Relevant bibliographies by topics / Hungarian Arts

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Hungarian Arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Hungarian Arts"

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Szenkovics, Dezső. "Huszti Györgytől Brunner Erzsébetig: magyar–indiai kultúrkapcsolatok az évszázadok tükrében." Modern Geográfia 17, no. 2 (April 2022): 45–65. http://dx.doi.org/10.15170/mg.2022.17.02.04.

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Throughout their history, Hungarians have always looked with great interest at the East, in which they saw their former homeland, Magna Hungaria. Perhaps this is the reason why the instinctive interest of Hungarian travellers, scientists, merchants and artists was sincere. At the same time, it is surprising that, despite the fact that the Hungarian nation was never one of the European colonizers, many Hungarians, or persons belonging to a minority living in the territory of Hungary, showed interest in the East and came to India over the centuries. These individuals, returning home and writing down the experiences they gained during their stay in India, have contributed significantly to giving Europeans an insight into the exotic world of Indian religions, literature, languages, arts. Without wishing to be exhaustive, the study highlights the development of Hungarian–Indian cultural relations and presents those Hungarians who played an important role in the continuous development of these cultural ties.
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Szenkovics, Dezső. "Cultural Ties between Hungary and India. A Short Overview." Acta Universitatis Sapientiae, European and Regional Studies 16, no. 1 (December 1, 2019): 91–119. http://dx.doi.org/10.2478/auseur-2019-0014.

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Abstract The interest of the Hungarians towards Asia is deeply rooted in the historical fact that the ancestors of the Hungarian nation arrived in their present country from the East. Over the centuries, this historical fact has significantly determined the interest and openness of the Hungarian people towards the East. In spite of the fact that the Hungarian people did not belong to the European colonizers, during the centuries, a large number of Hungarian travellers (monks, artists, scholars, and nobles) reached the coasts of India and contributed to the spread of Indian religions, literature, languages, arts, etc. in Europe.
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Malovic, Gojko. "Serbian perception of Hungarian cultural achievements between two World Wars." Zbornik Matice srpske za drustvene nauke, no. 149 (2014): 875–900. http://dx.doi.org/10.2298/zmsdn1449875m.

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Because of the conflict between the Hungarians and the Serbs in the World War I, several years after its end Serbian public did not put much effort into perceiving and forming impressions of Hungarian cultural achievements. Nonetheless, Yugoslav state institutions, primarily the Ministry of Education (also in charge of cultural affairs), paid close attention to developments in the domain of Hungarian cultural achievements. Serbian public gradually became more interested in Hungarian cultural achievements and contents. It was informed about Hungarian cultural achievements largely through articles in Hungarian newspapers and magazines, above all those specialized in cultural and artistic contents in Hungary, particularly in Budapest, covering the events in the following fields: literature, theater, music and singing, visual arts, film, and radio shows. The Yugoslav (Serbian) press also published articles on Hungarian cultural contents. Many recorded notes, findings, impressions and opinions-predominantly positive ones - of leading Serbian intellectuals, primarily writers, were preserved, which may be viewed as paradigmatic Serbian interpretations of many segments of Hungarian cultural and artistic events between the two world wars. There were many initiatives by Hungarian cultural figures, as well as by leading Serbian intellectuals, for a closer and more direct contact with Hungarian cultural achievements through visits and presentations of cultural contents by prominent Hungarian writers, actors and theater troupes, singers and choirs, visual artists and other Hungarian cultural and artistic groups in Serbian towns, foremost in Vojvodina, a significant number of which were carried out. Many Serbs became directly acquainted with Hungarian cultural contents and accomplishments between the two world wars by visiting numerous cultural events in Hungary, primarily in Budapest.
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Vančo, Ildikó. "The “we” vs. “they” distinction in Slovakia Hungarians' discourse." Hungarian Studies 34, no. 1 (March 20, 2021): 73–84. http://dx.doi.org/10.1556/044.2020.00007.

