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The multiple contributions of Hungarian society in the fields of art, science, technology and sports are highlighted here.
In May 2004, eight former communist states in Central and Eastern Europe acceded to the European Union. This new book examines the Eastern expansion of the EU through a tripartite structure, developing an empirical, conceptual and institutional analysis to provide a rounded and substantive account of EU enlargement, with new theoretical insights. The foreword is by written by Pat Cox, former president of the European Parliament. John O'Brennan also explores: why the EU decided to expand its membership what factors drove this process forward? how did the institutional environment of the EU influence enlargement outcomes? In this context he comprehensively covers the role of the European Council, Commission and Parliament. This important volume will of great interest to students and scholars of European politics and European Union studies.
The history of eugenics and racial nationalism in Central and Southeast Europe is a neglected topic of analysis in contemporary scholarship. Moreover, national historiographies in Central and Southeast Europe have either marginalized eugenics and racial nationalism or deemed them incompatible with their respective national traditions. Accordingly, this volume has a two-fold ambition: to excavate the hitherto unknown eugenic movements in Central and Southeast Europe and to explain their relationship with racism, nationalism and anti-Semitism. On the one hand, the historiographic perspective substantiated in this volume connects developments in the history of racial anthropology, genetics and eugenics with political ideologies such as racial nationalism and anti-Semitism; on the other hand, it contests the 'Sonderweg' approach adopted by scholars dealing these phenomena in Central and Southeast Europe by arguing that concerns with eugenics and race were as widely disseminated in these regions as they were in Western Europe and North America. Book jacket.
This book provides a selection of studies on witchcraft and demonology by those involved in an interdisciplinary research group begun in Hungary thirty years ago. They examine urban and rural witchcraft conflicts from early modern times to the present, from a region hitherto rarely taken into consideration in witchcraft research. Special attention is given to healers, midwives, and cunning folk, including archaic sorcerer figures such as the táltos; whose ambivalent role is analysed in social, legal, medical and religious contexts. This volume examines how waves of persecution emerged and declined, and how witchcraft was decriminalised. Fascinating case-studies on vindictive witch-hunters, quarrelling neighbours, rivalling midwives, cunning shepherds, weather magician impostors, and exorcist Franciscan friars provide a colourful picture of Hungarian and Transylvanian folk beliefs and mythologies, as well as insights into historical and contemporary issues.
When Csaba Teglas was confronted with the Nazi invasion of Hungary during World War II, the Soviet occupation following the Allied victory, and finally with the opportunity to escape the oppressive regime during the Hungarian Revolution of 1956, he responded not with fear, indecision, or submission, but with courage, ingenuity, and hope. In Budapest Exit: A Memoir of Fascism, Communism, and Freedom, Teglas begins with the story of his childhood in Hungary. During the war, the dramatic changes that took place in his country intensified with the invasion of the Nazis. The Nazis' defeat after the terrifying siege of Budapest should have led to freedom, but for Hungary it meant occupation by the Soviets, who were often little better than the fascists. A twelve-year-old friend of Teglas was forced to watch the brutal gang rape of a Jewish family member by the same Soviet soldiers who liberated her from the Nazis. Despite the difficulties of life in Budapest, Teglas met the challenge when sustenance of the family fell on his young shoulders. One of the innovative ways he earned money was to employ his playments to extract ball bearings from wrecked tanks and other military vehicles that he then sold to factories. He also sold rubber rings cut from bicycle tubes to use as canning seals. Before the communists solidified their rule, Teglas obtained admission to the Technical University of Budapest, where he earned a degree despite constant interference in the University by the communists. The following years under the Stalinist dictatorship were the harshest, and Teglas and his family and friends lived in constant fear; some were even subjected to the communist jails and torture chambers. But rather than standing idly by, Teglas protested, sometimes quietly, sometimes more vocally, against the Soviet and communist presence in Hungary. During the Hungarian Revolution of 1956, Teglas became more involved in the opposition to the communists. When it became clear that the revolutionaries were not going to succeed, he knew he had to leave Hungary to avoid retaliation for his involvement. Teglas recounts his dramatic escape through the heavily guarded Iron Curtain and his subsequent emigration to North America, where life an an immigrant presented new challenges. Teglas compares the genocide and tragedies of Nazi order in World War II and of communist rule to recent international events and ethnic cleansing in Central and Eastern Europe, including the former Yugoslavia. He also highlights the failure of the West to stop the war in Bosnia expediently and the possible far-reaching consequences of a "peace" treaty that aims to satisfy the demands of the aggressors while ignoring the rights of others in the Balkans. Even more, though, this memoir is Csaba Teglas's personal story of his youth, told from the point of view of a man with sons of his own. He found in America the freedom for which he had been searching, but he has raised his American sons to remain proud of their Hungarian heritage.
