VESZPRÉMI, Nóra. Whose Landscape Is It? Remapping Memory and History in Interwar Central Europe. Austrian History Yearbook. Cambridge university press, 2021, vol. 52, Léto 2021, p. 227-252. ISSN 0067-2378. doi:10.1017/S0067237821000102.
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Basic information
Original name Whose Landscape Is It? Remapping Memory and History in Interwar Central Europe
Authors VESZPRÉMI, Nóra (348 Hungary, guarantor, belonging to the institution).
Edition Austrian History Yearbook, Cambridge university press, 2021, 0067-2378.
Other information
Original language English
Type of outcome Article in a journal
Field of Study 60401 Arts, Art history
Country of publisher United Kingdom of Great Britain and Northern Ireland
Confidentiality degree is not subject to a state or trade secret
WWW URL
Impact factor Impact factor: 0.400
RIV identification code RIV/00216224:14210/21:00121477
Organization unit Faculty of Arts
Doi http://dx.doi.org/10.1017/S0067237821000102
UT WoS 000651144400015
Keywords in English landscape; Hungary; Czechoslovakia; revisionism; trianon; mental maps; memory sudies; memory politics;picturesque
Tags rivok
Tags International impact, Reviewed
Changed by Changed by: Mgr. Lucie Tomaňová, učo 445546. Changed: 16. 5. 2022 12:11.
Abstract
After the collapse of the Habsburg Empire and the sanctioning of new national borders in 1920, the successor states faced the controversial task of reconceptualizing the idea of national territory. Images of historically significant landscapes played a crucial role in this process. Employing the concept of mental maps, this article explores how such images shaped the connections between place, memory, and landscape in Hungary and Czechoslovakia. Hungarian revisionist publications demonstrate how Hungarian nationalists visualized the organic integrity of “Greater Hungary,” while also implicitly adapting historical memory to the new geopolitical situation. As a counterpoint, images of the Váh region produced in interwar Czechoslovakia reveal how an opposing political agenda gave rise to a different imagery, while drawing on shared cultural traditions from the imperial past. Finally, the case study of Dévény/Devín/Theben shows how the idea of being positioned “between East and West” lived on in overlapping but politically opposed mental maps in the interwar period. By examining the cracks and continuities in the picturesque landscape tradition after 1918, the article offers new insight into the similarities and differences of nation-building processes from the perspective of visual culture.
Links
786314, interní kód MUName: Continuity and Rupture in Central European Art and Architecture, 1918-1939 — CRAACE (Acronym: CRAACE)
Investor: European Union, ERC (Excellent Science)
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