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Ungarn Jahrbuch
UNGARN–JAHRBUCH Zeitschrift für interdisziplinäre Hungarologie Herausgegeben von Zsolt K. Lengyel In Verbindung mit Gabriel Adriányi (Bonn), Joachim Bahlcke (Stuttgart) János Buza (Budapest), Holger Fischer (Hamburg) Lajos Gecsényi (Budapest), Horst Glassl (München) Ralf Thomas Göllner (Regensburg), Tuomo Lahdelma (Jyväskylä) István Monok (Budapest), Teréz Oborni (Budapest) Joachim von Puttkamer (Jena), Harald Roth (Potsdam) Hermann Scheuringer (Regensburg), Andrea Seidler (Wien) Gábor Ujváry (Budapest), András Vizkelety (Budapest) Band 33 Jahrgang 2016/2017 Verlag Friedrich Pustet Regensburg 2018 Ungarn–Jahrbuch. Zeitschrift für interdisziplinäre Hungarologie Im Auftrag des Ungarischen Instituts München e. V. Redaktion: Zsolt K. Lengyel mit Florian Bucher, Krisztina Busa, Ralf Thomas Göllner Der Druck wurde vom Nationalen Kulturfonds (Nemzeti Kulturális Alap, Budapest) gefördert Redaktion: Ungarisches Institut der Universität Regensburg, Landshuter Straße 4, D-93047 Regensburg, Telefon: [0049] (0941) 943 5440, Telefax: [0049] (0941) 943 5441, [email protected], www.uni-regensburg.de/hungaricum-ungarisches-institut/ Beiträge: Publikationsangebote sind willkommen. Die Autorinnen und Autoren werden gebeten, ihre Texte elektronisch einzusenden. Die zur Veröffentlichung angenommenen Beiträge geben nicht unbedingt die Meinung der Herausgeber und Redaktion wieder. Für ihren Inhalt sind die jeweili gen Verfasser verantwortlich. Größere Kürzungen und Bearbei- tungen der Texte er folgen nach Absprache mit den Autorinnen und Autoren. Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über http://dnb.dnb.de abrufb ar ISBN 978-3-7917-2811-7 Bestellung, Vertrieb und Abonnementverwaltung: Verlag Friedrich Pustet, Gutenbergstraße 8, 93051 Regensburg Tel. +49 (0) 941 92022-0, Fax +49 (0) 941 92022-330 [email protected] | www.verlag-pustet.de Preis des Einzelbandes: € (D) 44,– / € (A) 45,30 zzgl. -
Ungarn-Jahrbuch“
UNGARN–JAHRBUCH Zeitschrift für interdisziplinäre Hungarologie Herausgegeben von Zsolt K. Lengyel In Verbindung mit Gabriel Adriányi (Bonn), Joachim Bahlcke (Stuttgart) János Buza (Budapest), Holger Fischer (Hamburg) Lajos Gecsényi (Budapest), Horst Glassl (München) Ralf Thomas Göllner (Regensburg), Tuomo Lahdelma (Jyväskylä) István Monok (Budapest), Teréz Oborni (Budapest) Joachim von Puttkamer (Jena), Harald Roth (Potsdam) Hermann Scheuringer (Regensburg), Andrea Seidler (Wien) Gábor Ujváry (Budapest), András Vizkelety (Budapest) Band 33 Jahrgang 2016/2017 Verlag Friedrich Pustet Regensburg 2018 Ungarn–Jahrbuch. Zeitschrift für interdisziplinäre Hungarologie Im Auftrag des Ungarischen Instituts München e. V. Redaktion: Zsolt K. Lengyel mit Florian Bucher, Krisztina Busa, Ralf Thomas Göllner Der Druck wurde vom Nationalen Kulturfonds (Nemzeti Kulturális Alap, Budapest) gefördert Redaktion: Ungarisches Institut der Universität Regensburg, Landshuter Straße 4, D-93047 Regensburg, Telefon: [0049] (0941) 943 5440, Telefax: [0049] (0941) 943 5441, [email protected], www.uni-regensburg.de/hungaricum-ungarisches-institut/ Beiträge: Publikationsangebote sind willkommen. Die Autorinnen und Autoren werden gebeten, ihre Texte elektronisch einzusenden. Die zur Veröffentlichung angenommenen Beiträge geben nicht unbedingt die Meinung der Herausgeber und Redaktion wieder. Für ihren Inhalt sind die jeweili gen Verfasser verantwortlich. Größere Kürzungen und Bearbei- tungen der Texte er folgen nach Absprache mit den Autorinnen und Autoren. Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über http://dnb.dnb.de abrufb ar ISBN 978-3-7917-2811-7 Bestellung, Vertrieb und Abonnementverwaltung: Verlag Friedrich Pustet, Gutenbergstraße 8, 93051 Regensburg Tel. +49 (0) 941 92022-0, Fax +49 (0) 941 92022-330 [email protected] | www.verlag-pustet.de Preis des Einzelbandes: € (D) 44,– / € (A) 45,30 zzgl. -
