Writing on Water is an attempt to grasp the phenomenon of sound in prayer, that is: a meaning in sounds and soundscapes, and a musical essence in the act of praying. The impetus for the book was the author’s fieldwork among traditional Jews during the era of communism in Budapest and Prague. In that era the Jewish religion and Jewishness in general were supressed; the rituals were semi-secret and became inward-turning. The book is a witness to these communities and their rituals, but it goes beyond documentation. The uniqueness of the sounds of the rituals compelled the author to try to comprehend how melodies and soundscapes became the sustaining/protective environment, as well as the vehicle, for the expression of a world-orientation – in a situation where open discourse was inconceivable. The book is based on extensive interviews, musical recordings, photographs and scholarly analyses. It is unique in its choice of communities, its wealth of original documents, and in its novel interpretation of sound. Writing on Water is creative non-fiction. The presentation is evocative and poetic, but nevertheless, it transmits knowledge. Where this potential is understood, the book can aid research and serve in courses in philosophy, religion, music, ethnomusicology, anthropology, aesthetics, Jewish studies, folklore, oral history, and performance studies. At the same time it could be read as belle lettre.
This text grounds Bartok's art in turn-of-the-century Hungary and its modernist movement. It argues that Hungarian modernism and Bartok's aesthetic should be understood in terms of a collective search for wholeness in life and art.
On May 4-6, 2011 in cooperation with historians from Hungary and Israel, the Balassi Institute organized a conference entitled “Between Minority and Majority” on the history of the Hungarian and Jewish diaspora and the shifting meanings of notions of Hungarian and Jewish identity. The conference had the support of Deputy Prime Minister Tibor Navracsis and József Pálinkás, the president of the Hungarian Academy of Sciences. Aliza bin Noun, at the time the Israeli ambassador to Hungary, gave an opening speech. An exhibition of a selection of the pictures of photographer Doron Ritter was also held in connection with the conference. The exhibition, which was entitled From the Old Country to the New Home – Hungarian Speaking Jews in Israel, was held again in October the same year, in Zagreb, Croatia. This book contains essays based on the presentations given at the conference. CONTENT Preface (Pál Hatos – Attila Novák) - 7 Levente Salat The Notion of Political Community in View of Majority–Minority Relations - 9 Tamás Turán Two Peoples, Seventy Nations: Parallels of National Destiny in Hungarian Intellectual History and Ancient Jewish Thought - 44 Viktória Bányai The Hebrew Language as a Means of Forging National Unity: Ideologies Related to the Hebrew Language at the Beginning of the 19th and the 20th Centuries - 74 Victor Karády Education and the Modern Jewish Experience in Central Europe - 86 Raphael Vago Israel-Diaspora Relations: Mutual Images, Expectation, Frustrations - 100 Szabolcs Szita A Few Questions Regarding the Return of Hungarian Deportees: the Example of the Mauthausen Concentration Camp - 111 Judit Frigyesi Is there Such a Thing as Hungarian-Jewish Music? - 122 Guy Miron Exile, Diaspora and the Promised Land – Jewish Future Images in Nazi Dominated Europe - 147 Tamás Gusztáv Filep Hungarian Jews of Upper Hungary in Hungarian Public Life in Czechoslovakia (1918/19–1938) - 167 Attila Gidó From Hungarian to Jew: Debates Concerning the Future of the Jewry of Transylvania in the 1920s - 185 Balázs Ablonczy Curse and Supplications: Letters to Prime Minister Pál Teleki following the Enactment of the Second Anti-Jewish Law - 200 Attila Novák In Whose Interests? Transfer Negotiations between the Jewish Agency, the National Bank of Hungary and the Hungarian Government (1938–1939) - 211 András Kovács Stigma and Renaissance - 222 Attila Papp Z. Ways of Interpretation of Hungarian-American Ethnic-Based Public Life and Identity - 228 About the Authors - 259
Writing on Water is an attempt to grasp the phenomenon of sound in prayer, that is: a meaning in sounds and soundscapes, and a musical essence in the act of praying. The impetus for the book was the author’s fieldwork among traditional Jews during the era of communism in Budapest and Prague. In that era the Jewish religion and Jewishness in general were supressed; the rituals were semi-secret and became inward-turning. The book is a witness to these communities and their rituals, but it goes beyond documentation. The uniqueness of the sounds of the rituals compelled the author to try to comprehend how melodies and soundscapes became the sustaining/protective environment, as well as the vehicle, for the expression of a world-orientation – in a situation where open discourse was inconceivable. The book is based on extensive interviews, musical recordings, photographs and scholarly analyses. It is unique in its choice of communities, its wealth of original documents, and in its novel interpretation of sound. Writing on Water is creative non-fiction. The presentation is evocative and poetic, but nevertheless, it transmits knowledge. Where this potential is understood, the book can aid research and serve in courses in philosophy, religion, music, ethnomusicology, anthropology, aesthetics, Jewish studies, folklore, oral history, and performance studies. At the same time it could be read as belle lettre.
Bartók's music is greatly prized by concertgoers, yet we know little about the intellectual milieu that gave rise to his artistry. Bartók is often seen as a lonely genius emerging from a gray background of an "underdeveloped country." Now Judit Frigyesi offers a broader perspective on Bartók's art by grounding it in the social and cultural life of turn-of-the-century Hungary and the intense creativity of its modernist movement. Bartók spent most of his life in Budapest, an exceptional man living in a remarkable milieu. Frigyesi argues that Hungarian modernism in general and Bartók's aesthetic in particular should be understood in terms of a collective search for wholeness in life and art and for a definition of identity in a rapidly changing world. Is it still possible, Bartók's generation of artists asked, to create coherent art in a world that is no longer whole? Bartók and others were preoccupied with this question and developed their aesthetics in response to it. In a discussion of Bartók and of Endre Ady, the most influential Hungarian poet of the time, Frigyesi demonstrates how different branches of art and different personalities responded to the same set of problems, creating oeuvres that appear as reflections of one another. She also examines Bartók's Bluebeard's Castle, exploring philosophical and poetic ideas of Hungarian modernism and linking Bartók's stylistic innovations to these concepts.
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