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AbstractLinguistic differentiation is a basic component of sociocultural differentiation: social processes create the social and linguistic meanings of variants, sometimes also contributing to language change through discourse processes. In addition to being continuously constructed, discourse is in a dialectic relationship with extra-discursive factors and can therefore be studied only when embedded in its social and linguistic contexts (cf. Fairclough 2010: 3–5, Laihonen 2009). In this article I investigate how the notion of “we” occurs in the metalinguistic discourse of Hungarian speakers in Slovakia (with reference to Slovakia Hungarians and their Hungarian language use) (cf. Kontra 2006) in contrast with the notion of “they” (with reference to Hungary Hungarians and their Hungarian language use) in lay speakers' utterances referring to language. The study reported on in this article uses directed interviews and employs discourse analysis to provide insight into the use of “we” vs. “they” and their meanings in the Slovakia Hungarian variety. It also seeks to show how certain expressions become indexical in conceptualizations of identity and how the distinction of “we” vs. “they” is created by language.
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Obradović, Nenad. "ОПСАДА ШАПЦА 1476. ГОДИНЕ." Историјски часопис, no. 72/2023 (December 30, 2023): 237–79. http://dx.doi.org/10.34298/ic2372237o.

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The paper aims to outline one stage of the Hungarian-Ottoman battles in the area of Posavlje, in which Serbian warriors played their role. In addition, our intention was to make the reconstruction as detailed as possible, using the most important Western and Hungarian diplomatic and narrative sources along with relevant literature in Serbian and Hungarian languages. Among the sources, we placed a particular emphasis on the epic about the siege of the city in the Hungarian language, which is also one of the oldest works of this kind among the Hungarians and has so far not received adequate attention in Serbian historiography.
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Rethelyi, Mari. "The Khazar Ancestry of Hungarian Jews." Nineteenth Century Studies 34 (November 1, 2022): 95–115. http://dx.doi.org/10.5325/ninecentstud.34.0095.

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Abstract In late nineteenth century Hungary, progressive Jewish (Neolog) scholars wrote several articles in Neolog journals publicly supporting theories of common ancestry and race with Hungarians. They created a unique identity for themselves through discussions of common origin and history, making Jews into Hungarians. One of their main theories was that of Khazar ancestry, which, despite being controversial even in its own time, enabled stories of a common Judeo-Hungarian past and race to emerge. The Hungarian nationalism that was key to their self-definition underlay all arguments concerning the nature and ancestry of Hungarian Jewish identity. They not only created histories compatible with those of the Hungarians but also molded them into something new. Examining their narratives, we can rethink the conceptual framework of the modern Jewish experience and see the successes of integration from the minority’s point of view. In this way, we can detect another perspective on history, one that does not define the modern European Jewish experience as a story of either the success or the failure of assimilation as measured by the severity of anti-Semitism but allows the minority’s voice come to light.
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Kárpáti, Andrea. "Interdisciplinarity – A New Perspective for Hungarian Arts Education." International Journal of Music Education os-11, no. 1 (May 1988): 17–20. http://dx.doi.org/10.1177/025576148801100102.

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Birnbaum, Marianna D., and Tekla Domotor. "Hungarian Folk Beliefs." Western Folklore 45, no. 1 (January 1986): 75. http://dx.doi.org/10.2307/1499620.

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Gaspers, Kinga Nijinsky, Christian Dumais Lvowski, and Redjep Mitrovitsa. "Hungarian Theatre Festival." Theatre Journal 47, no. 1 (March 1995): 137. http://dx.doi.org/10.2307/3208816.

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Gaspers, Kinga Szakats. "Hungarian Theatre Festival." Theatre Journal 46, no. 1 (March 1994): 121. http://dx.doi.org/10.2307/3208960.

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Dissertations / Theses on the topic "Hungarian Arts"

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Toth, Ibojka Maria. "Borderland American - Hungarian video installation /." [Kent, Ohio] : Kent State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1165764619.

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Thesis (M.F.A)--Kent State University, 2006.
Title from PDF t.p. (viewed March 27, 2008). Advisor: Martin Ball. Keywords: American - Hungarian Video Installation, 1956 Hungarian Revolution, Budapest, Hungary, Documentary - Style Production Process, Fragmented Memories of Time and Place, American - Hungarian Struggles with Personal and Cultural Identities, Discourse about Mul.
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Mihalyi-Jewell, Gyorgyi Sara. "Szuret: Translating Magda Szabo." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1420913280.

