: Meg kell a búzának érni: A magyar táncházmozgalom 40 éve . Budapest : Európai Folkór Intézet .
H éra , Éva 2004 : Martin György és a folklórmozgalom kapcsolata . folkMAGagazin 1 , 36 .
H ollokői 2000 Hortobágyi, Gyöngyvér 2012
Der Artikel beschäftigt sich mit dem im März 1781 von Anton Martin in Pressburg gegründeten Frag- und Kundschaftsamt. Einrichtungen dieser Art waren in habsburgischen Städten seit Beginn des 18. Jahrhunderts geschaffen worden; es handelte sich dabei um Adressbüros, die der Vermittlung von Waren, Arbeitsplätzen, Immobilien und Kapital dienen sollten. Im speziellen Pressburger Fall war damit auch eine Leihbibliothek verbunden und weiters wurde der in dieser Gegend praktizierte Kindertausch zum gegenseitigen Spracherwerb unterstützt. Das Fragamt veröffentlichte auch ein Intelligenzblatt mit dem Namen Preßburger Kundschaftsblatt, scheint aber trotz des weiten Spektrums an angebotenen Dienstleistungen nur auf wenig Resonanz gestoßen zu sein; 1783 musste Martin es schließen. Grundlage des Beitrags sind vorwiegend die in der Universitätsbibliothek Bratislava (Univerzitná knižnica v Bratislave) und in der Kathedralbibliothek Esztergom (Főszékesegyházi Könyvtár) aufbewahrten Ausgaben des Preßburger Kundschaftsblatts.
Sive Marten Swarcz seu Martinus Niger alias Marcin Czarny, master of Veit Stoss's Cracow high altar – this is the subtitle of Miklós Mojzer's major two-part study published in 2006 and 2008 in which he identified Master MS and traced the roots of his work to Veit Stoss's Nuremberg and Cracow workshops. He mentioned in passing that at the very same time, in the 1480s, another winged altarpiece was being made in another important town of Frankonia, Rothenburg on the frame of which the following inscription can be read: Frater Martinus Schwartz die Sancte Marie Magdalene complevit. The altarpiece dedicated to the Virgin was once in the monastery of the Dominican nuns in Rothenburg and is now in the Germanisches Nationalmuseum in Nuremberg. Martin Schwarz was the guardian of the Franciscan monastery in Rothenburg from 1485 where he had his workshop fitted out. He was the local leader of the order until 1506.
Recent researches have proven that some statues carved by Tilman Riemenschneider were painted by Martin Schwarz. The starting point for indentification was the identity of the Pressbrokat on the St John figure of the Wiblingen altarpiece and on the clothes of the Virgin figure of the inscribed altarpiece. The same pattern can be found on the fragment of the attire of the Madonna preserved in the Budapest Museum of Fine Arts since 1923. Before the museum, the statue was in an altar shrine (now lost). The history of the altarpiece can be retraced with certainty to the village church of Schweinsdorf outside Rothenburg, but tradition associates it with the neighbouring imperial town.
Among the rich documentation on the furnishing of the Jakobskirche mention is made of an altar of the Virgin erected in 1495/96, which was carved by a sculptor of Würzburg – obviously Riemenschneider. The question arises whether the statue painted by Martin Schwarz and datable to the end of the 15th century according to the chronology of the Riemenschneider Madonnas belonged to this altar.
We have more than a thousand manuscripts of the great hagiographical collection, the Legenda Aurea of Jacobus de Voragine from the 13th century, but there is only one codex which not only illustrated the text but translated it into a language of images. It is related to the Hungarian Anjous, that is why the codex is titled 'Hungarian Angevin Legendary'. The pages of the codex are spread over different collections of the world. Nowadays 58 legends are known on 142 pages, altogether 549 images. Some more important legends, as that of the apostles or the Anjous' favourite saint, King Ladislas, occupy 20-24 images. The paper tries to demonstrate two examples. St. Martin and St. Gerard, of how these cycles were organised. Two pictures of the supposed eight are emphasising the role of Martin as a bishop. Five images show the miracles of the saint and only one is consecrated to the charity of St. Martin, to the event which is his most popular story. Martin is the symbolic saint who gives half his goods to the poor. This scene is the most frequently represented in medieval art. In the Hungarian Angevin Legendary his miraculous activity is much more emphasized which is correlated with the written legend. The legend of St. Gerard is preserved completely in the Legendary. The first picture represents the saint discussing with King St. Stephen. On the second image the saint is represented as a hermit at Bakonybél with a book in his hand. The third one depicts the consecration of St. Gerard to the bishop of Csanád, on the next picture he is preaching to the people. The following pictures show his martyrdom and burial. It can be supposed that the painter(s) of the Hungarian Angevin Legendary could not use any iconographical tradition working on the cycle of St. Gerard.
Ira Radisch (inteviewer), "Die Glückskatastrophe", Die Zeit, September 17, 2003, See also Barbara Mahlmann-Bauer, "Über Autobiographien der Jahrgänge 1927/28 und Martin Walsers Roman 'Ein springender Brunnen'", Literaturkritik, 1:6 (June 1999
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.
Martin andIrvine believe that their bibliometric data indicates that British science is in decline. This paper shows that, in fact, their data points to a considerable expansion in British science. To account for different countries' scientific performance, this paper generates simple predictive formulae that correlate Gross National Product with research output.