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The internationally recognized Hungarian playwright Ferenc Molnár settled over to the United States in 1940, well beyond the top of his career. He was an essentially Hungarian, more precisely metropolitan author, with accents from Pest, famour for his ingeniously Hungarian sense of humour. Yet he became the most frequently translated Hungarian playwright of his era, with immense and immediate international success. Practically, Molnár did not live in Hungary from the beginning of the Horthy era (1920–1944), but the Jewish-Hungarian author decided to leave Europe well after Hitler’s takeover only. His name was known even in the United States: his first really successful play, The Devil was staged in New York in 1908, a year after being first performed in Budapest. Several of his plays had a phenomenal success story in the 1920s, his The Play is the Thing had its world premiere in New York in 1926. Carousel, the “Best Musical of the 20th Century”, by Rodgers and Hammerstein, was based on Molnár’s 1909 play Liliom.This article aims at reconstructing Molnár’s overseas network and recreating the spirit and growing loneliness of immigrants. It also tries to answer the question of how the work of an author so deeply embedded in Hungarian language and culture could be translated and adapted to foreign languages.

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Editorial

Prof. László Hársing’s prescient contribution to the discovery of tubuloglomerular feedback mechanism by studying renal glucose transport inhibitors

Physiology International
Authors: L Rosivall, M Cypress, and LG Navar

) by organizing the XXVIII Physiological World Congress in 1980 that had over 6,000 foreign participants in Budapest and was overseen and co-organized by Hársing. This Congress became a great international success, and opened a vast series of major

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knowledge; multilevel, interdisciplinary research that copes with complexity Peng ( 2004 ) Thought piece “What determines the international success and failure of firms

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and digitalisation, as well as the international success of domestically owned innovative companies. I also analyse the digitisation-related aspects of the Chinese modernisation, including the “Made in China 2025” program as well as the role of the

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