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Batori, Anna. "Enclosed spatial formations : space and place in the socialist and post-socialist Romanian and Hungarian cinema." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/7890/.

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The thesis proposes a comparative textual research on Hungarian and Romanian cinema by setting up a model that informs the implicit cinematic reflection on socialism in film. By establishing two aesthetic categories – horizontal and vertical enclosure –, the thesis argues that the spatial structure of the narratives reveals and alludes to the oppressive policy of the Hungarian and Romanian socialist regimes. The first part of the research scrutinises the space in Romanian cinema, and investigates the birth of the vertical enclosure. The analysis focuses on the spatial representation of Bucharest, that is the claustrophobic illustration of the urban landscape and its space depicted by the tools of notorious surveillance on screen. As argued in the thesis, the architectural forms and their film representations build up a spatial constellation identical to Bentham’s Panopticon discussed by Michel Foucault. The second part of the investigation concentrates on Hungarian cinema and the evolution of horizontal enclosure in film. Through textual analysis of the selected films that are set on the Great Hungarian Plain, the thesis discusses the allegorical use of space during and after socialism. Therefore, while concentrating on the circularity of the location and the mise-en-scène of the films – that refer to the isolation and indefiniteness of space – the author argues that the directors recall the parabolic language of the cinematic corpus of the socialist epoch. As concluded by the work, the contemporary art cinema of Romania and Hungary both reference socialism by using space as the main device for the implicit textual reflections. In this way, horizontal and vertical enclosure also emphasise the revival of the forms of the socialist aesthetics.
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Radway, Robyn Dora. "In the name of Saint George : ivory saddles from the fifteenth century." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1311.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Art
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Panaite, Vanessa. "A retrospective and prospective comparison of Hungarian children who have one or two episodes of depression." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3738.

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Early onset depression is associated with high recurrence rates later in life. Recurrent depressive episodes during childhood may be particularly problematic, if additional episodes have a scarring effect that hinders healthy development. Distinguishing between first onsets and recurrences has been useful in understanding adult depression. This distinction has seldom been examined in pediatric depression, in part because it is difficult to enroll adequate samples of children with recurrent depression. We conducted archival analyses of carefully-diagnosed pediatric probands with depression first onset between ages of 4 and 12. Probands who reported one depressive episode (N = 435) were compared with probands who reported two depression episodes (N = 115) on clinical (treatment, comorbidities), psychosocial (negative life events (NLEs), parental psychopathology) and emotion regulation measures. Based on previous findings in older adolescents and adults, we hypothesized that probands with two MDEs will have higher comorbidity, parental psychopathology, more NLEs, and higher maladaptive emotion regulation scale scores than probands with one MDE. Surprisingly, probands with one and two MDEs were indistinguishable on psychological and pharmacological treatment variables. As expected, probands with two MDEs had lower age of first onset, higher maladaptive emotion regulation scores, higher rates of comorbid anxiety and reported more NLEs than probands with one MDE. Probands with two MDEs also spent a longer total time in episode; group differences remained after controlling for time spent depressed. Distinguishing between first onsets and recurrences is meaningful in pediatric depression.
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Weatherston, Kristine T. "Nonfiction, Documentary and Family Narrative: An Intersection of Representational Discourses and Creative Practices." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3602.

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Nonfiction, Documentary, and Family Narrative:
 An Intersection of Representational Discourses and Creative Practices explores the role of personal memory, family history, and inter-generational storytelling as the basis for making a nonfiction film. The film, American Boy, tells the story of my mother’s immigration to the United States after the failed Hungarian Revolution of 1956, opening a discussion of four generations of my family life in the context of historical events, exile, self re-invention, and identity formation. As a media producer and nonfiction author, I narrate my understanding of these events to my infant son, as a way of communicating my grandfather’s role in the revolution, my mother’s childhood, and my own mediation of my family’s trauma. Through the use of archival footage including newsreels and commercials, as well as my own archive of family photos and documents, I re-construct the existing materials to build my own associations concerning time, memory, and place. The film, as my creative practice, leads to a theoretical analysis of representational discourses which inform the work. This deconstruction of nonfiction and meta-analysis includes my study of several practitioners in the craft of non-fiction: Kati Marton, Robert Root, Primo Levi, Eva Hoffman, Patricia Hampl, Dinty W. Moore, Peter Balakian and others.
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Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.

