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The Netherlands Open Air Museum in Arnhem is one of the oldest open air museums of Europe. From the 1990s the staff has been engaged in an intense process of fundamentally changing the museum. The major step was to redefine the museum’s institutional identity. We believed that a good museum not only needs a firm scholarly basis, but a self-conscious museology as well. This museology we call ‘inclusive’, because it includes much more than a traditional museum. It includes popular culture, social struggle, ‘other-peoples” history, contemporary history. In all the new projects we wanted the visitors to share their memories and experiences with each other — and with us. The turnaround of The Netherlands Open Air Museum proved to be a success. Not only had the number of visitors grown from 280 000 a year in the 1980s to more than 450 000 from 2007 onwards. In 2005 The Netherlands Open Air Museum received the European Museum of the Year award.
In 1915 Otto Wagner, the school-founding master of modern Central European architecture, was asked to share with his Hungarian colleagues his thoughts on the tasks of modern architecture, including his views on the issue of the potentials of national architecture. The elderly Austrian architect replied in a letter, which appeared in Budapest’s leading architectural journal of the age, Vállalkozók Lapja. Based on this scarcely known letter and its Hungarian reception that together form an important episode in the discourse on national art and architecture, my paper investigates the conflicting ideals of nationalism and/or modernism, ideals that bear significance to architecture history, urbanism and the formation of national identity alike.
The present paper studies the cultural and linguistic practices of Francophone (both mother tongue and foreign language speaker) rap groups using their lyrics as data to be analyzed. The methodology chosen is of a double nature: sociolinguistics and critical discourse analysis are used in order to arrive at a more complete picture. The analysis suggests that code-switching is a means through which rappers can create an identity for themselves which identifies them with the African American origins of rap music while allowing for a strong, alternative, national identity. It seems visible that the multilingual identity is one which is gladly embraced because it allows for a wider variety of linguistic practices.
Travel writing has enjoyed continuous success since the Renaissance, and has been an important factor in shaping perceptions of individual and group identities. Especially during the second half of the eighteenth century and throughout the nineteenth century travelogues constituted an influential part of the discourse on culture, and helped, through their descriptions of the foreign and a reaffirmation of what is “us”, establish the ideology of nationalism. Works by British authors such as William Wordsworth and the travel writings of Hungarian poet Sándor Petőfi and politician, essayist, and novelist József Eötvös offer examples of different strategies of using landscape as means of affirming contours of national identity.
A szülői értékpreferenciák hatása a kollektív áldozati vélekedések transzgenerációs átadására
The influence of parental value preferences on the transgenerational transmission of collective victim beliefs
Háttér és célkitűzések: Korábbi kutatások alapján a kollektív áldozati vélekedések továbbadásra kerülnek szülők és gyermekeik között. Az értékek számos vizsgálat szerint összefüggenek a politikai preferenciákkal, illetve a nemzeti identitással. Jelen tanulmány összefüggéseket célzott meg feltárni a szülői értékpreferenciák és a fiatal felnőtt gyermekek kollektív áldozati vélekedései között. Módszer: Kérdőíves vizsgálatunk során 114 szülő-gyermek diád szerepelt a mintában. Vizsgálati eszközeink között felhasználtuk a Nemzeti azonosulás magyar kérdőívét, a Kollektív áldozati tudat kérdőívet, illetve a Schwartz motivációs értéktípusai kérdőívet (Portrait Values Questionnaire). Eredmények: Eredményeink szerint kapcsolat van a szülők által vallott értékek, illetve a szülők és gyerekeik nemzeti identitáshoz kapcsolódó kötődés és glorifikáció dimenziói, illetve kollektív áldozati vélekedései között, továbbá vizsgálatunk megerősítette, hogy a szülők, illetve gyermekeik értékei között pozitív együtt járás figyelhető meg, alátámasztva korábbi kutatások eredményeit. Jelen kutatásban a konzervációhoz köthető értékek esetében láthattuk a legerősebb összefüggést, ezek külön-külön is összefüggést mutatnak az exkluzív áldozati vélekedésekkel és az áldozati tudat észlelt fontosságával, illetve a nemzeti azonosulás kötődés és glorifikáció dimenzióival. Következtetések: Eredményeink szerint a szülők értékrendje nem közvetlenül kapcsolódik a gyerekeik nemzeti identitáshoz tartozó nézeteihez, hanem a szülői nemzeti identitással kapcsolatos nézetein, valamint a kollektív áldozati vélekedésen keresztül. A saját csoport felsőbbrendűségét, illetve a saját csoport áldozatiságát illető vélekedések tehát kapcsolatban állnak a szülők által vallott értékekkel.
