Mary Of Hungary

Mary of Hungary's extensive artistic patronage and the collections she formed of an array of artworks, objects and books were by no means an isolated phenomenon within the Habsburg dynasty. On the contrary, the Regent of the Netherlands and loyal adviser to her brother, the Holy Roman Emperor Charles V, emulated the examples of the Habsburg women who preceded her, and in turn provided an exemplar for those that came after. She continued the traditions, trends and practices her ancestors and peers had established, which had been initiated by female members of the Trastamara dynasty, most notably Isabel of Castile. This collection of essays examines the cultural patronage of Mary of Hungary in the light of her multiple identities: a humanist-trained patron of the arts; a Habsburg princess closely implicated in the visual construction and projection of Charles V's political identity across the alliances and divisions of early modern Europe; and a female regent bound by the imperial, dynastic and political ideologies cultivated by the sixteenth-century Habsburg monarchs. Beyond forming one of the most important art collections of the European Renaissance and playing a prominent role in the patronage of the artists she received under her protection, Mary used art to construct an image of herself that undeniably contributed to the consolidation and dissemination of both her political legitimacy and that of her dynasty among the courts of Europe.

Biography of Mary Hapsburg, sixteenth century Regent of the Netherlands, and sister of the Holy Roman Emperor, Charles 5th.

Since 1990, thousands of Hungarians have vacationed at summer camps devoted to Hungarian folk dance in the Transylvanian villages of neighboring Romania. This folk tourism and connected everyday practices of folk dance revival take place against the backdrop of an increasingly nationalist political environment in Hungary. In Movement of the People, Mary N. Taylor takes readers inside the folk revival movement known as dancehouse (táncház) that sustains myriad events where folk dance is central and championed by international enthusiasts and UNESCO. Contextualizing táncház in a deeper history of populism and nationalism, Taylor examines the movement's emergence in 1970s socialist institutions, its transformation through the postsocialist period, and its recent recognition by UNESCO as a best practice of heritage preservation. Approaching the populist and popular practices of folk revival as a form of national cultivation, Movement of the People interrogates the everyday practices, relationships, institutional contexts, and ideologies that contribute to the making of Hungary's future, as well as its past.

An overview of Susan Karant-Nunn’s impact on the social and cultural history of the Reformation in central Europe.

1. The book is the first devoted to the topic of women artists across the courts of early modern Europe. 2. The essays consider women artists and their experiences in a variety of European courts, in Italy, Flanders, Spain, and England. 3. The essays included address a variety of forms of artistic production by women in the courts, including large and small-scale paintings, sculpture, prints, and textiles.

Budapest at the fin de siècle was famed and emulated for its cosmopolitan urban culture and nightlife. It was also the second-largest Jewish city in Europe. Mary Gluck delves into the popular culture of Budapest’s coffee houses, music halls, and humor magazines to uncover the enormous influence of assimilated Jews in creating modernist Budapest between 1867 and 1914. She explores the paradox of Budapest in this era: because much of the Jewish population embraced and promoted a secular, metropolitan culture, their influence as Jews was both profound and invisible.