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Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus large
This dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background
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Tajti, Norbert. "Enhancing Hungarian Special Forces through transformation--the shift to Special Operations Forces." Thesis, Monterey, California : Naval Postgraduate School, 2010. http://edocs.nps.edu/npspubs/scholarly/theses/2010/Jun/10Jun%5FTajti.pdf.

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Thesis (M.S. in Defense Analysis)--Naval Postgraduate School, June 2010.
Thesis Advisor(s): Lee. Doowan ; Second Reader: Greenshields, Brian H. ; Third Reader: Porkolab, Imre. "June 2010." Description based on title screen as viewed on July 14, 2010. Author(s) subject terms: Special Forces, Special Operations Forces, Hungary, organizational design, special operations, NATO. Includes bibliographical references (p. 103-108). Also available in print.
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Fisher, Melanie T. "Hungarian ethos and international modernism in the art of B'ela K'ad'ar (1877-1956)." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387379816.

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Suto, Erengo. "Exploration of Second Generation Hungarian American Identity Development Through Art and Personal Narratives." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/83.

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This paper was an exploration of second generation Hungarian American identity development seeking to augment the understanding we have regarding second generation immigration, and particularly that of the children of those Hungarians who left during the communist occupation or shortly after the fall of the Iron Curtain. The research methodology used was a qualitative inquiry of semi-structured narrative interviews with an art-making component, from which emergent themes were identified. The five emergent overarching themes found were: The unique experience of being Second- Generation to immigrant parents, Hungarian American Identity, Misperceptions connected to being part of a white minority group, A closed system serves as a protective factor, and Art as a facilitator for expression and meaning making. These themes are examined against existent literature pertaining to the experience of second-generation Hungarian Americans, and discussed within the context of clinical applications and possible future research.
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Books on the topic "Hungarian Arts"

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L, Somlyódy, and Somlyódy Nóra, eds. Hungarian arts and sciences, 1848-2000. Boulder, Colo: East European Monographs, 2003.

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Beke, László. Művészet/elmélet: Tanulmányok, 1970-1991. Budapest: Balassi, 1994.

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Nyáry, Krisztián. # Elszigetelve. Miercurea-Ciuc: Bookart, 2021.

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V, Donumenta Regensburg e., ed. Donumenta: 2010, Hungary, International Festival for Art and Culture in Regensburg, September 16th to November 6th, 2010 : ars danubiana, Liberation Formula, exhibtion of the occasion of donumenta 2010, September 16th to October 31st, 2010. Regensburg: Donumenta e.V., 2010.

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Ács, Anna. Veszprémi művészek és mecénások a századelőn. [Veszprém]: Veszprém Megyei Múzeumi Igazgatóság, 1994.

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Christopher, Carrell, Steel Phyllis, and Third Eye Centre, eds. Hungarian arts in Glasgow: 5 October-9 November 1985. Glasgow: Third Eye Centre, 1985.

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Pál, József. A neoklasszicizmus poétikája. Budapest: Akadémiai Kiadó, 1988.

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Imre, Henszlmann. Válogatott képzőművészeti írások. Budapest: Felelős Kiadó, 1990.

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Dezső, Keresztury. Kapcsolatok. Budapest: Magvető, 1988.

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Fenyvesi, Áron. Batykó Róbert: Festmények 2003-2021 = Batykó Róbert : paintings 2003-2021. Edited by Batykó Róbert 1981 editor. Budapest: acb Galéria / abc Gallery, 2022.

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Book chapters on the topic "Hungarian Arts"

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Jaworska, Krystyna. "L’Europa di Kazimiera Iłłakowiczówna." In Biblioteca di Studi Slavistici, 169–77. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-910-2.19.

