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Abstract
At the center of the study is the motif spread in Italy and Greece, in the Middle Ages and in folklore, of Mary's search for Jesus during the Passion. The historiographical and philological reconstruction of the motif takes its cue from a medieval Italian text, the “Pianto delle Marie marchigiano”, and first investigates modern Italian songs, to show their continuity with the Middle Ages; then the observation expands to the Hellenic “moirologia”, to highlight the strong resemblance to the Italic counterparts; we therefore try to bring these similarities back to historical unity, showing that we are dealing with two forms in which a long-lasting cultural memory persists.
„Wer um alles in der Welt ist Pom-Pom?”
Platzhalter und recycelte Erinnerung im öffentlichen Raum
Abstract
The article deals with the stories of Pom-Pom, which appeared in Hungary from the beginning of the 1980s, initially in the media network of picture books and animated films. Since the 2010s, the characters have increasingly appeared in the public space of Budapest: first in the context of thematic playgrounds, then in the form of mini-sculptures, and finally street art murals. In terms of time, these events coincide on the one hand with the so-called critical threshold, that transition between communicative and cultural memory, and on the other hand they set in at a point in time initiated by the operational end as well as the incipient building decay of the renowned Pannónia film studios. The examples chosen solely according to the criterion of visibility in public space prove to be representations planned, supported and tolerated by the public authorities.
Abstract
This article presents the findings of the first part of a research project on the Western canon and Israeli active cultural memory in the Digital Era. The article focuses on the methodological problems of mapping a national cultural memory from the angle of the use it makes of Western literary heritage. The detailed description of the mapping process—beginning with the construction of an initial list of relevant canonic texts and ending with the validation of three cultural “memes” (Don Quixote’s tilting the windmills, Hamlet’s contemplation of suicide, and Romeo and Juliet as the ultimate lovers) as the most appropriate matter for constructing multimedia hypertext educational threads, touches upon many aspects of Intertextuality and Cultural memory theories, and the positive and negative aspects of the Internet with respect to both.
Magyar történelmi témák 18. századi bécsi festői: adatok Wenzel Pohl munkásságához és az August Rumelnek tulajdonított mohácsi csata-képhez
18th century viennese painters of Hungarian historical themes: addenda to Wenzel Pohl’s work and the battle of mohács painting attributed to August Rumel
Media news made the name of Wenzel Pohl known in Hungary in the early 2000s, for the two large history paintings (The Battle of Mohács, Saint Stephen converting the Hungarians to the christian faith), which had cropped up in the art trade and which were purchased by the Hungarian state and deposited in the Hungarian embassy in Vienna, were attributed to him. Although more recent research has proposed that the painter of the cycle once consisting of six pieces was most probably August Rumel and not Pohl, it is worth knowing of Pohl’s artistic activity irrespective of the Hungarian relevance, too, because his person is gradually fading out of art historiography – for example, his name is missing from the 96th volume of the Saur Allgemeines Künstlerlexikon published in 2017.
The best-known Pohl portraits are the ones he painted of the noted Jesuit astronomer, mathematician and physicist Miksa Hell. A full-figure portrait shows the scientist in traditional Sami costume during his research trip to the North, and we know of a portrait showing Hell is a monk’s frock. His engraved copies of paintings in the Viennese imperial collection, real forerunners to the representative 19th century album of prints presenting the collection, probably belong to a series. In the cycle of paintings about the coronation of Joseph II as Holy Roman Emperor (Frankfurt, 1765) he was assigned the painting of architectural details, which is confirmed by the fact that he was sent on a study trip to Frankfurt to make drawn sketches of the venues of the event. After the representative painting of Martin van Meytens he made a small-scale version of the group portrait of Maria Theresa and her family. His chef d’oeuvre is the representative painting series showing the events of the coronation of Maria Theresa in Pozsony in 1741 painted for the Hungarian court chancellery in Vienna. He painted it with Franz Messmer in the second half of the 1760s. In contrast, the three portraits of monarchs in Riesensaal in Innsbruck so far attributed to him by researchers were actually painted by Jakob Kohl.
The other part of the paper contributes a few new viewpoints to the examination of the painting about the battle of Mohács earlier attributed to Pohl. In addition to contemporaneous woodcuts of the tragic battle of 1526 in news-letters and pamphlets in German, to 16th century Turkish miniatures, and diverse 16–18th century European manuscript and book illustrations, a ceiling fresco in Garamszentbenedek and several large paintings – including Rumel’s work – also conjured up the battle in the 18th century. Since in the nation’s historical consciousness and cultural memory the battle of Mohács did not acquire its symbolic, mythic position represented to this day before the 19th century, the two works of art were way ahead of their time in anticipating the salient position of the tragic event, because, unlike, for example, István dorffmaister’s late 18th century pictures ordered in Mohács, they show the battle as a fatal even in the history of the entire nation. on the other side, by the terminating piece of the series ordered for the Transylvanian court chancellery being the battle of Mohács, the client departed from the 18th century imperial, dynastic outlook which presented as positive parallels to the battle of Mohács and the capture of Szigetvár by the Turks the victorious battles of the late 17th century liberating war led by the Habsburg Empire: the second battle of Mohács and the recapture of Szigetvár, partly as examples of divine justice and partly as legitimation of the Habsburg Empire’s territorial expansion “earned with blood”. It is noteworthy that the right side of central scene of Rumel’s Battle of Mohács resembles the composition of leonardo da Vinci’s Battle of Anghiari surviving in copies only. It is presumable that the renaissance battle scenes served as a model example for the painter.
Cultural History, and the creator of the comprehensive catalogue of Hungarian legends, published in 2018, which, with its 12 volumes, is an outstanding contribution to the exploration of historical and cultural memory as preserved in epic oral traditions
belonging to cultural memory that have given rise to a community of fate; grievances suffered as a result of cultural otherness in surrounding settlements, etc.), while it has become far more important to elevate the balanced functioning of social
-historical schemes and mythological orA biblical allusions are also important (e.g., the abduction of Ganymede, the relationship between Achilles and Patroclus, the story of David and Jonathan), as these are also vivid role possibilities in cultural memory ( Woods
Az identitás régészetének elméleti alapjai
Theoretical foundations of the archaeology of identity
This study offers a brief review of the main research directions and issues in the archaeology of identity. Discussed here are the components of identity – meaning the statuses and roles that determine the individual’s relation to, and membership in, a community as well as to other individuals, which are essentially the elements of social cohesion and social organisation – and its formation as well as the various options for categorisation and the modes of display through cultural memory and material culture.
The life-work of Augustus and its memory is usually illustrated by the Res gestae as well as the historical pieces of Tacitus, Suetonius and Cassius Dio. This cultural memory omits the Augustus-portrait of the chapters 147–150 of Book 7 of the Naturalis Historia, which summarize the life or more exactly the misfortunes of the life of Rome’s first emperor. This anti-Res gestae divi Augusti is unique not only in ancient literature but in the context of the Naturalis Historia as well. Critics have advocated different explanations. This paper is devoted to an analysis of these chapters in the context of the textual unit that organically contains them, and which culminates in them.
the Applied Folk Arts Department (Népművészeti Módszertani Műhely, NMM) are to disseminate knowledge and ensure the sustainability of popular culture that survives in the form of cultural memory ( Assmann 2018 :19–23). In parallel with the