Summary The fact that poets, novelists, journalists, critics, and the general public of Latin America have embraced the interpretation of Martín Fierro as a work that defines Argentine national identity, has, in my opinion, diverted the attention of most critics from the real core of the analysis, which is that the very concepts of “literature,' “history,' “identity,' and “nationality' are and have been cultural constructions. The purpose of this essay is, then, to analyze Martín Fierro through the light of the theories of Benedict Anderson, Edward Said and Irena Nikolova in order to verify if the poem articulates the archetypical conventions (structure, theme, style) of the classical epic genre. And, departing from the results of that analysis, to examine how the textual and contextual relations between authorial ideology and European Romantic epic converge in the construction of the official concept of national literature in Argentine.
Abstract
Activities on nanoscale research have seen a skyrocketting growth beginning during the nineties. This can be documented by the birth of no less than 16 science journals dedicated entirely to this field of science. The topics of these journals reflect the true interdisciplinary character of nanoscale research. In this paper the decision-makers on what and when appears in those journals, the gatekeepers, i.e., the editorial members of those journals and their national identity are analyzed and some conclusions are drawn on the decisional power of the countries these gatekeepers are located in. It came out that although the United States is still the leading power in the nanoscale research field, the EU is strongly catching up and due to intensive efforts in this directions by some Far East countries as China and Japan but also of India, Asia is nearing and in some cases even overtaking the big powers.
Liszt's Plan for a German Année de pèlerinage
“Was ist des Deutschen Vaterland?”
According to the evidence of an entry in the so-called Lichnowsky sketchbook, at the beginning of the 1840s, Franz Liszt proposed - in addition to the Swiss and Italian books - also a German volume to his cycle Années de pèlerinage. The study deals with this compositional plan, identifying and analysing the pieces referred to in the sketchbook. Interestingly, the plan consists rather of vocal works than piano pieces including the titles of nationalistic male choruses and romantic Rheinlieder inspired by German poets such as Ernst Moritz Arndt, Theodor Körner, Heinrich Heine and Felix Lichnowsky. The study also examines the autobiographical and political background of the proposed volume, which seems to be in close connection partly with Liszt's German concert tours, partly with the contemporary French-German conflict concerning the national identity of the Rhinland.
Abstract
Architectural periodicals have been studied in Europe from the 1960's. The german librarian Rolf Fuhlrott published in 1975 his doctoral thesis about architectural periodicals in german spoken countries. Most of the bibliographies about this subject (Stefan Waetzoldt for instance), do not quote the three main titles of Hungary, which were edited from 1872 to the beginning of the 19th century: – die Pest- Ofner Bauzeitung und Wohnungs-Anzeiger (1872–1873) which becomes Budapester Bauzeitung und Wohnungs-Anzeiger, Organ für Bau-und Wohnung-Interessen (1873–1875) – the following die Bauzeitung für Ungarn, Zeitschrift für Bauwesen (1876–1896) – and the last die Ungarische Bauzeitung (1896–1914) After having described the periodicals from a technical point of view, the content and the main themes of them will be exposed and compared. The question of the national identity that may defend those german periodicals, shall at least be asked.
Following the July Revolution of 1830, French history writing began to reflect a new personal perspective that allowed many to identify with the earlier revolution of 1789. This immediate association with the past allowed individuals to connect with history in ways that reflected themselves as well as the new political and cultural horizon. French grand opéra represented this desire for historical knowledge by displaying a dramatic narrative akin to the writings of French academic historian Jules Michelet (1798–1874). Through the analysis of the music and libretto of Daniel Auber’s Gustave III (1833) it is shown that the historical narrative found within this so-called’ opéra historique’ embraces the same historiographic narrative of revolution as found in the writings of Michelet. Such an investigation highlights the aesthetic and cultural importance of grand opéra in France as well as the genre’s relationship to national identity in the first half of the nineteenth century.