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This article explores Kazimiera Iłłakowiczówna’s poem Wyznanie (Admission) in light of the author’s multilingual education and constant movement across national borders. Iłłakowiczówna, who was opposed to nationalism approaches and considered Polish tradition to be of a piece with European culture, translated into Polish several masterpieces from French, English, German, Russian, Romanian, and Hungarian literary traditions. In order to demonstrate the role that different literary traditions and the visual arts played in writings such as Wyznanie, we also investigate Iłłakowiczówna’s paratexts – her memoirs, talks, and letters.
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Albrecht, Zsófia. "SENsational art An educational programme for children with behavioural issues and Special Educational Needs (SEN) and an in-service training programme for their teachers at the Hungarian National Gallery." In Arts-Based Interventions and Social Change in Europe, 217–23. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003376927-29.

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Switzer, Terri. "Nationalism and the Myth of Hungarian Origin." In A Companion to Nineteenth-Century Art, 371–90. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118856321.ch22.

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Urbán, Erzsébet. "Monument Preservation during Socialism: Restorations and Reconstructions of Hungarian Roman Catholic Churches in the 1960–70s." In State Construction and Art in East Central Europe, 1918–2018, 278–87. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003265818-29.

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Révész, Béla. "A dombrádi „telepesekről”." In Fontes et Libri, 179–90. Szeged, Hungary: Szegedi Tudományegyetem, 2023. http://dx.doi.org/10.14232/btk.2023.sje.16.

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From 1949 to 1953, Mátyás Rákosi, the Hungarian communist dictator was nearly all-powerful. His Stalinist political leadership in 1951 started a campaign of internment of people who were considered enemies of the state. The internment camps were established in various locations across Hungary, including the village of Dombrád (the birthplace of József Sipos). The internment campaign was part of a larger effort by the Hungarian government to suppress dissent and opposition of its policies. The government targeted people who were suspected or just claimed to be involved in anti-communist activities or who were deemed to be a threat to the state. In 1951, thousands of middle- and upper-middle class citizens in the capital, even who were only considered to be so, were forcibly transferred to settlements in the countryside. Members of the bourgeoisie, the aristocracy or the old political elite were also considered untrustworthy. Many of them were evicted from their homes, their property was confiscated and they were forced into run-down accommodations, even sent to labour camps. Their apartments and houses were occupied by Communist Party cadres, who immediately got their hands on valuable furniture and works of art. Forced labour camps were also built based on the Soviet model. In the camps around the village of Hortobágy – just as in Dombrád –, displaced persons had to work hard in appalling conditions. They were all called as “class enemies” of the communist system. In July 1953, Rákosi, who had presided over the government as well as the Party since 1952, was deposed from his former office in favour of Imre Nagy. The new prime minister promised a new course: more tolerance in political life, especially towards the intelligentsia and the churches, release of political prisoners and closure of the internment camps. Many of these reforms were really introduced and were welcomed by the people. The study aims to briefly describe these years, focusing on the case of the village of Dombrád.
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Nóra, Veszprémi. "Visual arts : Hungarian." In Encyclopedia of Romantic Nationalism in Europe. Amsterdam University Press, 2015. http://dx.doi.org/10.5117/9789462981188/ngnu5z36zoaj8yaigngj7umx.

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"Arts and Crafts." In Catalogue of the Persian Manuscripts in the Library of the Hungarian Academy of Sciences, 159–60. BRILL, 2018. http://dx.doi.org/10.1163/9789004368392_009.

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Gantner, Eszter B. "MA Group, The." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2058-1.

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The Hungarian avant-garde MA (Today) group was founded by Lajos Kassák in 1916 as a successor of A Tett (The Act), which had been banned in 1915 because of its anti-militarist stance. The MA magazine was characterised by anti-militarism, Expressionist positions in literature and the visual arts, and international aspirations. The authors of MA were the left-wing writers and poets Aladár Komját, Sándor Barta, and Barta Lajos, who were collaborating with the Berliner magazines Der Sturm and Die Aktion. All members of the group emigrated to Berlin after the collapse of the Hungarian Soviet Republic in 1919.
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Biró, Eszter. "Beyond the Photograph." In Advances in Media, Entertainment, and the Arts, 389–416. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-5337-7.ch018.

