Research Interests:
“Politicians, your fate is to fail .” Ferenc B. Farkas’ Political Withdrawal and Suicide Attempt (1948–1950) In the Stalinist dictatorship that began to form in Hungary after 1947, politicians of the National Peasant Party who refused... more
“Politicians, your fate is to fail .” Ferenc B. Farkas’ Political Withdrawal and Suicide Attempt (1948–1950)
In the Stalinist dictatorship that began to form in Hungary after 1947, politicians of the National Peasant Party who refused to collaborate as fellow travellers with the Communists could choose between two alternatives: to emigrate from Hungary or to remain and withdraw from public life. Several of those who chose the latter returned to politics for a short time during the 1956 Hungarian Revolution. This fate awaited one of the founders and leading politicians of the National Peasant Party, Ferenc B. Farkas (1903–1966), as well. The present study examines a little known and documented period of Farkas’ career, namely his gradual withdrawal from politics after 1948 with special regard to his suicide attempt taking place on February 13th, 1950. On the basis of the written opinions and reminiscences of his contemporaries, friends and physicians, I have placed the event within the personality of the politician. I have analyzed to what extent the liquidation of the Peasant Party and the advancing dictatorship in Hungary contributed to Farkas’ serious psychogenic reaction.
In the Stalinist dictatorship that began to form in Hungary after 1947, politicians of the National Peasant Party who refused to collaborate as fellow travellers with the Communists could choose between two alternatives: to emigrate from Hungary or to remain and withdraw from public life. Several of those who chose the latter returned to politics for a short time during the 1956 Hungarian Revolution. This fate awaited one of the founders and leading politicians of the National Peasant Party, Ferenc B. Farkas (1903–1966), as well. The present study examines a little known and documented period of Farkas’ career, namely his gradual withdrawal from politics after 1948 with special regard to his suicide attempt taking place on February 13th, 1950. On the basis of the written opinions and reminiscences of his contemporaries, friends and physicians, I have placed the event within the personality of the politician. I have analyzed to what extent the liquidation of the Peasant Party and the advancing dictatorship in Hungary contributed to Farkas’ serious psychogenic reaction.
Hungarian Refugees in Ronald Searle and Kaye Webb’s Illustrated Report (1959) Auguste R. Lindt, the United Nations High Commissioner for Refugees (UNHCR), invited Ronald Searle, one of the most well-known British graphic artists, and his... more
Hungarian Refugees in Ronald Searle and Kaye Webb’s Illustrated Report (1959)
Auguste R. Lindt, the United Nations High Commissioner for Refugees (UNHCR), invited Ronald Searle, one of the most well-known British graphic artists, and his then wife Kaye Webb to participate in the UK programmes of the UN World Refugee Year, which began in June 1959. They were asked to visit refugee camps in Austria, Italy and Greece in order to publish their report in drawings and words. The objectives of the illustrated reportage were to raise money to close camps and to help “hard core” refugees and other difficult cases to resettle in another country or to integrate locally. The graphic report depicts Hungarian refugees as well, among whom I managed to find one family. The case study of Csilla Demeter’s family – which is full of trauma and suffering even before their escaping to Austria – shows that like many other Eastern European refugees depicted in the report, the members of the Demeter family had faced persecution and been forced to flee repeatedly both within and outside their homeland due to the Second World War and the communist oppression that followed. As a continuation of the report, their story is reconstructed on the basis of interviews made with the family and documents found in the Historical Archives of the Hungarian State Security.
Auguste R. Lindt, the United Nations High Commissioner for Refugees (UNHCR), invited Ronald Searle, one of the most well-known British graphic artists, and his then wife Kaye Webb to participate in the UK programmes of the UN World Refugee Year, which began in June 1959. They were asked to visit refugee camps in Austria, Italy and Greece in order to publish their report in drawings and words. The objectives of the illustrated reportage were to raise money to close camps and to help “hard core” refugees and other difficult cases to resettle in another country or to integrate locally. The graphic report depicts Hungarian refugees as well, among whom I managed to find one family. The case study of Csilla Demeter’s family – which is full of trauma and suffering even before their escaping to Austria – shows that like many other Eastern European refugees depicted in the report, the members of the Demeter family had faced persecution and been forced to flee repeatedly both within and outside their homeland due to the Second World War and the communist oppression that followed. As a continuation of the report, their story is reconstructed on the basis of interviews made with the family and documents found in the Historical Archives of the Hungarian State Security.
Research Interests:
L’histoire de la Société Bibliophile Hongroise (1920–1949) II. «Nous espérons voir réunis dans cette société tous les amis du livre, tous les défenseurs de son culte» La seconde partie de notre étude se concentre sur l’activité de... more
L’histoire de la Société Bibliophile Hongroise (1920–1949) II. «Nous espérons voir réunis dans cette société tous les amis du livre, tous les défenseurs de son culte»
La seconde partie de notre étude se concentre sur l’activité de la Société dans les domaines de l’édition et de l’organisation d’expositions. La Société publia avant tout des volumes exclusifs au tirage limité de 200 à 1000 exemplaires. Il s’agissait, d’une part, de la reproduction de facsimilés et de certaines œuvres de la littérature hongroise auxquelles il était difficile d’accéder, ou qui présentaient un fort intérêt pour les collectionneurs. D’autre part, ces volumes se proposaient de rendre compte des résultats des recherches les plus récentes relatives à la culture et l’art du livre. L’organisation d’expositions avait pour principal objectif de propager la bibliophilie et l’amour des beaux livres auprès du grand public. Parallèlement aux dix expositions représentatives ayant eu lieu à Budapest, la Société se fit régulièrement représenter par quelques volumes lors des plus grands salons internationaux du livre. Les expositions locales se focalisaient sur la richesse des collections nationales, privées ou institutionnelles. Les expositions intitulées L’art du livre au 20e siècle, Exposition de la littérature d’enfance et de jeunesse illustrée, Les vieux Buda et Pest dans les livres et en images, Le livre illustré de gravures sur bois, Le jardin fleuri des belles lettres hongroises , Anciennes reliures représentées par des dessins en couleurs de Gyula Végh, Le livre illustré de gravures sur cuivre et Le beau livre français furent à chaque fois complétées par l’édition de catalogues richement illustrés.
La seconde partie de notre étude se concentre sur l’activité de la Société dans les domaines de l’édition et de l’organisation d’expositions. La Société publia avant tout des volumes exclusifs au tirage limité de 200 à 1000 exemplaires. Il s’agissait, d’une part, de la reproduction de facsimilés et de certaines œuvres de la littérature hongroise auxquelles il était difficile d’accéder, ou qui présentaient un fort intérêt pour les collectionneurs. D’autre part, ces volumes se proposaient de rendre compte des résultats des recherches les plus récentes relatives à la culture et l’art du livre. L’organisation d’expositions avait pour principal objectif de propager la bibliophilie et l’amour des beaux livres auprès du grand public. Parallèlement aux dix expositions représentatives ayant eu lieu à Budapest, la Société se fit régulièrement représenter par quelques volumes lors des plus grands salons internationaux du livre. Les expositions locales se focalisaient sur la richesse des collections nationales, privées ou institutionnelles. Les expositions intitulées L’art du livre au 20e siècle, Exposition de la littérature d’enfance et de jeunesse illustrée, Les vieux Buda et Pest dans les livres et en images, Le livre illustré de gravures sur bois, Le jardin fleuri des belles lettres hongroises , Anciennes reliures représentées par des dessins en couleurs de Gyula Végh, Le livre illustré de gravures sur cuivre et Le beau livre français furent à chaque fois complétées par l’édition de catalogues richement illustrés.