Ungarn Jahrbuch
Ágnes Fülemile, Budapest The Odalisque Changes in the Meaning and Reception of an Orientalising Fine Arts Theme in Europe and Hungary* As an ethnographer carrying out field work in Transylvania (Romania), I have often come across (Turkish-Arabic) Oriental themes on wall hangings in the so-called best room of village homes, surprisingly even in areas – such as the villages of Kalotaszeg or Szék (Sic) in the Mezőség region (Transylvania Heath) – that have preserved until recently many of the traditional features of their culture. Representations of ornate seraglios, gardens of paradise with peacocks, bathing odalisques, da ncing houris, and odalisques reclining on di- vans are equally popular in rural and urban Hungarian, Romanian and Gypsy homes. At the weekly local markets or at fairs throughout the countryside it is not difficult to get hold of first- or second-hand plush velvet hangings featur- ing the favourite themes of Turkish-Arabic Orientalism: Oriental beauties and Bedouin warriors on horseback, the world of harems and abductions, and lion and tiger hunting scenes. What are the roots of such depictions? What are the reasons for this continuing interest? Why are contemporary generations of former peasant communities with their own traditional culture still touched with curiosity about such themes? In what follows, I present the process of creating visual stereotypes, and the ideas that can be evoked by them, through the concrete example of an analysis of the Western European image of the Turks in the history of art and culture. I provide an overview of the history of the iconography of the Ori- ental woman, and, within it, that of the odalisque,1 a conventionally popular * Extended Version of Ágnes Fülemile: Az “odaliszk” – Egy orientalizáló képzőművészeti téma jelentésének és recepciójának változásai. -
Trompe-L'oeil Decorative Schemes
Lucy Dean 510514 OCA: Understanding Western Art 1- History of Art 1 17th August 2016 Research point: Trompe-l'oeil decorative schemes For this exercise I must research some of the ways in which trompe-l‟oeil has been exploited in works of art, particularly in decorative schemes. According to the Tate: Trompe-l‟oeil is a “French phrase meaning „deceives the eye‟, which is used to describe paintings that create the illusion of a real object or scene” (Tate, n.d.). My inspiration for this task was a visit to the Hungarian State Opera House in Budapest in March 2016. Whilst on a tour of the building I encountered the large and expressive fresco of the Apotheosis of Music, 1875-1884, by the German-Hungarian painter Károly Lotz. Figure 1 The Apotheosis of Music, 1875-1884, ceiling fresco, by Károly Lotz. Part 5 – Inside, Outside Page 1 Lucy Dean 510514 OCA: Understanding Western Art 1- History of Art 1 17th August 2016 A brief description of the Apotheosis of Music, 1875-1884, by Károly Lotz (in the form of three spider diagrams) Figure 2 Spider diagram 1 of 3. Part 5 – Inside, Outside Page 2 Lucy Dean 510514 OCA: Understanding Western Art 1- History of Art 1 17th August 2016 Describing and relating the Apotheosis of Music, 1875-1884, by Károly Lotz (spider diagram 2 of 3) Figure 3 Figure 4 Spider diagram 2 of 3 Part 5 – Inside, Outside Page 3 Lucy Dean 510514 OCA: Understanding Western Art 1- History of Art 1 17th August 2016 Describing and relating the Apotheosis of Music (spider diagram 3 of 3) Figure 4 Figure 5 Spider diagram 3 of 3. -
