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Stephen I, Hungary's first Christian king (reigned 997-1038) has been celebrated as the founder of the Hungarian state and church. Despite the scarcity of medieval sources, and consequent limitations on historical knowledge, he has had a central importance in narratives of Hungarian history and national identity. This book argues that instead of conceptualizing modern political medievalism separately as an 'abuse' of history, we must investigate history's very fabric, because cultural memory is woven into the production of the medieval sources. Medieval myth-making served as a firm basis for centuries of further elaboration and reinterpretation, both in historiography and in political legitimizing strategies. In many ways we cannot reach the 'real' Stephen, but we can do much more to understand the shaping of his myths. The author traces the origin of crucial stories around Stephen, contextualizing both the invention of early narratives and their later use. A challenger to Stephen's rule who may be a medieval literary invention became the protagonist of a rock opera in 1983, also standing in for Imre Nagy, a key figure of the 1956 revolution; moreover, he was reinvented as the embodiment of true Hungarian identity. The alleged right hand relic was 'discovered' to provide added legitimacy for Hungary's kings and then became a protagonist of the entanglement of Church and state. A medieval crown was invested with supernatural status, before turning into a national symbol. This book analyses the often seamless flow that has turned medieval myth into modern history, showing that politicisation was not a modern addition, but a determinant factor from the start.
After the shock of the 1920 Treaty of Trianon, which Hungarians perceived as an unfair dictate, the leaders of the country found it imperative to change Hungary’s international image in a way that would help the revision of the post-World War I settlement. The monograph examines the development of interwar Hungarian cultural diplomacy in three areas: universities, the tourist industry, and the media—primarily motion pictures and radio production. It is a story of the Hungarian elites’ high hopes and deep-seated anxieties about the country’s place in a Europe newly reconstructed after World War I, and how these elites perceived and misperceived themselves, their surroundings, and their own ability to affect the country’s fate. The defeat in the Great War was crushing, but it was also stimulating, as Nagy documents in his examination of foreign language journals, tourism, radio, and other tools of cultural diplomacy. The mobilization of diverse cultural and intellectual resources, the author argues, helped establish Hungary’s legitimacy in the international arena, contributed to the modernization of the country, and established a set of enduring national images. Though the study is rooted in Hungary, it explores the dynamic and contingent relationship between identity construction and transnational cultural and political currents in East-Central European nations in the interwar period.
Hungarian cinema has often been forced to tread a precarious and difficult path. Through the failed 1919 revolution to the defeat of the 1956 Uprising and its aftermath, Hungarian film-makers and their audiences have had to contend with a multiplicity of problems. In the 1960s, however, Hungary entered into a period of relative stability and increasing cultural relaxation, resulting in an astonishing growth of film-making. Innovative and groundbreaking directors such as Miklós Jancsó (Hungarian Rhapsody, The Red and the White), István Szabó (Mephisto, Sunshine) and Márta Mészaros (Little Vilma: The Last Diary) emerged and established the reputation of Hungarian films on a global basis. This is the first book to discuss all major aspects of Hungarian cinema, including avant-garde, animation, and representations of the Gypsy and Jewish minorities.