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This chapter studies the oral-performative-interactive register of family photographs with a focus on excavating previously silenced private memories and forging them into counter-narratives generations later. Conducted in a Hungarian divided memory context, the research explores how confabulation can be utilised as an excavation strategy. In the performative data gathering process, the participant interacting with the listener is transformed into a storyteller; through the confabulative process, they inscribed their subjective voice and gained ownership of their past, subsequently rendering their narratives counter to the dominant ideological frameworks. The chapter reports on the methodological challenges and strategies of capturing confabulation through a fine art research practice, taking up two positions, two roles: autoethnographic and archivist-edit.
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Suba, Zoltán. "Master and Disciple: Bertel Thorvaldsen’s Private Collection and Its Impact on Neoclassicism." In Collecting Antiquities from the Middle Ages to the End of the Nineteenth Century: Proceedings of the International Conference Held on March 25-26, 2021 at the Wrocław University Institute of Art History, 83–97. Ksiegarnia Akademicka Publishing, 2021. http://dx.doi.org/10.12797/9788381385862.03.

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At the birth of archeology as a new science, Neoclassicism appeared on the stage of decorative and visual arts as well as that of architecture. The fascination with the rediscovered artifacts of antiquity led artists not to just collect them, but also to utilize them to rethink the legacy of Classical art and create something new out of it. One of the most admired masters of Neoclassicism, the Danish sculptor Bertel Thorvaldsen, had his own collection of antiquities which is now preserved in the Thorvaldsen Museum in Copenhagen. In the following I will attempt to capture the impact that these artifacts and plaster casts had on his work, and also point out how important his role was in the education of apprentices during his Roman period. To demonstrate its significance, I will turn to his Hungarian apprentice, István Ferenczy, and drawings, statues, and letters to connect both the master and the disciple to the ancient past.
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Conference papers on the topic "Hungarian Arts"

1

Mori, Tomas. "JOZEF BEM IN THE POLISH AND HUNGARIAN LITERATURE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s11.030.

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Zakota, Zoltan. "HUNGARIAN-ROMANIAN CROSS-BORDER CO-OPERATION BETWEEN 1990 AND 2013." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b21/s4.021.

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Gergelyova, Viktoria. "THE DETERMINATION OF READING HABITS AMONG HUNGARIAN STUDENTS IN SLOVAKIA." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/2.1/s10.040.

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Petric, Evelin. "TRANSLATION AND ADAPTATION OF THE SOCIAL-EMOTIONAL COMPETENCE QUESTIONNAIRE FOR HUNGARIAN POPULATION." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/3.2/s11.069.

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Veres, Anna. "ADAPTATION OF CAREER MATURITY INVENTORY-FORM C FOR HUNGARIAN SAMPLE LIVING IN TRANSYLVANIA." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/32/s11.003.

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Veres, Anna. "CAREER ADAPT-ABILITIES SCALE-TRANSYLVANIAN HUNGARIAN FORM: PSYCHOMETRIC PROPERTIES AND RELATIONSHIP TO WORK EXPERIENCE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/32/s11.007.

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Edit, Maior. "BURNOUT IN HUNGARIAN HIGH SCHOOL TEACHERS: THE ROLE OF SELF-EFFICACY AND BASIC NEEDS SATISFACTION." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b11/s1.005.

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Zhang, Xiaojie. "The Painting Technical Characteristics and Sources of Hungarian Painter MihALy MunkACsy in the 19th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.65.

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Szegedi, Péter. "Youth against the Orbán-regime Young supporters of the Hungarian Two-tailed Dog Party and Beyond." In The 4th International Conference on Social Sciences, Humanities, and Arts. Global Ks, 2023. http://dx.doi.org/10.33422/4th.icsha.2023.04.003.

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Bartko, Robert. "THE RIGHT ON USE OF NATIVE LANGUAGE IN THE NEW HUNGARIAN ACT ON CRIMINAL PROCEDURE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/11/s02.049.

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