KAHLO FRIDA (Magdalena Carmen Frida Kahlo Y Calderón) (Messico) Nata a Coyoacán, 6 Luglio 1907 E Ivi Morta Il 13 Luglio 1954
KAHLO FRIDA (Magdalena Carmen Frida Kahlo y Calderón) (Messico) Nata a Coyoacán, 6 luglio 1907 e ivi morta il 13 luglio 1954. Il padre, Carl Wilhelm Kahlo, era originario della città tedesca di Pforzheim. Frioda fu una pittrice dalla vita travagliata. Sosteneva di essere nata nel 1910, poiché si sentiva profondamente figlia della rivoluzione messicana di quell'anno e del Messico moderno. La sua attività artistica ha avuto di recente una rivalutazione, in particolare in Europa, con l'allestimento di numerose mostre. Affetta da spina bifida, che i genitori e le persone intorno a lei scambiarono per poliomielite (ne era affetta anche sua sorella minore), fin dall'adolescenza manifestò talento artistico e uno spirito indipendente e passionale, riluttante verso ogni convenzione sociale. A 18 anni rimase vittima di un incidente stradale tra un autobus su cui viaggiava e un tram, a causa del quale riportò gravi fratture. Ciò la segnò a vita, costringendola a numerose operazioni chirurgiche. Dimessa dall'ospedale, fu costretta ad anni di riposo nel letto di casa, col busto ingessato. Questa situazione la spinse a leggere libri sul movimento comunista e a dipingere. Il suo primo soggetto fu un autoritratto, che donò al ragazzo di cui era innamorata. Da ciò la scelta dei genitori di regalarle un letto a baldacchino con uno specchio sul soffitto, in modo che potesse vedersi, e dei colori; iniziò così la serie di autoritratti. Dopo che le fu rimosso il gesso riuscì a camminare, con dolori che sopportò per tutta la vita. Portò i suoi dipinti a Diego Rivera, illustre pittore dell'epoca, per avere una sua critica. -
The Throne of England
return to updates Thrones infltrated by Miles Mathis First published June 15, 2016 As usual, this is just my opinion based on private research. In previous papers, I have shown you that various Jewish families were able to infiltrate not only the Vatican, but the thrones of Sweden and France. Here I will show you how they also infiltrated the throne of England. You might say, “Why 'infiltrated'?” What's wrong with Jewish families being in royal lines? Nothing, on the face of it. Except that “infiltrated” implies clandestine methods, and that is what we will see. These families didn't honestly join the lines and households, announcing their presence. They changed their names and entered under assumed identities, denying all along they were Jewish. They still do. The Papacy was bought several times by the Medicis, as is known. I showed the Medicis were most likely Jewish. The same family then got to the throne of France, via Catherine and Marie de' Medici. The throne of Sweden was infiltrated by Catherine Jagiellon, daughter of Barbara Radziwiłł of Poland and Lithuania. Before we move to England, let us pause and show that the two infiltrations of France and Sweden are connected—indicating a probable link between the Medicis and the Radziwiłłs. Catherine de' Medici's fourth son became Henry III of France in 1574. He was supposed to marry Queen Elizabeth of England, but since they were both gay, it never happened. Anyway, a year before he became King of France, Henry was mysteriously “elected” King of Poland and Lithuania.