DIVExamines questions of agency, artisanship, and identity in relation to collaborative art practice./div
Our understanding of addiction and how it is treated has advanced remarkably over the past decades, and much of the progress is related directly to animal research. This is true for both the behavioural aspects of drug use as well as the biological underpinnings of the disorder. In Animal Models of Drug Addiction, experts in the field provide an up-to-date review of complex behavioural paradigms that model different stages of this disorder and explain how each test is used to effectively replicate the progression of drug addiction. This detailed and practical book begins with the most common laboratory measures of addiction in animals, including intracranial self-stimulation (ICSS), drug self-administration, place conditioning, and sensitization. Later chapters describe how these paradigms are used to model the progression of drug addiction, providing insight into the clinical symptomatology of addiction from acquisition of drug use through compulsive drug taking to withdrawal and relapse. Written for the popular Neuromethods series, the contributions offer both methodological detail and a theoretical perspective, appealing to readers familiar with preclinical research on drug addiction as well as those who are newcomers to the field. Cutting-edge and authoritative, Animal Models of Drug Addiction will serve as a basis for future vital research that links the bench to the bedside in the crucial treatment of drug addiction.
“Don’t start an art collective until you read this book.” —Guerrilla Girls “Ever since Web 2.0 with its wikis, blogs and social networks the art of collaboration is back on the agenda. Collectivism after Modernism convincingly proves that art collectives did not stop after the proclaimed death of the historical avant-gardes. Like never before technology reinvents the social and artists claim the steering wheel!” —Geert Lovink, Institute of Network Cultures, Amsterdam “This examination of the succession of post-war avant-gardes and collectives is new, important, and engaged.” — Stephen F. Eisenman, author of The Abu Ghraib Effect “Collectivism after Modernism crucially helps us understand what artists and others can do in mushy, stinky times like ours. What can the seemingly powerless do in the face of mighty forces that seem to have their act really together? Here, Stimson and Sholette put forth many good answers.” —Yes Men Spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism explores the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. Together, these essays demonstrate that collectivism survives as an influential artistic practice despite the art world’s star system of individuality. Collectivism after Modernism provides the historical understanding necessary for thinking through postmodern collective practice, now and into the future. Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubn Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c, Reiko Tomii, Rachel Weiss. Blake Stimson is associate professor of art history at the University of California Davis, the author of The Pivot of the World: Photography and Its Nation, and coeditor of Visual Worlds and Conceptual Art: A Critical Anthology. Gregory Sholette is an artist, writer, and cofounder of collectives Political Art Documentation/Distribution and REPOhistory. He is coeditor of The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life. “To understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production is the aim of Collectivism after Modernism. The essays assembled in this anthology argue that to make truly collective art means to reconsider the relation between art and public; examples from the Situationist International and Group Material to Paper Tiger Television and the Congolese collective Le Groupe Amos make the point. To construct an art of shared experience means to go beyond projecting what Blake Stimson and Gregory Sholette call the “imagined community”: a collective has to be more than an ideal, and more than communal craft; it has to be a truly social enterprise. Not only does it use unconventional forms and media to communicate the issues and experiences usually excluded from artistic representation, but it gives voice to a multiplicity of perspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires.” —BOMB