Where's it gone? The peace movement at the turn of the century

2000 ◽  
Vol 56 (2) ◽  
pp. 52-56
Author(s):  
Bret Lortie
Keyword(s):  
Turn Of The Century ◽  
Peace Movement

Psychology and gender at the turn of the century.

2000 ◽  
Vol 55 (6) ◽  
pp. 613-615 ◽  
Author(s):  
Henry L. Minton
Keyword(s):  
Turn Of The Century ◽  
And Gender

Obscure(d) Modernism: The Aesthetics of the Architect Pal Ligeti

2008 ◽  
Vol 3 (2) ◽  
pp. 139-153
Author(s):  
Rajesh Heynickx
Keyword(s):  
Turn Of The Century

On an old picture, taken in Budapest in the early 1930s, a little girl is leaning on the wall around the Halaszbastya or Fisherman's Bastion. From this mock fortification, built for the Hungarian Millennium celebrations of 1896, she had a marvellous view of the skyline of the Hungarian capital which was dominated by one building: the parliament (fig. 1). It is quite possible that the little girl was counting the number of white neo-gothic turrets and arches of the parliament that was, just as the fortress on which she was standing, built at the turn of the century, to express the sovereignty of the nation. Maybe she tried to decipher some of the sculptures on the walls of the parliament which represented Hungarian rulers and famous military people.

The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

2020 ◽  
Vol 60 (1-4) ◽  
pp. 243-262
Author(s):  
Gloria A. Rodríguez-Lorenzo
Keyword(s):  
Twentieth Century ◽  
String Quartets ◽  
Musical Theatre ◽  
Turn Of The Century ◽  
Going Public ◽  
Spanish Music ◽  
Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

The Russian Language at the Turn of the Century: Semantic Capability and Development Prospects

2018 ◽  
Vol 13 (3-4) ◽  
pp. 150-169
Author(s):  
Svetlana N. Perevolochanskaya
Keyword(s):  
Information Technologies ◽  
Language Evolution ◽  
Turn Of The Century ◽  
Russian Language ◽  
First Century ◽  
Linguistic Knowledge ◽  
Current State ◽  
Linguistic Sign ◽  
Development Prospects ◽  
The Russian Language

The article considers the current state of the Russian language. Information technologies in the twenty first century present diverse forms of linguistic knowledge and modalities of knowledge quantisation in a linguistic sign. The Russian language develops from a standard, direct expression of thoughts to a nonstandard, psychologically complex, associative deep statement of thoughts. In the early nineteenth century, during the democratisation of the Russian language, a national genius, Alexander Pushkin, emerged. Thanks to him, the unique informational, cultural, and artistic evolution of the language took place. Nowadays, while democratisation and globalisation, processes which resemble the language evolution 200 years ago, are occurring. These processes suggest some patterns: overcoming stylistic disparity, changes in linguistic sign boundaries and semantic extension.

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