Marc Allégret, 1932) and César by Marcel Pagnol (1936), which complete Marcel Pagnol's Marseilles trilogy, were also restored in 2015. "All Marseilles, the Marseilles of everyday life, the Marseilles of sunshine and good humour, is here... The whole of the city expresses itself, and a whole race speaks and lives. " René Bizet, Pour vous , 15 October 1931 SOGEDA Monaco LA CINÉMATHÈQUE FRANÇAISE CONTACTS Jean-Christophe Mikhaïloff Elodie Dufour Director of Communications, Press Officer External Relations and Development +33 (0)1 71 19 33 65 +33 (0)1 71 1933 14 - +33 (0)6 23 91 46 27 +33 (0)6 86 83 65 00 [email protected] [email protected] Before restoration After restoration Marius by Marcel Pagnol (1931). Directed by Alexander Korda. 2 The restoration of the Marseilles trilogy begins with Marius "Towards 1925, when I felt as if I was exiled in Paris, I realised that I loved Marseilles and I wanted to express this love by writing a Marseilles play. -
PROFECY – Processes, Features and Cycles of Inner Peripheries in Europe
PROFECY – Processes, Features and Cycles of Inner Peripheries in Europe (Inner Peripheries: National territories facing challenges of access to basic services of general interest) Applied Research Final Report Annex 12 Case Study Report Tamási járás (Hungary) Version 07/12/2017 This report is one of the deliverables of the PROFECY project. This Applied Research Project is conducted within the framework of the ESPON 2020 Cooperation Programme, partly financed by the European Regional Development Fund. The ESPON EGTC is the Single Beneficiary of the ESPON 2020 Cooperation Programme. The Single Operation within the programme is implemented by the ESPON EGTC and co-financed by the European Regional Development Fund, the EU Member States and the Partner States, Iceland, Liechtenstein, Norway and Switzerland. This delivery does not necessarily reflect the opinion of the members of the ESPON 2020 Monitoring Committee. Authors Katalin Kovács, Gergely Tagai, MTA KRTK (Hungary) Krisztina Magócs, Lechner Knowledge Center (Hungary) Advisory Group Project Support Team: Barbara Acreman and Zaira Piazza (Italy), Eedi Sepp (Estonia), Zsolt Szokolai, European Commission. ESPON EGTC: Marjan van Herwijnen (Project Expert), Laurent Frideres (HoU E&O), Ilona Raugze (Director), Piera Petruzzi (Outreach), Johannes Kiersch (Financial Expert). Acknowledgements Annamária Uzzoli, MTA KRTK (Hungary), Anna Hamar, MTA KRTK (Hungary) Information on ESPON and its projects can be found on www.espon.eu. The web site provides the possibility to download and examine the most recent documents produced by finalised and ongoing ESPON projects. This delivery exists only in an electronic version. © ESPON, 2017 Printing, reproduction or quotation is authorised provided the source is acknowledged and a copy is forwarded to the ESPON EGTC in Luxembourg. -
The Voyage of Hungarian Christian Democracy to the Heart of Europe
Pascal Fontaine The Voyage of Hungarian Christian Democracy to the Heart of Europe HUNGARIAN CHAPTERS Barankovics István Alapítvány TABLE OF CONTENTS Foreword to the English edition ..................................................................................... 4 Foreword to the Hungarian chapters ............................................................................. 6 Éva Petrás The History of Christian Democracy in Hungary –From the Beginning to 1949 ....... 9 Róbert Szabó A Christian Democratic Endeavour in East-Central Europe: the Democratic People’s Party (1944–1949) ........................................................................................... 25 Rita Mária Kiss Strategies of Party Identity in KDNP’s Policy (1989-1998) ........................................ 43 Éva Petrás The Voyage of Hungarian Christian Democracy to the Heart of Europe ................. 82 Róbert Szabó Background and Chronology of the Christian Democratic People’s Party, 1988–2010 ...................................................... 95 1988 ...................................................................................................................... 95 1989 ...................................................................................................................... 95 1990 ...................................................................................................................... 97 1991 .................................................................................................................... 100 -
A Monumental Debate in Budapest: the Hentzi Statue and the Limits of Austro-Hungarian Reconciliation, 1852–1918
A Monumental Debate in Budapest: The Hentzi Statue and the Limits of Austro-Hungarian Reconciliation, 1852–1918 MICHAEL LAURENCE MILLER WO OF THE MOST ICONIC PHOTOS of the 1956 Hungarian revolution involve a colossal statue of Stalin, erected in 1951 and toppled on the first day of the anti-Soviet uprising. TOne of these pictures shows Stalin’s decapitated head, abandoned in the street as curious pedestrians amble by. The other shows a tall stone pedestal with nothing on it but a lonely pair of bronze boots. Situated near Heroes’ Square, Hungary’s national pantheon, the Stalin statue had served as a symbol of Hungary’s subjugation to the Soviet Union; and its ceremonious and deliberate destruction provided a poignant symbol for the fall of Stalinism. Thirty-eight years before, at the beginning of an earlier Hungarian revolution, another despised statue was toppled in Budapest, also marking a break from foreign subjugation, albeit to a different power. Unlike the Stalin statue, which stood for only five years, this statue—the so-called Hentzi Monument—had been “a splinter in the eye of the [Hungarian] nation” for sixty-six years. Perceived by many Hungarians as a symbol of “national humiliation” at the hands of the Habsburgs, the Hentzi Monument remained mired in controversy from its unveiling in 1852 until its destruction in 1918. The object of street demonstrations and parliamentary disorder in 1886, 1892, 1898, and 1899, and the object of a failed “assassination” attempt in 1895, the Hentzi Monument was even implicated in the fall of a Hungarian prime minister. -
Camoenae Hungaricae 3(2006)
Camoenae Hungaricae 3(2006) SÁNDOR BENE ACTA PACIS—PEACE WITH THE MUSLIMS (Luigi Ferdinando Marsili’s plan for the publication of the documents of the Karlowitz peace treaty)* Scholars and spies Even during his lifetime, the keen mind of the Bologna-born Luigi Ferdinando Marsili was a stuff of legends—so much so that, soon after his death in 1730, the Capuchin monks of his city severed the head of the polymath count from his body and exhibited it in the crypt of their church on the Monte Calvario. Perhaps they hoped to benefit from the miraculous powers of one of the most enlightened minds of the century, perhaps they were under pressure from the beliefs of their flock to permit the veneration of the new, profane relic, it is hard to tell. In any case, the head was a peculiar testimony to the cult of relics, apparently including the bodily remains of scholars, which refused to die down in the age of reason—until it was eventually reunited with its body in the Certosa ceme- tery in the early 19th century when Napoleon disbanded the monastic orders.1 It is not inconceivable that the head of the count granted a favour or two to those beseeching it, however, the whole thing did constitute a rather improper use for a human head… At any rate, the story is highly emblematic of the way that Marsili’s legacy—an in- credibly valuable collection of nearly 150 volumes of manuscripts2—was treated by re- searchers of later generations. Scholarly interest in the Marsili papers was divided according to the researchers’ fields of interest—the botanists looked for material on plants,3 cartogra- * The preparation of this paper has been supported by the OTKA research grant Documents of the Euro- pean Fame of Miklós Zrínyi (Nr T 037477) but I have been regularly visiting Bologna for research purposes since 1997.