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The special relationship between religious and national identity is being scrutinised in the present paper. The fieldwork lasted from March 2004 to April 2005 and took place in the city of Szeged in Hungary. A Krishna devotee new religious community called the Hungarian Bráhmana Mission was targeted as this group has a unique combination of the two types of identities. It is postulated that the close relationship between religious and national identities even in new religious groups can be interpreted as a typical phenomenon in post-communist Central European countries, which is justified by the research. The Geertzian, interpretive, hermeneutical method is used during the fieldwork.
Great cities are usually considered to be cites of modernity, so it may seem a bit bizarre to connect them with national identity. Indeed, the face of the Hungarian capital is rather international, reflecting well the universal tendencies of modernization and urbanization that occurred from the end of 18th century. There are, however, some key-buildings and a few other examples in Budapest that give evidence of a counter intention: to provide architecture with a distinctive character as an expression of Hungarian nationality in a modern sense. The 19th century was a high period of Nationalism, and the issue of national style in the arts was raised in many places in Europe and even in the Americas. How could it have been avoided in a multi-ethnic Hungary that tried in vain to regain its independence from the Habsburg Empire throughout the century? It is no wonder that the national character of the arts was the subject of a more or less permanent discussion from the 1850s to the outbreak of World War I. The following paper offers an overview of the urban development of Budapest, followed by presentation of the concepts of the national style with reference to the example of buildings erected in the capital city and a brief discussion of their antecedents.
Mme De Staël’s Corinne ou l’Italie (1807) offered the most influential statement on Italy and the Italians by a foreign writer in 19th-century Europe. It gives a fruitful opportunity to investigate what a 19th-century foreign writer thought both of Italian music and of music as a symbol of the Italian national identity. The overview of the Italian operatic repertoire and opera productions leads to the conclusion that Italy as a nation was substantially absent from the operatic scene while, on the contrary, the Italian society made of opera the most typical entertainment and of the ‘palchetto’ an unavoidable status symbol. A similar picture of Italian society and opera is already outlined in De Staël’s novel, which created a ‘Romantic’ myth of Italy and a portrait of Italian ‘musicality’ as a typical and essential element of Italy’s cultural identity and as a substitute of a still lacking political identity of that nation. The paper investigates the cultural and philosophical origin of this view of Italian musical culture and its impact on the European perception of Italy as a nation during the 19th century.
The aim of this research is to find out in what degree religious dent tyin Serbian society has become a self-governed identty, a kind of an dent try for itself, or, in what degree it is still part of national dentity. Is the religious belonging (religious dentity) a reliable mark of ethnicity and, if so, in what measure? The research has been done on the participants of student protest (SP) Belgrade n winter 1996/97. The relationship between religious belonging (religious identity) and national identity is observed in relation to universal processes of cosmopolitization, individualization and retraditionalization.
Discusses the notions of national identity, national music and popular music as they emerged in Italian music periodicals during the years 1840–1890, in relation to the process of Italy’s political unification and the dissemination of foreign operas such as French grands opéras in the years 1840–1870 and Wagner’s Musikdramen from 1871 on. Essays and articles by relevant critics and musicians, such as Abramo Basevi and Francesco D’Arcais are discussed. Articles by lesser known journalists such as Pietro Cominazzi and Mattia Cipollone are also taken into account. The use of words like “national” and “popular” is analysed when referring to Italian opera, to its history and to the operas by foreign composers.
Abstract
Paper presented at the conference 'Literary Histories and the Development of Identities' sponsored by the Social Sciences and Humanities Research Council of Canada involving members of the I.C.L.A. Coordinating Committee at Queen's University, Canada, in the Fall of 2001.
national identity, drawing on another of our research projects ( Kapitány – Kapitány 2002 , 2023 ). 4 Some characteristic features of Hungarian cuisine Although soup, as we know it today, is a relatively new addition to Hungarian cuisine, and although
The folkloristic image of Kossuth reveals to us the Kossuth of legend, the Kossuth of folktunes and popular anecdotes, while the other view has been shaped by the shifting political traditions and professional historiographic assessments. The changing interpretations of Kossuth are a historical phenomenon of intellectual history and reflect the various political situations as well as the intellectual climate of the past 150 years of Hungarian history.
The role of the popular play in preserving natinal identity
The example of Velika Pisanica, Croatia, with additional reference to Burgenland and Slovenia
Ethnographic inquiry into the folk culture of the Carpathian Basin, with particular reference to developmental trends, has revealed much new information regarding the lives of Hungarians abroad, especially regarding changing living conditions within Hungarian populations now living outside historically redrawn Hungarian state borders. It would be no exaggeration to claim that these Hungarians have, to the present day, lived under extraordinarily diverse circumstances, and that the preservation of folk culture in the minority national environment has been a decisive factor in the maintenance of their national identity. For this culture to survive and grow, however, it is essential that members of the national group learn and use their native Hungarian tongue.The present study concerns itself with the historic genre of the popular play, a cultural phenomenon that has played a special role in this regard and that in some places, both in the recent past, and today, still bears considerable significance in the preservation of minority national identity. Accordingly, this study will not extend to actual folk dramatics, though it will make reference to certain intersections and possible relationships where it seems natural to do so.
In my paper I shall investigate the major changes in the concept of the national theatre from the early debates on the Hamburg Theatre in 1767 until the 2005 establishment of the National Theatre of Scotland. The starting assumption is that while in the eighteenth and nineteenth centuries the notion of the national theatre was regarded as a means for the integration of a nation or even an empire in most Western-European countries, in Eastern-Europe, the debates on and later the realization of the national theatres took place within the context of and against oppressive imperiums. In Eastern Europe, the realization of National Theatre was utilised for representing a unified nation in a virtual way, and its role was to maintain national identity and national culture. In present day Scotland, however, the notion of the national theatre has changed again as the National Theatre is used to represent a diverse and multicultural Scotland.
