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Since the late 19th century, much has been written about Chinese art in western languages, but there has been no comprehensive history of it to date. This paper focuses on the historiography of Chinese art in Hungary. The aims of the study are as follows: to establish a periodisation, to characterise each period by presenting the main works and their authors in order to reconstruct the course of changes in collecting and the taste for Chinese art in Hungary in the 20th century, and finally to investigate the role of the Oriental public collection (Ferenc Hopp Museum of Eastern Asiatic Arts).
This paper examines the iconolographical origin of Johannes Sambucus’ emblem dedicated to Carlo Sigonio, which – according to its title – displays the difference between grammar, dialectics, rhetoric and history. I focus on the central female figure whose innocent nudity represents the truth and whose connection with the ideal historiography standing – balancing together with Dialectics and Rhetoric – on the head of the young virgin Grammar. The special relationship between History and naked truth also defines its symbolic connection with the costumes of the other two figures: Dialectics in rough working clothes and Rhetoric in her long luxury dress. Three symbolic animals also belong to the three female figures: a sphinx to Dialectics, a chimera to Rhetoric and a winged dog to History. Contextual examination of the emblem reveals the possible source of the strange winged dog symbol is Plutarch’s short story of Osiris and Isis. In addition, the paper draws attention to an ironic twist of History in connection with Carlo Sigonio that shows that its nudity is not always so innocent.
source criticism, historiography started to become scientific thanks to the work of Jesuit scholars. 3 The historians of the era started to turn to the sources with criticism, however, the matter discussed in the present paper
underlining because main leaders in the field of historiography are: Great Britain (17.37% titles) and Germany (14.27%), not the USA (8.55%) which usually top the ISI lists. American historiography is closely followed by renowned European centres of historical
, it nevertheless documents the legal appropriateness of Bator's actions and offers important insights into one of the more prominent challenges in twentieth-century music historiography. Leafstedt offers transcriptions of Bator's correspondence with
This short essay overviews the changing image of the Ottomans in Hungarian historiography from the late 19th century to the 1990s. It maintains that whereas the Ottoman Empire had received a generally negative treatment from the nationalist historiographies of the empire’s successor states in the Balkans and the Middle East, Hungarian historiography has been more divided and has offered a more diverse view with regard to the country’s Ottoman centuries. As in the case of the biased treatment of the new nation-states of the Balkans and the Middle East, the more balanced Hungarian attitude has its political and cultural-historiographical background, which is briefly addressed in the paper.
The present paper deals with the issue of defining functional tools able to help modern historians understand the genesis and evolution of historiography in 14th-century Anatolia. It emphasises the indistinct lines between hagiographies and sagas and between leader-centred and popular texts, while making a strong case for the key role played by the necessity of creating entertainment. Having become bestsellers exponentially raised the chances of these creations to survive across centuries. Most of the texts we use today as historical sources were designed to entertain their consumers. Moralising or ideologically manipulating them came only in the second or third place.
In spite of the main goal of the annalistic narration of Livy, the description of the history of Rome, Alexander the Great has an important role in the Ab Urbe condita . In this way, Livy composed the first known counterfactual episode of European historiography (IX 17–19). Moreover, Livy compared the courage, knowledge and the fortune of the Macedonian and the Roman military commanders, and the opposing forces. Livy presents Alexander with his bad traits, therefore the historiographer denies the divinity of the Macedonian king. Livy opposes the few Greeks, who rejected the order of Augustus, and hated the princeps himself.
At the heart of Carl Dahlhaus’s historiographic interests, according to James Hepokoski, was an “effort to keep the Austro-German canon from Beethoven to Schoenberg free from aggressively sociopolitical interpretations.” But Dahlhaus did not stop at Schoenberg: he also wrote about postwar music, and one might therefore wonder whether his “Austro-German canon” of autonomous music extended past 1945. In his essays on this period, Dahlhaus claimed that the postwar musical avant-garde was defined by the concept of the experiment, a concept that was, he believed, “nothing less than the fundamental aesthetic paradigm of serial and post-serial music.” He maintained this view from the 1960s through the 1980s, and thereby placed the concept of the experiment at the center of his historiography of postwar music. My paper shows that the concept of the experiment, as defined by Dahlhaus, has a uniquely German pedigree, one that is not at odds with his wider historiographic interests. By making the concept of the experiment central to his account of postwar music, Dahlhaus was thereby able to extend his historiography beyond the canon that ran from Beethoven to Schoenberg and include also later composers. In so doing, he lent the supposedly “international” postwar avant-garde a character that seems specifically German.
Abstract
The usual framework of Romanesque studies is the province, such as Burgundy, Tuscany or Bavaria. In Hungary, however, it has no tradition. The usual framework is either a smaller unit (county, megye in Hungarian) or a larger territory: the entire medieval Hungarian Kingdom, i.e. the Carpathian Basin. This paper discusses the historiography of these two traditions starting with the first Hungarian art historian generation (Arnold Ipolyi, Flóris Rómer, Imre Henszlmann) to contemporaneous efforts of the topographical works of historic monuments and collections of medieval churches, mainly compiled by archaeologists on the level of the county. On the other hand, each generation published its own summary of Romanesque art of Hungary. The regional aspect is a new trend, started by the exhibition on Transdanubia in 1994, however, monographic studies are still missing.
